DOCSLIB.ORG

Droog Design Is Overr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Droog Design Is Overr Text Annemiek van Grondel — Photography Ilco Kemmere Gijs He could be called one of the godfathers of Dutch Design Bakker and certainly the one who put Dutch Design on the map. Gijs Bakker (1942), co-founder of Droog Design, is levelheaded F08r about it all. Last year he left the ever-successful design plat- form after 15 years. Time for a new creative chapter. ‘Life is marvellous. I don’t want that to be ruined by something that is obsolete.’ Droog Design is Overr 18 19 with a myriad of bulbs. A bookcase Arts Abroad in, Amsterdam) as well Dutch furniture salesmen,’ as Bakker A career in chapters he has been head of the department from the Memphis collection that as his collaboration projects. puts it. Dutch design didn’t “exist” In spite of the diversity of his activi- of Masters of IM at the Design would later become an icon… The His first collaboration was with after all. But fate had something else ties – design, teaching, lecturing, Academy in Eindhoven, a study audacity! Fantastic! That kind of his wife, Emmy van Leersum, whom in mind. With the arrival of Andrea organizing exhibitions – Gijs programme that also has a strong shock stays with you forever.’ he met in the early sixties at the Branzi – a group of young designers Bakker’s life is divided into clear-cut impact on Dutch Design and for He sighs. The exhibition meant Rietveld Academy in Amsterdam, and press people in his wake – the chapters of 15 years. Admittedly, which there is fierce competition a turning point for Gijs Bakker, where they both studied jewellery exposition gained attention. The last they run more of less parallel to each from students from all over the conceptual artist and designer, and design. Their conceptual outlook three days there was quite a rush. other, but it is remarkable nonethe- world. ‘A lot is happening here, a cautious prelude to Droog Design, and raising the fundamental level of less: this marriage to Emmy van especially in the field of research. the design platform he would later jewellery design made G+E (Gijs Leersum; the period of time he was The market is changing; it demands start with Renny Ramakers. Droog and Emmy) pioneers. Bakker: ‘We busy with Droog Design; the work- more from designers than just a Design is everything the cutting edge were very different. She was ing relationship and romance he had product,’ he explains. ‘This can limit of that time, Italian design by Studio functional and analytical in the with Italian gallery owner Marijke them, but it can also simulate and Alchimia and Memphis Group, step-by-step development of ideas, Vallanzasca, with whom he started inspire. The majority of the foreign wasn’t: a return to the idea, the whereas I have a more intuitive the successful jewellery label Chi ha designers we’ve attracted, both in concept, averse from unnecessary approach. An excellent WH\YH&PU /LPZJ\YYLU[S` Eindhoven and at Droog, have decoration and exaggeration, but combination.’ working on a long-term project in stayed in the Netherlands, because ‘Vienna, 1980. My wife, my son, and with an emphasis on originality and Van Leersum passed away in Taiwan. At the request of the they’ve found a cultural and eco- I were visiting a jewellery sympo- reclamation, all with a touch of irony. 1984, when their son Aldo, now also Taiwanese Craft Research and nomic climate here that is without sium there. There were posters in all It was a new style that set off a shock a designer, was 13 years old. Bakker Development Institute, he is develop- equal anywhere in the world. For the the trams with the slogan: “Design is wave in 1993 at the Salone in Milan, is keeping her legacy alive. ‘Last Within a few years Droog Design as ing a native design culture for the arts, this has traditionally meant that unsichtbar”. They were referring to similar to the one Memphis caused year I organized a retrospective of a brand put the Netherlands on the Taiwanese craft-industry, together the government has found it its an exposition in Linz. We visited it at this Forum Design exhibition in our work and placed a series of map, with its razor-shape sense of with 17 young Taiwanese designers. mission to instruct the masses and on the way back. An enormous Linz. sixteen aluminium bracelets, all the spirit of the times and its selec- Could this be an indication of what is impart culture to them. Graphic white tent on the bank of the Donau, slightly different, in a display case,’ tion and later in-house production of to come for the next 15 years? design and architecture flourished in crammed with design in the broad- Intuition Bakker says. ‘It felt as if she was unconventional, conceptual work the 1920s and ‘30s, thanks to the est sense of the word; post-modern Bakker is characterized by a curious looking over my shoulder and with a interpretive twist. And done active part the government played architecture, car design, perform- mixture of level-headedness and knowingly whispering: “Shouldn’t by a new generation that gave as patron. But product design was ance art, fashion, visual arts… One absent-mindedness. These elements you turn that bracelet the other way renewed meaning to design with ‘Design is still all not yet of importance. Up until the section with design pieces by Ettore come back again and again, both in around?” ‘ clever use of combinations and about flexibility and ZHUKZP[^HZZLLUHZUV[OPUN Sottsass. Carpet made up of classic his personality and in his work. He recycling. World-famous designers more than embellishment, strictly for parquet flooring, finished with a approaches life with an almost Droog Design like Richard Hutten, Marcel an open mind, just marketing but without further chrome-plated steel border and childlike curiosity, despite his vast A second important collaboration Wanders, Jurgen Bey, and Hella like in the sixties.‘ purpose.’ placed under insipid Formica chairs experience and all but encyclopae- was with art historian and design Jongerius all started out with Droog. in the most varied patterns. A lamp dic knowledge of art and design. His critic Renny Ramakers. High-profile Bakker now considers Droog home-cum-studio, a canal-side projects and exhibitions led their Design’s current position as less The differences between the house purchased from another design platform Droog Design to influential. Last June, he decided to Northern European and Asian views Dutch design celebrity, Benno become the driving force behind the withdraw from the fifteen-year of design fascinate him immensely. Premsela, is a striking example of the movement that later became interna- collaboration with Ramakers, to the Here, as with Droog Design and at Gijs Bakker diversity of his interests: a jumble of tionally synonymous with Dutch dismay of many. the Design Academy, he comes into (1942, Amersfoort) styles, all tastefully arranged. design. Bakker and Ramakers With the opening of a prestig- contact with global thinking, some- ‘Benno had a fantastic, free, and decided on collaboration during a ious store in New York, he came to thing that has little to do with r LHYS`Z9PL[]LSK(JHKLT`HUK Konstfack Skolen, Stockholm open spirit!’, he calls from the kitchen group exhibition in pop temple believe commercial considerations bringing Dutch character to r JVSSHIVYH[PVU^P[O,TT`]HU with enthusiasm. ‘In the eighties he Paradiso in Amsterdam. An upstairs would push content further into the Taiwanese design. What does it 3LLYZ\T THYYPHNL had a kind of home-gallery in this gallery, on a regular Sunday background. involve? A conceptual approach. Or r +YVVN+LZPNU^P[OKLZPNUJYP[PJ and historian Renny Ramakers room. Look at the cotton carpet you afternoon, in early ‘93. Bakker was The designer is glad it is behind rather, as Bakker puts it: ‘conceptual Think global r *OPOHWH\YH&^P[O4HYPQRL are sitting on. That was revolution- one of the exhibitors, Ramakers him. ‘I am working on a lot of new design in context.’ Here the context Bakker was one of the first in the Vallanzasca ary in those days!’ organized the event. projects. Life is fantastic. I don’t want is Taiwanese culture. His findings are Netherlands to realize that differ- r +LZPNUMYVTQL^LSSLY`PU[LYPVYZ furniture, household appliances and Besides being a designer, ‘It was snowing and it was cold, that to be ruined by something that is being presented in the Triennale in ences between art, design, and items, to public spaces and exhibi- tions. For Polaroid, Artifort, VKB and Bakker is also a cultural entrepre- but all of Amsterdam was there,’ obsolete. Droog Design is over. Milan, under the label yii (see page other disciplines could be done Eno Studio, among others. His work is neur and mentor. He was and is a Bakker recounts. ‘The time was ripe, Something receives attention for …), featuring products made of away with. And besides pioneer, he collected throughout the world and has received many awards since decisive influence on the interna- responses were good. I was plan- some ten years and then is irrevoca- bamboo, porcelain, and even brick, was also an advocate of “the [OLSHZ[VM^OPJO^HZ[OL)LUUV Premsela Award in 2007, for his work tional promotion of Dutch design, ning on focussing public attention on bly surpassed by the next idea. a material that the Dutch brought to concept”. To say that he, as teacher at Droog Design. though both his designs (jewellery, some former students in a shop/ That’s fine; it gives young people Taiwan in the seventeenth century.
