#4 April 2011. Distributed during the Milan Design Week. Connecting the Dots magazine publishes Dutch designers and design-culture internationally during key design events and fairs.
Yearbook Dutch Design Milan 2012 40 Years of Dutch Design in Milan p6 Sjarel Ex Explains p28 At Home with Joep van Lieshout p14 176 Dutch Designers in Milan p37 The Lack of a Design Museum in The Netherlands and Six More Designers Ann Maes Didn’t Miss a Single Salone in 40 Years Track Them Down: with Detailed Maps, a Restaurant Guide and a Cocktail Schedule Connecting the Dots showcases all Dutch presentations at the Milan Design Week 2012 #4 April 2012 Milan
Transcript
Yearbook Dutch Design Milan 2012
40 Years of Dutch Design in Milan p6
Sjarel ExExplainsp28
At Homewith Joep van Lieshoutp14
176 Dutch Designers in Milanp37
The Lack of a Design Museum in The Netherlands
and Six More Designers
Ann Maes Didn’t Miss a Single Salone in 40 Years
Track Them Down: with Detailed Maps, a Restaurant Guide and a Cocktail Schedule
Connecting the Dots showcases all Dutch presentations at the Milan Design Week 2012
#4 April 2012 Milan
Heineken® invited 19 design talents from 4 continents to
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* Invitee only between 17.00 and 23.00 hours on the 17th and 18th of April. Via Privata Gaspare Bugatti 3 Zona Tortona, Milan
HE12017 Connecting the dots 230x297mm.indd 1 02-03-12 11:45
Concept_Volle-Kracht / Photography_Lisa Klappe / People in this portrait_ Joep Verhoeven, Erik Sjouerman, Piet Hein Eek, Max Bruinsma, Marcel Sloots, Eric de Haas, Nacho Carbonell, Marc Maurer, Josef Blersch, Hans Robertus, Mander Liefting, Freek Lomme, Maarten Baptist, Floris Hovers, Olav Slingerland
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Connecting the DotsYearbook Dutch Design Milan 2012Representing all Dutch presentations during the Milan Design Week 17 - 22 April 2012
Connecting the Dots magazine publishes Dutch designers and design-culture internationally during key design events and fairs.
Editor in Chief David Heldt [email protected] Contributing editorsCécile Dornseiffen, Monique van Empel, Annemiek van Grondel, Maarten Veeger, Kees de Haan, Francine Mendelaar, Daniela De Lorenzo (intern)
Translator Studio Mason & Egmond
Graphic design Koehorst in ‘t Veldwww.koehorstintveld.nl
Advertising Luc Deleau & David Heldt +31 (0)208932886
Financially supported byThe Netherlands Architecture Fund
ContentsForeword
Des ign i s E ve r y t h i ngand Fu r n i t u re
For a long time by now a furniture fair has not been about selling furniture, any more than design has been about developing products alone. The Milan Design Week in particular has develo-ped over the last few years to become a bustling meeting place for politics, economy, ecology, city marketing and even nation branding, including Dutch Design. And design is like a new buzzword that covers new entrepre-neurship, linking diverse sectors, and putting people first. Our future needs engineers who are enterprising, know how to link complex issues, and put people at the centre – in other words, designers. While most studies and professions are aimed at specialisation, designers have to be able to make connections across a very broad front.
If you want to know how these new designers can make a whole region prosper, turn to page 16. The city of Eindhoven has known for years that designers have talents that can give a new impulse to the economy. During the 2008 Milan Design Week Tutto-bene was already giving a guided tour to a delegation of local government civil servants who wanted to know everything about design and sustaina-bility in detail. And it was probably not their first visit there. Eindhoven, with its world-famous Design Academy, University of Technology and important high tech industry, has also been organising the Dutch Design Week for eleven years. The driving force behind this event is Capital D, an organisation that deploys design to stimulate the economy in the Eindhoven region. And with success.
This edition of Connecting the Dots also includes a survey of the developments in Dutch Design in Milan during the past forty years by Ann Maes. She has not missed a single (fuori) salone in all those years. She is an incredible source of
knowledge with a unique experience of changing trends and the changing fair itself, especially in the last twenty years. Maes still remembers the salone clearly from the time when it did not contain a single Dutch presentation but was a purely Italian event. She is in a position to know how much the intro-duction of Dutch Design and other trends has changed the Milan Design Week. Maes, who is herself an indus-trial designer, takes a critical view of the developments, particularly of the Dutch presentations; beside an enormous wealth of ideas, she also perceives a spiritual impoverishment. Read the unique survey and interview with her on page 6.
The economic malaise in the furniture branch has, surprisingly enough, not led to a drop in the number of desig-ners and companies at the Milan fair. There are more Dutch presentations than ever. All the same, the time of lavish spending is over. I pick up signals during my stay in Milan, there has been hard bargaining about the price of exhibition spaces, and compromises have been reached. And that is not something that the Milanese like to do. Let us be thankful to Milan this year that we can present our designers, the catalysts of the Dutch economy, to the world here, and at a sharply reduced price.
A week is not enough to see everything. Connecting the Dots helps you to make a selection and to plan your week well. I take the liberty of making three recom-mendations: don’t skip unfamiliar names on your tour, see which traditio-nal brands are working with young designers, and enjoy!
David Heldt Editor in Chief
Foreword
Design is Everything and Furniture by David Heldtp4 —
Interview
From Trade Partner to Idea Generator Interview with Ann Maesby Cécile Dornseiffenp6 —
Article
Capital D: Dutch Design in Bussiness by Monique van Empelp16 —
Column
Not with Furniture by Maarten Veegerp20 —
Column
Nostalgic Avant-garde by Kees de Haanp24 —
Article
The Museum Lives by Annemiek van Grondelp28 —
Article
Connecting the Dots with the Materiaalfonds by Francine Mendelaarp33 —
Guide
Find Dutch Designers in FuoriSalone, Zona Tortona, Fiera and Zona Lambrate p36 —
She has not missed a Salone in Milan in forty years. Present at the most eye-catching shows, exhibitions, receptions and parties. First as a student, since 1977 as a freelance designer, and since 1980 as correspondent for various magazines, including Abitare. But now primarily as promoter, curator and design manager. If anyone has seen Dutch Design expand to become a world-famous export product, it is Ann Maes. But she considers that this reputation has also taken its toll. ‘For decades I have been opposing overproduction, useless products, and the waste of energy and materials.’Interview: Cécile Dornseiffen
40 yea r s o f Du t c h Des ign i n M i l an
F rom Trade Par tner to Idea
Genera tor—
Ann Maes in her archives. Photo: Eline Witteveen
6 7
Exhibiting in the city centre suddenly became more important than a trade fair presentation. What brought about this change?
‘The big Italian firms always used their Milan showroom to receive VIPs. The limited space available at the fair made those shows in the city more and more important. In 1987 Giulio Cappellini caused a stir in the Museo di Milano with a legendary exhibition focusing on the work of Shiro Kuramata. In 1995 Zerodisegno rented a photo-graphic studio in the Via Tortona and organised a fashion show with eccentric furniture. A couple of years later Cappellini moved to the Fabbrica del Vapore, and later to the immense Superstudio in the industrial periphery that was still affordable at the time. It brought in masses of visitors, and other companies tried to take advantage of that flood of people too. That was the start of the success of the Zona Tortona’ ‘Pastoe also decided to move to the city centre in 1990 with a lyrical presentation in the Via Cerva, for which thousands of tulips were flown over from the Netherlands. Montis was presented above the French Cultural Centre in the heart of the fashion quarter. In no time it became a must to stage theatrical ‘fuori saloni’ events, preferably on exciting locations, from ancestral palazzi to abandoned industrial premises. The handy guides and exhibitions of magazines like Abitare and later Interni did a lot to institutionalise this show circuit.’
She first passed through the turnstiles of the Milan furniture fair in 1971, on holiday in Italy with a friend. ‘I wanted to see the phenomenon Salone del Mobile with my own eyes and was immedi-ately hooked. Since then I haven’t missed a single edition, not even as a mother of a three-week-old baby. My colleagues couldn’t understand it. But Milan, that’s something.’
Who were the earliest Dutch pioneers?
‘In the very beginning the Salone del Mobile was a pure furniture trade fair, later supplemented with Euroluce, Eurocucina and Eimu, for lighting, kitchens and office furniture. In 1970s and 1980s the only participants from the Benelux countries were the importers of leading brands: Horas, Kreymborg, Mobica, Polydes, Tradix. They introduced a Dutch designer here and there among their suppliers. These were designers from my generation, including Ed Annink, Ton Haas and Bruno Ninaber. Martijn Wegman and Frans van Nieuwenborg were given the opportunity to have their ‘glass fibre cloth’ lamp ‘Delight’ produced by Ingo Maurer. And thanks to introductions I found my way to Alessi, Ycami and Zeus. It was a real man’s world.’
When did the Dutch furniture manufacturers take the leap to Milan?
‘Looking back, I think that it wasn’t until the 1980s that they were prepared to risk further interna-tionalisation, besides the commer-cial Möbelmesse in Cologne. But it was still a small and select group for a long time: Artifort, Castelijn, Montis, Rohé and Pastoe. And they were not yet in the spotlights, with visits from the occasional scout. That is how Gerard van den Berg was given an assignment by Minotti.’
