design magazine - january-february 2016

8/16/2019 Design Magazine - January-February 2016

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Our purpose is to provide information, to search forpeople and to tell a little bit of their own stories. Our

utility is to diuse this editorial to a worldwide audi-ence, by serving them the best way possible and in-forming with our own criteria. We are not producinginformation to ourselves and we are choosing factsto impose them. We try to provide information thatis clear in a simple way. It is important that we re-spect information fullling the basic requirements ofanswering what, who, how and why to every article.We try to use words very carefully because we allknow how word could have so many dierent mean-ings for dierent people. Wittgenstein said languag-es are badly used, he explained a gap between word

and object. It is rude to simplify such an importantwork of Wittgenstein in such a short sentence but Ibelieve it gives a simple idea of what I’m trying toexpress with the art of using languages! As to infor-mation, readers know as well how information couldbe worked with so much ability, sometimes evengiving the idea that facts aren’t real at all.Through these years the DESIGN MAGAZINE gotand is getting a huge feedback from readers thatstate how we work the information and how wepresent issue after issue small interesting pieces ofstories. Beyond the seasonal issues we are told howfollowers of social networks enjoy the informative

mission that we daily accomplish with the same ba-sic requirements. They express their gratitude for

the way that we sometimes bring this usefulnessin an almost neutral kind of way. We are providinga service to readers worldwide and we are servingwith a purpose of diusing information with criteriaand professional ethical principles.We don’t feel that we are better than other me-dia or that we are the ultimate place to search forinformation. A few things we know is that we arebeing ecient with those who follow us and that wehave never used information to generate inuencein order to obtain income or prot. We know alsothat we are not a ashy magazine and that we will

be feature at lists created by media gurus. The min-imal approach it is not due to lack of commitmentit is our own way to express simplicity with criteria.The magazine and social network users are growingand this gives us the feedback we need on how infact the service we are providing is functioning withsome dignity.Finally we like to underline that our mission is goingto be carried out and keeping in mind that we canalways improve and do better. I will not hide thatwith all these facts it is expectable that we could in-crease the interest of those investing in media. Ourbest wishes and a wonderful 2016!

EDITORIALTiago Krusse

http://www.imm-cologne.com/imm/index-2.php


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CONTENTS

Computex d&i Awards 2016 10

Interview Marva Grin Wilshire 26

Painting and Approaches II by Rodrigo Costa 14

Interview Noa Haim 28

Comfort Zones 16

Interview Jan Ameloot 34

Tõnis Käo: Design as Experiment, Retospective 18

A Loft in Rome 40

Marita Moreno 20

Apartment in Vigo 48

International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition 22


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MÓVEISDECORAÇÃOILUMINAÇÃOCOZINHAESCRITÓRIOTÊXTEIS

COINCIDINDO COM: ESPACIO COCINA, CEVISAMA & FIMMA -MADER

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Director/Editor - Founder

Tiago Krusse

English editing

K

Advertising

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Juridic Consultor

Dr. Maria de Lourdes Castelo Branco

Accounting

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Oce

DESIGN MAGAZINEJardim dos Malmequeres, 4, 2.º Esquerdo1675-139 Pontinha (Odivelas) | Portugal

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K Innovative Diuser, Sociedade Unipessoal LimitadaJardim dos Malmequeres, 4, 2 ESQ1675-139 Pontinha | PortugalNIPC: 513 314 652

Media founded in 2011.Officialy recognized by the ERC - Entidade Reguladora Para A Comunicação Social under the registernumber 126104.

Photo Contributors

João Morgado – Architecture Photography

Executive Designer

Lucas Fernandes

Text Contributors

Rodrigo Costa (Oporto)


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touch the futureIdeias inspiradoras para o sucesso

A drupa é o evento que deve visitar, em 2016: o ponto de partida de imagens

muito promissoras. Foco de tecnologias do futuro. Ponto de encontro de ideias

que eletrificam os mercados.

Modelos de negócios inovadores e exemplos das melhores práticas demonstrarão

o futuro potencial da impressão nas suas diferentes vertentes: print, packaging

production, green printing, functional printing, multichannel, 3D printing.

O programa “drupa future visions” permite um vasto olhar para o futuro.

Faça parte dele.

daily news, trends, innovations

blog.drupa.com

31 maio a 10 junho 2016Düsseldorf/Alemanhawww.drupa.com

Share

Informações: Walter & Cia., Lda.

Largo de Andaluz, 15, 3º Esq. - 2

1050-004 Lisboa

Tel. +351-213 556 254 _ Fax +351-213 539 311

[email protected]

www.walter.pt

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ERRATA

On the November/December 2015 edition the DE-SIGN MAGAZINE provided wrong information aboutdrupa writing that “the fair it is run every four years”when in fact since this year of 2016 the event or-ganized by the Messe Dusseldorf is switching to athree-year cycle. We would like to express our sin-cere apologies for our mistake to the Messe Dussel-dorf and to the readers.The drupa is the world's leading trade fair for print

and cross-media solutions and will switch to a three-year cycle after 2016, when it runs from May the 31stto June the 10th. “The entire print process chain has changed radical-ly because of the Internet and digital technologies.New applications and solutions are developing andopening up new elds of business. At the same time,there is more focus on innovative technologies, suchas 3D printing, printed electronics and functionalprinting,” explains Claus Bolza-Schünemann, Chair-man of the drupa Advisory Board and President Koe-

nig & Bauer Group. “It’s more important than everbefore that our customers have an overview of thelatest technology and are also inspired to use newbusiness models and solutions. drupa is the only spe-cialist trade fair in the world to oer this– and willdo so every three years in the future.” One positiveside-eect of this change is that drupa will no longerrun in 2020, the same year as interpack, the world'smost important trade fair for the packaging industry

and the closely related process industry. "The dru-pa exhibitors who specialize in packaging printingwould have found 2020 an incredibly stressful yearso the change will clearly benet customers," em-phasizes Werner Matthias Dornscheidt, President &CEO Messe Dusseldorf. The precise dates haven't yetbeen set, but it's clear that drupa will take place inthe traditional drupa month of May in 2019, 2022and 2025 in Dusseldorf.

