KEA Quarterly no 1 eng

– C O P E N H A G E N S C H O O L O F D E S I G N A N D T E C H N O LO G Y –

Autumn 2012

A N Y W HO“One of the most important investments in your future is to take your internship

seriously and find a good placement”Design technicians, construction managers and a multimedia designer

on KEA as a springboard to career success.

The world is changing at thespeed of light. What demands does this place on KEA’sdegree programmes?

ZEITGEIST

Sustainability is onthe agenda at KEA

A GREEN FUTU RE

The new heart of KEA isemerging from the rubble

EMPIRECAMPUS

DANISHDESIGN V E RS I O N 2.0

KEA students’ ideas on new Danish

design classics

Brighton. Vejl. pris 1.690,-. Forh. oplyses på tfl. 45269100 . www.staehr.as . [email protected] Cameron. Vejl. pris 2.090,-. Forh. oplyses på tfl. 45269100 . www.staehr.as . [email protected]

VIND ET GANT-UR!

01761436 KEA Magasin.indd 1-2 14/09/12 15.51

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IW1209_COVER_450x300mm.indd 1 07/09/12 14.05

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C o n t e n t s

Intro – KEA’s market manager Jørgen Ravnsbæk Andersen and knowledge manager Pernille

Berg welcome you to this first edition of KEA Quarterly.

What is KEA? – Here you can find the answers to all of your questions.

Inside – Miscellaneous notes.

Driven by sustainability – Interview with Vigga Svensson, founder of the childrenswear brand

Katvig, who values sustainable production above all else and knows KEA from the inside.

The new heart of Nørrebro – KEA’s new campus is under construction.

KEA Confessions – Meet eleven students who talk about the pros and cons of signing up to

a course at KEA.

The sofa is alive – Sustainability sets the agenda at KEA.

Square metre – Light, space and life at KEA.

Zeitgeist – The world is changing rapidly as opposing trends exist side by side, impacting

the labour market of the future and placing new demands on modern education.

Jan Johansson – One of the many inspiring teachers you can meet at KEA.

Sustainable Summer – Report from KEA’s summer school, Innovating Sustainable Fashion.

Business forum – The industry and KEA exchanges experiences.

So Talented – Designers of the future show off their skills.

Design in the genes – The Danish design classics cannot be ignored when learning about

design, but what is more important: form or function?

On their own two feet – Meet five KEA graduates who have become their own bosses.

Course information – Programmes, addresses, requirements and other useful information.

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Front cover:

Stephanie Gundelach, creative manager at B56 and blogger and Elise Born, designer and blogger.

Read more about them on page 86.

Photography Rasmus skousen

AuTumN 2012

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– 012 –

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Olentur, officitatem sinvel iliaectatem fugit qui blam re maiosam aut endus, ipid enturiam fuga. Lore laut et eicae is apitaestorro consequunt venture mporit, aut idiciusam ut alit pro omnimus es doluptiumqui nes delliqui conem rerna-tus, quam, soluptatiunt lat que simos quibust, ius nimusdae endi des eicilit laut veliqui bla inciisin ped qui sunt que prem utatum sum est, conserum quias voluptaturem et faciaspera conserundi accae nes expella nectorro doluptatio. Ut etur? Qui reperis alicit facerum ipsam cus core siti accatio nsequi consect emporis eos doluptates sumqui dolor assime et fugit, voluptu ristiosam que asimaximusae deres sam nossequi ips-undipita ex explam experro omnimus apiciaerit ut quamus apiciam quibus explanihil iliquo exceperum dis eius accum id magnihitiae eum faccatur?

Mo consenderion cus mossedicae ratios mod et exces do-lenet enimolutet min pedit dolla nis aliciamendus maxim ad que nat ipsam hit quia cusae labo. Ut aute dendigenient a voluptur, nonesed eveless imusam, quassi dolorer essitiunt.

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Piet et pos voluptas everi remperio ma dolorem si quasped que dolecat hariorem que perum eossum est, adipsam, secus et endi occulpa riatium estibust, quis auta nimus, conemo-lore nihil minctem volupieture, odita volo consend igendel iquisciur? Experum facerep reribusciet el inctota quid que culpa pariores quae conem quiam, alique verchil itibus et lic tem re, consed que pore prae vellaut ligende mporume ndu-cia cus a core consed quo tem quasseq uaest, eum nis rernam idist este quam iur aliatur, consed quam nonse pore simpor ad mint fuga. Sum quibus eum volo inciusam aditiam quo-sam sinctum ipicid qui deligen totate offici ne rem amust, sit fugitio nsequas alis aut eos audit quis maiorio im suntur sim nus alignihic tem earchicta qui ium ipsam as dellore ea quo eumquibus ellaborem ea prerchi litatati dolum et eribus, omnihicilit doluptatur aut re, totaturem. Rererum eum, ut quae laut voluptae dolorupti inveniet fugit, consequatem. Et mosti doluptaquias ratem iderorr oreribus.



Con pero vel imi, aute eosa vitatus eosaperia venecte mporiat ariorpo reptati tem aut aut prera nis eles volorem vendi autendi cus mos doluptur, sit aut voluptae ius essim quam que si reicipsanto ius.Olentur, officitatem sinvel ilia-ectatem fugit qui blam re maiosam aut endus, ipid enturiam fuga. Lore laut et eicae is apitaestorro consequunt venture mporit, aut idiciusam ut alit pro omnimus es doluptiumqui nes delliqui conem rernatus, quam, soluptatiunt lat que si-mos quibust, ius nimusdae endi des eicilit laut veliqui bla inciisin ped qui sunt que prem utatum sum est, conserum quias voluptaturem et faciaspera conserundi accae nes ex-pella nectorro doluptatio. Ut etur? Qui reperis alicit face-rum ipsam cus core siti accatio nsequi consect emporis eos doluptates sumqui dolor assime et fugit, voluptu ristiosam que asimaximusae deres sam nossequi ipsundipita ex exp-lam experro omnimus apiciaerit ut quamus apiciam quibus explanihil iliquo exceperum dis eius accum id magnihitiae eum faccatur?

Mo consenderion cus mossedicae ratios mod et exces dolenet enimolutet min pedit dolla nis aliciamendus maxim ad que nat ipsam hit quia cusae labo. Ut aute dendigenient a voluptur, nonesed eveless imusam, quassi dolorer essitiunt.Paria aliquo blacim cumquam ducidebit magnis nis nes ex-pella nectorro doluptatio. Ut etur?

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I n t r o

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Experum facerep reribusciet el inctota quid que culpa pariores quae conem quiam, alique verchil itibus et lic tem re, consed que pore prae vellaut ligende mporume nducia cus a core consed quo tem quasseq uaest, eum nis rernam idist este quam iur aliatur, consed quam nonse pore simpor ad mint fuga. Sum quibus eum volo inciusam aditiam quo-sam sinctum ipicid qui deligen totate offici ne rem amust, sit fugitio nsequas alis aut eos audit quis maiorio im suntur sim nus alignihic tem earchicta qui ium ipsam as dellore ea quo eumquibus ellaborem ea prerchi litatati dolum et eribus, omnihicilit doluptatur aut re, totaturem. Rererum eum, ut quae laut voluptae dolorupti inveniet fugit, consequatem. Et mosti doluptaquias ratem iderorr oreribus.



Con pero vel imi, aute eosa vitatus eosaperia venecte mporiat ariorpo reptati tem aut aut prera nis eles volorem vendi autendi cus mos doluptur, sit aut voluptae ius essim quam que si reicipsanto ius.

Olentur, officitatem sinvel iliaectatem fugit qui blam re maiosam aut endus, ipid enturiam fuga. Lore laut et eicae is apitaestorro consequunt venture mporit, aut idiciusam ut alit pro omnimus es doluptiumqui nes delliqui conem rerna-tus, quam, soluptatiunt lat que simos quibust, ius nimusdae endi des eicilit laut veliqui bla inciisin ped qui sunt que prem utatum sum est, conserum quias voluptaturem et faciaspera conserundi accae nes expella nectorro doluptatio. Ut etur? Qui reperis alicit facerum ipsam cus core siti accatio nsequi consect emporis eos doluptates sumqui dolor assime et fugit, voluptu ristiosam que asimaximusae deres sam nossequi ips-undipita ex explam experro omnimus apiciaerit ut quamus apiciam quibus explanihil iliquo exceperum dis eius accum id magnihitiae eum faccatur?

Mo consenderion cus mossedicae ratios mod et exces do-lenet enimolutet min pedit dolla nis aliciamendus maxim ad que nat ipsam hit quia cusae labo. Ut aute dendigenient a voluptur, nonesed eveless imusam, quassi dolorer essitiunt.

Paria aliquo blacim cumquam ducidebit magnis nis

Piet et pos voluptas everi remperio ma dolorem si quasped que dolecat hariorem que perum eossum est, adipsam, secus et endi occulpa riatium estibust, quis auta nimus, conemo-lore nihil minctem volupieture, odita volo consend igendel iquisciur? Experum facerep reribusciet el inctota quid que culpa pariores quae conem quiam, alique verchil itibus et lic tem re, consed que pore prae vellaut ligende mporume ndu-cia cus a core consed quo tem quasseq uaest, eum nis rernam idist este quam iur aliatur, consed quam nonse pore simpor ad mint fuga. Sum quibus eum volo inciusam aditiam quo-sam sinctum ipicid qui deligen totate offici ne rem amust, sit fugitio nsequas alis aut eos audit quis maiorio im suntur sim nus alignihic tem earchicta qui ium ipsam as dellore ea quo eumquibus ellaborem ea prerchi litatati dolum et eribus, omnihicilit doluptatur aut re, totaturem. Rererum eum, ut quae laut voluptae dolorupti inveniet fugit, consequatem. Et mosti doluptaquias ratem iderorr oreribus.



Con pero vel imi, aute eosa vitatus eosaperia venecte mporiat ariorpo reptati tem aut aut prera nis eles volorem vendi autendi cus mos doluptur, sit aut voluptae ius essim quam que si reicipsanto ius.Olentur, officitatem sinvel ilia-ectatem fugit qui blam re maiosam aut endus, ipid enturiam fuga. Lore laut et eicae is apitaestorro consequunt venture mporit, aut idiciusam ut alit pro omnimus es doluptiumqui nes delliqui conem rernatus, quam, soluptatiunt lat que si-mos quibust, ius nimusdae endi des eicilit laut veliqui bla inciisin ped qui sunt que prem utatum sum est, conserum quias voluptaturem et faciaspera conserundi accae nes ex-pella nectorro doluptatio. Ut etur? Qui reperis alicit face-rum ipsam cus core siti accatio nsequi consect emporis eos doluptates sumqui dolor assime et fugit, voluptu ristiosam que asimaximusae deres sam nossequi ipsundipita ex exp-lam experro omnimus apiciaerit ut quamus apiciam quibus explanihil iliquo exceperum dis eius accum id magnihitiae eum faccatur?

Mo consenderion cus mossedicae ratios mod et exces dolenet enimolutet min pedit dolla nis aliciamendus maxim ad que nat ipsam hit quia cusae labo. Ut aute dendigenient a voluptur, nonesed eveless imusam, quassi dolorer essitiunt.Paria aliquo blacim cumquam ducidebit magnis nis nes ex-pella nectorro doluptatio. Ut etur?

Welcome to this magazine about the Copenhagen School of Design and Technology, KEA. Students here get more than just classroom learning in their field of study – they get hands-on experience and knowledge that permeates through everything they do and say. Their philosophy is that a job is not just something you get, but rather so-mething that you create.

Close cooperation with companies and industries is at the core of every one of KEA’s programmes, from design and media to IT, production, health and communication. KEA’s trademark is its close contact with the business world.

All of our students do internships. And we make a dedicated effort to ensure that the internship is beneficial for both the student and the company – and for KEA too, because KEA’s teachers also gain knowledge from the students’ internships. We have the best teachers because they constantly keep abreast of the latest challenges and demands in the business world.

In this way, we ensure that KEA programmes always meet the needs of companies, and that graduates are able to generate value for companies from their very first day on the job.

The number of enrolled students grows every semester. We are proud of the rapid growth KEA has experienced in just four years. And we will continue creating growth in the Danish business world and beyond.

At a time when society is crying out for solutions to numerous complex crises, it is heartening to see the number of solutions presented every week by KEA students to companies entering our learning universe.

In this magazine we share a few of the wonderful stories found at the Copenhagen School of Design and Technology. We have spoken with the students and many suc-cessful KEA entrepreneurs, highlighting the many different aspects of life at KEA: the meeting of students and companies, and the strong personalities who contribute to creating a dynamic learning environment marked by a broad spectrum of professional diversity.

We hope that you will enjoy the stories, experiences, impressions, sentiments, dreams and ambitions.

Pernille BergK n o w l E d g E m A n A g E r

Jørgen Ravnsbæk Andersenm A r K E T m A n A g E r

Intro

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What is a business academy?

KEA is short for Københavns Erhvervs-akademi, which, translated directly, means Copenhagen’s Business Academy. A business academy offers short higher education pro-

grammes and professional bachelor’s programmes in a wide range of professional fields. The business academies have existed since 2009 and stem from the Danish business schools (business colleges, technical schools etc). The acad-emies predominantly educate students for work in the private sector. KEA is the largest of the nine business academies in Denmark.

What can you study at KEA?KEA offers 30 different full-time programmes in the

fields of design, IT and media, construction, manufacturing,

Leap straight into the job market after two years or carry on studying for a professional

bachelor’s degree or master’s? KEA offers a wide range of opportunities for those seeking a

business-oriented education. Here you can find answers to all of your questions about KEA.

technology and health. Design assistant, marketing coordi-nator, surveying technician, multimedia designer, sanitary plumber, energy technologist, architectural technology and contruction management, and web developer are just some of the professions that KEA’s studies are designed for. New programmes of study are constantly being added to the list, as KEA works with the business world, adapting its pro-grammes to meet the qualifications companies are looking for. KEA also offers a wide range of part-time programmes as continuing education opportunities. Applicants with a professional bachelor’s degree are eligible for the diploma and master’s programmes.

How long are KEA’s programmes of study?KEA has both short- and long-term programmes. For exam-

ple, you can take a two-year higher education and then move

directly into a job, or you can continue your studies for 1½ years to obtain a professional bachelor’s degree. KEA also has full professional bache-lor’s programmes that last 3½ years.

How is a bachelor’s pro-gramme at KEA different from a university education?

KEA is a part of the Dan-ish education system with a special focus on business. This means that KEA’s bach-elor programmes are tailored to a specific kind of job. Thus, a bachelor’s degree from a business academy is a professional bachelor’s degree. If you take a bachelor’s degree at a university, it is not specially tailored to the business world and you will not necessarily have an internship or any form of interaction with the business world during your studies. Most of those who at-tend university continue on to post-graduate level after complet-ing their bachelor’s degree. Most people who earn a professional bachelor’s degree are ready to enter the job market. The profes-sional bachelor’s programmes also qualify students for admis-sion to a master’s programme of study at university.

