Salone Del Mobile

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Foreword
Colophon
Contents
D e s i g n i s E ve r y t h i n g
and Furniture
Connecting the Dots
Yearbook Dutch Design Milan 2012
Representing all Dutch presentations
during the Milan Design Week 17 - 22
April 2012
Connecting the Dots magazine publishes
Dutch designers and design-culture
internationally during key design events
and fairs.
Connecting the Dots magazine
Koningsstraat 43c
1011ET Amsterdam
The Netherlands
www.thedots.nl / [email protected]
+31 (0)208932886
Editor in Chief
David Heldt
[email protected]
Contributing editors
Cécile Dornseiffen, Monique van Empel,
Annemiek van Grondel, Maarten Veeger,
Kees de Haan, Francine Mendelaar,
Daniela De Lorenzo (intern)
Translator
Studio Mason & Egmond
Graphic design
Koehorst in ‘t Veld
www.koehorstintveld.nl
Contributing photographers
Boudewijn Bollmann: twistedstreets.nl
(photo reportage), Ilco Kemmere:
ilcokemmere.nl, Eline Witteveen
Printed by
Habo DaCosta
Communication & Press
Luc Deleau
[email protected]
+31 (0)652472990
Advertising
Luc Deleau & David Heldt
+31 (0)208932886
Financially supported by
The Netherlands Architecture Fund
© Connecting the Dots 2012
All rights reserved. Copyrights on the photographs,
illustrations, drawings, and written material in this
publication are owned by the respective
photographer(s), the designer(s) and the author(s).
No part of this publication may be reproduced or
transmitted in any form or by any means, electronic,
mechanical, photocopying or otherwise, without
permission of the publisher and designers,
photographers and authors involved.
4
For a long time by now a furniture fair
has not been about selling furniture,
any more than design has been about
developing products alone. The Milan
Design Week in particular has developed over the last few years to become
a bustling meeting place for politics,
economy, ecology, city marketing and
even nation branding, including Dutch
Design. And design is like a new
buzzword that covers new entrepreneurship, linking diverse sectors, and
putting people first. Our future needs
engineers who are enterprising, know
how to link complex issues, and put
people at the centre – in other words,
designers. While most studies and
professions are aimed at specialisation,
designers have to be able to make
connections across a very broad front.
knowledge with a unique experience of
changing trends and the changing fair
itself, especially in the last twenty
years. Maes still remembers the salone
clearly from the time when it did not
contain a single Dutch presentation but
was a purely Italian event. She is in a
position to know how much the introduction of Dutch Design and other
trends has changed the Milan Design
Week. Maes, who is herself an industrial designer, takes a critical view of the
developments, particularly of the Dutch
presentations; beside an enormous
wealth of ideas, she also perceives a
spiritual impoverishment. Read the
unique survey and interview with her
on page 6.
The economic malaise in the furniture
branch has, surprisingly enough, not
If you want to know how these new
led to a drop in the number of desigdesigners can make a whole region
ners and companies at the Milan fair.
prosper, turn to page 16. The city of
There are more Dutch presentations
Eindhoven has known for years that
than ever. All the same, the time of
designers have talents that can give a
lavish spending is over. I pick up signals
new impulse to the economy. During
during my stay in Milan, there has been
the 2008 Milan Design Week Tuttohard bargaining about the price of
bene was already giving a guided tour exhibition spaces, and compromises
to a delegation of local government
have been reached. And that is not
civil servants who wanted to know
something that the Milanese like to do.
everything about design and sustaina- Let us be thankful to Milan this year that
bility in detail. And it was probably not we can present our designers, the
their first visit there. Eindhoven, with its catalysts of the Dutch economy, to the
world-famous Design Academy,
world here, and at a sharply reduced
University of Technology and important price.
high tech industry, has also been
organising the Dutch Design Week for
A week is not enough to see everything.
eleven years. The driving force behind Connecting the Dots helps you to make
this event is Capital D, an organisation a selection and to plan your week well.
that deploys design to stimulate the
I take the liberty of making three recomeconomy in the Eindhoven region. And mendations: don’t skip unfamiliar
with success.
names on your tour, see which traditional brands are working with young
This edition of Connecting the Dots also designers, and enjoy!
includes a survey of the developments
in Dutch Design in Milan during the past David Heldt
Editor in Chief
forty years by Ann Maes. She has not
missed a single (fuori) salone in all those
years. She is an incredible source of
Foreword
Column
Design is Everything
and Furniture
Nostalgic
Avant-garde
by David Heldt
p4 —
by Kees de Haan
p24 —
Interview
Article
From Trade
Partner
to Idea
Generator
Interview with Ann Maes
by Cécile Dornseiffen
p6 —
Article
Capital D:
Dutch Design
in Bussiness
by Monique van Empel
p16 —
Column
Not with Furniture
by Maarten Veeger
p20 —
5
The Museum
Lives
by Annemiek van Grondel
p28 —
Article
Connecting the Dots
with the Materiaalfonds
by Francine Mendelaar
p33 —
Guide
Find Dutch Designers
in FuoriSalone, Zona
Tortona, Fiera and
Zona Lambrate
p36 —
She has not missed a Salone in Milan in forty years. Present at the most
eye-catching shows, exhibitions, receptions and parties. First as a
student, since 1977 as a freelance designer, and since 1980 as
correspondent for various magazines, including Abitare. But now
primarily as promoter, curator and design manager. If anyone has seen
Dutch Design expand to become a world-famous export product, it is
Ann Maes. But she considers that this reputation has also taken its toll.
‘For decades I have been opposing overproduction, useless products,
and the waste of energy and materials.’
Interview: Cécile Dornseiffen
4 0 ye a r s o f D u t c h D e s i g n i n M i l a n
F ro m Tr a d e
Pa r t n e r t o I d e a
Generator
—
Ann Maes in her archives.
Photo: Eline Witteveen
6
7
She first passed through the
turnstiles of the Milan furniture
fair in 1971, on holiday in Italy with
a friend. ‘I wanted to see the
phenomenon Salone del Mobile
with my own eyes and was immediately hooked. Since then I haven’t
missed a single edition, not even as
a mother of a three-week-old baby.
My colleagues couldn’t understand
it. But Milan, that’s something.’
Who were the earliest Dutch
pioneers?
‘In the very beginning the Salone
del Mobile was a pure furniture
trade fair, later supplemented with
Euroluce, Eurocucina and Eimu,
for lighting, kitchens and office
furniture. In 1970s and 1980s the
only participants from the Benelux
countries were the importers of
leading brands: Horas, Kreymborg,
Mobica, Polydes, Tradix. They
introduced a Dutch designer here
and there among their suppliers.
These were designers from my
generation, including Ed Annink,
Ton Haas and Bruno Ninaber.
Martijn Wegman and Frans van
Nieuwenborg were given the
opportunity to have their ‘glass
fibre cloth’ lamp ‘Delight’
produced by Ingo Maurer. And
thanks to introductions I found my
way to Alessi, Ycami and Zeus. It
was a real man’s world.’
Exhibiting in the city centre
suddenly became more
important than a trade fair
presentation. What brought
about this change?
When did the Dutch furniture
manufacturers take the leap to
Milan?
‘Looking back, I think that it wasn’t
until the 1980s that they were
prepared to risk further internationalisation, besides the commercial Möbelmesse in Cologne. But it
was still a small and select group for
a long time: Artifort, Castelijn,
Montis, Rohé and Pastoe. And they
were not yet in the spotlights, with
visits from the occasional scout.
That is how Gerard van den Berg
was given an assignment by
Minotti.’
‘At that time the Salone del Mobile
was still held in September on the
old trade fair site near the city
centre. There wasn’t an edition in
1990 because they had decided to
switch to April. It was a messy
mishmash, don’t suppose that it
was full of design. Only Pavilion 30
had a reputation as the number one
venue with brands like Arflex,
Baleri, Boffi, Castelli, Cassina,
Molteni, Kartell and Tecno. You
had to wade through the kitsch to
get there. “Rubbish downstairs,
beauty upstairs”, we used to say. All
the same, the fair organisation
COSMIT did its very best to create
cultural added value. I can still
remember wonderful exhibitions
on Colombo, Munari, Aalto,
Castiglioni, Sottsass and
Magistretti, for example…’
Top and bottom:
Every Driade-party was a cultural
happening. In 2011 Driade celebrated
the introduction of the chair ‘Nemo’ in
the form of a mask, designed by Fabio
Novembre.
‘Waiters in tuxedo
served champagne
and intriguing ladies
,
read from Dante Top: Amsterdammer cupboards, designed by
Aldo van den Nieuwelaar in 1973 and
produced by Pastoe since 1978
Middle Top: Charly designed in 1980 by
Gerard van den Berg for Montis
Middle bottom: 2008 Kadrega wooden chair
by Huub Ubbens for Montina
Bottom: Delight glass fiber cloth lamp,
designed in 1980 by Frans van Nieuwenborg
en Martijn Wegman. Produced since 1987 by
Ingo Maurer
L’Italia ricomincia da Zero bookcase by
Carlo Poggio, founder of Zerodisegno
8
1999 Sisters set of bowls in glass, ceramic and tin.
Designed by Ed Annink for Driade Aleph
Zerodisegno prêt-à-porter furniture on the runway with
Versace and Dolce & Gabbana, in the Superstudio in 1995
9
‘The big Italian firms always used
their Milan showroom to receive
VIPs. The limited space available at
the fair made those shows in the
city more and more important. In
1987 Giulio Cappellini caused a stir
in the Museo di Milano with a
legendary exhibition focusing on
the work of Shiro Kuramata. In
1995 Zerodisegno rented a photographic studio in the Via Tortona
and organised a fashion show with
eccentric furniture. A couple of
years later Cappellini moved to the
Fabbrica del Vapore, and later to
the immense Superstudio in the
industrial periphery that was still
affordable at the time. It brought in
masses of visitors, and other
companies tried to take advantage
of that flood of people too. That was
the start of the success of the Zona
Tortona’
‘Pastoe also decided to move to
the city centre in 1990 with a lyrical
presentation in the Via Cerva, for
which thousands of tulips were
flown over from the Netherlands.
Montis was presented above the
French Cultural Centre in the heart
of the fashion quarter. In no time it
became a must to stage theatrical
‘fuori saloni’ events, preferably on
exciting locations, from ancestral
palazzi to abandoned industrial
premises. The handy guides and
exhibitions of magazines like
Abitare and later Interni did a lot to
institutionalise this show circuit.’
Legendary Parties
‘The 1980s were extravagant.
The Italians in particular spared
no expense when it came to
branding.
I can still vividly recall unforgettable moments. Paola Navone
was in charge of the Driade
cultural parties, Poltrona Frau
brought in opera singers for the
Sunday breakfast. Sisal Italia
concluded a dinner with a 2 x 2
metre cake in a purple and pink
design by Ettore Sottsass.
Zeus-Noto had music specially
composed for their night parties.
I once had a surrealist metro ride
with Castelli during which waiters
in tuxedo served champagne
and intriguing ladies read from
Dante. An entire orchestra was
playing at the first underground
station, and at the last we were
treated to a ballet with their
famous Plia chairs. What a time
that was.’
Below Top: Cappellini surprised many years the entire
design world with its mayor exhibitions in the
Superstudio. Show 2003.
Below Bottom: Original catalogues of the legendary
company Hidden, designed by Opera Graphic in
2000-2001-2002 and 2003.
What were the most stunning
presentations?
And suddenly there were the
collectives, led by Droog…
literally introduced colour to
design, Droog Design introduced a
shot of humour. Although I found a
‘After a colourful era of
lot of the work premature, there
Postmodernism of Memphis and
were some brilliant ideas, such as
more pragmatic industrial products the ”marble alley” with sliding
from companies who embraced
bucket seat, a fence with a foldable
Philippe Starck and Jasper
seesaw, wall carrier straps, and of
Morrison, Gijs Bakker decided to
course Tejo Remy’s Milk Bottle
go in the opposite direction. He
Lamp. As a generator of ideas,
showed ‘dry’ (droog) Dutch design Droog Design certainly also made a
by a number of young designers in point with its Slow Shows as an
the basement of the Pastoe exhibi- alternative to overproduction and
tion in 1993. Renny Ramakers,
the ecological footprint.’
editor-in-chief of Items at the time,
supported the initiative and Droog
Design was launched. The Dutch
Various group presentations
contribution to the design debate
were subsidised. What has the
attracted increasing attention,
influence of government policy
partly because their pioneering
been like?
vision was soon published on a
global scale. Droog Design marked ‘Strong, perhaps too strong.
a turning point in product design:
Although it took some time for the
what was shown was predominantly Dutch government to become
conceptual. As Memphis had
aware of the value of design as a
contemporary export product.
