materia.lise.design

Architecture & Engagement

Wed, 31 Jan 2007 22:39:00 +0530

Another great example of the unique offer Brussels has in architectural conferences. This time by Iselp. More info.

It Could At Least Have a Toilet

Fri, 26 Jan 2007 02:32:00 +0530

I’m getting bored with the Zaha Hadid hype, so I thought i’d ignore Ideal House at Cologne. But the whole world is blogging about it, and almost nothing else from the fair. Futuristico-morphologic-whatnot architecture is interesting up to the point where you forget about toilets and farting from time to time. That’s untill I discovered Naoto Fukasawa’s ideal house. Brilliant and modest at the same time.

the Van de Velde thermometer 1/2: Wolters Interview

Thu, 25 Jan 2007 00:03:00 +0530

Design Vlaanderen held it’s annual Henry Van de Velde Awards in December. They reward those who excelled during the year. The opening ceremony was one more opportunity to interview winners about what they have been up to, and what’s coming next. First one in this serie of two interviews is Peter Samijn, General Manager of Wolters.

Wolters was granted the “best company” award for its successfull shift towards working with Belgian Designers.

materia.lise.design : Hi Peter Samijn. You represent Wolters. Your company has won the Henry van de Velde Award for best company. You made a speech where you expressed how happy you are about working with designers. Could you tell us a bit more about it ?: Peter Samijn : Until a year or two ago, we were only making very traditional urban furniture. In such situation, you can’t differentiate yourself with the product, only with services like shipping, but especially with the price. You come in price-fight, a situation where you have to ask yourself, as a Flemish business man, if you couldn’t rather open factories in the Czech Republic, Russia, China, whatnot. I felt like that wasn’t my ambition, like I wanted to stay here, to work and live here, and I needed a method to differentiate the company from others.
m.l.d. : Why not both work with designers and de-localise production ?: P. S. : First of all, it wouldn’t be necessary. And if it’s not necessary, I rather stay here with my factory, because I’m working with nice people, we’re a community of people that decently earn their living. Besides, living in Flanders is a real pleasure, while I have worked in China in the past, and wouldn’t want that right now. And secondly, you have to if you really want to deliver quality, and if you want to be able to respond to the needs of cities and villages. We can make our benches at any size and shapes. We customize our basic collections to better suite the specific needs of cities, whether they want longer, shorter, thicker, higher, etc. benches. We can only do this by working locally.
m.l.d. : That sounds very sweet of course what has happened at Volks Wagen for instance. Now tell us, how did the collaboration with designers start ? I think it’s Luc Vincent that actually came over to you in the first place, right ?: P. S. : Indeed. Actually, two things happened at the same time. We were wondering where we should be heading considering the growing pressure on prices. And in the mean time, Luc Vincent, who has a house in Nieuwpoort, was sitting on one of the benches we have there, and wondered who made such beautifully manufactured benches. He wanted to design something for that company, which happened to be us. So he came knocking on our door, showing us some of his designs.
m.l.d. : So you really were already making benches before this collection ?: P. S. : Yes, but really classical things.
m.l.d. : Have you also started selling abroad now, or only in Belgium ?: P. S. : We used to only sell in Belgium. But since we began with design, we’re also starting to go abroad. Of course, such things take some time to set up. You have to set up a dealers-network, to visit architects and cities, but we are already having a descent benefit abroad this year.
m.l.d. : That’s really double profit design brought you. So, to be clear, this is the first design collection you’re showing here ?: P. S. : It depends on what you mean with a collection. Because there are actually three series of products, by three different designers. They all have their own identity and vision.
m.l.d. : Have you been to design fairs too?: P. S. : Yes. Thanks to these collections, we also set up Wolters France, thanks to which we were invited to the Biennale du Design de Saint-Etienne. We were at Interieur, we also exhibited in the Design Vlaanderen gallery a year ago. So, yes, we’re trying hard to really join the design-scene.
m.l.d. : So, do you consider your company to be a urban furniture manufacturer or a real design editor ?: P. S. : Tough question. Is there a difference ?
m.l.d. : That’s up to you to tell us. What do you think ?: P. S. : Well I don’t think so. I have a factory where 46 people work. We enjoy working together. We deliver quality. What are we going to make there ? In the past, only classical products. Nice products, which I enjoyed making, but whose life-span is coming to an obvious end. That’s where you have to find an alternative. The fact that we, almost by sheer luck, came to work with designers, gave us a new breath.

