AD!DICT #28 : The Eco Research. Ideas for a better world.

WORLD 2.0

{ ideas for a better world... }

#28 Research on ecodesign

AD!DICT #28 WORLD 2.0

Inside :

ISBN 9789077509142BELGIUM �12OTHER COUNTRIES �15

AD!DICTI N S P I R AT I O N B O O K - N O V D E C J A N F E B 2 0 0 7 - 0 8 # 2 8

CREATIVE LAB SINCE 1997 - TALENT ACCELERATORS

Add-Swing_dps.pdf 29.08.2007 15:18:41 Uhr

Add-Swing_dps.pdf 29.08.2007 15:18:41 UhrAdd-Swing_dps.pdf 29.08.2007 15:18:41 Uhr

De enige Brusselse designbeurs. Naast toonaangevende merken op het vlak van meubilair

en binnenhuisinrichting worden ook smaakmakers aangetrokken uit zowat alle andere sectoren van de

designwereld, juwelen en mode, tot communicatietechnologie, architectuur en automotive design.

Thema 2007: Table talks Een uitgebreide centrale tentoonstelling georganiseerd door Giovanna

Massoni stelt het feest op de voorgrond, en wordt uitgewerkt door de meest gerenommeerde scholen uit de wereld

van het design. De tafel - een onvermijdelijk meubelstuk wanneer het om feesten gaat - zal alomtegenwoordig

zijn in al haar vormen: de tafel, de versiering van de tafel, maar ook wat er zich onder bevindt…

Een niet te missen evenementenprogramma: een Avant-Première, uitsluitend op

uitnodiging - de designnight, waar de sfeer verzekerd is - en de gezellige en trendy lounge.

www.designbrussels.com

designbrusselscoNtEMPorAry hoME AND iNtErior fAir

BrussEls ExPo, hAll 7Elke dag van 11u tot 19u. 23 november, nocturne tot 23u.

17-25 nov 2007

REREFLECT

World 2.0ideas for a better world

The night that I was writing my editorial word for this book, I had a pretty traumatic experience in our house in South Africa. Two guys with two guns came in our house via our bedroom. They tied us up, let a third one in, and held my family: my wife, son, daughter and mother in law who was visiting us from Belgium, hostage for more than an hour while they were stealing our most valuable belongings.You can read more on addictlab.blogspot.com on the event and my thoughts on that.On a more practical note: that is why certain projects didn’t make it in the book, and especially why the labfiles section is but a first step into becoming a true lab-magazine.

I don’t have my first draft edito-version anymore. I still do believe in the force of creative thinkers. Of being able to implement sustainable changes. Of working on that one brand that deserves all the marketing, product development and innovation we can offer.

It’s just even more difficult than I - being an eternal optimist - had anticipated.

Jan Van [email protected]

I’d like to thank Giovanna and Fenna, Elke and Ann for their contribution to a well edited, well created

World.

REFLECT // 0�

TM

REFLECTBUILDTHINKDUCEFEEDMINDUSECYCLESPECT

04 07213549678293119

Reflect, rebuild, rethink, reduce, refeed, remind, reuse, recycle, respect… the list is long, and far from being a

linguistic exercise these ‘re-‘ words suggest an innovative look and critical behaviour towards the world and the

environment – human, natural, tangible and intangible.

React is the unsaid but desirable message of this new Addictlab Inspiration Books’ issue. An overview on

ecosolutions and responsible approaches in the creative domain, input–free, bottom-top, fresh and stimulating

reflections – fostering sustainable development.

Addict labmembers offer low and high tech solutions, ideas, objects and clothes, as well as industrial design

prototypes: stressing on cultural diversity, memory, innovation, respect and dialogue, in a diagonal interplay;

contrasting overconsumption and overproduction, spreading ideas and experimental projects, or prototypes that

deserve the attention of the industry.

Major ‘best practices’ (see the Solar Bottle by Alberto Meda & Francisco Gomez Paz in the Labfiles section, p.

138) coexist with students’ and young talents projects: Addict’s goal being to enhance everybody’s contribu-

tion to design a better world, through a series of big or small gestures (referring to Thierry Kazazian’s “petits

gestes” celebrated in his sustainable development simple and unforgettable lesson). Including our purchasing

behaviour, as Patrizia Lugo reminds us in her article (p. 150).

Introduced by the “Universal house?” project, launched by Addict end of 2005, the question mark is more than

ever the character of the present overview: an open flux of ideas to share, questioning our awareness, sug-

gesting transversal solutions, free from established canons and commercial diktat… Some of these projects are

today featured throughout the different chapters of the book.

“We urgently need a new generation of entrepreneurs!” - firmly states Alberto Meda in our interview in the Lab-

files-section. This acknowledges Addictlab’s mission to help building an innovative open source to encourage

and display a number of creative ways to make a better world. We agree with Alberto: global designers are more

and more engaged on the same battle field. But what about production and distribution?

Following Bruce Mau, visionary designer, initiator of the Massive Change project, design is “one of the world’s

most powerful forces…in a period were all economies and ecologies are becoming global, relational and

interconnected”. From cradle to grave: ideas can generate objects that create revolutionary, zero waste impacts.

Contrasting economical fundamentalism and monopolies, designers together with illuminated industries can

make a change.

Leave your creative fingerprint: react!

Giovanna Massoni - [email protected]

RE

REACT // 0�

REACT

REBUILD

1

RE-USEOFTHECITY...Belgium

NameCreditsContact

RE-USE OF THE CITY AND HIS ELEMENTSThe Bezalel Academy of Arts and Design organised an In-

ternational Architectural Competition for a New Campus,

with nine departments, in the Center of Jerusalem.

We entered the competition with 03/AM: Manu Gelders,

Anne Moerman, Andrea Portugal Deveza, Aldo Tornaghi.

URBAN CONCEPTAt first we studied the city from macro to micro to

find its identity.

We tried to transform the local habits and form language

into a building by continuing the urban landscape and

re-using architectural characteristics like: volume-mass,

roof terraces, Jerusalem stone, ad-random perforations,

cemetery…a summary of the image of Jerusalem.

These are a few elements that give Jerusalem its

identity, seen as an object, “a building”. The cu-

bic volumes with its narrow streets. Left-over open

spaces in between; spaces where people meet…These

identity-giving-elements are even noticeable in the

Jewish cemetery.

The idea is to soften the step into “a world of culture”

with the re-use of common elements. When starting the design it was

very important to well design the space where the city interfaces with

the university; the space between extremes.

The city becomes a design tool, the re-use of what was already there, to

level out differences. So the building will be seen as an extension of the

city, in the city. So people would feel like they are at home. “At home”

brings the best vibe to consume and produce culture.

The city moves into the university, into the building.

So the university, as a building, has not been alien-

ated from the city, but takes part in its daily life; it

can even be a catalyst…

mAgMa + ptA = 03/AM

03/AM

[email protected]

REBUILD // 0�

ARCHITECTURAL CONCEPT

Jerusalem’s elements

VERTICAL roof terraces

Due to the program of the competition and local

building restrictions we were scared to end up with

two buildings.

Instead of 2 buildings without connections we made

underground connections and split up all the de-

partments as separated identities in their own city

“the university”. Going from one to the other is like

walking in the city on the search to your destina-

tion. Seeing friends, stop to have a drink and a

quick chat…the building will not absorb you it will

be absorbed by being used.

The use of the roofs as a fifth facade gives the build-

ing a third dimension and it refers to the roof ter-

races in the city. By using these “roof terraces” you

get a dialogue between the department buildings.

Ones facade can be the others projection screen.

HORIZONTAL narrow streets

There is always the need for a main entrance and so be it, but by giving a lot of secondary ways to get in, on

places well connected to the city, gives the feeling that the city never stops and the building never begins.

The space between extremes is no more. So maybe it is also good to see the world as a city and we need to try

levelling out boarders by using each others’ paths to enter…

Connecting points ”crossroads” are meeting points

Working separately with well chosen connecting points, every department has his own identity. They can stand

on their own but they meet at the left-over spaces; city squares-common areas. The left-over spaces are a

manifestation of the moment when they were created.

But, as in the city, they must remain alive. They can become meeting points for the students from different

departments or it can be exhibition space,…. = creating space to generate your own space.

Creating spaces in between volumes, like streets in the city, generates light but also provides shadow.

VOLUME-MASSBy using the traditional building material “the Je-

rusalem Stone” the building characterised itself as

one of them. Because the stone can only handle

pressure its been stacked on each other…so a vol-

ume appears. The mass is optimal in Jerusalem’s

climate…But by using the ad-random perforations,

one of the city elements, the volume-mass becomes

lighter…

The university becomes the city….the body of the

city embodies the building.

IN/INTO/OUTSingapore

NameCredits

Contact

PROPOSAL AND ARGUMENTMost Singaporeans live in a HDB flat (Government

subsidized public housing). At the mention of ‘HDB

flats’, an image of symmetrical, rigid buildings come

to our minds. There is a lack of identity in HBD flats.

Whether a HDB flat is from the central, east or north of Singapore, HDB flats carry no particular character

that helps us identify one from another. They were built and designed for the sole intention of providing

cheap public mass housing in the early 60’s and haven’t evolved very much since, apart from the attempt

to look better with inappropriate ornamentation. They are a repeated housing type that fill up our estates.

The current guidelines for building a flat is stringent and relatively stiff, resulting in the sort of style we

see today. But having lived in a HDB estate myself, I realize there’s a myriad of experiences. I consider the

experiences to be truly unique and therefore, in this project, my proposal would be to explore a method into

which we may design HDB flats, with the starting point of the studies from a resident’s live in experience.

Identifying some of these experiences, understanding them and responding in designs will reveal a set of

issues that one should consider during the planning of a HDB estate.

Tanny Wong & Lijuan Tan

Quote by Vicente Guallart, The metapolis dictionary

of advance architecture. Text by Wong & Tan

[email protected], cheeeken0�@yahoo.com

The objective of this project is to bring about a dif-

ferent perspective when we design buildings that con-

stitute human spaces in them. While most designers/

architects and town planners will plan spaces on a

map, this proposal challenges that planning gesture

and starts with studies within existing flats, learning

from it, later to develop a means to design a type

of accommodation that reflects the identity of public

housing. The project would attempt to reveal how one

may create architecture from the interior, therefore

the title ‘in/into/out’.

‘In’ referring to the experience within a space, ‘Into’, re-

ferring to the operations and meanings behind the experi-

ences, ‘Out’, referring to the projections through design.

MEANS AND METHODSMy first means into the project was to analyze my site

from within my flat using drawings, to draw what I

understand about my site starting from a subset of

my site (my apartment), thereafter moving to the rest

of the block, such as the corridors, lift and staircases.

Primarily, in the sketch drawings, I’ve used represen-

tations and scale adjustments to illustrate my idea.

This idea is inspired by the film ‘rear window’ by Al-

fred Hitchcock. In the film, a detective watches his

“We come to know the world from an interior. The security

of an interior: a speeding car along a motorway; a high-

speed train crossing a territory at 300km/h; a dwelling

that leads to anywhere in the world in real time. Project-

ing. Projecting ourselves. “

REBUILD // 010

neighbours from their windows, and where there was

a wall between the windows, he had to make up what

was happening behind the wall. In the same way, my

drawings were made based on only what I could hear,

see and smell, with only the understanding of them

from within my room. I made use of the shift of scale

to further illustrate my experiences. This was inspired

by the filming technique of David Lynch in the film ‘

Eraserhead’, where he played with the scale of things.

David lynch also reveals the film from the interior. One

is unaware of the general plot of the film, as he/she is

put through closed up scenes all the time.

Five experiences were randomly selected from the

drawings. After which, I made a model (with a short

video clip) for each of them. This helped me to under-

stand the space in 3 dimension. I went on to identify

the operations and elements involved in each of these

5 experiences. I responded to the findings by suggest-

ing simple design gestures. The process continues with

a series of mock up designs and reflection to allow me

to gain knowledge on what each experience informs

me. The final design outcome which is presented is an

example of the application of the method.

REBUILD // 012

ExpandedpaintingMexico

NameCreditsContact

Raymundo Sesma is continuing with Expanded Paint-

ing (“Campo Expandido VIII”) after having painted the

13 meter high by 37 meter wide crane at Bâlelatina,

Basel. He was invited to Albuquerque, New Mexico

to paint two constructions in a Parking lot in Silver

Avenue. The Alburquerque project is a site interven-

tion in a historic space, where the Southern Union

Gas Company was originally built by John Gaw Meen

in 1950. Sesma used colors and an encrypted text

that refers to camouflage, to paint the volumes and

unify them in one sole virtual visual structure. The

expanded painting changes the architectural unit and

the spectator is compelled to look again and to search

for meaning about him.

Since 2004 the artist has been working with expanded

painting, a series of ephemeral monumental works in

public places in Italy, Switzerland and Mexico, where

he has started to work for the Ollin Yoliztli Cultural and

Educational Center, a City within Mexico City. Look-

ing for a dialogue between painting, architecture and

landscape, Sesma´s work becomes tridimentional and a

vessel of communication between art, the community

traditions, its culture and its future.

Raymundo Sesma

Advento

[email protected]

TelUSwitzerland / Croatia

NameContact

Hannes Baur & Ivica Kesic

[email protected]

[email protected]

Tel u is basically designed for temporary use, which

could be for living, working or exhibition events, also

as a two storey unit. Depending on metrological circum-

stances, it might either be used inside a hall (where it

is protected by a roof), or outdoors. This might be

an interesting option for creative and cosmopolitan

people who want to combine working and living, while

still having a high standard and unique home with all

its comfort.

Tel u is a modular and multipurpose unit, 5x5x5 meters.

Its basic frame is made of steel tubes, which are hold-

ing the reflecting acrylic glasses. The tubes can easily

store electric power cords as well as watertubes for sink

and toilet.

As the hand sketches show, the idea is to combine three

or more elements with the flexible corridor (made of

heavy duty folded fabric) to an entire combination.

Each interior unit, like stoven, fridge and sink, kept its

shape from the acrylic glass skin, just extended.

The kitchen unit is fully equipped with a fridge, sink,

stove and a cupboard, all of them quite spacious. The

stove and sink elements contain an extractable slice,

which can be used as a dining table or as extra working

space.

Sink and stove move in vertical direction and are stored

underneath their massive docking stations above

and are attached to the conductors on the main steel

structure.

Fridge and cupboard move in horizontal and vertical

direction. In case of use, they are pulled out of the wall,

then vertically moved to the needed high. This allows

to have a completely empty room up to the high of 2.5

meters, where the docking stations, which are fixed on

top, begin.

no.madeItaly

NameContact

Politecnico di Milano – Facoltà del Design

Francesca Murialdo

[email protected]

The first large group of projects presents the synthe-

sis of the educational activity originated from a deep

study about new needs in spaces for living and hos-

pitality.

Today’s rhythm in everyday’s life underlines a new

genre of metropolitan nomads that, for business,

pleasure and attitude, keeps on moving, living tem-

porarly in many places. The students have been work-

ing on this concept by thinking of hospitality cells

as units to be repeated, fitted together and could be

easily disassembled and transported.

The second group of projects investigates the evolu-

tion of the way people are connected to each other.

To taste, to speak, to play, to meet are just some of

the actions-functions that were stimulating design for

innovative, catchy and sustainable objects.