Ministries and subsidised organisaBelow Top: Ton Matton eco-exhibition
tions teamed up with the innovative
in Stazione Garibaldi in 2010.
thinkers: the money poured in from
Below Middle: 2008 Tuttobene Milaan
all sides. Of course, group presentations were a strategic PR instruBelow Bottom: Temporary shop and
exhibition of Super Droog in Milan in
ment that should not be
2011.
underrated. But there is always the
risk of the lax application of
selection criteria. Very many
designers would not have been
heard of without these foaming
flows of subsidies. On the other
hand, it has also put the good
designers on the map faster. Take
Ineke Hans, Richard Hutten,
Arnout Visser, Frederik Roijé,
Scholten & Baijings and Geke
Lensink…’
‘Too many to mention, surprised
on all sides by ‘theatre’ with
inspiring content and a high
cultural level, from lyric individual
shows and historical exhibitions,
initiated by the ADI, the COSMIT,
the Triennale and the City of
Milan, to huge installations curated
by Interni.
The presentations by Pallucco in
the late 1980s in the ruins of the
abattoir ‘il mattatoio’ on the
outskirts of Milan were legendary:
flowing furniture sculptures in a
white mist, illuminated by spotlights – there was no telling where
reality ended and illusion began.
The brand Dada rented cranes to
float enormous platforms with their
latest kitchens above the building
sites of the metro. And since 1996,
the poet of light Ingo Maurer
turned the Spazio Krizia year after
year into a mecca for the
connoisseur.’
When did Milan become the
prime breeding ground for
Dutch freelance designers?
2008 exhibition in the Triennale di Milano,
directed by Paola Navone.
Spirits-flying-high Led Paper by Ingo
Maurer. Show 2011 in Spazio Krizia
Milano. Photo Tom Vack.
Installation ‘Ablaze - Sentimento (s)
travolgente’ by Ingo Maurer i.c.w. Axel
Schmid, for the 2011 INTERNI-exhibition
‘Achittettura Mutante’ in the Università
degli Studi. Showing the gradual
transformation of a house burning down in
slow-motion. Photo Tom Vack.
10
‘The rise of the freelance designer
in Milan had several causes: the
promotional policy of the government, but above all the shortage of
permanent employment. The
Netherlands simply did not have
enough design companies to absorb
the growing group of graduates, so
industrial designers started to
produce themselves or went abroad.
But at the same time the Dutch
companies recruited foreign
designers in a bid to catch up. I
even played a role in that myself…
Pastoe, for instance, went to work
with Shiro Kuramata and later with
Shigeru Uchida. It was the time of
changing places. Dutch designers
were discovered by Italian companies: Maarten Kusters and Jacco
Bregonje were successful in the
furniture industry, Driade Aleph
welcomed Ed Annink and Roderick
Vos. Huub Ubens was hired by
Artemide and later Danese. Marcel
Wanders was discovered and
promoted by Cappellini. It was the
start of Marcel’s remarkable career.’
Ghost Chair, designed by Studio Drift in
2007, seen in via Tortona
Sand carpet in the street, created by
Muurbloem in via Tortona in 2009
I n the first decade of the 21st
century the Zona Tortona became
the free port for young Dutch
designers.
‘The magnetic attraction of top
names made it busier and busier in
the Zona Tortona. Dutch design
brands such as Ahrend, Moooi,
Linteloo, Royal Mosa, Goods and
A second major PR instrument Van Esch joined in, with many
was promotion by the Design
young designers in their wake. It is
Academy Eindhoven.
the period of the rise of interesting
designers as Studio Drift, Smool,
‘Another benchmark: design
Raw Color... I’ve seen many crazy
schools that put the global spotlight creative actions, especially by
on their best graduate students.
people with a limited budget. They
They are green, lack any practical
took their designs around on
experience, and are still filled with delivery bikes, or showed their work
wild ideas – just right to set the
in caravans by the roadside.
industry’s head spinning. Unlike
Maarten Baas had cloned his studio
the academies that presented at the in an empty garage. Studio Rolf.fr
Salone Satellite, the Design
sawed retro cupboards in the street.
Academy Eindhoven (DAE) and
Muurbloem sprinkled sand carpets
the Royal College of Art landed in
on the pavements. Sometimes it
the city of Milan, at the focal point was just like street theatre. The
of attention.’
press made it worse by interviewing
anyone who showed his most
extreme side. The commotion grew
at the expense of quality…’
2001 Divina couch by Jacco Bregonje
for Felicerossi
Extruded grass seat. Concept from
Jurgen Bey, presented by Droog Design
in 1998
1966 Ribbon chair & hocker by Pierre
Paulin for Artifort
2000 Agung easy chair designed by
Roderick Vos for DRIADE
Optic glass, designed in 1997 by
Arnout Visser for Droog Design
11
‘After a colourful era of Postmodernism of
Memphis and
more pragmatic industrial products
(...), Gijs Bakker
decided to go
in the opposite
,
direction.
As an industrial designer in
body and soul, what did you
really make of the rise of art
design?
‘Everything shows that many
designers who produce for themselves actually have limited possibilities of production. So it is logical
for them to make small series. But I
consider what they create to be less
and less functional or relevant: a
pure waste of material and energy.
Personally I find unaffordable
limited editions even embarrassing.
That whole ‘art design’ is a thorn in
my side. Italians deploy architects
and engineers as designers, not as
artists. If you don’t see eye to eye
with the industry, you can’t just
pour a golden sauce over a design to
make it more acceptable or wanted.
These fake art trends take the wind
out of the sails of the serious
designers, and of the real artists at
the same time.’
2008 Maarten Baas presentation in a
garage. Photo Boudewijn Bollmann
2010 showcooking party (in via Forcella/
Zona Tortona) to promote the CuriosityKitchen by PeLiDesign, made with ARPA
laminates.
Like a lounge party…
‘I gradually became ashamed of
that annual Dutch rave. The
hysterical happenings were often
spurred on by drink sponsors. You
could walk over people’s heads at
the opening, whole streets were
‘I graduclosed off; two days later you could
have fired a cannon there. It wasn’t
ally became
fun any more… and the Zona
ashamed of
Tortona blew itself up. Some moved
that annual
to another part of Milan, such as
the Zona Porta Romana where the
Dutch rave.
eco-thinkers are located. Or to the
The hysterical
artistic Zona Ventura Lambrate
happenings
where Abitare has had its headwere often
quarters from 2002 until spring
2012, flanked by old factories, new
spurred on by
, art galleries, architectural studios
drink sponsors.
and the Scuola Politecnica di
Design. But that area is already in
danger of becoming overcrowded
too.’
What do you look for yourself
at the Salone?
‘I visit less and less fairs. I follow
the topicality via internet. I go to
Milan in April and once every two
years to ‘Interieur’ in Kortrijk, that
keeps me completely up to date. In
my own design career I have never
shown in Milan. The time, energy
and resources it takes are out of
proportion. Besides, you can’t
broaden your view if you stay put
on your own square metres. I
always wanted to absorb as much as
possible of the atmosphere and
meet producers, top designers and
importers. You only develop a
vision, slowly but surely, if you look
around you and listen. Then you
realise what there is still a need for
and what not.’
And that is?
But isn’t human design on the
way up at the moment?
‘Designers should rediscover their
social responsibility: working for
broad target groups, no longer for
the happy few. The market for
eccentric and hip items of furniture
is saturated. I get the same feeling
with all those reinterpretations of
old forms and patterns with which
some Dutch designers think they
can find a new identity. But that is
not the solution to our problems.
Relevance and usefulness, thinking
in human and social terms will help
us a lot more. There certainly is still
uncharted territory. Just think of
the baby and the senior citizen
market. But a well thought out,
functional and attractive walking
frame is apparently not mediagenic
enough.’
Ann Maes: Biography
It’s called the working of the
market. There is a demand,
almost a hunger, for trendy
design and styling.
Ann Maes (Bruges, Belgium,
1952) graduated from the
Industrial Design Academy
Eindhoven in 1977. She began
her career as a product designer
of technical products, a lot of
lighting and the famous
Mace-line fireplace tools. In
1980 she became correspondent
for the Italian magazine Abitare.
In the monographic
, issues
Abitare ‘Olanda (1985 and
2002) she gave many Dutch
designers their first international
publication.
‘Always those trends! Designers
have become brands and been given
star status. Honestly, Marcel
Wanders is a good stylist. He stuck
his neck out with those oversized
ceramic clocks and those mega
lamps, but it turned into a gimmick
and went from bad to worse. To
label almost every design with your
face, it’s what I call ego tripping.
The really great designers have
usually kept their modesty.’
‘Milan is increasingly more about
the PR than about the product. The
press is partly responsible for
provoking that exhibitionist
behaviour. Recording controversial
novelties in artistic photographs
seems to have become a must if you
want to get into the glossies. Too
much attention is paid to absurd
products as a result, such as that
famous horse with a lampshade on
its head by Moooi: a black horse
doesn’t emit any light, does it? The
exorbitant kitsch creations for
Swarovski are another example. For
me they reflect the spiritual
impoverishment of our society.’
‘Ecological, human and social
design: new hypes? Italians like
Ezio Manzini and Andrea Branzi
have already been thinking and
working on that for twenty years!
The warnings issued by the Club of
Rome have never been taken
seriously, but if we had listened
better at the time, we wouldn’t be
in this mess now. There is the new
danger that sustainability will be
used as a marketing tool by opportunists, often with long-winded
explanations to justify the product.
Recycling and upcycling have
become the buzz words. But what
some people tend to forget is that
recycling costs money too. You can
better focus on producing less and
of a higher quality to extend the
lifetime of a product.’
You have been a state jury
member for years. What is
expected of the up and coming
generation of designers?
‘A lot. A good number of their
iconic predecessors have lost their
way. Future generations will have
to learn to deal with an expected
shortage of raw materials, energy
and funding. That calls for not only
creativity but also a sense of reality.
If those two meet, once again we
will be offered products that are of
use to the world.’
After ten years of freelance
production and design, she
entered the world of design
management, working for
Scopelight, Artifort, Lensvelt,
Royal Mosa and others. Since
1997 she has also been
independently organising trips,
events and workshops for top
architects with the support of the
creative industry. Ann Maes has
won various design awards. She
lectures and is respected for her
critical vision.
Top: 2001 Random Light Black by
Bertjan Pot for Moooi
Marcel Wanders
2004 This Chair, designed by Richard
Hutten for LENSVELT
2005. Marcel Wanders designed a
striking presentation for Bisazza
Top Middle: TC stool, designed in 1990
by Ruud Jan Kokke for Museum
Boymans van Beuningen. First
produced by Designum, since 2004 by
Goods.
Top Bottom: BM set of self-made small
boats, using disposables like champoo
bottles. Designed by Floris Hovers.
Presented in Milan in 2011.
Bottom: Mug Domoor, designed by
Richard Hutten in 2001. Now in the
12
13
Joep van Lieshout— artist / designer— ateliervanlieshout.com— 33 p.45
14
Merel Wicker en Kim Leemans— fashion designers— l-e-w.nl— 21 p. 41
15
The cradle of Dutch design lies in Eindhoven, a city in the south of the
Netherlands where design is omnipresent. Capital D is the Eindhovenbased organisation that deploys design and design thinking on a wide
front to further the economic growth of the whole region and to put it
internationally on the map. With success!
By Monique van Empel
C a p i t a l D:
Dutch Design
in Business
—
They have known for a long time in Eindhoven and
environs that a dynamic design climate has prevailed
there for years. After the acclaim of this Brainport
region as ‘the most intelligent region in the world’ by
the Intelligent Community Forum (ICF) in New York
in 2011, people are now becoming aware both in the
Netherlands and further afield that something special
is going on in Eindhoven and the surrounding area.
Hans Robertus, director Capital D and Dutch Design
Week, explains exactly what that something is. ‘It’s in
our DNA.’
Eindhoven
‘Brainport is a region of top technology and design.
Many top-level technology firms, knowledge and
research institutes are located within a roughly 40
kilometre radius of Eindhoven. They include Philips,
DAF and ASML, TNO Industry and Technology, but
also the Design Academy Eindhoven, the Eindhoven
University of Technology and the High Tech Campus.
The crafts and productive industry are also well
represented here. Thanks to the short lines of communication, a good idea can soon be turned into an
innovative product and successfully find its way to the
(international) market. The role of design as the
foundation of the creative sector is of essential importance in this respect’, according to Hans Robertus.
Technology and Design
Hans Robertus and Robert Jan Marringa are the
directors of Capital D, a broad organisation in
Eindhoven that promotes the deployment of design as
a motor force for innovation, economic growth and
sustainable development. Robert Jan Marringa: ‘The
16
17
Dutch Design Awards, Exhibition at Brainport
Greenhouse. Eindhoven, October 2011.
Photo Boudewijn Bollman
word “Capital” refers both to Eindhoven as capital of
the D for design and to the capital that design can
generate for the world of industry and commerce.
There is no denying its economic value and relevance.
Design is everywhere. Capital D initiates and facilitates some twenty projects to bring enterprising and
creative parties into contact with one another and
thereby to create growth for all of the sectors involved.
And it is successful: the creative sector is proportionally the fastest growing sector at the moment, not only
here in the Brainport region, but also nationally and
possibly even internationally. We see Dutch design as
the catalyst for innovation and business at both the
social, cultural and economic level. This even makes it
one of the most important Dutch export products.’