www.drupa.de

http://www.drupa.de/http://www.drupa.de/


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h t t p : / / w w w . a

d e s i g n

a w a r d .

c o m


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The Computex d&I awards 2016 are calling compa-nies and designers of technological innovations to

register until the 31st of March of 2016, the estab-lished deadline. For the rst time this year’s risingstar award will be issued to encourage innovative de-signs from startups.The main event will be held at Computex 2016 andawarded products will also be presented at CES, IFAand MWC. Also for the rst time, award-winning en-tries will also be displayed in emerging markets inIndia and Indonesia.2016 marks the ninth year of Computex d&i awards,organized by the Taiwan External Trade DevelopmentCouncil (TAITRA) and executed by the iF Design Asia

Ltd. Exhibitors and non-exhibitors of Computex Tai-pei, the largest ICT trade fair in Asia and the secondlargest in the world, are all invited to participate inthe award until 31st of March 2016.The organizers are also pleased to introduce theComputex d&i rising star award, which will be grant-ed for the rst time in 2016 to honor young enter-prises established after the 1st of January of 2011.The jury panel will select the most outstanding inno-vations and designs out of all awarded entries of newentrepreneurs.The jury session is scheduled for 7th of April of 2016.

All entries will be assessed based on the followingcriteria: aesthetics, practicability, execution, innova-tion, usability and ergonomics, brand t, safety, en-

vironmental impact and target group t to determinethe winners of the Computex d&i awards and the

Computex d&i gold award.Registrations will be accepted in the following ninecategories:Wearable Technology and Smart Applications / Prod-ucts; Smart Home and Security; Gaming Hardware;Network and Communication Products; Computersand Systems; Computer Hardware and Components;Data Storage Products; Display and Audio / Video;Peripherals and AccessoriesThe awards ceremony will take place during theComputex Taipei 2016 trade show (31st of May to4th of June of 2016). All award-winning products will

be presented at Computex Taipei, in the iF WorldDesign Guide, on the Computex website and in theprinted yearbook. Apart from being featured at the COMPUTEX TAIPEI,all award-winning products will also be showcased atthe following exhibitions:IFA 2016 in Berlin/Germany (September 2016)COM-IT 2016 in Mumbai/India (October 2016)Indocomtech 2016 in Jakarta/Indonesia (October2016)CES 2017 in Las Vegas/USA (January 2017)MWC 2017 in Barcelona/Spain (February 2017)

Register online at: www.ifdesign.de

http://www.ifdesign.de/http://www.ifdesign.de/


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When we paint — whatever the style or model, phys-ical or imaginary — we obey to the Nature laws.

Although the Life paints with pigment-light and wepaint with pigment-matter, all days begin by releasethemselves from the dark blues, passing through thereds and yellows until they reach the white. It’s thenoon. After that, the days continue their trip but makingthe opposite route, climbing down by the spectrum:white, yellows, reds and closing themselves in thedark blues — also through the way how the daysborn and die we can realize how the Life repeatsitself, as though there is no more than the endlesscycle of cycles.

It’s always the same. When we want darken any col-or or tonality but preserving its character, we have todo it by adding a mix of blue and red — whatever isthe kind of speech, representational or abstract.So, starting from here I’ll direct my writing to therepresentational painting; I’ll express my thoughtsabout the concrete and its variations, from the for-mal or excessively formal — as the hyper-realism —till the informal or casual, as I like to call it when thepainting is supported on the free gesture.Why, representational? There is not another kind ofart or whatever beyond it. Any color or shape rep-resents something; any signal, gesture or expressionhas its meaning. Consciously or unconsciously, whenwe make a gesture, any gesture, we are sendinga message, once there is no signal without corre-sponding message; there is no cause without eector consequence; every movement has a purpose —

we need remember ourselves that we live under thecausality regimen; if we are or not conscious of it…

it is another story.I won’t be wrong on saying that, at beginning, allpeople try to reproduce what they see. What is nor-mal, once we try to pick up what attracts us; ourhands are working for reaching what our eyes areseeing or what we see in our mind. However, aftersome time and lots of exercises, we realize doesn’tbe possible to compete with the Nature; we concludehow unrepeatable are the light, shapes colors andtonalities; how much distant, even the photography,stays from the real sceneries.This is the starting point to the interpretation, the

beginning of the synthesis. This is the moment fromwhich we can start making poetry, because, insteadto copy the reality, our concerns are about create at-mospheres, preserving the models’ character — ac-tually, more than words, Poetry is atmosphere. Eachword has a meaning and contributes, as cloud for astrong and sweet and, above all, romantic sunset.Talking about aection and style comes next.Note: Hirst has ended by saying that it is easy topainting as Rembrandt has done. It is just need tolearn to paint — I’m sure to be easier to put a sharkin formaldehyde, once the shark is already done. It is just need to sh it and nding up any Saatchi.

to be continued

rodrigocosta.wix.com/rodrigocosta

http://rodrigocosta.wix.com/rodrigocostahttp://rodrigocosta.wix.com/rodrigocosta


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EXHIBITION

Comfort Zones is the rst of a series of three exhibitions proposing dierent perspectives of the Centre nacio -nal des arts plastiques – Cnap, which is running until the 17th of April of 2016 at the Galerie Poirel in Nancy,

France. The exhibition is the result of a partnership between the city of Nancy, Galerie Poirel and the Cnap. Thecommissary is by Juliette Pollet, curator in charge of the Cnap design and decorative arts collection, and GaëlleGabillet & Stéphane Villard from Studio GGSV, also responsible for the scenography.

