AD!DICT #28 : The Eco Research. Ideas for a better world.
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Transcript of AD!DICT #28 : The Eco Research. Ideas for a better world.
WORLD 2.0
{ ideas for a better world... }
#28 Research on ecodesign
AD!DICT #28 WORLD 2.0
Inside :
ISBN 9789077509142BELGIUM �12OTHER COUNTRIES �15
AD!DICTI N S P I R AT I O N B O O K - N O V D E C J A N F E B 2 0 0 7 - 0 8 # 2 8
CREATIVE LAB SINCE 1997 - TALENT ACCELERATORS
Add-Swing_dps.pdf 29.08.2007 15:18:41 Uhr
Add-Swing_dps.pdf 29.08.2007 15:18:41 UhrAdd-Swing_dps.pdf 29.08.2007 15:18:41 Uhr
De enige Brusselse designbeurs. Naast toonaangevende merken op het vlak van meubilair
en binnenhuisinrichting worden ook smaakmakers aangetrokken uit zowat alle andere sectoren van de
designwereld, juwelen en mode, tot communicatietechnologie, architectuur en automotive design.
Thema 2007: Table talks Een uitgebreide centrale tentoonstelling georganiseerd door Giovanna
Massoni stelt het feest op de voorgrond, en wordt uitgewerkt door de meest gerenommeerde scholen uit de wereld
van het design. De tafel - een onvermijdelijk meubelstuk wanneer het om feesten gaat - zal alomtegenwoordig
zijn in al haar vormen: de tafel, de versiering van de tafel, maar ook wat er zich onder bevindt…
Een niet te missen evenementenprogramma: een Avant-Première, uitsluitend op
uitnodiging - de designnight, waar de sfeer verzekerd is - en de gezellige en trendy lounge.
www.designbrussels.com
designbrusselscoNtEMPorAry hoME AND iNtErior fAir
BrussEls ExPo, hAll 7Elke dag van 11u tot 19u. 23 november, nocturne tot 23u.
17-25 nov 2007
De enige Brusselse designbeurs. Naast toonaangevende merken op het vlak van meubilair
en binnenhuisinrichting worden ook smaakmakers aangetrokken uit zowat alle andere sectoren van de
designwereld, juwelen en mode, tot communicatietechnologie, architectuur en automotive design.
Thema 2007: Table talks Een uitgebreide centrale tentoonstelling georganiseerd door Giovanna
Massoni stelt het feest op de voorgrond, en wordt uitgewerkt door de meest gerenommeerde scholen uit de wereld
van het design. De tafel - een onvermijdelijk meubelstuk wanneer het om feesten gaat - zal alomtegenwoordig
zijn in al haar vormen: de tafel, de versiering van de tafel, maar ook wat er zich onder bevindt…
Een niet te missen evenementenprogramma: een Avant-Première, uitsluitend op
uitnodiging - de designnight, waar de sfeer verzekerd is - en de gezellige en trendy lounge.
www.designbrussels.com
designbrusselscoNtEMPorAry hoME AND iNtErior fAir
BrussEls ExPo, hAll 7Elke dag van 11u tot 19u. 23 november, nocturne tot 23u.
17-25 nov 2007
REREFLECT
World 2.0ideas for a better world
The night that I was writing my editorial word for this book, I had a pretty traumatic experience in our house in South Africa. Two guys with two guns came in our house via our bedroom. They tied us up, let a third one in, and held my family: my wife, son, daughter and mother in law who was visiting us from Belgium, hostage for more than an hour while they were stealing our most valuable belongings.You can read more on addictlab.blogspot.com on the event and my thoughts on that.On a more practical note: that is why certain projects didn’t make it in the book, and especially why the labfiles section is but a first step into becoming a true lab-magazine.
I don’t have my first draft edito-version anymore. I still do believe in the force of creative thinkers. Of being able to implement sustainable changes. Of working on that one brand that deserves all the marketing, product development and innovation we can offer.
It’s just even more difficult than I - being an eternal optimist - had anticipated.
Jan Van [email protected]
I’d like to thank Giovanna and Fenna, Elke and Ann for their contribution to a well edited, well created
World.
REFLECT // 0�
TM
REFLECTBUILDTHINKDUCEFEEDMINDUSECYCLESPECT
04 07213549678293119
Reflect, rebuild, rethink, reduce, refeed, remind, reuse, recycle, respect… the list is long, and far from being a
linguistic exercise these ‘re-‘ words suggest an innovative look and critical behaviour towards the world and the
environment – human, natural, tangible and intangible.
React is the unsaid but desirable message of this new Addictlab Inspiration Books’ issue. An overview on
ecosolutions and responsible approaches in the creative domain, input–free, bottom-top, fresh and stimulating
reflections – fostering sustainable development.
Addict labmembers offer low and high tech solutions, ideas, objects and clothes, as well as industrial design
prototypes: stressing on cultural diversity, memory, innovation, respect and dialogue, in a diagonal interplay;
contrasting overconsumption and overproduction, spreading ideas and experimental projects, or prototypes that
deserve the attention of the industry.
Major ‘best practices’ (see the Solar Bottle by Alberto Meda & Francisco Gomez Paz in the Labfiles section, p.
138) coexist with students’ and young talents projects: Addict’s goal being to enhance everybody’s contribu-
tion to design a better world, through a series of big or small gestures (referring to Thierry Kazazian’s “petits
gestes” celebrated in his sustainable development simple and unforgettable lesson). Including our purchasing
behaviour, as Patrizia Lugo reminds us in her article (p. 150).
Introduced by the “Universal house?” project, launched by Addict end of 2005, the question mark is more than
ever the character of the present overview: an open flux of ideas to share, questioning our awareness, sug-
gesting transversal solutions, free from established canons and commercial diktat… Some of these projects are
today featured throughout the different chapters of the book.
“We urgently need a new generation of entrepreneurs!” - firmly states Alberto Meda in our interview in the Lab-
files-section. This acknowledges Addictlab’s mission to help building an innovative open source to encourage
and display a number of creative ways to make a better world. We agree with Alberto: global designers are more
and more engaged on the same battle field. But what about production and distribution?
Following Bruce Mau, visionary designer, initiator of the Massive Change project, design is “one of the world’s
most powerful forces…in a period were all economies and ecologies are becoming global, relational and
interconnected”. From cradle to grave: ideas can generate objects that create revolutionary, zero waste impacts.
Contrasting economical fundamentalism and monopolies, designers together with illuminated industries can
make a change.
Leave your creative fingerprint: react!
Giovanna Massoni - [email protected]
RE
REACT // 0�
REACT
REBUILD
1
RE-USEOFTHECITY...Belgium
NameCreditsContact
RE-USE OF THE CITY AND HIS ELEMENTSThe Bezalel Academy of Arts and Design organised an In-
ternational Architectural Competition for a New Campus,
with nine departments, in the Center of Jerusalem.
We entered the competition with 03/AM: Manu Gelders,
Anne Moerman, Andrea Portugal Deveza, Aldo Tornaghi.
URBAN CONCEPTAt first we studied the city from macro to micro to
find its identity.
We tried to transform the local habits and form language
into a building by continuing the urban landscape and
re-using architectural characteristics like: volume-mass,
roof terraces, Jerusalem stone, ad-random perforations,
cemetery…a summary of the image of Jerusalem.
These are a few elements that give Jerusalem its
identity, seen as an object, “a building”. The cu-
bic volumes with its narrow streets. Left-over open
spaces in between; spaces where people meet…These
identity-giving-elements are even noticeable in the
Jewish cemetery.
The idea is to soften the step into “a world of culture”
with the re-use of common elements. When starting the design it was
very important to well design the space where the city interfaces with
the university; the space between extremes.
The city becomes a design tool, the re-use of what was already there, to
level out differences. So the building will be seen as an extension of the
city, in the city. So people would feel like they are at home. “At home”
brings the best vibe to consume and produce culture.
The city moves into the university, into the building.
So the university, as a building, has not been alien-
ated from the city, but takes part in its daily life; it
can even be a catalyst…
mAgMa + ptA = 03/AM
03/AM
REBUILD // 0�
ARCHITECTURAL CONCEPT
Jerusalem’s elements
VERTICAL roof terraces
Due to the program of the competition and local
building restrictions we were scared to end up with
two buildings.
Instead of 2 buildings without connections we made
underground connections and split up all the de-
partments as separated identities in their own city
“the university”. Going from one to the other is like
walking in the city on the search to your destina-
tion. Seeing friends, stop to have a drink and a
quick chat…the building will not absorb you it will
be absorbed by being used.
The use of the roofs as a fifth facade gives the build-
ing a third dimension and it refers to the roof ter-
races in the city. By using these “roof terraces” you
get a dialogue between the department buildings.
Ones facade can be the others projection screen.
HORIZONTAL narrow streets
There is always the need for a main entrance and so be it, but by giving a lot of secondary ways to get in, on
places well connected to the city, gives the feeling that the city never stops and the building never begins.
The space between extremes is no more. So maybe it is also good to see the world as a city and we need to try
levelling out boarders by using each others’ paths to enter…
Connecting points ”crossroads” are meeting points
Working separately with well chosen connecting points, every department has his own identity. They can stand
on their own but they meet at the left-over spaces; city squares-common areas. The left-over spaces are a
manifestation of the moment when they were created.
But, as in the city, they must remain alive. They can become meeting points for the students from different
departments or it can be exhibition space,…. = creating space to generate your own space.
Creating spaces in between volumes, like streets in the city, generates light but also provides shadow.
VOLUME-MASSBy using the traditional building material “the Je-
rusalem Stone” the building characterised itself as
one of them. Because the stone can only handle
pressure its been stacked on each other…so a vol-
ume appears. The mass is optimal in Jerusalem’s
climate…But by using the ad-random perforations,
one of the city elements, the volume-mass becomes
lighter…
The university becomes the city….the body of the
city embodies the building.
IN/INTO/OUTSingapore
NameCredits
Contact
PROPOSAL AND ARGUMENTMost Singaporeans live in a HDB flat (Government
subsidized public housing). At the mention of ‘HDB
flats’, an image of symmetrical, rigid buildings come
to our minds. There is a lack of identity in HBD flats.
Whether a HDB flat is from the central, east or north of Singapore, HDB flats carry no particular character
that helps us identify one from another. They were built and designed for the sole intention of providing
cheap public mass housing in the early 60’s and haven’t evolved very much since, apart from the attempt
to look better with inappropriate ornamentation. They are a repeated housing type that fill up our estates.
The current guidelines for building a flat is stringent and relatively stiff, resulting in the sort of style we
see today. But having lived in a HDB estate myself, I realize there’s a myriad of experiences. I consider the
experiences to be truly unique and therefore, in this project, my proposal would be to explore a method into
which we may design HDB flats, with the starting point of the studies from a resident’s live in experience.
Identifying some of these experiences, understanding them and responding in designs will reveal a set of
issues that one should consider during the planning of a HDB estate.
Tanny Wong & Lijuan Tan
Quote by Vicente Guallart, The metapolis dictionary
of advance architecture. Text by Wong & Tan
[email protected], cheeeken0�@yahoo.com
The objective of this project is to bring about a dif-
ferent perspective when we design buildings that con-
stitute human spaces in them. While most designers/
architects and town planners will plan spaces on a
map, this proposal challenges that planning gesture
and starts with studies within existing flats, learning
from it, later to develop a means to design a type
of accommodation that reflects the identity of public
housing. The project would attempt to reveal how one
may create architecture from the interior, therefore
the title ‘in/into/out’.
‘In’ referring to the experience within a space, ‘Into’, re-
ferring to the operations and meanings behind the experi-
ences, ‘Out’, referring to the projections through design.
MEANS AND METHODSMy first means into the project was to analyze my site
from within my flat using drawings, to draw what I
understand about my site starting from a subset of
my site (my apartment), thereafter moving to the rest
of the block, such as the corridors, lift and staircases.
Primarily, in the sketch drawings, I’ve used represen-
tations and scale adjustments to illustrate my idea.
This idea is inspired by the film ‘rear window’ by Al-
fred Hitchcock. In the film, a detective watches his
“We come to know the world from an interior. The security
of an interior: a speeding car along a motorway; a high-
speed train crossing a territory at 300km/h; a dwelling
that leads to anywhere in the world in real time. Project-
ing. Projecting ourselves. “
REBUILD // 010
neighbours from their windows, and where there was
a wall between the windows, he had to make up what
was happening behind the wall. In the same way, my
drawings were made based on only what I could hear,
see and smell, with only the understanding of them
from within my room. I made use of the shift of scale
to further illustrate my experiences. This was inspired
by the filming technique of David Lynch in the film ‘
Eraserhead’, where he played with the scale of things.
David lynch also reveals the film from the interior. One
is unaware of the general plot of the film, as he/she is
put through closed up scenes all the time.
Five experiences were randomly selected from the
drawings. After which, I made a model (with a short
video clip) for each of them. This helped me to under-
stand the space in 3 dimension. I went on to identify
the operations and elements involved in each of these
5 experiences. I responded to the findings by suggest-
ing simple design gestures. The process continues with
a series of mock up designs and reflection to allow me
to gain knowledge on what each experience informs
me. The final design outcome which is presented is an
example of the application of the method.
REBUILD // 012
ExpandedpaintingMexico
NameCreditsContact
Raymundo Sesma is continuing with Expanded Paint-
ing (“Campo Expandido VIII”) after having painted the
13 meter high by 37 meter wide crane at Bâlelatina,
Basel. He was invited to Albuquerque, New Mexico
to paint two constructions in a Parking lot in Silver
Avenue. The Alburquerque project is a site interven-
tion in a historic space, where the Southern Union
Gas Company was originally built by John Gaw Meen
in 1950. Sesma used colors and an encrypted text
that refers to camouflage, to paint the volumes and
unify them in one sole virtual visual structure. The
expanded painting changes the architectural unit and
the spectator is compelled to look again and to search
for meaning about him.
Since 2004 the artist has been working with expanded
painting, a series of ephemeral monumental works in
public places in Italy, Switzerland and Mexico, where
he has started to work for the Ollin Yoliztli Cultural and
Educational Center, a City within Mexico City. Look-
ing for a dialogue between painting, architecture and
landscape, Sesma´s work becomes tridimentional and a
vessel of communication between art, the community
traditions, its culture and its future.
Raymundo Sesma
Advento
TelUSwitzerland / Croatia
NameContact
Hannes Baur & Ivica Kesic
Tel u is basically designed for temporary use, which
could be for living, working or exhibition events, also
as a two storey unit. Depending on metrological circum-
stances, it might either be used inside a hall (where it
is protected by a roof), or outdoors. This might be
an interesting option for creative and cosmopolitan
people who want to combine working and living, while
still having a high standard and unique home with all
its comfort.
Tel u is a modular and multipurpose unit, 5x5x5 meters.
Its basic frame is made of steel tubes, which are hold-
ing the reflecting acrylic glasses. The tubes can easily
store electric power cords as well as watertubes for sink
and toilet.
As the hand sketches show, the idea is to combine three
or more elements with the flexible corridor (made of
heavy duty folded fabric) to an entire combination.
Each interior unit, like stoven, fridge and sink, kept its
shape from the acrylic glass skin, just extended.
The kitchen unit is fully equipped with a fridge, sink,
stove and a cupboard, all of them quite spacious. The
stove and sink elements contain an extractable slice,
which can be used as a dining table or as extra working
space.
Sink and stove move in vertical direction and are stored
underneath their massive docking stations above
and are attached to the conductors on the main steel
structure.
Fridge and cupboard move in horizontal and vertical
direction. In case of use, they are pulled out of the wall,
then vertically moved to the needed high. This allows
to have a completely empty room up to the high of 2.5
meters, where the docking stations, which are fixed on
top, begin.
no.madeItaly
NameContact
Politecnico di Milano – Facoltà del Design
Francesca Murialdo
The first large group of projects presents the synthe-
sis of the educational activity originated from a deep
study about new needs in spaces for living and hos-
pitality.