Cooperation
Capital D originated in the field. It is a cooperation
with members from the design world, students,
architects, productive industry, knowledge, government and educational institutions, museums and the
local authority. ‘They are all parties who want to tackle
design jointly. And to create work in that field’, says
Hans Robertus. ‘That is why we shall shortly be
starting a multidisciplinary Flexpool for creative
entrepreneurs at a national level. For instance, for
companies that are looking for a freelance designer, or
for self-employed persons who want to contact
potential clients. A Flexpool of this kind is a perfect fit
for Capital D, because it is in the direct interest of our
members and serves as a model for how we try to bring
various groups together.’
International Podium for Designers
Capital D has an average of twenty projects in its
portfolio each year. It provides them with both
strategic and executive backup to put the Eindhoven
region on the (inter)national map. The best-known are
the Dutch Design Week and the Dutch Design
Awards, but the International Podium for Designers is
also a large-scale project.
Hanneke van den Nieuwenhof is Capital D head
of project for this long-term investment programme.
‘To put it simply, we want to show the world how we
deal with design and design thinking in the
Netherlands and particularly in the Brainport region.
We see these as the strongest cards to play for growth
of the creative sector in the country and abroad. To
that end we organise travelling exhibitions, trade
missions, design trips, workshops, lectures, pitch
sessions and other activities. So we literally offer
designers a podium. On the one hand, the
International Podium for Designers is aimed at
positioning and profiling Dutch design. On the other
hand, it is there to promote cooperation between
designers and companies abroad.’
creativity and design proceed hand in hand. They are
products with which designers have been involved
from the very first stage of the developmental process.
You can regard it as a visual plea for the conviction of
Capital D that cooperation between designers and the
world of industry and commerce really can help our
region to make economic progress.’
Besides the exhibitions Made in Brainport
(Istanbul, Munich, Helsinki) and Spring (Milan,
Moscow, Helsinki), Connecting Concepts (Berlin,
Istanbul) is also being shown internationally. This
exhibition, a collaboration with the Netherlands
Architecture Institute, has been curated by Ed van
Hinte on the initiative of Premsela and is part of the
DutchDFA programme.
Hans Robertus: ‘I am convinced that design can
make the world a good deal more beautiful, better and
more sustainable. Brainport is at this moment the most
intelligent region on the basis of the left side of the
brain. My ambition is to develop this further in
balance with the right side of our brains.’
Dutch Design Awards, MINI Young Designer Award-winner Bart
Hess, presenter Hadassa de Boer and Director BMW Group The
Netherlands Jan-Christiaan Koenders at the Awardshow Eindhoven,
October 2011. Photo Bram Saeys
Dutch Design Week
The Dutch Design Week in Eindhoven has grown in
the course of ten years to become the largest design
event in the Netherlands. By now the event is also on
Klokgebouw during Dutch Design Week Eindhoven, October 2011.
the international map.
Photo Sjoerd Eickmans
Eindhoven breathes design for nine days. The
DDW is not a regional festival, but a national showcase
of Dutch design. The whole city is bustling. Hundreds
Made in Brainport
of new talents from the Design Academy Eindhoven
Hanneke van den Nieuwenhof tells us that this year’s
and elsewhere, established designers and famous
programme is concentrated on three exhibitions:
agencies from all over the Netherlands show their work
Made in Brainport, Spring, and Connecting
on a number of locations. Eye-catching design taxis
Concepts. The last two are organised in close collabo- drive back and forth between the main attractions: the
ration with Premsela, the Netherlands Institute for
Design Academy, the Klokgebouw and other indusDesign and Fashion. Spring, which can be seen during trial buildings on Strijp S, R and T, the Eindhoven
‘i saloni’ in Milan, is a triptych in which thirty
University of Technology, the Design House and the
well-known Dutch designers show work that has
Brainport Greenhouse where the work of the finalists
inspired them and promote young talent. Hanneke van and winners of the Dutch Design Awards are on show.
den Nieuwenhof: ‘The exhibition Made in Brainport
Last year the Dutch Design Week was opened by
shows the results of successful forms of cooperation
nobody less than Princess Máxima.
from the Brainport region in which knowledge,
18
Growth Diamonds
Anyone who can remember the early years of the Zona
Tortona and now also the Zona Lambrate in Milan
can experience the same exhilarating, dynamic and
inspiring atmosphere during the DDW in Eindhoven.
The City of Light is also filled with old industrial
premises and abandoned industrial sites with interesting design clusters of young designers and artists,
such as the experimental hotbed Sectie C and the
trendy Temporary Art Center (TAC). This is where a
wide range of the growth diamonds of Dutch design
are located. Because they all throw their doors wide
open during the DDW, visitors are given a unique
inside view of the kitchen of their conceptual and
experimental work. What they show is a vision rather
than the ready-made solutions and products that can
be seen in Milan. In Eindhoven content counts for
more than aesthetics. And that is precisely what makes
the DDW popular less with buyers than with parties
who are interested in new visions and concepts:
journalists, manufacturers, the world of industry and
commerce, the productive industry.
Raffaela Vandermühlen, head of Communication
& Marketing of the DDW: ‘We want to be the hotbed
where designers and clients can meet one another and
where follow-up assignments may emerge, in both the
creative, culture and economic and the social field.
Partly thanks to the presence of the Design Academy,
we have an enormously tight-knit design community
here in Eindhoven. In fact it is their week. Unlike the
situation in other countries, the Dutch Design Week is
organised from the bottom up. And as Capital D we
build our programme around that. One result, for
instance, is that you do not keep coming across the
same names here that you already find everywhere
else. In parallel we organise an international
programme of workshops, lectures, congresses,
exhibitions and network meetings on the distinctive
capacity of design in business and vice versa extending
over several days for our commercial visitors under the
name DDW Business.’
Future
The jubilee edition of the DDW in 2011 included no
less than 360 activities and exhibitions on the
programme at 85 different locations in the city,
involving more than 1,800 young designers. We had a
record number of visitors: 180,000, more than 10 per
cent of them from abroad. It represented a doubling of
the number of registered journalists, photographers
and camera teams by comparison with the previous
edition. According to Hans Robertus, the challenge
for the future lies not in quantitative growth, but above
all in bringing the right people together. ‘We gauge the
success of the week to a large extent by the quality of
the relations that are made there. We want to interest
different parties in one another and eventually bring
about a change in behaviour that will bring the
creative sector and the world of industry and
commerce, but also for example financial institutions,
government bodies and legal experts into contact with
one another and to harmonise better with one another’s interests.’ A new feature in 2012 is a ‘heavier’
evening programme with more opportunity for
discussion and networking.
Dutch Design Awards
One of the highlights during the DDW is the annual
presentation of the Dutch Design Awards, this year for
the tenth time. It is a national competition for Dutch
design in the categories Communication, Product,
Design, and – new this year – Autonomous Design, for
which designers from every discipline are eligible.
Capital D is responsible for the organisation of the
competition, the presentation of the awards, the
(travelling) exhibition and the contents of the Dutch
Design Yearbook (in collaboration with NAI
Publishers). Head of PR Robert Jan Marringa,
Director Dutch Design Awards: ‘This year we are
putting even more emphasis on storytelling. We
consider not only what designers make, but also the
story behind a design and its social relevance.’
At the moment the organisation is engaged in research
on the economic value of the Dutch Design Awards.
What benefits do they bring to the winners? How do
they themselves see the importance, the quality or the
added value of the Awards? Architect and (light) artist
Daan Roosegaarde, who won the Dutch Design Award
for the best autonomous spatial design in 2009, claims
to have gained a lot from his distinction. ‘Awards are
the golden crumbs that help you to make the perfect
bread. Thanks to the Dutch Design Awards, my work
has attracted the interest of new parties and public
projects, particularly in Asia. Recently our interactive
light installation Dune even won the Chinese Most
Successful Design Award.’
The 11th edition of the Dutch Design Week will be held from Saturday 20 to
Sunday 28 October 2012, with the presentation of the Dutch Design Awards on
20 October.
www.capitald.nl · www.ddw.nl · www.dutchdesignawards.nl
Princess Maxima opening Spring exhibition by Premsela and
Capital D. Eindhoven, October 2011.
Photo Job Janssen
19
What must you do to
get that spoilt editor of
a design magazine
to write about you?
Not with
Furniture
—
It’s not original. But any self-respecting
designer has to be in Milan during furniture
week to present his furniture, lamps,
kitchens or bathrooms.
Being there and taking part as one of the
2,500 firms at the official trade fair and an
estimated equal number scattered throughout the city is fine, but it’s not enough. You
also have to be able to present something
new, and that something new really has to
be new. The deadline for completing the
product is one day before the fair opens.
Why? Because you increasingly have to
attract the attention of the media to your
product at that fair. There are surprisingly
few buyers among the 300,000 visitors
who file past the stands. They are fellow
designers, journalists, enthusiasts, students,
and with a bit of luck a few potential
customers. While ten years ago many
designers kept a list of how much they had
sold in their exhibition space in Milan,
nowadays it is more common for them to
have to make do with a pile of business
cards. Any sales you make do not even
cover the stand rent, ticket and hotel. The
hope is that a week at the fair will yield
results in the following months, for instance
because you were featured in a newspaper
or magazine and potential customers can
still remember you.
It’s not a very encouraging prospect, and on
top of it all there is the crisis. The Italian
furniture branch has never been hit so hard,
especially the smaller firms that have
concentrated on the domestic market. The
big and more international ones are in a
better position. They are at Milan as well to
present themselves and to ensure that they
are talked about. And no expense is spared
in that quarter.
So staying away from this week in Milan is
not an option. But how are you to stand out
in that forest of new or spruced up designs?
What must you do to get that spoilt editor
of a design magazine to write about you or
to place a photo after he or she has been
with the big boys?
By not taking the fair too seriously. Wild.
Something without furniture, lamps, kitchens
or bathrooms, for instance. Two years ago
Maarten Baas was in Milan but didn’t really
have anything to report except an iPhone
app of his earlier digital clock for 0,99 ct. If
anyone was also interested in his furniture,
he or she would have to make a phone call.
It was up to them.
Of course, every journalist had to tell that
story. Maarten must have more than
covered the expenses of being there and
taking part.
Maarten Veeger
20
column
Laurens van Wieringen— interior designer— laurensvanwieringen.nl
O U T N OW !
WAVER
Designed by Konstantin Grcic
Developed by Vitra in Switzerland
Vitra (Nederland) B.V. De Oude Molen 2 ∙ 1184 VW Ouderkerk aan de Amstel
Tel. 020 517 44 44 ∙ [email protected] ∙ www.vitra.com ∙ Showroom geopend ma-vrij 9.00 – 17.00 uur
22
23

I am becoming more
inclined to write my
letters. All around me
I see young people
joining knitting clubs.
Nostalgic
Ava n t - g a r d e
—
Designers have to keep abreast of virtually
every development that takes place in the
world that surrounds them, and probably
outside it as well. It is obvious enough that
they have to be able to produce more
efficiently, to react to prevailing demands
or to predict trends. But for those who
cherish the ambition of really being out in
front or, if need be, wanting to change the
world – and there is no shortage of them
– it is perhaps advisable to keep out of the
vanguard and to fall back on the dusty past.
The first example of this phenomenon
emerged in England in the mid-nineteenth
century with a group of painters called the
Pre-Raphaelites. As the name indicates,
they wanted to return to the art of painting
as it had been before the era of the Renaissance artist Raphael. They began to apply
an old-fashioned method in a modernised
setting. Curiously enough, this caused a
sensation because of their ‘revolutionary’
behaviour. In fact, the movement is regarded as the first avant-garde. An even more
noteworthy example is that of William
Morris, another English artist, who turned
his back on industrialisation at the end of
the nineteenth century. While the invention
of mass production was being widely
embraced, Morris calmly sat down to
embroider a curtain. Soon afterwards this
became his popular Arts and Crafts Movement.
These cases show that nostalgia can be just
as powerful a force of change as the belief
in progress. Modernisation entails decline,
so that the desire for something new will be
bound to emerge eventually. The decision
on whether to join in a development or not
depends on whether it is regarded as
positive or negative, but it seems that the
same point is reached in the end. The stark
contrast between craftsmanship as practised by William Morris and astonishment at
the potential of technology is by no means
so clear-cut any more. We can compare the
industrialisation of that era with the enormous growth of the social media. The major
source of happiness today offers a future
because it makes everything easier and
faster.
Personally, I am becoming more inclined to
write my letters. All around me I see young
people joining knitting clubs. The hordes in
the train with their eyes glued to their
mobile phones are increasingly turning to
books. We are on the eve of an avantgarde movement that is backward-looking
but more militant than ever.
Kees de Haan
The best Trade event for interior design
7-8-9 June 2012
10th edition Taets Zaandam
Formerly known as
100% Design
Amsterdam
Latest information and registration at
www.designdistrict.nl
24
column
Mark van Iterson— manager design & concept at Heineken— heineken.com— 21 p. 41
26
Massoud Hassani— product designer— massoudhassani.blogspot.com— 09 p.37
27
Design plays a directing role in society, according to director
Sjarel Ex and conservator of the city collection Annemartine
van Kesteren of Museum Boijmans Van Beuningen. On the
DNA of Dutch design and the added value of a museum to
provoke social debate.
by Annemiek van Grondel
Design Directions
The
Museum
Li ve s
—
Annemartine van Kesteren and Sjarel Ex.