Atelier A1 Interview

Tue, 23 Jan 2007 21:48:00 +0530

Atelier A1 was holding Christmas Sales in December. We payed them a visit and gave them the opportunity to tell us about what they have been doing during 2006 and how they feel about all the rest.

materia.lise.design : So you’re the people behind Atelier A1 : Sylvain Willenz, Elric Petit, Marina Bautier, Diane Steverlinck, Nathalie Dewez. Only Benoît de Neufbourg is missing. And, you’re basically nothing but a bunch of people sharing the same workspace, right?: Marina Bauthier : Exactly.
m.l.d : Right, and Marina, I think you were the one who found the place, and the group started forming little by little from there on.: Marina Bauthier : yes, the five of us came first and Benoît joined a year ago. Sylvain Willenz : I think that’s what can disturb people, that we’re six designers working under the same roof, and that’s where it stops. M. B. : And our priority is our individual work, above all. The dynamic of a shared workspace does lead to us being proposed common projects. But that’s not the goal. Nathalie Dewez : Reactions from the outside are often to ask us what common paths would be. These questions do come up now and then.
m.l.d : And, do you feel there’s a sense of contamination between you, seen the promiscuity?: S. W. : Possibly influences. I mean, positive influence, we share tips, information, experiences. N. D. : And worse experiences too, and by sharing those, everyone learns from it. Elric Petit : But I don’t think it can be felt in our work. S. W. : Everyone keeps his own path, direction and language.
m.l.d. : And when you come up with new projects, I mean, do you criticize each other?: M. B. : It depends. E. P. : Sometimes we dare to, sometimes at our own risks [laughs] M. B. : I think everyone knows when he wants to share with others, in order to have critique. E. P. : And I noticed that when nobody says anything, it’s rather a bad sign. I had put a chair here, and nobody said anything. [laughs] I think when something is looking good, it’s easier to say. N. D. : But it wasn’t ready at all! We didn’t know what it would look like. E. P. : I know, I’m just livening up the debate [laughs] M. B. : But that’s what I mean. We’re so visible to each other already, it’s important that we leave each other develop projects at our own pace, and with our own views. That’s why I wouldn’t comment on something that’s in progress. E. P. : Yes, that’s important indeed. N. D. : It’s good to avoid confrontations, and having to explain everything. Diane Steverlinck [ironically] : We should hold a jury. [laughs]
m.l.d. : Right, so you’re not a collective, but sharing a workspace does seem to have its advantages in terms of visibility. If we think of DesignBrussels for instance : you were invited to show your works together, which wouldn’t have happened had you all been separate.: M. B. : Yes absolutely, as soon as you look for any of use, you immediately get confronted with six designers. N. D. : And if you’re looking for a bunch of designers, you immediately get a selection of six here, with six different works.
m.l.d. : So, what did you show there, I recall Nathalie showed a new lamp, Diane, I think you made a wallpaper, but I don’t think I’ve seen it.: D. S. : It’s the giant notebook hung at the entrance, full of children’s drawings.
m.l.d. : Right, now I see. So it’s more like “paper on the wall”. I was actually expecting real wallpaper. And, Marina, you, designed another lamp, while Sylvain designed a bag a few months ago. And we’re waiting for what Elric will show in the upcoming Big Game collection. Put all together it does feel as if you’re all taking the road to self-edition.: M. B. : Not really, that was actually just for that one project. S. W. : We knew we were going to be able to sell things. M. B. : So some of us that had nothing particular to sell decided to make something new.
m.l.d. : ...that you could manufacture yourself. How many did you actually make, by the way?: M. B. : I made hundred lamps. D. S. : I made ten. Everyone had his own figures [laughs] N. D. : I made close to twenty pieces.
m.l.d. : Marina, hundred !? Fifty of each? Because there were two version, right?: M.B. : Yes, exactly.
m.l.d. : Since we’re coming close to the end of the year, how would you look back on it? How did you like it?: E. P. : let’s see, what was very good… N.D. : The conference by the Bourroullecs! [all agree] It was fun. We should have more of those good quality conferences.
m.l.d. : Yes, and it’s actually strange, because Brussels has loads of conferences on graphic design, architecture,...: E. P. : Yes, I’ve heard about those. Maybe design is the next market for conferences… There was Interieur too this year, which on itself stands for a good year for Belgian design. We had the honor of having Moniek Buckoye inviting us to present some of our works at Interieur, like carpets and Diane’s curtains, which was rather good! S. W. : That’s what I call a good event. It’s all centralized, which gives it more resonance. D. S. : After all, it’s the same foundation that has been organizing it for forty years. M. B. : The Brussels Year of Fashion started off a bit late. N. D. : Yeah, how awkward to start a year in March. S. W. : Everyone wants to have its own little event, and the result isn’t always very strong. I think they could better have joined efforts into one big event. D. S. : They should have centralized everything.
m.l.d. : Has it had an immediate positive effect for you?: M. B. : Not really since we didn’t participate on any of the events associated with the budget. N. D. : There was press, but not necessarily more than other years. M. B. : The attention was more going to the events. N. D.: Maybe we got a bit more attention during the design week than other years. Perhaps not. M. B. : We would have had it even it wasn’t Design Year.
m.l.d. : So how do you experience being designers in Belgium? I know most of you have had experiences in foreign countries, so how do you compare it to Belgium?: M. B. : Things are too shattered. Especially on the French speaking side. There are too many different institutions. But they’re starting to put things together I think.
m.l.d. : So, we should have something like the British Design Council?: M. B. : Sort of, but that’s what they’re trying to put together with WCC-BF. It’s the french community that tries to centralize awex and Wallonie Design. It’s not obvious, since many things exist already. And I think some do good work. The solution is not to do something big from scratch and to stop all the rest. E. P. : The other problem is that there’s nothing for the whole country. M. B. : That’s impossible I think, since it are regionalized competences. I’m not bothered by the fact that there are dutch and french organisations, as long as they’re willing to cooperate. S. W. : And it has happened before, like at Grand-Hornu and Imperfect by Design. M. B. : I don’t think people behind those organisations are reluctant to work together.
m.l.d. : What are you all up too at the moment?: M. B. : I’m getting prepared for Milan. N. D. : So am I, but we’re not going together. We have our own stands. Elric is coming with Big-Game too, on a huge stand…
m.l.d. : ...thanks to Switzerland.: E. P. : Yes, thanks to Switzerland for once. I change my nationality once in a while (laughs).
m.l.d. : And Diane and Sylvain ?: D. S. : I will go but I don’t have a stand. S. W. : No, I won’t be going this year. N. D. : You’re not even going to pay us a visit? S. W. : Of course I will; I’ll go and have a look. But I want to prepare some new projects really well before going again… possibly not before 2008, except maybe if Design Vlaanderen sets up something. But we’re also going with Elric to the Cologne fair in January with Designed in Brussels.