Politecnico di Milano – Facoltà del Design

Laurea Specialistica in Design degli Interni 2005-’06

Laboratorio di Sintesi Finale – sezione I1

Professors - Silvia Girardi, Francesca Murialdo, Fran-

cesco Scullica

Tutors - Daria Baglieri, Gabriele Cervetta

Students - Albano M., Allievi F., Ambrosini P., Anghile-

ri G., Bassis M., Bertotti R., Butti C., Cazzaniga A.,

Confalonieri C., Della Rossa S., De Marco A., Erbetta

C., Fossati M.R., Gazzaniga G., Ghirardelli N., Montà

F., Nespoli A., Odelli S., Pedretti C., Perospoado E.,

Pileggi P., Talamona S., Tandoi M., Viganò E. and Po-

litecnico di Milano - Facoltà del Design - Polo di Como

Corso di Laurea in Design dell’arredo a.a. 2005-2006

Laboratorio di Sintesi Finale – sezione B

Professors - Massimo Duroni, Andrea Manfredi, Cesare

Mercuri, Danilo Morigi

Tutors - Marco De Iuliis, Flavio Simeoni, Angela Toma-

soni, Valerio Vinciguerra

REBUILD // 01�

no.made:StepItaly

Name Cecilia Erbetta, Caterina Perdetti, Sara Talamona,

Erica Viganu

Floating:no.madeItaly

NameClaudio Confalonieri, Andrea Cazzaniga,

Alberto de Marco, Federica Allievi

no.made:GiftItaly

Name Cristina Cattaneo

no.made:ElleItaly

Name Silvia Della Rossa, Guido Gazzaniga,

Francesca Monti, Emiliano Perospado

REBUILD // 01�

no.made:IndustrialSheltersItaly

Name Chiara Butti, Maria Rosanna Fossati,

Nicola Ghirardelli, Stefania Odelli

no.made:BlueConnectionItaly

Name Mariangela Albano, Paola Ambrosini

Matteo Bassis, Riccardo Bertotti

REBUILD // 01�

no.made:BacktoBackItaly

Name Valentina Nicolosi

no.made:Abitarel’abbandonoItaly

Name Guido Anghileri, Alberto Nespoli,

Paolo Pileggi, Marco Tandoi

REBUILD // 020

AFollyThe Netherlands

Bert Kramer

www.bk-fabrics.nl It points out questions about our social and architec-

tural spaces.

Four L-shaped units are strangled in a static, cubic

form. The whole structure has an inwardly character

but is open/transparent towards the other units. So

you have to move within your own space, and will

not be able to enter the other units. Every unit has

his own entrance and has room for two persons (in

the whole folly is room for eight people) They can

see each other but can not touch.

It’s an architectural experiment about how to deal

with your privacy or what is the relation to your

neighbours. To live in a high dense situation.

My current work imagines scale reducing/enlarging

in architecture, balancing on the thin line between

autonomous sculpture and applied interior design.

It is a constant study into the interaction between

these disciplines and is a part of both. In my opinion

there are two worlds: the reality in which we all live

and a world in which I construct. Both tell a story

concerning each other, are on the one hand a detail,

but form together also a whole.

In my work I try then to make the architectonic sur-

roundings tangible. They not only form the context

against which my work manifests itself, but “claims”

also a place in the whole. My designs are character-

ised by a minimum use of details and clear lines. The

functional, pure form that appears, influences the

complex surroundings but also the other way around.

The work is as it were “filled in” by the architecture

which surrounds it and by the way it is used. The

simplicity of the design invites for its part for purify-

ing the surroundings.

NameContact

RE

THINK

2RE

RETHINK // 022

HeritageindangerBelgium

NameContact

Antoine Hanzen

antuand_2�0�@yahoo.com

www.m3.com.bo

The present investigation tries to show the result of

a personal preoccupation, of a restlessness with re-

spect to a cultural patrimony that possess the city of

Cochabamba in Bolivia, through a clear example that

has become the investigation object: the rationalist

architecture during the decades of 1930 and 1940.

Beyond the territorial object itself, the present inves-

tigation tries to represent an important moment in

the development of the city: the arrival of modernity

and proposes to open new ways in search of new pat-

rimonial sources.

The architecture of the decades of the 30’s and 40’s

is victim of a centralized patrimonial vision, the re-

publican period. Also it is victim of the lack of knowl-

edge of the historical process that gave origin to its

birth, the same that marks a stage of transition in

the development of the city. The “modern adventure”

in Cochabamba deserves, despite, to be valued and

to be divulged for the historical and social changes

that brought to the city. Due to the few studies that

were made on the subject, this investigation on these

patrimonial objects in the decades of 1930 and 1940,

ample the knowledge on a new potential patrimonial

layer, through a diachronic and synchronous process,

allowing to better know an ideological and stylistic

movement that had an influence in the urban devel-

opment of the city of Cochabamba. It is certain that,

having a greater knowledge of these objects of archi-

tectonic value, the radius of influence of the regula-

tions of existing protection could be extended and be

given the new policies of conservation.

The investigation articulates in four parts that show

an evolutionary and centripetal process (of the gen-

eral to the individual) of the conditions and factors

(external and internal) which were developed with the

arrival of modernity in Bolivia and its materialization

in Cochabamba during the decades of the 30’s and

40’s. This period can be defined as purest and most

intact locating and understanding the “modern, ide-

alistic adventure”, almost utopian that took place in

Cochabamba.

GlobalFaçadeGermany

Name Contact

The façade of this universal house speaks about the

modern realm of an artificial and livable space. It is an

industrial sculpture produced by a connected “village

vertical” with moderate climate. The air condition and

the satellite receiver are global products of cultural

leveling (of information and space) and in this sense

part of our world heritage.

Jan-Philipp Wittrin

[email protected]

RETHINK // 02�

Walking around the globe, we can see a lot of green

spaces (urban and not) with plenty of abandoned and

menaced trees.

It’s important to provide trees to each family, in order

to protect them and enjoy their presence. This study

goes around low-cost houses for our holidays or just

to live in. By mixing these two aspects, Pot House

was born: a useful tool to save both human beings

and nature (the two big world heritages) in one time.

It could also be considered as a sort of ‘proletarian ex-

propriation’ where every citizen takes for himself his

own natural oxygen dose and takes care about it…

BECOMING A TREE GUARDIAN, TO PRO-

TECT IT AND ENJOYING ITS BENEFIT.

“POT-HOUSE” ALLOWS A SORT OF HU-

MAN/VEGETAL SYMBIOSIS, PROVIDING

A LOW COST PRE-FABRICATED HOUSE

AND AT THE SAME TIME INVITING TO

TAKE CARE OF A TREE.

Francesco Gorni

[email protected]

NameContact

SeeGreenBeGreenBelgium

NameContact

Lisa Allegretta / Ocolo design

www.loveocolo.com

RETHINK // 02�

IDEAThe Netherlands

NameConatct

Ronald Ubbink

www.ideaa.tkIdea is a design project from Ronald Ubbink, a

Dutch artist. His objective is to make art accessible

by translating it into something that already exists

and is therefore easily recognizable.

Ubbink designed furniture and other products in-

spired by Ikea’s familiar house style. His Idea in-

struction manuals show how everyone can make art,

even with trash, if only you have the right manual.

The furniture for IDEA is not for sale in a shop,

people have to create it themselves, by collecting

pieces of rubbish and trash. I just try to stimulate

people to be creative in their Universal house.

The Idea of taking care of the environment some-

body’s living in, instead of buying ´cheap crap´ over

and over again.

RETHINK // 02�

GasMaskDesignThe Netherlands

NameContact

We are in a state of perpetual war – with ourselves and

with the eco-system that sustains us. Perpetual war

breeds perpetual fear. In the present context, this fear

stems from our extreme desire for authenticity and

manifests itself in our collectively insatiable culture

of consumption.

Deep down, we are afraid we may never be satisfied.

An expanding archive of branded myths and icons

feeds this fear.

Designer Gas Masks is an attempt to visualize this

state of mind. Because it is only by first acknowledg-

ing and then challenging fear that we will all be able

to breathe a little easier.

diddovelema

www.diddovelema.com

RETHINK // 030

AmaryllisBelgium

NameContact

Foam

www.fo.am[Foam] is a pliant material, a dynamic organisational

principle, a possible quantum universe...

[Foam] is an intricate gossamer of people and places,

extending through the interstices between artistic

and scientific, physical and digital, professional and

cultural boundaries. [Foam] is shaped by a group of

designers, scientists, cooks, artists, engineers and

gardeners, interested in advancing their own fields, as

well as sharing and applying knowledge in new public

contexts. Although our individual disciplines vary,

everyones practice integrates principles of ethical

living, sustainable design and eco-technology. Within

the [Foam] structure, we commingle fresh creative

expressions, transdisciplinary knowledge, materialised

imagination with emerging and forgotten crafts, for a

lively present and an abundant future.

We blend digital and physical realities in materials,

interfaces and environments. We conjure up vibrant

social situations, where food, art and technology

intermingle to create total experiences. In events

and publications we raise public understanding

of contemporary science. We conduct professional

development and community oriented workshops

to train new generations of interstitial explorers.

We seek out, collaborate with and support forward-

looking people, able to live and work in an ecotone

of heterogeneous creative practices. These people

work together in an elastic openwork of social and

professional relationships, contributing to a [Foam]

ecology, while growing their own worlds.

Battery of Amaryllis flower infused with pear and citrus juice.

TulipsBelgium

Solarcricket, powered and activated by sunlight

SolarcricketBelgium

D’eco-system #2: Table arrangement for ten tulips and one LED

RETHINK // 032

EcoCommunicationSystemBelgium

ECO COMMUNICATION SYSTEMBoth “sustainable energy icons” and “filling station

prepay terminal” are eco communication systems.

The ease of the use and understanding as well as

the elimination of the language barriers, give them a

wide range of application possibilities.

FILLING STATION PREPAY TERMINAL With the appearance of hybrid cars, bio fuel engines,

and the need to be less depending on fossil oil.

Today’s gas station will soon be out dated. Multiple

power solutions will be available. Time to propose a

new selection system for the “filling station”.

A combination of energy types (based on oil, electro

power, gas or molecule cell ), source icons (natural,

down cycled, reusable )and colors (that make you

aware of the environmental impact) will guide you to

find the best option .

Eco-points offered by government to stimulate the

use of an environment low impact source, can be

donated to “green” projects. And finally prepayment

via FT bank (fair trade bank) will guarantee that your

money will only be used to finance projects that

fulfill a fair-trade label. Stay mobile !

Wim Goossens

[email protected]

SUSTAINABLE ENERGY ICONS Today we see an evolution towards multiple energy

solutions, so the timing is right to guide you with

icons to your preferred source.

If you travel around, you understand the advantage

of icons. In the many different ways of transport you

can easily select your preferred option. If it is a car, a

plain, a bike, a bus, for each option you have an icon.

Arriving at the airport , icons will guide you to bars,

check in, gate, bathroom, etc. It doesn’t matter if

you speak Chinese or Danish the icons will guide you.

This icon set is created to communicate globally the

different options of sustainable energy. They can help

to promote the use of less harmful energy sources

and making us less depending on limited sources like

fossil fuels.

MyuniversalhouseItaly

Studio Matteo Ragni

www.matteoragni.com

the universal house the universal house the universal house

the universal house

the universal house the universal house

NameContact

RETHINK // 03�

RE

DUCE

3RE

REDUCE // 03�

Grandma’srevengeGermany

Name

CreditsContact

Grandma’s revenge is a new interpretation of a good

old kitchen dresser. And so it’s like the grandma her-

self: a real multifunctional talent.

Grandma’s revenge is the symbiosis of a kitchen and a din-

ing room in one piece of furniture (h=2.5mb=2md=0.67m),

that works on a basic size of 4 sqm.

Grandma’s revenge plays with the two dimensional

view in a dining room scene. The outlines frame a

table, two chairs and a lamp in an artistically mini-

malistic way.

Grandma’s revenge is changed by different mecha-

nisms from a picture into a three dimensional experi-

ence. A horizontal folding door opens up to the whole

room at once which consists of a cooking area on the

right, a combined dishwashing facility and a chopping

board area on the left and the desk is used as a depot

area in the middle. The kitchen equipment like oven,

dishwasher, refrigerator…and the storage boards are

set in drawers below the working area.

Additionally the desk, chairs, and lamp can be pulled

out up to a width of 1.1 m supported by a special

touch mechanism that requires no more handle. It

might be utilized either for 1 person, for a family or

for a 4 person diner. The folding door can easily be

closed at any time to hide the cooking area and to cre-

ate a pleasant atmosphere as shown in the picture.

After finishing your romantic candle light dinner it is

not necessary to waste your time with cleaning the

table and the dishes, for example. Just push the table

and close the folding door and it looks tidy up to the

next morning.

Grandma’s revenge is the result of the project com-

pact kitchen. Students: Julia Bau, Henrike Louisa

Binder, Henrike Stefanie Gänß, Robert Haslbeck, Mat-

thias Hiller, Bettina Nissen, David Oelschlägel, Ilja

Oelschlägel , Melanie Olle, Marie Vaubel.

Interior design department Burg Giebichenstein /

University of Art and Design Halle

Prof.Klaus Michel

www.burg-halle.de

DisplayBelgium

NameContact

Justin Lalieux

[email protected] principe de base, étant le gain de place, le

vaisselier se range sous la table, les assises de la

table deviennent des portes, afin de transformer

complètement le meuble une fois qu’il n’est pas mis

en fonction, l’intérêt de ce genre de mobilier se fait

notamment dans les petits espaces, puisque une fois

au repos la fonction est cachée..

REDUCE // 03�

FurnitureSuitcaseBelgium / Singapore

NameContact

A range of furniture that fits in a suitcase. People tend to feel more at home when they have their belongings with them. Your home can be your universe.

Anita Nevens

www.anitanevens.be

REDUCE // 0�0

LeprojetdelamaquetteMorocco

NameContact

Rachid L’Mouddene

[email protected]

REDUCE // 0�2

SweetHomeItaly

NameContact

The stereotype of the abat-jour cut in the paperboard closed into a box for shipments.A representation of imaginary house with other materials.You will have the feeling to be home when you open the box... sweet home.

Gumdesign - Laura Fiaschi & Gabriele Pardi

www.gumdesign.it

MAX5000WGermany / Portugal

NameContact

A mindful play of extensions in objects and their use.What is the value of energy?How much quantity of light would you need?

Albio Nascimento + Kathi Stertzig

www.the-home-project.com

REDUCE // 0��

LaLiseuseBelgium

NameCreditsContact

‘La Liseuse’ is a table lamp made of lacquered steel.

The shade refers to the form of a mushroom, not with-

out recalling the general outline of a classical lamp,

of which the feet and the lampshade would have been

cut in two on the height.

The lamp is constituted of two parts of folded steel.

These two parts are combined to create a form as

simple as possible.

Size (L x D x H) : 208 x 179x 400 mm

Benoit Deneufbourg

photo: Philippe Lermusiaux

www.benoitdnb.com

OutOfPowerBelgium

NameCreditsContact

Ever since we’ve had power sockets, people tend to

see power supply as infinite. My work tries to make

people aware of this faulty way of thinking: electrical

power is not infinite, it only looks that way because

we rapidly deplete natural resources.

Valerie Wilms

Eco-workshop Sint-Lukas Brussels at addictlab

[email protected]

BOLDchairSwitzerland / Belgium

NameCreditsContact

Inspired by the elementary structure of a metal tube

chair, the Bold Chair is thickened by upholstery.