Today’s rhythm in everyday’s life underlines a new
genre of metropolitan nomads that, for business,
pleasure and attitude, keeps on moving, living tem-
porarly in many places. The students have been work-
ing on this concept by thinking of hospitality cells
as units to be repeated, fitted together and could be
easily disassembled and transported.
The second group of projects investigates the evolu-
tion of the way people are connected to each other.
To taste, to speak, to play, to meet are just some of
the actions-functions that were stimulating design for
innovative, catchy and sustainable objects.
Politecnico di Milano – Facoltà del Design
Laurea Specialistica in Design degli Interni 2005-’06
Laboratorio di Sintesi Finale – sezione I1
Professors - Silvia Girardi, Francesca Murialdo, Fran-
cesco Scullica
Tutors - Daria Baglieri, Gabriele Cervetta
Students - Albano M., Allievi F., Ambrosini P., Anghile-
ri G., Bassis M., Bertotti R., Butti C., Cazzaniga A.,
Confalonieri C., Della Rossa S., De Marco A., Erbetta
C., Fossati M.R., Gazzaniga G., Ghirardelli N., Montà
F., Nespoli A., Odelli S., Pedretti C., Perospoado E.,
Pileggi P., Talamona S., Tandoi M., Viganò E. and Po-
litecnico di Milano - Facoltà del Design - Polo di Como
Corso di Laurea in Design dell’arredo a.a. 2005-2006
Laboratorio di Sintesi Finale – sezione B
Professors - Massimo Duroni, Andrea Manfredi, Cesare
Mercuri, Danilo Morigi
Tutors - Marco De Iuliis, Flavio Simeoni, Angela Toma-
soni, Valerio Vinciguerra
REBUILD // 01�
no.made:StepItaly
Name Cecilia Erbetta, Caterina Perdetti, Sara Talamona,
Erica Viganu
Floating:no.madeItaly
NameClaudio Confalonieri, Andrea Cazzaniga,
Alberto de Marco, Federica Allievi
no.made:GiftItaly
Name Cristina Cattaneo
no.made:ElleItaly
Name Silvia Della Rossa, Guido Gazzaniga,
Francesca Monti, Emiliano Perospado
REBUILD // 01�
no.made:IndustrialSheltersItaly
Name Chiara Butti, Maria Rosanna Fossati,
Nicola Ghirardelli, Stefania Odelli
no.made:BlueConnectionItaly
Name Mariangela Albano, Paola Ambrosini
Matteo Bassis, Riccardo Bertotti
REBUILD // 01�
no.made:BacktoBackItaly
Name Valentina Nicolosi
no.made:Abitarel’abbandonoItaly
Name Guido Anghileri, Alberto Nespoli,
Paolo Pileggi, Marco Tandoi
REBUILD // 020
AFollyThe Netherlands
Bert Kramer
www.bk-fabrics.nl It points out questions about our social and architec-
tural spaces.
Four L-shaped units are strangled in a static, cubic
form. The whole structure has an inwardly character
but is open/transparent towards the other units. So
you have to move within your own space, and will
not be able to enter the other units. Every unit has
his own entrance and has room for two persons (in
the whole folly is room for eight people) They can
see each other but can not touch.
It’s an architectural experiment about how to deal
with your privacy or what is the relation to your
neighbours. To live in a high dense situation.
My current work imagines scale reducing/enlarging
in architecture, balancing on the thin line between
autonomous sculpture and applied interior design.
It is a constant study into the interaction between
these disciplines and is a part of both. In my opinion
there are two worlds: the reality in which we all live
and a world in which I construct. Both tell a story
concerning each other, are on the one hand a detail,
but form together also a whole.
In my work I try then to make the architectonic sur-
roundings tangible. They not only form the context
against which my work manifests itself, but “claims”
also a place in the whole. My designs are character-
ised by a minimum use of details and clear lines. The
functional, pure form that appears, influences the
complex surroundings but also the other way around.
The work is as it were “filled in” by the architecture
which surrounds it and by the way it is used. The
simplicity of the design invites for its part for purify-
ing the surroundings.
NameContact
RE
THINK
2RE
RETHINK // 022
HeritageindangerBelgium
NameContact
Antoine Hanzen
antuand_2�0�@yahoo.com
www.m3.com.bo
The present investigation tries to show the result of
a personal preoccupation, of a restlessness with re-
spect to a cultural patrimony that possess the city of
Cochabamba in Bolivia, through a clear example that
has become the investigation object: the rationalist
architecture during the decades of 1930 and 1940.
Beyond the territorial object itself, the present inves-
tigation tries to represent an important moment in
the development of the city: the arrival of modernity
and proposes to open new ways in search of new pat-
rimonial sources.
The architecture of the decades of the 30’s and 40’s
is victim of a centralized patrimonial vision, the re-
publican period. Also it is victim of the lack of knowl-
edge of the historical process that gave origin to its
birth, the same that marks a stage of transition in
the development of the city. The “modern adventure”
in Cochabamba deserves, despite, to be valued and
to be divulged for the historical and social changes
that brought to the city. Due to the few studies that
were made on the subject, this investigation on these
patrimonial objects in the decades of 1930 and 1940,
ample the knowledge on a new potential patrimonial
layer, through a diachronic and synchronous process,
allowing to better know an ideological and stylistic
movement that had an influence in the urban devel-
opment of the city of Cochabamba. It is certain that,
having a greater knowledge of these objects of archi-
tectonic value, the radius of influence of the regula-
tions of existing protection could be extended and be
given the new policies of conservation.
The investigation articulates in four parts that show
an evolutionary and centripetal process (of the gen-
eral to the individual) of the conditions and factors
(external and internal) which were developed with the
arrival of modernity in Bolivia and its materialization
in Cochabamba during the decades of the 30’s and
40’s. This period can be defined as purest and most
intact locating and understanding the “modern, ide-
alistic adventure”, almost utopian that took place in
Cochabamba.
GlobalFaçadeGermany
Name Contact
The façade of this universal house speaks about the
modern realm of an artificial and livable space. It is an
industrial sculpture produced by a connected “village
vertical” with moderate climate. The air condition and
the satellite receiver are global products of cultural
leveling (of information and space) and in this sense
part of our world heritage.
Jan-Philipp Wittrin
RETHINK // 02�
Walking around the globe, we can see a lot of green
spaces (urban and not) with plenty of abandoned and
menaced trees.
It’s important to provide trees to each family, in order
to protect them and enjoy their presence. This study
goes around low-cost houses for our holidays or just
to live in. By mixing these two aspects, Pot House
was born: a useful tool to save both human beings
and nature (the two big world heritages) in one time.
It could also be considered as a sort of ‘proletarian ex-
propriation’ where every citizen takes for himself his
own natural oxygen dose and takes care about it…
BECOMING A TREE GUARDIAN, TO PRO-
TECT IT AND ENJOYING ITS BENEFIT.
“POT-HOUSE” ALLOWS A SORT OF HU-
MAN/VEGETAL SYMBIOSIS, PROVIDING
A LOW COST PRE-FABRICATED HOUSE
AND AT THE SAME TIME INVITING TO
TAKE CARE OF A TREE.
Francesco Gorni
NameContact
SeeGreenBeGreenBelgium
NameContact
Lisa Allegretta / Ocolo design
www.loveocolo.com
RETHINK // 02�
IDEAThe Netherlands
NameConatct
Ronald Ubbink
www.ideaa.tkIdea is a design project from Ronald Ubbink, a
Dutch artist. His objective is to make art accessible
by translating it into something that already exists
and is therefore easily recognizable.
Ubbink designed furniture and other products in-
spired by Ikea’s familiar house style. His Idea in-
struction manuals show how everyone can make art,
even with trash, if only you have the right manual.
The furniture for IDEA is not for sale in a shop,
people have to create it themselves, by collecting
pieces of rubbish and trash. I just try to stimulate
people to be creative in their Universal house.
The Idea of taking care of the environment some-
body’s living in, instead of buying ´cheap crap´ over
and over again.
RETHINK // 02�
GasMaskDesignThe Netherlands
NameContact
We are in a state of perpetual war – with ourselves and
with the eco-system that sustains us. Perpetual war
breeds perpetual fear. In the present context, this fear
stems from our extreme desire for authenticity and
manifests itself in our collectively insatiable culture
of consumption.
Deep down, we are afraid we may never be satisfied.
An expanding archive of branded myths and icons
feeds this fear.
Designer Gas Masks is an attempt to visualize this
state of mind. Because it is only by first acknowledg-
ing and then challenging fear that we will all be able
to breathe a little easier.
diddovelema
www.diddovelema.com
RETHINK // 030
AmaryllisBelgium
NameContact
Foam
www.fo.am[Foam] is a pliant material, a dynamic organisational
principle, a possible quantum universe...
[Foam] is an intricate gossamer of people and places,
extending through the interstices between artistic
and scientific, physical and digital, professional and
cultural boundaries. [Foam] is shaped by a group of
designers, scientists, cooks, artists, engineers and
gardeners, interested in advancing their own fields, as
well as sharing and applying knowledge in new public
contexts. Although our individual disciplines vary,
everyones practice integrates principles of ethical
living, sustainable design and eco-technology. Within
the [Foam] structure, we commingle fresh creative
expressions, transdisciplinary knowledge, materialised
imagination with emerging and forgotten crafts, for a
lively present and an abundant future.
We blend digital and physical realities in materials,
interfaces and environments. We conjure up vibrant
social situations, where food, art and technology
intermingle to create total experiences. In events
and publications we raise public understanding
of contemporary science. We conduct professional
development and community oriented workshops
to train new generations of interstitial explorers.
We seek out, collaborate with and support forward-
looking people, able to live and work in an ecotone
of heterogeneous creative practices. These people
work together in an elastic openwork of social and
professional relationships, contributing to a [Foam]
ecology, while growing their own worlds.
Battery of Amaryllis flower infused with pear and citrus juice.
TulipsBelgium
Solarcricket, powered and activated by sunlight
SolarcricketBelgium
D’eco-system #2: Table arrangement for ten tulips and one LED
RETHINK // 032
EcoCommunicationSystemBelgium
ECO COMMUNICATION SYSTEMBoth “sustainable energy icons” and “filling station
prepay terminal” are eco communication systems.
The ease of the use and understanding as well as
the elimination of the language barriers, give them a
wide range of application possibilities.
FILLING STATION PREPAY TERMINAL With the appearance of hybrid cars, bio fuel engines,
and the need to be less depending on fossil oil.
Today’s gas station will soon be out dated. Multiple
power solutions will be available. Time to propose a
new selection system for the “filling station”.
A combination of energy types (based on oil, electro
power, gas or molecule cell ), source icons (natural,
down cycled, reusable )and colors (that make you
aware of the environmental impact) will guide you to
find the best option .
Eco-points offered by government to stimulate the
use of an environment low impact source, can be
donated to “green” projects. And finally prepayment
via FT bank (fair trade bank) will guarantee that your
money will only be used to finance projects that
fulfill a fair-trade label. Stay mobile !
Wim Goossens
SUSTAINABLE ENERGY ICONS Today we see an evolution towards multiple energy
solutions, so the timing is right to guide you with
icons to your preferred source.
If you travel around, you understand the advantage
of icons. In the many different ways of transport you
can easily select your preferred option. If it is a car, a
plain, a bike, a bus, for each option you have an icon.
Arriving at the airport , icons will guide you to bars,
check in, gate, bathroom, etc. It doesn’t matter if
you speak Chinese or Danish the icons will guide you.
This icon set is created to communicate globally the
different options of sustainable energy. They can help
to promote the use of less harmful energy sources
and making us less depending on limited sources like
fossil fuels.
MyuniversalhouseItaly
Studio Matteo Ragni
www.matteoragni.com
the universal house the universal house the universal house
the universal house
the universal house the universal house
NameContact
RETHINK // 03�
RE
DUCE
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REDUCE // 03�
Grandma’srevengeGermany
Name
CreditsContact
Grandma’s revenge is a new interpretation of a good
old kitchen dresser. And so it’s like the grandma her-
self: a real multifunctional talent.
Grandma’s revenge is the symbiosis of a kitchen and a din-
ing room in one piece of furniture (h=2.5mb=2md=0.67m),
that works on a basic size of 4 sqm.
Grandma’s revenge plays with the two dimensional
view in a dining room scene. The outlines frame a
table, two chairs and a lamp in an artistically mini-
malistic way.
Grandma’s revenge is changed by different mecha-
nisms from a picture into a three dimensional experi-
ence. A horizontal folding door opens up to the whole
room at once which consists of a cooking area on the
right, a combined dishwashing facility and a chopping
board area on the left and the desk is used as a depot
area in the middle. The kitchen equipment like oven,
dishwasher, refrigerator…and the storage boards are
set in drawers below the working area.
Additionally the desk, chairs, and lamp can be pulled
out up to a width of 1.1 m supported by a special
touch mechanism that requires no more handle. It
might be utilized either for 1 person, for a family or
for a 4 person diner. The folding door can easily be
closed at any time to hide the cooking area and to cre-
ate a pleasant atmosphere as shown in the picture.
After finishing your romantic candle light dinner it is
not necessary to waste your time with cleaning the
table and the dishes, for example. Just push the table
and close the folding door and it looks tidy up to the
next morning.
Grandma’s revenge is the result of the project com-
pact kitchen. Students: Julia Bau, Henrike Louisa
Binder, Henrike Stefanie Gänß, Robert Haslbeck, Mat-
thias Hiller, Bettina Nissen, David Oelschlägel, Ilja
Oelschlägel , Melanie Olle, Marie Vaubel.
Interior design department Burg Giebichenstein /
University of Art and Design Halle
Prof.Klaus Michel
www.burg-halle.de
DisplayBelgium
NameContact
Justin Lalieux
[email protected] principe de base, étant le gain de place, le
vaisselier se range sous la table, les assises de la
table deviennent des portes, afin de transformer
complètement le meuble une fois qu’il n’est pas mis
en fonction, l’intérêt de ce genre de mobilier se fait
notamment dans les petits espaces, puisque une fois
au repos la fonction est cachée..
REDUCE // 03�
FurnitureSuitcaseBelgium / Singapore
NameContact
A range of furniture that fits in a suitcase. People tend to feel more at home when they have their belongings with them. Your home can be your universe.
Anita Nevens
www.anitanevens.be
REDUCE // 0�2
SweetHomeItaly
NameContact
The stereotype of the abat-jour cut in the paperboard closed into a box for shipments.A representation of imaginary house with other materials.You will have the feeling to be home when you open the box... sweet home.
Gumdesign - Laura Fiaschi & Gabriele Pardi
www.gumdesign.it
MAX5000WGermany / Portugal
NameContact
A mindful play of extensions in objects and their use.What is the value of energy?How much quantity of light would you need?
Albio Nascimento + Kathi Stertzig
www.the-home-project.com
REDUCE // 0��
LaLiseuseBelgium
NameCreditsContact
‘La Liseuse’ is a table lamp made of lacquered steel.
The shade refers to the form of a mushroom, not with-
out recalling the general outline of a classical lamp,
of which the feet and the lampshade would have been
cut in two on the height.
The lamp is constituted of two parts of folded steel.
These two parts are combined to create a form as
simple as possible.
Size (L x D x H) : 208 x 179x 400 mm
Benoit Deneufbourg
photo: Philippe Lermusiaux
www.benoitdnb.com
OutOfPowerBelgium
NameCreditsContact
Ever since we’ve had power sockets, people tend to
see power supply as infinite. My work tries to make
people aware of this faulty way of thinking: electrical
power is not infinite, it only looks that way because
we rapidly deplete natural resources.
Valerie Wilms
Eco-workshop Sint-Lukas Brussels at addictlab
BOLDchairSwitzerland / Belgium
NameCreditsContact
Inspired by the elementary structure of a metal tube
chair, the Bold Chair is thickened by upholstery.
Its sock-like sleeving makes the cover removable.
