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EDITORIAL
Tiago Krusse

Our purpose is to provide information, to search for

people and to tell a little bit of their own stories. Our
utility is to diffuse this editorial to a worldwide audience, by serving them the best way possible and informing with our own criteria. We are not producing
information to ourselves and we are choosing facts
to impose them. We try to provide information that
is clear in a simple way. It is important that we respect information fulfilling the basic requirements of
answering what, who, how and why to every article.
We try to use words very carefully because we all
know how word could have so many different meanings for different people. Wittgenstein said languages are badly used, he explained a gap between word
and object. It is rude to simplify such an important
work of Wittgenstein in such a short sentence but I
believe it gives a simple idea of what Im trying to
express with the art of using languages! As to information, readers know as well how information could
be worked with so much ability, sometimes even
giving the idea that facts arent real at all.
Through these years the DESIGN MAGAZINE got
and is getting a huge feedback from readers that
state how we work the information and how we
present issue after issue small interesting pieces of
stories. Beyond the seasonal issues we are told how
followers of social networks enjoy the informative

mission that we daily accomplish with the same basic requirements. They express their gratitude for
the way that we sometimes bring this usefulness
in an almost neutral kind of way. We are providing
a service to readers worldwide and we are serving
with a purpose of diffusing information with criteria
and professional ethical principles.
We dont feel that we are better than other media or that we are the ultimate place to search for
information. A few things we know is that we are
being efficient with those who follow us and that we
have never used information to generate influence
in order to obtain income or profit. We know also
that we are not a flashy magazine and that we will
be feature at lists created by media gurus. The minimal approach it is not due to lack of commitment
it is our own way to express simplicity with criteria.
The magazine and social network users are growing
and this gives us the feedback we need on how in
fact the service we are providing is functioning with
some dignity.
Finally we like to underline that our mission is going
to be carried out and keeping in mind that we can
always improve and do better. I will not hide that
with all these facts it is expectable that we could increase the interest of those investing in media. Our
best wishes and a wonderful 2016!

WWW.IMM-COLOGNE.COM

O evento conceitual de
banheiros e interiores na
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CREATE. FURNISH. LIVE.

A FEIRA INTERNACIONAL DE MOBILIRIOS
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Aqui se rene o mundo do design de interiores.
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CONTENTS

Computex d&i Awards 2016

10

Painting and Approaches II by Rodrigo Costa

Comfort Zones

16

Tnis Ko: Design as Experiment, Retospective

Marita Moreno

14

18

20

International Biennial Poster Design Terras Gauda Francisco Mantecn Competition

Interview Marva Griffin Wilshire
Interview Noa Haim

28

Interview Jan Ameloot

A Loft in Rome
Apartment in Vigo

34

40
48

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MVEIS
DECORAO
ILUMINAO
COZINHA
ESCRITRIO
TXTEIS

COINCIDINDO COM: ESPACIO COCINA, CEVISAMA & FIMMA -MADERALIA

5

Director/Editor - Founder
Tiago Krusse
Executive Designer
Lucas Fernandes
Text Contributors
Rodrigo Costa (Oporto)
English editing
K
Photo Contributors
Joo Morgado Architecture Photography
Advertising
http://revistadesignmagazine.com/publicidade/
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DESIGN MAGAZINE
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number 126104.

touch the future

Ideias inspiradoras para o sucesso
A drupa o evento que deve visitar, em 2016: o ponto de partida de imagens
muito promissoras. Foco de tecnologias do futuro. Ponto de encontro de ideias
que eletrificam os mercados.
Modelos de negcios inovadores e exemplos das melhores prticas demonstraro
o futuro potencial da impresso nas suas diferentes vertentes: print, packaging
production, green printing, functional printing, multichannel, 3D printing.
O programa drupa future visions permite um vasto olhar para o futuro.
Faa parte dele.

daily news, trends, innovations

blog.drupa.com

31 maio a 10 junho 2016

Dsseldorf/Alemanha
www.drupa.com
Share

Informaes: Walter & Cia., Lda.

Largo de Andaluz, 15, 3 Esq. - 2
1050-004 Lisboa
Tel. +351-213 556 254 _ Fax +351-213 539 311
geral@walter.pt

www.walter.pt

ERRATA

On the November/December 2015 edition the DESIGN MAGAZINE provided wrong information about
drupa writing that the fair it is run every four years
when in fact since this year of 2016 the event organized by the Messe Dusseldorf is switching to a
three-year cycle. We would like to express our sincere apologies for our mistake to the Messe Dusseldorf and to the readers.
The drupa is the world's leading trade fair for print
and cross-media solutions and will switch to a threeyear cycle after 2016, when it runs from May the 31st
to June the 10th.
The entire print process chain has changed radically because of the Internet and digital technologies.
New applications and solutions are developing and
opening up new fields of business. At the same time,
there is more focus on innovative technologies, such
as 3D printing, printed electronics and functional
printing, explains Claus Bolza-Schnemann, Chairman of the drupa Advisory Board and President Koe8

nig & Bauer Group. Its more important than ever

before that our customers have an overview of the
latest technology and are also inspired to use new
business models and solutions. drupa is the only specialist trade fair in the world to offer this and will
do so every three years in the future. One positive
side-effect of this change is that drupa will no longer
run in 2020, the same year as interpack, the world's
most important trade fair for the packaging industry
and the closely related process industry. "The drupa exhibitors who specialize in packaging printing
would have found 2020 an incredibly stressful year
so the change will clearly benefit customers," emphasizes Werner Matthias Dornscheidt, President &
CEO Messe Dusseldorf. The precise dates haven't yet
been set, but it's clear that drupa will take place in
the traditional drupa month of May in 2019, 2022
and 2025 in Dusseldorf.
www.drupa.de