What does it mean that the programmes are business-oriented?This means that the programmes focus on the compe-

tencies and skills required by companies. Assignments are based on real problems and current cases from the busi-ness world. Instruction is project-oriented and you learn to consider budgets and deadlines, as well as the requirements and preferences of actual and fictitious customers. The busi-ness orientation of the programmes also means that KEA has a strong cooperation with Danish and foreign companies regarding internships, special project assignments, guest teachers and the development of programme content. This also means that KEA provides the framework and opportu-nity for enterprising students to develop ideas and dreams of setting up their own company through the school’s lines of study, guidance and personal development.

Are internships mandatory?An internship is a mandatory part of all of KEA’s pro-

grammes to ensure good synergy between theory and practice and to give all students the opportunity to establish a network in their industry. The timing and length of the internship var-P

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ies from programme to pro-gramme. Students find their own internships but KEA has a wealth of experience and many partners to draw on. Many students go on to get jobs or student jobs in the company where they did their internship; others ob-tain useful contacts that can help them in their job search following graduating.

Can you study abroad if you enrol in KEA?

One out of ten KEA stu-dents either studies or does

their internship abroad. KEA has exchange agreements with more than 40 international universities, since international experience is sought by companies. Good opportunities exist to obtain grants to help pay for the costs of studying abroad. Many of KEA’s pro-grammes also feature a Danish and international line, where course instruction is in English and fellow students come from around the world. The international programmes provide expanded network-ing opportunities and important experience in cooperating and communicating across linguistic and cultural borders.

What about the study environment?Friday-night bar or summer school? At KEA, the study en-

vironment is not dictated from above, but rather created at the various KEA locations by KEA and involved students. So there is not one standard formula for the study environment – KEA regularly assesses the various programmes, including the study environment. KEA’s programmes are spread across Copenhagen. At kea.dk, you can read more and see photos from the different lo-cations. KEA also holds open day events or you can drop by for an informal visit if you want to experience the atmosphere first-hand.

How do KEA graduates use their education? KEA’s study programmes cover a broad range of fields,

so the answer to this question is equally broad. But nine out of ten students from KEA are employed or continuing their studies one year after graduating. See how some KEA stu-dents have used their education in our entrepreneur article on page 86. And read more about how students from the various KEA programmes view their school in our portfolio of students on page 33.

See page 96 for additional information about the programmes.

KEA, Prinsesse Charlottes Gade.

KEA IN BrIEF

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– 018 – – 019 –

I n s i d e

I N S I D ENews, forthcoming events and strokes

of genius from the students’ own hands. In short: all things great and small

from the KEA universe.

in the name of a good cause–

DESIGN Irritating knots in earphone cables are a thing of the past with Ásla Nikolajsen’s cord controller. However, Ásla’s design has

a far wider impact, since it is also helping in the fight against cancer. Half of the profits from sales of the cord

controller – shaped as the logo of the Danish Cancer Society – will go towards potentially life-saving research. To date, they’ve raised DKK 250,000

for this good cause.Find out more at komindikampen.nu

good vibrations – Keabration–STUDENT lIfE The dancefloor will be packed to the rafters, people will be jostling to get served at the bar and the place will be bursting with exuberant students when KEABRATION, this year’s big party event for KEA students, kicks off. Last year’s party went down a storm, with performances by Lucy Love and others. This year will feature apperances by Pato from White Pony, Pelle from P6 Beat, Christel from PiffPaff, Eloq and Emil Lange from Cheff Records as well as Eagger & Stunn among others. Make a date in your calendar for the 26th October when the party will be held at CPH Volume at Enghavevej.

Keep yourself updated on facebook.com/keabration

beans with style–vISIoNary It’s not unusual for KEA students’ ideas to become a reality. Growers Cup is a totally unique coffee product whereby the packet is transformed into a dispo-sable French press when boiling water is poured onto the ground coffee in the bag. Ben Eshel and his student col-leagues on the Multimedia Designer programme set out to

raise awareness of the product with the online magazine Growers Today. The customer was so enthusiastic about it that they have asked them to develop the digital marketing of the product.

Learn more at growerscup.comPH

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I n s i d e

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the parKing fine of tomorrow–applIcaTIoN The parking attendant’s job just got a whole lot easier thanks to the development of the innovative application, optiPark. It’s a simple piece of software for Android mobiles which in only a couple of clicks lets parking attendants regi-ster, document and print out a ticket for offending drivers who won’t be able to claim, to the same extent as before, that their fine was not handed out in the correct manner.

Learn more at optipark.dk

optometry–DEGrEE proGr ammE On the Optometry degree pro-gramme, attention is focussed on all imaginable aspects of sight and the spectacle lens. Discover a degree pro-gramme that combines interest in fashion, physiology of the eye and sight-testing, and correcting the vision of clients. Besides the vocational elements, the programme also introduces students to specialist know-how and the understanding of the fascinating technical equipment that is to be found in the optician’s backroom.

Learn more about the degree programme at kea.dk

around the world–ExchaNGE proGr ammE Thanks to KEA, the world has suddenly got smaller. And, without a doubt, that is in the students’ favour when they can take advantage of the School’s exchange agreements with around 40 universities in the USA, Canada, Australia, Germany, France, Italy, Spain, the Netherlands, the UK, Ireland, Poland, Lithuania, Finland, Norway and Sweden. Naturally, interest in this global exchange goes both ways. So if you spend your days in the classrooms and corridors of KEA in Copenhagen, you can converse with international students from every corner of the planet and forge friendships that will connect you with the rest of the world.

Learn more at kea.dk

KunsthÅndvÆrKerprisen–awarD of DISTINcTIoN Created in 1879, the Danish Ap-plied Arts Prize has clocked up a few decades. For nearly 133 years, the prestigious arts prize has been awarded to hopeful artisans at a convivial ceremony at Copenhagen Town Hall in the presence of Her Majesty Queen Margrethe. Previously, it was administered by Copenhagen Technical College, but that honour has now been passed on to KEA. In its day, the first medal was

awarded to architect Gustav Friedrich Hetsch at the request of a number of Copenhagen artisans. The jury is made up of other artists and sculptor and professor Bjørn Nørgaard, who rose to na-tional prominence in 1970 when he slaughtered a horse in protest at the Vietnam War at the Tabernakel exhibition in Louisiana.

Learn more at danskekunsthaandvaerkere.dk PH

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I n s i d e

looK for a job anywhere–applIcaTIoN martphones have become a ubiquitous part of everyday life, and the days when the mobile phone was only used for text messaging and conversations are long gone. When the job portal Jobindex decided to jump on the bandwagon in order to be able to offer jobseekers an optimal service, irrespective of where they were, it was a perfect challenge for KEA students who eagerly threw themselves into the development of the new ap-plication for Android mobiles. Yet another great example of KEA solving the kinds of challenges that the students will face when they join the real world of employment.

Learn more at kea.dk and jobindex.dk

the stars of tomorrow–STUDENT lIfE KEA Connect is as one-day mini fair where students on KEA’s degree programmes present the projects they are currently working on. It’s where the world of business and other interested parties can take a look at all the talent at KEA. Prospective stu-dents are also welcome to drop in at the open house.

KEA Connect will take place on November 8th at Kødbyen, building 55.

Learn more at kea.dk

–coopEr aTIoN Teamwork and reality are keywords for a team comprising Peter Nielsen and Rasmus Hansen, who are both students in KEA’s production technology faculty. When a TV programme revealed the numerous problems DSB’s catering trolleys caused to employees, the two students im-mediately saw an opportunity and threw themselves into the

task of designing a new catering trolley for trains that takes account of real-life situations and the challenges they pre-sent. Together they have developed a trolley which, with its customised drawers, brakes and coffee pots, glides effortlessly through the narrow aisles. Safe, practical and workable in the real world. P

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world-class design–projEcT Fine crocheted collars, necklaces and hand-embroidered cushions: these are just some of the accessories on offer with the I tråd med verden project. The project is a social-economic undertaking organised by KEA whereby refugee and immigrant women all over Denmark meet the Danish design industry and, in close partnership, develop design products. Among other things, I tråd med verden has collaborated with recognised designers such as Anne Sofie Madsen, Pil Bredahl for MENU and Stine Ladefoged. Furthermore, the project’s beautiful embroidery has been exhibited at Designmuseum Danmark and Galleri Martin Asbæk.

Learn more at itraadmedverden.dk

new ideas pushing trolley design

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– 026 –

I n t e r v i e w

– 027 –

“I wish I’d had the knowledge then that students at KEA have now,” says Vigga Svensson, the owner of chIldrEnSwEAr brAnd KAtVIg who

takes pride in SuStAInAblE productIon.

Driven by sustainability

textSofia Halprin photographyThomas Skou


– 028 – – 029 –

the cheapest T-shirt in the store. Today the fashion industry is largely built on losers. I find that irresponsible and old-fashioned. I want to build my company on winners. Right from the people who make the clothes to the environment, the children who wear the clothes, and future generations.”

Svensson was well aware that making Katvig a sustaina-ble childrenswear brand would not be easy. Her ambition was to pave the way and show that it is possible to be a part of the fashion industry without losing out at any stage of the process, from production to the finished product. At the same time, her business partner was diagnosed with breast cancer and died shortly after. So from the spring of 2006, Vigga stood alone with all of the decisions. “It was an expensive strategy because nobody could help us. We had to create eve-rything from scratch and find the information on our own.”

By late summer 2008, the financial crisis had also begun to affect Katvig. Although a change in course to something semi-sustainable might have been the smartest thing to do from an economic perspective, the company never even con-sidered such a move. Doing things by half measures is not

in Svensson’s nature. “If we had only been interested in making a profit, Katvig could have easily produced clothes much more cheaply. But we care about decent working conditions at the factories, waste-water sy-

stems that collect hazardous chemicals before they end up in rivers, degradable packaging and clothes without poison etc. You have to look at the bigger picture, and here it is important to stress that the cheapest T-shirt is the one that leaves the most expensive bill – for the consumer, the produ-cer countries, the environment and, ultimately, the future.”

Two years later, in 2010, the company’s business turned around and became profitable once again. All of the start-up difficulties were now under control. And the company’s finances were suddenly sound once again.

Today Katvig works to raise awareness of sustainability in general. Vigga’s great ambition is to generate as much at-tention for ethically produced clothing as there is for organic lotions and foods. And to this end, Vigga has used rather unconventional methods.

“I teach at our very own sustainability school where we train people to think in a more environmentally friendly way. Most people don’t know that an ordinary T-shirt can contain up to 8,000 different chemicals and that it has to be washed 20 times before all of the substances are removed. I provide a basic introduction to the world of textiles, its drawbacks,

Vigga Svensson’s face lights up as she talks about her company, Katvig, on a warm and clear day at home in Taarbæk.

It all started in 2003 when she was expecting her second child. Together with her friend Katrine Collette, who like her was also on maternity leave, they began sewing clothes for

their children. They lacked alternatives to the usual beige polo shirts and dresses covered in princess prints. The plan was to sell the clothes from a cosy little shop, but a business- oriented uncle guided the two women towards mass produ-ction, and the ambition of actually making money on childrenswear took hold. Katvig was born.

And things quickly took off. Everyone wanted to get their hands on the colourful stripes and the apple-printed child-renswear. Katvig’s retro-inspired clothing coincided perfect-ly with the early stages of the economic boom.

“We wanted lots of co-lours and patterns. We thought that the clothes on the market were too delicate and didn’t reflect the imagi-nation, energy and everyday lives of children very well. It seems a bit crazy to put a very active child with a vivid imagination into beige clothes. So we thought that we would just make the clothes ourselves. Our attitude was: how hard can it be?”

Vigga runs her fingers through her short blonde hair and laughs as she talks about their lack of business plans and market research, vital building blocks for most other compa-nies. And she says that they were two bright-eyed amateurs, but very ambitious nonetheless. Their great ambition led to 400 per cent growth each year for the first three years of Katvig’s existence. As the company grew, the women gained knowledge of the textiles industry and discovered that there is not much to be proud of. Their new knowledge about the industry, one of the most damaging in the world, led to a total restructuring of production to make Katvig 100 per cent sustainable.

“After I realised what a dirty industry I was a part of, there was no other choice than to restructure our production pro-cesses. I didn’t want to create a business by destroying Chi-nese workers’ lives, ruining the environment and climate, and putting consumers’ health at risk just to be able to sell

Vigga Svensson and her familie are very aware of

living a sustainable lifestyle and not waste any

ressources unnecessary.

and what people can do to avoid harming their children, the environment and the people who make the products.”

The plan is to create a form of sustainability activism so that participants leave the Katvig seminar and spread the message – and start a movement to raise the general public’s awareness. In addition to the sustainability school, Katvig hosts clothes exchange events so that items that children have outgrown do not end up in the attic or, even worse, in the rubbish.

“The longer you use a piece of clothing, the more su-stainable it becomes. If you only use the clothes a couple of times, it is a total waste of resources. It is really difficult with children’s clothes because children grow so fast. Therefore, we came up with something we call swap parties. Basically, people bring all of the Katvig clothes that no longer fit their children to our event. And then people swap their clothes for used clothes in other sizes. This ensures a longer life cy-cle. And it is also in our own interest, because people will hopefully want to spend an extra DKK 20 on a sustainably produced body stocking because it can be traded later.”

The fact that Svensson is a busy woman cannot come as a surprise to many. In addition to her work at Katvig, she is the voice of the television station TV2 Zulu. Every week, she sits down in one of Katvig’s bathrooms which has been transfor-med into a sound studio and records all the voiceovers for the station. Each year she also acts as an external examiner for KEA’s sustainability programme. “I am heartened to see that KEA has placed sustainability so firmly on the agenda and teaches students to incorporate it into all business pro-cesses,” she says. “I wish I’d had the knowledge that students have now, when Katvig decided to become a 100 per cent sustainable company.”

“I am heartened to see that KEA has placed sustainability

so firmly on the agenda”– Vigga Svensson talking about KEA classes.


– 03 0 –

Fe a t u r e

– 031 –

Something big is happening between Nørrebrogade and Guldbergsgade in an old, red industrial building sand-wiched between Assistens

Cemetery’s yellow wall on one side and the ‘Coming Soon’ posters of the Em-pire Cinema on the other.

It is not visible from the outside, but the dust begins to tickle your nos-trils as soon as you begin climbing the stairs to the first floor. Off-white debris covers the normally black con-crete floor, where clear footprints cross in all directions between isolated piles of stone wool. Rows of large windows stand against the walls, waiting to be installed, and bulky silver ventilation

systems lined with cables hang from the ceiling.

The smokestack here at number 29 once funnelled the machine factory’s smoke out over the streets of Nørre-bro; it is one of Copenhagen’s historic landmarks and must therefore be pre-served. But nearly everything else will have been rebuilt by the time KEA’s new campus is completed in late 2013. The creative forces behind the project are dreaming of a small revolution on Nørrebro’s busy streets.