BIG GAME
photo: Milo Keller
www.big-game.ch
REDUCE // 0��
REDUCE // 0��
TirelessItaly
Chiara Moreschi
www.chiaramoreschi.comNameContact
Laptop bag, incorporating in one of its multiple
pockets a foldable (collapsible) sleeping bag to be
taken with you to your work place, in order to extend
your own productive capabilities until late night,
without having to give up a comfortable rest.
RE
FEED
4RE
REFEED // 050
TastefulJapan
NameContact
‘Tasteful, a project by Kuniko Maeda’, is a balancing act
between food and design, between gusto and creativity.
Her food furniture does not only looks incredibly
real, it also consists mainly of foodstuffs. The kitch-
en table, for example, has a sweet surface finish.
As ‘textiles’, she created tablecloths made of bread,
ham and cheese. Laid one on top of the other, they
make a classic sandwich. She even designed a meat
dress. “For me”, says Maeda, “this method of making
clothes is a way of dressing translated into food.”
‘Tasteful’ is a declaration against the superficiality of
the world and in favour of a better life.
Tablecloth - Instead of manipulating the food, stitch-
ing, which is a basic technique of clothing, can make
the food bigger in a more harmless way.
At the same time it’s a translation of traditional of cul-
tural theme into modern disposable consumer culture.
Kuniko Maeda
www.minale-maeda.com
PotatoBowlBelgium
NameContact
Bowl for the famous Belgian French fries made of
silicon and potatoes peels, the left overs when you
are making French fries.
Kris Provoost
REFEED // 052
VegwareUnited Kingdom
NameContact
Joe Frankel - Vegware
www.vegware.co.ukUSING TECHNOLOGY IN CREATIVE WAYS TO REDUCE
THE ENVIRONMENTAL IMPACT OF OUR DAILY LIVES.
Vegware exists to provide economic, eco-friendly,
and high quality options to the food service industry.
Our longer term goal is to play a part in enabling a
paradigm shift in how waste is managed.
We offer an environmentally sustainable range of
cutlery and tableware, a bespoke packaging service,
and strive to give the highest possible levels of
customer service.
Vegware’s natural starch cutlery is moulded from
Plastarch Material (PSM). It is fully functional cutlery,
being heat resistant up to 105C, robust, and safe.
Unlike traditional plastic cutlery, Vegware’s is made
from annually renewable resources and is 100% bio-
degradable. Our cutlery is primarily made from corn
grown in China’s Shandong region and our suppliers
assure us that it is GM free.
Vegware’s range of cassava starch includes plates,
bowls, cups and trays. They are strong and rigid and
the cups have very good thermal properties - no
sleeves required. They are also suitable for domestic
composting.
WastewareThe Netherlands
NameCreditsContact
Plates and bowls, pressed from foodwaste/herbs
by heating and pressing
Matthijs Vogels
K.Stertzig & A. Nascimento - DESIGN FOR FUTURE
www.sproutdesign.nl - www.the-home-project.com
PatattenschellersBelgium
NameContact
Knife ‘Noir’ made of carbonsteel recuperation and
ebony waste out the furniture factory.
Exclusive sale by Bientôt demain (France).
Antoine Van Loocke
www.knifeforging.com
REFEED // 05�
CuttingUpKnivesItaly / Austria / Germany
NameCreditsContact
Jim Hannon-Tan, Gabriel Heusser, Paul KogelnigK. Stertzig & A. Nascimento- Design For Future
www.pervisioni.it
A limited production run of selected knives
which have been transformed into bottle openers
through the application of an industrial process.
The future of mass production is mass customization.
Cutting Up Knives is a production of selected knives,
modified to become bottle openers through the ap-
plication of an industrial process.
Each bottle opener is individually chosen and cut.
Beautiful name brand knives have been ruthlessly
transformed, while factory rejects and second hand
knives have been recycled, modified to become
useful once again, functionally reassigned, yet still
connected to their own unique history.
As every knife is different, each one must be indi-
vidually positioned for the water-jet cutting machine.
A production method where an artisan-like attention
to detail is enabled by the use of modern CNC (com-
puter numeric controlled) machines. The final cut of
the bottle opener detail on the knife blade is always
unique decision based on aesthetics and ergonomics.
B-sideItaly
NameContact
Considering a table as a melting pot of different
cultures, B-SIDE offers the possibility of using one
of its ends to eat after the western customs and the
other one following the oriental tradition.
The declared gestural use of this object gives you
the possibility of communicating your own culture of
origin or, on the contrary, your open attitude towards
new life styles.
Alessandro Busana
www.alessandrobusana.it
REFEED // 05�
ItadakimassClaude!Belgium
NameCreditsContact
Claude est un artiste du Créahm avec qui j’ai voyagé
au Japon. Durant le séjour, l’acte le plus exotique
était de se nourrir…avec des baguettes.
Après quelques explications laborieusement mi-
mées, Claude a utilisé ces bouts de bois pour tenter
de porter la nourriture à sa bouche. Les jours
passants il s’y est accoutumé tant et bien qu’on
n’y prêtait plus attention. Dans l’avion du retour,
l’observant manger, je l’ai vu coupant et piquant
du poisson avec sa paire de baguettes qu’il utilisait
comme nos couverts occidentaux.
Mais pourquoi ne pas adapter des accessoires que
l’on pourrait enfiler au bout de toutes les baguettes
japonaises? Naquit donc une paire d’accessoires
discrets, que l’on trimballe dans une petite boîte en
poche ou dans son sac.
Il suffit de les enfiler à l’extrémité des baguettes lors
du repas. Puis de les remettre en boîte après usage…
Un peu comme un dentier ou des lentilles de contact!
D’aspect brut, irrégulier, ce sont des objets un peu
tribal, primitif.
Ils font également penser à des outils sans les
manches qu’il faut «fabriquer», «assembler» avant
de manger.
Ces 2 accessoires (trident et couteau/spatule) à la
ligne élancée s’enfilent sur la plupart des modèles
de baguettes japonaises.
Pinky Pintus
photo: P. Schyns
www.pinky-pintus.com
REFEED // 05�
UniversalCutleryGermany / Portugal
NameContact
Our very own heritage is what and how we eat. Food and
eating traditions are main expressions of our culture,
they distinguish very clearly our origin.
Food and eating habits are since always travelling goods
- tea, pasta or spices were reaching our mouth long
before the majority of us took a step into other cultures.
Ingredients from all over the world are available in
every corner of the city. We prepare food into a deli-
cious potpourri of cultures. Mixing or separating cul-
tures by choosing ingredients from all over the world.
But we don’t define ourselves just by chosen ingredients:
our table ‘costumes’ in fact are expressing the real
differences much clearer.
Are you eating by hand, fork or chopstick? Do I make
noise while drinking my soup? Shall I belch after
finish eating? Food is no longer dividing the world
at the table but the tools for eating still do. Often
it becomes a handicap to eat with people from other
origins together at one table.
Our cutlery does not suit the different needs. Eating
together is a world heritage, sharing the experience
of diversity in eating habits and the enrichment of
exotic ingredients. We are unifying these eating dif-
ferences in a cutlery that responds to every culture.
TABLE = SHARE
Kathi Stertzig & Albio Nascimento
www.the-home-project.com
“MI”GlamourGlassItaly
NameCredits
Alessandro Ruga
no.made – Politecnico of Milan
REFEED // 0�0
Thetake-it-with-you-SpoonLatvia
NameContact
Project of a disposable spoon> easy to transport and to stock it because it is flat;
> easy to fold with just one hand move and it is
ready to use;
> minimal use of material;
> could be produced in some plastic or other material,
preferably- recycable or/ and recycled;
> ideal to take with you to the office/ to school for
a yoghourt-break in the afternoon. Could be used by
the ice cream sellers in the street;
> can be distibuted in individual packaging or in
¨leaves¨ so that one can separate his spoon when he
needs it;
> dimensions: 130 x 37 x 0,3 mm
Ieva Laurina
SoftLiquid(s)Belgium
NameContact
Soft Liquid(s) is a supple container. Made of a wa-
terproof textile or paper, it is flexible and unbreak-
able. Light and easy to put away, you can carry it
everywhere. By the way it is folded, its shape is
simple, familiar, refined and naturally watertight.
Soft Liquid(s) allows a tactile and sensuous approach
of the liquids it contains.
Diane Steverlynck
www.dianesteverlynck.be
REFEED // 0�2
Mindyourmanners!
Don’teatlikeapig!Germany
NameContact
Table; powder-coated steel, cherrywood. At this
table, you eat like pigs, like our ancestors or like
peoples with different table manners – without cut-
lery directly from the tabletop. The table reduces the
distance between the eaters, but also towards the
food itself, thus sensitizing the persons at the table.
It is rather unlikely that it comes to a big mess:
Particularly by eating without the usual cutlery, with
the hands and from one plate with others, the eaters
reconsider what makes the others feel disgusted and
oneself ashamed. There are no rules or prohibitions
for use and behaviour. You have to follow your own
feeling to avoid mistakes. Mutual consideration is the
most important necessity. Inappropriate behaviour
would quickly spoil the others´ appetite. Eating with
one´s hands feels unusual, but increases sensual
experience and pleasure. The host is delighted: There
is no tiresome washing-up and the table is easy to
clean.
Anna Bormann & Selma Serman
www.bormannundserman.de
Mindyourmanners!Don’tSpill!Germany
Tablecloth; cellulose-fleece, silk-screen print. A fes-
tive dinner table is usually covered with a tablecloth,
traditionally white damask. How embarrassing it
is to knock over your wineglass and ruin the good
tablecloth with a huge stain! This disposable paper
tablecloth has a white-on-white print which produces
a damask-like effect: Depending on the angle of light
the print is more or less clearly visible. The pattern,
showing small sausages, refers to traditional damask
patterns. The tablecloth transforms the awkwardness
of spilled wine or sauce into a moment of surprise:
The paper turns into the colour of the stain, the
print remains white and the pattern becomes clearly
visible. The attention of the other guests is drawn
from the unlucky fellow to the tablecloth. The clumsy
guest can relax and does not need to worry about the
cleaning. Spilling is allowed!
ECOCookBelgium
NameCreditsContact
Thanks to ECOCook you can easily prepare a meal,
using one single cooking plate. Only the red part,
which is the hotest, is on the plate and conducts
heat to the orange parts where you can cook or warm
up food slowly, at a low temperature. Putting a pan
on it is another possible interest. ECOCook offers you
several cooking temperatures and limits all kinds of
loss of heat.
Aurélie Delville
Eco-workshop Sint-Lukas Brussels at addictlab
REFEED // 0��
MeadowItaly
NameCredits
Outdoors kitDaniele Maggioli
no.made – Politecnico of Milan
NameContact
Flavia dalla Pellegrina
www.flaviadallapellegrina.com‘a smile for every working day. from Monday to Fri-
day, when (like a smiling children that shows his first
tooth) we smile because tomorrow is Saturday..
coffee spoons [4+1] - stainless steel - length: 10 cm
...andtheteeth?Italy
REFEED // 0��
MIND
5RE
PlasticCarpetBelgium
A Persian carpet: once very popular, nowadays almost
a rarity. We thought it was necessary to revaluate this
carpet again, by transforming it into a new type of
furniture.
On a coated block of foam we printed a full colour
classic carpet. This is a new technique which gives
us the possibility to succeed in making a crossover
between old and new. We show the classic old carpet
but this in totally different and new materials.
Nothing of the old material is left.
The object can be used as a living room table, or an
extension of your sofa, you can sit on it, lay down on
it, work on it,…
Soft and comfortable but hard enough to put a glass
on it. With this new technique we open a world of new
opportunities and perspectives in design.
Sixinch - Pieter Jamart & Jan Cuypers
www.sixinch.be
REMIND // 0��
NameContact
MelangeSwitzerland / Austria / Portugal
NameContact
Melange is a side table resp. a lounge table, which
evokes past times.
It´s combining the authentic viennese coffeehouse
culture including doilies with the actual time, its new
materials and simple forms. The solid core panel is
printed with the motive of a doily which seems de-
ceptively real and has two advantages, it will neither
slip away nor get dirty. The table top lies on three
curved legs of stainless steel, which provide stability.
Black solid core panel with print of doily
Legs: stainless steel
Melange large: Ø 100 cm, height 40 cm
Melange small: Ø 50 cm, height 50 cm
Villavieja & Primschitz - Yuniic designwww.yuniic.ch
Granny’sroomSlovakia / Italy
NameContact
Peter Jakubik & Alessandro Busana
www.peter-jakubik.com
www.alessandrobusana.it
Multiple hands project -“Granny’s room”:
3d models of tea furniture set / Chair “Granny” and
“Doily table”/ for virtual “granny’s room”.
My vision for Universal House should be an installa-
tion of interior consisting of original furniture, interior
accessories and various past cultures lamps, and
subsequent digital redesign/reflection/ of the same
interior, where its local contemporary aesthetics will
acquire present touch. Slovak folk wooden chair to be
an inspiration for my design, in past frequently seen in
our grannies’ rooms. Growing industrial production has
pushed folk production as well as traditional chair aside.
(Peter Jakubik)
Chandelier, doily and table…The amalgamation between
this 3 objects, goes to create a new table typology
wherein furniture and ornament are fused all in one for
create a new deco side of design.
(Alessandro Busana)
REMIND // 070
Rendez-VousBelgium
NameContact
A wallpaper pattern named ‘Rendez-Vous’ which gets
its inspiration from the wallpapers that used to cover
our grandmothers’ walls.
In reaction by the strong come-back of this type of
pattern on the market, Blink* tried in a discrete but
humoristic way, to question a consumer already feel-
ing reassured by these old traditional values.
By using erotic positions as a base for ancient
patterns, these two designers managed to create a
gap between the actual product and what men can
expect from it; and so, widen the imagination of the
consumers.
Three different patterns exist: from the linear to the
most floral.
BLINK* - Céline Poncelet and Emilie Lecouturier
www.atelierblink.com
ReconstructedmemoryBelgium
REMIND // 072
I reconstructed a corner of the house I grew up in.
It was on the outside. It was the inner corner of the
L-shaped house. I took photographs of the soil and
the two façades that formed the three parts of the
corner. With those photographs (black and white
photocopies) I made a collage. When I try to visu-
alise the house in my head, I think of many details.
Put together, they create an image of the house. This
image is black and white, just like my dreams.
I took some hundred pictures, from different angles,
with different exposures, suggesting a difference
in time. It hit me when putting them together: that every little piece had a meaning. Here I had been playing with my toys, through these windows I would watch
the Christmas tree lights… I had lived every inch from the house. I somehow belong to it, or it belongs to me. The decision to reconstruct this corner came when my
parents announced that it was going to be sold. Others would take possession of it, like we had. I wanted to make a last tribute to this house. I also thought of the
possibility to recreate it somewhere else. I dreamed of being able to recreate it anywhere.
When trying to look inside I was fascinated by the reflex in the windows, like a witness of another now, where another me or somebody like me had grew up… Maybe
before, maybe somewhere else. Every window seemed to reflect another time and place… Watching the reflex, I could see that I was in this world. I could see myself in
it so it existed. So there I was in a white cube, placing an outside corner on the inside of a room.
A contradiction, reinforced by an illusion. Could three pieces of a corner wall and a floor put together give us the feeling of a house, give us the feeling to be standing
outside of a house, standing outside of a house on the inside of a white cube?
I transported my world into a box. It re-existed. Things never go. The house would live in space just as it lived in my memory.
Jean L’Olivier
BreathoftheearthBelgium
NameContact
My starting point was the wind that you can hear in
the woods, the sound that touches the leaves of the
threes. I wanted to bring this sound in the city. The
wind touches the strings at the small street in Am-
sterdam, The Netherlands. The sound that you hear
makes people more calm and relax when they are
rushing through the busy city. I made this project
for real in little streets of Amsterdam, I also want
to realise this at the Music Building at Amsterdam.
The concept can also be placed in subways, so that
people can hear the sound while they are waiting.