Load more

Recommended publications
  • Skultuna-Home-Accessories-SS-18
    SKULTUNA 1607 - THE ANCIENT TRADITION OF MODERNITY For over 400 years the lustre of Skultuna brass has illuminated the world. With classic designs from the time of our found- er King Karl IX of Sweden, as well as with ground breaking antiquities of tomorrow by leading international designers like GamFratesi, Lara Bohinc, Luca Nichetto, Monica Förster, Richard Hutten and Claesson Koivisto Rune to name a few. And herein lies the formula to why today Skultuna can be found at leading department stores all around the world, has won a number of international design awards and regularly exhibits at the leading international design fairs - we have always been, and will always be, one part traditional craftsmanship and one part modernity. The result can be seen in the following pages and at skultuna.com THE DESIGNER In the latest few years I developed a series of everyday objects for Skultuna, which are openly informed by the modern Italian design legacy; by merging this cultural heritage with that of the prestigious Swedish design company, I tried to high- light diversity, dialogue and exchange as key elements for the definition of a truly contemporary material culture. I’m writing this text from Milan. Other designers are probably doing the same from other cities around Europe. Skilled craftsmen are then working with our objects at the historic factory in Skultuna, while probably someone from the other side of the world is purchasing these objects on the web. We have elements to think that this amazing collaborative and multi-disciplinary network will continue to evolve, spreading Skultuna history and tradition to an even broader audience, hopefully passing its knowledge to future generations.
    [Show full text]
  • Press Release Pioneers of Change Governors Island
    PIONEERS GOVERNORS ISLAND OF CHANGE NEW YORK PRESS SEPTEMBER 11-- 13 / RELEASE SEPTEMBER 18-- 20 Press Release Pioneers of Change will include the participation of leading designers from Amsterdam, August 17, 2009 fashion, design and architecture, such as: 2012 Architecten, Atelier NL, Maarten Baas, Franck Bragigand, Droog with Marije Vogelzang, Herman Pioneers of Change, a festival of Dutch design, fashion and Verkerk, Rianne Makkink and Hansje van Halem, Experimental Jetset, architecture on New York’s Governors Island to celebrate a 400-year Pascale Gatzen, Christien Meindertsma, MVRDV and The Why Factory with Dutch-American friendship. Work Architecture Company, Painted, Erwin Driessens and Maria Verstappen, Arthur Elsenaar & Taconis Stolk, Parsons The New School for Design, Conceived and curated by Renny Ramakers, co-founder and director of Droog, Platform 21, Marcel Schmalgemeijer, NL Architects and Michael Schoner, as part of the NY400 week celebrations, commemorating the 400th anniversary Richard Hutten, Atelier van Lieschout, and Chris Kabel. of the arrival of the Dutch to New York. Please see the program document for more detailed information. Pioneers of Change highlights a more responsible and sustainable approach to living by celebrating the blurring of low- and high-brow, establishing new collaborations, encouraging involvement, emphasizing sustainability and valuing handcraft and the local context. Over the course of two long weekends from September 11 through September Pioneers of Change was initiated by Han Bakker under
    [Show full text]
  • Jaarverslag 2019 Voorwoord
    JAARVERSLAG 2019 VOORWOORD Een jaar vol opwinding Het afgelopen jaar was voor Design Museum Den Bosch een De grote tentoonstelling Design van het Derde Rijk opende net periode vol opwinding en nieuwe ervaringen. Natuurlijk wordt na de zomer en riep al bij de eerste aankondiging de nodige onze terugblik bepaald door alles wat we meemaakten met de reacties in de pers op zodat deze daarna voortdurend nieuws en tentoonstelling Design van het Derde Rijk. Maar laten we bij het dus publiciteit genereerde. Gedurende de zomer bereidde het begin van het jaar beginnen. De tentoonstelling Jean Cocteau - museum zich voor op een grote toeloop en nam maatregelen op Metamorphosis die in het najaar van 2018 verwachtingsvol aan- het gebied van veiligheid en publieksontvangst, onder meer door ving, liep nog geruime tijd door in 2019 en de bezoekersaantallen een intensief educatief programma. De gevoeligheid van het on- groeiden per week. Dit was voor het museum de bevestiging dat derwerp bracht met zich mee dat, zeker naarmate de openings- het werk van modern klassieke kunstenaars en ontwerpers uit datum naderde, sprake was van fikse publieke discussies. De onze collectie op grote belangstelling kan rekenen, zeker als het aanvankelijke commotie waaide echter snel over, toen de eerste bekeken wordt vanuit een hedendaags en verfrist perspectief. bezoekers de tentoonstelling hadden bekeken, en sloeg meteen om in grote waardering. De internationale pers sprak zich en Het museum kiest er steeds nadrukkelijker voor om ook op de masse positief over de tentoonstelling uit en onze verwachtingen kleinere, tweede verdieping tentoonstellingen met ambitie te over de publieke belangstelling moesten per dag naar boven programmeren.