‘At that time the Salone del Mobile was still held in September on the old trade fair site near the city centre. There wasn’t an edition in 1990 because they had decided to switch to April. It was a messy mishmash, don’t suppose that it was full of design. Only Pavilion 30 had a reputation as the number one venue with brands like Arflex, Baleri, Boffi, Castelli, Cassina, Molteni, Kartell and Tecno. You had to wade through the kitsch to get there. “Rubbish downstairs, beauty upstairs”, we used to say. All the same, the fair organisation COSMIT did its very best to create cultural added value. I can still remember wonderful exhibitions on Colombo, Munari, Aalto, Castiglioni, Sottsass and Magistretti, for example…’
‘Waiters in tuxedo served champagne and intriguing ladies read from Dante
,
Top and bottom:Every Driade-party was a cultural happening. In 2011 Driade celebrated the introduction of the chair ‘Nemo’ in the form of a mask, designed by Fabio Novembre.
Below Top: Cappellini surprised many years the entire design world with its mayor exhibitions in the Superstudio. Show 2003.
Below Bottom: Original catalogues of the legendary company Hidden, designed by Opera Graphic in 2000-2001-2002 and 2003.
L’Italia ricomincia da Zero bookcase by Carlo Poggio, founder of Zerodisegno
1999 Sisters set of bowls in glass, ceramic and tin. Designed by Ed Annink for Driade Aleph
Top: Amsterdammer cupboards, designed by Aldo van den Nieuwelaar in 1973 and produced by Pastoe since 1978
Middle Top: Charly designed in 1980 by Gerard van den Berg for Montis
Middle bottom: 2008 Kadrega wooden chair by Huub Ubbens for Montina
Bottom: Delight glass fiber cloth lamp, designed in 1980 by Frans van Nieuwenborg en Martijn Wegman. Produced since 1987 by Ingo Maurer
Zerodisegno prêt-à-porter furniture on the runway with Versace and Dolce & Gabbana, in the Superstudio in 1995
Legendary Parties
‘The 1980s were extravagant. The Italians in particular spared no expense when it came to branding. I can still vividly recall unforget-table moments. Paola Navone was in charge of the Driade cultural parties, Poltrona Frau brought in opera singers for the Sunday breakfast. Sisal Italia concluded a dinner with a 2 x 2 metre cake in a purple and pink design by Ettore Sottsass. Zeus-Noto had music specially composed for their night parties. I once had a surrealist metro ride with Castelli during which waiters in tuxedo served champagne and intriguing ladies read from Dante. An entire orchestra was playing at the first underground station, and at the last we were treated to a ballet with their famous Plia chairs. What a time that was.’
8 9
And suddenly there were the collectives, led by Droog…
‘After a colourful era of Postmodernism of Memphis and more pragmatic industrial products from companies who embraced Philippe Starck and Jasper Morrison, Gijs Bakker decided to go in the opposite direction. He showed ‘dry’ (droog) Dutch design by a number of young designers in the basement of the Pastoe exhibi-tion in 1993. Renny Ramakers, editor-in-chief of Items at the time, supported the initiative and Droog Design was launched. The Dutch contribution to the design debate attracted increasing attention, partly because their pioneering vision was soon published on a global scale. Droog Design marked a turning point in product design: what was shown was predominantly conceptual. As Memphis had
literally introduced colour to design, Droog Design introduced a shot of humour. Although I found a lot of the work premature, there were some brilliant ideas, such as the ”marble alley” with sliding bucket seat, a fence with a foldable seesaw, wall carrier straps, and of course Tejo Remy’s Milk Bottle Lamp. As a generator of ideas, Droog Design certainly also made a point with its Slow Shows as an alternative to overproduction and the ecological footprint.’
Various group presentations were subsidised. What has the influence of government policy been like?
‘Strong, perhaps too strong. Although it took some time for the Dutch government to become aware of the value of design as a contemporary export product. Ministries and subsidised organisa-tions teamed up with the innovative thinkers: the money poured in from all sides. Of course, group presenta-tions were a strategic PR instru-ment that should not be underrated. But there is always the risk of the lax application of selection criteria. Very many designers would not have been heard of without these foaming flows of subsidies. On the other hand, it has also put the good designers on the map faster. Take Ineke Hans, Richard Hutten, Arnout Visser, Frederik Roijé, Scholten & Baijings and Geke Lensink…’
A second major PR instrument was promotion by the Design Academy Eindhoven.
‘Another benchmark: design schools that put the global spotlight on their best graduate students. They are green, lack any practical experience, and are still filled with wild ideas – just right to set the industry’s head spinning. Unlike the academies that presented at the Salone Satellite, the Design Academy Eindhoven (DAE) and the Royal College of Art landed in the city of Milan, at the focal point of attention.’
In the first decade of the 21st century the Zona Tortona became the free port for young Dutch designers.
‘The magnetic attraction of top names made it busier and busier in the Zona Tortona. Dutch design brands such as Ahrend, Moooi, Linteloo, Royal Mosa, Goods and Van Esch joined in, with many young designers in their wake. It is the period of the rise of interesting designers as Studio Drift, Smool, Raw Color... I’ve seen many crazy creative actions, especially by people with a limited budget. They took their designs around on delivery bikes, or showed their work in caravans by the roadside. Maarten Baas had cloned his studio in an empty garage. Studio Rolf.fr sawed retro cupboards in the street. Muurbloem sprinkled sand carpets on the pavements. Sometimes it was just like street theatre. The press made it worse by interviewing anyone who showed his most extreme side. The commotion grew at the expense of quality…’
What were the most stunning presentations?
‘Too many to mention, surprised on all sides by ‘theatre’ with inspiring content and a high cultural level, from lyric individual shows and historical exhibitions, initiated by the ADI, the COSMIT, the Triennale and the City of Milan, to huge installations curated by Interni.The presentations by Pallucco in the late 1980s in the ruins of the abattoir ‘il mattatoio’ on the outskirts of Milan were legendary: flowing furniture sculptures in a white mist, illuminated by spot-lights – there was no telling where reality ended and illusion began. The brand Dada rented cranes to float enormous platforms with their latest kitchens above the building sites of the metro. And since 1996, the poet of light Ingo Maurer turned the Spazio Krizia year after year into a mecca for the connoisseur.’
When did Milan become the prime breeding ground for Dutch freelance designers?
‘The rise of the freelance designer in Milan had several causes: the promotional policy of the govern-ment, but above all the shortage of permanent employment. The Netherlands simply did not have enough design companies to absorb the growing group of graduates, so industrial designers started to produce themselves or went abroad. But at the same time the Dutch companies recruited foreign designers in a bid to catch up. I even played a role in that myself… Pastoe, for instance, went to work with Shiro Kuramata and later with Shigeru Uchida. It was the time of changing places. Dutch designers were discovered by Italian compa-nies: Maarten Kusters and Jacco Bregonje were successful in the furniture industry, Driade Aleph welcomed Ed Annink and Roderick Vos. Huub Ubens was hired by Artemide and later Danese. Marcel Wanders was discovered and promoted by Cappellini. It was the start of Marcel’s remarkable career.’
‘After a colour-ful era of Post-modernism of Memphis and more prag-matic indus-trial products (...), Gijs Bakker decided to go in the opposite direction.
,
2008 exhibition in the Triennale di Milano, directed by Paola Navone.
Spirits-flying-high Led Paper by Ingo Maurer. Show 2011 in Spazio Krizia Milano. Photo Tom Vack.
Installation ‘Ablaze - Sentimento (s)travolgente’ by Ingo Maurer i.c.w. Axel Schmid, for the 2011 INTERNI-exhibition ‘Achittettura Mutante’ in the Università degli Studi. Showing the gradual transformation of a house burning down in slow-motion. Photo Tom Vack.
2001 Divina couch by Jacco Bregonje for Felicerossi
Extruded grass seat. Concept from Jurgen Bey, presented by Droog Design in 1998
1966 Ribbon chair & hocker by Pierre Paulin for Artifort
2000 Agung easy chair designed by Roderick Vos for DRIADE
Optic glass, designed in 1997 by Arnout Visser for Droog Design
Below Top: Ton Matton eco-exhibition in Stazione Garibaldi in 2010.
Below Middle: 2008 Tuttobene Milaan
Below Bottom: Temporary shop and exhibition of Super Droog in Milan in 2011.
Ghost Chair, designed by Studio Drift in 2007, seen in via Tortona
Sand carpet in the street, created by Muurbloem in via Tortona in 2009
10 11
And that is?
‘Designers should rediscover their social responsibility: working for broad target groups, no longer for the happy few. The market for eccentric and hip items of furniture is saturated. I get the same feeling with all those reinterpretations of old forms and patterns with which some Dutch designers think they can find a new identity. But that is not the solution to our problems. Relevance and usefulness, thinking in human and social terms will help us a lot more. There certainly is still uncharted territory. Just think of the baby and the senior citizen market. But a well thought out, functional and attractive walking frame is apparently not mediagenic enough.’
But isn’t human design on the way up at the moment?
‘Ecological, human and social design: new hypes? Italians like Ezio Manzini and Andrea Branzi have already been thinking and working on that for twenty years! The warnings issued by the Club of Rome have never been taken seriously, but if we had listened better at the time, we wouldn’t be in this mess now. There is the new danger that sustainability will be used as a marketing tool by oppor-tunists, often with long-winded explanations to justify the product. Recycling and upcycling have become the buzz words. But what some people tend to forget is that recycling costs money too. You can better focus on producing less and of a higher quality to extend the lifetime of a product.’
You have been a state jury member for years. What is expected of the up and coming generation of designers?
‘A lot. A good number of their iconic predecessors have lost their way. Future generations will have to learn to deal with an expected shortage of raw materials, energy and funding. That calls for not only creativity but also a sense of reality. If those two meet, once again we will be offered products that are of use to the world.’