Pascal de Backer
www.pascalina.be
REMIND // 07�
ZuluMamaSouth - Africa
Haldane Martin
www.haldanemartin.co.za
My first attempt to design with a conscience was the
Zulu Mama Café chair. As it is with most of my designs,
Zulu Mama is an expression of our new emerging South
African identity.
This theme of contributing to a new South African de-
sign language has been central to my work as designer
since my student years in the early 90’s.
In fact, I was studying Industrial Design at Cape Tech,
when across the road on the Parade, Nelson Mandela
delivered his famous freedom speech after being re-
leased from prison. The embarrassing fact is, that be-
ing an ignorant young white South African, I hardly
even knew who Mandela was at the time! Such are the
sins of Apartheid.
Striving to understand and forge a new national iden-
tity, has helped me heal from the pain and shame of
Apartheid.
We South Africans, have a real need for ICONS, to stand
for what is possible and good in our new democracy.
I wanted to create a café chair that embodied the nur-
turing aspect of the Mother archetype. This archetype
is somewhat missing in our western culture. Perhaps
it is really the nurturing Universal Mother that we are
looking for when we take time for ourselves to enjoy a
tall creamy latte at our favourite Café.
I began collecting hand woven baskets from all over
Southern Africa, which beautifully express the femi-
nine gesture of gathering and holding. The rounded
organic form of these indigenous baskets, would be
perfect for shaping a comfortable seat.
I worked together with Ester in rural Limpopo for a
week, to develop the weaving technique suitable for
this chair. She was taught weaving by her mother
when she was a young girl. This experience was one of
the highlights of my career.
We, two South Africans, managed to transcended our
vast racial, cultural, language, and social differences to
create something beautiful together with our hands.
The seats are now hand woven by 6 rural woman in
Limpopo. Craft work raises dignity and provides much
needed income for many South Africans. The cost of
pursuing this “idealistic” scenario of supporting ru-
ral craft, is excessive road freight. Road freight is a
major contributor to global warming. Trying to weigh
up social benefits with environmental costs is a ma-
jor challenge in Africa. In hindsight it would perhaps
have been wiser to set up the weaving with township
women in Khayalitsha….even though this would con-
tribute to the continued urbanisation of rural people.
This is the kind of struggles between right and wrong
I was talking about at the beginning of my presenta-
tion! The answers are certainly not black or white!
I replaced the traditional weaving material, which is
slow growing Illala palm, with plastic. The UV stable
plastic is more durable and can be used outdoors with-
out deteriorating, which is important for a café chair.
Contemporizing and evolving traditional craft in this
way ensures that hand work will always have a place
in our hearts and homes.
I originally intended for the plastic to be made from
recycled household waste, as this picture indicates.
But when it came down to production, the plastic ex-
truders refused to extrude this material, as they were
afraid that the recycled pellets would contain dirt and
bits of metal that would damage their extrusion ma-
chines.
Together we compromised, – and began recycling the
plastic factories own inhouse plastic waste. Another
challenge was that the only colour we could recycle
with consistency was black. Fortunately black is prov-
ing to be the most popular colour.
The feminine, hand woven, traditional basket seat,
is held by the masculine stainless steel frame. This
beautifully expresses the integration of the 1st and
3rd world realities that exist side by side so uniquely
here in SA.
DESIGN WITH A CONSCIENCE
NameContact
ChineseLookcountry, date
NameCreditsContact
TexttexttextetxetName
Credits
Contact
The frames are manufactured in 304 stainless steel
which is the “cleanest” steel available. Stainless steel is
made up of 60% recycled material, is 100% recyclable.
Even though the stainless steel and plastic used in
the Zulu Mama are both made from recycled material,
these materials are still very high in embodied energy
and are also originally mined from the earths crust.
Never the less, Zulu Mama, has been designed more re-
sponsible than most chairs in the market. As the hos-
pitality industry has become more sensitive to these
soft issues, Zulu Mama has proven to be an attractive
option over imports that don’t consider Africa’s cul-
tural, social and environmental issues. Here the Zulu
Mamas are being used at Little Kulala Game Lodge in
Namibia.
FielaseFeatherLightSouth- Africa
Martin Haldane
www.haldanemartin.co.za
REMIND // 07�
NameContact
I am always looking for ways of using local resources
in a contemporary way.
This strategy also helps me differentiate my products
from imports. Differentiation is the only way I know
for my company to survive globalisation.
Ostrich feathers are a by product of the lucrative ostrich
hide export industry. I see it as my duty as a designer
to add value to local materials BEFORE they are ex-
ported. In this small way, I am do something positive,
about the 25% national unemployment figure!
I am awed at the beauty of organic geometry found
in nature. I wanted to pay homage to the Creator by
mimicking the organic pattern of flower petals in the
layering of the 64 feathers that make up this light.
The end result is Fiela se Feather Light.
Named after Dalene Matthee’s heart warming story
“Fiela se Kind” which is set in the same ostrich farm-
ing district of Oudshoorn, where the feathers for this
light come from.
MyBedsheets2004-2006Latvia
NameCreditsContact
An exercise close to meditation that aims to end up
with a period of my life.
Ieva Laurina
Ieva Laurina
REMIND // 07�
inFORMelSerbia
NameContact
Vesna Pejovic
www.vesnapejovic.com”inFORMel” presents combination of childhood fairy-
tales, science-fiction stories and dream world fanta-
sies through the playful objects of furniture.
Our mind is daily influenced by the surrounding where
the tradition and culture is basically shaping the way
of our performance without us noticing it. The culture
I am carry with in me is diverse due to the fact that
I am French born Serbian educated in Finland and
nowadays traveling across Europe meeting people and
working. However, in all this mixture the tradition of
my own people, and I do mean Serbia, is the strongest
root I have. The weaved materials denoted with own characteristic motifs, such as “cilim”, used in Serbia from
carpets and rugs through their application to canapé and covers for furniture all the way to the garments and
fashion accessories, was the daily picture I saw through my childhood, and even life now. That is one of the
strongest pictures I have in my mind – the colures, the patterns, the geometry… proportion, the way how motifs
are interlaced in one complete story without being too obvious, the process how they are made… On the other
hand I am fascinated by the ways how the traditional country houses in Serbia used to be build - fully mobile
(due to the fact that they have been moving on regular basis)… flat-pack… folded… mobile …fold… motion
…form …line …do I see my self?
NameContact
Haris Roosydin
SeasonFourChairIndonesia
Indonesia, my homeland...is known for years for its
talented craft artist. Among them were the wood
carve artist. Centuries ago...carved wood furniture
was a luxury prior to royal family only. The artist was
respectable among others. Further...in this recent
days, that luxury is widespread as the extinction of
monarchy and Indonesia becomes Republic. As wood
is more and more being industrialized...the ability to
reproduce those luxury heritage is wide open. The de-
mand is rising but not the artist itself. Many of those
artist are trapped into a dreadlock of industrial capi-
talism...the knowledge is forgotten and extinct by
itself...by creative sake in this case. Many traditional
wood carve motifs easily being mimicked with better
and cheaper, but not the essence of its creation.
The creativity and ability to explore the concept is
the essence they forgot, in my opinion.
As globalization and Industrialization take it place in
everyday living...many traditional heritage is being
endanger or transformed into something we can call
it getting modernism, we should aware that those
heritage was an precious works. It should not be
erased from our life, we should appreciate them as
well as we appreciate progress.
Season Four Chair is a critique of this condition. Fur-
thermore, I’m positioning the chair for being more
global by using more sophisticated material, like
plywood (Indonesia is the second larger plywood ex-
porter I presume...). The stackable characteristic is
quite rare in traditional woodcarve furniture.
REMIND // 0�0
Rialto-ExpressFrance
Studio Up!
www.up-studio.orgNameContact
ChineseLookcountry, date
NameCreditsContact
TexttexttextetxetName
Credits
Contact
TapLightUnited Kingdom
Cat McKee
Fuse UK
www.fuseuk.org
REMIND // 0�2
NameCreditsContact
RE
Tap light works on the basis of our intuitive actions.
There are hundreds of objects we use everyday with-
out a second thought, a key, a door handle, a bottle
top, but how is it we know how to use them? And
what would happen if their function was altered? Tap
Light’s non-distinct form offers little clue to its func-
tion, yet we intuitively know to turn the tap, and in
doing so will discover its altered purpose.
Tap Light is a dimmable fluorescent tube light, made
from opal acrylic, with brass tap dimmer switch.
USE
6RE
REUSE // 0��
OntheFloorNorway / Sweden
Moen & Philströ[email protected]
Gunnar Moen and Johan Pihlström started up during
studies at The National College of Art and Design in
Oslo, 2003. They finished school 2005 and are now
located in Oslo and Gothenburg.
Until now they have mainly been focusing on a con-
ceptual approach to furniture and related objects.
Moen and Johan like to variate their creative process
with different settings, tools and materials. After de-
veloping an idea, they often choose to sketch with full
size models in the workshop. They enjoy and believe
in working with real materials and do the prototypes
thereselves.
On the Floor: Floorlamp, doing something forbidden...
NameContact
ShareNorway / Sweden
Share: chair, with a humble message for humanity
REUSE // 0��
HENItaly
Diego Sferrazza
www.diegosferrazza.com
In my design I search for simple and clear lines, result-
ing in objects with new forms and a new identity;
I want to realize unexpected objects for everyday life.
“Hen” is a chair realised with an aluminium frame and
net (used for hen and chicken).
The idea was to reinterpret the classical shapes of
Thonet chairs, but using contemporary materials, as
aluminium and metal. The metallic net, commonly
used for hen fences, is replacing the traditional
weaved materials.
NameContact
InstantVaseBelgium
NameContact
Buy your flowers, a bag comes with the flowers, you
get come and make the bag wet. form it as you like
and let it hard for 1 min. put water and flowers in
and ready!
Carolien Van Den Hole
NameCreditsContact
MONACCABag/LightJapan
“MONACCA” is a brand name for products made of
thinned Japanese cedar in Umaji Village, Kochi
Prefecture in Japan. Cedar is the most popular tree
in Japan and it has been widely used as building
materials since the 1940’s governmental forestation
project. Umazi Village was one of the many places of
forestation and their traditional “Yanase”cedars were
planted. In order to obtain good quality timber the
maintenance of forests is absolutely necessary. If the
forest is too dense, the trees’ growth will be stunted
due to the lack of sun-light and forest resources will
be damaged. To avoid this, it is necessary to thin
the forest regularly. As a result of tree thinning a
lot of thinned wood used to be left in the forest.
However, the quality of these trees are good as well.
Umazi Village took another look at this matter from
an ecological viewpoint and established ECOASU
UMAZIMURA Inc. in order to carry out a reuse project
exploring the feasibility of cedar wood.
MONACCA projects The collaboration of ECOASU UMAZIMURA and a quali-
fied industrial designer Takumi Shimamura. Takumi
Shimamura made a presentation of the products to
develop a new market for wooden items. After several
trials a prototype of products was introduced as MO-
NACCA brand at “Designer Block 2003” in Tokyo. With
high appraisal during and after the exhibition they
are producing a series of productsmade of thinned
cedar targeting on city dwellers who emphasize the
design in their lifestyle. Bags and cushions are the
current main items but more new items are coming
soon.
Features
1) The only item with different natural grains
2) Natural warm touch
3) Light and user friendly is an advantage of cedar products
4) Strong , because made of press-laminated wood
back into the forest...
Umaji Village in Kochi established a “Millennium for-
est fund” to keep the forest forever. And Ecoasu Co.,
Ltd. who produces Monacca is contributing 1% of the
sale to this fund to the maintenance of the forest.
Takumi Shimamura
Shimamura
www.t-shima.com / www.ecoasu.co.jp
REUSE // 0��
HandlewithcarePlantadreamMadeinCushionUnited Kingdom
Designer, Bridget West creates individually crafted,
contemporary homeware through her company,
Pieces of You. Social responsibility led her to imitate
nature’s eco-systems, to explore ‘waste’ as resource.
Her three tiered collection includes Printed Designs,
Unique Pieces and the Bespoke range.
‘Printed Designs’, printed onto Organic textiles, play
on label obsessions and use international care sym-
bols. ‘Unique Pieces’ celebrate recycling as discarded
clothing and their labels evolve into something func-
tional and precious. The Bespoke service is personal
as the client’s sentimental fabrics and memories,
pieces of themselves, are incorporated to create
something unique.
The way forward is to not simply allow objects to be
superseded through time but to change our attitude
towards them, bringing a level of appreciation of them
to an extent that they’re kept and valued as timeless.
REUSE // 090
Cushions made form unloved textiles and their labels
Bridget West
Cushions made form unloved textiles and their labels
TreilliTapisrougeFrance
NameContact
Floor cushion & carpet are part of a furniture range
made with felt industrial wastes, from the last felt
factory in France. I believe in low design to value
craft, materials and human work.
Helene Lacourt
www.helenelacourt.com
RE
REUSE // 92
MetroBrazil
The idea of transforming a plastic meter into a
hanger is inspired by the re-use concept.
The process of modification not only minimizes the
production stages but also simplifies them. The new
object, the hanger, apart from the re-use concept,
bares a significance of memory. I consider re-use as
a very interesting and up to date theme, because
it also represents a simple and clear answer to the
problem of recycling industrial elements and of ecol-
ogy in general. It is an amusing but also useful and
possible solution and it works well.
The value of re-use can also be seen in the economic
and social domain. The use of semi-finished products
or existing components reduces pollution, produc-
tion, and costs encourage wider distribution.
Carolina Gay
RECYCLE
7
RECYCLE // 09�
StreetSofaUnited Kingdom
Sarah & Jason - wemake
www.wemake.co.uk
NameContact
AnnietheTrolleyChairMaxBathUnited Kingdom
NameContact
Reestore take everyday waste objects and cheekily
turn them into charming yet functional pieces of
furniture and accessories.
We try to avoid traditional eco materials in favour of
contemporary finishes, fabrics and above all style.
Managing Director Max McMurdo is keen to stress
that environmental consideration need not com-
promise the aesthetics and desirability of reestore’s
products.
New for 2007, Max the bath tub chaise. A contempo-
rary twist on the sofa briefly featured in breakfast at
Tiffany’s. Created from a vintage cast iron bath and
upholstered in fabric of your choice. Perfectly formed
for single seater slouching or sofa for two.”
Max McMurdo - Reestore
www.reestore.co.uk
Annie the Trolley Chair, rescued from the ditch. Annie
is made from a reclaimed shopping trolley to provide
you with a comfortable seating solution. Suitable for
any room inside or outside the home. With armrests
deep enough to rest your drink and a biscuit, or just
to chill and admire the view. Galvanised steel finish
with dark grey upholstery.
RECYCLE // 09�
ToSitBelgium
Garbage is still one of the biggest social problems in our
world. Rubbish is the reason that the combustion ovens
never stop working, and the waste volume grows.
The question is: What can we do about it?
Recycling is the answer!
‘To sit’ is born.
This bench is made of bands of PMMA (polymethyl-
methacrylate) garbage, which origin from a company
that fabricates light bowls. The size of the bands is
200 x 45 cm and the material would no longer have
been of any use. After warming and bending the
plates, the baseline modules were developed.
The separate modules can be connected to each
other and in this way form a larger entity. Depend-
ing on the preference of the user, the design of the
bench can be adapted; this means the bench is able
to adopt different forms. However ‘To Sit’ sit doesn’t
look comfortable, experience definitely proves the
opposite. By bending the bands of PMMA closely
together, the comfort is successfully taken into ac-
count.
‘To Sit’ guaranties comfort, esthetics, changeability
and modernity. Good for usage outside, as well as
inside use.
Karlien Claeys
RD4ChairUnited Kingdom
NameContact
Cohda - Richard Liddle
www.cohda.com The RD4 (Roughly Drawn) Chair is an instantly iconic
design hand-woven in 100% recycled plastic waste
material, with no two chairs being exactly alike.
The RD4 Chair is a tour de force piece heralding the
future of sustainable design, and makes a striking
visual statement uniquely its own.