http://www.adesignaward.com

The Computex d&I awards 2016 are calling companies and designers of technological innovations to
register until the 31st of March of 2016, the established deadline. For the first time this years rising
star award will be issued to encourage innovative designs from startups.
The main event will be held at Computex 2016 and
awarded products will also be presented at CES, IFA
and MWC. Also for the first time, award-winning entries will also be displayed in emerging markets in
India and Indonesia.
2016 marks the ninth year of Computex d&i awards,
organized by the Taiwan External Trade Development
Council (TAITRA) and executed by the iF Design Asia
Ltd. Exhibitors and non-exhibitors of Computex Taipei, the largest ICT trade fair in Asia and the second
largest in the world, are all invited to participate in
the award until 31st of March 2016.
The organizers are also pleased to introduce the
Computex d&i rising star award, which will be granted for the first time in 2016 to honor young enterprises established after the 1st of January of 2011.
The jury panel will select the most outstanding innovations and designs out of all awarded entries of new
entrepreneurs.
The jury session is scheduled for 7th of April of 2016.
All entries will be assessed based on the following
criteria: aesthetics, practicability, execution, innovation, usability and ergonomics, brand fit, safety, en-

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vironmental impact and target group fit to determine

the winners of the Computex d&i awards and the
Computex d&i gold award.
Registrations will be accepted in the following nine
categories:
Wearable Technology and Smart Applications / Products; Smart Home and Security; Gaming Hardware;
Network and Communication Products; Computers
and Systems; Computer Hardware and Components;
Data Storage Products; Display and Audio / Video;
Peripherals and Accessories
The awards ceremony will take place during the
Computex Taipei 2016 trade show (31st of May to
4th of June of 2016). All award-winning products will
be presented at Computex Taipei, in the iF World
Design Guide, on the Computex website and in the
printed yearbook.
Apart from being featured at the COMPUTEX TAIPEI,
all award-winning products will also be showcased at
the following exhibitions:
IFA 2016 in Berlin/Germany (September 2016)
COM-IT 2016 in Mumbai/India (October 2016)
Indocomtech 2016 in Jakarta/Indonesia (October
2016)
CES 2017 in Las Vegas/USA (January 2017)
MWC 2017 in Barcelona/Spain (February 2017)
Register online at: www.ifdesign.de

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13

PAINTING AND APPROACHES | II | CONTINUATION

Rodrigo Costa

All we know how the communication is important

part of our destiny, the reason why the speaking
and the hearing also are among our survival tools.
Its such the importance of the communication that,
when there is not neither words nor gestures, our
eyes and facial expressions become themselves into
the messengers complementary elements, before,
face and eyes are, then, the main mean for sending
and getting messages.
Will it be easy to express our feelings or thoughts
if, technically, we arent able to make our intentions
tangible matter? Obviously, its time for render homage to the conscious memory, without which as
priceless file there arent enough elements to give
body to the ideas.
We could follow the speech of most contemporary
who proposes the idea as enough or even the main,

defining it as complete concept. Whats not true, given there isnt spirit without body the same for
the contrary, unless it is corpses body. And its even
needed to know how the health of both spirit and
body depends on the balanced relationship between
them nobody arrives anywhere only by thinking;
its need to go and to know how to go so as to arrive and to arrive without big problems, at least.
All artistic projects as all human projects, naturally have its beginning in the mind, which needs
the body as tool to become the dreams into physical
matter; as something to be seen and touched; as
image from the physical answer to the spiritual wish.
Art is no more than the result of cooperation between spirit and body, both working on producing
images that reflect the affective involvement...
As Da Vinci proclaimed, La pittura cosa mentale /

Painting is a mental issue, what means doesnt be

possible to paint or to learn to paint in the deepest
sense if we are not thinking; if we are not seeing
from inside. When we dont feel, we cant comprehend the profound reason of the things.
So an artwork has to reflect the minimum correspondence between what is thought and what is done,
once our hands follow our mind, responding as faithfully as they can to the minds will there are not
blind hands; there are minds that, as leaders, have
not enough conscious memory, instead.
So the two first questions should be: Why to paint
and why to paint what we do want to paint?
There are no doubts about the genetic influence. Independently of the massive miscegenation, all of us
preserve our roots; all of us have our etymology. Our
eyes, our hair, our skin color and our expressions, all

this comes from somebody who existed in the past.

The same way, our feelings and our wills and passions are genetic heritage too. Actually, we have the
human being and the context the seed and the
soil but, even influenced by the context, the human being keeps his genetic marks such as the seed
keeps its etymon, despite on its qualities are also
dependent on the nature of the soil but surviving, in
any circumstances, the indestructible complicity between the plant and its roots.
Thus, when we refer to the artist we must consider the human being captive by his nature and influenced by the nature of the context. The artist and his
or her nature as reality, even when working from the
imaginary another part of the whole reality, once,
in fact, all is physical matter, despite on our scarce
visual acuity:

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When we paint whatever the style or model, physical or imaginary we obey to the Nature laws.
Although the Life paints with pigment-light and we
paint with pigment-matter, all days begin by release
themselves from the dark blues, passing through the
reds and yellows until they reach the white. Its the
noon.
After that, the days continue their trip but making
the opposite route, climbing down by the spectrum:
white, yellows, reds and closing themselves in the
dark blues also through the way how the days
born and die we can realize how the Life repeats
itself, as though there is no more than the endless
cycle of cycles.
Its always the same. When we want darken any color or tonality but preserving its character, we have to
do it by adding a mix of blue and red whatever is
the kind of speech, representational or abstract.
So, starting from here Ill direct my writing to the
representational painting; Ill express my thoughts
about the concrete and its variations, from the formal or excessively formal as the hyper-realism
till the informal or casual, as I like to call it when the
painting is supported on the free gesture.
Why, representational? There is not another kind of
art or whatever beyond it. Any color or shape represents something; any signal, gesture or expression
has its meaning. Consciously or unconsciously, when
we make a gesture, any gesture, we are sending
a message, once there is no signal without corresponding message; there is no cause without effect
or consequence; every movement has a purpose

we need remember ourselves that we live under the

causality regimen; if we are or not conscious of it
it is another story.
I wont be wrong on saying that, at beginning, all
people try to reproduce what they see. What is normal, once we try to pick up what attracts us; our
hands are working for reaching what our eyes are
seeing or what we see in our mind. However, after
some time and lots of exercises, we realize doesnt
be possible to compete with the Nature; we conclude
how unrepeatable are the light, shapes colors and
tonalities; how much distant, even the photography,
stays from the real sceneries.
This is the starting point to the interpretation, the
beginning of the synthesis. This is the moment from
which we can start making poetry, because, instead
to copy the reality, our concerns are about create atmospheres, preserving the models character actually, more than words, Poetry is atmosphere. Each
word has a meaning and contributes, as cloud for a
strong and sweet and, above all, romantic sunset.
Talking about affection and style comes next.
Note: Hirst has ended by saying that it is easy to
painting as Rembrandt has done. It is just need to
learn to paint Im sure to be easier to put a shark
in formaldehyde, once the shark is already done. It is
just need to fish it and finding up any Saatchi.
to be continued
rodrigocosta.wix.com/rodrigocosta

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EXHIBITION

Comfort Zones is the first of a series of three exhibitions proposing different perspectives of the Centre nacional des arts plastiques Cnap, which is running until the 17th of April of 2016 at the Galerie Poirel in Nancy,
France. The exhibition is the result of a partnership between the city of Nancy, Galerie Poirel and the Cnap. The
commissary is by Juliette Pollet, curator in charge of the Cnap design and decorative arts collection, and Galle
Gabillet & Stphane Villard from Studio GGSV, also responsible for the scenography.
Photographs by Michel Giesbrecht

The exhibition goal is to invite visitors to explore the

home of a collector and suggests different ways to
experience comfort. The objects are spread throughout the exhibition taking their place on a grand stage
where they simultaneously serve as the set, the actors and the props. The entire exhibition is a play in
four acts with one intermission. In the Office, functional objects project an image of modern comfort.
These material possessions are designed to improve
consumers daily life by relieving them of laborious
tasks. The Reception area presents as a vast living
room, adorned with furniture designed to give the
weary a place to rest. The Play Area brings together
objects that trade in pure functionalism for fun and
triviality. Lastly, the Antechamber turns our understanding of well-being on its head by raising certain
contemporary quandaries. Halfway through the exhibit, visitors have the chance to test out different
pieces of furniture at a break area on the mezzanine
level. Here, they can also experience Lcouteur, a
modern-day interpretation of music rooms created
by Laurent Massaloux and JeanYves Leloup. The majority of the objects displayed were designed to satisfy our minds and bodies. They reveal the nature
of our domestic activities and concerns. While projecting a sense of familiarity, the exhibition invites
visitors to reconsider the shapes and uses of the
objects that make up the environment around us.
Comfort Zones places mass-manufactured products,
comfort produced in standardised forms, alongside
works that upset the standard models. In doing so,
the exhibition reflects two contemporary movements
in design: the search for solutions and the formulation of critiques. Comfort Zones is the product of a
partnership between the city of Nancy, Galerie Poirel
and the Cnap. It is the first in a series of three exhibitions that will offer different perspectives on the
Cnaps design collection.
http://www.poirel.nancy.fr/accueil/

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17

EXHIBITION

Tnis Ko: Design as Experiment, Retrospective is an exhibition focused on the Estonian industrial designer that
will be held until the 3rd of April of 2016 at the Red Dot Design Museum Essen, in Germany. It is the first joint
project presented by the Red Dot Design Museum Essen and the Folkwang University of the Arts.
Photographs: Courtesy of the Red Dot Design Museum Essen

Push-button telephone for Deutsche Bundespost, 1970, by Tnis Ko and Herbert Krmer for Siemens AG.

Tnis Ko: Design as Experiment, Retrospective is

an exhibition focused on the lifes work of the Professor Tnis Ko, born is Saaremaa, in Estonia, in
1940. The Red Dot Design Museum Essen and the
Folkwang University of the Arts, both from Essen, are
presenting their first joint project, this exhibition that
will be on show until the 3rd of April of 2016 at the
Red Dot Design Museum Essen.
Tnis Ko studied at Folkwang University of the Arts
in Essen from 1962 to 1967. Just two years after
graduating, he started work as an industrial designer
for Siemens in Munich in 1969, taking over the design
studio of Siemens AG from 1983. In that position,
he devoted himself among other things to the phenomenology of product design: Tnis Ko defined a
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system of design characteristics and their impact in

order to give industrial designers guidelines for their
work. From 1992 to 2005, Tnis Ko lectured as a
Professor of Industrial Design at Bergische Universitt Wuppertal, where he developed the teaching
concept Design in research. Free of the restrictions
of design practice, he focused entirely on research
and design as an experiment with a view to the future. From 2004 to 2007, he was Academic Director
of Bergisches Institute of Product Development and
Innovation Management, and from 2005 to 2007 he
was also Director of the Alu-Scout Innovation Award.
www.red-dot-design-museum.org

Hair dryer model, 1976, for Siemens AG.