Photographs by Michel Giesbrecht

The exhibition goal is to invite visitors to explore thehome of a collector and suggests dierent ways toexperience comfort. The objects are spread through-out the exhibition taking their place on a grand stagewhere they simultaneously serve as the set, the ac-tors and the props. The entire exhibition is a play in

four acts with one intermission. In the Oce, func-tional objects project an image of ‘modern comfort’.These material possessions are designed to improveconsumers’ daily life by relieving them of laborioustasks. The Reception area presents as a vast livingroom, adorned with furniture designed to give theweary a place to rest. The Play Area brings togetherobjects that trade in pure functionalism for fun andtriviality. Lastly, the Antechamber turns our under-standing of well-being on its head by raising certaincontemporary quandaries. Halfway through the ex-hibit, visitors have the chance to test out dierent

pieces of furniture at a break area on the mezzaninelevel. Here, they can also experience L’Écouteur, amodern-day interpretation of music rooms createdby Laurent Massaloux and JeanYves Leloup. The majority of the objects displayed were designed to sat-isfy our minds and bodies. They reveal the natureof our domestic activities and concerns. While pro- jecting a sense of familiarity, the exhibition invitesvisitors to reconsider the shapes and uses of theobjects that make up the environment around us.Comfort Zones places mass-manufactured products,comfort produced in standardised forms, alongsideworks that upset the standard models. In doing so,the exhibition reects two contemporary movementsin design: the search for solutions and the formula-tion of critiques. Comfort Zones is the product of apartnership between the city of Nancy, Galerie Poireland the Cnap. It is the rst in a series of three ex-hibitions that will oer dierent perspectives on theCnap’s design collection.

http://www.poirel.nancy.fr/accueil/

http://www.poirel.nancy.fr/accueil/http://www.poirel.nancy.fr/accueil/


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EXHIBITION

Tõnis Käo: Design as Experiment, Retrospective is an exhibition focused on the Estonian industrial designer thatwill be held until the 3rd of April of 2016 at the Red Dot Design Museum Essen, in Germany. It is the rst joint

project presented by the Red Dot Design Museum Essen and the Folkwang University of the Arts.Photographs: Courtesy of the Red Dot Design Museum Essen

Push-button telephone for Deutsche Bundespost, 1970, by Tõnis Käo and Herbert Krämer for Siemens AG.

“Tõnis Käo: Design as Experiment, Retrospective” isan exhibition focused on the life’s work of the Pro-fessor Tõnis Käo, born is Saaremaa, in Estonia, in1940. The Red Dot Design Museum Essen and the

Folkwang University of the Arts, both from Essen, arepresenting their rst joint project, this exhibition thatwill be on show until the 3rd of April of 2016 at theRed Dot Design Museum Essen.Tõnis Käo studied at Folkwang University of the Artsin Essen from 1962 to 1967. Just two years aftergraduating, he started work as an industrial designerfor Siemens in Munich in 1969, taking over the designstudio of Siemens AG from 1983. In that position,he devoted himself among other things to the phe-nomenology of product design: Tõnis Käo dened a

system of design characteristics and their impact inorder to give industrial designers guidelines for theirwork. From 1992 to 2005, Tõnis Käo lectured as aProfessor of Industrial Design at Bergische Univer-

sität Wuppertal, where he developed the teachingconcept “Design in research”. Free of the restrictionsof design practice, he focused entirely on researchand design as an experiment – with a view to the fu-ture. From 2004 to 2007, he was Academic Directorof Bergisches Institute of Product Development andInnovation Management, and from 2005 to 2007 hewas also Director of the Alu-Scout Innovation Award.

www.red-dot-design-museum.org

http://www.red-dot-design-museum.org/http://www.red-dot-design-museum.org/


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Hair dryer model, 1976, for Siemens AG.


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MARITA MORENO

Photographs: Rossana Mendes Fonseca

The brand Marita Moreno was created in 2008by Marita Setas Ferro. Being the brand’s creativedesigner she develops all its concepts using onlyPortuguese products, factories and handmadecrafts to create her designs. The brand’s missionis to present high quality products, making gooduse of creativeness and a good eye for select-

ing the materials. The production is based onsmall quantities and all numbered which makesevery piece unique. From shoes, bags, clothingand knitting the purpose is to deliver good qual -ity design with a affirmative and proud “Made inPortugal” label.Marita Setas Ferro was born in 1967 in Beira,in Mozambique. With extensive and consolidatedacademic and professional experience, from finearts to design, she has worked for several yearsas a consultant, teaching and mentoring fashion

designers, crafters and creative people. At thesame time she kept always the development ofown author pieces and sculptures.The brand present its first shoes and bagsSpring/Summer 16 collection last August of 2015at the Premium Footwear – Pure London, one ofUnited Kingdom’s fashion trade exhibition. This

year, from 8th to 9th of January, Marita Morenowas back in the UK for the WeAr Select London,a fair organized by the magazine of internationaltrends WeAr Global Magazine.The brand’s creative designer underlines that the “biggest goal is to continue to show the brandinternationally, put the product in some of themost iconic places in London and get more cus-tomers to realize the added value of the piecesand appreciate how culture and Portuguese her-itage are translated into everyday”.