Its sock-like sleeving makes the cover removable.

BIG GAME

photo: Milo Keller

www.big-game.ch

REDUCE // 0��

100BottlesBelgium

NameContact

Flore de Crombrugghe

[email protected]

REDUCE // 0��

TirelessItaly

Chiara Moreschi

www.chiaramoreschi.comNameContact

Laptop bag, incorporating in one of its multiple

pockets a foldable (collapsible) sleeping bag to be

taken with you to your work place, in order to extend

your own productive capabilities until late night,

without having to give up a comfortable rest.

RE

FEED

4RE

REFEED // 050

TastefulJapan

NameContact

‘Tasteful, a project by Kuniko Maeda’, is a balancing act

between food and design, between gusto and creativity.

Her food furniture does not only looks incredibly

real, it also consists mainly of foodstuffs. The kitch-

en table, for example, has a sweet surface finish.

As ‘textiles’, she created tablecloths made of bread,

ham and cheese. Laid one on top of the other, they

make a classic sandwich. She even designed a meat

dress. “For me”, says Maeda, “this method of making

clothes is a way of dressing translated into food.”

‘Tasteful’ is a declaration against the superficiality of

the world and in favour of a better life.

Tablecloth - Instead of manipulating the food, stitch-

ing, which is a basic technique of clothing, can make

the food bigger in a more harmless way.

At the same time it’s a translation of traditional of cul-

tural theme into modern disposable consumer culture.

Kuniko Maeda

www.minale-maeda.com

PotatoBowlBelgium

NameContact

Bowl for the famous Belgian French fries made of

silicon and potatoes peels, the left overs when you

are making French fries.

Kris Provoost

[email protected]

REFEED // 052

VegwareUnited Kingdom

NameContact

Joe Frankel - Vegware

www.vegware.co.ukUSING TECHNOLOGY IN CREATIVE WAYS TO REDUCE

THE ENVIRONMENTAL IMPACT OF OUR DAILY LIVES.

Vegware exists to provide economic, eco-friendly,

and high quality options to the food service industry.

Our longer term goal is to play a part in enabling a

paradigm shift in how waste is managed.

We offer an environmentally sustainable range of

cutlery and tableware, a bespoke packaging service,

and strive to give the highest possible levels of

customer service.

Vegware’s natural starch cutlery is moulded from

Plastarch Material (PSM). It is fully functional cutlery,

being heat resistant up to 105C, robust, and safe.

Unlike traditional plastic cutlery, Vegware’s is made

from annually renewable resources and is 100% bio-

degradable. Our cutlery is primarily made from corn

grown in China’s Shandong region and our suppliers

assure us that it is GM free.

Vegware’s range of cassava starch includes plates,

bowls, cups and trays. They are strong and rigid and

the cups have very good thermal properties - no

sleeves required. They are also suitable for domestic

composting.

WastewareThe Netherlands

NameCreditsContact

Plates and bowls, pressed from foodwaste/herbs

by heating and pressing

Matthijs Vogels

K.Stertzig & A. Nascimento - DESIGN FOR FUTURE

www.sproutdesign.nl - www.the-home-project.com

PatattenschellersBelgium

NameContact

Knife ‘Noir’ made of carbonsteel recuperation and

ebony waste out the furniture factory.

Exclusive sale by Bientôt demain (France).

Antoine Van Loocke

www.knifeforging.com

REFEED // 05�

CuttingUpKnivesItaly / Austria / Germany

NameCreditsContact

Jim Hannon-Tan, Gabriel Heusser, Paul KogelnigK. Stertzig & A. Nascimento- Design For Future

www.pervisioni.it

A limited production run of selected knives

which have been transformed into bottle openers

through the application of an industrial process.

The future of mass production is mass customization.

Cutting Up Knives is a production of selected knives,

modified to become bottle openers through the ap-

plication of an industrial process.

Each bottle opener is individually chosen and cut.

Beautiful name brand knives have been ruthlessly

transformed, while factory rejects and second hand

knives have been recycled, modified to become

useful once again, functionally reassigned, yet still

connected to their own unique history.

As every knife is different, each one must be indi-

vidually positioned for the water-jet cutting machine.

A production method where an artisan-like attention

to detail is enabled by the use of modern CNC (com-

puter numeric controlled) machines. The final cut of

the bottle opener detail on the knife blade is always

unique decision based on aesthetics and ergonomics.

B-sideItaly

NameContact

Considering a table as a melting pot of different

cultures, B-SIDE offers the possibility of using one

of its ends to eat after the western customs and the

other one following the oriental tradition.

The declared gestural use of this object gives you

the possibility of communicating your own culture of

origin or, on the contrary, your open attitude towards

new life styles.

Alessandro Busana

www.alessandrobusana.it

REFEED // 05�

ItadakimassClaude!Belgium

NameCreditsContact

Claude est un artiste du Créahm avec qui j’ai voyagé

au Japon. Durant le séjour, l’acte le plus exotique

était de se nourrir…avec des baguettes.

Après quelques explications laborieusement mi-

mées, Claude a utilisé ces bouts de bois pour tenter

de porter la nourriture à sa bouche. Les jours

passants il s’y est accoutumé tant et bien qu’on

n’y prêtait plus attention. Dans l’avion du retour,

l’observant manger, je l’ai vu coupant et piquant

du poisson avec sa paire de baguettes qu’il utilisait

comme nos couverts occidentaux.

Mais pourquoi ne pas adapter des accessoires que

l’on pourrait enfiler au bout de toutes les baguettes

japonaises? Naquit donc une paire d’accessoires

discrets, que l’on trimballe dans une petite boîte en

poche ou dans son sac.

Il suffit de les enfiler à l’extrémité des baguettes lors

du repas. Puis de les remettre en boîte après usage…

Un peu comme un dentier ou des lentilles de contact!

D’aspect brut, irrégulier, ce sont des objets un peu

tribal, primitif.

Ils font également penser à des outils sans les

manches qu’il faut «fabriquer», «assembler» avant

de manger.

Ces 2 accessoires (trident et couteau/spatule) à la

ligne élancée s’enfilent sur la plupart des modèles

de baguettes japonaises.

Pinky Pintus

photo: P. Schyns

www.pinky-pintus.com

REFEED // 05�

UniversalCutleryGermany / Portugal

NameContact

Our very own heritage is what and how we eat. Food and

eating traditions are main expressions of our culture,

they distinguish very clearly our origin.

Food and eating habits are since always travelling goods

- tea, pasta or spices were reaching our mouth long

before the majority of us took a step into other cultures.

Ingredients from all over the world are available in

every corner of the city. We prepare food into a deli-

cious potpourri of cultures. Mixing or separating cul-

tures by choosing ingredients from all over the world.

But we don’t define ourselves just by chosen ingredients:

our table ‘costumes’ in fact are expressing the real

differences much clearer.

Are you eating by hand, fork or chopstick? Do I make

noise while drinking my soup? Shall I belch after

finish eating? Food is no longer dividing the world

at the table but the tools for eating still do. Often

it becomes a handicap to eat with people from other

origins together at one table.

Our cutlery does not suit the different needs. Eating

together is a world heritage, sharing the experience

of diversity in eating habits and the enrichment of

exotic ingredients. We are unifying these eating dif-

ferences in a cutlery that responds to every culture.

TABLE = SHARE

Kathi Stertzig & Albio Nascimento

www.the-home-project.com

“MI”GlamourGlassItaly

NameCredits

Alessandro Ruga

no.made – Politecnico of Milan

REFEED // 0�0

Thetake-it-with-you-SpoonLatvia

NameContact

Project of a disposable spoon> easy to transport and to stock it because it is flat;

> easy to fold with just one hand move and it is

ready to use;

> minimal use of material;

> could be produced in some plastic or other material,

preferably- recycable or/ and recycled;

> ideal to take with you to the office/ to school for

a yoghourt-break in the afternoon. Could be used by

the ice cream sellers in the street;

> can be distibuted in individual packaging or in

¨leaves¨ so that one can separate his spoon when he

needs it;

> dimensions: 130 x 37 x 0,3 mm

Ieva Laurina

[email protected]

SoftLiquid(s)Belgium

NameContact

Soft Liquid(s) is a supple container. Made of a wa-

terproof textile or paper, it is flexible and unbreak-

able. Light and easy to put away, you can carry it

everywhere. By the way it is folded, its shape is

simple, familiar, refined and naturally watertight.

Soft Liquid(s) allows a tactile and sensuous approach

of the liquids it contains.

Diane Steverlynck

www.dianesteverlynck.be

REFEED // 0�2

Mindyourmanners!

Don’teatlikeapig!Germany

NameContact

Table; powder-coated steel, cherrywood. At this

table, you eat like pigs, like our ancestors or like

peoples with different table manners – without cut-

lery directly from the tabletop. The table reduces the

distance between the eaters, but also towards the

food itself, thus sensitizing the persons at the table.

It is rather unlikely that it comes to a big mess:

Particularly by eating without the usual cutlery, with

the hands and from one plate with others, the eaters

reconsider what makes the others feel disgusted and

oneself ashamed. There are no rules or prohibitions

for use and behaviour. You have to follow your own

feeling to avoid mistakes. Mutual consideration is the

most important necessity. Inappropriate behaviour

would quickly spoil the others´ appetite. Eating with

one´s hands feels unusual, but increases sensual

experience and pleasure. The host is delighted: There

is no tiresome washing-up and the table is easy to

clean.

Anna Bormann & Selma Serman

www.bormannundserman.de

Mindyourmanners!Don’tSpill!Germany

Tablecloth; cellulose-fleece, silk-screen print. A fes-

tive dinner table is usually covered with a tablecloth,

traditionally white damask. How embarrassing it

is to knock over your wineglass and ruin the good

tablecloth with a huge stain! This disposable paper

tablecloth has a white-on-white print which produces

a damask-like effect: Depending on the angle of light

the print is more or less clearly visible. The pattern,

showing small sausages, refers to traditional damask

patterns. The tablecloth transforms the awkwardness

of spilled wine or sauce into a moment of surprise:

The paper turns into the colour of the stain, the

print remains white and the pattern becomes clearly

visible. The attention of the other guests is drawn

from the unlucky fellow to the tablecloth. The clumsy

guest can relax and does not need to worry about the

cleaning. Spilling is allowed!

ECOCookBelgium

NameCreditsContact

Thanks to ECOCook you can easily prepare a meal,

using one single cooking plate. Only the red part,

which is the hotest, is on the plate and conducts

heat to the orange parts where you can cook or warm

up food slowly, at a low temperature. Putting a pan

on it is another possible interest. ECOCook offers you

several cooking temperatures and limits all kinds of

loss of heat.

Aurélie Delville

Eco-workshop Sint-Lukas Brussels at addictlab

[email protected]

REFEED // 0��

MeadowItaly

NameCredits

Outdoors kitDaniele Maggioli

no.made – Politecnico of Milan

NameContact

Flavia dalla Pellegrina

www.flaviadallapellegrina.com‘a smile for every working day. from Monday to Fri-

day, when (like a smiling children that shows his first

tooth) we smile because tomorrow is Saturday..

coffee spoons [4+1] - stainless steel - length: 10 cm

...andtheteeth?Italy

REFEED // 0��

MIND

5RE

PlasticCarpetBelgium

A Persian carpet: once very popular, nowadays almost

a rarity. We thought it was necessary to revaluate this

carpet again, by transforming it into a new type of

furniture.

On a coated block of foam we printed a full colour

classic carpet. This is a new technique which gives

us the possibility to succeed in making a crossover

between old and new. We show the classic old carpet

but this in totally different and new materials.

Nothing of the old material is left.

The object can be used as a living room table, or an

extension of your sofa, you can sit on it, lay down on

it, work on it,…

Soft and comfortable but hard enough to put a glass

on it. With this new technique we open a world of new

opportunities and perspectives in design.

Sixinch - Pieter Jamart & Jan Cuypers

www.sixinch.be

REMIND // 0��

NameContact

MelangeSwitzerland / Austria / Portugal

NameContact

Melange is a side table resp. a lounge table, which

evokes past times.

It´s combining the authentic viennese coffeehouse

culture including doilies with the actual time, its new

materials and simple forms. The solid core panel is

printed with the motive of a doily which seems de-

ceptively real and has two advantages, it will neither

slip away nor get dirty. The table top lies on three

curved legs of stainless steel, which provide stability.

Black solid core panel with print of doily

Legs: stainless steel

Melange large: Ø 100 cm, height 40 cm

Melange small: Ø 50 cm, height 50 cm

Villavieja & Primschitz - Yuniic designwww.yuniic.ch

Granny’sroomSlovakia / Italy

NameContact

Peter Jakubik & Alessandro Busana

www.peter-jakubik.com

www.alessandrobusana.it

Multiple hands project -“Granny’s room”:

3d models of tea furniture set / Chair “Granny” and

“Doily table”/ for virtual “granny’s room”.

My vision for Universal House should be an installa-

tion of interior consisting of original furniture, interior

accessories and various past cultures lamps, and

subsequent digital redesign/reflection/ of the same

interior, where its local contemporary aesthetics will

acquire present touch. Slovak folk wooden chair to be

an inspiration for my design, in past frequently seen in

our grannies’ rooms. Growing industrial production has

pushed folk production as well as traditional chair aside.

(Peter Jakubik)

Chandelier, doily and table…The amalgamation between

this 3 objects, goes to create a new table typology

wherein furniture and ornament are fused all in one for

create a new deco side of design.

(Alessandro Busana)

REMIND // 070

Rendez-VousBelgium

NameContact

A wallpaper pattern named ‘Rendez-Vous’ which gets

its inspiration from the wallpapers that used to cover

our grandmothers’ walls.

In reaction by the strong come-back of this type of

pattern on the market, Blink* tried in a discrete but

humoristic way, to question a consumer already feel-

ing reassured by these old traditional values.

By using erotic positions as a base for ancient

patterns, these two designers managed to create a

gap between the actual product and what men can

expect from it; and so, widen the imagination of the

consumers.

Three different patterns exist: from the linear to the

most floral.

BLINK* - Céline Poncelet and Emilie Lecouturier

www.atelierblink.com

ReconstructedmemoryBelgium

REMIND // 072

I reconstructed a corner of the house I grew up in.

It was on the outside. It was the inner corner of the

L-shaped house. I took photographs of the soil and

the two façades that formed the three parts of the

corner. With those photographs (black and white

photocopies) I made a collage. When I try to visu-

alise the house in my head, I think of many details.

Put together, they create an image of the house. This

image is black and white, just like my dreams.

I took some hundred pictures, from different angles,

with different exposures, suggesting a difference

in time. It hit me when putting them together: that every little piece had a meaning. Here I had been playing with my toys, through these windows I would watch

the Christmas tree lights… I had lived every inch from the house. I somehow belong to it, or it belongs to me. The decision to reconstruct this corner came when my

parents announced that it was going to be sold. Others would take possession of it, like we had. I wanted to make a last tribute to this house. I also thought of the

possibility to recreate it somewhere else. I dreamed of being able to recreate it anywhere.

When trying to look inside I was fascinated by the reflex in the windows, like a witness of another now, where another me or somebody like me had grew up… Maybe

before, maybe somewhere else. Every window seemed to reflect another time and place… Watching the reflex, I could see that I was in this world. I could see myself in

it so it existed. So there I was in a white cube, placing an outside corner on the inside of a room.