Photo Ilco Kemmere
28
29
Why don’t we
just put on
something big
called Dutch
Design in The
Netherlands?’
There is no doubt about it: no one in the Netherlands
can turn a blind eye to design. Unlike many other
European countries, however, the Netherlands lacks a
museum devoted specifically to design in all its
disciplines. Various design events are organised every
year, of which the Dutch Design Week in Eindhoven is
the best-known, and several cities claim the title design
city. Breda has a museum of graphic design, Arnhem
the Fashion Biennial, and many museums have design
in their permanent collection. But which city can be
called the design city of the Netherlands? And which
museum plays the most important role in the
discipline?
The answer is probably to be found in Rotterdam
in the museum with one of the oldest design collections in The Netherlands. Museum Boijmans Van
Beuningen presents art from the Netherlands and the
rest of Europe from the early Middle Ages to the 21st
century, and reserves some 35 per cent of its
programme for design presentations. Besides the
permanent collection display and thematic design
exhibitions, contemporary work is also shown during
the biennial Rotterdam Design Prize, one of the most
important awards for Dutch designers, with its
multimedia promotional materials, including a series
of short films on national television and Art Tube, its
own video channel.
When asked for his opinion, director Sjarel Ex is
not tempted to claim the title of main player in the field
of design: ‘We were already showing applied art from
Atelier Van Lieshout, Infernopolis, 2010
The idea that a city could be qualified as design city of
the Netherlands in connection with city marketing par
excellence is ‘nonsense’ in his opinion. ‘Design can be
found everywhere in the Netherlands. There is much
more reflection on all kinds of forms of design over a
broad front. It would be truer to regard the
Netherlands as design country of the world. In that
case the city is irrelevant. The Netherlands is small:
you can be where it’s happening in a flash.’
‘There is regular consultation between conservators from various cities on collection building,
acquisitions and the collection of design’, comments
his colleague Annemartine van Kesteren, the museum’s city conservator design. ‘In Rotterdam we
discuss the programming with the neighbouring
museums such as the Kunsthal and the Netherlands
Architecture Institute, occasionally organise joint
exhibitions, and reflect on joint ticket sales.’
She regrets the fact that the design fairs and
events are so spread out over the year. ‘September is
design month in Amsterdam, October in Eindhoven,
in February we travel to Object Rotterdam before
going on to Utrecht and Arnhem. Why don’t we just
put on something big called Dutch Design in the
Netherlands?’
Buchen-wald, including smoking crematorium
chimneys and barbed wire. A socially relevant addition to the work of Studio Job, or a publicity stunt, as
the journalist Tracy Metz put it in a heated TV
discussion on the controversy? The museum director:
‘In 2010 we showed Infernopolis, an installation by
Atelier van Lieshout, in Submarine Wharf, the
museum’s exhibition space in the Rotterdam docks.
Joep van Lieshout made sinister, utopian models for a
self-sufficient city, SlaveCity. This totalitarian
worldview based on people themselves as the raw
material was preceded by extensive research. His
whole oeuvre is about devising solutions for the
distorted relations in consumption that people have
allowed themselves. Eventually you end up in a sort of
concentration camp system. That’s terrible, of course,
but it is based on research. It is very different from this
work by Studio Job. There’s nothing wrong with
strong opinions, but when someone gives the impression of having appropriated something just to appear
interesting I quit.’
Exhibition New Energy in Design and Art, 2012
the late Middle Ages to the present before anyone had
ever heard of Dutch design. We use the logo of the
museum, that can be read as an example of Dutch
design, primarily to bring the diverse collections
together and to get them to interact with one another
to create a Gesamtkunstwerk. You can see that as well
in the design of the hall and the way in which design
and art exhibitions overlap and succeed one another.
As an encyclopaedic museum we present several
disciplines from a number of centuries. We regularly
supplement that. For instance, we acquired the prototype of the Futuro, the mobile holiday home from 1968
by the Finnish architect Matti Suuronen, an icon.
Given the time at our disposal, we can record design,
place it in the context of eternity, and reflect on it.
Sometimes that makes us slow, but also very resolute.’
30
Totalitarian Worldview
Design reflects the time of its creation and is a symbol
of current or recent socially relevant issues, but
sometimes views differ on the relevance of a particular
design. Take a recent work by Studio Job. The designs
of this successful design collective of Eindhoven
graduates (internationally discovered and purchased
in 2002 by the Dilmos gallery in Milan and acclaimed
by Wallpaper* as best breakthrough designers in
2005) are situated at the interface of design and art.
They like to go to the limits of decency and good taste.
They call their work a mixture of Albert Speer and
Donald Duck. At the end of December last year, their
design for a fence, intended for the house of an art
collector, aroused widespread public indignation. It
bore a strong affinity to the fence around
Dutch DNA
The reputation of Dutch design has increased explosively since the 1990s. That was the decade in which
the Droog Design label launched designers to worldwide fame. Van Kesteren: ‘The growth of prosperity
was translated into a growing demand for design
products. There was a pronounced focus on the
individual: critical, expressive, self-willed. People
wanted to show their own identity and did so mainly
through such products.’
‘In addition, that growth and prosperity brought
out the limitations of a small country’, Ex adds.
‘Designers operate in the field of legal codes,
31
regulations, jurisprudence, territories, plots, open and
closed areas. The small size of the Netherlands calls
for a specific creativity and solution-orientated
approach. Japan also has a design culture of its own.
This leads to a heightened awareness, almost a
national DNA. It can be effective even in its ugliness.
Take those ghastly mass housing estates. You know
exactly where you are: in the Netherlands.’
Design is the DNA of society and plays a
directing role, he is convinced of that. ‘Everything that
has form is thought about beforehand: in decisions,
products, results, cohesion and identity. Much is
found in the design that is both solution and space,
and in the end limitation too. For instance, the designs
by the MVRDV firm of architects are special solutions
for a shortage of space. Or they offer a social arrangement for a structure that was not visible from outside
before. You run up against boundaries everywhere,
there is an incredible mass of laws, regulations and
practical conditions: on security, or how do deal with
people as a mass, and what you want to regulate
individually or not in that area. That puts the quality
of the design to the test. It is an ongoing training
through which you also become better.’
The economic recession is an inevitable call to
wake up, and the design world is no exception. It does
not necessarily imply less creativity. A new élan, a
more engaged awareness, seem to have arisen. Van
Kesteren: ‘The feeling is completely different from
twenty years ago. It’s a DIY mentality and finds
expression in reuse, redesign and restyling. Guerrillalike activities spring up, such as the creation of gardens
for the neighbourhood, born of a desire to regain the
city for the residents.’
‘A sort of autarky’, Ex agrees. ‘The whole oeuvre
of Joep van Lieshout, that is situated between art and
design, is exemplary of that.’
After a visit to the latest Salone di Mobile, the
Dutch designer Frank Tjepkema was surprised and
dismayed by the small number of design reactions to
the crisis. It prompted him to make the No Recession
Chair, with a back support that has been all but sanded
away. A cheap IKEA chair has been stripped so far
that the organic skeleton is visible. It is a sneer at the
cuts in government spending on the arts: the culture
of endless paring away. You can’t sit down on this
chair because, he argues, you can’t count on a crisisridden society.
‘I find it a poor example’, Van Kesteren responds.
‘The crisis sets other systems in motion. Take fashion
designer Monique van Heist. She refuses to accept the
laws of industry and commerce – a new collection
every season – and works on a permanent collection to
which she keeps adding new items. It is not just about
the aesthetics of a crisis, but also about inventiveness,
the creation of new systems that are relevant. That is
typically Dutch. At the same time globalisation makes
everything more uniform, as illustrated by the design
of the big retail chains. The importance of locality
emerges as a reaction. Designers go back to their roots.
This results in interesting initiatives, such as the
ceramic series based on the Waddenzee by Studio
Maarten Kolk and Guus Kusters. Local fascinations,
investigated and designed on the basis of the Dutch
mentality: sober, dry and constructive.’
Simply putting
design in an exhibition space
is not enough.
‘We want to
show that art
and design can
break open a
discussion’
Broadening the view
Simply putting design in an exhibition space is not
enough, Van Kesteren finds. ‘You can explain the
value of a design object better by placing it in connection with themes and knowledge from the past and the
present. By showing connections with other pieces in
the collection, a design is placed in a context.’
A new exhibition format called Design column,
which will be launched in June, shows how designers,
architects and artists investigate current themes of
front page interest. Every two or three months the
museum puts on a presentation in which a small group
of designers makes stimulating statements on the basis
of their newly developed concepts or products. Van
Kesteren: ‘It may be fear of a new viral infection, the
fight against obesity, the collapse of the Euro, or the
value of an object. Take the Toaster Project by Thomas
Thwaite. He made his own toaster from scratch after
dismantling a cheap one. Like a modern alchemist, he
ground and assembled materials in order to reconstruct an industrially manufactured product by hand.
After much blood, sweat and tears, the result was a
strange looking object that is indeed able to toast
bread. It is interesting to see much time and effort it
takes to make the product, but how low its retail price
is in the shops.’
The column will be given the form of an exhibition in a permanent room of the museum. Objects,
accompanied by quotations or other written material,
will reflect on current issues. The social media can be
brought in for this, such as putting visitors’ questions
to the designer by webcam so that the latter can reply
online the same evening.
Designers construct society, devise fundamental
systems and new products, launch debate and discussion. The museum claims a role in that. ‘The Design
column is not a hermetic presentation or design
theoretical reflection, but something about which
everyone has an opinion’, Van Kesteren adds. ‘We
want to show that art and design can break open a
discussion at the very time when everything seems to
have ground to a halt.’
The museum as a podium for engagement?
‘We are not waiting for Philips to lay an egg nor for
how the stock exchange is behaving’, says Ex, ‘but we
provide insight into what is being devised in laboratories and workshops. Collecting and showing form is as
old as humanity. The way in which museums show art,
designs and products in relation to one another is a
form of communication that may be older than all
other forms of communication together. Its essential
story is so compelling that it will always continue to
exist.’
Connecting the Dots with
The Materiaalfonds
—
www.materiaalfonds.nl
www.doen-materiaalprijs.nl
www.weightofcolour.com
The Materiaalfonds for Beeldende
Kunst en Vormgeving (Loans for
Visual Artists and Designers)
celebrates its 40th anniversary.
For four decades this independent
foundation has offered artists and
designers the opportunity of
taking out a loan in order to
produce new work. Artists in
particular make use of this facility,
perhaps because the scheme was
originally set up for them. However, designers can benefit from
this form of funding as well.
Borrowing to make an investment
may be a big leap forward in your
career. For instance, the designers
Gijs Bakker and Ineke Hans took
out loans from the Materiaalfonds
at the start of their careers.
Monique van Heist
The Materiaalfonds also likes to
be able to offer artists and
designers a showcase. A large
number of works and designs that
have been funded with a loan
from the foundation will be
presented on the new website that
will be launched in April 2012.
There is more on the agenda: The
DOEN | Materiaal Prize is being
organised for the fourth time in
cooperation with Stichting DOEN.
The loans are intended for the
This is a prize for sustainable and
development, production and
innovative use of materials in art
presentation of new work. In spite and design. Entrants compete for a
of the name, this need not be
first prize of €15,000 and an
confined to materials. Sometimes
incentive prize of €5,000. Even if
you need prior funding to impleyou are only nominated you are
ment a plan or an idea, for
still a prize-winner in a sense,
instance to make an expensive
because the nominated designs
prototype, for the first production will be presented for ten days in
of a new design, or to present
the Van Abbemuseum during the
your work at a fair like the one in
Dutch Design Week in Eindhoven.
Milan. Any artist or designer who And from 10 to 17 April the
lives and works in the Netherlands Materiaalfonds will celebrate its
can apply for a loan.
anniversary with an international
programme on colour with
Lonneke Gordijn and Ralph Nauta lectures, master classes, film and
from Design Drift received a loan
art in the public domain: The
to make the Ghostchair and to
Weight of Colour.
present it at the Salone del Mobile
in Milan. Lotty Lindeman applied
So there are plenty of reasons to
for funding to make a prototype of keep an eye on the website(s).
various lamps, which she first
exhibited at the Dutch Design
Francine Mendelaar
Director Materiaalfonds
Week in Eindhoven. Sjoerd
Jonkers applied for a loan from
the foundation for the first production of his hand-knotted carpet
No Recession Chair, Frank Tjepkema
32
‘Tapis Noués’, which is produced
along Fair Trade lines in Morocco.
Sjoerd Vroonland and Arjan
Vaandrager developed and
implemented the first series of
their saddle stools that have
become popular by now.