Loudor Design @ M&O Paris

Tue, 23 Jan 2007 01:11:54 +0530

Loudor (also known as Jean François d’Or) is showing an amazing bunch of new things at Maison & Objet Paris, with products for Ligne Roset, Cinna and Interni! He even updated his website. Cool.

101% @ Köln furniture fair

Fri, 19 Jan 2007 19:37:00 +0530

Designed in Brussels is showcasing five designers at IMM Köln. We’re hearing the stand is a real succes. For more information : 101% Designed in Brussels. Other news from Köln here, here, here, here and much much more elsewhere.

Touch, an Urban Interactive Installation

Sat, 06 Jan 2007 16:07:00 +0530

The touch project takes as a starting point Brussels’ 145 m high Dexia Tower, from which 4200 windows can be individually colour-enlightened, by RGB-led bars, turning the façade into a huge screen.

Instead of considering this infrastructure as a flat screen ( surface ) displaying pre-rendered video loops, the project is working on the architectural characteristics of the tower and its urban context. These characteristics of the building; orientation, volume, scale … are used as parameters to set up a spatial, temporal and luminous concept, which further allow people to directly interact with the tower.

On Brussels’ Rogier Place, at the bottom of the tower, a station is mounted where people both individually as collectively can interact with the visual and luminous display ( = the tower ) trough a multi touch screen. Both static ( touch ) as dynamic input ( gesture ) is recognized to generate an elementary graphical language of points, lines and surfaces combined with physical behaviours ( growth, weight, …. ) taking a monochromatic colour palette ( background ) combined with black and white ( graphical elements ).

light design is the design of communication

There are many ways to think about light and design; one of these is to consider light as information : is it on the level of a receiver, transmitter or sender? From this viewpoint and from the term’s we applied to it ― light design is the design of communication.

Already in the year 1999 when working on an enlightening proposal for the Heysel plane, a project called lightscapes (not realised) , we, LAb[au], focused on the spatial and temporal programming of light rather than considering the design of its support such as the design of a streetlight… In this manner we wanted to establish an enlightenment which shapes a dynamic environment evolving and reflecting the usage of space, be it on an individual (interactive) or collective scale.

When working on the urban interactive installation ‘ touch’ similar considerations have been our main focus such as to create a relationship in between the user, the citizens and the tower transforming the perception of the tower as a publicity screen towards an urban art and enlightening project. Therefore the challenge for us was to design participation and identification; that user could get involved with a new urban sign. For this reason we have been setting up an entire communication chain running from the individual interaction with the enlightening of the tower towards sending out a new view of Brussels landscape as greeting card.