A contradiction, reinforced by an illusion. Could three pieces of a corner wall and a floor put together give us the feeling of a house, give us the feeling to be standing

outside of a house, standing outside of a house on the inside of a white cube?

I transported my world into a box. It re-existed. Things never go. The house would live in space just as it lived in my memory.

Jean L’Olivier

[email protected]

BreathoftheearthBelgium

NameContact

My starting point was the wind that you can hear in

the woods, the sound that touches the leaves of the

threes. I wanted to bring this sound in the city. The

wind touches the strings at the small street in Am-

sterdam, The Netherlands. The sound that you hear

makes people more calm and relax when they are

rushing through the busy city. I made this project

for real in little streets of Amsterdam, I also want

to realise this at the Music Building at Amsterdam.

The concept can also be placed in subways, so that

people can hear the sound while they are waiting.

Pascal de Backer

www.pascalina.be

REMIND // 07�

ZuluMamaSouth - Africa

Haldane Martin

www.haldanemartin.co.za

My first attempt to design with a conscience was the

Zulu Mama Café chair. As it is with most of my designs,

Zulu Mama is an expression of our new emerging South

African identity.

This theme of contributing to a new South African de-

sign language has been central to my work as designer

since my student years in the early 90’s.

In fact, I was studying Industrial Design at Cape Tech,

when across the road on the Parade, Nelson Mandela

delivered his famous freedom speech after being re-

leased from prison. The embarrassing fact is, that be-

ing an ignorant young white South African, I hardly

even knew who Mandela was at the time! Such are the

sins of Apartheid.

Striving to understand and forge a new national iden-

tity, has helped me heal from the pain and shame of

Apartheid.

We South Africans, have a real need for ICONS, to stand

for what is possible and good in our new democracy.

I wanted to create a café chair that embodied the nur-

turing aspect of the Mother archetype. This archetype

is somewhat missing in our western culture. Perhaps

it is really the nurturing Universal Mother that we are

looking for when we take time for ourselves to enjoy a

tall creamy latte at our favourite Café.

I began collecting hand woven baskets from all over

Southern Africa, which beautifully express the femi-

nine gesture of gathering and holding. The rounded

organic form of these indigenous baskets, would be

perfect for shaping a comfortable seat.

I worked together with Ester in rural Limpopo for a

week, to develop the weaving technique suitable for

this chair. She was taught weaving by her mother

when she was a young girl. This experience was one of

the highlights of my career.

We, two South Africans, managed to transcended our

vast racial, cultural, language, and social differences to

create something beautiful together with our hands.

The seats are now hand woven by 6 rural woman in

Limpopo. Craft work raises dignity and provides much

needed income for many South Africans. The cost of

pursuing this “idealistic” scenario of supporting ru-

ral craft, is excessive road freight. Road freight is a

major contributor to global warming. Trying to weigh

up social benefits with environmental costs is a ma-

jor challenge in Africa. In hindsight it would perhaps

have been wiser to set up the weaving with township

women in Khayalitsha….even though this would con-

tribute to the continued urbanisation of rural people.

This is the kind of struggles between right and wrong

I was talking about at the beginning of my presenta-

tion! The answers are certainly not black or white!

I replaced the traditional weaving material, which is

slow growing Illala palm, with plastic. The UV stable

plastic is more durable and can be used outdoors with-

out deteriorating, which is important for a café chair.

Contemporizing and evolving traditional craft in this

way ensures that hand work will always have a place

in our hearts and homes.

I originally intended for the plastic to be made from

recycled household waste, as this picture indicates.

But when it came down to production, the plastic ex-

truders refused to extrude this material, as they were

afraid that the recycled pellets would contain dirt and

bits of metal that would damage their extrusion ma-

chines.

Together we compromised, – and began recycling the

plastic factories own inhouse plastic waste. Another

challenge was that the only colour we could recycle

with consistency was black. Fortunately black is prov-

ing to be the most popular colour.

The feminine, hand woven, traditional basket seat,

is held by the masculine stainless steel frame. This

beautifully expresses the integration of the 1st and

3rd world realities that exist side by side so uniquely

here in SA.

DESIGN WITH A CONSCIENCE

NameContact

ChineseLookcountry, date

NameCreditsContact

TexttexttextetxetName

Credits

Contact

The frames are manufactured in 304 stainless steel

which is the “cleanest” steel available. Stainless steel is

made up of 60% recycled material, is 100% recyclable.

Even though the stainless steel and plastic used in

the Zulu Mama are both made from recycled material,

these materials are still very high in embodied energy

and are also originally mined from the earths crust.

Never the less, Zulu Mama, has been designed more re-

sponsible than most chairs in the market. As the hos-

pitality industry has become more sensitive to these

soft issues, Zulu Mama has proven to be an attractive

option over imports that don’t consider Africa’s cul-

tural, social and environmental issues. Here the Zulu

Mamas are being used at Little Kulala Game Lodge in

Namibia.

FielaseFeatherLightSouth- Africa

Martin Haldane

www.haldanemartin.co.za

REMIND // 07�

NameContact

I am always looking for ways of using local resources

in a contemporary way.

This strategy also helps me differentiate my products

from imports. Differentiation is the only way I know

for my company to survive globalisation.

Ostrich feathers are a by product of the lucrative ostrich

hide export industry. I see it as my duty as a designer

to add value to local materials BEFORE they are ex-

ported. In this small way, I am do something positive,

about the 25% national unemployment figure!

I am awed at the beauty of organic geometry found

in nature. I wanted to pay homage to the Creator by

mimicking the organic pattern of flower petals in the

layering of the 64 feathers that make up this light.

The end result is Fiela se Feather Light.

Named after Dalene Matthee’s heart warming story

“Fiela se Kind” which is set in the same ostrich farm-

ing district of Oudshoorn, where the feathers for this

light come from.

MyBedsheets2004-2006Latvia

NameCreditsContact

An exercise close to meditation that aims to end up

with a period of my life.

Ieva Laurina

Ieva Laurina

[email protected]

REMIND // 07�

inFORMelSerbia

NameContact

Vesna Pejovic

www.vesnapejovic.com”inFORMel” presents combination of childhood fairy-

tales, science-fiction stories and dream world fanta-

sies through the playful objects of furniture.

Our mind is daily influenced by the surrounding where

the tradition and culture is basically shaping the way

of our performance without us noticing it. The culture

I am carry with in me is diverse due to the fact that

I am French born Serbian educated in Finland and

nowadays traveling across Europe meeting people and

working. However, in all this mixture the tradition of

my own people, and I do mean Serbia, is the strongest

root I have. The weaved materials denoted with own characteristic motifs, such as “cilim”, used in Serbia from

carpets and rugs through their application to canapé and covers for furniture all the way to the garments and

fashion accessories, was the daily picture I saw through my childhood, and even life now. That is one of the

strongest pictures I have in my mind – the colures, the patterns, the geometry… proportion, the way how motifs

are interlaced in one complete story without being too obvious, the process how they are made… On the other

hand I am fascinated by the ways how the traditional country houses in Serbia used to be build - fully mobile

(due to the fact that they have been moving on regular basis)… flat-pack… folded… mobile …fold… motion

…form …line …do I see my self?

NameContact

Haris Roosydin

[email protected]

SeasonFourChairIndonesia

Indonesia, my homeland...is known for years for its

talented craft artist. Among them were the wood

carve artist. Centuries ago...carved wood furniture

was a luxury prior to royal family only. The artist was

respectable among others. Further...in this recent

days, that luxury is widespread as the extinction of

monarchy and Indonesia becomes Republic. As wood

is more and more being industrialized...the ability to

reproduce those luxury heritage is wide open. The de-

mand is rising but not the artist itself. Many of those

artist are trapped into a dreadlock of industrial capi-

talism...the knowledge is forgotten and extinct by

itself...by creative sake in this case. Many traditional

wood carve motifs easily being mimicked with better

and cheaper, but not the essence of its creation.

The creativity and ability to explore the concept is

the essence they forgot, in my opinion.

As globalization and Industrialization take it place in

everyday living...many traditional heritage is being

endanger or transformed into something we can call

it getting modernism, we should aware that those

heritage was an precious works. It should not be

erased from our life, we should appreciate them as

well as we appreciate progress.

Season Four Chair is a critique of this condition. Fur-

thermore, I’m positioning the chair for being more

global by using more sophisticated material, like

plywood (Indonesia is the second larger plywood ex-

porter I presume...). The stackable characteristic is

quite rare in traditional woodcarve furniture.

REMIND // 0�0

Rialto-ExpressFrance

Studio Up!

www.up-studio.orgNameContact

ChineseLookcountry, date

NameCreditsContact

TexttexttextetxetName

Credits

Contact

TapLightUnited Kingdom

Cat McKee

Fuse UK

www.fuseuk.org

REMIND // 0�2

NameCreditsContact

RE

Tap light works on the basis of our intuitive actions.

There are hundreds of objects we use everyday with-

out a second thought, a key, a door handle, a bottle

top, but how is it we know how to use them? And

what would happen if their function was altered? Tap

Light’s non-distinct form offers little clue to its func-

tion, yet we intuitively know to turn the tap, and in

doing so will discover its altered purpose.

Tap Light is a dimmable fluorescent tube light, made

from opal acrylic, with brass tap dimmer switch.

USE

6RE

REUSE // 0��

OntheFloorNorway / Sweden

Moen & Philströ[email protected]

Gunnar Moen and Johan Pihlström started up during

studies at The National College of Art and Design in

Oslo, 2003. They finished school 2005 and are now

located in Oslo and Gothenburg.

Until now they have mainly been focusing on a con-

ceptual approach to furniture and related objects.

Moen and Johan like to variate their creative process

with different settings, tools and materials. After de-

veloping an idea, they often choose to sketch with full

size models in the workshop. They enjoy and believe

in working with real materials and do the prototypes

thereselves.

On the Floor: Floorlamp, doing something forbidden...

NameContact

ShareNorway / Sweden

Share: chair, with a humble message for humanity

REUSE // 0��

HENItaly

Diego Sferrazza

www.diegosferrazza.com

In my design I search for simple and clear lines, result-

ing in objects with new forms and a new identity;

I want to realize unexpected objects for everyday life.

“Hen” is a chair realised with an aluminium frame and

net (used for hen and chicken).

The idea was to reinterpret the classical shapes of

Thonet chairs, but using contemporary materials, as

aluminium and metal. The metallic net, commonly

used for hen fences, is replacing the traditional

weaved materials.

NameContact

InstantVaseBelgium

NameContact

Buy your flowers, a bag comes with the flowers, you

get come and make the bag wet. form it as you like

and let it hard for 1 min. put water and flowers in

and ready!

Carolien Van Den Hole

[email protected]

NameCreditsContact

MONACCABag/LightJapan

“MONACCA” is a brand name for products made of

thinned Japanese cedar in Umaji Village, Kochi

Prefecture in Japan. Cedar is the most popular tree

in Japan and it has been widely used as building

materials since the 1940’s governmental forestation

project. Umazi Village was one of the many places of

forestation and their traditional “Yanase”cedars were

planted. In order to obtain good quality timber the

maintenance of forests is absolutely necessary. If the

forest is too dense, the trees’ growth will be stunted

due to the lack of sun-light and forest resources will

be damaged. To avoid this, it is necessary to thin

the forest regularly. As a result of tree thinning a

lot of thinned wood used to be left in the forest.

However, the quality of these trees are good as well.

Umazi Village took another look at this matter from

an ecological viewpoint and established ECOASU

UMAZIMURA Inc. in order to carry out a reuse project

exploring the feasibility of cedar wood.

MONACCA projects The collaboration of ECOASU UMAZIMURA and a quali-

fied industrial designer Takumi Shimamura. Takumi

Shimamura made a presentation of the products to

develop a new market for wooden items. After several

trials a prototype of products was introduced as MO-

NACCA brand at “Designer Block 2003” in Tokyo. With

high appraisal during and after the exhibition they

are producing a series of productsmade of thinned

cedar targeting on city dwellers who emphasize the

design in their lifestyle. Bags and cushions are the

current main items but more new items are coming

soon.

Features

1) The only item with different natural grains

2) Natural warm touch

3) Light and user friendly is an advantage of cedar products

4) Strong , because made of press-laminated wood

back into the forest...

Umaji Village in Kochi established a “Millennium for-

est fund” to keep the forest forever. And Ecoasu Co.,

Ltd. who produces Monacca is contributing 1% of the

sale to this fund to the maintenance of the forest.

Takumi Shimamura

Shimamura

www.t-shima.com / www.ecoasu.co.jp

REUSE // 0��

HandlewithcarePlantadreamMadeinCushionUnited Kingdom

Designer, Bridget West creates individually crafted,

contemporary homeware through her company,

Pieces of You. Social responsibility led her to imitate

nature’s eco-systems, to explore ‘waste’ as resource.

Her three tiered collection includes Printed Designs,

Unique Pieces and the Bespoke range.

‘Printed Designs’, printed onto Organic textiles, play

on label obsessions and use international care sym-

bols. ‘Unique Pieces’ celebrate recycling as discarded

clothing and their labels evolve into something func-

tional and precious. The Bespoke service is personal

as the client’s sentimental fabrics and memories,

pieces of themselves, are incorporated to create

something unique.

The way forward is to not simply allow objects to be

superseded through time but to change our attitude

towards them, bringing a level of appreciation of them

to an extent that they’re kept and valued as timeless.

REUSE // 090

Cushions made form unloved textiles and their labels

Bridget West

[email protected]

Cushions made form unloved textiles and their labels

TreilliTapisrougeFrance

NameContact

Floor cushion & carpet are part of a furniture range

made with felt industrial wastes, from the last felt

factory in France. I believe in low design to value

craft, materials and human work.

Helene Lacourt

www.helenelacourt.com

RE

REUSE // 92

MetroBrazil

The idea of transforming a plastic meter into a

hanger is inspired by the re-use concept.

The process of modification not only minimizes the

production stages but also simplifies them. The new

object, the hanger, apart from the re-use concept,

bares a significance of memory. I consider re-use as

a very interesting and up to date theme, because

it also represents a simple and clear answer to the

problem of recycling industrial elements and of ecol-

ogy in general. It is an amusing but also useful and

possible solution and it works well.

The value of re-use can also be seen in the economic

and social domain. The use of semi-finished products

or existing components reduces pollution, produc-

tion, and costs encourage wider distribution.

Carolina Gay

[email protected]

RECYCLE

7

RECYCLE // 09�

StreetSofaUnited Kingdom

Sarah & Jason - wemake

www.wemake.co.uk

NameContact

AnnietheTrolleyChairMaxBathUnited Kingdom

NameContact

Reestore take everyday waste objects and cheekily

turn them into charming yet functional pieces of

furniture and accessories.

We try to avoid traditional eco materials in favour of

contemporary finishes, fabrics and above all style.

Managing Director Max McMurdo is keen to stress

that environmental consideration need not com-

promise the aesthetics and desirability of reestore’s

products.

New for 2007, Max the bath tub chaise. A contempo-

rary twist on the sofa briefly featured in breakfast at

Tiffany’s. Created from a vintage cast iron bath and

upholstered in fabric of your choice. Perfectly formed

for single seater slouching or sofa for two.”

Max McMurdo - Reestore

www.reestore.co.uk

Annie the Trolley Chair, rescued from the ditch. Annie

is made from a reclaimed shopping trolley to provide

you with a comfortable seating solution. Suitable for

any room inside or outside the home. With armrests

deep enough to rest your drink and a biscuit, or just

to chill and admire the view. Galvanised steel finish

with dark grey upholstery.