33
Lotty Lindeman, Tentlamps
Sjoerd Vroonland, Saddle Stool
Maarten Kolk & Guus Kusters, winnaars DOEN |
Materiaalprijs 2011
Tessa Koot— furniture designer— tessakoot.nl— 22 p.42
34
Chris Slutter— furniture designer— chrisslutter.nl— 19 p.40
35
FuoriSalone
08
Emmanuel Babled
Presentation 1
Galleria Nilufar
Presentation 2
Novantesimo Venini
Address 2
Museo Bagatti Valsecchi
Via Santo Spirito 10
20121 Milano
01
Formafantasma
Designers
Studio Formafantasma and others
Presentation
Hacked project - design workshop
Address
La Rinascente – Beatrice Galilee
Gallery
Piazza Duomo
20121 Milano
Contact
Andrea Trimarchi
Kronehoefstraat 1, 5612HK Eindhoven
The Netherlands
[email protected]
+31 (0)6 16295171
Presentation
KidsroomZOOM! 2
Address
Unduetrestella
Via Mellerio 1 &
Via Gianbattista vico 1
20134 Milano
09
Studio Zeta
Contact
Noa Haim
Nieuwe Binnenweg 194 b, 3021 GK
Rotterdam, The Netherlands
[email protected]
+31 (0)6 48528858
Online
collectivepaperaesthetics.wordpress.com
kidsroomzoom.wordpress.com
03
Dutch Invertuals
Designers
Invertuals collective
Contact
Emmanuel Babled
Wenslauerstraat 314, 1053 BB
Amsterdam, The Netherlands
[email protected]
+31 (0)20 3316462
Online
www.nilufar.com
www.babled.net
Contact
Didie Schackman
Emmansingel 14, 5600 CC Eindhoven
The Netherlands
[email protected]
+31 (0)40 2393939
Online
www.designacademy.nl
Online
www.formafantasma.com
www.beatricegalilee.com
02
Collective Paper Aesthetics
Designer
Noa Haim and others
Address 1
Galleria Nilufar
Via della Spiga 32
20121 Milano
Via Friuli 26
20135 Milano
09
Design Academy Eindhoven Studio Zeta
Address
via Pastrengo 12
20159 Milano
Contact
Wendy Plomp
Fuutlaan 12b, 5613 AB Eindhoven
The Netherlands
[email protected]
+31 (0)6 41555883
Online
www.dutchinvertuals.nl
Designers
Graduates Design Academy Eindhoven
Presentation
50
04
Droog
Address
Studio Zeta
Via Friuli 26
20135 Milano
09
Spring Excellence, Talent and Inspiration in Design & Design Breakfasts Studio Zeta
Designer
Droog Lab
Presentation
Material Matters
Address
Palazzo Clerici
via Clerici 5
20121 Milano
Contact
Agata Jaworska
Staalstraat 7a/b, 1011 JJ Amsterdam
The Netherlands
[email protected]
+31 (0)20 5235050
Online
www.drooglab.com
Contact
Sanne Kiel
Industrielaan 15, 3925 BD
Scherpenzeel , The Netherlands
[email protected]
+31 (0)6 12995328
Online
www.interfaceflor.eu
05
Interface
Designers
Francesco Maria Bandini
Presentation
A brave new world is coming
Address
La Triennale Design Museum
Via Alemagna 6
20121 Milano
Presentation
Colour Bin & Colour Wood Dining
Address
Erastudio Apartment Gallery
Via Palermo 5, third floor
20121 Milano
Contact
Scholten & Baijings
Westerdoksdijk 597, 1013 BX
Amsterdam, The Netherlands
[email protected]
+31 (0)20 4208940
Presentation
Colour One
36
Address
Università degli Studi di Milano
via Festa del Perdono 7–Courtyard
Cortile 700
20122 Milano
Contact
Eva Postema
Prinses Irenestraat 19, 1070WT
Amsterdam, The Netherlands
[email protected]
+31 (0)20 3449442
Online
www.premsela.org
www.capitald.nl
About
Premsela dedicates itself to promoting
the growth of Dutch design. Premsela
organises lectures, debates, exhibitions
and publications. Capital D aims to
stimulate and connect creative
initiatives that strengthen the region’s
(inter-) national reputation in the field of
top technology and design.
Presentation
Spring: Excellence, Talent and
Inspiration in Design is featuring work
by renowned Dutch designers, the
greats who inspire them, and the young
colleagues they admire.
09
Nano Supermarket Studio Zeta
Online
www.karimoku-newstandard.jp
www.scholtenbaijings.com
07
Scholten & Baijings, MINI
Designer
Carole Baijings, Stefan Scholten
Designers
Among others: Richard Hutten,
Maarten Baas, Dirk van der Kooij, Lotty
Lindeman, Makkink & Bey, Lex Pott,
Wieki Somers, Sjoerd Vroonland,
Scholten & Baijingsºand 25 others.
Address
Studio Zeta
Via Friuli 26
20135 Milano
Image by: Lizzy Kalisvaart
06
Scholten & Baijings, Karimoku New Standard Japan
Designers
Carole Baijings, Stefan Scholten
Company
Premsela, the Netherlands Institute for
Design and Fashion, Capital D (Design
Cooperation in the Brainport Eindhoven
Region)
Designers
Koert van Mensvoort
Address
Studio Zeta
Via Friuli 26
20135 Milano
Contact
Krista te Brake
Tolstraat 137 II, 1074 VJ
Amsterdam, The Netherlands
[email protected]
+31 (0)6 24271385
Online
www.nanosupermarket.org
Address
Magazzini Generali
Via Pietrasanta 16
20124 Milano
Contact
FRAME Publishers
Laan der Hesperiden 68
1076 DX Amsterdam
The Netherlands
[email protected]
+31 (0)20 4233 717
Online
www.framemoooi.com
www.frameweb.com
www.moooi.com
10
Moooi
Contact
Scholten & Baijings
Westerdoksdijk 597, 1013 BX
Amsterdam, The Netherlands
[email protected]
+31 (0)20 4208940
Online
www.bmwgroup.com
www.scholtenbaijings.com
Presentation
FRAME Moooi Award 2012
37
11
Rossana Orlandi
Via Matteo Bandello 14
20123 Milano
13
MATANDME & Made in Design Studio
Designers
Agata Karolina, Dana Cannam, Daphna
Laurens, David Derksen, Fabian von
Spreckelsen, Franziska Wernicke,
Henny van Nistelrooy, Lex Pott, Mieke
Meijer, Miya Kondo, OsΔoss, Phil
Cuttance, Earnest Studio, Sabine
Marcelis
11
Scholten & Baijings, 1616 Arita Japan Rossana Orlandi
Designers
Carole Baijings, Stefan Scholten
Presentation
Colour Porcelain
Address
Spazio Rossana Orlandi
Via Matteo Bandello 14
20123 Milano
Contact
Scholten & Baijings
Westerdoksdijk 597, 1013 BX
Amsterdam, The Netherlands
[email protected]
+31 (0)20 4208940
Presentation
The Front Room: Colour & Geometry
Online
www.scholtenbaijings.com
11
BCXSY Rossana Orlandi
Designers
Boaz Cohen, Sayaka Yamamoto
Presentation
Original part III
Address
Spazio Rossana Orlandi
Via Matteo Bandello 14-16
20123 Milano
Presentation
Farmers gold - Edition in craft
Address
Spazio Rossana Orlandi
Via Matteo Bandello 14-16
20123 Milano
Contact
Boaz Cohen
Sint Bavostraat 30, 5643 MB
Eindhoven, the Netherlands
[email protected]
+31 (0)6 47162410
Online
www.bcxsy.com
Address
Spazio Rossana Orlandi
Via Matteo Bandello 14-16
20123 Milano
Presentation
Re-appropriations
Address
Spazio Rossana Orlandi
Via Matteo Bandello 14-16
20123 Milano
Contact
Andrea Trimarchi
Kronehoefstraat 1, 5612HK Eindhoven
The Netherlands
[email protected]
+31 (0)6 16295171
Online
www.formafantasma.com
www.editionsincraft.com
Contact
Andrea Trimarchi
Kronehoefstraat 1, 5612HK Eindhoven
The Netherlands
[email protected]
+31 (0)6 16295171
Online
www.formafantasma.com
www.booo.nl
Contact
Mario Minale
Marconistraat 52, 3029 AK Rotterdam
The Netherlands
[email protected]
+31 (0)6 48167931
Online
www.minale-maeda.com
Presentation 1
Mae West
Presentation 2
Underworld / Quack / The Birth
Presentation 3
Altdeutsche Möbel
Paper Extensions
38
Designers
Mariandrea Zambrano
Presentation
FOLD by WET
Address
TOURBILLON
Via Baldissera 4 corner Via Stoppani 2
20129 Milano
Address
Museo Nazionale Della Scienza e della
Tecnica
Via Olona 6
20123 Milano
Address 1
Spazio Venini
Museo Bagatti Valsecchi
Via Santo Spirito 10
Address 2
Nodus /
Chiostro Facoltà Teologica
dell’Italia Settentrionale
Piazza Paolo VI n. 6
Address 3
Moooi Showroom
Via Tortona 37
see page 42, nr 20
Contact
Lucy James
135-139 Curtain Road, EC2A 3BX
London, United Kingdom
[email protected]
[email protected]
+44 20 77391869
Contact
Mariandrea Zambrato
Via Altipiano 11, 21010 Porto
Valtravaglia, Italy
[email protected]
+39 347 9603022
+39 340 8494347
Online
www.wet.co.it
About
WET has been remarked to have
changed the bathroom into what it is
today, introducing trend settings, highly
colorful and illuminated PolyEthylene
bathtubs and sinks.
Presentation
A shelf integrated wall-mounted
faucet-line featuring a high quality full
brass chromed MIXER.
Zona Tortona
16
Wrap Spaces
12
Studio Job
Designer
Job Smeets, Nynke Tynagel
About
The Front Room: Colour and Geometry
is a presentation of new objects for the
front room by a group of up-and-coming
designers. Each object is a fresh
Presentation
A self-initiated show by Matylda
Krzykowski from MATANDME and
Marco Gabriele Lorusso from Made in
Design Studio. It is hosted and
supported by cultural association
Ca’laghetto.
15
WET
11
Studio Minale-Maeda Rossana Orlandi
Designers
Kuniko Maeda, Mario Minale
Designer
Ineke Hans
Presentation
MOST
11
BOOO! Rossana Orlandi
Designers
Formafantasma , Nacho Carbonell
and Front
Online
www.the-front-room.com
www. calaghetto.org
www. matandme.net
www. mid-studio.eu
www. okoloweb.cz
version of it’s predecessor, united by
the ritualistic nature of sheer geometries
and strikingly contemporary colour
palettes, embracing purity with an
element of playfulness. Four designs
specially made for The Front Room will
be unveiled on the first day of the show.
14
SCP
11
Edition in craft Rossana Orlandi
Designers
Studio Formafantasma
Address
Ca’ Laghetto [‘]
Via Laghetto 9
20122 Milano
Contact
Matylda Krzykowski
[email protected]
+31 628294572
Contact
Maarten Statius Muller Studio Job Gallery
Begijnenvest 8, 2000 Antwerpen
Belgium
[email protected]
+32 (0)3 2322515
Online
www.venini.it
www.nodusrug.it
www.studiojob.nl
www.moooi.com
Designers
Samer Chalfoun, Marcel Losekoot
Address
Via Tortona 12
20144 Milano
Contact
Wrap Spaces
Achterstraat 5, 4115 RP Asch
The Netherlands
[email protected]
Online
www.wrapspaces.com
39
About
Samer Chalfoun & Marcel Losekoot
believe that current spatial design no
longer fits in with today’s 24/7 lifestyle.
You want your surroundings to adapt
like a chameleon. Based on this, C&L
develop innovative products that
combine intuitive design, home
automation and comfort.
Presentation
Wrap Spaces dares you to experience a
place that is completely tailored to your
24/7 way of life. A life where boundaries
between work and home blur. Where
any separation between your kitchen,
lounge, living and work space has gone.
Wrap Spaces is breaking boundaries.
Online
www.inekehans.com
www.scp.co.uk
17
Officine della Torniera
Via Novi 5
20144 Milano
19
Gispen, NgispeN Superstudio Più
Designers
Maarten Baas, Anke Bernotat, W.H.