Like a lounge party…
‘I gradually became ashamed of that annual Dutch rave. The hysterical happenings were often spurred on by drink sponsors. You could walk over people’s heads at the opening, whole streets were closed off; two days later you could have fired a cannon there. It wasn’t fun any more… and the Zona Tortona blew itself up. Some moved to another part of Milan, such as the Zona Porta Romana where the eco-thinkers are located. Or to the artistic Zona Ventura Lambrate where Abitare has had its head-quarters from 2002 until spring 2012, flanked by old factories, new art galleries, architectural studios and the Scuola Politecnica di Design. But that area is already in danger of becoming overcrowded too.’
As an industrial designer in body and soul, what did you really make of the rise of art design?
‘Everything shows that many designers who produce for them-selves actually have limited possi-bilities of production. So it is logical for them to make small series. But I consider what they create to be less and less functional or relevant: a pure waste of material and energy. Personally I find unaffordable limited editions even embarrassing. That whole ‘art design’ is a thorn in my side. Italians deploy architects and engineers as designers, not as artists. If you don’t see eye to eye with the industry, you can’t just pour a golden sauce over a design to make it more acceptable or wanted. These fake art trends take the wind out of the sails of the serious designers, and of the real artists at the same time.’
It’s called the working of the market. There is a demand, almost a hunger, for trendy design and styling.
‘Always those trends! Designers have become brands and been given star status. Honestly, Marcel Wanders is a good stylist. He stuck his neck out with those oversized ceramic clocks and those mega lamps, but it turned into a gimmick and went from bad to worse. To label almost every design with your face, it’s what I call ego tripping. The really great designers have usually kept their modesty.’
‘Milan is increasingly more about the PR than about the product. The press is partly responsible for provoking that exhibitionist behaviour. Recording controversial novelties in artistic photographs seems to have become a must if you want to get into the glossies. Too much attention is paid to absurd products as a result, such as that famous horse with a lampshade on its head by Moooi: a black horse doesn’t emit any light, does it? The exorbitant kitsch creations for Swarovski are another example. For me they reflect the spiritual impoverishment of our society.’
What do you look for yourself at the Salone?
‘I visit less and less fairs. I follow the topicality via internet. I go to Milan in April and once every two years to ‘Interieur’ in Kortrijk, that keeps me completely up to date. In my own design career I have never shown in Milan. The time, energy and resources it takes are out of proportion. Besides, you can’t broaden your view if you stay put on your own square metres. I always wanted to absorb as much as possible of the atmosphere and meet producers, top designers and importers. You only develop a vision, slowly but surely, if you look around you and listen. Then you realise what there is still a need for and what not.’
‘I gradu-ally became ashamed of that annual Dutch rave. The hysterical happenings were often spurred on by drink sponsors.
,
Ann Maes: Biography
Ann Maes (Bruges, Belgium, 1952) graduated from the Industrial Design Academy Eindhoven in 1977. She began her career as a product designer of technical products, a lot of lighting and the famous Mace-line fireplace tools. In 1980 she became correspondent for the Italian magazine Abitare. In the monographic issues Abitare ‘Olanda
, (1985 and
2002) she gave many Dutch designers their first international publication.
After ten years of freelance production and design, she entered the world of design management, working for Scopelight, Artifort, Lensvelt, Royal Mosa and others. Since 1997 she has also been independently organising trips, events and workshops for top architects with the support of the creative industry. Ann Maes has won various design awards. She lectures and is respected for her critical vision.
2008 Maarten Baas presentation in a garage. Photo Boudewijn Bollmann
2010 showcooking party (in via Forcella/Zona Tortona) to promote the CuriosityKit-chen by PeLiDesign, made with ARPA laminates.
Marcel Wanders
2005. Marcel Wanders designed a striking presentation for Bisazza
Top: 2001 Random Light Black by Bertjan Pot for Moooi
Top Middle: TC stool, designed in 1990 by Ruud Jan Kokke for Museum Boymans van Beuningen. First produced by Designum, since 2004 by Goods.
Top Bottom: BM set of self-made small boats, using disposables like champoo bottles. Designed by Floris Hovers. Presented in Milan in 2011.
Bottom: Mug Domoor, designed by Richard Hutten in 2001. Now in the
2004 This Chair, designed by Richard Hutten for LENSVELT
12 13
Joep van Lieshout— artist / designer— ateliervanlieshout.com— 33 p.45 Merel Wicker en Kim Leemans— fashion designers— l-e-w.nl— 21 p. 41
14 15
They have known for a long time in Eindhoven and environs that a dynamic design climate has prevailed there for years. After the acclaim of this Brainport region as ‘the most intelligent region in the world’ by the Intelligent Community Forum (ICF) in New York in 2011, people are now becoming aware both in the Netherlands and further afield that something special is going on in Eindhoven and the surrounding area. Hans Robertus, director Capital D and Dutch Design Week, explains exactly what that something is. ‘It’s in our DNA.’
Eindhoven‘Brainport is a region of top technology and design. Many top-level technology firms, knowledge and research institutes are located within a roughly 40 kilometre radius of Eindhoven. They include Philips, DAF and ASML, TNO Industry and Technology, but also the Design Academy Eindhoven, the Eindhoven University of Technology and the High Tech Campus. The crafts and productive industry are also well represented here. Thanks to the short lines of commu-nication, a good idea can soon be turned into an innovative product and successfully find its way to the (international) market. The role of design as the foundation of the creative sector is of essential impor-tance in this respect’, according to Hans Robertus.
Technology and DesignHans Robertus and Robert Jan Marringa are the directors of Capital D, a broad organisation in Eindhoven that promotes the deployment of design as a motor force for innovation, economic growth and sustainable development. Robert Jan Marringa: ‘The
word “Capital” refers both to Eindhoven as capital of the D for design and to the capital that design can generate for the world of industry and commerce. There is no denying its economic value and relevance. Design is everywhere. Capital D initiates and facili-tates some twenty projects to bring enterprising and creative parties into contact with one another and thereby to create growth for all of the sectors involved. And it is successful: the creative sector is proportion-ally the fastest growing sector at the moment, not only here in the Brainport region, but also nationally and possibly even internationally. We see Dutch design as the catalyst for innovation and business at both the social, cultural and economic level. This even makes it one of the most important Dutch export products.’
CooperationCapital D originated in the field. It is a cooperation with members from the design world, students, architects, productive industry, knowledge, govern-ment and educational institutions, museums and the local authority. ‘They are all parties who want to tackle design jointly. And to create work in that field’, says Hans Robertus. ‘That is why we shall shortly be starting a multidisciplinary Flexpool for creative entrepreneurs at a national level. For instance, for companies that are looking for a freelance designer, or for self-employed persons who want to contact potential clients. A Flexpool of this kind is a perfect fit for Capital D, because it is in the direct interest of our members and serves as a model for how we try to bring various groups together.’
The cradle of Dutch design lies in Eindhoven, a city in the south of the Netherlands where design is omnipresent. Capital D is the Eindhoven-based organisation that deploys design and design thinking on a wide front to further the economic growth of the whole region and to put it internationally on the map. With success!By Monique van Empel
Cap i ta l D: Du tch Des ign
i n Bus iness—
Dutch Design Awards, Exhibition at Brainport Greenhouse. Eindhoven, October 2011. Photo Boudewijn Bollman
16 17
Growth DiamondsAnyone who can remember the early years of the Zona Tortona and now also the Zona Lambrate in Milan can experience the same exhilarating, dynamic and inspiring atmosphere during the DDW in Eindhoven. The City of Light is also filled with old industrial premises and abandoned industrial sites with inter-esting design clusters of young designers and artists, such as the experimental hotbed Sectie C and the trendy Temporary Art Center (TAC). This is where a wide range of the growth diamonds of Dutch design are located. Because they all throw their doors wide open during the DDW, visitors are given a unique inside view of the kitchen of their conceptual and experimental work. What they show is a vision rather than the ready-made solutions and products that can be seen in Milan. In Eindhoven content counts for more than aesthetics. And that is precisely what makes the DDW popular less with buyers than with parties who are interested in new visions and concepts: journalists, manufacturers, the world of industry and commerce, the productive industry. Raffaela Vandermühlen, head of Communication & Marketing of the DDW: ‘We want to be the hotbed where designers and clients can meet one another and where follow-up assignments may emerge, in both the creative, culture and economic and the social field. Partly thanks to the presence of the Design Academy, we have an enormously tight-knit design community here in Eindhoven. In fact it is their week. Unlike the situation in other countries, the Dutch Design Week is organised from the bottom up. And as Capital D we build our programme around that. One result, for instance, is that you do not keep coming across the same names here that you already find everywhere else. In parallel we organise an international programme of workshops, lectures, congresses, exhibitions and network meetings on the distinctive capacity of design in business and vice versa extending over several days for our commercial visitors under the name DDW Business.’
FutureThe jubilee edition of the DDW in 2011 included no less than 360 activities and exhibitions on the programme at 85 different locations in the city, involving more than 1,800 young designers. We had a record number of visitors: 180,000, more than 10 per cent of them from abroad. It represented a doubling of the number of registered journalists, photographers and camera teams by comparison with the previous edition. According to Hans Robertus, the challenge for the future lies not in quantitative growth, but above all in bringing the right people together. ‘We gauge the success of the week to a large extent by the quality of the relations that are made there. We want to interest different parties in one another and eventually bring about a change in behaviour that will bring the creative sector and the world of industry and commerce, but also for example financial institutions, government bodies and legal experts into contact with one another and to harmonise better with one anoth-er’s interests.’ A new feature in 2012 is a ‘heavier’ evening programme with more opportunity for discussion and networking.