RECYCLE // 09�

ToSitBelgium

Garbage is still one of the biggest social problems in our

world. Rubbish is the reason that the combustion ovens

never stop working, and the waste volume grows.

The question is: What can we do about it?

Recycling is the answer!

‘To sit’ is born.

This bench is made of bands of PMMA (polymethyl-

methacrylate) garbage, which origin from a company

that fabricates light bowls. The size of the bands is

200 x 45 cm and the material would no longer have

been of any use. After warming and bending the

plates, the baseline modules were developed.

The separate modules can be connected to each

other and in this way form a larger entity. Depend-

ing on the preference of the user, the design of the

bench can be adapted; this means the bench is able

to adopt different forms. However ‘To Sit’ sit doesn’t

look comfortable, experience definitely proves the

opposite. By bending the bands of PMMA closely

together, the comfort is successfully taken into ac-

count.

‘To Sit’ guaranties comfort, esthetics, changeability

and modernity. Good for usage outside, as well as

inside use.

Karlien Claeys

[email protected]

RD4ChairUnited Kingdom

NameContact

Cohda - Richard Liddle

www.cohda.com The RD4 (Roughly Drawn) Chair is an instantly iconic

design hand-woven in 100% recycled plastic waste

material, with no two chairs being exactly alike.

The RD4 Chair is a tour de force piece heralding the

future of sustainable design, and makes a striking

visual statement uniquely its own.

Much stronger than its airy openness might imply, the

inherent flexibility of its plastic construction allows for

it to naturally respond to the weight of an occupant. The

design is created by Cohdas Unique URE Process.

U.R.EThe U.R.E Process is the conclusion of a 2 year re-

search project by Cohda into the use of recycled plas-

tics in design, the associated environmental problems

and design limitations imposed since the early 1990’s

by pre-manufactured recycled sheets and lumbers.

The aim of the U.R.E design process is to view waste

packaging as a valuable resource as opposed to an

ecological difficulty, utilize the embodied energy

present in waste plastics as effectively as possible,

and generate a new recycled design aesthetic, break-

ing from traditional flat-pac forms.

RECYCLE // 9�

n+ewlightChile

Rodrigo Alonso Schramm - MUSUC

Recycla Chile S.A.

www.rodrigoalonso.cl

www.musuchouse.com

N+EW Light is the continuation of my investiga-

tion in the use of e-waste materials for interior and

exterior design.

In Chile and several countries of Latin America,

policies on recycling and reuse of non biodegradable

materials aren’t a habit nor law.

Amongst materials which try to be recicled, plastic is

one of the most complex ones, due to the variety of

its density, its huge dead volume (transformed in cell

phones, toys, computers, mouses, keyboards, etc.),

its low price (bad relationshio of volume/weight/

quality) and the short term of reusage of some plas-

tics (aproximately 4 times before losing its molecular

capacity and ending sooner or later as trash).

NameCreditsContact

Therefor, it is absolutely necessary to search for other use and possible solutions to return this material gladly

to our homes, gardens or exteriors, creating a durable piece which allows the use of different dense plastics, no

matter its weight, color, form, final price nor brand. This creation is a beautiful object due to its extreme hon-

esty and perfect randomness. Almost an example where error transforms itself in the final search and perfection.

N+EW light is is produced by rotomolding, where low density plastic is mixed with the plastic of the crushed

electronic waste shaping an irreverent diffuser molded in an also recycled iron matrix. Its base is produced with

smelted aluminum of beer and drink tins amongst others. Together they form this 32 x 32 x 32 cm piece.

n+ewstoolChile

This object that assembles big quantity of waste, is a way to freeze in time and extract (and to empty if we

could) from our garbage what we don’t occupy any more, giving it life again in important parts of our home.

The idea behind N+EW isn’t the creation of a recyclable object, but the way to immortalize and to give a last

use to objects that their only destination is contamination.

N+ew stool is an object part of a collection in development, that is only possible thanks to the meticulous

work of extremely experienced technicians and professionals in metal smelting, counterfoil development and

work with plastic resins.

RECYCLE // 100

OutdoorBenchGumbootBelgium

Bart Baccarne

www.baccarne.beThis bench is completely made of recycled materi-

als. The back consists of recycled PE from industrial

foodstuff containers and is bended for higher comfort

and higher stiffness.

The frame of this bench is composed of massive beams

of recycled plastic material, a mix of PP and PE, com-

ing from sheets, industrial waste and factory scrap.

By doing so, we give the material back to the community.

This material can not rust nor rot and has a zero

maintenance and is therefore very suitable for out-

door use (in communities).

Recycled materials are generally seen as inferior qual-

ity or third-rate materials. We see it as our duty to up-

grade these semimanufactured products into first-class

and aesthetical objects with a surplus value.

The plastic components are holded together by

means of only three stainless wire bars.

The seat doesn’t feel cold in winter, nor hot in sum-

mer and has slots to drain the rainwater.

Dimensions: 210 x 57 x 80 cm (LxWxH)

Lamps with flashy coloured rubber lamp-shade made

of recycled children gummy-boots that were melted

and pressed into sheets. Used boots must not be

incinerated anymore. We give them a new life. The

boots are even identifiable in the melt.

Hanging lamp 40 (40 x 17 x 17, for saving lamp 11 W)

Hanging lamp 80 (80 x 17 x 17, for saving lamp 18 W)

Wall lamp “Kim the Deer” (for 11 W or 60 W)

NameContact

BeltChairBrazil / United States

NameContact

I was born in Sao Paulo, the largest city in Brazil,

where people from all over the world live and form

an enormous cultural and sub-cultural network. In

this scenario, we can find the Indian culture, the

black culture, the Portuguese and Hispanic cultures

and influences from other parts of Asia and Europe.

I believe we are a young culture and in the mood for

inventions.

In Brazil we do not have a good industrial or post-

industrial decorative culture; what one can find are

innumerous aspects that come directly from crafts-

manship which very often does not show the point of

view of the formal realization of the object.

Additionally, in my opinion it is necessary to look

and feel the spirit of these objects and the aesthetic

atmosphere that surrounds them. By building the

prototypes myself which is fundamental in my work

process, because I discover the intrinsic relation

among the object and its craft and stylish relations.

Imperfections of a culture in formation. This is

another aspect of my work: the investigation of the

imperfect, the unfinished and banal-ordinary objects.

This industrial waste recycle influences my work not

only in the formal building of the object but also al-

lows me to create a rational and emotional language

which is possible to research in detail various aspects

of my culture, personal culture, Brazilian culture and

world culture ...Rodrigo Almeida

[email protected]

RECYCLE // 102

LesCheminéesBelgium

Raphael Charles

www.raphaelcharles.comNameContact

¨

vases

polyester (video film 35mm), resin, polyurethane

1�- �0 cm

OctopusBelgium

NameContact

Entre le fauteuil et la sculpture de salon, l’Octopus

permet d’adapter son assise à son intérieur. Jeans

recyclés - billes polystyrène - bouton pression

85 x 85 x 100cm

BLINK* - Céline Poncelet & Emilie Lecouturier -

www.atelierblink.com

Octopus

Pouf tentaculaire

Octopus - entre le fauteuil et la sculpture de salon, l’Octopus permet d’adapter son assise à son intérieur.Jeans recyclés - billes de polystyrène - boutons pression - 85 x 85 x 100 cm

SundayPapersUnited Kingdom

The range was inspired by the bundles of newspapers

left out side shops (in the UK) on Saturday nights,

which have a cultural and economic value, and that

the same product has a different set of values by the

Monday morning, in that the news is old news and

their value is for pulp. I wondered that if by simply

repackaging the papers with the same materials but

in a different way, could the material life cycle be

extended and the material re-valued. At the end of

the seats life it can still be pulped.

The range consists of a chair, stool, coffee table and

micro table.

David Stovell - Stovell Design

www.stovelldesign.co.uk

[email protected]

NameContact

RECYCLE // 10�

ClamptableUnited Kingdom

The Clamp table utilises scrap material (the table illustrated incorporates vertically layered printers waste used

for make ready) and superbly finished European oak. The quality of the oak accentuates the gorgeous colours of

the paper, exposed by cutting through the print. It is held together with stainless steel rods and finished with

a glass top. The wooden ends up-value what is (to the print industry) scrap materials. With this mix of materi-

als the table sits well in both a contemporary and traditional setting.

make ready is when a printer puts extra paper through the press to start and stabilise ink flow and to clean the excess ink at the end of a print run, this paper (often used more than once) is then disposed of.

GlovesBallerina’sSleeves&LacesBelgium

Felix Aerts

Technical assistent: Agnes De Man

Model: Margo

Photography: Alane

[email protected]

NameCredits

Contact

A clothing line based on a concept. This clothing

line had to have at least 4 different designs with

that 1 concept.

My concept was to multiply one clothing part and to

make a dress of the multiplied clothing parts. So tak-

ing one clothing part like a ballerina shoe multiply

it by 100 and then make a design that goes with the

flow of the ballerina shoe. This idea was worked out

and left me with one dress made of ballerina shoes,

one made out of gloves, one of sleeves and one out

of laces.

RECYCLE // 10�

RECYCLE // 10�

MoulitexBelgium

Men’s shirts made out of old used tablecloths, turn-

ing it into a trendy fashionpiece for people who

aren’t ashamed of enjoying food.

Olivier Van Gierdeghom

[email protected]

(RE)CICLEPortugal

NameContact

Nuno Oliveira

www.nunoalexandre.com

RECYCLE // 110

SecondHandSecondLifeBelgium

Spullenhulp - Petits Riens

photo : Lionel Samain

styliste : Jennifer Defays

coiffure : Nadia & Nacera for L’oréal Professional

maquillage : Helena Rubinstein

maquilleuse : Dominique Dubois

mannequins : Isabelle, Sacha et Sammy from VISION

www.petitsriens.be - www.spullenhulp.be

The Belgian organization ‘Spullenhulp - Petits

Riens’ is organizing the 5th edition of the fashion

show ‘Second Hand Second Life’. Seventy years ago,

Spullenhulp was founded by priest Froidure to help

people living on the border of the society and in

poverty. Beside free food, free housing and psycho-

logical support, Spullenhulp has several shops of

second hand goods, open for everyone.

In addition Spullenhulp is organizing each year

-since 2002- a second hand fashion show with

customized apparel. 22 fashion designers, big names

and starting designers, ranged side with this noble

goal. After the show the customized concepts will be

auctioned by the famous auction house Sotheby’s.

22 fashion designers...

NameCredits

Contact

Chrystel Fischer

Christophe Van Liedekerke Valérie Berckmans Nathalie Verlinden

Gérald Watelet Natalia Culebras

Kris Van Assche

Levi Strauss Eur Design Team

Edouard Vermeulen Edouard Vermeulen

Suzy GydéChrystel Fischer

Véronique Branquinho

RECYCLE // 112

Céline Pinckers

reMix-BathtubSeatBelgium

RECYCLE // 11�

Wouter Peeters

Katholieke Hogeschool Mecheleninterior & design department

PRESTI [email protected]

www.remix.khm.be

NameCredits

Contact

reMix!The reMix! project is a form of ecodesign. In reMix!

design, second hand objects and materials become a

source for new creations: the original object is trans-

formed or redesigned and has another function in its

‘renewed’ life.

To spread the spirit of creative re-using, a sensibilisa-

tion campaign is currently running.

Expositions with reMixed objects are planned from Sep-

tember 2007 on. In October 2007 workshops will be or-

ganized where the participants can reMix their second

hand objects with the help of professional designers.

In 2008 a recycling festival will be held where every-

one can display their own reMixed objects.

THE ECODESIGN WAYThe sensitivity for the environment is growing each

day. Reducing consumption – energy, objects, etc. –

is an important step towards sustainable solutions.

Another one lies in the role of designers. They play an

important role when one considers the environmental

impact of a product.

Designers decide which materials are used, how much

energy they will consume, which parts of the product

can be recycled, how the consumer will use the prod-

uct and so on. Because the designer is standing at the

start of a new product’s life cycle, he has a big influ-

ence and responsability.

Ecodesign values beautiful, ergonomic and functional

objects that have a low impact on the environment

as well as a strong economic relevance. On following

pages a few examples!

reMix-projectsBelgium

1 Francesco Di Berardino - NUTCRACKER

2 Tim Hundersmarck - PULP SEAT

3 Olivier Deffontaine - GRATERLAMP

4 Hanne Jacobs - SALADBOWL-VENTILATOR

5 Isabelle Coen - IRON SEAT

1

2

3

�

5

RECYCLE // 011�

ChineseLookThe Netherlands

Anne van Dijk

[email protected]

With my work, I open the eye for a different use

of the materials we have around us.Everything can

be recycled. I make bracelets and necklaces from

zippers, buttons and bicycle inner tubes. Belts from

neckties. Cardholders from tetra pack. Scarves from

pieces of clothes. Bags from army material. I think

more of it as re-using, where the characteristic of the

material lives on in the new products.

PostbagES-DEThe Netherlands

NameContact

Shopping bag from Spanish & German post bagsKatell Gelebart - ART D’ECO

artdeco7�[email protected]

FioccoItaly

NameContact

Fiocco - pouff with metal structure and set composed

by renewed felt and polyurethane, 90 x 65 x h 55 cm.

A pouff like a bracelet of coloured beads. A soft

bracelet, where to sit, a bracelet that suits to your

body. Beads of renewed felt and polyurethane which

get old, and can be replaced, as threaded beads.

Ilaria Marelli

www.ilariamarelli.com

RECYCLE // 011�

RE

SPECT

8RE

RESPECT // 120

ProthesistableBelgium

Not dissimilar to terms such as death and graveyard,

illness and hospital are being pushed away from the

centres of European cities and are in fact being kept

subdued from our everyday life. Therefore, in short,

this table was conceived after some research as a

referential object narrating the opposite tendency.

It is a modest attempt at bringing the notion of ill-

ness back into our daily lives.

NameContact

Hans-Christian Karlberg

www.hck.be

SoulAshSoulaceBelgium

NameContact

Cremation coffinMaxime Szyf - maximaldesign

www.maximaldesign.com

RESPECT // 122

CushionizedSofaGermany / Belgium

The CUSHIONIZED SOFA uses the smallest element of

a sofa - the little pillow on top - as main component.

Commonly used to adjust and customize our personal

comfort level, it is now multiplied in different colors

and piled up to the shape of a sofa.

This setup of various textures and tints reminds us

of a paintbox and invites us to play and change the

composition. A pure framework from ash-wood holds

everything together and provides a structure and

quiet background.

The cushions work on the same principle as a

beanbag, yet their filling consists of organically

cultivated millet husks, which are the outer covering

of the millet grain. These hulls feel like very fine

sand, are soft to touch and adjust to the contours of

the body. At the same time they ensure the needed

support. Commonly used for sleeping pillows, this

filling is dipped and coated with a fine layer of natu-

ral rubber (caoutchouc) which ensures flexibility and

durability. It is washable, easily refillable and 100%

biodegradable.

attributes of millet hulls

- quiet (in contrast to polystyrene balls known from

beanbags)

- dense but lightweight

- distribute bodyweight evenly

- feels smooth and silky in texture

- instantly mold to body contours

- a natural, recycled resource

materials

ash wood

outer cushions: diverse fabrics

inner cushions: filling from millet husks

dimensions (L x W x H): 250 x 90 x 70 cm

NameContact

Christiane Högner

www.christianehoegner.com

reMix-ButterflyBelgium

NameCreditsContact

A floating sink with double curvature and an elegant

design. Butterfly is made of a composite of loam,

lime, hempfibre and varnishwax. It’s economic,

ecologic and above all floating thanks to the fixation

with a fastening bow to the syphon.