Much stronger than its airy openness might imply, the
inherent flexibility of its plastic construction allows for
it to naturally respond to the weight of an occupant. The
design is created by Cohdas Unique URE Process.
U.R.EThe U.R.E Process is the conclusion of a 2 year re-
search project by Cohda into the use of recycled plas-
tics in design, the associated environmental problems
and design limitations imposed since the early 1990’s
by pre-manufactured recycled sheets and lumbers.
The aim of the U.R.E design process is to view waste
packaging as a valuable resource as opposed to an
ecological difficulty, utilize the embodied energy
present in waste plastics as effectively as possible,
and generate a new recycled design aesthetic, break-
ing from traditional flat-pac forms.
RECYCLE // 9�
n+ewlightChile
Rodrigo Alonso Schramm - MUSUC
Recycla Chile S.A.
www.rodrigoalonso.cl
www.musuchouse.com
N+EW Light is the continuation of my investiga-
tion in the use of e-waste materials for interior and
exterior design.
In Chile and several countries of Latin America,
policies on recycling and reuse of non biodegradable
materials aren’t a habit nor law.
Amongst materials which try to be recicled, plastic is
one of the most complex ones, due to the variety of
its density, its huge dead volume (transformed in cell
phones, toys, computers, mouses, keyboards, etc.),
its low price (bad relationshio of volume/weight/
quality) and the short term of reusage of some plas-
tics (aproximately 4 times before losing its molecular
capacity and ending sooner or later as trash).
NameCreditsContact
Therefor, it is absolutely necessary to search for other use and possible solutions to return this material gladly
to our homes, gardens or exteriors, creating a durable piece which allows the use of different dense plastics, no
matter its weight, color, form, final price nor brand. This creation is a beautiful object due to its extreme hon-
esty and perfect randomness. Almost an example where error transforms itself in the final search and perfection.
N+EW light is is produced by rotomolding, where low density plastic is mixed with the plastic of the crushed
electronic waste shaping an irreverent diffuser molded in an also recycled iron matrix. Its base is produced with
smelted aluminum of beer and drink tins amongst others. Together they form this 32 x 32 x 32 cm piece.
n+ewstoolChile
This object that assembles big quantity of waste, is a way to freeze in time and extract (and to empty if we
could) from our garbage what we don’t occupy any more, giving it life again in important parts of our home.
The idea behind N+EW isn’t the creation of a recyclable object, but the way to immortalize and to give a last
use to objects that their only destination is contamination.
N+ew stool is an object part of a collection in development, that is only possible thanks to the meticulous
work of extremely experienced technicians and professionals in metal smelting, counterfoil development and
work with plastic resins.
RECYCLE // 100
OutdoorBenchGumbootBelgium
Bart Baccarne
www.baccarne.beThis bench is completely made of recycled materi-
als. The back consists of recycled PE from industrial
foodstuff containers and is bended for higher comfort
and higher stiffness.
The frame of this bench is composed of massive beams
of recycled plastic material, a mix of PP and PE, com-
ing from sheets, industrial waste and factory scrap.
By doing so, we give the material back to the community.
This material can not rust nor rot and has a zero
maintenance and is therefore very suitable for out-
door use (in communities).
Recycled materials are generally seen as inferior qual-
ity or third-rate materials. We see it as our duty to up-
grade these semimanufactured products into first-class
and aesthetical objects with a surplus value.
The plastic components are holded together by
means of only three stainless wire bars.
The seat doesn’t feel cold in winter, nor hot in sum-
mer and has slots to drain the rainwater.
Dimensions: 210 x 57 x 80 cm (LxWxH)
Lamps with flashy coloured rubber lamp-shade made
of recycled children gummy-boots that were melted
and pressed into sheets. Used boots must not be
incinerated anymore. We give them a new life. The
boots are even identifiable in the melt.
Hanging lamp 40 (40 x 17 x 17, for saving lamp 11 W)
Hanging lamp 80 (80 x 17 x 17, for saving lamp 18 W)
Wall lamp “Kim the Deer” (for 11 W or 60 W)
NameContact
BeltChairBrazil / United States
NameContact
I was born in Sao Paulo, the largest city in Brazil,
where people from all over the world live and form
an enormous cultural and sub-cultural network. In
this scenario, we can find the Indian culture, the
black culture, the Portuguese and Hispanic cultures
and influences from other parts of Asia and Europe.
I believe we are a young culture and in the mood for
inventions.
In Brazil we do not have a good industrial or post-
industrial decorative culture; what one can find are
innumerous aspects that come directly from crafts-
manship which very often does not show the point of
view of the formal realization of the object.
Additionally, in my opinion it is necessary to look
and feel the spirit of these objects and the aesthetic
atmosphere that surrounds them. By building the
prototypes myself which is fundamental in my work
process, because I discover the intrinsic relation
among the object and its craft and stylish relations.
Imperfections of a culture in formation. This is
another aspect of my work: the investigation of the
imperfect, the unfinished and banal-ordinary objects.
This industrial waste recycle influences my work not
only in the formal building of the object but also al-
lows me to create a rational and emotional language
which is possible to research in detail various aspects
of my culture, personal culture, Brazilian culture and
world culture ...Rodrigo Almeida
RECYCLE // 102
LesCheminéesBelgium
Raphael Charles
www.raphaelcharles.comNameContact
¨
vases
polyester (video film 35mm), resin, polyurethane
1�- �0 cm
OctopusBelgium
NameContact
Entre le fauteuil et la sculpture de salon, l’Octopus
permet d’adapter son assise à son intérieur. Jeans
recyclés - billes polystyrène - bouton pression
85 x 85 x 100cm
BLINK* - Céline Poncelet & Emilie Lecouturier -
www.atelierblink.com
Octopus
Pouf tentaculaire
Octopus - entre le fauteuil et la sculpture de salon, l’Octopus permet d’adapter son assise à son intérieur.Jeans recyclés - billes de polystyrène - boutons pression - 85 x 85 x 100 cm
SundayPapersUnited Kingdom
The range was inspired by the bundles of newspapers
left out side shops (in the UK) on Saturday nights,
which have a cultural and economic value, and that
the same product has a different set of values by the
Monday morning, in that the news is old news and
their value is for pulp. I wondered that if by simply
repackaging the papers with the same materials but
in a different way, could the material life cycle be
extended and the material re-valued. At the end of
the seats life it can still be pulped.
The range consists of a chair, stool, coffee table and
micro table.
David Stovell - Stovell Design
www.stovelldesign.co.uk
NameContact
RECYCLE // 10�
ClamptableUnited Kingdom
The Clamp table utilises scrap material (the table illustrated incorporates vertically layered printers waste used
for make ready) and superbly finished European oak. The quality of the oak accentuates the gorgeous colours of
the paper, exposed by cutting through the print. It is held together with stainless steel rods and finished with
a glass top. The wooden ends up-value what is (to the print industry) scrap materials. With this mix of materi-
als the table sits well in both a contemporary and traditional setting.
make ready is when a printer puts extra paper through the press to start and stabilise ink flow and to clean the excess ink at the end of a print run, this paper (often used more than once) is then disposed of.
GlovesBallerina’sSleeves&LacesBelgium
Felix Aerts
Technical assistent: Agnes De Man
Model: Margo
Photography: Alane
NameCredits
Contact
A clothing line based on a concept. This clothing
line had to have at least 4 different designs with
that 1 concept.
My concept was to multiply one clothing part and to
make a dress of the multiplied clothing parts. So tak-
ing one clothing part like a ballerina shoe multiply
it by 100 and then make a design that goes with the
flow of the ballerina shoe. This idea was worked out
and left me with one dress made of ballerina shoes,
one made out of gloves, one of sleeves and one out
of laces.
RECYCLE // 10�
RECYCLE // 10�
MoulitexBelgium
Men’s shirts made out of old used tablecloths, turn-
ing it into a trendy fashionpiece for people who
aren’t ashamed of enjoying food.
Olivier Van Gierdeghom
(RE)CICLEPortugal
NameContact
Nuno Oliveira
www.nunoalexandre.com
RECYCLE // 110
SecondHandSecondLifeBelgium
Spullenhulp - Petits Riens
photo : Lionel Samain
styliste : Jennifer Defays
coiffure : Nadia & Nacera for L’oréal Professional
maquillage : Helena Rubinstein
maquilleuse : Dominique Dubois
mannequins : Isabelle, Sacha et Sammy from VISION
www.petitsriens.be - www.spullenhulp.be
The Belgian organization ‘Spullenhulp - Petits
Riens’ is organizing the 5th edition of the fashion
show ‘Second Hand Second Life’. Seventy years ago,
Spullenhulp was founded by priest Froidure to help
people living on the border of the society and in
poverty. Beside free food, free housing and psycho-
logical support, Spullenhulp has several shops of
second hand goods, open for everyone.
In addition Spullenhulp is organizing each year
-since 2002- a second hand fashion show with
customized apparel. 22 fashion designers, big names
and starting designers, ranged side with this noble
goal. After the show the customized concepts will be
auctioned by the famous auction house Sotheby’s.
22 fashion designers...
NameCredits
Contact
Chrystel Fischer
Christophe Van Liedekerke Valérie Berckmans Nathalie Verlinden
Gérald Watelet Natalia Culebras
Kris Van Assche
Levi Strauss Eur Design Team
Edouard Vermeulen Edouard Vermeulen
Suzy GydéChrystel Fischer
Véronique Branquinho
RECYCLE // 112
Céline Pinckers
reMix-BathtubSeatBelgium
RECYCLE // 11�
Wouter Peeters
Katholieke Hogeschool Mecheleninterior & design department
PRESTI [email protected]
www.remix.khm.be
NameCredits
Contact
reMix!The reMix! project is a form of ecodesign. In reMix!
design, second hand objects and materials become a
source for new creations: the original object is trans-
formed or redesigned and has another function in its
‘renewed’ life.
To spread the spirit of creative re-using, a sensibilisa-
tion campaign is currently running.
Expositions with reMixed objects are planned from Sep-
tember 2007 on. In October 2007 workshops will be or-
ganized where the participants can reMix their second
hand objects with the help of professional designers.
In 2008 a recycling festival will be held where every-
one can display their own reMixed objects.
THE ECODESIGN WAYThe sensitivity for the environment is growing each
day. Reducing consumption – energy, objects, etc. –
is an important step towards sustainable solutions.
Another one lies in the role of designers. They play an
important role when one considers the environmental
impact of a product.
Designers decide which materials are used, how much
energy they will consume, which parts of the product
can be recycled, how the consumer will use the prod-
uct and so on. Because the designer is standing at the
start of a new product’s life cycle, he has a big influ-
ence and responsability.
Ecodesign values beautiful, ergonomic and functional
objects that have a low impact on the environment
as well as a strong economic relevance. On following
pages a few examples!
reMix-projectsBelgium
1 Francesco Di Berardino - NUTCRACKER
2 Tim Hundersmarck - PULP SEAT
3 Olivier Deffontaine - GRATERLAMP
4 Hanne Jacobs - SALADBOWL-VENTILATOR
5 Isabelle Coen - IRON SEAT
1
2
3
�
5
RECYCLE // 011�
ChineseLookThe Netherlands
Anne van Dijk
With my work, I open the eye for a different use
of the materials we have around us.Everything can
be recycled. I make bracelets and necklaces from
zippers, buttons and bicycle inner tubes. Belts from
neckties. Cardholders from tetra pack. Scarves from
pieces of clothes. Bags from army material. I think
more of it as re-using, where the characteristic of the
material lives on in the new products.
PostbagES-DEThe Netherlands
NameContact
Shopping bag from Spanish & German post bagsKatell Gelebart - ART D’ECO
artdeco7�[email protected]
FioccoItaly
NameContact
Fiocco - pouff with metal structure and set composed
by renewed felt and polyurethane, 90 x 65 x h 55 cm.
A pouff like a bracelet of coloured beads. A soft
bracelet, where to sit, a bracelet that suits to your
body. Beads of renewed felt and polyurethane which
get old, and can be replaced, as threaded beads.
Ilaria Marelli
www.ilariamarelli.com
RECYCLE // 011�
RE
SPECT
8RE
RESPECT // 120
ProthesistableBelgium
Not dissimilar to terms such as death and graveyard,
illness and hospital are being pushed away from the
centres of European cities and are in fact being kept
subdued from our everyday life. Therefore, in short,
this table was conceived after some research as a
referential object narrating the opposite tendency.
It is a modest attempt at bringing the notion of ill-
ness back into our daily lives.
NameContact
Hans-Christian Karlberg
www.hck.be
SoulAshSoulaceBelgium
NameContact
Cremation coffinMaxime Szyf - maximaldesign
www.maximaldesign.com
RESPECT // 122
CushionizedSofaGermany / Belgium
The CUSHIONIZED SOFA uses the smallest element of
a sofa - the little pillow on top - as main component.
Commonly used to adjust and customize our personal
comfort level, it is now multiplied in different colors
and piled up to the shape of a sofa.
This setup of various textures and tints reminds us
of a paintbox and invites us to play and change the
composition. A pure framework from ash-wood holds
everything together and provides a structure and
quiet background.
The cushions work on the same principle as a
beanbag, yet their filling consists of organically
cultivated millet husks, which are the outer covering
of the millet grain. These hulls feel like very fine
sand, are soft to touch and adjust to the contours of
the body. At the same time they ensure the needed
support. Commonly used for sleeping pillows, this
filling is dipped and coated with a fine layer of natu-
ral rubber (caoutchouc) which ensures flexibility and
durability. It is washable, easily refillable and 100%
biodegradable.
attributes of millet hulls
- quiet (in contrast to polystyrene balls known from
beanbags)
- dense but lightweight
- distribute bodyweight evenly
- feels smooth and silky in texture
- instantly mold to body contours
- a natural, recycled resource
materials
ash wood
outer cushions: diverse fabrics
inner cushions: filling from millet husks
dimensions (L x W x H): 250 x 90 x 70 cm
NameContact
Christiane Högner
www.christianehoegner.com
reMix-ButterflyBelgium
NameCreditsContact
A floating sink with double curvature and an elegant
design. Butterfly is made of a composite of loam,
lime, hempfibre and varnishwax. It’s economic,
ecologic and above all floating thanks to the fixation
with a fastening bow to the syphon.
Benjamin Michielsen
Katholieke Hogeschool Mechelen / PRESTI [email protected]
NameCreditsContact
OiltankchairPortugal / São Tomé e Príncipe
RESPECT // 12�
Dear Giovanna,
The project “SEED” took 4 months of tutoring and
working together with 6 different groups and this
last one is from the State Prison. The project “oil
tank chair” was designed by a friend portuguese art-
ist NUNO VIANA. Regarding the puzzle carpet, it was
design trying to get people ordering more than only
one, as they do work as a puzzle so you can fill small
areas as easily as bigger ones.
As you know, we went for a four-month project on
design and social economy, aiming at goals such as
the sustainability of the involved families, and trying
to refresh a market by providing them other tools
like innovation and creativity.
From January until April 2006 we set up a schedule,
by dividing the 27 craftsmen involved into 6 differ-
ent groups, as the program was being adapted to
each group needs, wills and abilities.
We’ve always worked on a self initiative basis, mak-
ing clear that they also had responsibility on this,
since we’re dealing with their “lives” in its widest
meaning. It wasn’t just about designing for the
craftsmen, but with them. And for the last month
we worked more as consultants. In the end, we had
an exhibition in São Tomé, with around 50 different
products, that turned out to be profitable for them.
So the program included innovation and creativity,
design, technical drawing (for some of them) and
contemporary art.
please note:
At this moment we are producing it and looking for
potential clients who are able to order a consider-
able number of these objects, so we can insure the
involved families’ sustainability and even include
more families on this project.
Best regards,
Pedro Alegria
Nuno Viana
SEED - Pedro Alegria
www.seed2006.org
NameContact
The fence is designed with 2 purposes in mind.
It has to guarantee your safety and it has to have a
friendly natural appearance.
To suit both purposes a laser-cut technique is used
on steal.
A customized illustration will blend the fence with
it’s natural environment.