Foz Côa Collection, Fall/Winter 2016/2017. Man – Penascosa and Ribeira do Pisco models

MARITA MORENO


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Foz Côa Collection, Fall/Winter 2016/2017. Woman – Fariseu and Quinta da Barca models


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INTERNATIONAL BIENNIAL POSTER DESIGN TERRAS GAUDA – FRANCISCO MANTECÓN COMPETITION

The rst prize winner of the 12th edition of the International Biennial Poster Design Terras Gauda – FranciscoMantecón Competition went to Angelika Jaglińska, the Polish designer whose winning work will represent the

winery’s image for the next two years.

The 12th edition of International Biennial Post-er Design Terras Gauda – Francisco MantecónCompetition 2015 was won by Angelika Jaglińs-ka, the Polish designer received 10,000 eurosprize money and her poster will represent thewinery’s image for the next two year s. Angeli ka Jagl ińska was born in 1987 in MinskMazowiecki, a city located East of Warsaw inPoland. She’s a graduate student from the ArtSchool in Koło, 2007, specialized in visual ad -

vertising. Five year later she graduated in ArtEducation in the Field of Visual Art s at the AdamMickiewicz University in Poznan, Faculty of Ped-agogy and Arts in Kalisz. Angelika was two timesgranted with the scholar of Rector of the Uni -versity of Adam Mickiewicz. In 2012 she held ascholarship on industrial design by the EscuelaSuperior de Diseño de La Rioja, in Spain.The judges and partners of the competitiongave also two honorable mentions, the fists oneto Guill Fridman, Argentinean born and livingin Jerusalem, Israel, the second mention was

given to Toni Pontí Ibars from Lleida, in Spain,and the special mention to Joonas Vähäkallio,a visual communicator from Helsinki, Finland.To each honorable and special mentions it wasgiven a 2,000 euros prize money.The winning posters were selected by a panelof judges that made their choice form a groupof 37 finalists coming from Israel, Russia, Fin-land, Denmark, Poland, Germany, Croatia, Italy,Portugal, Argentina and Spain. José Cruz Novil-lo, professional guest member of the panel of judges, underl ined the artist ic qual ity and the

graphic diversity of the 1,310 original workscoming from the 59 countries that entered thisbiennial competition.

Guill Fridman, rst honorable mention. Born and raised in Ar - gentina. Over the past four decades living and working in Jeru- salem, Israel. Ad honorem assistant in the department of Indus- trial Design at the University of Architecture and Engineering, inRosario, Argentina. Outstanding graduate as a graphic designer,at the Bezalel Academy of Art and Design Jerusalem. SeniorTeacher at Ascola Institute of Design Tel Aviv. Art and DesignConsultant at Department of Culture in the Municipality of Je-

rusalem. Member of the Israel Community of Designers and ofthe Graphic Designers Association in Israel.


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Angelika Jaglińska, rst prize winner.


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Toni Pontí Ibars, second honorable mention. He studied nearts, graphic design, art and robotics. He runs his own studiofocused on art projects, space design, graphics, fashion edito- rials for specialized magazines and costumes for lm. He haswon national and international prizes like the Film Festival inSan Sebastian 60/61/62 editions, International Film Festival ofValladolid on issues 59/60 and a rst prize of the cover of theLadyhawke 2012 album called Anxiety.


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Joonas Vähäkallio, special mention. The 23 years old is a visualcommunicator from Helsinki, Finland. He studied graphic designat the Aalto University. His main interest is in creating entiredesigns, from the small details to the whole project process. Hiskeen on logo design and creative fonts and he denes himselfwith a style that gathers harsh symmetric shapes and controlledchaos. He gets inspiration from forms, colors and life.


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INTERVIEWMarva Grifn Wilshire

Born in Venezuela she took Milan as her city of adoption when in the seventies she embraced the work in theeld of design and furnishing. In 1998 she created the SaloneSatellite the showcase of Salone Internazionaledel Mobile in Milan, Italy, focused on young designers, students and design schools which she’s the curatorsince the rst edition until nowadays. Marva Grin Wilshire she’s head of the international press oce butshe represents more than just a key element of Cosmit’s organization and the Compasso D’Oro recognition ofworking life achievement awarded last year underlines how her persona is so inuential among the internationaldesign scene.

Interview by Tiago KrussePhotographs: Courtesy of Salone Internazionale del Mobile


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What lead you to design and how did you getinvolved with Italian’s design community?

I was always attracted about interiors, gardens andbeautiful homes and once in Italy I started workingat that time with the most important Italian com-pany in the field (C&B Italia, then B&B), foundedby the two most important entrepreneurs: CesareCassina and Piero Busnelli, for whom I worked ashis assistant, interpreter, communication, etc…

What was it like to live under Milan’s atmo-sphere?Just imagine the 70’s. At C&B Italia the most well-known architects were designing, such as Mario

Bellini, Afra and Tobia Scarpa, Gaetano Pesce ...and Renzo Piano was designing the offices whilehe won with Rogers the bid to build the CentreGeorges-Pompidou.

What kind of memories do you keep from thedays you were correspondent in Italy for anumber of know magazines?It’s impossible for me to describe this experience,I must say it was just wonderful and exciting, get-ting to learn about the industry in general and thathave allowed me to do this job.

You had a considerable amount of experiencerunning a textile show in Venice. What was itlike to be in a different market segment fromthe ones you were used to deal with?Not at all a different market! The Incontri Venezia, “Textile for Furnishings”, was a show where thebest textile editors and manufacturers were par-ticipating … held in a city like Venice with a textilehistory, where furnishing manufacturers will v isit toacquire the best fabrics for their upholstery pieces,so in a way it was part of this interior decorationdesign world.