“At the new Empire Campus, stu-dents are co-creators of the experi-ence,” says Patrick Coard, a Archi-tectural Technology and Construction Management graduate from KEA and

“At the new Empire Campus, students are

co-creators of the experience. When you enter the campus, you encounter a changing

environment that invites students and citizens of all ages to participate actively”– Patrick Coard talking about

the new KEA Campus.

now creative consultant on the project. “When you enter the campus, you en-counter a changing environment that invites students and citizens of all ages to participate actively.”

The new KEA Empire Campus will also mean more than just new facilities. It represents the dream of breaking the traditional boundaries of what an edu-cational institution is.

“We don’t want an authoritarian in-stitution that decides what everything looks like in advance and where the buildings are empty after two o’ clock in the afternoon,” says KEA communica-tions consultant Louise Grane. “We want to be a part of Nørrebro and help to cre-ate a good framework, and experiences

Myriad lives and stories, flexible walls and high-tech auditoria: all part of the aMbitious vision for Kea’s new

campus, which students are helping to shape.

t h E n Ew h E A rto F n ø r r E b ro

for students and the local population.”This was the very mindset of re-

source director Jesper Rasmussen when he fell for the deserted industrial build-ings. Even though space is somewhat cramped, the decision to create a new campus felt right.

“Students and teachers will be able to decide how best to use the space,” he says. “For example, there will be flexible walls for optimising the use of space depending on the need for large or small rooms. The bustling everyday activity of the KEA Empire Campus will epitomise its identity.”

KEA’s students have been involved throughout the project’s process, especially students in the Architectural Technology and Construction Man-agement programmes and the energy technologist students, who all wrote term papers about the new campus.

“We chose this project for the stu-dents because it seemed obvious that they should be a part of developing solutions for the buildings they will soon be us-ing,” says Charlotte Møller, head of stud-ies for the Architectural Technology and Construction Management programme.

Many of the students subsequently

chose to dedicate their summer holiday to become more involved in the creation of the new campus and leave a mark on their future place of study.

Just as with the external surround-ings, the facilities reflect openness, crea-tivity and variability. Students will be able to immerse themselves in Scandina-via’s largest materials library, Material Connexion, supplied by the company of the same name whose headquarters are in New York. Other features of the cam-pus include a high-tech auditorium with 3D projection capabilities, various design studios, model workshops, industrial rooms and a wide range of workspaces. It is every bit as ambitious as it sounds. Even though many aspects of the project could change between now and its scheduled completion in late 2013, Jesper Rasmus-sen says that the scope of ambition for it will remain high. “The new Empire Campus will be KEA’s centre of excel-lence. Here we will gather all of our programmes, making the campus a hub for KEA as a whole and for our many partners in the business community. When it all comes together, the result will hopefully be ‘outside the box’ – just the way we want it.”

textMarlene toldbod Jakobsen

photographyAnne Mie Dreves

KEAConfessions

Why should you choose to study at KEA? How can you use what you learn at KEA? And what is the best thing about attending KEA? We asked ten students from different programmes why they have

chosen a KEA education.

textMichael Schmidt

photographyJonas Bie

P o r t fo l i o

PICASSOBASQUIAT SCHIELE KAHLONOLDEDALĺKOONSMIRÓ...

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Egon Schiele: Selvportræt med påfuglevest, 1911. Gouache. Ernst Ploil, Wien

Med støtte fra

Hovedsponsor for Louisiana


– 03 4 – – 03 5 –

Why did you choose KEA? For me, it’s important that there is a market for my product.

Otherwise, I can’t make a living. KEA’s design technologist programme lends equal weight to creativity and business. And that’s perfect for me.Why Sustainable Fashion?

I’m fascinated by fashion, but the fact is that the fashion industry is the second-most polluting industry in the world. Factory workers are exposed to toxic chemicals and for many the living conditions are terrible. I chose to study Sustainable Fashion because I want to make the fashion industry better in terms of the environment and working conditions. What have you got out of your studies at KEA?

A lot of people probably think that sustainability is dull and boring, but it’s both an innovative and essential way of

thinking and working. The programme spends a lot of time analysing companies and working out solutions that show how each company can become more sustainable. And, of course, there’s also a range of specific aspects. We work with zero-waste design, a reverse design process where the pattern is based on the measurements of the fabric roll so the entire roll can be used without zero waste.What is the best thing about studying at KEA?

Our internships, where we get the chance to go out and dis-cover that the knowledge we have gained is really useful and applicable. Right now, I’m doing an internship at I Tråd Med Verden, a social-economic company where creativity and design provide enhanced quality of life and employment for refugees and immigrant women in Denmark. It is really exciting and I’m doing both design and PR tasks, which I also find fun.

Sarah Deloughery25 years old

SuSTAInAblE FAShIOn

Ronnie Markussen28 years old ARchITEcTuRAl TEchnOlOgy AnD cOnSTRucTIOn MAnAgEMEnT

Why did you choose KEA? I am a qualified carpenter, but I suf-

fered a back injury that forced me to think of career alternatives. It was tough abandoning my love of building things so I was looking for a programme that combined good professional opportuni-ties and the practical elements I enjoy. I found all of this at KEA.Why Architectural Technology and Construction Management?

I’m very interested in architecture, particularly the early phases of con-struction, where you have the greatest opportunity to influence the final result. It is especially important for someone like me who is interested in the sus-tainable development of the industry to understand the different construction stages and the underlying processes. What have your studies given you?

The programme has fundamentally

changed my view of buildings and the spatial understanding that architecture demands. Of course I’ve also learned a lot about legal requirements, preparing tenders, managing a construction project and a wide range of planning formalities. What projects are you working on besides your studies?

A lot of different things! I built my own furniture from old floorboards, I’m collecting materials for a biological air purification system and I spend a lot of time on sustainable construction, which is also the focus of my thesis. I am also doing a project with an architect friend of mine involving a new way of building that is sustainable, healthier and cheaper.What advice would you give to new students?

hang in there, even when the going gets tough! The satisfaction you’ll get from reaching your goals is indescribable.

– 03 6 – – 037 –

P o r t fo l i o

Why did you choose KEA?I chose KEA because it offered exactly the education

I wanted. Why Electronic Technology?

First of all, I can use a lot of the things from the elec-trician programme and I really enjoy the international programme, where you can meet people from all over the world. What’s the best thing you’ve got out of the programme?

I think I've learned a lot. besides learning a lot about electronics and programming, I have also learned to work in groups – something I didn’t used to be so good at. And I’ve really improved my English since all of the teaching and written assignments are in English.

What is the best thing about studying at KEA?Their approach to learning! It’s not so much about reading

loads of thick books and then believing you know everything about a given subject, but more about a hands-on approach. learning by doing.What projects are you working on besides your studies?

I’ve always got lots of projects going on. lately I’ve been working on getting a cnc machine up and running. And I bought a little toy called Raspberry Pi. It’s an incredibly powerful computer the size of a credit card, with several in-puts and outputs for controlling various electronic things. What advice would you give to a new KEA student?

Think very carefully about whether it is the right thing for you. be goal-oriented when choosing your line of study!

Morten Ensted28 years old ElEcTROnIc TEchnOlOgy

Why did you choose KEA?I knew that I wanted to work in fashion

and KEA offers the academy profession degree programme in Design, Technology and business, where you can take the design, sourcing or marketing lines. What have you got out of your studies?

At KEA, you share your knowledge and learn from each other, so it’s an in-credibly inspiring learning environment. I have learned a lot from presenting my work to my fellow students and teachers. What projects are you working on be-sides your studies?

I work at Weekday, a shop located in central copenhagen. And I work as a design assistant for the fashion label DAnSK and blog at MariaMarjoriesblog.com. I’ve also written for other blogs that cover fashion, street style and my great passion – shoes!

How do you put the things you’ve learned in school into practice?

I’ve used so many of the practical skills we learn at school in the real world. I use Illustrator almost every day when working at DAnSK with drawings of clothing and collections. During your internship you really get the chance to test your knowledge. I have developed cSR programmes and even conducted workshops on cSR to bring other employees up to speed. What makes KEA stand out from other schools?

KEA teaches you to use your existing experience and competen-cies in a new way. At the same time, the school contributes a lot of new knowledge and puts the industry in a new perspective.

Maria Marjorie24 years old

DESIgn, TEchnOlOgyAnD buSInESS

– 03 8 – – 039 –

Peter Mortensen26 years old

ARchITEcTuRAl TEchnOlOgy AnD

cOnSTRucTIOn MAnAgEMEnT

Nicolai Qvindbjerg29 years oldbRAnD DESIgn

Why did you choose KEA?My first choice was the Danish School of Media and Journal-

ism, but when I didn’t get in I looked into KEA and the school seemed like a good stepping stone for studying somewhere else afterwards. I've since discovered that KEA is the perfect school for me. It’s a place where you can try out a lot of things and it offers a lot of different areas of specialisation. Why Brand Design?

Initially it was because the programme was the closest to graphic design, which is my area of specialisation. It’s not enough to make a cool product – you also have to master the marketing behind it. I find this incredibly fascinating and inspiring.What is the best thing about studying at KEA?

That the studies are so close to the real world.

What projects are you working on besides your studies?My company, The new black, is a design agency focused

on graphic and web design. It takes up most of my time, but I also make time for my band, Far Away From Fiji. What is the social environment like at KEA?

The good thing about KEA and the school’s social envi-ronment is that there are so many creative and inspiring peo-ple. you can really learn a lot from each other if you take advantage of the opportunities and network.What advice would you give to new KEA students?

network, network, network. It’s probably one of the best things you can do for yourself in this industry. Other than that, it is a good idea to specialise right from the start so that you know what you are working towards.

Why did you choose KEA?I wanted to get a tangible result

from my work and what can be more tangible than constructing buildings? I therefore opted for the bachelor's degree programme in Architectural Technology and construction Manage-ment and KEA is one of the few schools that offers an international line, so I am now studying with people from around the world, which is fantastic!What was it like to start at KEA?

I was a little worried about taking up academic study again after a long hiatus, but I’m totally hooked on it now. What projects are you working on besides your studies?

I am working on a project with an en-gineering student and IDA (the Engineers Association) called Building Futures. The project aims to improve cooperation between educational institutions in the

field of construction through integrated projects involving students from DTu, the Royal Danish Academy of Fine Arts, copenhagen university college of Engi-neering and KEA, who work together on a construction project. The ultimate goal is for these projects to become a part of the schools’ curriculum. What is the social environment like at KEA?

I ended up with the coolest group of fellow students and I’ve made a lot of friends despite the rather big age differ-ences. There isn’t much interaction across departments and classes, since the facili-ties don’t really provide for this, but I know efforts are being made to change this.What advice would you give to new students?

Share your knowledge with others. If you can promote this culture in your class, it makes for a fantastic atmosphere.


– 0 4 0 –

Tikkie and Mads27 years old

cOMMunIcATIOn DESIgn & IDEATIOn

Why did you choose KEA?TIKKIE: I actually started out studying to become a graph-

ic artist, but as I sat doing the layout for fashion magazines, I realised that I was more interested in the content. So when I heard about KEA I took a chance and applied.

MADS: I chose KEA because it is a vocationally oriented school where the programmes are adaptable to your skills and interests.What programmes are you enrolled in?

MADS: I am enrolled in the Ideation programme, mostly because of the entrepreneur component, which is my main fo-cus at the moment. We run the webshop Adélie together.

TIKKIE: I am taking my bachelor’s degree in communica-tion Design, which builds on my specialisation in trend and design strategy. I am fascinated by the dynamics of fashion: what is a trend, when and how does it arise and can you sys-

tematise it all? KEA has given me good practical tools for working with these interests. My bachelor’s degree has also equipped me with good communication skills that I can use in our company. So for me it’s a perfect mix.What is your dream for the future?

TIKKIE AnD MADS: We are very privileged and are actu-ally living our dream right now. Over the long term, we hope to continue developing our store, both physically and online. And we have lots of other ideas, but they will remain secret for the time being.What advice would you give to new students?

TIKKIE AnD MADS: Take your internship seriously, as it is just about the most important part of your studies. you can learn a lot in school, but if you don’t know how things work in the real world, you will find yourself at the end of the job queue.

P o r t fo l i o

– 0 41 –

Maria Patell41 years old

InSTITuTE OF PREcIOuS METAl

Why did you choose KEA?I chose KEA because it offers so

many possibilities. It keeps up with the times, creating new programmes of study that match society today.Why jewellery designer?

I worked for an Italian jewellery de-signer in India and fell in love with the process of creating jewellery. I realised that I had to develop my craft as a jewel-lery designer at home in Denmark. What is the most important thing your studies have given you?

More than anything, I learned why I do what I do. I have developed my craft tremendously while also learning to be true to myself. What projects are you working on besides your studies?

Right now I am working on an in-

ternational art project called I Tråd Med Verden, where I exhibit my jewel-lery at the fashion fair in copenhagen. until recently I also had a gal-lery called Saturday gallery, which hosted exhibitions, sold jewellery and rented workshop spaces to other jewellery designers. How do you combine school and the outside world in your daily life?

The school introduces students to so many of the real-life challenges we will have to face when it’s time for us to go out into the world and make it on our own. So there is a really good balance between school and the real world.What is your dream for the future?

My dream is to make a living from my passion for jewellery design.


– 0 4 2 – – 0 4 3 –

Maria Foerlev36 years oldcOMMunIcATIOn DESIgn

Why did you choose KEA?There were relatively few requirements for admission and

it seemed like KEA had a lot to offer academically. I was very unsure whether to start studying since I am already a free-lance graphic designer, but after a month I really started to get into the courses and when we started the first project I had no doubts that I would complete the programme. Why E-concept Development?

It’s an exciting area of specialisation with a focus on man-aging a creative process. It’s something I feel I need to improve on in my chosen area of work. What have your studies given you?

A greater sense of management and organising a creative process. The E-concept Development programme is based on various cases students have to solve. A company comes in

and presents a given problem and then we have three weeks to find a solution. It’s a very intense and educational process and the group work is a delicate balance between chaos and control. but every aspect is something you can use in the business world. What projects are you working on besides your studies?

I still have my company, Eshelart, where I’m doing graphic design. And I just started up guerrilla café with a friend. It’s a mobile café that sells coffee and healthy snacks from a cargo bike.

What is your dream for the future?In the short term, it’s getting guerilla café up and run-

ning. I also want to continue working as a graphic designer, since it is a wonderfully varying line of work. Over the long term, I would like to be able to make a living from my art.

Why did you choose KEA?KEA is a modern, democratic educa-

tional institution that values its students and actually encourages its students to get involved. Why Communication Design?

I am passionate about all forms of communication and if you want to work in this field you have to have an overview and understanding of the many communica-tion interfaces that exist today. For me, the programme has been perfect because I get to use the skills I acquire in school in my own business, Pleas Wait To be Seated. What is the best thing about the programme?

The school has taught me to think more holistically and sharpen my focus so my communication is more creative and targeted.

What is the best thing about KEA?The way that theory and practice

are linked together. We perform tasks for Vero Moda, Radio 24/7, Fashion Forum, MuuSE and many others. We also have visits from inspiring speak-ers, filmmakers, artists, writers, opera singers and publishers. In this way, KEA introduces students as early as possible to the world that waits outside the school’s walls. How do you use the things you’ve learned?