In time - if not treated – it’s natural look will
become even stronger every time you open your
window.
Marisa Klaster - Studio Klasterwww.studioklaster.nl
NaturalFenceThe Netherlands
EcodEsignDe OVAM doet een beroep op jou, de Vlaamse ontwerper in spé, voor verfrissen-de ideeën en vernieuwende producten waarbij je rekening houdt met het milieu. Je ontwerpt een nieuw product, je geeft je project op voor nominatie bij de OVAM en je pakt de poen met duurzaam groen. Wat kan jE WinnEn? Tijdens de prijsuitreiking valt er naast eeuwige roem, ook heel wat prijzengeld te verdienen. De winnaar in de categorie ‘Beste eind-werk’ ontvangt 1000 euro, de tweede plaats is goed voor 500 euro.In de categorie ‘ontwerpprojecten tijdens het jaar’ worden de eer-ste en tweede plaats beloond met respectievelijk 600 en 400 euro.
Per categorie reiken we ook eervolle vermeldingen uit aan knappe ontwerpen die net buiten de prijzen vallen. Oogt leuk op je cv!
HoE nEEm jE dEEl?Je stuurt je ontwerp naar de OVAM vóór 30 juni 2008. Meer informa-tie over criteria van deelname, over de verschillende categorieën of over de verzending, vind je in het reglement.
Surf naar www.ecodesign.ovam.be. Heb je dan nog vragen, mail ons op [email protected] of bel 015 284 273.
www.ecodesign.ovam.be
Pak dan de poen met de
EcodesignAward 08
VU
: Hen
ny D
e B
aets
, OVA
M, S
tati
ons
stra
at 1
10, 2
800
Mec
hele
n. D
/200
7/50
24/5
9
Nog watachter de oren?
groen
V.U
.: Ja
n V
an M
ol, A
d!di
ct C
reat
ive
Lab
, Del
auno
ystr
aat 6
0, 1
08
0 B
russ
el.
EcodEsignDe OVAM doet een beroep op jou, de Vlaamse ontwerper in spé, voor verfrissen-de ideeën en vernieuwende producten waarbij je rekening houdt met het milieu. Je ontwerpt een nieuw product, je geeft je project op voor nominatie bij de OVAM en je pakt de poen met duurzaam groen. Wat kan jE WinnEn? Tijdens de prijsuitreiking valt er naast eeuwige roem, ook heel wat prijzengeld te verdienen. De winnaar in de categorie ‘Beste eind-werk’ ontvangt 1000 euro, de tweede plaats is goed voor 500 euro.In de categorie ‘ontwerpprojecten tijdens het jaar’ worden de eer-ste en tweede plaats beloond met respectievelijk 600 en 400 euro.
Per categorie reiken we ook eervolle vermeldingen uit aan knappe ontwerpen die net buiten de prijzen vallen. Oogt leuk op je cv!
HoE nEEm jE dEEl?Je stuurt je ontwerp naar de OVAM vóór 30 juni 2008. Meer informa-tie over criteria van deelname, over de verschillende categorieën of over de verzending, vind je in het reglement.
Surf naar www.ecodesign.ovam.be. Heb je dan nog vragen, mail ons op [email protected] of bel 015 284 273.
www.ecodesign.ovam.be
Pak dan de poen met de
EcodesignAward 08
VU
: Hen
ny D
e B
aets
, OVA
M, S
tati
ons
stra
at 1
10, 2
800
Mec
hele
n. D
/200
7/50
24/5
9
Nog watachter de oren?
groen
Speciale editieEcodesign Award 2007
i.s.m. OVAM
V.U
.: Ja
n V
an M
ol, A
d!di
ct C
reat
ive
Lab
, Del
auno
ystr
aat 6
0, 1
08
0 B
russ
el.
WAT IS ECODESIGN?
1. Ecodesign
Ecodesign is een ontwerpmethode waarbij de ontwerper
reeds bij het begin van de ontwerpfase een analyse maakt
van de levenscyclus van zijn product en hierbij de milieu-
impact tracht te beperken.
Het begrip ecodesign ontstond een 30-tal jaar geleden
om de toenemende milieudruk van onze consumptiemaat-
schappij te verlagen. Milieu speelt nog steeds een margi-
nale rol bij de ontwikkeling van de meeste producten. Het
is intussen duidelijk dat ons Westers consumptiepatroon,
dat ook door landen als China en India wordt overgeno-
men, niet houdbaar blijft, door onder meer de schaarste
aan grondstoffen en energiebronnen. Het is moeilijk om
de consument te wijzen op de verborgen milieulast van
een product. Of een product al dan niet ecologisch verant-
woord is, hangt bijvoorbeeld niet meer louter samen met
het gebruikte materiaal. Ook de mate van energieverbruik
zorgt voor een groot deel van de uiteindelijke milieudruk.
Een aantal koplopers onder de bedrijven heeft de ecode-
sign-methodologie in de jaren ‘80 opgepikt en deze vaak
ook toegepast als drijfveer voor innovatie. Niet toevallig
zijn dit de bedrijven die ook op economisch vlak bij de top
behoren. Zij zagen snel de voordelen van eco-efficiëntie:
het samengaan van economische en ecologische winst.
Andere bedrijven hebben nog geen kennis gemaakt met
ecodesign of bekijken milieu-overwegingen eerder als een
bedreiging in plaats van als een opportuniteit.
2. De OVAM en ecodesign
De OVAM werd opgericht om te zorgen voor minder afval
en een zuivere bodem in Vlaanderen. Jaren van informatie-
en bewustwordingscampagnes en een doelgericht beleid
maakten de Vlamingen koplopers wat betreft het sorteren
en recycleren van huishoudelijk afval. Maar de OVAM wilde
verder gaan en zocht naar manieren om de hoeveelheid
afval te verlagen. Ecodesign bleek hierin een aanzienlijke
rol te kunnen spelen. De fase waarin producten worden
ontworpen en waarin nagedacht wordt over hun milieu-
impact, voegt een nieuwe dimensie toe aan het afvalpre-
ventiebeleid. Door ontwerpers te duiden op hun verant-
woordelijkheid en de impact van hun ontwerpbeslissingen
kan de milieudruk van het product immers rechtstreeks
worden aangepakt.
Ecodesign toepassen gaat verder dan het verwerken van
milieu of ecologie in een product, het gaat over het op de
markt brengen van rijpere producten van een hoger inno-
vatieniveau. In onze maatschappij zullen nog vele nieuwe
producten op de markt worden gebracht, maar voor de
manier waarop deze producten tot stand komen breekt
een cruciale fase aan. De OVAM wil daarbij ecodesign als
een positieve en innovatieve strategie in de kijker plaatsen
en een positief klimaat voor ecodesign creëeren.
De ecodesign-werking van de OVAM richt zich niet louter tot
consumenten, burgers, bedrijven en distributie, maar vooral tot
productontwerpers en productproducerende bedrijven.
Met de ecodesign-werking wordt getracht een dynamiek
inzake ecodesign op gang te brengen en een positief klimaat
tegenover ecodesign te creëren binnen de ontwerpwereld. Dit
komt neer op informatieverspreiding en sensibilisering rond
ecodesign naar ontwerpers, bedrijven en studenten. Concreet
gaat het over ondersteuning, het aanbieden van ecodesign
instrumenten en de uitvoering van onderzoek en projecten
rond ecodesign.
De OVAM communiceert over ecodesign op haar website
(http://www.ecodesign.ovam.be) en in de digitale eco-efficiën-
tie nieuwsbrief. Op de eco-efficiëntie voorbeeldendatabank
van de OVAM website (http://www.ovam.be/jahia/Jahia/pid/
1126?lang=null) vindt u voorbeelden terug van ecodesign, met
een beschrijving van hun ecologische en economische voorde-
len. Momenteel lopen er ook een aantal ecodesign projecten
binnen het PRESTI 5 subsidieprogramma, die bedrijven en ont-
werpers met elkaar in contact brengen. Ook is er de jaarlijkse
Ecodesign Award, ingericht voor de aankomende ontwerper
en de ontwerpers in opleiding. Omwille van de geïnteresseerde
en positieve reacties bij professionele ontwerpers en bedrijven,
zal de wedstrijd voor de volgende editie uitgebreid worden
naar de professionele wereld. Dit wordt ‘De OVAM Ecodesign
Award PRO’, in samenwerking met Design Vlaanderen.
129
www.ovam.bewww.ecodesign.ovam.be
Stationsstraat 1102800 Mechelen
3. De Ecolizer
De academische wereld besteedt reeds veel aandacht
aan ecodesign. Er bleek echter ook nood aan instrumen-
ten om ecodesign in de praktijk te brengen. De academi-
sche methodologie van ecodesign die in de jaren ‘80 werd
gedefinieerd, was te weinig bekend bij en werd bijgevolg
te weinig toegepast door ontwerpers en productproduce-
rende bedrijven. Om ecodesign toegankelijker te maken
voor de ontwerper ontwikkelde de OVAM de Ecolizer: een
modern en mooi vormgegeven ontwerpinstrument dat
gebruik maakt van eco-indicatoren. Bij het ontwerpen van
een product worden diverse parameters vastgelegd die
de milieubelasting doorheen de levenscyclus bepalen. De
Ecolizer maakt gebruik van ongeveer 400 indicatoren die in
één cijfer de milieu-impact van een materiaal of een proces
samenvatten. Zo is het voor een ontwerper eenvoudig om
een milieu evaluatie te maken tussen verschillende product-
voorstellen, gebruikte materialen, productieprocessen, enz.
Met de Ecolizer kan de ontwerper op een relatief eenvou-
dige en snelle wijze een wetenschappelijk onderbouwde
inschatting doen van de milieu-impact van zijn product of
productontwerp. De Ecolizer is opgevat als een waaier met
fiches, voorzien van een beschermende aluminium houder.
Er is bewust niet gekozen voor software om de toegan-
kelijkheid en bruikbaarheid bij het tekenend ontwerpen te
verhogen. Het geheel is erop voorzien om eventuele ver-
ouderde fiches te vervangen, of om nieuwe fiches toe te
voegen naar aanleiding van feedback van ontwerpers en
onderzoek naar nieuwe materialen.
De OVAM is ervan overtuigd dat producten ontworpen vol-
gens de ecodesign-gedachte, een hogere graad van inno-
vatie nastreven en een voorbeeld zijn van het samengaan
van milieucriteria en innovatief productontwerp. Voor bedrij-
ven vormt ecodesign, naast de mogelijkheid om innove-
rend te zijn, een manier om te anticiperen op de Europese
en nationale wetgeving rond milieubelasting. De producten
die in Vlaanderen worden ontworpen zijn niet uitsluitend
bestemd voor de Vlaamse markt. Daarom bekijkt de OVAM
ook hoe zij zich met instrumenten als de Ecolizer kan profi-
leren naar een ruimer internationaal publiek.
4. Eco-efficiëntie
Vlaamse bedrijven zijn een specifieke doelgroep van de
OVAM via het concept eco-efficiëntie. Eco-efficiëntie gaat
ervan uit dat economische en ecologische winst samen-
gaan. Een belangrijke actie in dit kader is het Eco-effi-
ciëntiescanprogramma. Dit subsidieprogramma, specifiek
gericht op kmo’s, heeft de ambitieuze doelstelling om op
een termijn van drie jaar 1000 kmo’s door te lichten om
zo de kansgebieden voor eco-efficiëntie verbeteringen in
beeld te brengen. Dit wordt zo veel mogelijk ondersteund
met praktische voorbeelden van maatregelen ter verbete-
ring, en met een eerste berekening van bedrijfseconomi-
sche en milieuvoordelen. Deze doorlichting is gratis voor
de bedrijven en gebeurt door ervaren adviseurs, geselec-
teerd door de OVAM. Voor het komende jaar zullen een
aantal van de scans gereserveerd worden voor bedrijven
die specifiek zullen gescreend worden op hun ecodesign
potentieel.
EcodEsignDe OVAM doet een beroep op jou, de Vlaamse ontwerper in spé, voor verfrissen-de ideeën en vernieuwende producten waarbij je rekening houdt met het milieu. Je ontwerpt een nieuw product, je geeft je project op voor nominatie bij de OVAM en je pakt de poen met duurzaam groen. Wat kan jE WinnEn? Tijdens de prijsuitreiking valt er naast eeuwige roem, ook heel wat prijzengeld te verdienen. De winnaar in de categorie ‘Beste eind-werk’ ontvangt 1000 euro, de tweede plaats is goed voor 500 euro.In de categorie ‘ontwerpprojecten tijdens het jaar’ worden de eer-ste en tweede plaats beloond met respectievelijk 600 en 400 euro.
Per categorie reiken we ook eervolle vermeldingen uit aan knappe ontwerpen die net buiten de prijzen vallen. Oogt leuk op je cv!
HoE nEEm jE dEEl?Je stuurt je ontwerp naar de OVAM vóór 30 juni 2008. Meer informa-tie over criteria van deelname, over de verschillende categorieën of over de verzending, vind je in het reglement.
Surf naar www.ecodesign.ovam.be. Heb je dan nog vragen, mail ons op [email protected] of bel 015 284 273.
www.ecodesign.ovam.be
Pak dan de poen met de
EcodesignAward 08
VU
: Hen
ny D
e B
aets
, OVA
M, S
tati
ons
stra
at 1
10, 2
800
Mec
hele
n. D
/200
7/50
24/5
9
Nog watachter de oren?
groen
EcodEsignDe OVAM doet een beroep op jou, de Vlaamse ontwerper in spé, voor verfrissen-de ideeën en vernieuwende producten waarbij je rekening houdt met het milieu. Je ontwerpt een nieuw product, je geeft je project op voor nominatie bij de OVAM en je pakt de poen met duurzaam groen. Wat kan jE WinnEn? Tijdens de prijsuitreiking valt er naast eeuwige roem, ook heel wat prijzengeld te verdienen. De winnaar in de categorie ‘Beste eind-werk’ ontvangt 1000 euro, de tweede plaats is goed voor 500 euro.In de categorie ‘ontwerpprojecten tijdens het jaar’ worden de eer-ste en tweede plaats beloond met respectievelijk 600 en 400 euro.
Per categorie reiken we ook eervolle vermeldingen uit aan knappe ontwerpen die net buiten de prijzen vallen. Oogt leuk op je cv!
HoE nEEm jE dEEl?Je stuurt je ontwerp naar de OVAM vóór 30 juni 2008. Meer informa-tie over criteria van deelname, over de verschillende categorieën of over de verzending, vind je in het reglement.
Surf naar www.ecodesign.ovam.be. Heb je dan nog vragen, mail ons op [email protected] of bel 015 284 273.
www.ecodesign.ovam.be
Pak dan de poen met de
EcodesignAward 08
VU
: Hen
ny D
e B
aets
, OVA
M, S
tati
ons
stra
at 1
10, 2
800
Mec
hele
n. D
/200
7/50
24/5
9
Nog watachter de oren?
groen
In 2007 organiseerde de OVAM opnieuw de
Ecodesign Award. Op 13 september 2007 reikt
Minister Crevits de prijzen uit op de openings-
ceremonie van “Design doet zaken” van Design
Vlaanderen. Naast de professionele ontwerp-
wereld en de productproducerende bedrijven
wil de OVAM ook toekomstige ontwerpers in-
formeren en laten kennismaken met ecodesign.
De wedstrijd richt zich tot studenten van ont-
werpopleidingen, zoals productontwikkeling,
industriële vormgeving, productdesign, verpak-
kingsontwerp en interieurvormgeving. Zij kun-
nen deelnemen met eindwerken of jaarprojec-
ten. De jury van de Ecodesign Award 07 koos
uit de inzendingen volgende vier laureaten.
// SEPTEMBER 2007
ECODESIGNAWARD 2007
//// FLORIS WUBBEN 06
//// THOMAS BOYDENS 06
//// BRAM ROELENS
COSIMA ROHDEN 07
//// DAISY LENS 07
131
LABFILE / FLORIS WUBBEN
Project Description jury
TANK!NG
Tweede prijs in de categorie eindwerken
De tweede prijs van 300 euro gaat naar Tank!ng van Thomas
Boydens, die met zijn eindwerk een mobiele tankinstallatie voor
aardgas ontwierp.