Each of these greeting cards is the actual view of a user’s interaction choosing in real-time the color of the tower and animating it with points, lines and surfaces underling the architecture and its characteristics. This abstract and constructivist language of verticals, horizontals, diagonals is for us not only our reductionist and elementary way to design but also the best manner to face the user to the main objective of the project : to create a relationship inbetween the tower, its architecture, the city and the user. No more, no less.

According to this objective we have been looking for the most intuitive way of interaction; wherefore we developed a touch-screen allowing multiple finger inputs at the same time and to make the screen as big as possible so that people actually could get the feeling of touching the tower, and even to interact with other people in the same time. The design and the programming of the interface therefore aimed on the direct transcription of user’s gestures and finger movements to a graphic and dynamic language while sticking to the spatiality of the building.

For the last element, the design of the interactive station, we have been looking for the same temporal and spatial principles as applied to the interface and the entire light design. We opted on the spatial folding of lines incorporating all the different functions we wanted. Each of the three foldings which constitute the station thus is related to a specific function while following the principles of the entire design, desiging light as information on an urban and artistic level.

Bone Furniture by Joris Laarman

Wed, 03 Jan 2007 21:01:00 +0530

It reminds you of Ross Lovegrove but it’s by Joris Laarman, the daring Dutch that likes to give Mies Van Der Rohe headaches in his coffin. We’re definitely going to need a new term for this kind of design : post-digitalism ?

Dexia-Tower goes Interactive

Wed, 03 Jan 2007 20:50:00 +0530

Anyone passing through Brussels at dawn since August has already noticed the amazing work LAb[au] has made at the Dexia Tower. A few days ago it went interactive. How powerful.

UPDATE : read the article

Antwerp to Get a New Bridge

Wed, 03 Jan 2007 20:46:46 +0530

What a delightful christmas present for Antwerp : the release of the architectural project for the Lange Wapper brug . There’s a slightly boring video too.

Henry van de Velde Awards

Sat, 23 Dec 2006 14:58:00 +0530

Design Vlaanderen announced the winners of the awards. Congratulations to M. CARDINAEL & S. GOEMAERE, B. GODERIS, N. EL-ASMAR, H. MEERT, D. MEYLAERTS, A. MONNENS, P. NADIRZADEH, S. SCHÖNING, R. VANDEBEEK, D. WIJNANTS, and S. WILLENZ for their labels; and to T. DESSAUVAGE, J. W. HESPEEL & R. SABBE, the wompany WOLTERS, T. DE VRIEZE and P. DE SMUL for their awards.

The Wolfers dynasty, masters of silver

Wed, 20 Dec 2006 13:57:00 +0530

In 1979, the then Museum voor Sierkunst (museum for ornamental arts), now called ‘Design museum Gent’, dedicated an important exhibition to the work of Philippe Wolfers. The last major retrospective on the Wolfers dynasty in the Bellerive Museum in Zurich dates back to 1993. Today, more than ten years later, the research on the Wolfers company, originally a silverware producer, has made significant progress. Using the Wolfers archive, Werner Adriaenssens and Raf Steel have been conducting a thorough and critical study with great scientific zeal, and now the time is right to set up another exhibition. The exhibition will provide an overview of the diverse products by the renowned Brussels house from the period between 1850-1858.

Powder compact "La Reine de Saba"
Marcel Wolfers
Ivory, lacquer, carneole, gold leaf
1928
Private collection.

Samovar "Jeanine"
Marcel Wolfers
Silver, rosewood
Ca. 1925-1926
Private collection.

Small vase "Plumes de Paon"
Philippe Wolfers
Enamelled copper, silver, mother-of-pearl
1899
Private collection.

Jug "Pivoines"
Philippe Wolfers
Silver
Ca. 1895
Private collection.

The Wolfers firm won acclaim in particular thanks to the artistic accomplishments of Philippe. Accordingly, his work will play a leading role in the exhibition. However, the Wolfers house is much more than that. The Wolfers firm was established by Louis Wolfers in Brussels in 1850. The shop almost exclusively created silverware. Mainly due to the efforts of his three sons, Philippe, Max and Robert and their cousin Albert Wolfers, the business grew to be one of the most important European players in the field of silverware and jewellery production around 1900. The international accomplishments were made possible only thanks to a very well thought-out company structure, in which each of the family members was assigned a well-defined task. Philippe set the artistic course, Max explored the market and maintained business relations, Robert mainly took care of the improvement of production capacity and Albert was responsible for general management for the most part.