Benjamin Michielsen

Katholieke Hogeschool Mechelen / PRESTI [email protected]

NameCreditsContact

OiltankchairPortugal / São Tomé e Príncipe

RESPECT // 12�

Dear Giovanna,

The project “SEED” took 4 months of tutoring and

working together with 6 different groups and this

last one is from the State Prison. The project “oil

tank chair” was designed by a friend portuguese art-

ist NUNO VIANA. Regarding the puzzle carpet, it was

design trying to get people ordering more than only

one, as they do work as a puzzle so you can fill small

areas as easily as bigger ones.

As you know, we went for a four-month project on

design and social economy, aiming at goals such as

the sustainability of the involved families, and trying

to refresh a market by providing them other tools

like innovation and creativity.

From January until April 2006 we set up a schedule,

by dividing the 27 craftsmen involved into 6 differ-

ent groups, as the program was being adapted to

each group needs, wills and abilities.

We’ve always worked on a self initiative basis, mak-

ing clear that they also had responsibility on this,

since we’re dealing with their “lives” in its widest

meaning. It wasn’t just about designing for the

craftsmen, but with them. And for the last month

we worked more as consultants. In the end, we had

an exhibition in São Tomé, with around 50 different

products, that turned out to be profitable for them.

So the program included innovation and creativity,

design, technical drawing (for some of them) and

contemporary art.

please note:

At this moment we are producing it and looking for

potential clients who are able to order a consider-

able number of these objects, so we can insure the

involved families’ sustainability and even include

more families on this project.

Best regards,

Pedro Alegria

Nuno Viana

SEED - Pedro Alegria

www.seed2006.org

NameContact

The fence is designed with 2 purposes in mind.

It has to guarantee your safety and it has to have a

friendly natural appearance.

To suit both purposes a laser-cut technique is used

on steal.

A customized illustration will blend the fence with

it’s natural environment.

In time - if not treated – it’s natural look will

become even stronger every time you open your

window.

Marisa Klaster - Studio Klasterwww.studioklaster.nl

NaturalFenceThe Netherlands

EcodEsignDe OVAM doet een beroep op jou, de Vlaamse ontwerper in spé, voor verfrissen-de ideeën en vernieuwende producten waarbij je rekening houdt met het milieu. Je ontwerpt een nieuw product, je geeft je project op voor nominatie bij de OVAM en je pakt de poen met duurzaam groen. Wat kan jE WinnEn? Tijdens de prijsuitreiking valt er naast eeuwige roem, ook heel wat prijzengeld te verdienen. De winnaar in de categorie ‘Beste eind-werk’ ontvangt 1000 euro, de tweede plaats is goed voor 500 euro.In de categorie ‘ontwerpprojecten tijdens het jaar’ worden de eer-ste en tweede plaats beloond met respectievelijk 600 en 400 euro.

Per categorie reiken we ook eervolle vermeldingen uit aan knappe ontwerpen die net buiten de prijzen vallen. Oogt leuk op je cv!

HoE nEEm jE dEEl?Je stuurt je ontwerp naar de OVAM vóór 30 juni 2008. Meer informa-tie over criteria van deelname, over de verschillende categorieën of over de verzending, vind je in het reglement.

Surf naar www.ecodesign.ovam.be. Heb je dan nog vragen, mail ons op [email protected] of bel 015 284 273.

www.ecodesign.ovam.be

Pak dan de poen met de

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Speciale editieEcodesign Award 2007

i.s.m. OVAM

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WAT IS ECODESIGN?

1. Ecodesign

Ecodesign is een ontwerpmethode waarbij de ontwerper

reeds bij het begin van de ontwerpfase een analyse maakt

van de levenscyclus van zijn product en hierbij de milieu-

impact tracht te beperken.

Het begrip ecodesign ontstond een 30-tal jaar geleden

om de toenemende milieudruk van onze consumptiemaat-

schappij te verlagen. Milieu speelt nog steeds een margi-

nale rol bij de ontwikkeling van de meeste producten. Het

is intussen duidelijk dat ons Westers consumptiepatroon,

dat ook door landen als China en India wordt overgeno-

men, niet houdbaar blijft, door onder meer de schaarste

aan grondstoffen en energiebronnen. Het is moeilijk om

de consument te wijzen op de verborgen milieulast van

een product. Of een product al dan niet ecologisch verant-

woord is, hangt bijvoorbeeld niet meer louter samen met

het gebruikte materiaal. Ook de mate van energieverbruik

zorgt voor een groot deel van de uiteindelijke milieudruk.

Een aantal koplopers onder de bedrijven heeft de ecode-

sign-methodologie in de jaren ‘80 opgepikt en deze vaak

ook toegepast als drijfveer voor innovatie. Niet toevallig

zijn dit de bedrijven die ook op economisch vlak bij de top

behoren. Zij zagen snel de voordelen van eco-efficiëntie:

het samengaan van economische en ecologische winst.

Andere bedrijven hebben nog geen kennis gemaakt met

ecodesign of bekijken milieu-overwegingen eerder als een

bedreiging in plaats van als een opportuniteit.

2. De OVAM en ecodesign

De OVAM werd opgericht om te zorgen voor minder afval

en een zuivere bodem in Vlaanderen. Jaren van informatie-

en bewustwordingscampagnes en een doelgericht beleid

maakten de Vlamingen koplopers wat betreft het sorteren

en recycleren van huishoudelijk afval. Maar de OVAM wilde

verder gaan en zocht naar manieren om de hoeveelheid

afval te verlagen. Ecodesign bleek hierin een aanzienlijke

rol te kunnen spelen. De fase waarin producten worden

ontworpen en waarin nagedacht wordt over hun milieu-

impact, voegt een nieuwe dimensie toe aan het afvalpre-

ventiebeleid. Door ontwerpers te duiden op hun verant-

woordelijkheid en de impact van hun ontwerpbeslissingen

kan de milieudruk van het product immers rechtstreeks

worden aangepakt.

Ecodesign toepassen gaat verder dan het verwerken van

milieu of ecologie in een product, het gaat over het op de

markt brengen van rijpere producten van een hoger inno-

vatieniveau. In onze maatschappij zullen nog vele nieuwe

producten op de markt worden gebracht, maar voor de

manier waarop deze producten tot stand komen breekt

een cruciale fase aan. De OVAM wil daarbij ecodesign als

een positieve en innovatieve strategie in de kijker plaatsen

en een positief klimaat voor ecodesign creëeren.

De ecodesign-werking van de OVAM richt zich niet louter tot

consumenten, burgers, bedrijven en distributie, maar vooral tot

productontwerpers en productproducerende bedrijven.

Met de ecodesign-werking wordt getracht een dynamiek

inzake ecodesign op gang te brengen en een positief klimaat

tegenover ecodesign te creëren binnen de ontwerpwereld. Dit

komt neer op informatieverspreiding en sensibilisering rond

ecodesign naar ontwerpers, bedrijven en studenten. Concreet

gaat het over ondersteuning, het aanbieden van ecodesign

instrumenten en de uitvoering van onderzoek en projecten

rond ecodesign.

De OVAM communiceert over ecodesign op haar website

(http://www.ecodesign.ovam.be) en in de digitale eco-efficiën-

tie nieuwsbrief. Op de eco-efficiëntie voorbeeldendatabank

van de OVAM website (http://www.ovam.be/jahia/Jahia/pid/

1126?lang=null) vindt u voorbeelden terug van ecodesign, met

een beschrijving van hun ecologische en economische voorde-

len. Momenteel lopen er ook een aantal ecodesign projecten

binnen het PRESTI 5 subsidieprogramma, die bedrijven en ont-

werpers met elkaar in contact brengen. Ook is er de jaarlijkse

Ecodesign Award, ingericht voor de aankomende ontwerper

en de ontwerpers in opleiding. Omwille van de geïnteresseerde

en positieve reacties bij professionele ontwerpers en bedrijven,

zal de wedstrijd voor de volgende editie uitgebreid worden

naar de professionele wereld. Dit wordt ‘De OVAM Ecodesign

Award PRO’, in samenwerking met Design Vlaanderen.

129

www.ovam.bewww.ecodesign.ovam.be

[email protected]

Stationsstraat 1102800 Mechelen

3. De Ecolizer

De academische wereld besteedt reeds veel aandacht

aan ecodesign. Er bleek echter ook nood aan instrumen-

ten om ecodesign in de praktijk te brengen. De academi-

sche methodologie van ecodesign die in de jaren ‘80 werd

gedefinieerd, was te weinig bekend bij en werd bijgevolg

te weinig toegepast door ontwerpers en productproduce-

rende bedrijven. Om ecodesign toegankelijker te maken

voor de ontwerper ontwikkelde de OVAM de Ecolizer: een

modern en mooi vormgegeven ontwerpinstrument dat

gebruik maakt van eco-indicatoren. Bij het ontwerpen van

een product worden diverse parameters vastgelegd die

de milieubelasting doorheen de levenscyclus bepalen. De

Ecolizer maakt gebruik van ongeveer 400 indicatoren die in

één cijfer de milieu-impact van een materiaal of een proces

samenvatten. Zo is het voor een ontwerper eenvoudig om

een milieu evaluatie te maken tussen verschillende product-

voorstellen, gebruikte materialen, productieprocessen, enz.

Met de Ecolizer kan de ontwerper op een relatief eenvou-

dige en snelle wijze een wetenschappelijk onderbouwde

inschatting doen van de milieu-impact van zijn product of

productontwerp. De Ecolizer is opgevat als een waaier met

fiches, voorzien van een beschermende aluminium houder.

Er is bewust niet gekozen voor software om de toegan-

kelijkheid en bruikbaarheid bij het tekenend ontwerpen te

verhogen. Het geheel is erop voorzien om eventuele ver-

ouderde fiches te vervangen, of om nieuwe fiches toe te

voegen naar aanleiding van feedback van ontwerpers en

onderzoek naar nieuwe materialen.

De OVAM is ervan overtuigd dat producten ontworpen vol-

gens de ecodesign-gedachte, een hogere graad van inno-

vatie nastreven en een voorbeeld zijn van het samengaan

van milieucriteria en innovatief productontwerp. Voor bedrij-

ven vormt ecodesign, naast de mogelijkheid om innove-

rend te zijn, een manier om te anticiperen op de Europese

en nationale wetgeving rond milieubelasting. De producten

die in Vlaanderen worden ontworpen zijn niet uitsluitend

bestemd voor de Vlaamse markt. Daarom bekijkt de OVAM

ook hoe zij zich met instrumenten als de Ecolizer kan profi-

leren naar een ruimer internationaal publiek.

4. Eco-efficiëntie

Vlaamse bedrijven zijn een specifieke doelgroep van de

OVAM via het concept eco-efficiëntie. Eco-efficiëntie gaat

ervan uit dat economische en ecologische winst samen-

gaan. Een belangrijke actie in dit kader is het Eco-effi-

ciëntiescanprogramma. Dit subsidieprogramma, specifiek

gericht op kmo’s, heeft de ambitieuze doelstelling om op

een termijn van drie jaar 1000 kmo’s door te lichten om

zo de kansgebieden voor eco-efficiëntie verbeteringen in

beeld te brengen. Dit wordt zo veel mogelijk ondersteund

met praktische voorbeelden van maatregelen ter verbete-

ring, en met een eerste berekening van bedrijfseconomi-

sche en milieuvoordelen. Deze doorlichting is gratis voor

de bedrijven en gebeurt door ervaren adviseurs, geselec-

teerd door de OVAM. Voor het komende jaar zullen een

aantal van de scans gereserveerd worden voor bedrijven

die specifiek zullen gescreend worden op hun ecodesign

potentieel.







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In 2007 organiseerde de OVAM opnieuw de

Ecodesign Award. Op 13 september 2007 reikt

Minister Crevits de prijzen uit op de openings-

ceremonie van “Design doet zaken” van Design

Vlaanderen. Naast de professionele ontwerp-

wereld en de productproducerende bedrijven

wil de OVAM ook toekomstige ontwerpers in-

formeren en laten kennismaken met ecodesign.

De wedstrijd richt zich tot studenten van ont-

werpopleidingen, zoals productontwikkeling,

industriële vormgeving, productdesign, verpak-

kingsontwerp en interieurvormgeving. Zij kun-

nen deelnemen met eindwerken of jaarprojec-

ten. De jury van de Ecodesign Award 07 koos

uit de inzendingen volgende vier laureaten.

// SEPTEMBER 2007

ECODESIGNAWARD 2007

//// FLORIS WUBBEN 06

//// THOMAS BOYDENS 06

//// BRAM ROELENS

COSIMA ROHDEN 07

//// DAISY LENS 07

131

LABFILE / FLORIS WUBBEN

Project Description jury

TANK!NG

Tweede prijs in de categorie eindwerken

De tweede prijs van 300 euro gaat naar Tank!ng van Thomas

Boydens, die met zijn eindwerk een mobiele tankinstallatie voor

aardgas ontwierp.

De jury schat het demonstratief karakter van Tank!ng hoog in,

vermits het gebruik door een grote afnemer van aardgas kan zor-

gen voor een marktintroductie. Tank!ng is een dienstverlenend

ecodesign project waarbij niet het product, maar eerder het on-

dersteunend systeem werd bedacht. Het is een oplossing voor

de logistieke drempels die er momenteel zijn om aardgas als

volwaardige brandstof voor voertuigen te introduceren. De jury

prijst dit innovatief project omdat het inspeelt op een bestaand

milieuprobleem. Er zijn momenteel in België geen tankstations op

aardgas beschikbaar en bijgevolg is er geen vraag naar aardgas,

zodat autoconstructeurs hun wagens niet aanpassen. Aardgas

is een duurzame ecologische brandstof, met een duidelijk lagere

uitstoot aan CO2, CO, NOx en SO2 in vergelijking met diesel,

benzine en LPG. Het eindwerk werd tot in een ver stadium uitge-

werkt en is voorzien van een compleet en overzichtelijk dossier.

Eerste prijs in de categorie eindwerken

Floris Wubben ontvangt voor zijn ontwerp Living Furniture,

een tafel uit bamboe, de eerste prijs van 700 euro.

De jury koos dit ontwerp omdat het een mooie toepassing is van

bamboe, een duurzaam, ecologisch materiaal dat snel groeit en

sterk is. De jury prijst het innovatief en commercieel karakter

van het ontwerp. Het innovatieve karakter bestaat erin dat niet

enkel het tafelblad van bamboe is, ook de poten bestaan uit le-

vende bamboestengels. De sterke materiaaleigenschappen van

bamboe worden op deze manier ten volle benut. Het is tegelijk

een duurzaam en ecologisch project, het schept een band met

de natuur. Het ontwerp is een statement tegen het grootschalig

gebruik van traag groeiend en vaak illegaal gekapt teakhout. De

jury schat het commercieel karakter van deze tafel hoog in.

2de prijs

LABFILE / THOMAS BOYDENS

TANK!NGDESIGN

BELGIUM

[email protected]

Label / Discipline / Country of origin / Email /


LIVING FURNITUREDESIGN

[email protected]


1ste prijs

LIVING FURNITUREC

AT

EG

OR

IE E

IND

WE

RK

20

07132

PEPPY PHONE

Eerste prijs in de categorie jaarprojecten

In de categorie jaarprojecten gaat de eerste prijs van 500 euro

naar de Peppy phone van Bram Roelens en Cosima Roh-

den, een vernieuwend communicatiemiddel voor kinderen en

hun ouders.