    [Show full text]
  • A Chair to Look to the Moon What We Can Learn from Irrational Design History for Contemporary Design Practice
    Paper draft – for DesignIX conference in Berlin, 15-17 februari. Version 10 November 2008 A chair to look to the moon What we can learn from irrational design history for contemporary design practice. Introduction The focus of product design is shifting from primarily offering functionality, towards experience and emotion driven product characteristics (Green, 2002). According to the theory of product phases (Eger, 2007), products will end in a phase characterized by individualization or awareness. Where the affective, emotional and abstract product values, become more and more important (Desmet, 2002; Norman, 2004). Individualization and awareness are, not accidently, also high up in Maslow’s hierarchy of needs. Different authors have different ideas about how to implement this emotion and affection in product design. Some of them even argue that affectivity is not influenced by the design at all, but only through the meaning that the user attaches to the product (Csikszentmihalyi, 1991/2007). That this idea is not new, or even from the last decades, is illustrated by a Chinese chair design dating from the Ming-period (illustration 1). This chair type is referred to as a ‘chair to look to the moon’ instead of as a ‘reclining chair’. In this way the chair is defined by the thing that you have to do with it, rather than by its functioning. And with this title the design opens up a whole of poetic associations like quiet nights on a veranda, clear skies, twinkling stars or even howling werewolves. By dreaming away with these associations you might even forget that the chair is actually not very comfortable.
    [Show full text]
  • WET-Ecopixel-2021.Pdf
    WET / ecopixel SEPTEMBER 2021 ECOPIXEL SUSTAINABLE MATERIAL MADE IN ITALY Image from products ALEX chaise longue, designed by Alessandro Mendini at the Rossana Ordalndi Gallery / Milan. 1 WET / ecopixel SEPTEMBER 2021 PROFILE ECOPIXEL is made up of professionals with 20 years of experience in the plastic industry and more than 5 years of research and development in the recycled plastic field. ECOPIXEL is a manufacturing company that recycles mono-polymer plastic typol- ogy, made from 100% shredded waste material. The material is usually made with industrial thermoplastic waste but more and more also with collected material from any other field including household-waste. Recycling a mono-polymer means the material can be melted and re-melted an infinite number of times resulting in a forever circular material and creating this way a true “cycle” in material-use. As long as a material stays “clean” (read mono-polymer) it can be transformed at the exact temperature of the polymer involved and so, the material will never “burn” and deteriorate. Keeping polymers separate is thinking also about what happens after the recycled cycle. With ECOP- ECOPIXEL Developed by IXEL, after you, someone else will be able to recycle what you have recycled, so Claudio Milioto and Jan Puylaert never again new extraction of raw materials will be needed. 100% made in Italy production. © 2021 ECOPIXEL wants to promote the idea of NEVER mixing different plastic-waste-ma- Communications terials so to keep the plastics “clean” and ready for reuse also after each prod- Mariandrea Zambrano uct-lifecycle. Apart from producing products in ECOPIXEL for other companies, [email protected] | ECOPIXEL also exists as a design-label that promotes their own designs.