I have actually put everything I have learned in my studies into practice. I have prepared a communication strategy for my own design company, written newsletters, blogged, made short films and prepared presenta-tions.

Ben Eshel27 years old

E-cOncEPT DEVElOPMEnT

Fe a t u r e

– 0 4 5 –

“I liked the idea of something living and I was very inter-ested in urban gardening, which involves citizens in cities and urban areas making communal vegetable gardens,” he says. “Even though I live in an apartment and don’t have the same access to growing vegetables as people who live in the coun-tryside, I thought that my coffee table could become a living organism.”

He also had in mind the prediction that 80 per cent of the global population will be living in cities and urban areas by 2050 – by which time the total global population is expected to grow by three billion.

“If these predictions hold true, we would need a whole new area of land the size of Brazil to feed the world’s population, assuming we maintain current agricultural practices,” he says. “The problem is that we are already using 80 per cent of the land that is suitable for agriculture today.”

Brøgger-Jensen therefore found himself asking questions such as “How can I integrate products that are designed for people in cities?” and “How can I design interiors that are in-novative and self-sufficient while featuring unique design?”

“I would love to say that I used all kinds of fancy product development theories,” he says, “but the truth is that the idea just came to me at home in my living room, as I sat looking at my coffee table. In fact, my process was a little bit like a musi-cian’s. You know, you whistle some random tune, then take out your guitar and suddenly there’s a song.”

Of course, Brøgger-Jensen is not the only KEA student who has created innovative and sustainable products. As part of

Imagine coming home from a long day at work and easing into your soft, comfy sofa. But instead of a conventional wood-framed sofa upholstered in wool, you stretch out on a living, organic system where freshwater fish swim around and cucumbers and tomatoes grow wild.

At first this may sound rather bizarre. Nonetheless, the idea formed the core of Eco-Home, KEA designer Tobias Juul Brøgger-Jensen’s final project in February this year. He is one of those people who see opportunities instead of limitations when it comes to our future.

“I applied a food production science called aquaponics, where plants grow in water rather than soil,” says the 28-year-old graduate. “The sofa is a closed greenhouse system made from biodegradable plastics, the production process is as green as possible and the fish feed on the nutrients from the plant remains. The plants feed on the waste products from the fish, which in turn cleanse the water. There are no added pesticides or nitrates, so you can eat your own organic fish from the sofa.”

Brøgger-Jensen holds a professional bachelor’s degree in Design and Business from KEA, specialising in Ideation. Students in this programme work on idea generation, product develop-ment, processes and transforming trendspotting into sustain-able commercial solutions. During his studies, Brøgger-Jensen worked extensively with the concept of sustainability, but he finds it difficult to explain precisely when and how the idea of Eco-Home arose. At some point he was sitting at home in his apartment in Amager looking at his own coffee table.

THE SOFA

SuStainability is more than an old-fashioned political buzzword in our modern conSumer Society. Students

at Kea incorporate the concept into all facets of production, preparing for the labour marKet of

tomorrow. meet tobias, who designed a SuStainable

Sofa complete with fiSh and plantS.

textBoline Skovly

IS AlIvE


– 0 4 6 – – 0 4 7 –

S u S t A i n A B i l i t y

Media and companies talk about “sustainable

development” to ensure that we have access to

healthy food, clean water and clean air without

destroying resources and the possibilities for

future generations.

n E w n o r d i c l i v i n g

One of the initiatives for raising awareness and

knowledge about sustainability is ECOWEEK

in Copenhagen, to be held in May 2013. KEA

is hosting ECOWEEK in Denmark; ECOWEEK

originated in Greece in 2005. The week-long

event is based on dialogue, where students,

teachers and professional experts exchange

experiences. The overall goal of ECOWEEK is to

raise awareness and inspire professionals such

as construction managers, designers and energy

technologists to make environmentally friendly

decisions. It is the first time that ECOWEEK will

be held in Scandinavia. Find out what is in store

and read more about ECOWEEK – New Nordic

Living at www.kea.dk.

– F a c t b o x –

KEA’s strategy, sustainabil-ity awareness permeates the majority of the roughly 30 full-time programmes of-fered at the Copenhagen School of Design and Tech-nology. For example, clothing designers in the Sustainable Fashion programme have in-corporated the philosophy of Zero Waste, which involves minimising waste generation by using all the fabric in the production of clothes; while construction management students have created an IT system to reduce the waste of raw materials on construc-tion sites.

Pernille Berg, knowledge manager at KEA’s Knowledge Centre 3.0, is respon-sible for supporting the development of KEA’s programmes. She does this by collecting and sharing information about sustainability, materials techn-ology and design.

“The characteristic feature of KEA programmes is that they are all product-oriented,” she says, emphasis-ing that the concept is not just about marketing KEA’s programmes as politi-cally correct. “It is extremely important that our graduates can incorporate the best possible solution when designing a lamp, jewellery or an electrical installa-tion, for example.”

According to Berg, KEA cannot avoid incorporating the concept into all the school’s programmes. “We are fac-ing scarcity of resources and a growing elderly population – issues that stretch beyond national borders and professions. We have a responsibility as an educa-tional institution and must consciously design our programmes to ensure con-sideration of these issues. But having said that, we also have a responsibility for ensuring that the programmes reflect the real world as much as possible. In

my view, it is not just the stu-dents’ responsibility to figure out how they want to use their education – we want to be a part of the process.”

This ensures that stu-dents are prepared for the real world following their studies at KEA.

“We expose students to reality,” she says, “making it easy for them to envision them-selves as working professionals. We are in close contact with the business world and we see that they are concerned with environmental and economic sustainability.”

But what is sustainability really, and what skills does it demand of students? Head consultant Eva valcke also works with sustainability at Knowledge Cen-tre 3.0 and stresses that KEA students – and society as a whole – must first and foremost find out what sustainability means before establishing some degree of focus.

“It’s a very difficult concept to define and frame,” she says, “so our primary task is to cultivate increased awareness of the concept. There is an ongoing de-bate in Denmark and around the world, so our task is to determine how to use it in relation to the programmes.”

Knowledge manager Pernille Berg goes on to explain that attention must focus on an awareness that it does make a differ-ence how you produce a sweater or a house.

“The concept of sustainability is very politically charged and we are not trying to be holier-than-thou,” she says. “To me, sustainability is about making the right decision at the right time for the right reasons. It may sound fluffy, but it’s about knowing what you are doing.”

If a construction manager chooses to build a house and wants to ensure that it’s sustainable, he has to know about all

the individual components in the construction process. This requires niche knowledge: “From insight into the various wood types, to where the tree was grown, whether production conditions involve excess energy consumption and so on. The objective is to ensure we are aware of the consequences of our choices in order to prevent them from negatively impacting many generations to come,” she adds.

A new initiative at KEA is the opening of a materials li-brary this October. Here, students will be able to acquire even more specific knowledge.

“The fashion industry is one of the most polluting industries,” says Berg. “We must therefore be extremely knowledgeable about materials and materials technology, subjects students can learn about at KEA’s materials library. What do various types of cotton quality mean and what are the environmental impacts of dyeing textiles? This is the type of knowledge we and our students must possess.”

Tobias Juul Brøgger-Jensen has thought through all elements

of the sofa production process. The fish and plants need light, so it is equipped with lED lighting, the most energy-efficient option on the market, and the water pipes are made of bio-degradable recycled plastic. The designer is currently com-pleting the prototype and is looking for partners who want to produce the furniture line, which also includes a bed and a shelving unit. But according to Brøgger-Jensen, the biggest barrier will be getting ordinary people to eat the fish that swam around in their sofa for six months – fish they might even have given names to.

“In Denmark, out relationship with animals is very pet-oriented,” he says, “and even though self-sufficiency is an ele-ment of my project, a number of cultural conditions would have to be in place before it could succeed. Normally, people go down to the store to buy fish that are already filleted, so it may be something of a challenge. I may be wrong, but I think that most people don’t actually know how to fillet a fish.”

Cotton processing in America, 1956. We have improved our clothing production since then, but there is still room for improvements.

Urban gardening.

Vegetable garden at Nørrebro.

Aquaponics – the inspiration for Tobias' living sofa.

“The objective is to ensure we are aware of the consequences of

our choices in order to prevent them from negatively impacting

many generations to come”– Pernille Berg talking about the objective

for KEA's materials library.

PH

ot

og

rA

PH

y P

olf

oto


– 0 4 8 – – 0 4 9 –

L i v i n g

s Q u A r E m E t r E2

photographyJan søndergaard Corridor, KEA Prinsesse Charlottes Gade 38 – 55°41'40.01"N 12°33'3.03"E.

If walls could talk… Join us on a tour of the various buildings across Copenhagen

belonging to KEA.


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L i v i n g

Garden area, KEA Lygten 16 – 55°42'22.94"N 12°32'20.87"E.

Optometry equipment, KEA Nordre Fasanvej 27 – 55°40'55.03"N 12°31'21.45"E.

Mannequins, KEA Frederikkevej 8-10 – 55°43'50.35"N 12°34'42.10"E.


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L i v i n g

Workbench, KEA Rosenvængets Allé 20B – 55°41'57.56"N 12°34'54.60"E. Facade, KEA Prinsesse Charlottes Gade 38 – 55°41'40.01"N 12°33'3.03"E.


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L i v i n g

Glass door, KEA Bispevej 5 – 55°42'25.12"N 12°31'47.25"E.

Ruler, KEA Frederikkevej 8-10 – 55°43'50.35"N 12°34'42.10"E.

Measuring equipment, KEA Lygten 37 – 55°42'14.21"N 12°32'14.97"E.

705_KEA_videreuddannelse_annonce_230x300mmx2_RT.indd 2 12/09/12 16.52 705_KEA_videreuddannelse_annonce_230x300mmx2_RT.indd 3 12/09/12 16.52


– 0 5 8 –

Te n d e n c y

– 0 59 –

ZeitgeistThe biggest megatrends of our time relate to

sustainability, proximity and authenticity, as well as the ability to engage in a global cycle where

we seamlessly enter and exit ever changing contexts. How do you translate these often contradictory trends into knowledge about the labour market

of the future?

textSigne Løntoft

One day you’ve had enough. You’re tired of being a slave to your smartphone and begin making rules for how often you can check Facebook and your email, or you take a week of-fline and delete your social me-dia profiles. At the same time, you become interested in en-vironmentally friendly living.

You stop buying take-away coffee in paper cups, start baking your own organic bread and perhaps even grind your own flour in a small electric grinder. You plant tomato plants on your balcony and talk some of the other people in your build-ing into keeping chickens in the courtyard. You invite your network to clothes swaps instead of going out and buying

new clothes. You want to live a life rooted in the local com-munity. The simple life. The authentic life. The sustainable life. Even though it is something of a lie, because you still have to do your job, which involves monthly flights to over-seas destinations such as Sao Paulo, New York and Mumbai. Soon, the smartphone is back in your pocket and you cannot live without your calendar because, although you still grind your own flour, you still have to meet your deadlines, attract new customers and be visible at the most important indus-try conferences and receptions. You have to tend to yourself, your partner and your friends. Maybe move into a bigger or better home, work out, plan a hen party, visit friends in Ber-lin, buy a new telephone... The world is moving and it’s not a train that you can just jump on and off of.

Current megatrends point in many different directions. On one hand, they are marked by high speed and uncondi-


– 0 6 0 –

Te n d e n c y

– 0 61 –

tional flexibility. On the other hand, there are just as many opposing trends that relate to a desire for slowness and sim-plicity. You must not allow these to confuse you, because in a complex world emerging trends will always give rise to op-posing trends. But while researchers once had an idea that trends replaced each other at some form of interval, the period between intervals is now so short that different and appar-ently incompatible trends co-exist. This is true not only in society and culture at large, but also within individuals. We are skilled at holding down a fast-track career while simul-taneously going offline in our free time at a remote Swedish getaway, going on silent retreats to India, or making all our food from scratch.

“Many trends are conflicting, but only by being honest about this conflict can you generate progress,” says Pernille Berg, knowledge manager at KEA’s Knowledge Center. She is used to decoding megatrends to ensure the constant develop-ment of KEA’s programmes in relation to the business world’s current and future needs. “You cannot bluff or act as if all of the arrows are point-ing in the same direction, because this is clearly untrue and may result in a form of apathy. Both companies and educational institutions must seek out new paths and a brand new paradigm. When it comes to the programmes we offer at KEA, it is impor-tant that we are tapped into the global Zeitgeist. If Denmark is to survive as more than a museum of history, the young generation must be able to respond to demand instead of supply. In a time of crisis this may seem daunting, and the media is currently filled with an array of doomsday scenarios. However, these will take you nowhere. Instead, we attempt to take a positive and construc-tive approach to the transformation society must undergo. For an educational institution, it is basically a matter of creating a culture where students know that they must create jobs in-stead of taking jobs.”

“In the future, companies will seek multicultural, multi-gendered, multilingual employees with a range of different skills,” said American-born businesswoman Deanna Oppen-heimer in a speech at last year’s Global Meeting for Society and Economy. “They want open-minded employees who can think outside the box and create solutions that relate to the real world outside of the company.”

Oppenheimer is an authority. Until last autumn, she was the CEO of Barclays UK Retail Banking and Europe Retail and Business Banking. Today she is a part of the manage-ment of Tesco Bank and she is considered one of the financial world’s most influential people.

The radically flexible dream employee that Deanna Op-penheimer outlines in the quote above is familiar to futur-ologist Jesper Bo Jensen of Fremforsk, the Centre for Future Studies in Aarhus. He has written numerous books about the companies of the future and consumer behaviour, and he has worked extensively with their impact on the labour market and education sector.

One of the reasons that personal qualifications will be so vital in the future is the acceleration of megatrends, which can best be illustrated with an example. When the telephone was invented, it took 38 years before it was in use by 10 mil-lion users. When the fax machine was invented, it took 22 years before it was just as widely used. It only took nine years

for mobile phones, and the internet was just as preva-lent after just two years! In other words, the world is changing at an ever grow-ing pace, which makes great demands on our brains. The brain is a flexible organ de-signed to adapt, but perhaps not as quickly as required at present. Therefore, more and more people are falling vic-tim to stress or experiencing

other adverse reactions to the high requirements for flexibil-ity and concentration. And so personal skills relating to the ability to manoeuvre under these conditions will be attractive qualifications in the job market of the future.

However, Jesper Bo Jensen emphasises that this is not tan-tamount to the demise of the specialised labour market.

“For some years people believed that there would no longer be any need for highly specialised technical experts, but it looks like the market for the true specialists is also growing. And here, personal qualifications don’t mean as much. If a company needs a specialist in underwater oil drilling in areas with unstable meteorological conditions, then they need the person who knows about that, even if he is difficult to work with.”

Like Deanna Oppenheimer, Jesper Bo Jensen stresses that it will be important for employees of the future to think be-yond their professional field, industry, company and culture. Although this approach to knowledge and problem-solving

should be developed at educational institutions, far from all of these institutions are capable of adapting.