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MARITA MORENO
Photographs: Rossana Mendes Fonseca

Foz Ca Collection, Fall/Winter 2016/2017. Man Penascosa and Ribeira do Pisco models

The brand Marita Moreno was created in 2008

by Marita Setas Ferro. Being the brands creative
designer she develops all its concepts using only
Portuguese products, factories and handmade
crafts to create her designs. The brands mission
is to present high quality products, making good
use of creativeness and a good eye for selecting the materials. The production is based on
small quantities and all numbered which makes
every piece unique. From shoes, bags, clothing
and knitting the purpose is to deliver good quality design with a affirmative and proud Made in
Portugal label.
Marita Setas Ferro was born in 1967 in Beira,
in Mozambique. With extensive and consolidated
academic and professional experience, from fine
arts to design, she has worked for several years
as a consultant, teaching and mentoring fashion
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designers, crafters and creative people. At the

same time she kept always the development of
own author pieces and sculptures.
The brand present its first shoes and bags
Spring/Summer 16 collection last August of 2015
at the Premium Footwear Pure London, one of
United Kingdoms fashion trade exhibition. This
year, from 8th to 9th of January, Marita Moreno
was back in the UK for the WeAr Select London,
a fair organized by the magazine of international
trends WeAr Global Magazine.
The brands creative designer underlines that the
biggest goal is to continue to show the brand
internationally, put the product in some of the
most iconic places in London and get more customers to realize the added value of the pieces
and appreciate how culture and Portuguese heritage are translated into everyday.

Foz Ca Collection, Fall/Winter 2016/2017. Woman Fariseu and Quinta da Barca models

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INTERNATIONAL BIENNIAL POSTER DESIGN TERRAS GAUDA FRANCISCO MANTECN COMPETITION

The first prize winner of the 12th edition of the International Biennial Poster Design Terras Gauda Francisco
Mantecn Competition went to Angelika Jagliska, the Polish designer whose winning work will represent the
winerys image for the next two years.
The 12th edition of International Biennial Poster Design Terras Gauda Francisco Mantecn
Competition 2015 was won by Angelika Jagliska, the Polish designer received 10,000 euros
prize money and her poster will represent the
winerys image for the next two years.
Angelika Jagliska was born in 1987 in Minsk
Mazowiecki, a city located East of Warsaw in
Poland. Shes a graduate student from the Art
School in Koo, 2007, specialized in visual advertising. Five year later she graduated in Art
Education in the Field of Visual Arts at the Adam
Mickiewicz University in Poznan, Faculty of Pedagogy and Arts in Kalisz. Angelika was two times
granted with the scholar of Rector of the University of Adam Mickiewicz. In 2012 she held a
scholarship on industrial design by the Escuela
Superior de Diseo de La Rioja, in Spain.
The judges and partners of the competition
gave also two honorable mentions, the fists one
to Guill Fridman, Argentinean born and living
in Jerusalem, Israel, the second mention was
given to Toni Pont Ibars from Lleida, in Spain,
and the special mention to Joonas Vhkallio,
a visual communicator from Helsinki, Finland.
To each honorable and special mentions it was
given a 2,000 euros prize money.
The winning posters were selected by a panel
of judges that made their choice form a group
of 37 finalists coming from Israel, Russia, Finland, Denmark, Poland, Germany, Croatia, Italy,
Portugal, Argentina and Spain. Jos Cruz Novillo, professional guest member of the panel of
judges, underlined the artistic quality and the
graphic diversity of the 1,310 original works
coming from the 59 countries that entered this
biennial competition.

22

Guill Fridman, first honorable mention. Born and raised in Argentina. Over the past four decades living and working in Jerusalem, Israel. Ad honorem assistant in the department of Industrial Design at the University of Architecture and Engineering, in
Rosario, Argentina. Outstanding graduate as a graphic designer,
at the Bezalel Academy of Art and Design Jerusalem. Senior
Teacher at Ascola Institute of Design Tel Aviv. Art and Design
Consultant at Department of Culture in the Municipality of Jerusalem. Member of the Israel Community of Designers and of
the Graphic Designers Association in Israel.

Angelika Jagliska, first prize winner.

23

Toni Pont Ibars, second honorable mention. He studied fine

arts, graphic design, art and robotics. He runs his own studio
focused on art projects, space design, graphics, fashion editorials for specialized magazines and costumes for film. He has
won national and international prizes like the Film Festival in
San Sebastian 60/61/62 editions, International Film Festival of
Valladolid on issues 59/60 and a first prize of the cover of the
Ladyhawke 2012 album called Anxiety.

24

Joonas Vhkallio, special mention. The 23 years old is a visual

communicator from Helsinki, Finland. He studied graphic design
at the Aalto University. His main interest is in creating entire
designs, from the small details to the whole project process. His
keen on logo design and creative fonts and he defines himself
with a style that gathers harsh symmetric shapes and controlled
chaos. He gets inspiration from forms, colors and life.