When did you decide it was time for you topresent yourself to Salone Internazionaledel Mobile?I did not present myself, I was asked by Manlio Armellini, at that time CEO of Salone del Mobile, to join the organization. He just said he needed me atthe Cosmit Organization.

How you came up with the idea for Salone-Satellite? Why was it important to give spe-

cific fairground room to young designers?There was a need for young designers to showtheir prototypes to the furniture industry and man-ufacturers that were at Salone del Mobile and, atthat time, no one, nor organizations, nor tradefairs, nor companies were taking into consider-ation young designers. Now, after the success ofSaloneSatellite, every institution has copied us.This is okay as long as they take young design-ers seriously, and they give to them what they arepromising. However the success of SaloneSatelliteis the Italian furniture industry that works with de-

signers from all over the world.When SaloneSatellite is almost about toreach 20 years of continuous exhibitions,which key evolutions you’ve notice whenregarding its participants and the productsquality standards?Every year there is an evolution: innovation, newmaterials, for which young designers are very at-tentive on this subject.

Last year you were awarded the Compassod’Oro working life achievement and most re-

cently you were nominated under a short listof the most influential persons on the designscene. How do feel about all this recognition?I’m grateful to all these institutions and magazinesthat recognize my work and I’m very happy aboutit. This encourages me to do my job in the bestway.

Which sort of challenges comes to your per-ception when thinking of Salone’s upcomingeditions?There is a lot to do in order that Salone del Mobile

continues to be the leader in this field when theworld travels to Milan to see the best furniture,lighting, kitchen, bathroom etc., where innovationis the leader.

For you good design stands for …?Good design for me is what makes us live muchbetter.


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INTERVIEWNoa Haim

She is the founder and the creative director of theCollective Paper Aesthetics, a design and architec-

ture studio based in Rotterdam, the Netherlands.Finding impossible to nd a job in architecture NoaHaim decide to make good use of her expertise andworking experience to move forward. A graduationwork that she present as an art installation for theLondon’s Architecture Festival triggered everything itcame next in her life. In collaboration with museums,science centers, cultural and educational organiza-tions, the studio has developed a collection of par-ticipatory construction toys and ‘hands-on’ furnishingwith the motto “everyone can play a designer”. She’stravelling the world and inviting so many dierent

people to fold and to unfold ingenious cardboards.Born in Venezuela she took Milan as her city of adop-tion when in the seventies she embraced the work inthe eld of design and furnishing. In 1998 she creat-ed the SaloneSatellite the showcase of Salone Inter-nazionale del Mobile in Milan, Italy, focused on youngdesigners, students and design schools which she’sthe curator since the rst edition until nowadays.Marva Grin Wilshire she’s head of the internation-al press oce but she represents more than just akey element of Cosmit’s organization and the Com-passo D’Oro recognition of working life achievementawarded last year underlines how her persona is soinuential among the international design scene.

Interview by Tiago KrussePhotographs: Courtesy of Collective Paper Aesthetics


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Photo by Anton Mikhailovsky


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What is the Collective Paper Aesthetics about?Collective Paper Aesthetics is participatory exploration

within the architectural model. By taking the designtools outside of the studio I discovered the strengthof the architectural model is the elds of non-formaleducation, training, marketing and entertainment.

Who started it?In 2008 I have been asked by London ArchitectureFestival to present my graduation work from the Ber-lage Institute in a format of Installation art. Togetherwith fablab team in Den Haag, we came up with amodel of interlocking paper cubes, which with visi-tors can co-create their own 3 dimensional visionary

models of high rises. Lucky enough, two curators fromLondon Southbank Center were visiting the Installa-tion and found the work, product, a good match withlearning and participation.

When was the concept developed and how itwas turned into real?The concept was build up while doing. In 2009 I wasstill looking for a job as an architect and never imag-ined I will be still busy with it today. Many ideas camefrom people I have met with and from commissionersand collaborators who had a big vision and budget tomake it happen.

Where there new technologies used to imple-ment it?In 2008 I was taking the laser cut machine to theexhibition spaces. The technology itself was not newbut having the machine and producing on-site wasless common seven years ago than now days. Nowdays the production is made within factories and forsome items new technology in the eld of packaging/die cut making is allowing better performance of thetools.

Which motives lead you to choose the card-board as the material to be used?The use of the cardboard started with the project forthe architecture biennale, by 2012, in Shenzhen. It isa love and hate relationship because cardboard is abeautiful material but has issues with outdoor condi-tions and re resistance – so I am in contact searchfor new materials which can perform as cardboard interms of fold/ unfold yet can as well stand outdoorand become larger and stronger structures.

What reasons or mission were set?The main reason for starting the Collective Paper

Aesthetics project was looking for a job. Late 2008it was impossible to nd a job in architecture, whileat the same time I have been asked by Dutch designweek and ARCAM Amsterdam to repeat the Londonactivity. By doing it again and again – meeting withmore people – generating more ideas – talking aboutit – the project 'grew up' and develop.For every project the mission is dierent. I have readlots of business books and had few business advi-sors. Many of them speak about the 5 years planningand write down your mission, but the reality was oris dierent (for me). It was good for general knowl-

edge.The project has been travelling through difer-ent countries. The proposal is always based onthe same idea and intentions?In the book ‘Megastructure: Urban Futures of the Re-cent Past’ Reyner Banham arguing that the conceptof megastructure can adjust to multiplicity of ideol-ogies. The basic collective paper aesthetics principleis similar but the intentions are dierent. For Tiranaproject it was the rst time we were using the toolsto empower vulnerable children and I was very hap-py to see it was working out in such a beautiful way(meaning; kids from Roma who do not attend schoolcan use it and explain it).