“The education sector must become much better at be-ing in contact with workplaces,” says Jensen. “A number of educational programmes are adapting, internships are now required by many places and some programmes have intro-duced courses relating to the more personal qualifications.”

However, a large portion of the Danish educational sector has not yet understood the new conditions. “Universities and colleges are terrible at adapting to the new labour market. I have personally been employed at a university, and Danish universities are very isolated in relation to the outside world. The American and British universities are more in touch with the labour market, but our universities build on the Euro-pean tradition, where research typically takes place in iso-lated ivory towers. It may be that the universities give stu-dents credit for a semester internship, but the critical issue is whether the teachers who determine the programme content have a strong affiliation with the labour market. It’s fine that they have internships, but in many places it is the teachers who should do an internship.”

When Pernille Berg attempts to bring the spirit of the times to KEA’s programmes, she focuses first and foremost on expanding the range of methodological options.

“Because of the many conflicting directions in today’s megatrends, it is important to create space for this complex-ity instead of fearing it. So one of our mottos is that we must never think in terms of either-or, but rather embrace the whole. There must be space to flexibly change between dif-ferent parallel processes within your field, and this requires a great deal. Just because a task is best carried out using a certain method, it is not certain that you can use the same method uncritically for the next task. There are so many fac-tors – cultural, economic and human – that must be consid-ered, so it is vital that students in all programmes learn to navigate in an open field, where they have an open-minded approach to every new task.”

KEA’s Knowledge Centre focuses strongly on the devel-opment of KEA’s 20-plus programmes in the fields of de-sign, IT and media, construction and health. Specifically, this means that the programmes are constantly attuned to feedback from the business community and more general

cultural and political movements. But although the devel-opment work is based on feedback, reports and academic papers, there is always an element of personal interpretation involved. Ultimately, it is a question of what you find most credible and worth betting on. Is green growth utopian or a realistic future scenario? Will we continue to gather in big cities in the future, or will there be a counter-movement re-vitalising the countryside? Will the European crisis cause us to patch up our trousers and repair our clocks again, instead of buying cheap new disposable products? Will we continue demanding preventative initiatives and investing in safety equipment for children and cars, or will there be a live-life-dangerously counter-movement? These are some of the many questions you can ask yourself when trying to predict the demands of the future. At the KEA Knowledge Centre, the lofty reflections about the future are converted into concrete measures to ensure educational programmes tailored to to-day’s needs, says Berg.

“We are in constant dia-logue about how to structure our programmes to match today’s needs. It is an inspir-ing process that forces us to consider some important questions. How can our pro-grammes deliver solutions to future needs? Can we do it in a cool, clever and fun way that others cannot? What param-eters can we compete on?”

One of the things that makes it difficult to develop the educational field is that politi-cians have very little patience. They want to be able to quan-tify and document the impact of new measures quickly, but that is not always possible and so affects the level of trust.

“It is important that the transition we all have to go through in the coming years takes place in a spirit of op-timism and leaves room for trust,” says Berg. “Some of the most innovative solutions were found by people research-ing something completely different. That is also why it is so difficult to plan ways of creating more innovation – you’re looking for something, but you don’t know what it is. Pro-gress often comes by chance. So it will be disastrous to focus on measurable outcomes so much that there is no room for chance. This does not mean that we shouldn’t assess goals and spending, or that you don’t have to be able to document the process. But it is a matter of creating a culture of trust where it is also possible to focus on something without know-ing what the result will be in advance.”

“For some years people believed that there would no longer be any

need for highly specialised technical experts, but it looks like the market for the true specialists

is also growing”– Futurologist Jesper Bo Jensen talking about growth.

“ If Denmark is to survive as more than a museum of

history, the young generation must be able to respond to demand instead of supply”

– Knowledge manager Pernille Berg talking about

the future of Denmark.


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I n t e r v i e w

– 0 6 3 –

The students at KEA’s Architectural Technology and Construction Management programme have planned a terraced housing development in Hørs-holm and produced sales videos for sustainable products. They have received training at an ar-

chitect practice and they know what a successful foundation looks like thanks to visits to construction sites.

Their teacher, 48-year-old Jan Johansson, a trained construc-tion engineer and architect, thinks the course instruction should be as close to real life as possible. The tasks he assigns students are more than mere checklists and standard formu-las; they are taken from real-life situations and contexts which the students may encounter straight after graduating.

“When they enter the workplace, they must be able to contri-bute immediately,” says Jan Johansson. “As a construction ma-nager, you must be able to put a building together and under-stand the importance of details. This is only possible when you understand what the other people on the construction project are doing, as well as your role in relation to them.”

Generally speaking, a construction manager’s most impor-

WE TEACH in THE rEAl

World

tant task is to translate the architect’s drawings into practi-cal solutions that can be built. in other words, construction managers are the missing link or the link between architects and engineers. in order to “put buildings together”, they must be familiar with various drafting and writing programs, budgeting and schedules, and they must be able to communi-cate and manage – and sometimes do it all in English.

“A building has so many stakeholders – lawyers, econo-mists, architects, engineers, surveyors... you have to relate to a wide range of professions and it is a great challenge for the students. But the teaching team reflects the real world they will encounter after graduation,” says Johansson, who since 2007 has taught full time with responsibility for 90 to 100 of the students enrolled in KEA’s Architectural Technology and Construction Management programme. it is not unusual for prospective construction managers to come face to face with reality early on in their studies. This is a central element of all KEA’s programmes. But Jan Johansson and his teaching team take the practical dimension more seriously than most.

“in the past, students have sat around like chicks waiting to be fed assignments and forms. We work with problem-

Jan Johansson teaches construction managers about subjects including Nordic architecture and

sustainability. And his classes are held just as often at architect practices and construction sites as they are in the classroom. Reality is a much better teacher than the assignments a

teacher can come up with, he says.

textTrine Beckettphotography

Jan Søndergaard


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I n t e r v i e w

– 0 6 5 –

based learning where the students have to come up with their own solutions to their projects,” says Jan Johansson. “When you are assigned a project in the real world, you have to com-ply with a jungle of building requirements from the fire department, public autho-rities, the developer and the architects. instead of listing these requirements and ex-plaining how to meet them, the students are asked to find a solution themsel-ves, and then we take the dialogue from there.” last semester he and his tea-ching team conducted a project on sustainability and management where stu-dents working in groups had to invent or copy and sell a sustainable product. This taught them about sales and marketing techniques, ne-gotiation and dealing with contracts, as well as innovation and product development.

“Some students just sold hot air, while others developed real products, such as a mixer tap that measures your hot wa-ter consumption,” says Jan Johansson proudly. “They are now applying for a patent on the product.”

Another example of an assignment based on real life comes from a terraced housing project in Humlebæk. Jan Johansson received all of the drawings from the contractor and delivered the most essential of these to his students, who then proposed methods for carrying out the construction.

“That’s where the game really starts. And as the actual con-struction project progresses, we go out and take a closer look. They see that there is a real craftsman and a real foundation. And they could easily be the ones managing the process. it means a great deal to them to go out and see the real world.”

Jan Johansson pauses for a moment. He looks around the small meeting room, which has white panels and glass walls that could be found in any company. The reason he can get his students out to construction sites and involved with real plan-ning is because of his broad network from his previous work.

Jan Johansson used to work for the housing association JM danmark, which is re-sponsible for the construction project in Humlebæk. Here he was a project developer with responsibility for mana-ging the purchase of plots and planning large-scale housing construction projects. Among other things he took part in the construction of nordlyset, an award-winning apartment block on Amerika Plads in Østerbro. nordlyset is white with coloured sections on the facades. The block integrates art and construction in a way that is rarely seen in danish buildings. And Jan Johans-son is very pleased to have been co-creator.

“Architecture has to make a difference. it must contribute to the city. otherwise, it’s just cookie-cutter architecture, which there is already too much of.

With nordlyset, i helped the developer to understand how the artist and architects could collaborate to make the block something special that also reflected nordic tradition. i like that. Setting the framework for a collective idea, where indi-viduals contribute creatively.”

Jan Johansson enjoys talking about nordic architecture and can go on for hours about the subject. He loves nordic architects’ use of light and local materials, as well as the in-teraction of these buildings with the surrounding landscape. leading figures in this field include Alvar Aalto of Finland and Jørn Utzon of denmark, who is internationally renowned for the Sydney opera House.

“Utzon creates poetry using nothing more than light. Aalto does the same. They are inspired by nature and we must learn from this. Today we call it sustainability and attempt to put it into formulas. But others have thought about these things before us. We can see this by stepping back and deciphering what they have done. They relate to modern materials, innovate tradition and create what i would call humanistic architecture. Their buildings will

Trained as a construction engineer, and then as

an architect at The Royal School of Architecture

in Copenhagen. He has worked at architect

practices, as an independent architect and as

a project manager at companies including the

public housing association AKB, as a project

engineer at JM Danmark A/S and Nordicom A/S,

and as an independent client adviser at Albæk

Construction Consultancy. Since 2007 he has

been a teacher at KEA’s Architectural Technolo-

gy and Construction Management programme

and he is co-initiator behind KEA’s hosting the

international conference ECOWEEK next year.

M y f a v o u r i t e b u i l d i n g

“Jørn Utzon’s house, Can Lis, in Mallorca. Because

it represents sustainable construction. It is built

by locals using local materials on the understan-

ding that if you change a column a little bit, you

pay them a couple of bottles of wine in return. It

is made in small modules, which means that you

avoid heavy lifting, and the house fits in well with

the surrounding landscape. It represents a huma-

nistic approach to architecture, and the light that

enters the building is amazing. I know the house so

well that I can see every detail vividly in my mind.”

w h a t i M p r e s s e s M e

“Some people figure everything out very quickly.

They get super inspired and can suddenly see

how to break down a building project into diffe-

rent components and improve each component.

They upgrade the building, bringing it into a

different league in terms of engineering and ar-

chitecture. I’m not here to please shareholders,

but to inspire learning. When I see how quickly

my students develop, it moves me.”

M y s o u r c e s o f i n s p i r a t i o n

“Jørn Utzon of Denmark, Alvar Aalto of Fin-

land, Sigurd Lewerentz of Sweden. All three

can create great architecture based on simple

principles and materials.”

a b o u t t h e p r o g r a M M e

A construction manager is the link between ar-

chitects and craftsmen. The programme takes 3½

years and is based at KEA in Copenhagen. A shor-

ter version of the programme is also available:

the two-year building technician programme.

The Finnish Paimio Sanatorium designed

by Alvar Aalto, 1929-1933.

“Utzon creates poetry using nothing more than light. Aalto does the

same. They are inspired by nature and we must learn from this”– Jan Johansson talking about his idols.

– a bout J an J oh an s son –

stand well into the future, as opposed to the superficial architecture we see so much of,” says Jan Johansson, who frequently shows his students YouT-ube videos about his idols’ methods and thoughts.

But Jan Johansson teaches more than respect for form and design. The con-struction managers of the future must also appreciate skilled craftsmanship. This is where Jan Johansson himself began. Even though he knew early on in upper secondary school that he wanted to be an architect, he could not get into the school of architecture because his grades were too low. He therefore began by studying to become a con-struction engineer – a programme that is similar to the construction mana-ger programme, but shorter. And back then, it was not a programme designed for upper secondary school graduates. Jan Johansson began by spending six months as a craftsman apprentice and afterwards he spent a year as an intern at an architectural studio.

“We were a group of four who had to make a mini-house. i gained a deep re-spect for masonry, welding and carpentry.

The training as a construction engineer opened the door to the school of architecture for Jan Johansson, whe-re he “studied for seven years and en-joyed every second”. After graduating, he worked at an architect practice as an independent architect before mo-ving on to larger housing companies as a project manager. And for the last five years he has worked with students, which he admits seems to be just the place for him – the students’ creativity and drive fill him with tremendous joy and pride. And he accepts that the practical, problem-oriented teaching approach inevitably leads to frustra-tion at times.

“The students find it incredibly annoying when i say that frustration

is good for them. But i know that re-search shows that it creates learning and that companies hire people who are capable of critical thinking and reflection. Students gain these skills as a result of our working methods – not from checklists.”

Jan Johansson leans back in his chair for a moment. in addition to the as-signments, students’ working methods are also structured as if they work at an architect practice. The groups are formed broadly and include students of varying calibre and craftsmen. Because that’s what it’s like in the real world. And Jan Johansson is happy to be at the centre of the tsunami of frustrati-on felt by the students and put in the extra work required when reality fails to match the assignments in the books, but instead repeatedly requires the creation of new working methods and teaching materials. He is willing to do so because he knows that it will ultimately make a difference. The result for eve-ryone is better and more sustainable architecture. And sustainability, like nordic tradition, is one of the are-as that Jan Johansson is passionate about. next year, sustainability will be even more in focus when KEA hosts ECoWEEK, a week-long conference called new nordic living on sustaina-bility and nordic architecture. Many of KEA’s students will participate in the event, together with more than 450 students from around the world. Jan Johansson took the initiative to host the conference through an inter-national network he is part of. And this autumn he will begin work on a Ph d. on sustainable housing and user behaviour. When Jan Johansson stops to think about it, there’s really only one thing he has yet to accomplish.

“To build my own house. But i’ve told my wife that we are going to do it. in four years. i’ll be ready then.”

www.detailakademiet.dk

GØR VIDEN TIL HANDLING OG OPNÅ BEDRE BUNDLINJE I BUTIKKEN

Detailakademiet er uddannelser til dig, der arbejder med detail. Du får en professionel, godkendt og kompetencegivende uddannelse, du kan bruge til at skabe resultater i butikken med det samme.

Retailer – for salgsassistenter

Retail Leadership – for mellemledere

Akademiuddannelsen i Retail Leadership – for ledere

Detailakademiets uddannelser er udviklet i tæt samarbejde med en række store detailkæder.Du vil opleve engagerede og involverende undervisere, som taler detailhandlens sprog. Detailakademiet tilbyder både korte og længere uddannelsesforløb.Vi skræddersyr uddannelser efter virksomhedens behov.