De jury schat het demonstratief karakter van Tank!ng hoog in,
vermits het gebruik door een grote afnemer van aardgas kan zor-
gen voor een marktintroductie. Tank!ng is een dienstverlenend
ecodesign project waarbij niet het product, maar eerder het on-
dersteunend systeem werd bedacht. Het is een oplossing voor
de logistieke drempels die er momenteel zijn om aardgas als
volwaardige brandstof voor voertuigen te introduceren. De jury
prijst dit innovatief project omdat het inspeelt op een bestaand
milieuprobleem. Er zijn momenteel in België geen tankstations op
aardgas beschikbaar en bijgevolg is er geen vraag naar aardgas,
zodat autoconstructeurs hun wagens niet aanpassen. Aardgas
is een duurzame ecologische brandstof, met een duidelijk lagere
uitstoot aan CO2, CO, NOx en SO2 in vergelijking met diesel,
benzine en LPG. Het eindwerk werd tot in een ver stadium uitge-
werkt en is voorzien van een compleet en overzichtelijk dossier.
Eerste prijs in de categorie eindwerken
Floris Wubben ontvangt voor zijn ontwerp Living Furniture,
een tafel uit bamboe, de eerste prijs van 700 euro.
De jury koos dit ontwerp omdat het een mooie toepassing is van
bamboe, een duurzaam, ecologisch materiaal dat snel groeit en
sterk is. De jury prijst het innovatief en commercieel karakter
van het ontwerp. Het innovatieve karakter bestaat erin dat niet
enkel het tafelblad van bamboe is, ook de poten bestaan uit le-
vende bamboestengels. De sterke materiaaleigenschappen van
bamboe worden op deze manier ten volle benut. Het is tegelijk
een duurzaam en ecologisch project, het schept een band met
de natuur. Het ontwerp is een statement tegen het grootschalig
gebruik van traag groeiend en vaak illegaal gekapt teakhout. De
jury schat het commercieel karakter van deze tafel hoog in.
2de prijs
LABFILE / THOMAS BOYDENS
TANK!NGDESIGN
BELGIUM
Label / Discipline / Country of origin / Email /
Project Description jury
LIVING FURNITUREDESIGN
Label / Discipline / Country of origin / Email /
1ste prijs
LIVING FURNITUREC
AT
EG
OR
IE E
IND
WE
RK
20
07132
PEPPY PHONE
Eerste prijs in de categorie jaarprojecten
In de categorie jaarprojecten gaat de eerste prijs van 500 euro
naar de Peppy phone van Bram Roelens en Cosima Roh-
den, een vernieuwend communicatiemiddel voor kinderen en
hun ouders.
De jury beschreef de Peppy Phone als het meest innovatieve,
realistische en commercieel haalbare project. Het product werd
ontworpen met aandacht voor een aantal belangrijke ecode-
sign principes. Zo is de Peppy phone makkelijk te demonte-
ren, wordt de batterij via beweging van de pols opgeladen en
is er gebruik gemaakt van lichte recycleerbare materialen en
energiezuinige componenten. De Peppy Phone vormt een mi-
lieuvriendelijk alternatief voor de GSM. Dankzij het hands free
bellen, wordt ook de mogelijk schadelijke straling ter hoogte
van de hersenen met dit ontwerp vermeden.
CA
TE
GO
RIE
JAA
RP
RO
JEC
T 2
007
133
TIRE ON RETIRE
Eervolle vermelding in de categorie jaarprojecten
De eervolle vermelding in de categorie jaarprojecten gaat naar
Tire on Retire van Daisy Lens, een krukje waarvan het ma-
teriaal voor de zitting en het stalen onderstel uit gerecycleerde
autobanden komt.
De jury argumenteerde dat Tire on Retire een consequent, ecolo-
gisch doordacht ontwerp is. Het ontwerp is een mooi voorbeeld
van een nuttige toepassing van gebruikte autobanden.
eervollevermelding
PEPPY PHONEDESIGN
BELGIUM [email protected]
BRAM ROELENS & COSIMA ROHDEN / LABFILE
Label / Discipline / Country of origin / Email /
DAISY LENS / LABFILE
TIRE ON RETIREDESIGN
BELGIUM
Label / Discipline / Country of origin / Email /
1ste prijs
Project Description jury
Project Description jury
Project Description jury
TANK!NG
Tweede prijs in de categorie eindwerken
De tweede prijs van 300 euro gaat naar Tank!ng van Thomas
Boydens, die met zijn eindwerk een mobiele tankinstallatie voor
aardgas ontwierp.
De jury schat het demonstratief karakter van Tank!ng hoog in,
vermits het gebruik door een grote afnemer van aardgas kan zor-
gen voor een marktintroductie. Tank!ng is een dienstverlenend
ecodesign project waarbij niet het product, maar eerder het on-
dersteunend systeem werd bedacht. Het is een oplossing voor
de logistieke drempels die er momenteel zijn om aardgas als
volwaardige brandstof voor voertuigen te introduceren. De jury
prijst dit innovatief project omdat het inspeelt op een bestaand
milieuprobleem. Er zijn momenteel in België geen tankstations op
aardgas beschikbaar en bijgevolg is er geen vraag naar aardgas,
zodat autoconstructeurs hun wagens niet aanpassen. Aardgas
is een duurzame ecologische brandstof, met een duidelijk lagere
uitstoot aan CO2, CO, NOx en SO2 in vergelijking met diesel,
benzine en LPG. Het eindwerk werd tot in een ver stadium uitge-
werkt en is voorzien van een compleet en overzichtelijk dossier.
Eerste prijs in de categorie eindwerken
Floris Wubben ontvangt voor zijn ontwerp Living Furniture,
een tafel uit bamboe, de eerste prijs van 700 euro.
De jury koos dit ontwerp omdat het een mooie toepassing is van
bamboe, een duurzaam, ecologisch materiaal dat snel groeit en
sterk is. De jury prijst het innovatief en commercieel karakter
van het ontwerp. Het innovatieve karakter bestaat erin dat niet
enkel het tafelblad van bamboe is, ook de poten bestaan uit le-
vende bamboestengels. De sterke materiaaleigenschappen van
bamboe worden op deze manier ten volle benut. Het is tegelijk
een duurzaam en ecologisch project, het schept een band met
de natuur. Het ontwerp is een statement tegen het grootschalig
gebruik van traag groeiend en vaak illegaal gekapt teakhout. De
jury schat het commercieel karakter van deze tafel hoog in.
LIVING FURNITURE
Heb jij ideeën die onze planeet kunnen redden, of toch
tenminste je eigen omgeving verbeteren? Dan is dit het
moment om met jouw ideeën naar buiten te komen.
De OVAM en internationaal creatief laboratorium AD-
DICTLAB.COM zijn op zoek. De beste projecten worden
gepubliceerd en naar buiten gebracht.
DE OVAM & ADDICTLAB ZIJN OP ZOEK NAAR JOUW ECO-IDEEËN!!
Schets of beschrijf jouw idee hier!
Vul hier jouw gegevens in!
Heb jij ideeën die onze planeet kunnen redden, of toch
tenminste je eigen omgeving verbeteren? Dan is dit het
moment om met jouw ideeën naar buiten te komen.
De OVAM en internationaal creatief laboratorium AD-
DICTLAB.COM zijn op zoek. De beste projecten worden
gepubliceerd en naar buiten gebracht.
DE OVAM & ADDICTLAB ZIJN OP ZOEK NAAR JOUW ECO-IDEEËN!!
Schets of beschrijf jouw idee hier!
Vul hier jouw gegevens in!
Cour
tesy
: SAN
DEC
(Wat
er &
San
itatio
n in
Dev
elop
ing
Coun
tries
) at E
AWAG
(Sw
iss
Fede
ral I
nstit
ute
for E
nviro
nmen
tal S
cien
ce a
nd T
echn
olog
y), C
H-86
00 D
üben
dorf,
Sw
itzer
land
.
Liliterature
20
Tytypography
21
Mumusic
13
Papaper
12
Ia
24
interactive art
Ca
22
casting
14
Auaudio
Pea
15
performing arts
30
Brbranding
Te
29
technology
Gd
11
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The lab/files are supported by Concreas, ESF and all their partners.
ContentsThe Ecoresearch138Solar BottleInterview with Alberto Meda & Francisco Gomez Paz
144ActicsActions & Ethics
146Architecture for humanityWork on the winkel
147Illustrated seatbagsWork on the winkel
148Urban ForestLabconcepts for sale
149Global InspirationSatellite - G.I.SLabconcepts for sale
South-African Lab152Remarkable Treesby Joost Hulschbosch
Soweto Tableby Alan Cooper
153LabfilesInfo about labmembers
Addictlab155Innovation DeskCases
156Ongoing ProjectsThe NanoresearchArablabThe Kidsresearch
157Labambassadors
150How can we make things better?Sustainable consumption
Liliterature
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Tytypography
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Mumusic
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Papaper
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interactive art
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casting
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Auaudio
Pea
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performing arts
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Brbranding
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technology
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graphic design
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Ananimation
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CiBrcity branding
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Crcrafts
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interior design
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Trtrends
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Coocooking
Pri
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printing
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copywriting
Fifilm
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Illillustration
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Mamaterials
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Fafashion
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design by Alberto Meda & Francisco Gomez Paz
ChallengeOne sixth of the world’s population has no access to safe drinking water, increasing their risk of wa-terborne diseases such as diarrhea, cholera, typhoid fever, Hepatitis A and dysentery.
ResponseSolar Water Disinfection (SODIS®)*
www.sodis.ch is a low-cost water treatment which uses UV-A radiation and heat of solar energy.
It takes six hours of full sunlight exposition to destroy pathogenic microorganisms. The project improves this method while integrating a transport solution. The new bi-colour blown moulded PET container, has one transparent face for UV-A + infrared rays collection and one aluminium colour to increase the reflections. The 4 litres container has a high ratio surface/thick-ness improving the performance of solar disinfection and making easier the transportation and storage. A special handle integrates the angular regulation to improve sun exposure.
Solar Bottleproducer: no producer till now!
“We urgently need a new generation of entrepreneurs.”
THE ECORESEARCH // 13�
Last August 24, 2007 their design was rewarded with an Index:Award and €100 000. Index: organisation aims to increase public and professional awareness of the human and commercial potential in Design to Improve Life.
At the award ceremony held in Copenhagen, jury member and Executive Consultant in digital media and entertainment Hael Kobayashi praised Meda and Paz’ Solar Bottle as an improvement to the SODIS method that integrated a transport solution: “Solar Bottle is contemporary, iconic, self-evident and universal. It carries the potential to improve the water situations radically, while the world commu-nity struggles to find permanent solutions”.
The Italian designer Alberto Meda, born in 1945, combines engi-neering and design in a poetical way: from 1973 has been technical manager of Kartell, in charge of the development of projects of fur-niture and plastic laboratory equipments and from 1979 he’s freelance industrial designer for various companies - Alfa Romeo Auto, Alias, Alessi, Arabia-Finland ,Cinelli, Colombo design, Brevetti Gaggia, JcDe-caux, Ideal Standard, Luceplan, Legrand, Mandarina Duck, Omron Japan, Philips, Olivetti, Vitra, etc.
His companion in this important adventure, the Argentinean Fracisco Gomez Paz, is 30 years younger. After working with architect Paolo Riz-zato, he opens his own studio in Milan, developing product and design projects for several companies: Artemide, Driade, Danese, Olivetti, Sector, Gispen, Sumampa, Conven, Apen Group and Italkero.
About the Solar Bottle and the designers
“We urgently need a new generation of entrepreneurs.”
Francisco Gomez Paz - photo by Max & Douglas
We met Alberto Meda last September 2007 in Brussels...
by Giovanna Massoni with Alberto Meda
GM : A Solar Bottle: how did it come that you’ve decided to develop such a product?
AM : We had been both invited to participate to an exhibition under the general theme “H2O” at Milan’s International Furniture Fair, learned about the SODIS a simple, low-cost solution for treating drinking water at a household level. We designed a container that brings the best out of the SODIS system. Contaminated water is filled into transparent plastic bottles. When exposed to full sunlight for six hours, the pathogens in the water are destroyed. We developed the container up to an advanced stage, doing 3D computer mod-els and pushing to find a company interested in manufacturing the container.
GM : It’s quite unique to see a project signed by two designers of different generations…AM : I’ve met Francisco by pure chance, he studied at the Domus Academy and at that time my stu-dio was at the same address. The intergenerational exchange is quite a common approach in a lot of studios, but of course it’s not ‘public’, nobody knows… GM : And how did it go? There is a clear distribution of roles, due to different skills?
AM : It’s an equal collaboration, we are quite complementary. Francisco is more mechanical minded, an expert in 3D, and he’s from Argentina. The weird thing is that I’m used to work alone: this collaboration is a real team work, where each one brings in his own specific experience.
GM : What about your engagement in environmental and social projects… AM : Many designers started to work in this sense at least twenty years ago. But then, nobody was inter-ested in these issues, the industry and the media were far away to think about ethical design. Personally, it’s a long time that I’m developing my own research about the application of new low impact materials, energy saving systems and so. As a teacher at the IUAV (the university of Venice), I’ve already promoted workshops on domestic energy for instance. Concerning my design, I’m actually studying with Vitra the applications of new PCM materials (see “es-screen”- part of the Vitra Edition collection recently presented) with a performative screen that was born from the observation of the properties of phase-changing materials – PCM – which yield or absorb heat according to external environmental conditions and behave as energy accumulators.
InterviewTHE ECORESEARCH // 1�0
GM : How do you see the future of design?AM : We urgently need a new generation of entrepreneurs! And media should help this to hap-pen, instead of focusing on individuals and trendy stars…
GM : And what about the Index award?AM : It’s a very rich award: now we have the money to manufacture the mould. But we are still looking for a distributor. Distribution is the main central issue in nowadays global world and not only in the design domain.
GM : How do you feel about that?AM : I feel son of my time. The environmental problem is determining each of my projects.
GM : What is to be considered ‘innovation’ today?AM : It’s a balance between material technology and formal solution.
* In 1991 EAWAG (The Swiss Federal Institute for Environmental Science and Technology) and SANDEC (EAWAG’s Department of Water and Sanitation in Developing Countries) conducted extensive laboratory and field tests to develop and test the Solar Water Disin-fection Process (SODIS). The laboratory tests conduced as well as the practical experience gathered during the application in the field revealed a simple, low-cost technology with a great potential to improve the health of those still without access to safe drinking water.
Since 1995, SANDEC is engaged in providing information, technical support and advice to local institutions in develop-ing countries for the worldwide promotion and dissemina-tion of the Solar Water Disinfection Process, SODIS. In the last 4 years we have been coordinating the promotion and dissemination of SODIS in more than 28 countries.SODIS is used at household level under the responsibility of the user. Therefore EAWAG is not liable for any harm caused by a faulty or inadequate application of the water treatment process. [www.sodis.ch]
sources
www.albertomeda.comwww.gomezpaz.comwww.sodis.ch
Alberto Meda
Labfile
Courtesy: SANDEC (Water & Sanitation in Developing Countries) at EAWAG (Swiss Federal Institute for Environmental Science and Technology), CH-8600 Dübendorf, Switzerland.
THE ECORESEARCH // 1�2
PROjEcT - NAME
RESEARcH THEME
DATE
PROjEcT TITLE
SHORT DEScRIPTION
N° 53 - MEDA & GOMEz PAz
THE EcORESEARcH
2007
SOLAR BOTTLE
“Solar Bottle is contemporary, iconic, self-evident and universal. It carries the potential to improve the water situations radically, while the world community struggles to find permanent solutions”.