Is there any purpose of collecting informationthrough these shows?This idea was discussed with several foundations inthe past but was not granted. At the moment theoutcome of the information collected is the actualversion of the activity. Every activity we implementknowledge from previous once.

What has been the reaction so far?

It has been warm and powerful. It is hard to nd aword which can describe how fascinated the engi-neering team and I are every time when we take anew model outside to a dierent place. I am usuallyworried about what can go wrong...

The press release of the interactive installationin Moscow had a sentence that caught our at-tention: “everyone can play a designer”. What’sthe sense or context given to this proposition?


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Photographs by Monica De Pascalis


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Design is a powerful tool for change of perception.Change of perception is part of individual and or-ganizational growth. It is not that much about the

nal outcome as the experience and the knowledgegained for future once or applied in dierent context.Why do you feel there is this predisposition to play,to build new things or to experiment?I think both are intuitive and basic needs.

What are you getting from this immense expe-rience? How is this changing your life?The collective paper aesthetics was taking me outof the architectural everyday practice to a challeng-ing entrepreneurial journey. To experience the pow-erful of my architectural models outside of the ar-

chitectural practice in dierent setups and contextare empowering me as a person, as a designer, as athinker – it was opening many professional opportu-nities which I was not imagining before and the mostpowerful thing is the satisfaction when I get positivefeedback from people.

What are your deepest aspirations?To nd a material and technique which allow to usethe method and style in building larger and stronger

structures – in a way, to go back to architecture incollective paper aesthetics way.

Do you have new projects in mind?The working table in my studio is crowded with newmodels and a team of engineers is working with meon developing them. Some of the new projects areabout bringing together dierent population groups(similar to Tirana project in that sense) while otherfuture projects are focused more on introducing newmaterials and technology. With some collaboratorswe already work for few years and the projects areevolving while with other organization it will be rsttime partnership.

For you good design stands for …?Good question … if it makes me ‘move’ emotionallyor interesting me technically then it is a good design.In my neighborhood in Rotterdam there is a bakerywhich is serving coee in ceramic mugs. When younish drinking your coee a smiling face or little fun-ny creature is discovered – I like the design becauseit is surprising and make me smile – change the per-ception about drinking coee…

Photo by Alla Simacheva


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Photo by Alla Simacheva


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INTERVIEWJan Ameloot

The Delta Light is the Belgian lighting manufacturer with more than a quarter of century of history. A fami -ly-owned business with west-Flemish roots which has built a worldwide reputation based on in-house research

and development. Questioning Jan Ameloot, the managing director and head of corporate strategy, we under -stand the reasons why it has been running so brightly.

IInterview by Tiago KrussePhotographs: Delta Light

What spirit drove to the start of Delta Light?Before Delta Light founder Paul Ameloot ownedStereohouse, where he offered sound solutionsfor residential projects, nightlife and hospitality.During the eighties – in particular after the releaseof the John Travolta dance movies – it struck his

attention that his clientele started giving more andmore attention to lighting, and how to apply it asan eye catcher or for atmosphere. They were inneed of advice. Paul saw an opportunity and wentfor it. He designed a custom rail and lighting sys-tem, which was the start of a new business. Hepresented one of his first designs – the Phantom –at a lighting fair in Hannover. People loved it and itturned out to be a great success. It’s such a simplefixture, but still in the collection today. You couldsay that John Travolta inspired him to move intothe lighting industry.

Who were the mentors of the company andhow it is like to run a family business?Inspiration comes from many different things, fromart to architecture to aerodynamics, and muchmore. We are fascinated by movement, be it carsor planes, boats etc. From little things in everydaylife. Shapes and materials that are all around us. At the same t ime we love to be chal lenged by theneeds of people that we speak with. We travel alot, and meet people from all over the world. Welove to listen to their lighting needs and expecta-tions, and think about how Delta Light can pro-vide a solution. We are in the business now for 26years, working on small and large scale projects allaround the world. Rather than focusing on shortterm trends we have tried to build a range of de-signs that stand the test of time. As such, everytime we launch new collections we combine ex-tensions and improvements of existing ranges withcompletely new designs. We respect our past andwork hard to keep our creative team alert, in orderto stay ahead of the market.

Paul Ameloot started Delta Light in 1989. His twosons Peter and I – currently managing the com-pany – grew up with Delta Light from very earlyage. In today’s world we notice that the personaltouch and passion can really make a difference. Asa family-owned business we have a personal stake

in keeping our clients happy. We are committed tomaking a difference through original designs, out-standing service levels, eye for detail and personalcontact, striving to be the best in all we do.

The beginning of the nineties brought newsocial, cultural and economical cycles. Howdid a small company built the strategy con-cerning its values and mission?Over the years we have chosen to be very close tothe market, and be in contact with all stakeholdersin a project. We have built a high-quality network

of partners, but we also have our own in-housepeople spread all over the world. Being close todecision-makers and influencers provides us withinvaluable insights on each project, and the evo-lution of the market in general. This informationhelps us to forecast economical tendencies andchanges in behavior.

Is there a formula of gathering management,team building, motivation, productivity andcommunication?The main formula is to stay close to your people,listen to their needs and ideas. Throughout our en-tire process we have different processes to involveemployees, from directors to assembly line work-ers, in decision-making procedures. We stronglybelieve in involvement as a key source of motiva-tion, but also to help grow the business and im-prove productivity.