Kunderne siger:

At valget faldt på Detailakademiet skyldes deres store viden inden for detailbranchen samt deres tætte kontakt til erhvervslivet og hvad der rører sig. Dette har gjort at undervisningen er hurtigt omsættelig til dagligt brug for vores deltagere.Kari Kuhberg, uddannelsesansvarlig, Synoptik A/S Som leder kan jeg bruge den erfaring, jeg har opbygget gennem mange år, når jeg omsætter den nye teori til praksis, det har været den største gevinst. Detailakademiets uddannelse har givet mig så meget. Den synergi, der er opstået her, er ubetalelig. Mikael Kirschner, Butikschef, Synoptik A/S

RETAILER

TALENT FORLØB

AKADEMI-UDDANNELSEN

I RETAIL

LEADERSHIP

RETAILLEADERSHIP

C

M

Y

CM

MY

CY

CMY

K


– 0 6 8 –

R e p o r t a g e

– 0 69 –

As June fades into July, Copenhagen begins to enjoy the sunny weather and a lazy holiday at-mosphere. But in the classroom on the first floor of KEA’s building on Landskronagade in Øster-bro, the holidays are the last thing on people’s

minds. Here, 30 design students from all over Europe have gathered to attend school every day from 9am to 5pm for the next three weeks. It is the second day of KEA’s summer

school, Innovating Sustainable Fashion, and the students sit around tables in groups of five or six. The conversations are in English, with accents varying from British to a range of Southern European dialects. The discussions are muted and punctuated by frenetic drawing and cutting. The female stu-dents are in the majority and two of them have dyed their hair purple. There are only three male students in the class. The tables are littered with rainbow-coloured Post-its, pins

In the name of sustaInabIlIty, Kea hosted the InnovatIng sustaInable fashIon summer school for

the third year running. once again, students from all over europe flocked to Kea to partIcIpate in the programme.

textMarlene Toldbod Jakobsen

photographyFrederik Munch


– 070 – – 071 –

and jeans of all kinds, ripped, cut and without pockets and zippers.

For the third year running, KEA is hosting the summer school course fo-cusing on sustainable fashion. The ini-tiative is supported by the EU’s Erasmus programme and next year the summer school will move on to the partner loca-tions of London College of Fashion and Central St Martins. Today, jeans are on the agenda. The question is: what can you use jeans for, besides as an ordinary article of clothing?

“In order to imbue sustainability in the designers of the future, we have to teach them about the entire process – not just design. They have to know how their work impacts the rest of the world, right from the production of the materi-als to their processing,” says Alexandra De Raeve, Coordinator of the Knowl-edge Centre for Fashion and Textiles at

University College Ghent in Belgium. She is just one of the many international instructors who once again has made the journey to KEA to teach students at the summer school.

“I hope that students discover that they can be a part of changing the indus-try for the better by working sustainably. It’s the new generation that will have the opportunity to make a difference.”

The students participate in workshops throughout the morning. Before the lunch break, Alexandra De Raeve gives a presentation on developments in the jeans industry. Based on her presenta-tion, the students form groups and work on redesigning and thinking sustaina-ble solutions for using jeans. One female student has wrapped a pair of jeans with ripped trouser legs around her head and waist. The rest of the group

“I hope that students discover that they can be a part of changing the industry for the better by working

sustainably. It’s the new generation that

will have the opportunity to make

a difference”– Alexandra De Raeve, Coordinator

of the department of Fashion and

Textiles at University College

Ghent in Belgium.

Networking: an important part of the summer

school is the coming together of the many

international students and their teachers.


– 072 –

R e p o r t a g e

– 073 –

stands around her, testing the makeshift backpack that the front and back pockets form on her back. Folders, pens and water bottles are placed inside to test how much it can carry.

“Maybe you could also use it as a baby carrier?” suggests a platinum blonde – a proposal that is met with loud laughter and scepti-cal smiles. It is precisely this type of brainstorm-ing, realistic or not, that is the purpose of the summer school. Mette Kocmick, a designer who has taught at KEA for three years, gives the afternoon presentation. She has no doubts about the what the students get out of being on the summer school programme:

“It’s a space that en-courages a free flow of ideas between different cultures,” she says, “where students can learn a great deal from each other. They share knowledge, gain a bigger network and prepare to meet the outside world”.

One of the most enthusiastic students is one of KEA’s own alumni, Isuru Mapitigama. This is the summer between his sixth and seventh semesters in the Buyer Education Pro-gramme. He is currently an intern for the Danish designer Da-vid Andersen, but he was granted permission to take time off from the internship to participate in the summer school. “I feel like my time is well spent and it is a great privilege to be a part of all this. It will definitely provide valuable experience. And it is inspiring to meet students from around the world, which really broadens your horizons,” he says.

The students are presented with a vast range of subjects during the summer school courses. For example, they have to redesign a pair of shoes from scratch, they go on field trips, work closely in groups at various workshops, and at the end of the course they have to submit a written assignment. All of the solutions they develop must be sustainable and based on the “cradle-to-cradle” principle, which requires consid-eration of the entire design process. Tina Hjort from KEA’s Knowledge Centre 3.0 is certain that a summer at KEA

benefits the students. “With sustainability as the focal point, we work with three specialties at the same time: purchasing, communica-tion and fashion,” she says. “Here we have some of the most talented, sought-after teachers to instruct and debate with students. This experience and the network students gain from the pro-gramme are invaluable.”

At lunchtime, the flock of students move down to the empty canteen, where sandwiches and drinks are waiting for them on a ta-ble. Despite having been strangers only the day be-fore, the conversation over lunch is surprisingly lively. Stephanie Cristofaro from France made the trip from Central St Martins, where she studies womenswear and print design. She hopes that the summer school can

help enhance her portfolio, which she recently sent to Bal-main and Diane von Fürstenberg in the hope of securing an internship in the autumn. And she dreams of designing her own brand: “I want to have my own company some day,” she says as the lunch break comes to an end, “so it is essential to understand all of the processes leading up to the design process.”

It is nearly 1pm and the canteen’s chairs clatter as the lunch conversations come to an end and the students climb back up the stairs. The six groups are given a few min-utes to prepare the morning’s work before presenting their new jeans creations. In three hours, countless pairs of jeans have been transformed into a pin board, a dress, a short jacket, a bag, a hammock and a jeans guide for consumers. The day’s second teacher, Ronny Martin of Belgium, also from University College Ghent, is clearly impressed by the presentations: “You have achieved this in just three hours. Just think what you’ll be able to do when you spend more time on your ideas. I am really looking forward to the next three weeks!”

“I want to have my own company some day, so it is essential

to understand all of the processes leading up to the

design process”– Stephanie Cristofaro, student at Central St

Martins in London.


– 074 –

Fe a t u r e

– 075 –

Danish companies have plenty to learn from knowledgeable speakers. This is one of the core ideas behind KEA Business Forum, an event that aims to create an open forum for a wide range of topics.

The next KEA Business Forum will be held at Mogens Dahl Concert Hall in the Islands Brygge borough of Copenhagen.

“KEA Business Forum is aimed at the business commu-nity, providing two opportunities each year to meet in a way that does not exist anywhere else,” says Helle Abild, KEA Business Forum event and project coordinator.

Once again this year, a range of leading business people and politicians will be speaking at the event. The main theme will be sustainability, with Minister for Climate and Energy Martin Lidegaard as the keynote speaker.

Previous themes have focused on the vast opportuni-ties presented by the internet and branding, with speakers

including political commentator Lotte Hansen, businessman Jesper “Kasi” Nielsen and Jubii founder Martin Thorborg.

Tina Agerskov, who owns and operates her own design company, returns to the Business Forum time after time to hear the event’s inspiring speakers and to meet other mem-bers of the business community – and she also encourages her colleagues to participate in the event. “It is simply too good an offer to turn down,” she says. “As a business ow-ner, you can sometimes become quite isolated. I don’t know where else I could go to get this type of inspiration in the company of people in similar situations.”

KEA’s students are also invited to contribute their consi-derable talent and potential by participating in the event; it is important for them to begin the networking process while still in school. Last year Niklas Sebastian Larsen presented a project together with two fellow students while enrolled in KEA’s E-concept programme. They developed

proposals to help Vordingborg Kitchens establish greater con-sistency between the company’s website and its stores. Larsen recommends KEA Business Forum to other students. “It’s a really good idea to participate if you have the opportunity,” he says. “It gives you a chance to practise presentations to people who are the leaders in their field, as well as the opportunity to network and get feedback from the business community.”

Svend Berg, education director at the Danish Chamber of Commerce, has attended many KEA Business Forum events, which he says are always an eye-opener: “The key thing I get out these events is how they change my perception of how things are interconnected. I have left Business Forum numerous times with an “Aha!” experience after listening to the speaker talks.”

Find Kea Business Forum on Facebook, and see when the next event takes place.

Twice a year, Kea hosts Business Forum – an important event for Danish companies, as well as Kea sTuDenTs and Teachers who seize

this opportunity to culTivaTe relaTions with the business community.


photographyCamilla Wittenkamp

AN OFFEr yOu CAN'T

rEFuSE

“I don’t know where else I could go to get this type of

inspiration in the company of people in similar situations”

- Designer Tine Agerskov

talking about KEA Business Forum.

Twice a year, Kea Business Forum hosts an inspirational

day for their Danish business associates.


– 076 –

Dress Trine nielsen

photography Rasmus Skousen styling Emelie Johansson

So Talented

Sharp cuts, fine printS and beautiful materialS. Get inSpired by Kea’s talented designers.

Top Fors by sandra Forsberg

Coat and dress MariaM Mai

Shoes Miu Miu

Coat Malene sTausgaard

Shoes Miu Miu


– 0 8 0 –

Photographer's assistant PhiliP MessMann

Hair and makeup lasse Pedersen / agenTur

Model anne-MeTTe ryoM / unique Models

Retouching WerksTeTTe

Dress andrea elizabeTh ravn hess

Jacket and trousers Therese dyveke holsT

Necklace Monies


– 0 82 –

D e b a t e

– 0 83 –

We all know them well. The silhouettes of Danish furniture classics from the mid-20th century: Arne Jacobsen’s stacking chairs, Hans J Wegner’s cane chairs, Poul Kjærholm’s leather sofas. If we

do not know the names, we know the furniture when we see it. Just like we know Kay Bojesen’s hanging monkey, Kaare Klint’s lamps and Bang & Olufsen’s televisions. For many of us, the classic Danish design tradition represents a stylish modernism that we save up to buy because we are attracted by its timeless elegance. Wegner’s chair and Kjærholm’s sofa remind others of their parents and their friends: the safe choice and sanctioned good taste, as seen in slightly boring home interior magazines. Either way, we cannot ignore the Danish design tradition. It is a part of our cultural heritage, a kind of aesthetic DNA instilled in us from childhood, bathed in the light of PH lamps.

“Danish design is a strong brand with inherent advan-

tages and disadvantages,” says Christian Stadsgaard, who teaches design theory at KEA’s popular Design and Busi-ness bachelor programme. “The good thing is that it gives us something to build on. There is already a narrative to connect with, giving a head start to those attempting to reach out to the world with design created in Denmark. The challenging part involves all the expectations associ-ated with Danish design. This sometimes limits the options of younger designers, whose work is based on a different reality than that which gave rise to the design classics of the 1960s.”

At the old industrial building on Frederikkevej in Hel-lerup that houses the programme, new students are intro-duced to the design world with a course on functionalism. All students must complete this cross-disciplinary course during the first six weeks of their studies. Serving as a kind of modern history of design philosophy, the course addresses the dilemmas within functionalism. What is

We were once the world leaders in design: the functionalist design tradition from the 1950s and 1960s, with standard-bearers

such as Arne Jacobsen and Poul Kjærholm, made the Scandinavian lifestyle famous.

Now today’s design students are building on the agenda of the old masters.

textSigne Løntoft

D ES I G N I Nt h E G E N ES

Hans J. Wegner in his own design. The PP112 chair is designed for PP Furniture in 1978.


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D e b a t e

– 0 8 5 –

extensively in understanding target groups. This is where we generate val-ue – when business-oriented design-ers give users a useful design solution with meaning and value.”

In this way, the ideas of function-alism are also relevant to the business component of the programme. “The business aspect builds on a societal per-spective,” Fangholm continues, “where we examine the world that we create design solutions for, including trends, market conditions, competitors and customers, combined with an under-standing of the necessary core compe-tencies within a design company. When these basic elements are in place, we can begin to work with economic un-derstanding and value creation, which includes building strong brands and identities for design solutions. We begin by examining how interesting design ideas are conceived and how they are developed and tied in with commercial considerations of what it takes to turn a design solution into one of the iconic design classics we know today. Rather than just the Danish furniture tradi-tion, this encompasses a global view of functionalism.”

During the first semester of the De-sign and Business programme, the fear of numbers is replaced by a more in-spired and solution-oriented approach.

“It’s like the time Danish filmmak-ers devised a set of Dogma rules,” says Fangholm. “It also involved submit-ting to some economic conditions that became an inspirational factor instead of an obstacle. The same can apply for our students when working on projects in cooperation with companies.”

As the German-American architect, Walter Gropius, founder of Bauhaus, one of the 20th century’s most impor-tant art schools, formulated the philosophy of functional-ism: “Our guiding principle was that design is neither an intellectual nor a material affair, but simply an integral part of the stuff of life, necessary for everyone in a civi-lised society.”

function, exactly, from a design perspective? Is function-alist design still relevant? Have functionalist design and architecture run their course?

“One of the interesting things about functionalism is that it arose from sociological discussions,” says Stadsgaard. “Functionalism wanted to reach a new place where aesthet-ics wasn’t about signifying status and affiliation through a particular aesthetic norm, but rather serving the function. What actually happened is that functionalism itself became an aesthetic and, eventually, a trendsetting aesthetic that evolved into exactly what it didn’t want to be – something expensive and elitist. There isn’t much idealism in a sofa costing more than DKK 100,000.” Such paradoxes make functionalism an interesting example when discussing the relationship between aesthetics, economics and social or-ganisation.

The PBA in Design and Business programme comprises

various fields that are traditionally difficult to unify, in-cluding aesthetics, sociology and economics. The cross-disciplinary functionalism provides examples of how the concepts from different fields can be integrated.

“We discovered that functionalism is a good theme for showing how the different fields in the programme can in-teract. We use functionalism as a kind of glue between these fields,” says Kristine Harper, another teacher at Design and Business. “Although functionalism’s heyday in Danish de-sign was back in the 1950s and 1960s, it is still very rele-vant to relate to functionalism as our cultural heritage. For example, many of our students are interested in fashion; the entire Swedish fashion adventure builds on minimal-ism, which is a part of our Scandinavian aesthetic. This minimalism was originally rooted in functionalism’s mot-tos ‘form follows function’ and ‘less is more’.”

Harper teaches such subjects as aesthetics, design,

F u n c t i o n a l i s m

Functionalism is a historical style that arose

in the fields of architecture and design after

World War I. The heyday of functionalism was

during the inter-war period, where the Bauhaus

movement in Germany was a forerunner for

the idea of a more democratic and functional

approach to design and architecture. Since

then, functionalism has often been used as an

umbrella term for Scandinavian modernism.

D e s i g n a n D B u s i n e s s

The Design and Business professional bachelor

programme is an 18-month, post-graduate

programme focusing on the fashion and lifestyle

industries. The programme can provide access to

future job opportunities as a designer or design

assistant, design consultant, buyer, modeller,

PR specialist, media planner, AD assistant, trend

researcher, event coordinator etc. To be eligible

for admission, you must have: relevant training

from a business academy, eg design technologist,

multimedia designer, e-designer, production

technologist or marketing; similar training from

one of the recognised Danish design schools;

or another education within fields such as

graphic design, fashion, product development

or communications. Applicants must also take

an entrance exam and choose from six different

areas of focus when applying: Fashion Design,

Living Design, Pattern Design, Ideation, Brand

Design or Communication Design. There is also

an international programme offering greater

focus on sustainability, with three special areas

of focus: Sustainable Fashion, Sustainable

Purchasing and Sustainable Communication.