Dutch Design AwardsOne of the highlights during the DDW is the annual presentation of the Dutch Design Awards, this year for the tenth time. It is a national competition for Dutch design in the categories Communication, Product, Design, and – new this year – Autonomous Design, for which designers from every discipline are eligible. Capital D is responsible for the organisation of the competition, the presentation of the awards, the (travelling) exhibition and the contents of the Dutch Design Yearbook (in collaboration with NAI Publishers). Head of PR Robert Jan Marringa, Director Dutch Design Awards: ‘This year we are putting even more emphasis on storytelling. We consider not only what designers make, but also the story behind a design and its social relevance.’
At the moment the organisation is engaged in research on the economic value of the Dutch Design Awards. What benefits do they bring to the winners? How do they themselves see the importance, the quality or the added value of the Awards? Architect and (light) artist Daan Roosegaarde, who won the Dutch Design Award for the best autonomous spatial design in 2009, claims to have gained a lot from his distinction. ‘Awards are the golden crumbs that help you to make the perfect bread. Thanks to the Dutch Design Awards, my work has attracted the interest of new parties and public projects, particularly in Asia. Recently our interactive light installation Dune even won the Chinese Most Successful Design Award.’
International Podium for DesignersCapital D has an average of twenty projects in its portfolio each year. It provides them with both strategic and executive backup to put the Eindhoven region on the (inter)national map. The best-known are the Dutch Design Week and the Dutch Design Awards, but the International Podium for Designers is also a large-scale project. Hanneke van den Nieuwenhof is Capital D head of project for this long-term investment programme. ‘To put it simply, we want to show the world how we deal with design and design thinking in the Netherlands and particularly in the Brainport region. We see these as the strongest cards to play for growth of the creative sector in the country and abroad. To that end we organise travelling exhibitions, trade missions, design trips, workshops, lectures, pitch sessions and other activities. So we literally offer designers a podium. On the one hand, the International Podium for Designers is aimed at positioning and profiling Dutch design. On the other hand, it is there to promote cooperation between designers and companies abroad.’
Made in BrainportHanneke van den Nieuwenhof tells us that this year’s programme is concentrated on three exhibitions: Made in Brainport, Spring, and Connecting Concepts. The last two are organised in close collabo-ration with Premsela, the Netherlands Institute for Design and Fashion. Spring, which can be seen during ‘i saloni’ in Milan, is a triptych in which thirty well-known Dutch designers show work that has inspired them and promote young talent. Hanneke van den Nieuwenhof: ‘The exhibition Made in Brainport shows the results of successful forms of cooperation from the Brainport region in which knowledge,
creativity and design proceed hand in hand. They are products with which designers have been involved from the very first stage of the developmental process. You can regard it as a visual plea for the conviction of Capital D that cooperation between designers and the world of industry and commerce really can help our region to make economic progress.’ Besides the exhibitions Made in Brainport (Istanbul, Munich, Helsinki) and Spring (Milan, Moscow, Helsinki), Connecting Concepts (Berlin, Istanbul) is also being shown internationally. This exhibition, a collaboration with the Netherlands Architecture Institute, has been curated by Ed van Hinte on the initiative of Premsela and is part of the DutchDFA programme. Hans Robertus: ‘I am convinced that design can make the world a good deal more beautiful, better and more sustainable. Brainport is at this moment the most intelligent region on the basis of the left side of the brain. My ambition is to develop this further in balance with the right side of our brains.’
Dutch Design WeekThe Dutch Design Week in Eindhoven has grown in the course of ten years to become the largest design event in the Netherlands. By now the event is also on the international map. Eindhoven breathes design for nine days. The DDW is not a regional festival, but a national showcase of Dutch design. The whole city is bustling. Hundreds of new talents from the Design Academy Eindhoven and elsewhere, established designers and famous agencies from all over the Netherlands show their work on a number of locations. Eye-catching design taxis drive back and forth between the main attractions: the Design Academy, the Klokgebouw and other indus-trial buildings on Strijp S, R and T, the Eindhoven University of Technology, the Design House and the Brainport Greenhouse where the work of the finalists and winners of the Dutch Design Awards are on show. Last year the Dutch Design Week was opened by nobody less than Princess Máxima.
Dutch Design Awards, MINI Young Designer Award-winner Bart Hess, presenter Hadassa de Boer and Director BMW Group The Netherlands Jan-Christiaan Koenders at the Awardshow Eindhoven, October 2011. Photo Bram Saeys
Princess Maxima opening Spring exhibition by Premsela and Capital D. Eindhoven, October 2011. Photo Job Janssen
The 11th edition of the Dutch Design Week will be held from Saturday 20 to Sunday 28 October 2012, with the presentation of the Dutch Design Awards on 20 October.www.capitald.nl · www.ddw.nl · www.dutchdesignawards.nl
Klokgebouw during Dutch Design Week Eindhoven, October 2011. Photo Sjoerd Eickmans
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It’s not original. But any self-respecting designer has to be in Milan during furniture week to present his furniture, lamps, kitchens or bathrooms.
Being there and taking part as one of the 2,500 firms at the official trade fair and an estimated equal number scattered through-out the city is fine, but it’s not enough. You also have to be able to present something new, and that something new really has to be new. The deadline for completing the product is one day before the fair opens.
Why? Because you increasingly have to attract the attention of the media to your product at that fair. There are surprisingly few buyers among the 300,000 visitors who file past the stands. They are fellow designers, journalists, enthusiasts, students, and with a bit of luck a few potential customers. While ten years ago many designers kept a list of how much they had sold in their exhibition space in Milan, nowadays it is more common for them to have to make do with a pile of business cards. Any sales you make do not even cover the stand rent, ticket and hotel. The hope is that a week at the fair will yield results in the following months, for instance because you were featured in a newspaper or magazine and potential customers can still remember you.
It’s not a very encouraging prospect, and on top of it all there is the crisis. The Italian furniture branch has never been hit so hard, especially the smaller firms that have concentrated on the domestic market. The big and more international ones are in a better position. They are at Milan as well to present themselves and to ensure that they are talked about. And no expense is spared in that quarter.
So staying away from this week in Milan is not an option. But how are you to stand out in that forest of new or spruced up designs? What must you do to get that spoilt editor of a design magazine to write about you or to place a photo after he or she has been with the big boys?
By not taking the fair too seriously. Wild. Something without furniture, lamps, kitchens or bathrooms, for instance. Two years ago Maarten Baas was in Milan but didn’t really have anything to report except an iPhone app of his earlier digital clock for 0,99 ct. If anyone was also interested in his furniture, he or she would have to make a phone call. It was up to them.
Of course, every journalist had to tell that story. Maarten must have more than covered the expenses of being there and taking part.
Maarten Veeger
Not w i t hFu r n i t u re—
What must you do to get that spoilt editor ofa design magazine to write about you?
bezoek onze website www.mosa.nl
TerraTones_230x297_FRAME.indd 1 01-03-12 15:16
Rene Rutten
Digitally signed by Rene Rutten DN: cn=Rene Rutten, o=ReneRutten Design, ou=Rene Rutten Design, [email protected], c=NL Date: 2012.03.01 15:16:24 +01'00'
20 column
OUT NOW!
WAVERDesigned by Konstantin Grcic
Developed by Vitra in Switzerland
Vitra (Nederland) B.V. De Oude Molen 2 ∙ 1184 VW Ouderkerk aan de Amstel Tel. 020 517 44 44 ∙ [email protected] ∙ www.vitra.com ∙ Showroom geopend ma-vrij 9.00 – 17.00 uur
Laurens van Wieringen— interior designer— laurensvanwieringen.nl
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Designers have to keep abreast of virtually every development that takes place in the world that surrounds them, and probably outside it as well. It is obvious enough that they have to be able to produce more efficiently, to react to prevailing demands or to predict trends. But for those who cherish the ambition of really being out in front or, if need be, wanting to change the world – and there is no shortage of them – it is perhaps advisable to keep out of the vanguard and to fall back on the dusty past.
The first example of this phenomenon emerged in England in the mid-nineteenth century with a group of painters called the Pre-Raphaelites. As the name indicates, they wanted to return to the art of painting as it had been before the era of the Renais-sance artist Raphael. They began to apply an old-fashioned method in a modernised setting. Curiously enough, this caused a sensation because of their ‘revolutionary’ behaviour. In fact, the movement is regard-ed as the first avant-garde. An even more noteworthy example is that of William Morris, another English artist, who turned his back on industrialisation at the end of the nineteenth century. While the invention of mass production was being widely embraced, Morris calmly sat down to embroider a curtain. Soon afterwards this became his popular Arts and Crafts Move-ment.
These cases show that nostalgia can be just as powerful a force of change as the belief in progress. Modernisation entails decline, so that the desire for something new will be bound to emerge eventually. The decision on whether to join in a development or not depends on whether it is regarded as positive or negative, but it seems that the same point is reached in the end. The stark contrast between craftsmanship as prac-tised by William Morris and astonishment at the potential of technology is by no means so clear-cut any more. We can compare the industrialisation of that era with the enor-mous growth of the social media. The major source of happiness today offers a future because it makes everything easier and faster.
Personally, I am becoming more inclined to write my letters. All around me I see young people joining knitting clubs. The hordes in the train with their eyes glued to their mobile phones are increasingly turning to books. We are on the eve of an avant-garde movement that is backward-looking but more militant than ever.
Kees de Haan
Nosta lg i cAvan t - ga rde—
I am becoming more inclined to write my letters. All around me I see young people joining knitting clubs.