Generally, Philippe Wolfers (1858-1929) is considered to be part of the select group of renowned artists such as Victor Horta, Henry van de Velde, Paul Hankar and Gustave Serrurier-Bovy. They were the ones who gave Belgian art nouveau its identity. His work is found in the most important Belgian museums, but the artist is held in high esteem all over the world. Philippe Wolfers is generally known to be the designer of imaginative and unique art nouveau jewellery and objects. However, he would have never been able to truly develop were it not for the company structure, which kept the firm running like a well-oiled machine. The reason his name went down in history is only because he presented himself as the author of remarkable artistic feats, but the behind-the-scenes efforts of Max, Robert and Albert were still of paramount importance.

The common thread throughout the exhibition is the Wolfers firm history, with some important accents such as the interwovenness of Philippe’s work and that of his son, Marcel. The company history is presented starting with its foundation in 1850 up until the Brussels 1958 world fair. Even though Wolfers existed as a firm until 1975, the exhibit composers saw no point in presenting this later part of the company history as well. After all, from 1958 on, the commercial and artistic leadership were passed on to third parties.

Some of the featured aspects

In five years’ time, the Wolfers workshop, founded in 1850, evolved from a one-man business owned by Louis to one of the most important silverware shops in Belgium. The sons were prepared for their later careers within the company.

In 1885, Louis Wolfers makes his son Philippe a partner. Louis Wolfers Père et Fils (I) is born, and the shop develops artistically thanks to Philippe’s efforts. Under Isidore De Rudder’s wing, Philippe becomes the star designer and heads the industrial enterprise. Stylistically, a Wolfers style develops in its own right. Starting from Japanism and neo-rococo, art nouveau is gradually emerging.

As of 1897, the Wolfers house and Philippe Wolfers are international icons. The firm expands dramatically. A new store and new workshops are opened and Wolfers Frères diversifies its product range. The jewellery created by Philippe particularly catches the eye of many, and he is even referred to as the Belgian René Lalique. Their presence at several international exhibitions does not go by unnoticed. In 1907, Philippe stops his jewellery production and devotes himself to sculpture. The firm is going through some rocky times in which turnover is more important than innovation. After the first world war, Philippe Wolfers sets out in search of this innovation, and makes a brilliant comeback to the international art scene in 1925 by participating in the international exhibition for ornamental arts in Paris as part of the legendary Gioconda ensemble. Little by little, Marcel Wolfers takes the front stage. Ever since his childhood, he has been inspired by his father’s quest for innovation. However, he does not immediately enter the company as an artistic worker, but as an independent artist. He develops a career as a sculptor. During the 1920s, he evolves into a fully fledged lacquerwork artist.

Philippe’s death in 1929 leaves a void in the artistic department which is eventually filled by Omer de Waegh. The firm slowly evolves from prudent innovation to classic modernism, which culminates in the centrepiece Les Travaux d’Hercule that was on display at the 1937 Paris world fair. The firm’s swan song was the 1958 prestige piece Ondine, which was a show stopper in the Brussels world fair pavilion.

These stories illustrate how Philippe Wolfers’s personal work and the company’s commercial production were intertwined. Philippe’s
prestigious designs were realised by the firm and exhibited at important art exhibitions. This allowed him to become an esteemed artist. He succeeded in linking his name to the notoriety the firm needed for commercial reasons.
This placed him among the great creative geniuses of Belgian ornamental arts.

Besides major works, which are loaned by the important museums by way of exception, the exhibition has a large number of never before displayed works from a great many private collections.

Bois & Habitat competition

Wed, 20 Dec 2006 13:16:55 +0530

Bois & Habitat is holding a design competion. Submit creations in wood before february 20.

Danny Venlet earns iF award

Thu, 14 Dec 2006 02:29:00 +0530

Congratulations to Danny Venlet and Viteo ; who won a iF product design award, with their new product “shower”.

Christmas in the streets of Belgium

Tue, 12 Dec 2006 23:57:00 +0530

Merry Christmas everyone! If you’ve seen interesting christmas decoration in your town, don’t forget to take pictures and to send them to promateria [at] skynet [dot] be. Thanks!

Brussels (centrum)

Slight dissapointment for the Grand'place this year. Last year, we had huge flickering flying balloons. And now, nothing! But a much nicer tree. The light and sound show still is very well done, with a climax of blown bubbles and light-effects that manage to fake snow extremely well. Makes you wonder if we're going to see any real snow any time soon!

The Galleries St Hubert are full of color-changing "no fruit" lamps by Dark.

Place Ste Catherine is dedicated to Tallinn (Estonia) this year. It also has a gor-geous carroussel. By the way, if you still haven't decided on where to go for christmas, seriously consider Tallinn : it's a real Disneyland, but way cheaper.

One of our favorites, rue des Chartreux. Big lightened balloons move with the wind.

Place St-Gery goes very China Town this year. Also notewothy are the circle neons the Mappa Mundo hung on its windows. Quite original.

Place du Marché aux Poissons. Nothing too fancy but loads of small shops and a nice crowd.