Read more about the Professional Bachelor’s

Degree in Design and Business programme

at kea.dk.

methodology and semiotics. She is ac-customed to a curriculum that includes Paris Fashion Week, international de-sign campaigns, new music videos, fashion blogs and magazine covers. She says that students cannot afford to ig-nore functionalism in decoding trends and lifestyle tendencies. “Some signs in the present day refer back to historical functionalism. It sounds almost trite to say it, but after the financial crisis we have seen a shift in values towards an aesthetic of sustainability; values such as moderation, durability, good craftsmanship and slow processes have blossomed, and we see a strictness and minimalism in fashion that also builds on functionalism. But this will certain-ly shift again and soon we will prob-ably see a rebellion against this strict, pure simplicity. In a way, functional-ism as a cultural code is ever-present, whether we relate to it by building on it or by rebelling against it.”

The fashion and lifestyle indus-try lies at the heart of the Design and Business programme, but unlike the aesthetic programmes offered by Den-mark’s artistic schools and universities, the business side is integrated, teaching students to consider the economic re-alities from the outset. Commercial sus-tainability, process management and value creation are, at the very least, just as important as a flair for trendspotting when the time comes to apply one’s edu-cation in the workplace.

“Our students are interested in lifestyle, design, fashion and creativ-ity,” says Søren-Ulrik Fangholm, who teaches business-oriented subjects at Design and Business. “However, I sometimes find that students are intimidated by numbers. But we fix that along the way. In the business component of the programme, we focus on the value-cre-ating aspects of designing meaningful and user-oriented design solutions. It is important to base your work on the needs of customers and users, so we train our students

– F a c t s –

Former president of the United States, John F. Kennedy, sitting in a

Wegner chair.

Girls folding Le Klint lampshades at the factory in Odense.

Kay Bojesen's iconic hangning monkey.

Ph

Ot

OG

RA

Ph

Y P

olf

oto

K E A Q u a r t e r ly C a s e s

– 0 87 –

What do an inventor, two fashion bloggers, a creative director and a

architectural technology and contruction manager have in common? they all went to Kea and have all enjoyed success with a good idea.


photographyRasmus Skousen

& Henrik Hviid


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C a s e s

– 0 8 9 –

Creative direCtor iN B56 aNd Blogger

desigNer aNd Blogger

stephaNie

elise

stephanie gundelach and elise Born form tWo-thirds of one of denmarK’s Biggest Blog phenomena,

anyWho. they met each other while studying at Kea.

Gundelach

Born

stephanie gundelach and elise Born completed their studies in design technology at Kea five years ago. Much has happened since then –

both for Kea, which was called hel-lerup’s textile academy and BeC back then, and for stephanie and elise, who are now known to everyone in denmark who’s interested in fashion. they are behind one of the first danish fashion blogs, anywho.dk, which now has more than 75,000 unique readers. they hit it off the moment they met in a class after their first year at Kea. so when they both finished their studies there in 2008, they decided to try something completely new with their friend ingrid – without any long-term business plan.

“at the time i was sharing an apartment with ingrid and we talked a lot about wanting to do something with a blog, which was still very new back then,” says stephanie. “i remem-ber calling elise while biking and asking her if she wanted to join. and so we started.”

the many hours of toil the two de-sign technologists had put into working with various computer programs while

attending Kea proved to be a great help when getting started as bloggers. in less than a year the blog was a pri-vate limited company and a full-time job for all three women. among other things, they opened a webshop fea-turing coats and did styling work for high-street chains.

“our work was quite varied,” says stephanie, “from creative consulting to selling ads. We did everything ourselves.” elise continues: “if you work hard enough and love what you do, people will notice.”

even though they have many offers, the two women insist that they will not permit sponsored posts about irrele-vant products such as facial tissue and hair straighteners, instead staying true to their own style and taste.

gundelach and Born know very well that the networks they created during and after their studies have been key to their success; working as interns was particularly important. Born interned at danish design label stine goya, where she later returned to work on the spring/summer and autumn/win-ter 2013 collections while stina goya herself was on maternity leave.

For gundelach, a student job with danish designers Bruuns Bazaar and day Birger et Mikkelsen served as her springboard into the fashion industry.

“one of the most important inve-stments in the future is to take your internship seriously and find a good placement,” she says. Born concurs: “it’s not only about grades, but also the ability to communicate what you can do.”

today both women are busy with a lot of different projects. in additi-on to the designer job at stine goya, Born completed a bachelor’s degree at Kea and she plans to move to lon-don this autumn. gundelach has ope-ned the hip and innovative store B56 on Bredgade in Copenhagen, as well as the webshop b56store.com. But the blog will not slow down because of these other activities. anywho has just launched the new website mar-chémarche.dk in cooperation with the blogger collective looklab.

“We are currently making some long-term investments blog-wise which hopefully will prove to be a good idea a year from now,” they conclude. “and if things work out, we have a new idea that we’ll be launching.”


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C a s e s

– 0 91 –

arChiteCtural teChNology aNd CoNstruCtioN MaNageMeNt studeNt at Kea

NiColai nicolai gram hansen would like to take Better care of

the environment. that’s why he took his first steps as

an entrepreneur to create a water meter for use in the shower.

When Nicolai gram hansen started reno-vating his house four years ago, he came up with an idea: why

not make a digital water meter built into the shower head that can track water consumption?

he did not share his idea with an-yone until three years later. he enrolled in the architectural technology and Construction Management program-me at Kea, where a project week on sustainable initiatives provided the perfect opportunity.

Nicolai is environmentally aware and wants to create products that ap-peal to conscious consumers – products that encourage people to think about what they are doing in the moment ra-ther than when they receive the bill.

“hopefully when you are confron-ted by the fact that 25 litres of water flow out of your shower in the seven minutes you spend there, you will feel

motivated to shorten your shower to five minutes and only use 20 litres,” he says. “it’s better for the environment as well as your wallet.”

the water meter was very well received by his teachers and fellow students at Kea. so well, in fact, that Nicolai gram hansen was encouraged to go further with his idea. and here lay the first challenge. “the problem is that two spanish brothers have already patented an invention that resembles mine,” says Nicolai. they have not yet developed any product, but hansen is aware that they could use their patent to halt his project.

as an entrepreneur taking his first steps, Nicolai is pleased with the sup-port and guidance he has received from Kea. For example, he has spoken with another entrepreneur who encouraged him to get going on the project – and to think about contacting the spanish brothers. “i have to admit that i am a bit nervous about it. But on the other hand,

it may be that we can work together to develop something even better.”

there are many factors to consider when attempting to create something new. For hansen, the greatest challenge is making a prototype of the water me-ter, which requires technical knowledge of mixer taps and flow meters – areas in which he lacks expertise. here he must team up with manufacturers and plumber friends. But he is well on his way. the water meter has been named attentive and is currently entered in energi danmark’s competition, which offers a prize of dKK 100,000 to the best energy- and environment-friendly idea. Nicolai is awaiting notification of whether the water meter is among the ten finalists.

“Winning would be a huge pat on the back and increase focus on the im-portance of conserving water. and just think, i might have created something that will become a standard part of our homes. that would be amazing.”

Gram Hansen


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C a s e s

– 0 9 3 –

it started with a new extension for his parent’s neighbours’ house. When the drawings were com-pleted and the neighbours satisfied, the time came to carry

out the construction – a large and com-plex project for people with no building experience or knowledge of craftsmen, materials and common pitfalls.

Now, four years on, Jepp skou-Madsen has turned these very challenges into the core of his occupation. he offers custo-mised package solutions for people’s construction projects, right from the ini-tial sketches to finding craftsmen and the right tiles for the roof.

today, Kongens Nytorv and Nyhavn are the closest neighbours to Boligar-kitekten’s offices, located at one of Copenhagen’s most attractive addresses; the company has quickly grown from a two-man operation in a back building in Østerbro to having eight employees at the new location. it has been a great challen-ge, but the focus has remained the same throughout: ideas, ambitions and net-working, combined with creativity and

the drive to create improvements. and a bit of luck.

skou-Madsen was working on his bachelor’s degree in architectural tech-nology and Construction Management at Kea when he started his own company. Before that he had a student job at a con-struction company; combined with his education at Kea, he possessed a good understanding of the building industry.

“as an architectural technology and Construction Management student at Kea, you gain solid insight into general construction, engineering and the world of architects,” says skou-Madsen, who completed his studies at Kea in autumn 2010. “it is a very process-oriented programme that provides a good under-standing of the many tasks and the wide range of players in a project, which is ex-tremely helpful in your future career.”

this understanding of the many dif-ferent processes is exactly what he and his partner in the firm, Kenneth Berger pedersen, have spent the past four years specialising in. they discovered some holes in the otherwise very traditional

construction industry that they were not afraid to attempt to fill, even though they were still in school.

“We encountered some bumps along the way, since a lot of people found it provocative and thought that we lacked knowledge in the areas we were moving into,” says skou-Madsen. “But these ty-pes of challenges just motivate me even more.” With Boligarkitekten, he has made a virtue of attracting interesting projects and always having a range of different competencies within reach. For him, it’s all about being honest about what you are good at and surrounding yourself with competent people who can compen-sate for the shortcomings you may have.

“For example, i am not very good at drawing but i have met a ton of talented people during my time at Kea whom i later teamed up with. When studying at Kea, i signed up for all of the conferen-ces and opportunities to get out into the business world and make contacts. in this way, Kea is a good place to gain a theo-retical basis combined with input from the real world.”

Co-oWNer aNd MaNagiNg direCtor at BoligarKiteKteN.

Jeppe it’s all a matter of Being honest, netWorKing and a little bit of lucK, says former Kea student and entrepreneur Jeppe skou-madsen, who is now the managing director of his own company.

Skou-Madsen


– 0 9 4 –

C a s e s

– 0 9 5 –

ForMer oWNer oF oraNgeBox aNd Creative direCtor at the Media ageNCy iuM.

MartiNmartin maaløe is not scared of rolling up his WorK

sleeves. While studying at Kea, he built up his own company and after completing his studies he was

headhunted by a large media agency for the position of creative director.

Maaløe

Martin Maaløe attributes his success to good ide-as, hard work and ex-ploiting his strengths. the 28-year-old en-

trepreneur has been the Ceo of his own company since starting at Kea. Before then, he was a finance trainee in a construction company, where he ended up with responsibility for all of the company’s graphic work. deci-ding he wanted a degree proving his skill at graphic work, he applied for Kea’s multimedia design programme. at the same time, he discovered that he wanted to be self-employed.

“i already had a pretty good un-derstanding of the creative part of the work process when i started at Kea,” he says. “But i learned at lot about the-ory and organisation, which i have ta-ken with me.”

having started at Kea, Martin opened his own creative agency, oran-gebox. his former employer became his first client and invested the start-up capital, and then it was up to Martin to convince new clients that he could do the job at least as well as

others who had been in the business for many years.

“typically, a construction company goes to an advertising agency for these tasks. My strength was that i had insi-der know-how, so i was a step ahead of the competition.”

orangebox is an agency that of-fers other companies creative sparring, including everything from concept development to creating graphic cam-paign materials for companies such as Ford danmark and lundbeck.

in the beginning, he often com-pleted entire projects before the client had actually hired him to do it – just to show that he was capable. however, it was not easy to combine full-time work and full-time study.

“at first, i was doing everything. When i wasn’t in school or doing group work, i sent out invoices and reminders, did payroll and designed projects for clients. it was the epitome of multita-sking. it was a great personal challenge to work and go to school at the same time. Kea has undoubtedly helped to strengthen my ability to manage many tasks at once. Because when you go to

school there you also want to have a so-cial life. and some of my best friends date back to my time at Kea.”

his business strategy has remained unchanged: honesty and transparency in the services he offers. it has taken him from a small office in his apart-ment on ryesgade in Nørrebro to a large office space in central Copen-hagen. in fact it has taken him even further, because he has just accepted an offer to be creative director at one of denmark’s largest media agencies, iuM. orangebox will continue ope-rations and be run by his partner in the company. and even though iuM is a much bigger company than the one Martin started four years ago, the ap-proach is still the same. “i make a point of telling my clients how and why i do what i do. i want to help people find the best possible solution.”

the first challenge at iuM will be to develop an app for the supermarket chain spar. Just talking about it brings a smile to Maaløe’s face. “i spend a lot of my free time developing ideas for app designs. so i am looking forward to it.”


– 0 9 6 –

C o u r s e i n fo r m a t i o n

– 0 97 –

A r c h i t e c t u r A l t e c h n o l o g y A n d

c o n s t r u c t i o n M A n A g e M e n t ( B A )

Duration: 3½ years.

Tuition language: English.

If you require tuition in Danish, it is recom-

mended that you follow the Constructing

Architect Programme.

Admission requirement: A pass in the Up-

per Secondary School Leaving Examination

with both Mathematics and English at C-level

or above. Alternatively, 3-4 years' practical

experience in the masonry profession, a con-

struction degree in the field of woodworking,

a plasterer or paver's qualification, a wood-

worker's industrial joiner's qualification or a

qualification as a woodcutting machinist or as a

technical plumbing service engineer.

Tuition: Consists largely of group project work

on architectural and civil-engineering based

problems that the students are required to

solve and in which they are examined.

Intake quota: 5.5 on the Danish 7-step scale.

(2011).

Programme start: August and February.

Place of study: Lersø Parkallé 2,

DK-2100 Copenhagen Ø.

_

A u t o M A t i o n t e c h n o l o g y

Duration: 2 years.

Tuition language: Danish.


per Secondary School Leaving Examination or

other relevant vocational qualification with

both Physics and Mathematics at C-level or

above. Alternatively, you must possess one of

the following qualifications: electrician spe-

cialising in building automation, installation

technology, communications technology and

control and regulation technology. Automa-

tion and process qualification (with speciali-

sations), electronics and service engineer ap-

pliance qualification and data and communi-

cations qualification (with specialisations).

Tuition: Students learn about the control,

regulation, construction and optimisation of

technical control systems.

Intake quota: Full (2011).

Programme start: August and January.

Place of study: Stæhr Johansens Vej 5-7,

DK-2000 Frederiksberg.

_

c o n s t r u c t i o n t e c h n o l o g y

Duration: 2 years.





both English and Mathematics at C-level or

above. Alternatively, you must possess one

of the following qualifications: a stonema-

son's qualification, a construction degree in

the field of woodworking, a plasterer or pav-

er's qualification, a woodworker's industrial

joiner's qualification or a qualification as a

woodcutting machinist, as a technical plumb-

ing service engineer or a technical assistant or

technical designer's qualification.

Tuition: Tuition is predominantly based on

cross-disciplinary group projects on which

the students spend one or two semesters and

are then examined on.


(2011).


Place of study: Prinsesse Charlottes Gade 38,

DK-2200 Copenhagen N.

_

A r c h i t e c t u r A l t e c h n o l o g y A n d

c o n s t r u c t i o n M A n A g e M e n t



If you require tuition in English, you can opt

for the international line.