7-8-9 June 2012Taets Zaandam
The best Trade event for interior design
10th edition
Latest information and registration atwww.designdistrict.nl
Amsterdam
Formerly known as 100% Design
24 column
Mark van Iterson— manager design & concept at Heineken— heineken.com— 21 p. 41 Massoud Hassani— product designer— massoudhassani.blogspot.com— 09 p.37
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Des ign D i rec t ions
TheMuseum
Lives—
Annemartine van Kesteren and Sjarel Ex.Photo Ilco Kemmere
Design plays a directing role in society, according to director Sjarel Ex and conservator of the city collection Annemartine van Kesteren of Museum Boijmans Van Beuningen. On the DNA of Dutch design and the added value of a museum to provoke social debate.by Annemiek van Grondel
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Buchen-wald, including smoking crematorium chimneys and barbed wire. A socially relevant addi-tion to the work of Studio Job, or a publicity stunt, as the journalist Tracy Metz put it in a heated TV discussion on the controversy? The museum director: ‘In 2010 we showed Infernopolis, an installation by Atelier van Lieshout, in Submarine Wharf, the museum’s exhibition space in the Rotterdam docks. Joep van Lieshout made sinister, utopian models for a self-sufficient city, SlaveCity. This totalitarian worldview based on people themselves as the raw material was preceded by extensive research. His whole oeuvre is about devising solutions for the distorted relations in consumption that people have allowed themselves. Eventually you end up in a sort of concentration camp system. That’s terrible, of course, but it is based on research. It is very different from this work by Studio Job. There’s nothing wrong with strong opinions, but when someone gives the impres-sion of having appropriated something just to appear interesting I quit.’
Dutch DNAThe reputation of Dutch design has increased explo-sively since the 1990s. That was the decade in which the Droog Design label launched designers to world-wide fame. Van Kesteren: ‘The growth of prosperity was translated into a growing demand for design products. There was a pronounced focus on the individual: critical, expressive, self-willed. People wanted to show their own identity and did so mainly through such products.’ ‘In addition, that growth and prosperity brought out the limitations of a small country’, Ex adds. ‘Designers operate in the field of legal codes,
regulations, jurisprudence, territories, plots, open and closed areas. The small size of the Netherlands calls for a specific creativity and solution-orientated approach. Japan also has a design culture of its own. This leads to a heightened awareness, almost a national DNA. It can be effective even in its ugliness. Take those ghastly mass housing estates. You know exactly where you are: in the Netherlands.’ Design is the DNA of society and plays a directing role, he is convinced of that. ‘Everything that has form is thought about beforehand: in decisions, products, results, cohesion and identity. Much is found in the design that is both solution and space, and in the end limitation too. For instance, the designs by the MVRDV firm of architects are special solutions for a shortage of space. Or they offer a social arrange-ment for a structure that was not visible from outside before. You run up against boundaries everywhere, there is an incredible mass of laws, regulations and practical conditions: on security, or how do deal with people as a mass, and what you want to regulate individually or not in that area. That puts the quality of the design to the test. It is an ongoing training through which you also become better.’ The economic recession is an inevitable call to wake up, and the design world is no exception. It does not necessarily imply less creativity. A new élan, a more engaged awareness, seem to have arisen. Van Kesteren: ‘The feeling is completely different from twenty years ago. It’s a DIY mentality and finds expression in reuse, redesign and restyling. Guerrilla-like activities spring up, such as the creation of gardens for the neighbourhood, born of a desire to regain the city for the residents.’ ‘A sort of autarky’, Ex agrees. ‘The whole oeuvre of Joep van Lieshout, that is situated between art and design, is exemplary of that.’ After a visit to the latest Salone di Mobile, the Dutch designer Frank Tjepkema was surprised and dismayed by the small number of design reactions to the crisis. It prompted him to make the No Recession Chair, with a back support that has been all but sanded away. A cheap IKEA chair has been stripped so far that the organic skeleton is visible. It is a sneer at the cuts in government spending on the arts: the culture of endless paring away. You can’t sit down on this chair because, he argues, you can’t count on a crisis-ridden society. ‘I find it a poor example’, Van Kesteren responds. ‘The crisis sets other systems in motion. Take fashion designer Monique van Heist. She refuses to accept the laws of industry and commerce – a new collection every season – and works on a permanent collection to which she keeps adding new items. It is not just about the aesthetics of a crisis, but also about inventiveness, the creation of new systems that are relevant. That is typically Dutch. At the same time globalisation makes everything more uniform, as illustrated by the design of the big retail chains. The importance of locality emerges as a reaction. Designers go back to their roots. This results in interesting initiatives, such as the ceramic series based on the Waddenzee by Studio Maarten Kolk and Guus Kusters. Local fascinations, investigated and designed on the basis of the Dutch mentality: sober, dry and constructive.’
There is no doubt about it: no one in the Netherlands can turn a blind eye to design. Unlike many other European countries, however, the Netherlands lacks a museum devoted specifically to design in all its disciplines. Various design events are organised every year, of which the Dutch Design Week in Eindhoven is the best-known, and several cities claim the title design city. Breda has a museum of graphic design, Arnhem the Fashion Biennial, and many museums have design in their permanent collection. But which city can be called the design city of the Netherlands? And which museum plays the most important role in the discipline? The answer is probably to be found in Rotterdam in the museum with one of the oldest design collec-tions in The Netherlands. Museum Boijmans Van Beuningen presents art from the Netherlands and the rest of Europe from the early Middle Ages to the 21st century, and reserves some 35 per cent of its programme for design presentations. Besides the permanent collection display and thematic design exhibitions, contemporary work is also shown during the biennial Rotterdam Design Prize, one of the most important awards for Dutch designers, with its multimedia promotional materials, including a series of short films on national television and Art Tube, its own video channel. When asked for his opinion, director Sjarel Ex is not tempted to claim the title of main player in the field of design: ‘We were already showing applied art from
the late Middle Ages to the present before anyone had ever heard of Dutch design. We use the logo of the museum, that can be read as an example of Dutch design, primarily to bring the diverse collections together and to get them to interact with one another to create a Gesamtkunstwerk. You can see that as well in the design of the hall and the way in which design and art exhibitions overlap and succeed one another. As an encyclopaedic museum we present several disciplines from a number of centuries. We regularly supplement that. For instance, we acquired the proto- type of the Futuro, the mobile holiday home from 1968 by the Finnish architect Matti Suuronen, an icon. Given the time at our disposal, we can record design, place it in the context of eternity, and reflect on it. Sometimes that makes us slow, but also very resolute.’
The idea that a city could be qualified as design city of the Netherlands in connection with city marketing par excellence is ‘nonsense’ in his opinion. ‘Design can be found everywhere in the Netherlands. There is much more reflection on all kinds of forms of design over a broad front. It would be truer to regard the Netherlands as design country of the world. In that case the city is irrelevant. The Netherlands is small: you can be where it’s happening in a flash.’ ‘There is regular consultation between conserva-tors from various cities on collection building, acquisitions and the collection of design’, comments his colleague Annemartine van Kesteren, the muse-um’s city conservator design. ‘In Rotterdam we discuss the programming with the neighbouring museums such as the Kunsthal and the Netherlands Architecture Institute, occasionally organise joint exhibitions, and reflect on joint ticket sales.’ She regrets the fact that the design fairs and events are so spread out over the year. ‘September is design month in Amsterdam, October in Eindhoven, in February we travel to Object Rotterdam before going on to Utrecht and Arnhem. Why don’t we just put on something big called Dutch Design in the Netherlands?’
Totalitarian WorldviewDesign reflects the time of its creation and is a symbol of current or recent socially relevant issues, but sometimes views differ on the relevance of a particular design. Take a recent work by Studio Job. The designs of this successful design collective of Eindhoven graduates (internationally discovered and purchased in 2002 by the Dilmos gallery in Milan and acclaimed by Wallpaper* as best breakthrough designers in 2005) are situated at the interface of design and art. They like to go to the limits of decency and good taste. They call their work a mixture of Albert Speer and Donald Duck. At the end of December last year, their design for a fence, intended for the house of an art collector, aroused widespread public indignation. It bore a strong affinity to the fence around
Atelier Van Lieshout, Infernopolis, 2010 Exhibition New Energy in Design and Art, 2012
Why don’t we just put on something big called Dutch Design in The Netherlands?’
Simply putting design in an ex-hibition space is not enough.
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The Materiaalfonds for Beeldende Kunst en Vormgeving (Loans for Visual Artists and Designers) celebrates its 40th anniversary. For four decades this independent foundation has offered artists and designers the opportunity of taking out a loan in order to produce new work. Artists in particular make use of this facility, perhaps because the scheme was originally set up for them. How-ever, designers can benefit from this form of funding as well. Borrowing to make an investment may be a big leap forward in your career. For instance, the designers Gijs Bakker and Ineke Hans took out loans from the Materiaalfonds at the start of their careers.
The loans are intended for the development, production and presentation of new work. In spite of the name, this need not be confined to materials. Sometimes you need prior funding to imple-ment a plan or an idea, for instance to make an expensive prototype, for the first production of a new design, or to present your work at a fair like the one in Milan. Any artist or designer who lives and works in the Netherlands can apply for a loan.
Lonneke Gordijn and Ralph Nauta from Design Drift received a loan to make the Ghostchair and to present it at the Salone del Mobile in Milan. Lotty Lindeman applied for funding to make a prototype of various lamps, which she first exhibited at the Dutch Design Week in Eindhoven. Sjoerd Jonkers applied for a loan from the foundation for the first produc-tion of his hand-knotted carpet
‘Tapis Noués’, which is produced along Fair Trade lines in Morocco. Sjoerd Vroonland and Arjan Vaandrager developed and implemented the first series of their saddle stools that have become popular by now.
The Materiaalfonds also likes to be able to offer artists and designers a showcase. A large number of works and designs that have been funded with a loan from the foundation will be presented on the new website that will be launched in April 2012.