Why underlined the focus on architecture?Light always makes a difference. It has a big im-pact on how you perceive and experience a room,


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a building or a landscape. From the very beginningwe have been fascinated by that aspect. We have

chosen to become much more than just a manu-facturer. We like to be in close contact with thearchitects and designers, to support them in theircreative process and come up with a lighting sce-nario that upgrades the architecture, and how theinvestor experiences it.

Does Delta Light regards itself as a light en-gineering company?The Research and Development is the biggestdepartment in the office. Product developmentis so much more than design. In particular with

the breakthrough of LED, lighting has become ascientific process where many different engineer-ing techniques, mathematics and extensive studyare required. Optical performance is a key aspectin the design process at Delta Light. Our team ofengineers is on a continuous quest to match thecompany’s credo for design with energy-efficien-cy and optimal quality of light. At the same timewe work closely with lighting designers, architectsand engineering offices, offering extensive lightingadvice. Integration of light in architecture – oftenalso in relation to other integrated techniques –requires in-depth expertise of technology, buildingdesign and construction. So yes, either in productdevelopment as in application the technical, engi-neering element has become a core element.

The awareness of the importance of light-ing in the last decades was due to whichsorts of concerns and aspirations? As prev ious ly ment ioned l ight plays a key role inany type of project. To strengthen architecture,to create a specific atmosphere, enforce a brandmessage, upgrade wellbeing and so much more.In addition lighting also has a very important

role in the energy-efficiency and sustainabilityof a building. A hotel might want to create ahome away from home feeling. Office lighting isessential to keep employees sharp throughoutthe day. Retail lighting is closely associated tothe perception of a brand, but also influencesbuying behavior etc. In the last decades multi-ple studies have proven the influence light hason a person’s mindset, behavior and sentiment. As such more and more attent ion has gone to a

more thoughtful lighting design process.

The search of lighting comfort it is seek byconsumers or are they imposed by marketingstrategies?We don’t feel that it is imposed by marketing tech-niques. Comfort and wellbeing in general have be-come more important over the years, and lightingis an essential part of that.

How much research and technological devel-opment is involved in the whole strategy andhow much investment it represents?R&D is at the heart of the company, resulting in

multiple new collections on a yearly basis. All light-ing solutions offered – be it standard catalogueproducts or tailor-made solutions – require exten-sive study and engineering. We have a team ofabout 30 people working full-time in product de-sign and development.

Which kind of innovations made a deep im-pact on Delta’s production schemes? Whichbreakthroughs were the most importantones?There are different aspects to your questions... Thebreakthrough of LED technology in general hada major impact on our organization and produc-tion. It offers many new opportunities in productdesign and development, but at the same time italso challenges manufacturing, stock and logistics.With LED the light source has become an integrat-ed element of a luminaire, in contrast to conven-tional lamps, resulting in a multitude of productreferences. A recent innovation in our collection isSoft Dim LED technology, replicating the dimmingbehavior of a conventional lamp where the colortemperature increases in warmth as it’s dimmed.

What is the real importance of the use ofspecific machinery and how much the busi-ness depend on it?The majority of assembly is still a manual processand requires specific craftsmanship and eye fordetail. In the product development process we in-vested in advanced test and measurement tech-nologies, 3D printing, and state-of-the-art labora-tory facilities. These specific tools are crucial inour short idea-to-market philosophy. At the same


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“Metronome L” and “Metronome H” in the black version.

“Super-Oh!”


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time, manual prototype building is also still veryimportant in that process. For some product rang-

es, e.g. Supernova, we’ve invested in a robot aspart of the assembly process. This enables us toguarantee short delivery terms for both small andlarger quantities. An important aspect of the HQexpansion is our brand-new fully automated ware-house. An impressive 26m high installation withover 15000 pallet locations, build to further im-prove product flow and process control.

Seeing products being recognized with de-sign awards is it really important and howmuch does it match by benefiting the con-

stant efforts of presenting fascinating goodinnovative solutions?In the past 26 years Delta Light collected manyproduct design awards, which we consider to be agreat recognition for the in-house design work thatwe do. It motivates us to continue on our route toinnovation and ongoing development of new col-lections.

In the process of development of new prod-ucts the company prefers to work from theinside or is it open from proposals outside itsenvironment? The success of Delta Light was built in in-housedesign and development, piloted by founder Paul Ameloot. We certainly intent to continue on thatroute, as we continue to grow our R&D team withengineers, designers and light optic experts. At thesame time we are open to collaborate with archi-tects and lighting designers to create tailor-madedesigns for their projects, either exclusive designsor with the intention to open up to the market.We are also open to collaborate with product de-signers or creative people from other industries. Arecent example is our Metronome, designed in col-

laboration with Belgian fashion designer Tim VanSteenbergen.

How Delta Light evaluates the quality of in-formation that media produces about thelighting market?That depends between markets. In general thereare multiple platforms (online and print) about ar-chitecture and design, both international and lo-cal. When it comes to specific lighting specialized

platforms we notice an overload in information andchannels in some markets, and a lack in others.

The extension of the headquarters inMoorsele it’s seen as a reflex of new ambi-tions. Which kind of challenges and goals arebeing settled for the upcoming years?The extension of the headquarters had 3 reasons:ongoing international expansion, extending theR&D facilities and creating additional space for ourrapidly growing collections. Delta Light has strongambitions to continue to grow and expand inter-nationally from their Belgian headquarters. In thepast decade, we have doubled our turnover from

32 to 67 million Euros. We would like to see it dou-ble again in the next 10 years.