De Plussenburgh

Mon, 11 Dec 2006 18:24:31 +0530

Believe it or not, but De Plussenburgh is a new retirement house in the Netherlands. And a very funky at that. The architects consider that today’s retirement houses should be designed for Mick Jagger and Tina Turner. Makes you want to turn old.

A Quarter Past Six

Sat, 09 Dec 2006 02:19:49 +0530

Yes, it’s a clock. Well, no, a “Klok”, actually. By the young French Grégoir Vandenbussche.

"Lampe" by Marina Bautier

Thu, 07 Dec 2006 18:42:00 +0530

Limited series of 100 pieces by lamaisondemarina. Available in two versions, one leaning against the wall, and one to mount to a table or shelf. Materials: oak & paper. Beautifully simple.

Giampaolo Babetto : Jewellery and Furniture

Mon, 04 Dec 2006 02:39:00 +0530

Design Vlaanderen is holding an exhibition of one of the masters of contemporary Italian jewellery, Giampaolo Babetto, until december 10. We met with Giampaolo during the opening-night of the exhibition.

Dailymotion blogged video

materia.lise.design : Hi Giampaolo Babetto. You are coming from Padova in Italy and you are with us tonight for the opening of a major touring exhibition at the gallery of Design Flanders in Brussels. What attracts you in our Belgian capital city?: Giampaolo Babetto : Brussels is a city I really like. It needs time to appreciate it. Before I could not understand its urban developments but I have discovered there beautiful people and places. There are some small villages in the town, I really like this particular atmosphere.
m.l.d. : In your work, you are working on silversmithing, jewellery and furniture (Pastoe, NL). What is linking all those fields? Is there a common formal dimension or a need for interdisciplinarity?: G. B. : My central work is jewellery. I have started by working on jewels before drawing furniture. I only tried to design a table with colors and lines, without any particular ambition, for a friend, actually!
m.l.d. : Do you feel that, in a way, you are part of a kind of Italian design-led crafts tradition?: G. B. : Yes, in fact, there is a long and identifiable tradition for design in Italy. When the responsible for Pastoe, a well-known Dutch design company saw my tables, which were exhibited in a gallery in Milan, he ordered me one special model for his brand.
m.l.d. : You are sometimes refered to as the master of the school of Padova, especially in jewellery. What does it mean for you, do you feel belonging to a kind of movement or so-called school?: G. B. : The School of Padova only means a way to design jewellery and it is not exactly related to a particular high level training programme like in Pforzheim (Germany). There is in fact a regional tradition and a feeling that Padova has developed itself as a center for contemporary jewellers.
m.l.d. : Compared to a school or an academy, do you feel that there is a different conception of the jewel in Padova in terms of contemporary visions and meanings than elsewhere?: G. B. : The Padova School is not an academic course. It cannot be compared to the one in Pforzheim in Germany, for instance, which is including much more theory in parallel to the practice. It is a shame that in Italy, we have not been able to create such level of intensive training. It could be much more attractive for the young people willing to go into this field of contemporary jewellery design.
m.l.d. : We have also faced this progressive disappearance of schools in Belgium and with the Bologna convention, there will certainly be more effects than expected. In Flanders, we are keeping a tradition for contemporary jewellery, but less in Brussels, where we had only be able to keep the Arts and Crafts Institute with professional courses. There is therefore a real problem of transfer of know-how and knowledge to the young professionals. Having traveled a lot in Germany, Austria and the United States, as an invited guest and professor, what has been your most exciting and constructive experience abroad?: G. B. : I have always worked the same way. I am not changing my methodology in Italy or abroad. I look for working as free as possible, following the tradition. I try to deliver the beauty of the Middle Ages and the Renaissance periods in a contemporary language without being perceived as ‘old fashion’. There are no worst or best schools. When I enter a particular course, I always work following my personal concepts and vision. I will not try to adapt, but to give a lot I know to my audience and pupils in the workshop.
m.l.d. : What time value do you invest in a jewel? I had the privilege to wear one of your necklace at your exhibition at the Nardini’s Bolle built by M. Fuksas two years ago. Wearing it made me feel the weight of the material (gold) and also the deep meaning of the jewel towards the body and soul. Who are your clients collecting and buying your creations?: G.B. : I try for create jewels, not utopias. Most of my clients are architects and art amateurs and collectors.
m.l.d. : Do they wear them?: G. B. : Yes, of course. They are normally buying more than one piece, becoming progressively addicted to my work. At the beginning, the buying process starts slowly, but after trying the jewels on, it is quite easy to seduce them into becoming collectors.
m.l.d. : I was impressed to see all the women collecting your jewels who were attending your exhibition opening at the Nardini’s Bolle. You are becoming yourself a kind of ‘brand’ and label of quality. Do you have a good relationship to your clients?: G. B. : Yes, many of my clients have become friends. It is always the case knowing that a jewel is an intimate, precious and valued object.
m.l.d. : This client’s relationship is rarely seen when talking about industrial design and designers. It is certainly unique to the world of collectors. Within the exhibited jewels, I see that you are introducing some Plexiglas or other contemporary materials. Is it a personal and radical choice?: G. B. : In an exhibition, I like to mix past and present. When I look more objectively at my work, all my pieces have the same value, there is no difference between the jewels. I know the experience, why I did create each piece and which process there have been following. Sometimes, I create new things, sometimes I go back to the antique or I gather both in one piece.
m.l.d. : How do you introduce and value color in your work?: G. B. : It has spontaneously come out. I was only working with gold and metal and I was keen to explore and explode jewels with colors. Adding colors does not mean transparency but opacity, structure and surface. There are true colors: real pigments. Colors are introduced for destroying the form and avoiding rigidity. There is a structured aspect… to be compared to the sky (cielo). I try to bring poetry into the objects. I still and always seek further…