There is more on the agenda: The DOEN | Materiaal Prize is being organised for the fourth time in cooperation with Stichting DOEN. This is a prize for sustainable and innovative use of materials in art and design. Entrants compete for a first prize of €15,000 and an incentive prize of €5,000. Even if you are only nominated you are still a prize-winner in a sense, because the nominated designs will be presented for ten days in the Van Abbemuseum during the Dutch Design Week in Eindhoven.And from 10 to 17 April the Materiaalfonds will celebrate its anniversary with an international programme on colour with lectures, master classes, film and art in the public domain: The Weight of Colour.
So there are plenty of reasons to keep an eye on the website(s).
Francine Mendelaar Director Materiaalfonds
Broadening the viewSimply putting design in an exhibition space is not enough, Van Kesteren finds. ‘You can explain the value of a design object better by placing it in connec-tion with themes and knowledge from the past and the present. By showing connections with other pieces in the collection, a design is placed in a context.’ A new exhibition format called Design column, which will be launched in June, shows how designers, architects and artists investigate current themes of front page interest. Every two or three months the museum puts on a presentation in which a small group of designers makes stimulating statements on the basis of their newly developed concepts or products. Van Kesteren: ‘It may be fear of a new viral infection, the fight against obesity, the collapse of the Euro, or the value of an object. Take the Toaster Project by Thomas Thwaite. He made his own toaster from scratch after dismantling a cheap one. Like a modern alchemist, he ground and assembled materials in order to recon-struct an industrially manufactured product by hand. After much blood, sweat and tears, the result was a strange looking object that is indeed able to toast bread. It is interesting to see much time and effort it takes to make the product, but how low its retail price is in the shops.’ The column will be given the form of an exhibi-tion in a permanent room of the museum. Objects, accompanied by quotations or other written material, will reflect on current issues. The social media can be brought in for this, such as putting visitors’ questions to the designer by webcam so that the latter can reply online the same evening. Designers construct society, devise fundamental systems and new products, launch debate and discus-sion. The museum claims a role in that. ‘The Design column is not a hermetic presentation or design theoretical reflection, but something about which everyone has an opinion’, Van Kesteren adds. ‘We want to show that art and design can break open a discussion at the very time when everything seems to have ground to a halt.’
The museum as a podium for engagement?‘We are not waiting for Philips to lay an egg nor for how the stock exchange is behaving’, says Ex, ‘but we provide insight into what is being devised in laborato-ries and workshops. Collecting and showing form is as old as humanity. The way in which museums show art, designs and products in relation to one another is a form of communication that may be older than all other forms of communication together. Its essential story is so compelling that it will always continue to exist.’
AboutPremsela dedicates itself to promoting the growth of Dutch design. Premsela organises lectures, debates, exhibitions and publications. Capital D aims to stimulate and connect creative initiatives that strengthen the region’s (inter-) national reputation in the field of top technology and design.
PresentationSpring: Excellence, Talent and Inspiration in Design is featuring work by renowned Dutch designers, the greats who inspire them, and the young colleagues they admire.
10 Moooi PresentationFRAME Moooi Award 2012
AddressMagazzini Generali Via Pietrasanta 1620124 Milano
AboutThe Front Room: Colour and Geometry is a presentation of new objects for the front room by a group of up-and-coming designers. Each object is a fresh
version of it’s predecessor, united by the ritualistic nature of sheer geometries and strikingly contemporary colour palettes, embracing purity with an element of playfulness. Four designs specially made for The Front Room will be unveiled on the first day of the show.
PresentationA self-initiated show by Matylda Krzykowski from MATANDME and Marco Gabriele Lorusso from Made in Design Studio. It is hosted and supported by cultural association Ca’laghetto.
13 MATANDME & Made in Design Studio
15 WET DesignersMariandrea Zambrano
PresentationFOLD by WET
AddressTOURBILLONVia Baldissera 4 corner Via Stoppani 220129 Milano
Online www.wet.co.it AboutWET has been remarked to have changed the bathroom into what it is today, introducing trend settings, highly colorful and illuminated PolyEthylene bathtubs and sinks.
PresentationA shelf integrated wall-mounted faucet-line featuring a high quality full brass chromed MIXER.
AboutSamer Chalfoun & Marcel Losekoot believe that current spatial design no longer fits in with today’s 24/7 lifestyle. You want your surroundings to adapt like a chameleon. Based on this, C&L develop innovative products that combine intuitive design, home automation and comfort.
PresentationWrap Spaces dares you to experience a place that is completely tailored to your 24/7 way of life. A life where boundaries between work and home blur. Where any separation between your kitchen, lounge, living and work space has gone. Wrap Spaces is breaking boundaries.
16 Wrap Spaces
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17 De Vorm Officine della Torniera
17 Officine della Torniera
17 New Duivendrecht Officine della Torniera
17 Frederik Roijé Officine della Torniera
17 Weltevree Officine della Torniera
18 Studio HVN
19 Superstudio Più
19 Functionals Superstudio Più
DesignerFrederik Roijé
PresentationDish of Desire
AddressOfficine della TornieraVia Novi 520144 Milano
ContactBirgit CalisIndustrieweg 29, 1115 AD Duivendrecht, The Netherlands [email protected]+31 (0)20 4165706
Online www.roije.com
DesignersBenjamin Hubert, Sebastian Herkner, Steffen Kehrle
AddressOfficine della TornieraVia Novi 520144 Milano
PresentationRevolver shelving system at Pianoprimo Srl
AddressPianoprimo SrlVia Tolstoi 5 20146 Milano
ContactHenny van NistelrooyUnit 9, 5 Fountayn Road N15 4QLLondon, United [email protected] +44 (0)77 91706088
Onlinewww.studiohvn.com, www.pianoprimo.it
DesignersMia Gammelgaard & Ehlén Johansson, Jan Habraken, Dick van Hoff, Kranen/Gille, Alissia Melka-Teichroew, Serener, Chris Slutter, Claire Vos, Roderick Vos
PresentationExpect the unconventional
AddressSuperstudio Più - Temporary Museum for New Design, Via Tortona 27, 20144 Milano , stand 15A
Temporary Museum for New Design Via Tortona 27 20144 Milano
19 Gispen, NgispeN Superstudio Più DesignersMaarten Baas, Anke Bernotat, W.H. Gispen, Dick van Hoff, Richard Hutten, James Irvine, Iris Jansen, Fabio Novembre, Ontwerpers.nu, Jan Plechac, Gerrit Rietveld, Wim Rietveld, Jerszy Seymour, Studio Makkink & Bey, Wiro van Vilsteren, Michael Young, ZUS
PresentationPlaying with Tradition
AddressSuperstudio Più - Temporary Museum for New Design space 16Via Tortona 27, 20144 Milano
ContactDiane Van VeenParallelweg West 23, 4104 AZ Culemborg, The [email protected] +31 (0)6 51002827
Online www.gispen.com www.ngispen.com
AboutNgispeN is a Dutch brand founded by Gispen, one of the oldest and largest office furniture companies from The Netherlands. Our collection is targeting the domestic market.
The collection is designed under the art direction of Richard Hutten.
PresentationDuring this years Salone del Mobile in Milan, Gispen and NgispeN will launch a variety of new products designed by well known international designers at the Temporary Museum For New Design in Superstudio Piu.
DesignersMosa Design Team
PresentationLiving Walls
AddressSuperstudio Più - Temporary Museum for New Design stand 15AVia Tortona 27, 20144 Milano
AboutHeineken is beer. Of course. But Heineken is more, always looking for new experiences and fresh conversations. Open Design Explorations is doing exactly that; experimental concepts beyond beer. Enjoy responsibly.
PresentationHeineken presents a progressive pop-up concept club, based on the theme of ‘ Changing Perspectives’ . The club is the conclusion of almost a year of discovery between the emerging designers, Heineken and input from clubbers that can now be experienced for four days only.
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AboutStudio Thier&VanDaalen was founded in June 2011. Both graduated at the Design Academy in Eindhoven. The studio develops new material applications and treatments, combined with design, use of color and styling, they create products that tell you a story.
Presentation CuratorCabinetRe-using objects and exhibiting them in a show-off cabinet, everybody can depict his or her own personality.In a light-footed way, we tried to emphasize the current trend of mass-consumption. By exhibiting existing objects and special memories, we hope the viewer will remember his hidden finds, somewhere in a drawer or wardrobe...
PresentationThe new Glint of Things/ De glans der Dingen
Tuttobene will show excellent and innovative interior products, including tables, chairs, lighting and home accessories. With a focus on young talent Tuttobene has succeeded again to bring together 19 talents showing their newest designs in Tuttobene’s 9th Milan exhibition.
Contact Laura SchönDamrak 70, 1012 ML AmsterdamThe [email protected]+31 (0)6 10396774
Onlinewww.tuttobene.nl
Christian KayserWespienstraße 30, 52062 AachenThe [email protected]+49 176 62461684www.christiankayser.com
David DerksenTT Neveritaweg 15K 17, 1033WBMaastricht, The [email protected]+31 (0)10 2447304www. davidderksen.nl
24 Arco DesignersJorre van Ast, Willem van Ast, Jonathan Prestwich, Burkhard Vogtherr, Arco Design Studio, Yael Mer & Shay Alkalay
AddressSalone Internazionale del Mobile Pavilion 16, Stand 51B
ContactTim OrriensParallelweg 2, 7102 DE WinterswijkThe [email protected]+31 (0)6 39645164
Onlinewww.arco.nl
AboutThe table, in all of its simplicity and versatility, is Arco’s strength and focus for the future. The ingenious combination of technical innovation, high quality design and skilled craftsmanship has made Arco one of the leading specialists in its field.