25

INTERVIEW
Marva Griffin Wilshire

Born in Venezuela she took Milan as her city of adoption when in the seventies she embraced the work in the
field of design and furnishing. In 1998 she created the SaloneSatellite the showcase of Salone Internazionale
del Mobile in Milan, Italy, focused on young designers, students and design schools which shes the curator
since the first edition until nowadays. Marva Griffin Wilshire shes head of the international press office but
she represents more than just a key element of Cosmits organization and the Compasso DOro recognition of
working life achievement awarded last year underlines how her persona is so influential among the international
design scene.
Interview by Tiago Krusse
Photographs: Courtesy of Salone Internazionale del Mobile

26

What lead you to design and how did you get

involved with Italians design community?
I was always attracted about interiors, gardens and
beautiful homes and once in Italy I started working
at that time with the most important Italian company in the field (C&B Italia, then B&B), founded
by the two most important entrepreneurs: Cesare
Cassina and Piero Busnelli, for whom I worked as
his assistant, interpreter, communication, etc
What was it like to live under Milans atmosphere?
Just imagine the 70s. At C&B Italia the most wellknown architects were designing, such as Mario
Bellini, Afra and Tobia Scarpa, Gaetano Pesce ...
and Renzo Piano was designing the offices while
he won with Rogers the bid to build the Centre
Georges-Pompidou.
What kind of memories do you keep from the
days you were correspondent in Italy for a
number of know magazines?
Its impossible for me to describe this experience,
I must say it was just wonderful and exciting, getting to learn about the industry in general and that
have allowed me to do this job.
You had a considerable amount of experience
running a textile show in Venice. What was it
like to be in a different market segment from
the ones you were used to deal with?
Not at all a different market! The Incontri Venezia,
Textile for Furnishings, was a show where the
best textile editors and manufacturers were participating held in a city like Venice with a textile
history, where furnishing manufacturers will visit to
acquire the best fabrics for their upholstery pieces,
so in a way it was part of this interior decoration
design world.
When did you decide it was time for you to
present yourself to Salone Internazionale
del Mobile?
I did not present myself, I was asked by Manlio
Armellini, at that time CEO of Salone del Mobile, to
join the organization. He just said he needed me at
the Cosmit Organization.

How you came up with the idea for SaloneSatellite? Why was it important to give specific fairground room to young designers?
There was a need for young designers to show
their prototypes to the furniture industry and manufacturers that were at Salone del Mobile and, at
that time, no one, nor organizations, nor trade
fairs, nor companies were taking into consideration young designers. Now, after the success of
SaloneSatellite, every institution has copied us.
This is okay as long as they take young designers seriously, and they give to them what they are
promising. However the success of SaloneSatellite
is the Italian furniture industry that works with designers from all over the world.
When SaloneSatellite is almost about to
reach 20 years of continuous exhibitions,
which key evolutions youve notice when
regarding its participants and the products
quality standards?
Every year there is an evolution: innovation, new
materials, for which young designers are very attentive on this subject.
Last year you were awarded the Compasso
dOro working life achievement and most recently you were nominated under a short list
of the most influential persons on the design
scene. How do feel about all this recognition?
Im grateful to all these institutions and magazines
that recognize my work and Im very happy about
it. This encourages me to do my job in the best
way.
Which sort of challenges comes to your perception when thinking of Salones upcoming
editions?
There is a lot to do in order that Salone del Mobile
continues to be the leader in this field when the
world travels to Milan to see the best furniture,
lighting, kitchen, bathroom etc., where innovation
is the leader.
For you good design stands for ?
Good design for me is what makes us live much
better.

27

INTERVIEW
Noa Haim

She is the founder and the creative director of the

Collective Paper Aesthetics, a design and architecture studio based in Rotterdam, the Netherlands.
Finding impossible to find a job in architecture Noa
Haim decide to make good use of her expertise and
working experience to move forward. A graduation
work that she present as an art installation for the
Londons Architecture Festival triggered everything it
came next in her life. In collaboration with museums,
science centers, cultural and educational organizations, the studio has developed a collection of participatory construction toys and hands-on furnishing
with the motto everyone can play a designer. Shes
travelling the world and inviting so many different
people to fold and to unfold ingenious cardboards.
Born in Venezuela she took Milan as her city of adoption when in the seventies she embraced the work in
the field of design and furnishing. In 1998 she created the SaloneSatellite the showcase of Salone Internazionale del Mobile in Milan, Italy, focused on young
designers, students and design schools which shes
the curator since the first edition until nowadays.
Marva Griffin Wilshire shes head of the international press office but she represents more than just a
key element of Cosmits organization and the Compasso DOro recognition of working life achievement
awarded last year underlines how her persona is so
influential among the international design scene.
Interview by Tiago Krusse
Photographs: Courtesy of Collective Paper Aesthetics

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Photo by Anton Mikhailovsky

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What is the Collective Paper Aesthetics about?

Collective Paper Aesthetics is participatory exploration
within the architectural model. By taking the design
tools outside of the studio I discovered the strength
of the architectural model is the fields of non-formal
education, training, marketing and entertainment.
Who started it?
In 2008 I have been asked by London Architecture
Festival to present my graduation work from the Berlage Institute in a format of Installation art. Together
with fablab team in Den Haag, we came up with a
model of interlocking paper cubes, which with visitors can co-create their own 3 dimensional visionary
models of high rises. Lucky enough, two curators from
London Southbank Center were visiting the Installation and found the work, product, a good match with
learning and participation.
When was the concept developed and how it
was turned into real?
The concept was build up while doing. In 2009 I was
still looking for a job as an architect and never imagined I will be still busy with it today. Many ideas came
from people I have met with and from commissioners
and collaborators who had a big vision and budget to
make it happen.
Where there new technologies used to implement it?
In 2008 I was taking the laser cut machine to the
exhibition spaces. The technology itself was not new
but having the machine and producing on-site was
less common seven years ago than now days. Now
days the production is made within factories and for
some items new technology in the field of packaging/
die cut making is allowing better performance of the
tools.
Which motives lead you to choose the cardboard as the material to be used?
The use of the cardboard started with the project for
the architecture biennale, by 2012, in Shenzhen. It is
a love and hate relationship because cardboard is a
beautiful material but has issues with outdoor conditions and fire resistance so I am in contact search
for new materials which can perform as cardboard in
terms of fold/ unfold yet can as well stand outdoor
and become larger and stronger structures.