Gispen, Dick van Hoff, Richard Hutten,
James Irvine, Iris Jansen, Fabio
Novembre, Ontwerpers.nu, Jan
Plechac, Gerrit Rietveld, Wim Rietveld,
Jerszy Seymour, Studio Makkink & Bey,
Wiro van Vilsteren, Michael Young, ZUS
17
De Vorm Officine della Torniera
Designers
Benjamin Hubert, Sebastian Herkner,
Steffen Kehrle
Address
Officine della Torniera
Via Novi 5
20144 Milano
Presentation
Playing with Tradition
Contact
Roel Bielleman
Industriestraat 9, 6827 BD Arnhem
The Netherlands
[email protected]
+31 65 1320013
Online
www.devorm.nl
17
New Duivendrecht Officine della Torniera
Designers
Dave Keune, Frederik Roijé, Frederike
Top, Kranen/Gille, Nieuwe Heren,
Sjoerd Jonkers, Slim Ben Ameur
Tweelink
Address
Officine della Torniera
Via Novi 5
20144 Milano
Presentation
Dish of Desire
Address
Officine della Torniera
Via Novi 5
20144 Milano
Contact
Victor le Noble
Industrieweg 29, 1115 AD
Duivendrecht, The Netherlands
[email protected]
+31 (0)6 24668569
Online
www.newduivendrecht.com
Presentation
Weltevree & het Betere BoerenBed
Presentation
Revolver shelving system at Pianoprimo
Srl
19
Superstudio Più
Contact
Birgit Calis
Industrieweg 29, 1115 AD
Duivendrecht, The Netherlands
[email protected]
+31 (0)20 4165706
Online
www.roije.com
Designers
Marcel Wanders, Studio Job
New photography concept by Marcel
Wanders and Erwin Olaf
Contact
Rita Giesbers
Postbus 248, 6800 AE Arnhem
The Netherlands
[email protected]
+31 (0)6 26852124
Online
www.weltevree.nl
Address
Pianoprimo Srl
Via Tolstoi 5
20146 Milano
Contact
Henny van Nistelrooy
Unit 9, 5 Fountayn Road
N15 4QL
London, United Kingdom
[email protected]
+44 (0)77 91706088
Online
www.studiohvn.com,
www.pianoprimo.it
Temporary Museum for New Design
Via Tortona 27 20144 Milano
40
Contact
Meerssenerweg 358, 6224 AL
Maastricht, The Netherlands
[email protected]
+31 (0) 43 368 9444
Online
www.mosa.nl
Address
Moooi Showroom Milan
Via Tortona 37
20144 Milano
Contact
Laura Ramos Bello - Kluit
Minervum 7003, 4817 ZL Breda
The Netherlands
[email protected]
+31 (0)7 65784444
Online
www.moooi.com
Designers
Adam Alexander, Lee Gibson, Michelle
Wu, Sandra Garcia Pagola, Kirkland
Summers, Emanuele Magini, Guiseppe
Conca, Vincenzo Amendolagine,
Gianluco Macaluso, Fabricio Lima,
Daniele Colnaghi, Patrick Kampff,
Andre Coelho, Brunno Jahara, Alastair
Townsend, Yukihiro Shoda, Miku Sega
About
Heineken is beer. Of course.
But Heineken is more, always looking
for new experiences and fresh
conversations.
Open Design Explorations is doing
exactly that; experimental concepts
beyond beer.
Enjoy responsibly.
Presentation
Heineken Open Design Explorations,
edition 1: The Club
Presentation
Heineken presents a progressive
pop-up concept club, based on the
theme of ‘ Changing Perspectives’ . The
club is the conclusion of almost a year of
discovery between the emerging
designers, Heineken and input from
clubbers that can now be experienced
for four days only.
Address
Plastik
Via priv. Gaspare Bugatti 3 (ang. via
Tortona)
20144 Milano
Contact
Marnie Kontovraki
Stadhouderskade 79, 1072 AE
Amsterdam, The Netherlands
[email protected]
+31 (0)20 5239355
19
Functionals Superstudio Più
Address
Superstudio Più - Temporary Museum
for New Design, Via Tortona 27, 20144
Milano , stand 15A
Address
Superstudio Più - Temporary Museum
for New Design stand 15A
Via Tortona 27, 20144 Milano
21
Heineken
Address
Officine della Torniera
Via Novi 5
20144 Milano
Presentation
Expect the unconventional
About
NgispeN is a Dutch brand founded by
Gispen, one of the oldest and largest
office furniture companies from The
Netherlands. Our collection is targeting
the domestic market.
Presentation
The Unexpected Welcome
Online
www.heineken.com
Designers
Mia Gammelgaard & Ehlén Johansson,
Jan Habraken, Dick van Hoff, Kranen/
Gille, Alissia Melka-Teichroew, Serener,
Chris Slutter, Claire Vos, Roderick Vos
Presentation
During this years Salone del Mobile in
Milan, Gispen and NgispeN will launch
a variety of new products designed by
well known international designers at
the Temporary Museum For New
Design in Superstudio Piu.
20
Moooi
18
Studio HVN
Designer
Henny van Nistelrooy
Designers
Mosa Design Team
Presentation
Living Walls
17
Weltevree Officine della Torniera
Designers
Dick van Hoff, Floris Schoonderbeek
Online
www.gispen.com
www.ngispen.com
The collection is designed under the art
direction of Richard Hutten.
19
Mosa Superstudio Più
17
Frederik Roijé Officine della Torniera
Designer
Frederik Roijé
Address
Superstudio Più - Temporary Museum
for New Design space 16
Via Tortona 27, 20144 Milano
Contact
Diane Van Veen
Parallelweg West 23, 4104 AZ
Culemborg, The Netherlands
[email protected]
+31 (0)6 51002827
Contact
Karin
Edisonstraat 5 , 5051 DS Goirle
The Netherlands
[email protected]
+31 (0)13 5300389
Online
www.functionals.eu
41
22
Via Voghera 11/b
22
Royal Academy of Art Via Voghera 11/b
Via Voghera 11/b
20144 Milano
Designers
Students and alumni from the
departments of ArtScience, Fine Arts,
Photography, Graphic Design, Interior
Architecture & Furniture Design and
Textile & Fashion
Presentation
The Royal Academy of Art:
The Shepherds of Stuff
22
Tuttobene Milan 2012 Via Voghera 11/b
Presentation
The new Glint of Things/
De glans der Dingen
Tuttobene will show excellent and
innovative interior products, including
tables, chairs, lighting and home
accessories. With a focus on young
talent Tuttobene has succeeded again
to bring together 19 talents showing
their newest designs in Tuttobene’s 9th
Milan exhibition.
Contact
Laura Schön
Damrak 70, 1012 ML Amsterdam
The Netherlands
[email protected]
+31 (0)6 10396774
Christian Kayser
Wespienstraße 30, 52062 Aachen
The Netherlands
[email protected]
+49 176 62461684
www.christiankayser.com
Online
www.tuttobene.nl
David Derksen
TT Neveritaweg 15K 17, 1033WB
Maastricht, The Netherlands
[email protected]
+31 (0)10 2447304
www. davidderksen.nl
detailF / Franziska Wernicke
Graaf Florisstraat 30a
3021 CH Rotterdam
The Netherlands
[email protected]
+31 (0)6 81252245
www.detailF.com
Laurien Oversier
Tongersestraat 76B, 6211 LR
Maastricht, The Netherlands
[email protected]
+31 (0)6 52000894
www. laurienoversier.nl
Tiago Sá da Costa design
Orthenstraat 282, 5211 SX
‘s-Hertogenbosch, The Netherlands
[email protected]
+31 (0)6 34460049
www.tiagosadacosta.eu
Lex Pott
TT Neveritaweg 15K 17, 1033 WB
Amsterdam, The Netherlands
[email protected]
+31 (0)6 55730426
www. lexpott.nl
VanJoost / Joost van Veldhuizen
Rijksweg 78, 3781 LW Voorthuizen
The Netherlands
[email protected]
+31 (0)6 52624462
www.vanjoost.com
Marco Iannicelli
Zeppelinstrasse 34, 52068 Aachen
Germany
[email protected]
+49 (0)1 632 148 463
www.marcoiannicelli.com
Rianne Koens
[email protected]
+31 (0)6 27 37 44 68
www.riannekoens.com
Studio Thier&VanDaalen Tuttobene
42
Studio Thier&VanDaalen / Ruben Thier
Gagelstraat 6a, 5611 BH Eindhoven
The Netherlands
[email protected]
+31 (0)6 42469286
www. thiervandaalen.com
Address
Studio Iroko
Via Voghera 11/b
20144 Milano
Contact
Marjolein Brouwer / Sonja Ammerlaan
Prinsessegracht 4, 2514 AN The Hague
The Netherlands
[email protected]
+31 (0)70 3154729º
Online
www.kabk.nl/milano
Presentation
The Royal Academy of Art displays a
selection of works that are the outcome
of artistic research by its students. They
demonstrate shifting attitudes towards
the concept of nature in patterns of
interaction with objects and processes.
A fragile plant is given a robotic
prosthesis to enable it to respond to
humans in a new way and objects are
fabricated through processes that are
partly out of control.
Jian Kotalikova | ‘Growth’ wall tiles
Studio Rik ten Velden
Caeciliastraat 77 A, 2312 XB Leiden
The Netherlands
[email protected]
+31 (0)6 10899449
www.riktenvelden.com
Studio Tessa Koot
Edisonstraat 161, 5621 HN
Eindhoven, The Netherlands
[email protected]
+31 (0)6 14203718
www.tessakoot.nl
Studio Erwin Zwiers
Anemonenveld 1, 1901 LP Castricum
The Netherlands
[email protected]
+31 (0)6 29506339
www. erwinzwiers.nl
Presentation
CuratorCabinet
Re-using objects and exhibiting them in
a show-off cabinet, everybody can
depict his or her own personality.
In a light-footed way, we tried to
emphasize the current trend of
mass-consumption. By exhibiting
existing objects and special memories,
we hope the viewer will remember his
hidden finds, somewhere in a drawer or
wardrobe...
Studio Miya Kondo
Jan Porcellisstraat 7A, 3021 TN
Rotterdam, The Netherlands
[email protected]
+31 (0)6 27552663
www.miyakondo.com
Knapontwerp / Tjimkje de Boer
Singel 93e, 1012 VG Amsterdam
The Netherlands
[email protected]
+31 (0)6 14885614
www. knapontwerp.nl
Earnest Studio / Rachel Griffin
Volmarijnstraat 111B, 3021XM
Rotterdam, The Netherlands
[email protected]
+31 (0)6 34292569
www. earnestly.org
About
Studio Thier&VanDaalen was founded
in June 2011.
Both graduated at the Design Academy
in Eindhoven. The studio develops new
material applications and treatments,
combined with design, use of color and
styling, they create products that tell you
a story.
Studio Jolanda van Goor
Jolanda van Goor
Weerelaan 149, 1705 EV Heerhugowaard, The Netherlands
[email protected]
+31 (0)6 25186671
www. jolandavangoor.com
About
The Royal Academy of Art (The Hague,
The Netherlands) prepares its students
to become self-aware artists and
designers, able to make a significant
contribution to their discipline and to
society. Our work is guided by an
experimental and investigative attitude,
strong commitment and an orientation
towards the future.
Joine / Maarten Baptist
Pisanostraat 126, 5623 CE Woensel
The Netherlands
[email protected]
+31 40 2572258
www.joine.nl
Ivan Henriques | Jurema Action Plant
Fiera
23
Arflex
Designers
Carole Baijings, Stefan Scholten
Presentation
It’s a wrap
Address
Salone Internazionale del Mobile
Pavilion 7 stand D10
24
Arco
Designers
Jorre van Ast, Willem van Ast, Jonathan
Prestwich, Burkhard Vogtherr, Arco
Design Studio, Yael Mer & Shay Alkalay
Address
Salone Internazionale del Mobile
Pavilion 16, Stand 51B
Contact
Tim Orriens
Parallelweg 2, 7102 DE Winterswijk
The Netherlands
[email protected]
+31 (0)6 39645164
Online
www.arco.nl
43
About
The table, in all of its simplicity and
versatility, is Arco’s strength and focus
for the future. The ingenious
combination of technical innovation,
high quality design and skilled
craftsmanship has made Arco one of
the leading specialists in its field.
Presentation
A home without a table is almost
inconceivable. The table is one of the
most defining pieces of furniture in any
home. It is also the centre of all kinds of
activities, the most important being
eating, drinking and socialising.
Contact
Scholten & Baijings
Westerdoksdijk 597, 1013 BX,
Amsterdam, The Netherlands
[email protected]
+31 (0)20 4208940
Online
www.arflex.it
www.scholtenbaijings.com
29
IN Residence / Design Dialogues Via Ventura 6
25
Leolux
Address
Salone Internazionale del Mobile
Pavilion 10, Stand A07
Contact
Antal Nemeth
Kazernestraat 15, 5928 NL, Venlo
The Netherlands
[email protected]
+31 (0)77 3877297
Online
www.leolux.nl
Contact
Caroline Külsen
Postbus 153, 5100 AD Dongen
The Nederlands
[email protected]
+31 (0)6 22993456
Online
www.montis.nl
Presentation
IN Residence. Design Dialogues /
Another Terra. Home Away from Home
26
Montis
Designers
Gijs Papavoine, Simon Pengelly, Gert
Batenburg, Niels Bendtsen, Geert
Koster, Dick Spierenburg
Address
Salone Internazionale del Mobile
Pavilion 16/1, Stand F-30
27
Casalis
Designers
Liset van der Scheer, Aleksandra Gaca
Address
Salone Internazionale del Mobile
Pavilion 16, Stand F38
Address
Salone Internazionale del Mobile
Pavilion 20, Stand E18-E20
Contact
Veronique Vanden Avenne
Stasegemsesteenweg 72, 8500,
Kortrijk, Belgium
[email protected]
+32 474 667719
Online
www.casalis.be
Contact
Margherita Sassone
T. +39 347 4457067
Anita Donna Bianco
+39 329 2593972
[email protected]
Online
www.bcxsy.com
www.piekebergmans.com
www.formafantasma.com
www.pepeheykoop.nl
www.tomaslibertiny.com
www.minale-maeda.com
www.jomeesters.nl
www.ankeweiss.com
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
Contact
Marika Andersson
Grönhultsvägen 3B, 543 51, Tibro
Sweden
[email protected]
[email protected]
+46 504 41500
Designer
Jack Brandsma
Address
Via Ventura 6
20134 Milano
Online
www.inekehans.com
www.offecct.se
Contact
Jack Brandsma
D. Triezenbergstraat 28, 9921 PG
Stedum, The Netherlands
[email protected]
+31 (0)6 14371031
Online
www.jackbrandsma.com
About
Jack Brandsma is interior architect &
industrial designer and known for the
SpareSpace mobile office project that
he presented on the construction site in
Via Ventura in 2008.