PresentationA home without a table is almost inconceivable. The table is one of the most defining pieces of furniture in any home. It is also the centre of all kinds of activities, the most important being eating, drinking and socialising.
23 Arflex DesignersCarole Baijings, Stefan Scholten
PresentationIt’s a wrap
AddressSalone Internazionale del MobilePavilion 7 stand D10
22 Royal Academy of Art Via Voghera 11/b DesignersStudents and alumni from the departments of ArtScience, Fine Arts, Photography, Graphic Design, Interior Architecture & Furniture Design and Textile & Fashion
PresentationThe Royal Academy of Art: The Shepherds of Stuff
AddressStudio IrokoVia Voghera 11/b20144 Milano
ContactMarjolein Brouwer / Sonja Ammerlaan Prinsessegracht 4, 2514 AN The HagueThe [email protected]+31 (0)70 3154729º
Online www.kabk.nl/milano
AboutThe Royal Academy of Art (The Hague, The Netherlands) prepares its students to become self-aware artists and designers, able to make a significant contribution to their discipline and to society. Our work is guided by an experimental and investigative attitude, strong commitment and an orientation towards the future.
PresentationThe Royal Academy of Art displays a selection of works that are the outcome of artistic research by its students. They demonstrate shifting attitudes towards the concept of nature in patterns of interaction with objects and processes. A fragile plant is given a robotic prosthesis to enable it to respond to humans in a new way and objects are fabricated through processes that are partly out of control.
Jian Kotalikova | ‘Growth’ wall tiles
Ivan Henriques | Jurema Action Plant
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Zona Lambrate
25 Leolux
26 Montis
AddressSalone Internazionale del MobilePavilion 10, Stand A07
DesignersGijs Papavoine, Simon Pengelly, Gert Batenburg, Niels Bendtsen, Geert Koster, Dick Spierenburg
AddressSalone Internazionale del Mobile Pavilion 16/1, Stand F-30
ContactCaroline KülsenPostbus 153, 5100 AD DongenThe [email protected]+31 (0)6 22993456
Onlinewww.montis.nl
29 Via Ventura 6
29 Chi ha paura…? Via Ventura 6
29 HAN Gallery Via Ventura 6
DesignersCampana Brothers, Gijs Bakker, Dinie Besem, Brecht Duijf, Konstantin Grcic, Gina Hsu, Studio Job, Chris Kabel, Philipp Käfer, Susanne Klemm, Marc Newson, Iris Nieuwenburg,
29 IN Residence / Design Dialogues Via Ventura 6 DesignersBCXSY, Pieke Bergmans, FormaFan-tasma, Pepe Heykoop ,Tomá Gabzdil Libertiny,Minale-Maeda, Studio Jo Meesters, Anke Weiss,
PresentationIN Residence. Design Dialogues / Another Terra. Home Away from Home
AddressVia Ventura 620134 Milano
ContactMargherita Sassone T. +39 347 4457067Anita Donna Bianco+39 329 2593972 [email protected]
AboutJack Brandsma is interior architect & industrial designer and known for the SpareSpace mobile office project that he presented on the construction site in Via Ventura in 2008. It was the first co-operation with Mariano Pichler, co-founder of Plusdesign.
PresentationIn recent years Jack has been making a lot of light installations in public buildings, like hospitals, theaters, offices, etc. Last February he installed the first Major Tom Chandelier at CBW/Mitex in Zeist, the second piece will be presented at Plusdesign Gallery.
ContactArjan van RaadshoovenDebussystraat 2, 5654 SCEindhoven, The [email protected]+31 (0)6 24527531
Online www.vij5.com
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31 HKU Design / Utrecht School of the Arts Via Massimiano 6
31 Koning Willelm 1 College Via Massimiano 6
DesignersMerel Bekking, Lieke Jildou de Jong, Jesse Nortier, Pluc Plaatsman, Charlotte Wagemaker, Anouk Wipprecht
PresentationSelfreflexity and redefining the self
AddressVia Massimiano 620134 Milano
ContactSigrid van WilligenIna Boudier-Bakkerlaan 50, 3582 VA, Utrecht, The [email protected]+31 (0)3 025 203 34
PresentationWith the blurring of the boundaries of disciplines, the need arises to search for the essence. Design is in a state of selfreflexity, which will necessarily lead to redefinition. What is a photo? Where does design start? What is the essence of communication? How do I relate to my design? The Utrecht School of the Arts presents a selection of alumni work titled: ‘Selfreflexity and redefining the
self’. With the blurring of the boundaries of disciplines, the need arises to search for the essence. Design is in a state of selfreflexity, which will necessarily lead to redefinition. What is a photo? Where does design start? What is the essence of communication? How do I relate to my design?
Onlinewww.hku.nl/hkudesign
DesignersAlexander van den Bosch, Lennart Bras, Lex van den Broek, Remi Gerritsen, Mohammed Mighiss, Niels Roosenbrand
AboutKoning Willem I College ‘s-Hertogen-bosch, The Netherlands, is an innovative Community College with a wide variety of educational programs. One of these is Furniture Designer, where students are coached and trained in designing and manufacturing by experts from professional practice.
PresentationStudents Furniture Designer were challenged to design and manufacture a piece of furniture within the ‘Slow Design’ theme. In addition to local and recycled materials, they could also use existing designs or concepts. The six winners show their designs at the expo.
31 Piet Zwart Institute Willem de Kooning Academy Via Massimiano 6 DesignersAnette Backe, Dominika Dyminska, Angelique Etman, Marie Gade-Lundlie, Mariann Hildal, Milda Liubinskaite, Micaela Nardella, Oana Tudose
PresentationFABRIKAAT
CompanyPiet Zwart Institute Willem de Kooning Academy Rotterdam University / Master of Interior Architecture & Retail Design
AddressVia Massimiano 620134 Milano
Online pzwart.wdka.nl
ContactCarmen de GrootBlaak 10, 30011 TA, RotterdamThe [email protected]+31 (0)10 7944790
31 Studio ThoL Via Massimiano 6 DesignerThomas Linssen
31 Haags Werk Via Massimiano 6 DesignersMarlies van der Linden, Celine van Raamt, Inge Simonis, Barbara Vos, Raúl Wallaart, Geanne Welles, Tiddo de Ruiter
AboutWET has been remarked to have changed the bathroom into what it is today, introducing trend settings, highly colorful and illuminated PolyEthylene bathtubs and sinks.
PresentationRe-shaping the past in a brand new pattern-design using ancient techniques in cement floor tiles, giving quality and importance to spaces and sub-spaces by framing their areas like with a carpet.
DesignersA selection of works by alumni and students of the departments Fashion & Textile Design and Jewellery & Product Design.
PresentationTEA TIME
AddressVia Massimiano 620134 Milano
ContactChequita NaharHerdenkingsplein 12, 6211 PW Maastricht, The Netherlands
AboutThe Maastricht Academy of Fine Arts and Design offers a general foundation course. The Bachelor Design offers a preparation in the major of their choice. The study program offers a wide range of courses. For more information check our website: www.zuyd.nl/abkmaastricht.
PresentationTEA TIME shows a selection of works in which the interaction between producer and designer is of great relevance. Textile versus furniture-design and product versus textile-design. The interaction with the audience is, as in previous editions an important element within the presentation
31 Jólan van der Wiel Via Massimiano 6 PresentationGravity Stool
AddressVia Massimiano 620134 Milan
ContactJólan van der WielNassaukade 369-2, 1054 AB Amsterdam, The [email protected] +31 (0)6 33974751
Onlinewww.jolanvanderwiel.com
AboutI admire objects that manifest the experimental discovery where natural phenomena are translated into functional design. In my design studio the production process through which products are produced is investigated. This led to the development of new forms of craftmenship.
PresentationThe Gravity Stool thanks its unique shape to the collaboration between magnetic fields and the power of gravity. Live demonstrations will show a dialogue with a natural phenomenon. This project won the Interior Innovation Award for young talent 2012.
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32 MU Via Privata Oslava 8 DesignersHEYHEYHEY, Lucas Maassen & Raw Color, Lucas Maassen & Sons, Raw Color, Studio MKGK
PresentationMu goes Milan
AddressVia Privata Oslavia 8 20134 Milano
ContactAngelique SpaninksEmmasingel 20, 5611 AZEindhoven, The [email protected]+31 (0)6 5336287
AboutMU goes Milan is the first presentation at the Salone del Mobile of this Eindhoven-based art space. MU operates as an adventurous guide on the outskirts of contemporary visual culture where art meets design, new media and pop culture.
PresentationMU goes Milan will bring together seven projects, mostly commissioned by MU, by four different designers/collectives from Eindhoven: Lucas Maassen, Raw Color, Studio MKGK and HEYHEY-HEY.
32 ARPA, PeLiDesign Via Privata Oslava 8 DesignerAlexander Pelikan
PresentationKATABA
AddressVia Privata Oslavia 8 20134 Milano
ContactAlexander PelikanFrankrijkstraat 110, 5622 AHEindhoven, The [email protected]+31 (0) 641403687
Online www.arpaindustriale.comwww.pelidesign.com
PresentationPeLiDesign presents the KATABA table, made of ARPA HPL material and natural wood. This unconventional table enchants with a smart connecting system and a refined aesthetic.Also on show will be the J’Adoube chessboard, the CHRONOS time tool, the UnBearable champagne cooler and a Surprise
ContactAnke BernotatWenslauerstraat 16/2, 1053 BA Amsterdam, The [email protected]+31 (0)6 29037005
Onlinewww.bernotat.eu
AboutThe essence of Bernotat&Co’s work is to ponder the poetry of normalcy, to tease the rules and to discover exceptions: combining old, forgotten solutions with today’s needs to create surprising, poetic and useful objects.