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What reasons or mission were set?

The main reason for starting the Collective Paper
Aesthetics project was looking for a job. Late 2008
it was impossible to find a job in architecture, while
at the same time I have been asked by Dutch design
week and ARCAM Amsterdam to repeat the London
activity. By doing it again and again meeting with
more people generating more ideas talking about
it the project 'grew up' and develop.
For every project the mission is different. I have read
lots of business books and had few business advisors. Many of them speak about the 5 years planning
and write down your mission, but the reality was or
is different (for me). It was good for general knowledge.
The project has been travelling through different countries. The proposal is always based on
the same idea and intentions?
In the book Megastructure: Urban Futures of the Recent Past Reyner Banham arguing that the concept
of megastructure can adjust to multiplicity of ideologies. The basic collective paper aesthetics principle
is similar but the intentions are different. For Tirana
project it was the first time we were using the tools
to empower vulnerable children and I was very happy to see it was working out in such a beautiful way
(meaning; kids from Roma who do not attend school
can use it and explain it).
Is there any purpose of collecting information
through these shows?
This idea was discussed with several foundations in
the past but was not granted. At the moment the
outcome of the information collected is the actual
version of the activity. Every activity we implement
knowledge from previous once.
What has been the reaction so far?
It has been warm and powerful. It is hard to find a
word which can describe how fascinated the engineering team and I are every time when we take a
new model outside to a different place. I am usually
worried about what can go wrong...
The press release of the interactive installation
in Moscow had a sentence that caught our attention: everyone can play a designer. Whats
the sense or context given to this proposition?

Photographs by Monica De Pascalis

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Photo by Alla Simacheva

Design is a powerful tool for change of perception.

Change of perception is part of individual and organizational growth. It is not that much about the
final outcome as the experience and the knowledge
gained for future once or applied in different context.
Why do you feel there is this predisposition to play,
to build new things or to experiment?
I think both are intuitive and basic needs.
What are you getting from this immense experience? How is this changing your life?
The collective paper aesthetics was taking me out
of the architectural everyday practice to a challenging entrepreneurial journey. To experience the powerful of my architectural models outside of the architectural practice in different setups and context
are empowering me as a person, as a designer, as a
thinker it was opening many professional opportunities which I was not imagining before and the most
powerful thing is the satisfaction when I get positive
feedback from people.
What are your deepest aspirations?
To find a material and technique which allow to use
the method and style in building larger and stronger

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structures in a way, to go back to architecture in

collective paper aesthetics way.
Do you have new projects in mind?
The working table in my studio is crowded with new
models and a team of engineers is working with me
on developing them. Some of the new projects are
about bringing together different population groups
(similar to Tirana project in that sense) while other
future projects are focused more on introducing new
materials and technology. With some collaborators
we already work for few years and the projects are
evolving while with other organization it will be first
time partnership.
For you good design stands for ?
Good question if it makes me move emotionally
or interesting me technically then it is a good design.
In my neighborhood in Rotterdam there is a bakery
which is serving coffee in ceramic mugs. When you
finish drinking your coffee a smiling face or little funny creature is discovered I like the design because
it is surprising and make me smile change the perception about drinking coffee

Photo by Alla Simacheva

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INTERVIEW
Jan Ameloot

The Delta Light is the Belgian lighting manufacturer with more than a quarter of century of history. A family-owned business with west-Flemish roots which has built a worldwide reputation based on in-house research
and development. Questioning Jan Ameloot, the managing director and head of corporate strategy, we understand the reasons why it has been running so brightly.
IInterview by Tiago Krusse
Photographs: Delta Light

What spirit drove to the start of Delta Light?

Before Delta Light founder Paul Ameloot owned
Stereohouse, where he offered sound solutions
for residential projects, nightlife and hospitality.
During the eighties in particular after the release
of the John Travolta dance movies it struck his
attention that his clientele started giving more and
more attention to lighting, and how to apply it as
an eye catcher or for atmosphere. They were in
need of advice. Paul saw an opportunity and went
for it. He designed a custom rail and lighting system, which was the start of a new business. He
presented one of his first designs the Phantom
at a lighting fair in Hannover. People loved it and it
turned out to be a great success. Its such a simple
fixture, but still in the collection today. You could
say that John Travolta inspired him to move into
the lighting industry.
Who were the mentors of the company and
how it is like to run a family business?
Inspiration comes from many different things, from
art to architecture to aerodynamics, and much
more. We are fascinated by movement, be it cars
or planes, boats etc. From little things in everyday
life. Shapes and materials that are all around us.
At the same time we love to be challenged by the
needs of people that we speak with. We travel a
lot, and meet people from all over the world. We
love to listen to their lighting needs and expectations, and think about how Delta Light can provide a solution. We are in the business now for 26
years, working on small and large scale projects all
around the world. Rather than focusing on short
term trends we have tried to build a range of designs that stand the test of time. As such, every
time we launch new collections we combine extensions and improvements of existing ranges with
completely new designs. We respect our past and
work hard to keep our creative team alert, in order
to stay ahead of the market.
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Paul Ameloot started Delta Light in 1989. His two

sons Peter and I currently managing the company grew up with Delta Light from very early
age. In todays world we notice that the personal
touch and passion can really make a difference. As
a family-owned business we have a personal stake
in keeping our clients happy. We are committed to
making a difference through original designs, outstanding service levels, eye for detail and personal
contact, striving to be the best in all we do.
The beginning of the nineties brought new
social, cultural and economical cycles. How
did a small company built the strategy concerning its values and mission?
Over the years we have chosen to be very close to
the market, and be in contact with all stakeholders
in a project. We have built a high-quality network
of partners, but we also have our own in-house
people spread all over the world. Being close to
decision-makers and influencers provides us with
invaluable insights on each project, and the evolution of the market in general. This information
helps us to forecast economical tendencies and
changes in behavior.
Is there a formula of gathering management,
team building, motivation, productivity and
communication?
The main formula is to stay close to your people,
listen to their needs and ideas. Throughout our entire process we have different processes to involve
employees, from directors to assembly line workers, in decision-making procedures. We strongly
believe in involvement as a key source of motivation, but also to help grow the business and improve productivity.
Why underlined the focus on architecture?
Light always makes a difference. It has a big impact on how you perceive and experience a room,