It was the first co-operation with
Mariano Pichler, co-founder of
Plusdesign.
Zona Lambrate
29
Via Ventura 6
Address
Via Ventura 6
20134 Milano
29
Jack Brandsma Via Ventura 6
28
OFFECCT
Designer
Ineke Hans
Designers
BCXSY, Pieke Bergmans, FormaFantasma, Pepe Heykoop ,Tomá Gabzdil
Libertiny,Minale-Maeda, Studio Jo
Meesters, Anke Weiss,
Presentation
In recent years Jack has been making a
lot of light installations in public
buildings, like hospitals, theaters,
offices, etc. Last February he installed
the first Major Tom Chandelier at CBW/
Mitex in Zeist, the second piece will be
presented at Plusdesign
Gallery.
Via Ventura 6
20134 Milano
29
Chi ha paura…? Via Ventura 6
Designers
Campana Brothers, Gijs Bakker, Dinie
Besem, Brecht Duijf, Konstantin Grcic,
Gina Hsu, Studio Job, Chris Kabel,
Philipp Käfer, Susanne Klemm, Marc
Newson, Iris Nieuwenburg,
Annelies Planteijdt, Mi-Ah Rödiger,
Tjep., Marcel Wanders
Address
Via Ventura 6
20134 Milano
Contact
Nora Morton
Silodam 31, 1013 AL Amsterdam
The Netherlands
[email protected]
+31 (0)6 54915196
Online
www.chihapaura.com
29
HAN Gallery Via Ventura 6
Designers
Kevin Yu-Jui Chou, Tong Ho, Gina Hsu,
Poching Liao, Rock Wang, Pili Wu and
NENDO. Art direction by Gijs Bakker
44
Address
Via Ventura 6
20134 Milano
30
designlabel Vij5
Contact
DC Han, 3rd Fl, No 21, Sec 1
Mingshen E Rd, Taipei, Taiwan
[email protected]
+886 922211810
Online
www.HAN-Gallery.com
Designers
Anieke Branderhorst, Arjan van
Raadshooven, Breg Hanssen, Floris
Hovers, Mieke Meijer
45
Presentation
SOS: Supercycle Our Souls
Address
Via Ventura 3
20134 Milano
Contact
Arjan van Raadshooven
Debussystraat 2, 5654 SC
Eindhoven, The Netherlands
[email protected]
+31 (0)6 24527531
Online
www.vij5.com
31
Via Massimiano 6
Via Massimiano 6
20134 Milano
31
Maastricht Academy of Fine Arts and Design Via Massimiano 6
Designers
A selection of works by alumni and
students of the departments Fashion &
Textile Design and Jewellery & Product
Design.
Presentation
TEA TIME
31
Social-Unit Via Massimiano 6
Designer
Wouter Kalis
Address
Via Massimiano 6
20134 Milan
Contact
Wouter Kalis
Dusartstraat 11-2, 1072 HL
Amsterdam, The Netherlands
[email protected]
+31 (0)6 34024980
Online
www.social-unit.com
31
HKU Design / Utrecht School of the Arts Via Massimiano 6
Designers
Merel Bekking, Lieke Jildou de Jong,
Jesse Nortier, Pluc Plaatsman,
Charlotte Wagemaker, Anouk
Wipprecht
Presentation
Selfreflexity and redefining the self
Address
Via Massimiano 6
20134 Milano
Contact
Sigrid van Willigen
Ina Boudier-Bakkerlaan 50, 3582 VA,
Utrecht, The Netherlands
[email protected]
+31 (0)3 025 203 34
Presentation
With the blurring of the boundaries of
disciplines, the need arises to search
for the essence. Design is in a state of
selfreflexity, which will necessarily lead
to redefinition. What is a photo? Where
does design start? What is the essence
of communication? How do I relate to
my design? The Utrecht School of the
Arts presents a selection of alumni work
titled: ‘Selfreflexity and redefining the
Presentation
Koning Willelm 1 College
Address
Via Massimiano 6
20134 Milano
Online
www.kw1c.nl
Contact
Josje Viehout
Onderwijs Boulevard 3, 5223 DE
s’ Hertogenbosch, The Netherlands
[email protected]
+31 (0)7 36249643
About
Koning Willem I College ‘s-Hertogenbosch, The Netherlands, is an
innovative Community College with a
wide variety of educational programs.
One of these is Furniture Designer,
where students are coached and
trained in designing and manufacturing
by experts from professional practice.
self’. With the blurring of the boundaries
of disciplines, the need arises to search
for the essence. Design is in a state of
selfreflexity, which will necessarily lead
to redefinition. What is a photo? Where
does design start? What is the essence
of communication? How do I relate to
my design?
Presentation
Gravity Stool
Address
Via Massimiano 6
20134 Milan
Contact
Jólan van der Wiel
Nassaukade 369-2, 1054 AB
Amsterdam, The Netherlands
[email protected]
+31 (0)6 33974751
Online
www.hku.nl/hkudesign
Online
www.jolanvanderwiel.com
Presentation
FABRIKAAT
Company
Piet Zwart Institute Willem de Kooning
Academy Rotterdam University / Master
of Interior Architecture & Retail Design
Presentation
Students Furniture Designer were
challenged to design and manufacture a
piece of furniture within the ‘Slow
Design’ theme. In addition to local and
recycled materials, they could also use
existing designs or concepts. The six
winners show their designs at the expo.
Designers
Marlies van der Linden, Celine van
Raamt, Inge Simonis, Barbara Vos, Raúl
Wallaart, Geanne Welles, Tiddo de
Ruiter
Presentation
Evolution
46
Address
Via Massimiano 6
20134 Milano
About
I admire objects that manifest the
experimental discovery where natural
phenomena are translated into
functional design. In my design studio
the production process through which
products are produced is investigated.
This led to the development of new
forms of craftmenship.
Presentation
The Gravity Stool thanks its unique
shape to the collaboration between
magnetic fields and the power of gravity.
Live demonstrations will show a
dialogue with a natural phenomenon.
This project won the Interior Innovation
Award for young talent 2012.
Presentation
Stichting Haags Werk
Address
Via Massimiano 6
20134 Milano
31
WET Via Massimiano 6
Address
Via Massimiano 6
20134 Milano
Online
pzwart.wdka.nl
Contact
Carmen de Groot
Blaak 10, 30011 TA, Rotterdam
The Netherlands
[email protected]
+31 (0)10 7944790
Designers
Jan Puylaert, Mariandrea Zambardo
Online
www.wet.co.it
Presentation
WET floor
Address
Via Massimiano 6
20134 Milano
About
WET has been remarked to have
changed the bathroom into what it is
today, introducing trend settings, highly
colorful and illuminated PolyEthylene
bathtubs and sinks.
Contact
Mariandrea Zambrano
Via Altipiano 11, 21010 Porto
Vatravaglia, Italy
[email protected]
+39 347 9603022
+39 340 8494347
Presentation
Re-shaping the past in a brand new
pattern-design using ancient
techniques in cement floor tiles, giving
quality and importance to spaces and
sub-spaces by framing their areas like
with a carpet.
31
Studio ThoL Via Massimiano 6
Designer
Thomas Linssen
About
The Maastricht Academy of Fine Arts
and Design offers a general foundation
course. The Bachelor Design offers a
preparation in the major of their choice.
The study program offers a wide range
of courses.
For more information check our
website: www.zuyd.nl/abkmaastricht.
31
Haags Werk Via Massimiano 6
31
Piet Zwart Institute Willem de Kooning Academy Via Massimiano 6
Designers
Anette Backe, Dominika Dyminska,
Angelique Etman, Marie Gade-Lundlie,
Mariann Hildal, Milda Liubinskaite,
Micaela Nardella, Oana Tudose
Contact
Chequita Nahar
Herdenkingsplein 12, 6211 PW
Maastricht, The Netherlands
Online
www.abkmaastricht.nl
Contact
Thomas Linssen
Ottho heldringstraat 3, 1066 AZ
Amsterdam, The Netherlands
[email protected]
+31 (0)6 43326443
Presentation
TEA TIME shows a selection of works in
which the interaction between producer
and designer is of great relevance.
Textile versus furniture-design and
product versus textile-design. The
interaction with the audience is, as in
previous editions an important element
within the presentation
31
Jólan van der Wiel Via Massimiano 6
31
Koning Willelm 1 College Via Massimiano 6
Designers
Alexander van den Bosch, Lennart
Bras, Lex van den Broek, Remi
Gerritsen, Mohammed Mighiss, Niels
Roosenbrand
Address
Via Massimiano 6
20134 Milano
[email protected]
+31 (0)43 3466390
+31 (0)43 3466383
Online
www.studiothol.nl
47
Contact
Geanne Welles
Saturnusstraat 89, 2516 AG
The Hague, The Netherlands
[email protected]
+31 (0)6 22222958
Online
www.haagswerk.nl
32Via Privata Oslavia 8
20134 Milano
32
USUALS Get Inspired, Be Inspired Via Privata Oslava 8
Designers
Van Eijk & Van der Lubbe
Presentation
USUALS
32
rENs Via Privata Oslava 8
Designer
Renee Mennen & Stefanie van
Keijsteren
Address
Via Privata Oslavia 8
20134 Milano
Presentation
ROOD by rENs
32
MU Via Privata Oslava 8
Designers
HEYHEYHEY, Lucas Maassen & Raw
Color, Lucas Maassen & Sons, Raw
Color, Studio MKGK
Presentation
Mu goes Milan
Address
Via Privata Oslavia 8
20134 Milano
Contact
Angelique Spaninks
Emmasingel 20, 5611 AZ
Eindhoven, The Netherlands
[email protected]
+31 (0)6 5336287
About
MU goes Milan is the first presentation
at the Salone del Mobile of this
Eindhoven-based art space. MU
operates as an adventurous guide on
the outskirts of contemporary visual
culture where art meets design, new
media and pop culture.
Presentation
MU goes Milan will bring together seven
projects, mostly commissioned by MU,
by four different designers/collectives
from Eindhoven: Lucas Maassen, Raw
Color, Studio MKGK and HEYHEYHEY.
Online
www.heyheyhey.nl
www.d-struct.nl/shop
www.lucasmaassen.nl
www.mu.nl
www.rawcolor.nl
www.mkgk.nl
Address
Via Privata Oslavia 8
20134 Milano
Contact
Alexander Pelikan
Frankrijkstraat 110, 5622 AH
Eindhoven, The Netherlands
[email protected]
+31 (0) 641403687
48
Online
www.usuals.nl
Contact
Renee Mennen
Van Beethovenlaan 31, 5654 EB
Eindhoven, The Netherlands
[email protected]
+31 (0) 6 330 56 924
Online
www.madebyrens.nl
Designer
Atelier Van Lieshout
Address
Via priv. Oslavia 1
20134 Milano
Contact
Giuseppina Flor
Minervum 70003, 4817 NL Breda
The Netherlands
[email protected]
+31 (0)6 12133114
Online
www.lensvelt.nl
Presentation
World War III
Contact
Sue Bradburn
Royal College of Art, SW7 2EU
London, United Kingdom
[email protected]
+44 (0)2075904274
Online
paradise.rca.ac.uk
www.marjanvanaubel.com
www.immevanderhaak.nl
34
Royal Academy of Art
Designers
Among others: Marjan van Aubel, Imme
van der Haak
Address
Via Ventura 4
20134 Milano
Presentation
The Royal College of Art Presents
Paradise
35
Autofficina
Via Massimiano 23
20134 Milano
35
Bernotat&Co Design Studio Autofficina
Designers
Anke Bernotat, Jan Jacob Borstlap
Presentation
Chair Wear
32
ARPA, PeLiDesign Via Privata Oslava 8
Presentation
KATABA
Contact
Maureen van Dijk
De Raadstraat 28K, 5666 EA
Geldrop, The Netherlands
[email protected]
+31 (0) 286 88 93
33
LENSVELT
Address
Autofficina
Via Massimiano 23
20134 Milano
Designer
Alexander Pelikan
Address
Via Privata Oslavia 8
20134 Milano
Online
www.arpaindustriale.com
www.pelidesign.com
Contact
Anke Bernotat
Wenslauerstraat 16/2, 1053 BA
Amsterdam, The Netherlands
[email protected]
+31 (0)6 29037005
Online
www.bernotat.eu
About
The essence of Bernotat&Co’s work is
to ponder the poetry of normalcy, to
tease the rules and to discover
exceptions: combining old, forgotten
solutions with today’s needs to create
surprising, poetic and useful objects.
Presentation
Why buy a new chair when you can
dress up the one you have? In the
exhibition Chair Wear, Bernotat&Co
presents custom-made clothing for
chairs, adding comfort, functionality
and a touch of poetry to old, new and
classic chairs.