De jury beschreef de Peppy Phone als het meest innovatieve,

realistische en commercieel haalbare project. Het product werd

ontworpen met aandacht voor een aantal belangrijke ecode-

sign principes. Zo is de Peppy phone makkelijk te demonte-

ren, wordt de batterij via beweging van de pols opgeladen en

is er gebruik gemaakt van lichte recycleerbare materialen en

energiezuinige componenten. De Peppy Phone vormt een mi-

lieuvriendelijk alternatief voor de GSM. Dankzij het hands free

bellen, wordt ook de mogelijk schadelijke straling ter hoogte

van de hersenen met dit ontwerp vermeden.

CA

TE

GO

RIE

JAA

RP

RO

JEC

T 2

007

133

TIRE ON RETIRE

Eervolle vermelding in de categorie jaarprojecten

De eervolle vermelding in de categorie jaarprojecten gaat naar

Tire on Retire van Daisy Lens, een krukje waarvan het ma-

teriaal voor de zitting en het stalen onderstel uit gerecycleerde

autobanden komt.

De jury argumenteerde dat Tire on Retire een consequent, ecolo-

gisch doordacht ontwerp is. Het ontwerp is een mooi voorbeeld

van een nuttige toepassing van gebruikte autobanden.

eervollevermelding

PEPPY PHONEDESIGN

BELGIUM [email protected]

[email protected]

BRAM ROELENS & COSIMA ROHDEN / LABFILE


DAISY LENS / LABFILE

TIRE ON RETIREDESIGN

BELGIUM

[email protected]


1ste prijs




TANK!NG

Tweede prijs in de categorie eindwerken

De tweede prijs van 300 euro gaat naar Tank!ng van Thomas

Boydens, die met zijn eindwerk een mobiele tankinstallatie voor

aardgas ontwierp.

De jury schat het demonstratief karakter van Tank!ng hoog in,

vermits het gebruik door een grote afnemer van aardgas kan zor-

gen voor een marktintroductie. Tank!ng is een dienstverlenend

ecodesign project waarbij niet het product, maar eerder het on-

dersteunend systeem werd bedacht. Het is een oplossing voor

de logistieke drempels die er momenteel zijn om aardgas als

volwaardige brandstof voor voertuigen te introduceren. De jury

prijst dit innovatief project omdat het inspeelt op een bestaand

milieuprobleem. Er zijn momenteel in België geen tankstations op

aardgas beschikbaar en bijgevolg is er geen vraag naar aardgas,

zodat autoconstructeurs hun wagens niet aanpassen. Aardgas

is een duurzame ecologische brandstof, met een duidelijk lagere

uitstoot aan CO2, CO, NOx en SO2 in vergelijking met diesel,

benzine en LPG. Het eindwerk werd tot in een ver stadium uitge-

werkt en is voorzien van een compleet en overzichtelijk dossier.

Eerste prijs in de categorie eindwerken

Floris Wubben ontvangt voor zijn ontwerp Living Furniture,

een tafel uit bamboe, de eerste prijs van 700 euro.

De jury koos dit ontwerp omdat het een mooie toepassing is van

bamboe, een duurzaam, ecologisch materiaal dat snel groeit en

sterk is. De jury prijst het innovatief en commercieel karakter

van het ontwerp. Het innovatieve karakter bestaat erin dat niet

enkel het tafelblad van bamboe is, ook de poten bestaan uit le-

vende bamboestengels. De sterke materiaaleigenschappen van

bamboe worden op deze manier ten volle benut. Het is tegelijk

een duurzaam en ecologisch project, het schept een band met

de natuur. Het ontwerp is een statement tegen het grootschalig

gebruik van traag groeiend en vaak illegaal gekapt teakhout. De

jury schat het commercieel karakter van deze tafel hoog in.

LIVING FURNITURE

Heb jij ideeën die onze planeet kunnen redden, of toch

tenminste je eigen omgeving verbeteren? Dan is dit het

moment om met jouw ideeën naar buiten te komen.

De OVAM en internationaal creatief laboratorium AD-

DICTLAB.COM zijn op zoek. De beste projecten worden

gepubliceerd en naar buiten gebracht.

DE OVAM & ADDICTLAB ZIJN OP ZOEK NAAR JOUW ECO-IDEEËN!!

Schets of beschrijf jouw idee hier!

Vul hier jouw gegevens in!

Heb jij ideeën die onze planeet kunnen redden, of toch

tenminste je eigen omgeving verbeteren? Dan is dit het

moment om met jouw ideeën naar buiten te komen.

De OVAM en internationaal creatief laboratorium AD-

DICTLAB.COM zijn op zoek. De beste projecten worden

gepubliceerd en naar buiten gebracht.

DE OVAM & ADDICTLAB ZIJN OP ZOEK NAAR JOUW ECO-IDEEËN!!

Schets of beschrijf jouw idee hier!

Vul hier jouw gegevens in!

Cour

tesy

: SAN

DEC

(Wat

er &

San

itatio

n in

Dev

elop

ing

Coun

tries

) at E

AWAG

(Sw

iss

Fede

ral I

nstit

ute

for E

nviro

nmen

tal S

cien

ce a

nd T

echn

olog

y), C

H-86

00 D

üben

dorf,

Sw

itzer

land

.

Liliterature

20

Tytypography

21

Mumusic

13

Papaper

12

Ia

24

interactive art

Ca

22

casting

14

Auaudio

Pea

15

performing arts

30

Brbranding

Te

29

technology

Gd

11

graphic design

Ag

23

advertising

Ststyling

4

Dedesign

5

architecture

6

30

26

24

23

15

13

9

8

7

6

5

3

2

1

Ananimation

18

CiBrcity branding

27

Adart direction

10

Crcrafts

28

Id

19

interior design

26

Trtrends

25

Coocooking

Pri

16

printing

Cw

17

copywriting

Fifilm

9

Illillustration

8

Mamaterials

7

Fafashion

2

Arart

3

Phphotography

1

Ac

32

Fofood

32

The lab/files are supported by Concreas, ESF and all their partners.

ContentsThe Ecoresearch138Solar BottleInterview with Alberto Meda & Francisco Gomez Paz

144ActicsActions & Ethics

146Architecture for humanityWork on the winkel

147Illustrated seatbagsWork on the winkel

148Urban ForestLabconcepts for sale

149Global InspirationSatellite - G.I.SLabconcepts for sale

South-African Lab152Remarkable Treesby Joost Hulschbosch

Soweto Tableby Alan Cooper

153LabfilesInfo about labmembers

Addictlab155Innovation DeskCases

156Ongoing ProjectsThe NanoresearchArablabThe Kidsresearch

157Labambassadors

150How can we make things better?Sustainable consumption

Liliterature

20

Tytypography

21

Mumusic

13

Papaper

12

Ia

24

interactive art

Ca

22

casting

14

Auaudio

Pea

15

performing arts

30

Brbranding

Te

29

technology

Gd

11

graphic design

Ag

23

advertising

Ststyling

4

Dedesign

5

architecture

6

30

26

24

23

15

13

9

8

7

6

5

3

2

1

Ananimation

18

CiBrcity branding

27

Adart direction

10

Crcrafts

28

Id

19

interior design

26

Trtrends

25

Coocooking

Pri

16

printing

Cw

17

copywriting

Fifilm

9

Illillustration

8

Mamaterials

7

Fafashion

2

Arart

3

Phphotography

1

Ac

32

Fofood

32

design by Alberto Meda & Francisco Gomez Paz

ChallengeOne sixth of the world’s population has no access to safe drinking water, increasing their risk of wa-terborne diseases such as diarrhea, cholera, typhoid fever, Hepatitis A and dysentery.

ResponseSolar Water Disinfection (SODIS®)*

www.sodis.ch is a low-cost water treatment which uses UV-A radiation and heat of solar energy.

It takes six hours of full sunlight exposition to destroy pathogenic microorganisms. The project improves this method while integrating a transport solution. The new bi-colour blown moulded PET container, has one transparent face for UV-A + infrared rays collection and one aluminium colour to increase the reflections. The 4 litres container has a high ratio surface/thick-ness improving the performance of solar disinfection and making easier the transportation and storage. A special handle integrates the angular regulation to improve sun exposure.

Solar Bottleproducer: no producer till now!

“We urgently need a new generation of entrepreneurs.”

THE ECORESEARCH // 13�

Last August 24, 2007 their design was rewarded with an Index:Award and €100 000. Index: organisation aims to increase public and professional awareness of the human and commercial potential in Design to Improve Life.

At the award ceremony held in Copenhagen, jury member and Executive Consultant in digital media and entertainment Hael Kobayashi praised Meda and Paz’ Solar Bottle as an improvement to the SODIS method that integrated a transport solution: “Solar Bottle is contemporary, iconic, self-evident and universal. It carries the potential to improve the water situations radically, while the world commu-nity struggles to find permanent solutions”.

The Italian designer Alberto Meda, born in 1945, combines engi-neering and design in a poetical way: from 1973 has been technical manager of Kartell, in charge of the development of projects of fur-niture and plastic laboratory equipments and from 1979 he’s freelance industrial designer for various companies - Alfa Romeo Auto, Alias, Alessi, Arabia-Finland ,Cinelli, Colombo design, Brevetti Gaggia, JcDe-caux, Ideal Standard, Luceplan, Legrand, Mandarina Duck, Omron Japan, Philips, Olivetti, Vitra, etc.

His companion in this important adventure, the Argentinean Fracisco Gomez Paz, is 30 years younger. After working with architect Paolo Riz-zato, he opens his own studio in Milan, developing product and design projects for several companies: Artemide, Driade, Danese, Olivetti, Sector, Gispen, Sumampa, Conven, Apen Group and Italkero.

About the Solar Bottle and the designers

“We urgently need a new generation of entrepreneurs.”

Francisco Gomez Paz - photo by Max & Douglas

We met Alberto Meda last September 2007 in Brussels...

by Giovanna Massoni with Alberto Meda

GM : A Solar Bottle: how did it come that you’ve decided to develop such a product?

AM : We had been both invited to participate to an exhibition under the general theme “H2O” at Milan’s International Furniture Fair, learned about the SODIS a simple, low-cost solution for treating drinking water at a household level. We designed a container that brings the best out of the SODIS system. Contaminated water is filled into transparent plastic bottles. When exposed to full sunlight for six hours, the pathogens in the water are destroyed. We developed the container up to an advanced stage, doing 3D computer mod-els and pushing to find a company interested in manufacturing the container.

GM : It’s quite unique to see a project signed by two designers of different generations…AM : I’ve met Francisco by pure chance, he studied at the Domus Academy and at that time my stu-dio was at the same address. The intergenerational exchange is quite a common approach in a lot of studios, but of course it’s not ‘public’, nobody knows… GM : And how did it go? There is a clear distribution of roles, due to different skills?

AM : It’s an equal collaboration, we are quite complementary. Francisco is more mechanical minded, an expert in 3D, and he’s from Argentina. The weird thing is that I’m used to work alone: this collaboration is a real team work, where each one brings in his own specific experience.

GM : What about your engagement in environmental and social projects… AM : Many designers started to work in this sense at least twenty years ago. But then, nobody was inter-ested in these issues, the industry and the media were far away to think about ethical design. Personally, it’s a long time that I’m developing my own research about the application of new low impact materials, energy saving systems and so. As a teacher at the IUAV (the university of Venice), I’ve already promoted workshops on domestic energy for instance. Concerning my design, I’m actually studying with Vitra the applications of new PCM materials (see “es-screen”- part of the Vitra Edition collection recently presented) with a performative screen that was born from the observation of the properties of phase-changing materials – PCM – which yield or absorb heat according to external environmental conditions and behave as energy accumulators.

InterviewTHE ECORESEARCH // 1�0

GM : How do you see the future of design?AM : We urgently need a new generation of entrepreneurs! And media should help this to hap-pen, instead of focusing on individuals and trendy stars…

GM : And what about the Index award?AM : It’s a very rich award: now we have the money to manufacture the mould. But we are still looking for a distributor. Distribution is the main central issue in nowadays global world and not only in the design domain.

GM : How do you feel about that?AM : I feel son of my time. The environmental problem is determining each of my projects.

GM : What is to be considered ‘innovation’ today?AM : It’s a balance between material technology and formal solution.

* In 1991 EAWAG (The Swiss Federal Institute for Environmental Science and Technology) and SANDEC (EAWAG’s Department of Water and Sanitation in Developing Countries) conducted extensive laboratory and field tests to develop and test the Solar Water Disin-fection Process (SODIS). The laboratory tests conduced as well as the practical experience gathered during the application in the field revealed a simple, low-cost technology with a great potential to improve the health of those still without access to safe drinking water.

Since 1995, SANDEC is engaged in providing information, technical support and advice to local institutions in develop-ing countries for the worldwide promotion and dissemina-tion of the Solar Water Disinfection Process, SODIS. In the last 4 years we have been coordinating the promotion and dissemination of SODIS in more than 28 countries.SODIS is used at household level under the responsibility of the user. Therefore EAWAG is not liable for any harm caused by a faulty or inadequate application of the water treatment process. [www.sodis.ch]

sources

www.albertomeda.comwww.gomezpaz.comwww.sodis.ch

Alberto Meda

Labfile

Courtesy: SANDEC (Water & Sanitation in Developing Countries) at EAWAG (Swiss Federal Institute for Environmental Science and Technology), CH-8600 Dübendorf, Switzerland.

THE ECORESEARCH // 1�2

PROjEcT - NAME

RESEARcH THEME

DATE

PROjEcT TITLE

SHORT DEScRIPTION

N° 53 - MEDA & GOMEz PAz

THE EcORESEARcH

2007

SOLAR BOTTLE

“Solar Bottle is contemporary, iconic, self-evident and universal. It carries the potential to improve the water situations radically, while the world community struggles to find permanent solutions”.

THE ECORESEARCH // 1��

Action & Ethics

Labconcepts for sale

PROjEcT - NAME

RESEARcH THEME

DATE

PROjEcT TITLE

SHORT DEScRIPTION

N° 53 - jAN VAN MOL

THE EcORESEARcH

2007

URBAN FOREST

Urban forest is a light installation aiming to bring back nature into our cities, or at least respect for nature. Urban forest consists of objects shaped as irregular tree trunks and are made out of recycled plastic. It criticizes our consumption attitude and uses waste to start reflecting on our human behaviour.The build-in LED-lights can change colour depending the atmosphere, the sound scapes, the seasons or other emotions linked to the location of the forest or the reason for gathering.The forest therefor can be silent and contemplative, or assertive and loud.The inside can be used as an ice container to cool drinks in, turning the light objects into lounge creators.The art installation becomes a guerilla tool or a design object, to be used at outdoor events in cit-ies and forests, but always creating reflection and respect for our surrounding.Material : recycled plastic, LED spots, ice, cool drinks


concept: Jan Van Mol 3D : Ive Peeters

Labconcepts for sale

PROjEcT - NAME

RESEARcH THEME

DATE

PROjEcT TITLE

SHORT DEScRIPTION

N° 53 - jAN VAN MOL

THE EcORESEARcH

2007

GLOBAL INSPIRATION SATELLITE

Communication is the most important aspect of humanity. is it not? What about freedom if you can not communicate? What about respect if you are unaware of social differences? The G.I.S. is an art installation reflecting yet also allowing for people in deprived and other areas to communicate, learn, share, even travel virtually. G.I.S look like sophisticated Satellite dishes. But in all areas G.I.S’ are constructed using local people and materials. In Soweto it can be using old car tyres, in Beiroet it can be using the rubble from bombed houses, on the Northpole it’s in ice. All G.I.S’ serve as a lounge environment, can be used to get inspiration (art/film/music can be shown inside - and there is a link towards the other dishes using internet and a high tech circular screen.