Admission requirement: A pass in the Upper

Secondary School Leaving Examination or


both English and Mathematics at C-level or

above. Alternatively, you must possess one

of the following qualifications: a stonema-

son's qualification, a construction degree

in the field of woodworking, a plasterer or

paver's qualification, a woodworker's indus-

trial joiner's qualification or a qualification

as a woodcutting machinist, as a technical

plumbing service engineer or a technical as-

sistant or technical designer's qualification.

Tuition: Students learn about the construc-

tion process from the drawing board to the

construction site. They are introduced to

the management and control of the techni-

cal and administrative activities involved in

the construction process. During the pro-

gramme emphasis is placed on establishing

a close relationship with the business world

via projects, work experience and tuition.


(2011).




_

c o M p u t e r s c i e n c e




Secondary School Leaving Examination or oth-

er relevant vocational qualification with both

English and Mathematics at C-level or above.

Tuition: Consists of a mixture of group tuition,

individual exercises and group projects. The

projects are often devised in collaboration with

companies, with emphasis placed on coopera-

tion and communication between the parties.

Intake quota: -


Place of study: Lygten 37,

DK-2400 Copenhagen NV

_

c o M p u t e r s c i e n c e



Optional subjects are taught in English.




Mathematics at B-level or above.

Tuition: Consists of a combination of group

tuition, project work – both individual and in

groups – on the basis of cross-disciplinary

problems and always with an application-

oriented point of departure.


Full on quota 2.



DK-2400 Copenhagen NV

_

d e s i g n A n d B u s i n e s s ( B A )



Admission requirement: A completed de-

gree programme of at least 2 years duration

within the fields of fashion design, fashion

sourcing or fashion marketing.

Tuition: Emphasis is placed on collaboration

with companies who present the students

with specific problems which form the basis

of their work and tuition.

Intake quota: -

Programme start: September

Place of study: Frederikkevej 8-10,

DK-2900 Hellerup

_

d e s i g n t e c h n o l o g y A n d B u s i n e s s

Duration: 2 years.



Secondary School Leaving Examination or


both English and Mathematics at C-level

or above.

Tuition: Based on project work which forms the

basis for practical understanding of the disci-

pline. As a rule, the projects are group tasks.

Intake quota: -


Place of study: Landskronagade 64-70,


_

d e s i g n t e c h n o l o g y

Duration: 2 years.



Secondary School Leaving Examination or other

relevant vocational qualification with English,

Mathematics or Business Economics at C-level

or above. Alternatively, a qualification as a skilled

textile and clothing assistant, textile operator or

similar with English at C-level or above.

Tuition: Tuition is based on projects which

provide a solid basis for understanding the

practical aspects of the discipline. Tasks are

normally worked on in groups.

Intake quota: -

Programme start: September and February.

Place of study: Landskronagade 64-70, DK-

2100 Copenhagen Ø.

_

e - c o n c e p t d e v e l o p M e n t ( B A )



Admission requirement: A completed quali-

fication in one of the following fields: multi-

media design, E-design, design technology IT

or similar. In addition, documentary proof of

a knowledge of English and Mathematics may

be required.

Tuition: In addition to group tuition in rele-

vant theories and methodology, emphasis is

also placed on cooperation with companies

and other students.

Intake quota: -


Place of study: Bispevej 5,

DK-2400 Copenhagen NV.

_

B u s i n e s s e c o n o M i c s A n d

i n f o r M A t i o n t e c h n o l o g y ( B A )



Admission requirement: -

Tuition: A new degree programme at KEA which

aims to furnish students with skills in the fields of

analysis, design and the execution of project work.

Intake quota: -

Programme start: -

Place of study: -

_

e - d e s i g n e r

Duration: 2 years.


Admission requirement: An Upper Sec-

ondary qualification or relevant vocational

qualification, for example, in the fields of

graphics or design. In addition, you must

have Mathematics and English at C-level

or above.

Tuition: The characteristic feature of the E-

design programme is a solid foundation of

cross-disciplinary insight and an understand-

ing of the utilisation of the synergy between

the three main pillars of the programme:

Global Entrepreneurship, The Virtual Com-

pany and Innovation and Design.

Intake quota: -




_

e l e c t r i c A l s e r v i c e e n g i n e e r i n g

Duration: 2 years.


Admission requirement: One of the fol-

lowing qualifications: electrician, a degree in

Electronic and Low Voltage Appliances or Au-

tomation and Processes (with specialisations)

leading to qualification as an service engineer

in high voltage appliances or another relevant

vocational qualification with Mathematics at

C-level or above.

Tuition: Tuition is based on projects which

provide a solid basis for understanding the prac-

tical aspects of the discipline. Tasks are normally

worked on in groups. Classroom tuition will grad-

ually be replaced by guidance based tuition.

Intake quota: Full. (2011)


Place of study: Lyngbyvej 32,


_

e n e r g y t e c h n o l o g y

Duration: 2 years.


Admission requirement: An Upper Second-

ary School qualification or other relevant

vocational qualification with Mathematics at

C-level or above. Alternatively, one of the fol-

lowing qualifications: electrician specialising in

building automation, service engineering tech-

nology, communications technology and con-

trol and regulation technology. Automation

and process qualification (with specialisations),

electronics and low voltage appliance qualifi-

cation, a stonemason's qualification (step 2),

a smith's qualification (with specialisations),

a joinery qualification (with specialisations), a

construction degree in the field of woodwork-

ing or a qualification in plumbing.

Tuition: Tuition is based on projects which pro-

vide a solid basis for understanding the practi-

cal aspects of the discipline. Tasks are normally

worked on in groups. Classroom tuition will

gradually be replaced by guidance based tuition.



Place of study: Lyngbyvej 32,


_

t h e i n s t i t u t e o f p r e c i o u s M e t A l s

Duration: 2 years.


Admission requirement: A pass in the en-

trance examination and an eligible qualification

which is a vocational qualification in the field of

precious metals, a design qualification from an

– degree progrAMMes At KeA –


– 0 9 8 –

C o u r s e i n fo r m a t i o n

– 0 9 9 –

B A c h e l o r ' s d e g r e e p r o g r A M M e i n

J e w e l l e r y , t e c h n o l o g y

A n d B u s i n e s s



English in the international line.

Admission requirement: Either an Upper

Secondary School qualification with English,

Mathematics or Business Economics at C-

level or above. Or, another relevant vocational

qualification with English and Mathematics or

Business Economics at C-level or above.

Tuition: The focal point of the degree programme

is jewellery, both how it is made traditionally and

using modern technology, but also, to a great de-

gree, how jewellery is conceptualised and sold –

nationally and internationally. Focus is placed on

the design of jewellery, materials, jewellery con-

cepts, trends, cultural understanding, innovation,

marketing, the value and supply chain – in brief,

you will be familiarised with the entire process,

from the initial idea to the selling of the jewellery.

Intake quota: No statistics available since the pro-

gramme is being offered for the first time in 2012.




_

p r o d u c t i o n t e c h n o l o g y

Duration: 2 years.


Admission requirement: An Upper Second-

ary School qualification, entrance examination

to the engineering degree programmes or an-

other relevant vocational qualification. If you

have a pass in the Upper Secondary School

examination, you must have passed Math-

ematics at C-level.

Tuition: In Year 1 you will gain a basic insight

into a number of core areas, including: prod-

uct development and design, construction,

the material and manufacturing process and

business technology. Thereafter, you will be

able to adapt the degree programme to your

specific areas of interest. The three options

available are: technical sales and purchasing,

product development and production and

process optimisation.


Programme start: August/September and

January/February.



_

s o f t w A r e d e v e l o p M e n t ( B A )


approved design school or a similar qualification

obtained in some other way.

Tuition: Students will work individually

and in groups on a combination of technical and

artistic assignments.

Intake quota: Entrance examination.

Programme start: September.

Place of study: Rosenvængets Allé 20B,


_

i t t e c h n o l o g y

Duration: 2 years.


Admission requirement: An Upper Secondary

School or other relevant vocational qualification in

which both English and Mathematics are included.

Tuition: Consists of a combination of group

tuition, group work and individual assignments.





_

i t t e c h n o l o g y

Duration: 2 years.


Optional subjects are taught in English.


School or other relevant vocational quali-

fication with English and Mathematics or

Physics at C-level or above. Alternatively, a

qualification as an electrician, an automation

and process qualification (with specialisa-

tions), electronics and low voltage appliance

qualification or a data and communications

qualification (with specialisations).

Tuition: The tuition is split into a common

component and two study option components:

network technology and electronic technology.

You will learn, via innovative methods, how to

design and construct electronic and communi-

cation technology systems. In addition, you will

learn how to manage projects, quality systems

and resources in connection with development

and planning and design tasks.





_

J e w e l l e r y , t e c h n o l o g y

A n d B u s i n e s s ( B A )



Admission requirement: A completed Upper

Secondary School or other relevant vocation-

al qualification.

Tuition: Will focus on both classical crafts-

manship and the manufacture of jewellery

and a wider perspective that will teach stu-

dents about sales and marketing.

Intake quota: -

Programme start: September.



_

M A p A n d l A n d s u r v e y i n g

Duration: 2 years.



Secondary School or other relevant vocational

qualification with both English and Mathematics

at C-level or above. Alternatively, a qualifica-

tion as a stonemason, a construction degree in

the field of woodworking, a plasterer or paver's

qualification, a woodworker's industrial joiner's

qualification or a qualification as a wood-

cutting machinist, as a technical plumbing

service engineer or a technical assistant or tech-

nical designer's qualification

Tuition: A great deal of time is spent working

on actual projects and assignments that cor-

respond to those normally performed in the

jobs for which the degree qualifies students.


(2011).

Programme start: August.



_

M u l t i M e d i A d e s i g n

A n d c o M M u n i c A t i o n

Duration: 2 years.



Secondary School qualification.

Tuition: Tuition is centred around 4 core areas:

The Company, Communication and Presenta-

tion, Interaction Development and Design and

Visualisation. You will get to provide input for

designing games, web portals and mobile servic-

es in addition to digital video, 3D and databases.

Intake quota: -




_

M u l t i M e d i A d e s i g n

Duration: 2 years.


Admission requirement: An Upper Sec-

ondary School qualification with English,

Mathematics or Business Economics at

C-level or above. Alternatively, one of

the following vocational qualifications:

digital media, a film and TV production

qualification, a qualification as a techni-

cal designer or a media graphic designer. If

you have a background as a web integrator,

media graphic assistant or have completed

a basic vocational course. You must have a

minimum of 5 individual Upper Secondary

subjects, including Danish (A-level), Eng-

lish (C-level) and Mathematics (C-level).

The last 2 Upper Secondary subjects are

optional subjects.

Tuition: Tuition is centred around 4 core ar-

eas: the Company, Communication and Pres-

entation, Interaction Development and De-

sign and Visualisation. You will get to provide

input for designing games, web portals and

mobile services in addition to digital video,

3D and databases.

Intake quota: A third of available places have

been filled. (2011).

Programme start: January and August.



_


d e s i g n A n d B u s i n e s s



However, lectures, tuition and guidance may

be in English.

Admission requirement: To be accepted on

the Design & Business Programme, you must

possess one of the following qualifications:

A qualification as a design technician, multi-

media designer, E-designer, production tech-

nican or in marketing management. Another

relevant vocational qualification. You must

have completed 6 semesters at the Royal

Danish Academy of Fine Arts' Schools for

Architecture, Design and Conservation, the

School of Design or the School of Design in

Kolding. A bachelor's degree in Textile Handi-

craft and Education or a qualification from a

recognised overseas School of Design.

Tuition: The Bachelor's Degree Programme

in Design & Business is geared towards the

fashion and lifestyle industry and you will

learn the theory and practice associated with

these industries.

Intake quota: -


Place of study: Frederikkevej 8-10,

DK-2900 Hellerup

_

B A c h e l o r ' s d e g r e e p r o g r A M M e

i n o p t o M e t r y




School qualification or a pass in an equiva-

lent overseas or international examination.

You must have passes in the following sub-

jects: English (B), Mathematics (C), Biology

(C) and either Chemistry (C) or Biotechnol-

ogy (A). Alternatively, you may have a back-

ground with a vocational qualification as an

Optometrist. Six Upper Secondary School

individual subjects: Danish (A), English (B),

Mathematics (C) and either Biology (C) or

Biotechnology (A). In addition, you may ei-

ther have Chemistry (C) or Natural Science

(C) or Biotechnology (A) and Psychology (C)

or Social Studies (C).

Tuition: This programme is both practical and

theoretical since the theory will be tested in

KEA's vision clinics. In addition, there is a 1½

year work experience component, in which

the current trends in spectacle fashion, vi-

sion testing for both spectacles and contact

lenses and the guidance of clients forms a

central pillar.

Intake quota: Full. (2011).

Programme start: August.

Place of study: Nordre Fasanvej 27,

DK-2000 Frederiksberg.

_


p r o d u c t d e v e l o p M e n t

A n d t e c h n i c A l i n t e g r A t i o n


Tuition language: Danish or English -

depending on study option

Admission requirement: In order to apply for

the programme, you must possess one of the

following qualifications: production technol-

ogy, service engineering (plumbing, electrical),

automation technology, energy technology or

another relevant business academy qualification.

Tuition: On the Bachelor's Degree Programme

in Product Development and Technical In-

tegration you will learn how to integrate and

coordinate the technical, creative and com-

mercial aspects of a development process.

Tuition content is based on projects and tuition

alternates between presentations by lecturers

and individual guidance.

Intake quota: -

Programme start: August/September and

January/February.



_


Admission requirement: In order to apply, you

must possess a Computer Science or Informa-

tion Technology degree or similar qualifications.

Tuition: On the BA in Software Develop-

ment programme, you will learn how to de-

sign and programme large, data-heavy and

distributable systems. You will work with the

various aspects of the software development

process, such as databases, contracts, tests,

system integration, project management and

system development.

Intake quota: -




_

p l u M B i n g s e r v i c e e n g i n e e r i n g

Duration: 2 years.


Admission requirement: In order to apply

for the programme, you must possess one of

the following qualifications: a qualification in

plumbing or a smith's qualification (with spe-

cialisations) in Service Engineering in the field of

plumbing. Other relevant vocational qualifica-

tion with a pass in Mathematics (C or higher).

Tuition: You will learn about sanitation tech-

nology, heating technology, gas technology,

indoor climate technology as well as automa-

tion and control. You will work in the following

main areas: basic elements of service engineer-

ing technology. You will learn about linguistic

communication, technical documentation,

mathematics and information technology.



Place of study: Stæhr Johansens Vej 5-7,DK-

2000 Frederiksberg.

_

s o f t w A r e d e v e l o p M e n t ( B A )



Admission requirement: -

Tuition: On the Web Development pro-

gramme, you will learn how to design and

construct web applications of all sizes. You

will work creatively on coding, contributing

to realistic projects whilst, at the same time,

improving your development and program-

ming skills to a professional level.

Intake quota: -




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Documents

KEA Quarterly no 1 eng