    [Show full text]
  • 141201 Bio and CV Hella Jongerius
    Hella Jongerius Short bio Hella Jongerius studied Industrial Design at the Eindhoven Design Academy and graduated in 1993. She came to prominence very soon after graduating, with a series of her designs being produced by the influential Dutch conceptual design collective Droog Design. She started her own design company, Jongeriuslab, in 1993 in Rotterdam, and in 2009 moved to Berlin. She works for many prestigious clients, including KLM, Vitra, Maharam, Royal Tichelaar Makkum, Artek and Nymphenburg, and her work is held in the collections of MoMA New York, Museum Boijmans Van Beuningen in Rotterdam, the Stedelijk Museum in Amsterdam, and the Design Museum in London, amongst many others. Jongerius designs a range of products, including furniture, lighting, glassware, ceramics, and textiles. Her work combines the traditional with the contemporary, the newest technologies with age-old craft techniques. Jongerius is also fascinated by the value of deviations from perfection, the misfits, the individual character that products can assume. In most of her products, she succeeds in creating this individual character by including craft elements in the industrial production process. As an art director for Vitra and Danskina, she defines an over all concept for the colours and materials of classic and contemporary design. ‘I like to give the classics a new energy. It is an honour to take care of our heritage’. CV born 1963 in De Meern, The Netherlands 1988–1993 Academy for Industrial Design (Eindhoven, the Netherlands) 1993 Starts with design studio
    [Show full text]
  • 1 Hella Jongerius Hella Jongerius
    Hella Jongerius Hella Jongerius’ (1963, the Netherlands) work combines the traditional with the contemporary, the newest technologies with age-old craft techniques. She aims to create products with individual character by including craft elements in the industrial production process. Jongerius sees her work as part of a never- ending process, and the same is essentially true of all Jongeriuslab designs: they possess the power of the final stage, while also communicating that they are part of something greater, with both a past and an uncertain future. The unfinished, the provisional, the possible – they reside in the attention to imperfections, traces of the creation process, and the revealed potential of materials and techniques. Through this working method, Jongerius not only celebrates the value of the process, but also engages the viewer, the user, in her investigation. In 1993, after graduating at the Academy of Industrial Design in Eindhoven, she founded the Jongeriuslab studio, where independent projects are developed as well as work for major clients, including the upholstery fabric company Maharam, the interior design of the Delegates’ Lounge of the United Nations Headquarters in New York, cabin interiors for the airline KLM and the installation ‘Colour Recipe Research’ at the invitation of curator Hans Ulrich Obrist for the MAK (Vienna). Since 2012, Jongerius has served as Art Director for the rug company Danskina and since 2007 as Art Director of colours and materials for Vitra. Recent projects include the publication of the book ‘I don’t have a favourite colour’ for Vitra (2016), the exhibition ‘Breathing Colour’ on her colour research for the Design Museum London (2017) as well as an exhibition and an accompanying publication ‘Beyond the New.
    [Show full text]
  • Meerjarenbeleidsplan 2021-2024
    Meerjarenbeleidsplan 2021-2024 Inhoudsopgave Hoofdstuk 1 7 Samenvatting Hoofdstuk 2 13 Meerjarenbeleidsplan 2021-2024 Hoofdstuk 3 89 Financiële gegevens: meerjarenbegroting 2021-2024 en balans 2017-2018 Hoofdstuk 4 97 Prestatiegegevens Hoofdstuk 5 101 Collectieplan Bijlagen > Rapportage Erfgoedhuis Zuid-Holland > Statuten > Wijziging statuten als gevolg van naamsverandering > Uittreksel Handelsregister Kamer van Koophandel Hoofdstuk 1 Samenvatting beleidsplan Naam instelling: Kunstmuseum Den Haag GEM | Museum voor Actuele Kunst Fotomuseum Den Haag Statutaire naam instelling: Stichting Kunstmuseum Den Haag Statutaire doelstelling: Het inrichten, in stand houden en exploiteren van de museumgebouwen en collecties die onder de naam “Kunstmuseum Den Haag” in eigendom toebehoren aan de gemeente Den Haag. Aard van de instelling: Museum Bezoekadres: Stadhouderslaan 41 Postcode en plaats: 2517 HV Den Haag Postadres: Postbus 72 Postcode en plaats: 2517 HV Den Haag Telefoonnummer: 070 3381 111 Email: [email protected] Website: www.kunstmuseum.nl Totalen 2017 2018 2019 2020 Tentoonstellingen (binnenland) 36 33 36 33 Bezoekersaantallen* 502.981 386.819 556.560 400.000 Totalen 2021 2022 2023 2024 Tentoonstellingen (binnenland) 36 30 30 30 Bezoekersaantallen* 400.000 400.000 400.000 400.000 * Bezoekersaantallen exclusief deelnemers basisonderwijs. Kunstmuseum Den Haag Dit museum doet iets met je. Het creëert afstand tot het alledaagse. Biedt troost. Zet je aan het denken. Laat je tot rust komen. Of juist niet. Met museumzalen in menselijke maat, komt Kunstmuseum Den Haag het liefst dichtbij. Zo dichtbij dat kunst intiem wordt. En je niets anders kan dan naar binnen kijken. 8 Kunstmuseum Den Haag vindt dat iedereen dicht bij kunst over wie we zijn. Er zijn maar weinig musea die doorlopend moet kunnen komen.