What importance has the Made in Europe innowadays?It remains a differentiating element. We are veryproud of our Belgian – and more specificallyWest-Flemish – roots. We work very closely withlocal suppliers and manufacturing partners. Thisenables us to work efficient and to the highestquality standards. Our most loyal suppliers havebecome an extension of our in-house manufactur-ing, which makes Delta Light an important employ-er in the region, a key aspect in our history.

How the use of light will be made in the fu-ture and what sort of scenarios can we imag-ine coming from Delta Light?That is very difficult to predict. Who would expect10-15 years ago, the immense impact LED technol-ogy would have on our industry? This new technol-ogy has opened endless new opportunities in prod-uct design, but at the same time also has a verylarge impact on our production process. We areconvinced that the share of led lighting will contin-

ue to grow in the next years, becoming the leadinglight source. Delta Light’s aim for the future is onfurther refining its product portfolio and buildingbrand value on a global scale, with imagination,originality and creativity as top priorities, aiming tooffer people the products they will need tomorrow.Quality, innovation, sustainability and service havebeen the key values of the company for the pasttwo decades, and will always remain the founda-tions for every next step. New materials, new tech-


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nologies, timeless design and much more, it’s ourgoal to keep launching new collection on a very

regular basis.

Is it true that there is technology to producelight bulbs that could last forever?Forever… the led technology is developing at a veryhigh speed. If you look at good quality leds thatcan be used for architectural lighting, led manufac-turers these days guarantee a lifespan of 50.000hours. In our product design we manage to furtherextend this lifespan through optimal cooling con-ditions, efficient design, etc. You could say that – depending on type of project and hours used,

which is very different in a hotel compared to ahouse – lighting these days has developed to be-come an investment for life.


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A LOFT IN ROME

Interior design: Alessandro De Sanctis – des interior architecturePhotographs: Courtesy of des interior architecture

A loft located in Rome, Italy, on the top oor of a1644 building signed by architect Alessandro Mattia

de Rossi, a pupil of Bernini, and then renovated in1719 by architect Alessandro Specchi, was reformed,between 2013 and 2015, by Alessandro De Sanctisand his des interior architecture studio. With a totaloor area of 57 square meters the “Apostoli loft” asit is named was turned into “an open-plan living areaand kitchen on the main level in which only the bath-room is compartmented, with a private bedroom onthe mezzanine level.” The small duplex penthouse loft was reformed to t acontemporary way of living keeping the atmosphereharmonious and preserving the spirit of the Baroque

period in Rome. In the text that Alessandro De Sanctisprovide us he underlines that “the curved balustradeand the serpentine suspended television stand wasinspired by the serpentine facade of Church of SaintCharles at the Four Fountains, designed by Frances-co Borromini in Rome and constructed towards theend of Borromini's life.” He also mentions that “theconcave-convex facade of the church undulates in anon-classic way and allows the interpenetration ofinner and outer space.” Concluding with some morehistorical background, he refers to the fact of Ales-sandro Specchi been inuenced by Francesco Bor-rimini whose “rst major constructed work was thedesign of the Baroque Porto di Ripetta, the port ofRome, on the banks of the River Tevere or Tiber.” It’ssaid that with Porto di Ripetta “Specchi broke withthe classicizing architecture of his teacher Fontana.” The new loft has a living area which is character-ized by the use of reex glass to produce a senseof expansion of space. The table and the sofa werechosen in solid chestnut to match with the originalbeams in the ceiling. The living area has its oormade of matt Roman travertine slabs and the accessto the bathroom is characterized by a ush door tothe wall of elevated height.

The sleeping area is accessed by a suspended stair-case. The mezzanine is characterized by a white n-ish curved parapet, a suspended bed and the sus-pended serpentine television stand, an AlessandroDe Sanctis prototype.The lighting around the loft is dominated by lumi-nous grooves, providing indirect light to produce acomfortable atmosphere and enhancing the percep-tion of the building qualities.


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APARTMENT IN VIGO

Design: MDBAPhotographs: Héctor Santos-Díez

This apartment located in Vigo, in Galicia, Spain,was refurbished by Manufactured Design By Archi-tects – MDBA. The team lead by Maria Díaz, mainarchitect, and collaborators Marta Ariza, Jacopo Bi-asio and Magdalena Mozuraiyte made an analysis ofthe hierarchy of the spaces in order to comprehendhow everything ows in a natural way. The missionwas to reshape a penthouse located on Vigo’s wa-terfront.

The describing text of the project is clear, “the liv-ing room, the kitchen and the dining room, are leadonto each other to take maximum advantage of sunlight.” The program was lead so that “open spacesallow contemplation of the passage of time throughthe numerous windows.” A contrast is made, “northfacing rooms provide private area which is separat-ed from the rest by the bathrooms.” The whole space is characterized by the geometryof the roof which allowed MDBA “to play with theproportions of the apartment, changing the sections

of each zone but always taking into account the ex-isting structure.” The MDBA was found by Maria Díaz an architectwith more than 15 years collaborating with VicentGuallart. She leads a team of young architects, de-signers and professionals of dierent disciplines.The studio is focused on research and creatingspaces obtaining so far a wide experience in projectdevelopment. From new projects to reforms passing

through interior design, MDBA provides from theconcept, construction to the conclusion. The mainservices are architecture, interior design, furnituredesign, graphic design and landscaping providingin each one all the technical aspects, budgets andlicenses. On every new project the challenge is tofulll client’s needs and to seek for benets of thelocation or of the existing space. The studio ex-presses its commitment for nding the “appropriatecharacter in every space, always bearing in mindthe materiality, the warmth of the materials.”


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design magazine - january-february 2016

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