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a building or a landscape. From the very beginning

we have been fascinated by that aspect. We have
chosen to become much more than just a manufacturer. We like to be in close contact with the
architects and designers, to support them in their
creative process and come up with a lighting scenario that upgrades the architecture, and how the
investor experiences it.
Does Delta Light regards itself as a light engineering company?
The Research and Development is the biggest
department in the office. Product development
is so much more than design. In particular with
the breakthrough of LED, lighting has become a
scientific process where many different engineering techniques, mathematics and extensive study
are required. Optical performance is a key aspect
in the design process at Delta Light. Our team of
engineers is on a continuous quest to match the
companys credo for design with energy-efficiency and optimal quality of light. At the same time
we work closely with lighting designers, architects
and engineering offices, offering extensive lighting
advice. Integration of light in architecture often
also in relation to other integrated techniques
requires in-depth expertise of technology, building
design and construction. So yes, either in product
development as in application the technical, engineering element has become a core element.
The awareness of the importance of lighting in the last decades was due to which
sorts of concerns and aspirations?
As previously mentioned light plays a key role in
any type of project. To strengthen architecture,
to create a specific atmosphere, enforce a brand
message, upgrade wellbeing and so much more.
In addition lighting also has a very important
role in the energy-efficiency and sustainability
of a building. A hotel might want to create a
home away from home feeling. Office lighting is
essential to keep employees sharp throughout
the day. Retail lighting is closely associated to
the perception of a brand, but also influences
buying behavior etc. In the last decades multiple studies have proven the influence light has
on a persons mindset, behavior and sentiment.
As such more and more attention has gone to a

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more thoughtful lighting design process.

The search of lighting comfort it is seek by
consumers or are they imposed by marketing
strategies?
We dont feel that it is imposed by marketing techniques. Comfort and wellbeing in general have become more important over the years, and lighting
is an essential part of that.
How much research and technological development is involved in the whole strategy and
how much investment it represents?
R&D is at the heart of the company, resulting in
multiple new collections on a yearly basis. All lighting solutions offered be it standard catalogue
products or tailor-made solutions require extensive study and engineering. We have a team of
about 30 people working full-time in product design and development.
Which kind of innovations made a deep impact on Deltas production schemes? Which
breakthroughs were the most important
ones?
There are different aspects to your questions... The
breakthrough of LED technology in general had
a major impact on our organization and production. It offers many new opportunities in product
design and development, but at the same time it
also challenges manufacturing, stock and logistics.
With LED the light source has become an integrated element of a luminaire, in contrast to conventional lamps, resulting in a multitude of product
references. A recent innovation in our collection is
Soft Dim LED technology, replicating the dimming
behavior of a conventional lamp where the color
temperature increases in warmth as its dimmed.
What is the real importance of the use of
specific machinery and how much the business depend on it?
The majority of assembly is still a manual process
and requires specific craftsmanship and eye for
detail. In the product development process we invested in advanced test and measurement technologies, 3D printing, and state-of-the-art laboratory facilities. These specific tools are crucial in
our short idea-to-market philosophy. At the same

Metronome L and Metronome H in the black version.

Super-Oh!

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time, manual prototype building is also still very

important in that process. For some product ranges, e.g. Supernova, weve invested in a robot as
part of the assembly process. This enables us to
guarantee short delivery terms for both small and
larger quantities. An important aspect of the HQ
expansion is our brand-new fully automated warehouse. An impressive 26m high installation with
over 15000 pallet locations, build to further improve product flow and process control.
Seeing products being recognized with design awards is it really important and how
much does it match by benefiting the constant efforts of presenting fascinating good
innovative solutions?
In the past 26 years Delta Light collected many
product design awards, which we consider to be a
great recognition for the in-house design work that
we do. It motivates us to continue on our route to
innovation and ongoing development of new collections.
In the process of development of new products the company prefers to work from the
inside or is it open from proposals outside its
environment?
The success of Delta Light was built in in-house
design and development, piloted by founder Paul
Ameloot. We certainly intent to continue on that
route, as we continue to grow our R&D team with
engineers, designers and light optic experts. At the
same time we are open to collaborate with architects and lighting designers to create tailor-made
designs for their projects, either exclusive designs
or with the intention to open up to the market.
We are also open to collaborate with product designers or creative people from other industries. A
recent example is our Metronome, designed in collaboration with Belgian fashion designer Tim Van
Steenbergen.
How Delta Light evaluates the quality of information that media produces about the
lighting market?
That depends between markets. In general there
are multiple platforms (online and print) about architecture and design, both international and local. When it comes to specific lighting specialized