    [Show full text]
  • E&Y 30Th Anniversary Exhibition
    PRESS RELEASE 24 NOVEMBER 2015 E&Y 30th Anniversary Exhibition このたび、E&Yは六本木アクシスギャラリーにて「evergreen」と題した展覧会を開催いたします。 本展では、現コレクション約70点の中から代表作の展示や映像をはじめ、ファニチャーラインの新作と、 2010年に新たなコレクションラインとしてスタートした「edition HORIZONTAL multiple collection line」の新作を 発 表いたします。是非ご高 覧くださいますようお願いいたします。 会 場：アク シ ス ギ ャ ラリ ー 〒106-0032 東京都港区六本木5－17－1 AXISビル 4F 会期：2015年12月12日（土）～20日（日） 11:00～19:00 レセプション：2015年12月11日（金） 18:00～21:00 入場料：無料 TEL：03-5575-8655（会期中） Designers / Artists Max Lamb（ マ ッ ク ス・ラ ム ）／United Kingdom Sosuke Nakabo（中坊壮介）／Japan Fumikazu Ohar（尾原史和）a ／Japan Asako Shirok（白木麻子）i ／Japan Yuri Suzuki（ スズキ ユウリ）／Japan Nina Tolstrup and Jack Mama（ ニ ナ・ト ル ス タ ー プ & ジ ャ ッ ク・マ マ ）／United Kingdom Faye Toogood（フェイ・トゥー グッド ）／United Kingdom E&Y NEW COLLECTION Max Lamb / TOKONOMA, 2015 1980年生まれ。英国西部臨海に位置する田園の街コーンウォールで幼少期を過ごし、 自然を愛する気持ちや、物を作るという精神とともに、伝統的な方法と、従来の型にはま らない方法の両面から素材の探求を行うようになる。現在も、素材が本来持っている良 さを活かしながら、その機能を再考し、コミュニケーションにおいて効果的でシンプルな デザインを通して、プロダクト、メーカー、ユーザー三者の間に良い関係性を生み出そう としている。ノーサンブリア大学卒業後、2006年にロイヤル・カレッジ・オブ・アート（RCA） 修士号を取得。レクチャーやワークショップのリーダーを務めつつ、ロンドンを拠点に、 伝統的な素材の考え方を用い、自ら工程に携わる事で新しいデザインを生み出す活動 を行っている。 maxlamb.org Dish Stool Mat STOOL MATERIAL : Japanese Cypress, COLOR : Natural, SIZE : W.235 × D.225 × H.377 DISH MATERIAL : Bronze, Finishing : Barrel Polishing, SIZE : W.100 × D.100 × H.25 MAT MATERIAL : Wool, SIZE : W.400 × D.400 × H.25 VASE MATERIAL : Glass, SIZE : W.170 × D.70 × H.120 E&Y NEW COLLECTION Sosuke Nakabo / MOON, 2015 1972年京都生まれ。1998年京都市立芸術大学プロダクト・デザイン専攻卒業。 松下 冷機デザインセンター勤務後渡英、2002年英国Royal College of Artのデザイン・プ ロダクト科修士課程修了。良品計画企画デザイン室、ジャスパー・モリソンのロンドンオ
    [Show full text]
  • New + Notable 2008 IAN ALLEN
    . N+N 41 New + Notable 2008 IAN ALLEN 00202_041.indd202_041.indd 4141 99/22/08/22/08 33:05:09:05:09 PMPM 42 I.D. November⁄December 2008 www.id-mag.com SILENT WHISPER www.materia.se Researching noise in a preschool must be like inventions, modifi ed tennis balls covering the In developing Silent Whisper, Strömgren studying feathers on a chicken farm, but for feet of chairs. “Lots of creative, but not always tested more than 50 material combinations six months, that was Swedish designer Sigrid beautiful or functional, solutions,” she says. for their sound-absorption properties, as well Strömgren’s day job. In Sweden, it seems, Two years later, for a master’s project as for their durability, fl exibility, and ease of hearing well has become a matter of intense at the University of Gothenburg’s School of cleaning. “Soft materials are very quiet, but not concern: Studies show that up to 15 percent Design and Crafts, Strömgren funneled that so functional as tabletops,” she explains. “A of the population suffers from tinnitus, and research into generating ideas for grown-up cotton table would be very bad to spill coffee researchers believe such injuries can start as furniture with “integrated noise reduction,” in- on.” Eventually she settled on a high-pressure early as preschool. tended to stop sound at its source without any laminate top containing a shock-absorbing In 2005, after fi nishing her bachelor’s awkward felt appliqué. The result was a line of core. But as for exactly what those elements degree in design, Strömgren worked with noise laminate tables and stools called Silent Whis- comprise, Strömgren is rather, well, hush-hush researchers at Sahlgrenska University Hospi- per, which have since been put into production about the matter: Materia is now seeking a pat- tal in Gothenburg, who assigned her to map by the Swedish company Materia.