THE ECORESEARCH // 1��
Action & Ethics
Labconcepts for sale
PROjEcT - NAME
RESEARcH THEME
DATE
PROjEcT TITLE
SHORT DEScRIPTION
N° 53 - jAN VAN MOL
THE EcORESEARcH
2007
URBAN FOREST
Urban forest is a light installation aiming to bring back nature into our cities, or at least respect for nature. Urban forest consists of objects shaped as irregular tree trunks and are made out of recycled plastic. It criticizes our consumption attitude and uses waste to start reflecting on our human behaviour.The build-in LED-lights can change colour depending the atmosphere, the sound scapes, the seasons or other emotions linked to the location of the forest or the reason for gathering.The forest therefor can be silent and contemplative, or assertive and loud.The inside can be used as an ice container to cool drinks in, turning the light objects into lounge creators.The art installation becomes a guerilla tool or a design object, to be used at outdoor events in cit-ies and forests, but always creating reflection and respect for our surrounding.Material : recycled plastic, LED spots, ice, cool drinks
THE ECORESEARCH // 1��
concept: Jan Van Mol 3D : Ive Peeters
Labconcepts for sale
PROjEcT - NAME
RESEARcH THEME
DATE
PROjEcT TITLE
SHORT DEScRIPTION
N° 53 - jAN VAN MOL
THE EcORESEARcH
2007
GLOBAL INSPIRATION SATELLITE
Communication is the most important aspect of humanity. is it not? What about freedom if you can not communicate? What about respect if you are unaware of social differences? The G.I.S. is an art installation reflecting yet also allowing for people in deprived and other areas to communicate, learn, share, even travel virtually. G.I.S look like sophisticated Satellite dishes. But in all areas G.I.S’ are constructed using local people and materials. In Soweto it can be using old car tyres, in Beiroet it can be using the rubble from bombed houses, on the Northpole it’s in ice. All G.I.S’ serve as a lounge environment, can be used to get inspiration (art/film/music can be shown inside - and there is a link towards the other dishes using internet and a high tech circular screen.
Three sites. Three continents. Hundreds of innovative designs.One connected world.
Imagining a world without the Internet is nearly impossible. Despite the Internet’s global significance, less than 20 percent of the world’s 6 billion people currently have access to the educational, social and economic opportunities it can create. You can change that.
Enter the AMD Open Architecture Chal-lenge and help enable affordable Internet access to 50 percent of the world by 2015.
The AMD Open Architecture Challenge is an open, international design competi-tion. Its aim is to develop not one but many solutions for building sustainable, multi-purpose, low-cost technology facili-ties for those who need them most. Three community partners have been selected to participate in this year’s Challenge. Each site poses a unique set of design constraints and opportunities. While the needs of each client are unique, the hurdles they face in embracing technology to offer access to education, healthcare and the global mar-ketplace are shared by millions of people in communities all over the world.
You do not have to be trained architect to participate. Anyone can enter. Entrants are invited to develop a design for one, two or all three sites.
Each design entered into the competition will be published and shared on the Open Architecture Network so that any com-munity looking for similar design solutions will have access to them.
Proceeds from the competition entry fees will be awarded to the top entry for each site. The overall winning solution will be built and one years’ operating costs will be given to the community partner with funds of up to $250,000 provided by AMD. Centers will be constructed for the other two sites and replicated for additional community partners as funding becomes available.
By entering the competition you will have not only the opportunity to work one-on-one with a community to realize your de-sign and bring connectivity and computing power to those who need it most but also a chance to share your ideas for a more con-nected future with the world.
In fact, just by entering you are helping people connect with design in ways never before possible.
[http://www.architectureforhumanity.org/][http://www.openarchitecturenetwork.org/]
Work on the winkel
Architecture for humanity
THE ECORESEARCH // 1��
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Watch the news today on TV for awhile. You’ll notice that more and more stations are delivering (in different ways and with different approaches) programs focused on envi-ronmental concerns and related social issues.
By Patrizia Lugo Loprieno
Sustainable consumption
How can we make things better?
Let’s do another experiment: go online and get the main international newspapers’ PAGE ONE articles. Picking up just a few titles among the dozens appeared in the last month: “‘Pay as you throw’ rubbish charges back on agenda to boost recycling” (The Times, October 30, 2007); “China birth defects soar due to pol-lution: report” (Reuters, October 29); “Brus-sels gets tough on CO2 emissions” (Financial Times, October 26); “Sarkozy promises a green revolution for France” (Reuters, October 25); “Beijing meeting Pledges but Pollution a Con-cern: U.N. ” (Reuters, October 25); “Gore prize transforms climate debate” (FT, October 12)… As you can easily see, nowadays the state of the environment is perceived as mainstream (at least in industrialised countries). Moreover, our well-being, the economic development and welfare of our communities, and even our (only possible) future are finally strongly linked to our planet’s health.
You don’t have to be a rocket scientist - or an
economist - to see that the way we make prod-ucts, the amount we consume and the way we dispose of our ‘stuff ’ causes stress on the earth’s natural resources and systems.
As a designer, remember: promoting and sup-porting product designs and manufacturing systems that utilize innovative designs, resource productivity, closed-loop manufacturing sys-tems, and product take-back strategies can dra-matically reduce the amazing amount of waste we currently produce, preserve natural resources (biodiversity), reduce energy consumption (in particular from fossil fuels) while creating vast new business opportunities.
Are we all equally responsible?NO. It’s clear that while some need to reduce consumption, others urgently need to increase their material and dietary intake. Inefficient production and consumption patterns, together with uneven distribution, have widened the
existing gap between North and South. It has been estimated that if the rest of the world were to consume like the developed world, we would need the equivalent of 4 extra Earths. Figures from the World Wildlife Fund (WWF) show that the average world citizen requires 2.3 hectares (one hectare is equal to the size of a soc-cer field) to produce what he/she consumes every year and then to have a place to dump what’s left over. That’s 40% more than is sustainable.
So, are we all equally responsible then? No, not re-ally. If you’re Italian, for instance, you need 8 times this area, if you are American, it is 18 times more. And if you’re Bangladeshi, it is one third. This also tells us that the distribution of consumption is seri-ously out of balance.The world’s 20% richest people consume nearly 75% of the planet’s natural resources. Think about it: the USA makes up 6% of the planet’s population but consumes a staggering 30% of its resources.
THE ECORESEARCH // 150
The wealth of the world’s 225 richest individuals equals the annual income of the bottom 47% of the world’s population, or 2.5 billion people.Everyday 50 plant species become extinct. How many is that per week, per month, per year? Sci-entists believe that plants hold the key to finding cures for many diseases. So each lost species not only causes irreparable damage to the ecosys-tem, but is also a lost opportunity for our future development.
Workable solutions Sustainable consumption (SC) is about finding workable solutions to imbalances – social and environmental – through more responsible behaviours from everyone. In particular, SC is linked to production and distribution, use and disposal of products and services and provides the means to rethink their lifecycle. The aim is to ensure that the basic needs of the entire global community are met, excess is reduced and environmental damage is avoided. SC is an integral element of sustainable development and an issue of paramount importance to the United Nations: “…development which meets the needs of the present without compromising the ability of future generations to meet their own needs.” [Gro Harlem Brundtland et al., Our Common Future, WCED,
New York-Oxford, Oxford University Press,1987, p. 43]
Providing tools for change is the responsibility of governments, regulatory institutions, NGOs and business. However, the role of the global consumer/citizen is essential in pushing these groups to take action more quickly and for the better. This is why two United Nations agen-cies, UNESCO and UNEP, joined their forces to make young people aware of opportunities offered by more sustainable lifestyles and em-power them to make a difference starting from their daily lives.
Half the world’s population is under 20 years old and 90% of all young people live in developing countries. Young people are a critical stakehold-er in the global economy and will be the main actor and motor for change in the near future. The habit they develop now will play a decisive role in future consumption patterns. Their deci-sions as consumers exercise a growing influ-ence on markets and lifestyles. Thus the energy, motivation and creativity of youth are essential assets to bringing about change.
The youthxchange networkWe should look at what and how we produce and consume. But in order to do so without too much cost, we - as consumers - need: clear information, accessible sustainable products & services, and adequate infrastructures.
The youthxchange (YXC) toolkit is a website - www.youthxchange.net, in English and in French - and a printed guide already translated in more than 20 languages (among these: Chi-nese, Japanese, Arabic, Spanish, French, Italian, Dutch, Portuguese…). Through YXC, UNEP and UNESCO try to show young people that it is possible for all of us to translate our aspira-tions for a better world into everyday actions. For this reason and to make SC more immedi-ate to youth, the YXC tool kit uses a broad and inclusive approach to the issue. For example, although healthy eating, the sex trade or media literacy are not always considered strictly related to SC, the kit views them as significant factors in developing consumer awareness.
Using accessible information, concrete examples and everyday language, the YXC kit provides many facts & figures on SC issues. It highlights the links between cultural, geographical and
inter-generational factors. In particular, YXC underlines how SC directly relates to quality of life, efficient use of resources (both human and natural), reduction of waste, and ethical issues such as child labour, animal welfare, fair trade and general equality.
YXC has a specific training approach, more focussed on aspects of our lives rather than on traditional issue focussed sustainability learning (water, energy, fair trade, etc). The reasons for it are that to interest a young audience, the best approach is to talk to them about what they feel the closest (music, clothing, sense of identity, etc.).
The target group is urban youth who have access to information media and have comparable consumption patterns. But anybody with access to the Internet can participate in the YXC initia-tive.
The YOUTHXCHANGE training tool kit has been conceived by MÉTA – Media Ecology Technology Association. We developed the general concept, researched and finalised the original version of the project (in English). We have also translated the YXC guide in Italian.
For further information:META
Media Ecology Technology AssociationRue du Chimiste 34-36
1070 Brussels (B)
Patrizia Lugo [email protected]
Trees & TiresSouth-African Lab
Remarkable trees of South Africa is a magazine concept devoted to the beauty and characteristics of South Africa’s wide variety of indigenous and non-indigenous trees, and of Johannesburg’s trees in particular. Ten million trees populating the rolling hills of Johannes-burg make it one of the greenest cities in the world.
Concept and design: Joost Hulsbosch - www.bhagdesign.comPhotography: Joost Hulsbosch & Michael Meijersfeld
Tables & chairs made out of re-used tyres.These tables were part of a project for a park in Soweto. Local bodies did not select the concept, but opted for a ‘modern’ - clean look.We believe they missed out on the richness of the concept presented: It shows a valuable link between contemporary design and the respect for the cities heritage and its inhabitants.
Concept and design: Alan Cooper
Remarkable Trees
SowetoTables
THE ECORESEARCH // 152
Remarkable Trees
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14
Auaudio
Pea
15
performing arts
30
Brbranding
Te
29
technology
Gd
11
graphic design
Ag
23
advertising
Ststyling
4
Dedesign
5
architecture
6
30
26
24
23
15
13
9
8
7
6
5
3
2
1
Ananimation
18
CiBrcity branding
27
Adart direction
10
Crcrafts
28
Id
19
interior design
26
Trtrends
25
Coocooking
Pri
16
printing
Cw
17
copywriting
Fifilm
9
Illillustration
8
Mamaterials
7
Fafashion
2
Arart
3
Phphotography
1
Ac
32
Fofood
32
Liliterature
20
Tytypography
21
Mumusic
13
Papaper
12
Ia
24
interactive art
Ca
22
casting
14
Auaudio
Pea
15
performing arts
30
Brbranding
Te
29
technology
Gd
11
graphic design
Ag
23
advertising
Ststyling
4
Dedesign
5
architecture
6
30
26
24
23
15
13
9
8
7
6
5
3
2
1
Ananimation
18
CiBrcity branding
27
Adart direction
10
Crcrafts
28
Id
19
interior design
26
Trtrends
25
Coocooking
Pri
16
printing
Cw
17
copywriting
Fifilm
9
Illillustration
8
Mamaterials
7
Fafashion
2
Arart
3
Phphotography
1
Ac
32
Fofood
32
addictlab.com
Addictlab is all about accelerating talent and generation innovation. Creating a bridge between a brand and a growing creative scene. Of course, we’re not just passing on busi-ness cards. We believe in the added value of collaboration. Addictlab’s brand department guards brand coherence and respect for the creative minds, and guides the process.
1. Innovation = new productsbrand Labmembers Discipline Country Diesel jeans * Malin Lundmark Design Sweden 2. Innovation = new ideasbrand Labmembers Discipline Countryconfidential brand * Ina Arends Art the Netherlands * Martin Roedolf Photography the Netherlands * Liuan Tan design Japan * Garth Roberts design US * Jens Martin Skibsted design Danmark Labresearchers * Jan De Lancker Marketing Belgium * Ina Arends Art the Netherlands Facilitator * Jan Van Mol Branding Belgium
3. Innovation = new marketsbrand Labmembers Discipline CountryItalosuisse * Elke Timmerman Marketing Belgium * Mireia Mazon Graphic Design Spain * Carmen Bianco Jordà Graphic Design Spain
4. Innovation = product tweekingbrand Labmembers Discipline CountryTonkeys * Elke Timmerman Marketing Belgium * Nuno Oliveira Graphic design Portugal
5. Innovation = coherence in brand strategybrand Labmembers Discipline CountryWoodlake * Katherina Tretter Fashion Austria * Anja Samson Graphic Design Belgium
6. Innovation = inspirationbrand Labmembers Discipline CountryTNT * Elke Timmerman Marketing Belgium * Fenna Zamouri Graphic Design BelgiumIMEC * check Addict #27
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7. Innovation = re-inventingbrand Labmembers Discipline CountryTonkeys * Elke Timmerman Marketing Belgium * Fenna Zamouri Graphic Design Belgium
8. Innovation = researchbrand Labmembers Discipline CountryPersonalised brand labs confidentialChocolate Design research check Labfiles
9. Innovation = brand experiencesbrand Labmembers Discipline CountryModo Bruxellae * Garth Roberts Design USItalosuisse * Benoït Deneufbourg Design Belgium
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What?Addictlab’s researchers are scanning the Labfiles database continuously for fresh ideas on Children.// Lab_inputNew ideas come from 1. Creative people with ideas, please send us your concepts. (Tell us if you want them to be online or if we have to treat your ideas confidential.) 2. Labresearchers browsing the sites, visiting fairs 3. X-Rays where we invite Labmembers to come and brainstorm on certain topics. // Lab_output 1. Shall we produce a book on the matter? We are thinking of making our #29th Research issue. Mail [email protected] if you’re interested. 2. Industry interested in our research, can tap into our lab. For a monthly fee, you can receive Confidential trend research. We create password protected webpages for your company, based on our proactive research and answering to clear briefings you might have.
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Your city? Country? Region? You?Local ambassadors can help you discovering all about addictlab, registering and more. They can use these pages to show their selection of local talent and interesting activities.
This site is created by .... You. Addictlab is all about expanding a creative network. All the links on this page will direct you to pages that are created and maintained by local labambassadors.
It is their way to show the creative talent in their city, talk about intersting stuff, pointing out important issues. Want to join in? Mail [email protected] and you’ll receive a special login and password to start talking about your city or region.
Belgium Antwerp, Silke Fleischer
Brussels, Elke Timmerman
PortugalOliveira de Azemeis, Nuno Oliveira
South-AfricaCapetown, Alistair Luke
Johannesburg, Marike Hechter
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Register as a Lab Member and upload all your ideas on www.addictlab.comConfidential ideas >> please contact directly [email protected]
© 2007Ad!dict and addictlab.com, LAB.001 bvba
In no way is Ad!dict Creative Lab or the publisher responsable for the visions the artists have expressed. All rights reserved. No part of this publication may be reproduced, copied or transmitted, either by conventional means or electronically, without written permis-sion of the publisher. Everyone is free to register, send in ideas and get work published. You take on responsability for your contribution. Ad!dict will not send back any work or slides, nor are we responsable of any losses during shipment. Only LabMembers with signed Lab Member agreement and selected for this issue receive a free copy of these LabFiles. Ad!dict Creative Lab, Creative X-Ray and Addictlab are registered trade-marks of Jan Van Mol.
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