35
Sander Mulder Autofficina
Presentation
Opposites Attract.
Presentation
PeLiDesign presents the KATABA
table, made of ARPA HPL material and
natural wood. This unconventional table
enchants with a smart connecting
system and a refined aesthetic.
Also on show will be the J’Adoube
chessboard, the CHRONOS time tool,
the UnBearable champagne cooler and
a Surprise
49
Address
Autofficina
via Massimiano 23
20134 Milano
Contact
Sander Mulder
Peter Zuidlaan 22, 5502 NH Veldhoven
The Netherlands
[email protected]
+31 (0)6 44762062
Online
www.sandermulder.com
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The café chair is a modern translation
of the traditional “café chair”.
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www.arco.nl
51
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Opening Hours and Cocktail Parties
Tuesday 17 April
01
Wednesday 18 April
Locations
Thursday 19 April
Friday 20 April
Saturday 21 April
Designers
Sunday 22 April
Monday 16 April 14 - 16 hrs
01
Formafantasma
02
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02
Collective Paper Aesthetics
03
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03
Dutch Invertuals
04
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04
Droog
05
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05
Interface
06
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06
Scholten & Baijings, Karimoku New Standard
07
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Scholten & Baijings, MINI
08
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08
Emmanuel Babled
09
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09
Studio Zeta
10
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10
Moooi
11
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11
Rosanna Orlandi
12
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12
Studio Job
13
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13
MATANDME & Made in Design Studio
14
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14
SCP
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15
WET
16
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16
Wrap Spaces
17
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Officine della Torniera
18
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Studio HV
19
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19
Superstudio Più
20
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20
Moooi
21
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21
Heineken
22
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22
Via Voghera 11/b
23
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23
Arflex
24
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Arco
25
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Leolux
26
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Montis
27
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Casalis
28
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28
OFFECCT
29
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Via Ventura 6
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30
Designlabel Vij5
31
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Via Massimiano 6
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Via Privata Oslavia 8
33
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33
LENSVELT
34
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Royal Academy of Art
35
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Autofficina
cocktails - invitation only
cocktails - everybody welcome
54
Adam Alexander 21
Agata Karolina 13
Alastair Townsend 21
Aleksandra Gaca 27
Alexander Pelikan 32
Alexander van den Bosch 31
Alissia Melka-Teichroew 19
Andre Coelho 21
Anette Backe 31
Angelique Etman 31
Anieke Branderhorst 29
Anke Bernotat 19 35
Annelies Planteijdt 29
Anouk Wipprecht 31
Arco Design Studio 24
Arjan van Raadshooven 29
Atelier Van Lieshout 33
Barbara Vos 31
Benjamin Hubert 17
Boaz Cohen 11
Brecht Duijf 29
Breg Hanssen 29
Brunno Jahara 21
Burkhard Vogtherr 24
Campana Brothers 29
Carole Baijings, Stefan Scholten
06 07 09 11 23
Celine van Raamt 31
Charlotte Wagemaker 31
Chris Kabel 29
Chris Slutter 19
Christian Kayser 22
Claire Vos 19
Dana Cannam 13
Daniele Colnaghi 21
Daphna Laurens 13
Dave Keune 17
David Derksen 13 22
detailF / Franziska Wernicke 22
Dick Spierenburg 26
Dick van Hoff 17 19
Dinie Besem 29
Dirk van der Kooij 09
Dominika Dyminska 31
Droog Lab 04
Earnest Studio 13 22
Emanuele Magini 21
Emmanuel Babled 08
Fabian von Spreckelsen 13
Fabio Novembre 19
Fabricio Lima 21
Floris Hovers 29
Floris Schoonderbeek 17
Francesco Maria Bandini 05
Franziska Wernicke 13
Frederik Roijé 17
Frederike Top 17
Front 11
Geanne Welles 31
Geert Koster 26
Gerrit Rietveld 19
Gert Batenburg 26
Gianluco Macaluso 21
Gijs Bakker 29
Gijs Papavoine 26
Gina Hsu 29
Milan Breakfasts (design debats)
TimeTable
55
INdex
Graduates Design Academy
Eindhoven 09
Guiseppe Conca 21
Henny van Nistelrooy 13 18
HEYHEYHEY 32
Imme van der Haak 34
Ineke Hans 14 28
Inge Simonis 31
Invertuals collective 03
Iris Jansen 19
Iris Nieuwenburg 29
Jack Brandsma 29
James Irvine 19
Jan Habraken 19
Jan Jacob Borstlap 35
Jan Plechac 19
Jan Puylaert 31
Jerszy Seymour 19
Jesse Nortier 31
Job Smeets 12 20 29
Joine / Maarten Baptist 22
Jólan van der Wiel 31
Jonathan Prestwich 24
Joost van Veldhuizen 22
Jorre van Ast 24
Kevin Yu-Jui Chou 29
Kirkland Summers 21
Knapontwerp / Tjimkje de Boer 22
Koert van Mensvoort 09
Konstantin Grcic 29
Kranen/Gille 17 19
Kuniko Maeda 11
Laurien Oversier 22
Lee Gibson 21
Lennart Bras 31
Lex Pott 09 13 22
Lex van den Broek 31
Lieke Jildou de Jong 31
Liset van der Scheer 27
Lotty Lindeman 09
Lucas Maassen & Raw Color 32
Lucas Maassen & Sons 32
Maarten Baas 09 19
Marc Newson 29
Marcel Losekoot 16
Marcel Wanders 20 29
Marco Iannicelli 22
Mariandrea Zambardo 31
Mariandrea Zambrano 15
Mariann Hildal 31
Marie Gade-Lundlie 31
Mario Minale 11
Marjan van Aubel 34
Marlies van der Linden 31
Merel Bekking 31
Mi-Ah Rödiger 29
Mia Gammelgaard &
Ehlén Johansson 19
Micaela Nardella 31
Michael Young 19
Michelle Wu 21
Mieke Meijer 13 29
Miku Sega 21
Milda Liubinskaite 31
Miya Kondo 13
Mohammed Mighiss 31
Mosa Design Team 19
Nacho Carbonell 11
NENDO. 29
Niels Bendtsen 26
Niels Roosenbrand 31
Nieuwe Heren 17
Noa Haim 02
Nynke Tynagel 12 20 29
Oana Tudose 31
Ontwerpers.nu 19
OsΔoss 13
Patrick Kampff 21
Phil Cuttance 13
Philipp Käfer 29
Pili Wu 29
Pluc Plaatsman 31
Poching Liao 29
Rachel Griffin 13 22
Raúl Wallaart 31
Raw Color 32
Remi Gerritsen 31
Renee Mennen &
Stefanie van Keijsteren 32
Rianne Koens 22
Richard Hutten 09 19
Rock Wang 29
Roderick Vos 19
Ruben Thier 22
Sabine Marcelis 13
Samer Chalfoun 16
Sander Mulder 35
Sandra Garcia Pagola 21
Sayaka Yamamoto 11
Sebastian Herkner 17
Serener 19
Simon Pengelly 26
Sjoerd Jonkers 17
Sjoerd Vroonland 09
Slim Ben Ameur Tweelink 17
Steffen Kehrle 17
Studio Erwin Zwiers 22
Studio Formafantasma 01 11
Studio Job 12 20 29
Studio Jolanda van Goor 22
Studio Makkink & Bey 09 19
Studio Miya Kondo 22
Studio MKGK 32
Studio Rik ten Velden 22
Studio Tessa Koot 22
Studio Thier&VanDaalen 22
Susanne Klemm 29
Thomas Linssen 31
Tiago Sá da Costa design 22
Tiddo de Ruiter 31
Tjep. 29
Tong Ho 29
Van Eijk & Van der Lubbe 32
VanJoost 22
Vincenzo Amendolagine 21
W.H. Gispen 19
Weltevree 17
Wieki Somers 09
Willem van Ast 24
Wim Rietveld 19
Wiro van Vilsteren 19
Wouter Kalis 31
Yael Mer & Shay Alkalay 24
Yukihiro Shoda 21
ZUS 19
Where to Eat
A selection by Daniela De Lorenzo
It is recommended to make a reservation in advance.
Sometimes a pinch of luck is not enough.
A
‘A recommended
choice for
vegetarians
is this unique
“Meatballs
place”’
B
E
Nisida
Al Porto
I
Via Porro Lambertenghi 19
Tel. +39 0297378447
MM Metro linea 3 Zara
Piazzale Cantore
Tel: +39 028321481
MM. Pt. Genova
Via Lazzaro Palazzi 2
Tel. 0239464918
MM Porta Venezia
Here you can still find squared
tablecloth but in a complete modern
atmosphere. In this traditional Italian
restaurant you can taste a real pizza:
owners comes from Naples and
offer you a wide selection of
southern Italian dishes too. Hint:
Even if you’re full, here you can’t
renounce to the dessert.
Every Italian knows that to taste fresh
fish you have to eat it in Milan. So take
a seat in this restaurant and have a try
by choosing between all the wide
possible choices. Situated in a really
unconventional location from 1966,
this is almost an institution.
This small Turkish restaurant
deserves to be mentioned, for its
moderate Medioriental atmosphere
and care of owners, aside for its
cousine. Main courses are mostly
meat-based (kebab) served along
with vegetables and cous-cous .
Much choice for vegetarians, too.
Hint: if you’re tired of espresso, ask
for a Turkish coffee.
Price range: €30/50 Price Range: €10/30 F
Ciccilla
A recommended choice for
vegetarians is this unique “Meatballs
place”. Rissoles are not just made
with meat, but also with fish, seasonal
vegetables, cheese , tofu or seaweed.
Aside you can also order a selection
of pasta, soups and cooked
vegetables. All ingredients are
organic and served in biodegradables crockery.
Price Range: €20/30 Bello e Buono
A small delicatessen place where you
can have bits of Mediterranean food
and wine. The menu is written on a
chalkboard where you can see a list
of main courses , simple but not dull.
A nice place where to taste an
authentic and genuine Italian home
cooking.
J
K
Sometimes Italian cuisine might be
heavy, so, we suggest a new place
where everything on the menu is light
and…steamed! Here a steaming oven
is used which cooks the dish you
choose in a few minutes. Have a try of
vegetables, cous-cous and fish in the
healthiest way possible. Hint: don’t
worry about tiramisù: also here, it
follows a normal cooking process.
‘Bread is
home-made
and water
is filtered’
Trattoria 18/28
Via Lodovico Muratori, 19
Tel.+39 02 55180260
MM Porta Romana
Via Savona 10 20144 Milano
Tel. +39 028322496
MM Porta Genova
The name of this cosy and modern
restaurant comes from the prices it
offers, which didn’t change in ten
years of activity. You can dine here by
choosing between menus of 18 or 28
euros, which include an appetizer,
main course, dessert and a glass of
wine. There are offers also at lunch
time (7,50 —12 euros).
This homey restaurant it’s in the heart
of Zona Tortona and it gives you the
chance of trying an unconventional
and experimental menu of both Italian
and international cuisine. Bread is
home-made and water is filtered.
Price range: €20/30 Price Range: €10/30 D
Osteria del Binari
Via Tortona 1
Tel. +39 02 89409428
MM Porta Genova
Impression goes wrong if you look at
it from the outside. It might seem a
small cafè , but it’s an immense
restaurant with a traditional Italian
cuisine and an heavenly garden
inside.
Price Range: €10/30 H
La Cappelletta
Via Bertolazzi, 26
Tel. +39 02 2151456
MM Lambrate FS
Here you can taste traditional
Northern Italian cuisine especially
from the region of Emilia Romagna. A
ragù alla bolognese will be typical,
but the menu offers a way lot more. If
you get lost: the Gnocco fritto – a
fried savory dough - served with a
selection of cold cuts or cheeses, or
the “Elephant ear” – typical Milanese
schnitzel – might be a suggestion to
escape uncertainty.
Price Range: €15/30 56
Restaurant Guide
That’s Vapore
Viale Porta Vittoria 5,
Tel +39 0276281437
MM Duomo or S. Babila
Price range: €10/20 Ciriboga
Farmer Street Food
The Tortona Design Week
collaborates with local farmers
serving healthy and ecologically
sound meals in the Via Tortona.
Price range: €10/20 G
‘If you’re tired
of espresso,
ask for a
Turkish coffee’
Gastronomia Italiana
Viale sabotino 14
Tel. +39 0294553406
MM Porta Romana
Via Alessandro Volta, 7 Milano
Tel. +39 02 6597816
MM Metro linea 2 Moscova
C
Imperator
‘Everything
on the menu
is light and…
steamed’’
Price range: €10/15 L
Mens@sana
Via Lanzone
Tel.+39 0239663631
MM S. Ambrogio
Via Teodosio
Tel. +39 0223951747
MM Lambrate FS
The “Ealthy canteen” is a chain run by
an ONLUS (ONG) which offers
vegan food following a Mediterranian
tradition. If you want to have a quick
lunch, this is a perfect spot where to
get something tasty and vegan.
Price Range: €8/10 ‘If you want to
have a quick
lunch, this is a
perfect spot
where to get
something tasty
and vegan’