Interview at Design Flanders, Brussels, Lise Coirier, 9 November 2006, 8 pm. Video: Guillaume Bokiau

Truthful & Easy – The new virtues in design

Sun, 03 Dec 2006 19:33:00 +0530

In this article we are going to take a look at design and marketing concepts, which enable us to orientate ourselves more easily through the complex jungle of options, alternatives and multi-functionality. In our daily life it is often no longer possible to filter out the essential information we actually want or require – because of the flood of options and cross-connections on offer. Terms like simplification, transparency, clarity, understandability and authenticity are increasingly forming the central issue for new concepts – not only in the product world and customer services, but also for all spheres of communication.

Just some facts we have researched when preparing the EASY Issue of PERCEPTIONS, to underline the long-term relevance of what we call the EASY concept in design and marketing.

News/Media

Marcos Weskamp's NewsMap

Information design is now more important than ever. It is needed to allow readers and viewers to specifically find the information that is relevant to them within the media noise.

For a more visual representation of news for instance, Marcos Weskamp has developed the NewsMap, a graphic page of the most important headlines in news, business, sports, entertainment and health. Each section is colour-coded, with more recent stories appearing in brighter tones, while the bigger a story is, the bigger it appears on the page, giving users a one-glance picture of the key stories around the world.

Web 2.0

wikipedia.org; the collaborative encyclopedia based on the "wiki" concept

The current buzzword in the tech world is Web 2.0. – the idea that the internet is now returning to its original democratic ideal. The open-sourcing model, which allows users to contribute ideas to the development of computer programmes, is now being applied outside of the technology sector. One of the most successful examples of this is Wikipedia, the online encyclopaedia made up entirely of contributions from the public.

Community mapping

Zune, the iPod-rival from Microsoft, lets you share music with other zune through wifi

The fast-growing technologies of interactive mapping and open-sourcing could allow communities to come closer together through such everyday gadgets as mobile phones and PDAs.
Futurologists are predicting that the technology could be developed to create programmes that can map when friends are nearby, or can send locals’ opinions on a new restaurant for instance, direct to your phone.

Self-build

The growing trend for self building illustrates, that more and more people want to create homes that are entirely individual. Pre-fab houses are gaining popularity for their combination of flexibility and ease of construction.

Slowing down

The slow movement has been gaining ground in recent years, as people are realising the need to stop and appreciate the world around them. Slow Food is perhaps the best-known area of the movement. Citta Slow, inspired by the Slow movement, aims to create an environment where people can resist living by the clock. Shops are closed there on Thursdays and Saturdays to guard against overwork.

Clean and simple

one cable only, a familiar and emotonialy-loaded shape, 5 buttons : the 8-inch LCD television-set by +/- 0

Faced with multi-button gadgets and too many remote controls, leading edge consumers are reaching instead for pared-down, elegant technology design that can serve all their needs, but with a simple interface. As an example, Japanese brand Muji is gaining popularity among the new generation of post-minimalists, while its designs (like the wall-mounted CD player) have garnered awards worldwide for design and functionality. And Tokyo’s PlusMinusZero is leading the market in luxurious, but minimalist technology designs.

Navigation

Clear, stylish navigation is a newly important focus in our media-saturated towns. Retailers are leading the way by introducing super-sized imagery and explanatory graphics.

Bold arrows, colour-coding and sector logos can all make the shopping experience clearer and more enjoyable.