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platforms we notice an overload in information and

channels in some markets, and a lack in others.
The extension of the headquarters in
Moorsele its seen as a reflex of new ambitions. Which kind of challenges and goals are
being settled for the upcoming years?
The extension of the headquarters had 3 reasons:
ongoing international expansion, extending the
R&D facilities and creating additional space for our
rapidly growing collections. Delta Light has strong
ambitions to continue to grow and expand internationally from their Belgian headquarters. In the
past decade, we have doubled our turnover from
32 to 67 million Euros. We would like to see it double again in the next 10 years.
What importance has the Made in Europe in
nowadays?
It remains a differentiating element. We are very
proud of our Belgian and more specifically
West-Flemish roots. We work very closely with
local suppliers and manufacturing partners. This
enables us to work efficient and to the highest
quality standards. Our most loyal suppliers have
become an extension of our in-house manufacturing, which makes Delta Light an important employer in the region, a key aspect in our history.
How the use of light will be made in the future and what sort of scenarios can we imagine coming from Delta Light?
That is very difficult to predict. Who would expect
10-15 years ago, the immense impact LED technology would have on our industry? This new technology has opened endless new opportunities in product design, but at the same time also has a very
large impact on our production process. We are
convinced that the share of led lighting will continue to grow in the next years, becoming the leading
light source. Delta Lights aim for the future is on
further refining its product portfolio and building
brand value on a global scale, with imagination,
originality and creativity as top priorities, aiming to
offer people the products they will need tomorrow.
Quality, innovation, sustainability and service have
been the key values of the company for the past
two decades, and will always remain the foundations for every next step. New materials, new tech-

nologies, timeless design and much more, its our

goal to keep launching new collection on a very
regular basis.
Is it true that there is technology to produce
light bulbs that could last forever?
Forever the led technology is developing at a very
high speed. If you look at good quality leds that
can be used for architectural lighting, led manufacturers these days guarantee a lifespan of 50.000
hours. In our product design we manage to further
extend this lifespan through optimal cooling conditions, efficient design, etc. You could say that
depending on type of project and hours used,
which is very different in a hotel compared to a
house lighting these days has developed to become an investment for life.

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A LOFT IN ROME
Interior design: Alessandro De Sanctis des interior architecture
Photographs: Courtesy of des interior architecture

A loft located in Rome, Italy, on the top floor of a

1644 building signed by architect Alessandro Mattia
de Rossi, a pupil of Bernini, and then renovated in
1719 by architect Alessandro Specchi, was reformed,
between 2013 and 2015, by Alessandro De Sanctis
and his des interior architecture studio. With a total
floor area of 57 square meters the Apostoli loft as
it is named was turned into an open-plan living area
and kitchen on the main level in which only the bathroom is compartmented, with a private bedroom on
the mezzanine level.
The small duplex penthouse loft was reformed to fit a
contemporary way of living keeping the atmosphere
harmonious and preserving the spirit of the Baroque
period in Rome. In the text that Alessandro De Sanctis
provide us he underlines that the curved balustrade
and the serpentine suspended television stand was
inspired by the serpentine facade of Church of Saint
Charles at the Four Fountains, designed by Francesco Borromini in Rome and constructed towards the
end of Borromini's life. He also mentions that the
concave-convex facade of the church undulates in a
non-classic way and allows the interpenetration of
inner and outer space. Concluding with some more
historical background, he refers to the fact of Alessandro Specchi been influenced by Francesco Borrimini whose first major constructed work was the
design of the Baroque Porto di Ripetta, the port of
Rome, on the banks of the River Tevere or Tiber. Its
said that with Porto di Ripetta Specchi broke with
the classicizing architecture of his teacher Fontana.
The new loft has a living area which is characterized by the use of reflex glass to produce a sense
of expansion of space. The table and the sofa were
chosen in solid chestnut to match with the original
beams in the ceiling. The living area has its floor
made of matt Roman travertine slabs and the access
to the bathroom is characterized by a flush door to
the wall of elevated height.
The sleeping area is accessed by a suspended staircase. The mezzanine is characterized by a white finish curved parapet, a suspended bed and the suspended serpentine television stand, an Alessandro
De Sanctis prototype.
The lighting around the loft is dominated by luminous grooves, providing indirect light to produce a
comfortable atmosphere and enhancing the perception of the building qualities.

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APARTMENT IN VIGO
Design: MDBA
Photographs: Hctor Santos-Dez

This apartment located in Vigo, in Galicia, Spain,

was refurbished by Manufactured Design By Architects MDBA. The team lead by Maria Daz, main
architect, and collaborators Marta Ariza, Jacopo Biasio and Magdalena Mozuraiyte made an analysis of
the hierarchy of the spaces in order to comprehend
how everything flows in a natural way. The mission
was to reshape a penthouse located on Vigos waterfront.
The describing text of the project is clear, the living room, the kitchen and the dining room, are lead
onto each other to take maximum advantage of sun
light. The program was lead so that open spaces
allow contemplation of the passage of time through
the numerous windows. A contrast is made, north
facing rooms provide private area which is separated from the rest by the bathrooms.
The whole space is characterized by the geometry
of the roof which allowed MDBA to play with the
proportions of the apartment, changing the sections
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of each zone but always taking into account the existing structure.
The MDBA was found by Maria Daz an architect
with more than 15 years collaborating with Vicent
Guallart. She leads a team of young architects, designers and professionals of different disciplines.
The studio is focused on research and creating
spaces obtaining so far a wide experience in project
development. From new projects to reforms passing
through interior design, MDBA provides from the
concept, construction to the conclusion. The main
services are architecture, interior design, furniture
design, graphic design and landscaping providing
in each one all the technical aspects, budgets and
licenses. On every new project the challenge is to
fulfill clients needs and to seek for benefits of the
location or of the existing space. The studio expresses its commitment for finding the appropriate
character in every space, always bearing in mind
the materiality, the warmth of the materials.

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