    [Show full text]
  • PRESS KIT DESIGN CITY LUXEMBOURG Edition 0 by Mudam 23/04/2010 - 06/06/2010
    PRESS KIT DESIGN CITY LUXEMBOURG EDITION 0 BY MUDAM 23/04/2010 - 06/06/2010 MUDAM LUXEMBOURG mudaM Mudam Luxembourg Page Musée d’Art Moderne Grand-Duc Jean 1 PRESS KIT DESIGN CITY LUXEMBOURG EDITION 0 BY MUDAM PRESS RELEASE 2 CALENDAR AND INfORMATION 4 THE OUTDOOR DESIGN CIRCUIT 6 3RS AR(T)CHITECTURES P.7 MAARTEN BAAS P.8 MICHAEL BIHAIN & CéDRIC CALLEwAERT P.9 ROSS LOvEGROvE P.10 PETER NEwMAN AND fUTURECITY P.11 LUCILE SOUffLET P.12 PHILIPPE STARCK P.13 SEBASTIEN wIERINCK P.14 CONfERENCES 15 EvENTS 16 Mudam Luxembourg Press Release Page Musée d’Art Moderne Grand-Duc Jean 2 PRESS RELEASE DESIGN CITY LUXEMBOURG EDITION 0 BY MUDAM 23/04/2010 - 06/06/2010 Curator: Anna Loporcaro Design City Luxembourg – Edition 0 by Mudam is a new event in Luxembourg and the Greater Region. Organised by Mudam Luxembourg in collaboration with the City of Luxembourg, this project aims to explore the influence of design on urban spaces and daily life through a series of events and manifestations taking place from 23 April to 6 June 2010 in different parts of the capital. Edition 0 sets the basis for creating awareness of design issues in the development of the city, the aim being to install, in a long term manner, this applied art as a philosophy of living, in which the professionals (creators, editors) may translate the needs of citizens and act in favour of their quality of life. The programme of Design City Luxembourg offers an open-air circuit with guided visits, projections, conferences, a workshop, a flea market and a creators’ market.
    [Show full text]
  • Breathing Colour by Hella Jongerius Tour Proposal
    breathing colour by hella jongerius Tour Proposal designmuseum.org The Design Museum Touring Programme Contents The programme was set up in 2002 with the aim of bringing 6 Exhibition overview design exhibitions to audiences around the UK and internationally. 18 Exhibition adaptation Since then, the museum has organised more than 130 tours to 22 About Hella Jongerius 104 venues in 31 countries worldwide. 24 Exhibitions details 27 Terms and conditions The Design Museum’s touring exhibitions range in size from 28 Contact 150 to 1,000 square metres and cover all areas of design – architecture, fashion, furniture, graphics, product and more. About the Design Museum The Design Museum is the world’s leading museum devoted to architecture and design. Its work encompasses all elements of design, including fashion, product and graphic design. Since it opened its doors in 1989, the museum has displayed everything from an AK-47 to high heels designed by Christian Louboutin. It has staged over 100 exhibitions, welcomed over five million visitors and showcased the work of some of the world’s most celebrated designers and architects including Paul Smith, Zaha Hadid, Jonathan Ive, Miuccia Prada, Frank Gehry, Eileen Gray and Dieter Rams. On 24 November 2016, the Design Museum relocated to Kensington, West London. Architect John Pawson converted the interior of a 1960s modernist building to create a new home for the Design Museum, giving it three times more space in which to show a wider range of exhibitions and significantly extend its learning programme. In May 2018, the Design Museum was awarded the title of European Museum of the Year.
    [Show full text]