Repairing, not replacing

"Hey chair… be a bookshelf" by Maarten Baas

A growing group of consumers are rejecting the modern throwaway attitude to products by giving them new life once they are no longer useful. Ebay, with 114m users worldwide, and over 25m items for sale, has become one of the biggest markets for buying and selling second-hand goods. In contrast to eBay, Freecycle encourages members to exchange used goods for free.

At last year’s Milan Furniture Fair Dutch designer Maarten Baas showed a range of furniture called “Hey Chair, be a Bookshelf”.

The all-knowing consumer

a screenshot of pricefight.com, the latest of price-comparaison sites

Thanks to the internet, consumers can now find out almost everything about the companies they buy from and the products they buy before they go shopping. Many consumers research their goods online before they set their foot in a store. Almost two in five (36%) Internet users now visit price comparison sites.

Service and knowledge

Consumers now expect good service as standard to make shopping as easy as possible. With consumers more confident than ever before, they are happy to vote with their wallets if service is not up to scratch: a recent pan-European survey by Kurt Salmon Associates suggested that 21% of consumers leave shops empty-handed because of poor service. Electrical and hardware stores increasingly insist that their salespeople have inside-out knowledge of the products as standard. The Genius Bar at Apple stores is proving a major draw for new and existing customers – sitting down in a relaxed atmosphere, receiving information or even trying out the products.

These were just some facts as examples to underline the concept which we have developed for the new EASY Issue of PERCEPTIONS.

These facts also make clear, that the EASY concept has nothing to do with another re-interpretation of the phrase „less is more�? – as seen in the 90s. Simplification does not equal mere reduction.
On the contrary: comprehensibility, easy-handling and clearly obvious functions require an optimum rapport between technical perfection and human needs.

As in past editions, also the EASY Issue provides yet again a wide spectrum of ideas, tools and components, techniques, methods and metaphors which can be utilized simultaneously – aided by the various multi-sensory and interconnected levels inherent to PERCEPTIONS.

Each colour, every photograph, each film, every sound and fragrance, the ideas and reflections about eating and drinking and even the material samples on the displays, are intended to stimulate and encourage creativity.

Here are some examples which illustrate the direct relations between the zeitgeist interpretations, and the colours and materials we have developed and selected.

USE – The Sovereignty of Function.

How important is the function of a product – compared to its other attributes? An analysis of the immediate interface between aesthetics and utility.

plain and delicate surfaces
refined structures
lightness and stability
milky translucence
clean, tactile, distinctive
technical textiles
special treatments (anti-bacterial, anti-flammable, lotus effect …)
compact foams and plastics

The colour palette shows analogies to the material colours. The overall material and colour mood is characterized by cool, a bit technical and clean and surfaces, which even become more beautiful and distinctive after long-term use.

FORM – The Emancipation of Character.

The central issues here are the practical, representative, semantic and general aesthetic aspects required for developing shapes, forms, surfaces and decoration.

smooth and semi-glossy surfaces
second skin, coatings and coverings
opaque versus transparent
matt versus shiny
plain and stable
structured surfaces (grainy, embossed, engraved, laser modified …)
compressed granules
soft touch
sculptural memory

A delightful tension between natural elegance and man-made perfection, strength and sculptural memory, generous surface and micro detailing, shape and detail.

LINK – The Freedom of Interaction.

How can we make non-verbal communication between the user and the product easier? The interface is the gateway between functionality and usefulness, the relationship between rationality and intuition.

alienated surfaces
fibrous look
thread layering
open construction
clear material message
repetitive patterns
heat sensitive
reflective or absorbent (light, heat …)
heat and light sensitive membranes
even fake materials are honest
glamorous shimmer
mysterious glow

Materials which seem to transport messages, between static and adaptable, characterizing the product appearance, supporting the product interface.

KEEP – The Sense of Evolution.

The balance between status and innovation, the past and the future, man and technology, resources and consumerism, authenticity and modernity… industrial strategies concerned with sustaining the quality of life.

conserved natural fragments
framed materials: light but stable
laminates and agglomerates
encrusting, collage, assemblage
surprising applications (i.e. fabrics made from paper or steel)
optimally specialized
imperfect beauty
irregular surfaces

A natural but clean appearance, no high-tech without human touch, warm and sympathetic, calculated imperfectness.

PULSE – The Spirit of Energy.

A discourse about immaterial design criteria. The charisma of products, creating emotions with shape and form, surface, fragrance, touch and sound. Using associations as rational and emotional bridges between the product and the user.

illusionistic, glamorous
ambivalent, eclectic, electrifying
magic materials with an aura
shimmering and gleaming
crystalline structures
playing with light and special effects
kaleidoscopic textures
surprising optical illusions
unexpected touch

Don’t be afraid of eclecticism! A magic and capturing material atmosphere, well-calculated contrasts, flattering harmonies, touching our souls.