Three sites. Three continents. Hundreds of innovative designs.One connected world.

Imagining a world without the Internet is nearly impossible. Despite the Internet’s global significance, less than 20 percent of the world’s 6 billion people currently have access to the educational, social and economic opportunities it can create. You can change that.

Enter the AMD Open Architecture Chal-lenge and help enable affordable Internet access to 50 percent of the world by 2015.

The AMD Open Architecture Challenge is an open, international design competi-tion. Its aim is to develop not one but many solutions for building sustainable, multi-purpose, low-cost technology facili-ties for those who need them most. Three community partners have been selected to participate in this year’s Challenge. Each site poses a unique set of design constraints and opportunities. While the needs of each client are unique, the hurdles they face in embracing technology to offer access to education, healthcare and the global mar-ketplace are shared by millions of people in communities all over the world.

You do not have to be trained architect to participate. Anyone can enter. Entrants are invited to develop a design for one, two or all three sites.

Each design entered into the competition will be published and shared on the Open Architecture Network so that any com-munity looking for similar design solutions will have access to them.

Proceeds from the competition entry fees will be awarded to the top entry for each site. The overall winning solution will be built and one years’ operating costs will be given to the community partner with funds of up to $250,000 provided by AMD. Centers will be constructed for the other two sites and replicated for additional community partners as funding becomes available.

By entering the competition you will have not only the opportunity to work one-on-one with a community to realize your de-sign and bring connectivity and computing power to those who need it most but also a chance to share your ideas for a more con-nected future with the world.

In fact, just by entering you are helping people connect with design in ways never before possible.

[http://www.architectureforhumanity.org/][http://www.openarchitecturenetwork.org/]

Work on the winkel

Architecture for humanity


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Watch the news today on TV for awhile. You’ll notice that more and more stations are delivering (in different ways and with different approaches) programs focused on envi-ronmental concerns and related social issues.

By Patrizia Lugo Loprieno

Sustainable consumption

How can we make things better?

Let’s do another experiment: go online and get the main international newspapers’ PAGE ONE articles. Picking up just a few titles among the dozens appeared in the last month: “‘Pay as you throw’ rubbish charges back on agenda to boost recycling” (The Times, October 30, 2007); “China birth defects soar due to pol-lution: report” (Reuters, October 29); “Brus-sels gets tough on CO2 emissions” (Financial Times, October 26); “Sarkozy promises a green revolution for France” (Reuters, October 25); “Beijing meeting Pledges but Pollution a Con-cern: U.N. ” (Reuters, October 25); “Gore prize transforms climate debate” (FT, October 12)… As you can easily see, nowadays the state of the environment is perceived as mainstream (at least in industrialised countries). Moreover, our well-being, the economic development and welfare of our communities, and even our (only possible) future are finally strongly linked to our planet’s health.

You don’t have to be a rocket scientist - or an

economist - to see that the way we make prod-ucts, the amount we consume and the way we dispose of our ‘stuff ’ causes stress on the earth’s natural resources and systems.

As a designer, remember: promoting and sup-porting product designs and manufacturing systems that utilize innovative designs, resource productivity, closed-loop manufacturing sys-tems, and product take-back strategies can dra-matically reduce the amazing amount of waste we currently produce, preserve natural resources (biodiversity), reduce energy consumption (in particular from fossil fuels) while creating vast new business opportunities.

Are we all equally responsible?NO. It’s clear that while some need to reduce consumption, others urgently need to increase their material and dietary intake. Inefficient production and consumption patterns, together with uneven distribution, have widened the

existing gap between North and South. It has been estimated that if the rest of the world were to consume like the developed world, we would need the equivalent of 4 extra Earths. Figures from the World Wildlife Fund (WWF) show that the average world citizen requires 2.3 hectares (one hectare is equal to the size of a soc-cer field) to produce what he/she consumes every year and then to have a place to dump what’s left over. That’s 40% more than is sustainable.

So, are we all equally responsible then? No, not re-ally. If you’re Italian, for instance, you need 8 times this area, if you are American, it is 18 times more. And if you’re Bangladeshi, it is one third. This also tells us that the distribution of consumption is seri-ously out of balance.The world’s 20% richest people consume nearly 75% of the planet’s natural resources. Think about it: the USA makes up 6% of the planet’s population but consumes a staggering 30% of its resources.

THE ECORESEARCH // 150

The wealth of the world’s 225 richest individuals equals the annual income of the bottom 47% of the world’s population, or 2.5 billion people.Everyday 50 plant species become extinct. How many is that per week, per month, per year? Sci-entists believe that plants hold the key to finding cures for many diseases. So each lost species not only causes irreparable damage to the ecosys-tem, but is also a lost opportunity for our future development.

Workable solutions Sustainable consumption (SC) is about finding workable solutions to imbalances – social and environmental – through more responsible behaviours from everyone. In particular, SC is linked to production and distribution, use and disposal of products and services and provides the means to rethink their lifecycle. The aim is to ensure that the basic needs of the entire global community are met, excess is reduced and environmental damage is avoided. SC is an integral element of sustainable development and an issue of paramount importance to the United Nations: “…development which meets the needs of the present without compromising the ability of future generations to meet their own needs.” [Gro Harlem Brundtland et al., Our Common Future, WCED,

New York-Oxford, Oxford University Press,1987, p. 43]

Providing tools for change is the responsibility of governments, regulatory institutions, NGOs and business. However, the role of the global consumer/citizen is essential in pushing these groups to take action more quickly and for the better. This is why two United Nations agen-cies, UNESCO and UNEP, joined their forces to make young people aware of opportunities offered by more sustainable lifestyles and em-power them to make a difference starting from their daily lives.

Half the world’s population is under 20 years old and 90% of all young people live in developing countries. Young people are a critical stakehold-er in the global economy and will be the main actor and motor for change in the near future. The habit they develop now will play a decisive role in future consumption patterns. Their deci-sions as consumers exercise a growing influ-ence on markets and lifestyles. Thus the energy, motivation and creativity of youth are essential assets to bringing about change.

The youthxchange networkWe should look at what and how we produce and consume. But in order to do so without too much cost, we - as consumers - need: clear information, accessible sustainable products & services, and adequate infrastructures.

The youthxchange (YXC) toolkit is a website - www.youthxchange.net, in English and in French - and a printed guide already translated in more than 20 languages (among these: Chi-nese, Japanese, Arabic, Spanish, French, Italian, Dutch, Portuguese…). Through YXC, UNEP and UNESCO try to show young people that it is possible for all of us to translate our aspira-tions for a better world into everyday actions. For this reason and to make SC more immedi-ate to youth, the YXC tool kit uses a broad and inclusive approach to the issue. For example, although healthy eating, the sex trade or media literacy are not always considered strictly related to SC, the kit views them as significant factors in developing consumer awareness.

Using accessible information, concrete examples and everyday language, the YXC kit provides many facts & figures on SC issues. It highlights the links between cultural, geographical and

inter-generational factors. In particular, YXC underlines how SC directly relates to quality of life, efficient use of resources (both human and natural), reduction of waste, and ethical issues such as child labour, animal welfare, fair trade and general equality.

YXC has a specific training approach, more focussed on aspects of our lives rather than on traditional issue focussed sustainability learning (water, energy, fair trade, etc). The reasons for it are that to interest a young audience, the best approach is to talk to them about what they feel the closest (music, clothing, sense of identity, etc.).

The target group is urban youth who have access to information media and have comparable consumption patterns. But anybody with access to the Internet can participate in the YXC initia-tive.

The YOUTHXCHANGE training tool kit has been conceived by MÉTA – Media Ecology Technology Association. We developed the general concept, researched and finalised the original version of the project (in English). We have also translated the YXC guide in Italian.

For further information:META

Media Ecology Technology AssociationRue du Chimiste 34-36

1070 Brussels (B)

Patrizia Lugo [email protected]

Trees & TiresSouth-African Lab

Remarkable trees of South Africa is a magazine concept devoted to the beauty and characteristics of South Africa’s wide variety of indigenous and non-indigenous trees, and of Johannesburg’s trees in particular. Ten million trees populating the rolling hills of Johannes-burg make it one of the greenest cities in the world.

Concept and design: Joost Hulsbosch - www.bhagdesign.comPhotography: Joost Hulsbosch & Michael Meijersfeld

Tables & chairs made out of re-used tyres.These tables were part of a project for a park in Soweto. Local bodies did not select the concept, but opted for a ‘modern’ - clean look.We believe they missed out on the richness of the concept presented: It shows a valuable link between contemporary design and the respect for the cities heritage and its inhabitants.

Concept and design: Alan Cooper

Remarkable Trees

SowetoTables

THE ECORESEARCH // 152

Remarkable Trees

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addictlab.com

Addictlab is all about accelerating talent and generation innovation. Creating a bridge between a brand and a growing creative scene. Of course, we’re not just passing on busi-ness cards. We believe in the added value of collaboration. Addictlab’s brand department guards brand coherence and respect for the creative minds, and guides the process.

1. Innovation = new productsbrand Labmembers Discipline Country Diesel jeans * Malin Lundmark Design Sweden 2. Innovation = new ideasbrand Labmembers Discipline Countryconfidential brand * Ina Arends Art the Netherlands * Martin Roedolf Photography the Netherlands * Liuan Tan design Japan * Garth Roberts design US * Jens Martin Skibsted design Danmark Labresearchers * Jan De Lancker Marketing Belgium * Ina Arends Art the Netherlands Facilitator * Jan Van Mol Branding Belgium

3. Innovation = new marketsbrand Labmembers Discipline CountryItalosuisse * Elke Timmerman Marketing Belgium * Mireia Mazon Graphic Design Spain * Carmen Bianco Jordà Graphic Design Spain

4. Innovation = product tweekingbrand Labmembers Discipline CountryTonkeys * Elke Timmerman Marketing Belgium * Nuno Oliveira Graphic design Portugal

5. Innovation = coherence in brand strategybrand Labmembers Discipline CountryWoodlake * Katherina Tretter Fashion Austria * Anja Samson Graphic Design Belgium

6. Innovation = inspirationbrand Labmembers Discipline CountryTNT * Elke Timmerman Marketing Belgium * Fenna Zamouri Graphic Design BelgiumIMEC * check Addict #27

innovation/desk/How to tap into Addictlab

addictlab.com

7. Innovation = re-inventingbrand Labmembers Discipline CountryTonkeys * Elke Timmerman Marketing Belgium * Fenna Zamouri Graphic Design Belgium

8. Innovation = researchbrand Labmembers Discipline CountryPersonalised brand labs confidentialChocolate Design research check Labfiles

9. Innovation = brand experiencesbrand Labmembers Discipline CountryModo Bruxellae * Garth Roberts Design USItalosuisse * Benoït Deneufbourg Design Belgium

10. No innovation without press.brand Labmembers Discipline CountryLee Cooper * Aleksandra Paszkowska Fashion Poland * Fenna Zamouri Graphic Design Belgium

innovation/desk/How to tap into Addictlab

nano/researchResearch endorsed by IMEC

Ongoing projects:

kids/researcharab/lab }

What?Addictlab’s researchers are scanning the Labfiles database continuously for fresh ideas on Children.// Lab_inputNew ideas come from 1. Creative people with ideas, please send us your concepts. (Tell us if you want them to be online or if we have to treat your ideas confidential.) 2. Labresearchers browsing the sites, visiting fairs 3. X-Rays where we invite Labmembers to come and brainstorm on certain topics. // Lab_output 1. Shall we produce a book on the matter? We are thinking of making our #29th Research issue. Mail [email protected] if you’re interested. 2. Industry interested in our research, can tap into our lab. For a monthly fee, you can receive Confidential trend research. We create password protected webpages for your company, based on our proactive research and answering to clear briefings you might have.

THE ECORESEARCH // 15�

http://www.addictlab.com/index.php/Research

Labambassadors

Your city? Country? Region? You?Local ambassadors can help you discovering all about addictlab, registering and more. They can use these pages to show their selection of local talent and interesting activities.

This site is created by .... You. Addictlab is all about expanding a creative network. All the links on this page will direct you to pages that are created and maintained by local labambassadors.

It is their way to show the creative talent in their city, talk about intersting stuff, pointing out important issues. Want to join in? Mail [email protected] and you’ll receive a special login and password to start talking about your city or region.

Belgium Antwerp, Silke Fleischer

Brussels, Elke Timmerman

PortugalOliveira de Azemeis, Nuno Oliveira

South-AfricaCapetown, Alistair Luke

Johannesburg, Marike Hechter

The Netherlands Amsterdam, Elena KulikovaRotterdam, Jeroen EvereaertUtrecht, Arjan van der Mee

Australia Melbourne, Giuseppe Demaio

New-Zealand Antony Nevin

Publisher & Creative Director Jan Van [email protected]

Editor-in-chiefGiovanna [email protected]

Graphic DesignerFenna [email protected]

Creative Lab Researchers Fenna ZamouriGiovanna Massoni

Contributing LabMembers see on all pages

Head Office & subscriptions Ann Van [email protected]

Design Lab ResearcherGiovanna [email protected]

Ad!dict Creative LabLAB.001 bvbaDelaunoystraat 601080 Brussels BelgiumTel + 32 2 289 51 [email protected]

Pre-press & PrintingDirk GillisGILLIS nv/saPlantin 17 - 1070 BrusselsT. + 32 2 522 39 69F. + 32 2 520 03 78E. [email protected]

Arctic PaperArctic Volume White - 130gr

Munken by Arctic PaperMunken Polar - 130grMunken Print White - 115gr

Cover byStudio Up - quilted heart - www.up-studio.org

Backcover byHong Hao, My things N°3, photo: 2001-2002Courtesy Guy & Myriam Ullens Foundation

Register as a Lab Member and upload all your ideas on www.addictlab.comConfidential ideas >> please contact directly [email protected]

© 2007Ad!dict and addictlab.com, LAB.001 bvba

In no way is Ad!dict Creative Lab or the publisher responsable for the visions the artists have expressed. All rights reserved. No part of this publication may be reproduced, copied or transmitted, either by conventional means or electronically, without written permis-sion of the publisher. Everyone is free to register, send in ideas and get work published. You take on responsability for your contribution. Ad!dict will not send back any work or slides, nor are we responsable of any losses during shipment. Only LabMembers with signed Lab Member agreement and selected for this issue receive a free copy of these LabFiles. Ad!dict Creative Lab, Creative X-Ray and Addictlab are registered trade-marks of Jan Van Mol.

Internet PlatformAddictlab.com and all other platforms are hosted by Yves GorisRubberduck.be

Wiki SystemTom De Smedtwww.organisms.be

Partnerships for this issueConcreasESFOVAMlab/filesArctic Paper

AD!DICT #28 : The Eco Research. Ideas for a better world.

Documents

Transcript of AD!DICT #28 : The Eco Research. Ideas for a better world.