PresentationWhy buy a new chair when you can dress up the one you have? In the exhibition Chair Wear, Bernotat&Co presents custom-made clothing for chairs, adding comfort, functionality and a touch of poetry to old, new and classic chairs.
The Café Chair by Jonathan Prestwich for Arco has received the “IF GOLD product design award 2012” for its outstanding design.
The café chair is a modern translation of the tradit ional “café chair”. This ful ly wooden chair has a removable, 3d-woven and semi-transparent back cover that gives the seat a highly individual character while of fering exceptional comfort .
www.arco.nl
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Via Rombon
ParcoLambro
Via Carlo Bertolazzi
Via DurazzoVia Staro
Viale delle Rimembranze di Lambrate
Via C
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Via R
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Via Maniago
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Connecting the Dots Temporary ShopA collaboration with Tourbillòn Gallery
Design from Dutch Designers presenting in Milan will be sold during the Milan Design Week 2012 in the Tourbillòn Gallery from 17-22 April
Tourbillòn GalleryVia Baldissera 4 (corner via Stoppani), Milano+39 02 20244995
Open daily from 10.30 - 19.30 (also on Sunday 22 April)
C
Locations & Companies
Formafantasma
Collective Paper Aesthetics
Dutch Invertuals
Droog
Interface
Scholten & Baijings, Karimoku New Standard Japan
Scholten & Baijings, MINI
Emmanuel Babled
Studio Zeta — Design Academy Eindhoven Spring Excellence, Talent and Inspiration in Design & Design BreakfastsNano Supermarket
Adam Alexander 21Agata Karolina 13Alastair Townsend 21Aleksandra Gaca 27Alexander Pelikan 32Alexander van den Bosch 31Alissia Melka-Teichroew 19Andre Coelho 21Anette Backe 31Angelique Etman 31Anieke Branderhorst 29Anke Bernotat 19 35Annelies Planteijdt 29Anouk Wipprecht 31Arco Design Studio 24Arjan van Raadshooven 29Atelier Van Lieshout 33Barbara Vos 31Benjamin Hubert 17Boaz Cohen 11Brecht Duijf 29Breg Hanssen 29Brunno Jahara 21Burkhard Vogtherr 24Campana Brothers 29Carole Baijings, Stefan Scholten 06 07 09 11 23Celine van Raamt 31Charlotte Wagemaker 31Chris Kabel 29Chris Slutter 19Christian Kayser 22Claire Vos 19Dana Cannam 13Daniele Colnaghi 21Daphna Laurens 13Dave Keune 17David Derksen 13 22detailF / Franziska Wernicke 22Dick Spierenburg 26Dick van Hoff 17 19Dinie Besem 29Dirk van der Kooij 09Dominika Dyminska 31Droog Lab 04Earnest Studio 13 22Emanuele Magini 21Emmanuel Babled 08Fabian von Spreckelsen 13Fabio Novembre 19 Fabricio Lima 21Floris Hovers 29Floris Schoonderbeek 17Francesco Maria Bandini 05Franziska Wernicke 13Frederik Roijé 17Frederike Top 17Front 11Geanne Welles 31Geert Koster 26Gerrit Rietveld 19 Gert Batenburg 26Gianluco Macaluso 21Gijs Bakker 29Gijs Papavoine 26Gina Hsu 29
Graduates Design Academy Eindhoven 09Guiseppe Conca 21Henny van Nistelrooy 13 18HEYHEYHEY 32Imme van der Haak 34Ineke Hans 14 28Inge Simonis 31Invertuals collective 03Iris Jansen 19 Iris Nieuwenburg 29Jack Brandsma 29James Irvine 19 Jan Habraken 19Jan Jacob Borstlap 35Jan Plechac 19 Jan Puylaert 31Jerszy Seymour 19 Jesse Nortier 31Job Smeets 12 20 29Joine / Maarten Baptist 22Jólan van der Wiel 31Jonathan Prestwich 24Joost van Veldhuizen 22Jorre van Ast 24Kevin Yu-Jui Chou 29Kirkland Summers 21Knapontwerp / Tjimkje de Boer 22Koert van Mensvoort 09Konstantin Grcic 29Kranen/Gille 17 19Kuniko Maeda 11Laurien Oversier 22Lee Gibson 21Lennart Bras 31Lex Pott 09 13 22Lex van den Broek 31Lieke Jildou de Jong 31Liset van der Scheer 27Lotty Lindeman 09Lucas Maassen & Raw Color 32Lucas Maassen & Sons 32Maarten Baas 09 19Marc Newson 29Marcel Losekoot 16Marcel Wanders 20 29Marco Iannicelli 22Mariandrea Zambardo 31Mariandrea Zambrano 15Mariann Hildal 31Marie Gade-Lundlie 31Mario Minale 11Marjan van Aubel 34Marlies van der Linden 31Merel Bekking 31Mi-Ah Rödiger 29Mia Gammelgaard & Ehlén Johansson 19Micaela Nardella 31Michael Young 19Michelle Wu 21Mieke Meijer 13 29Miku Sega 21Milda Liubinskaite 31Miya Kondo 13Mohammed Mighiss 31Mosa Design Team 19Nacho Carbonell 11
NENDO. 29Niels Bendtsen 26Niels Roosenbrand 31Nieuwe Heren 17Noa Haim 02Nynke Tynagel 12 20 29Oana Tudose 31Ontwerpers.nu 19 OsΔoss 13Patrick Kampff 21Phil Cuttance 13Philipp Käfer 29Pili Wu 29Pluc Plaatsman 31Poching Liao 29Rachel Griffin 13 22Raúl Wallaart 31Raw Color 32Remi Gerritsen 31Renee Mennen & Stefanie van Keijsteren 32Rianne Koens 22Richard Hutten 09 19Rock Wang 29Roderick Vos 19Ruben Thier 22Sabine Marcelis 13Samer Chalfoun 16Sander Mulder 35Sandra Garcia Pagola 21Sayaka Yamamoto 11Sebastian Herkner 17Serener 19Simon Pengelly 26Sjoerd Jonkers 17Sjoerd Vroonland 09Slim Ben Ameur Tweelink 17Steffen Kehrle 17Studio Erwin Zwiers 22Studio Formafantasma 01 11Studio Job 12 20 29Studio Jolanda van Goor 22Studio Makkink & Bey 09 19Studio Miya Kondo 22Studio MKGK 32Studio Rik ten Velden 22Studio Tessa Koot 22Studio Thier&VanDaalen 22Susanne Klemm 29Thomas Linssen 31Tiago Sá da Costa design 22Tiddo de Ruiter 31Tjep. 29Tong Ho 29Van Eijk & Van der Lubbe 32VanJoost 22Vincenzo Amendolagine 21W.H. Gispen 19 Weltevree 17Wieki Somers 09Willem van Ast 24Wim Rietveld 19 Wiro van Vilsteren 19Wouter Kalis 31Yael Mer & Shay Alkalay 24Yukihiro Shoda 21ZUS 19
Monday 16 April 14 - 16 hrs
cocktails - invitation only cocktails - everybody welcome
Tuesday 17 April Thursday 19 AprilWednesday 18 April Friday 20 April Saturday 21 April Sunday 22 April
Opening Hours and Cocktail Parties
54 TimeTable 55 INdex
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NisidaVia Porro Lambertenghi 19 Tel. +39 0297378447MM Metro linea 3 Zara
Here you can still find squared tablecloth but in a complete modern atmosphere. In this traditional Italian restaurant you can taste a real pizza: owners comes from Naples and offer you a wide selection of southern Italian dishes too. Hint: Even if you’re full, here you can’t renounce to the dessert.
Price Range: €10/30
CiccillaVia Alessandro Volta, 7 MilanoTel. +39 02 6597816MM Metro linea 2 Moscova
A recommended choice for vegetarians is this unique “Meatballs place”. Rissoles are not just made with meat, but also with fish, seasonal vegetables, cheese , tofu or seaweed. Aside you can also order a selection of pasta, soups and cooked vegetables. All ingredients are organic and served in biodegrada-bles crockery.
Price range: €10/20
CiribogaVia Savona 10 20144 Milano Tel. +39 028322496 MM Porta Genova
This homey restaurant it’s in the heart of Zona Tortona and it gives you the chance of trying an unconventional and experimental menu of both Italian and international cuisine. Bread is home-made and water is filtered.
Price range: €20/30
Osteria del BinariVia Tortona 1Tel. +39 02 89409428MM Porta Genova
Impression goes wrong if you look at it from the outside. It might seem a small cafè , but it’s an immense restaurant with a traditional Italian cuisine and an heavenly garden inside.
Price Range: €10/30
Al PortoPiazzale Cantore Tel: +39 028321481 MM. Pt. Genova
Every Italian knows that to taste fresh fish you have to eat it in Milan. So take a seat in this restaurant and have a try by choosing between all the wide possible choices. Situated in a really unconventional location from 1966, this is almost an institution.
Price range: €30/50
Bello e Buono Gastronomia Italiana
Viale sabotino 14 Tel. +39 0294553406 MM Porta Romana
A small delicatessen place where you can have bits of Mediterranean food and wine. The menu is written on a chalkboard where you can see a list of main courses , simple but not dull. A nice place where to taste an authentic and genuine Italian home cooking.
Price range: €10/20
Trattoria 18/28 Via Lodovico Muratori, 19 Tel.+39 02 55180260 MM Porta Romana
The name of this cosy and modern restaurant comes from the prices it offers, which didn’t change in ten years of activity. You can dine here by choosing between menus of 18 or 28 euros, which include an appetizer, main course, dessert and a glass of wine. There are offers also at lunch time (7,50 —12 euros).
Price Range: €10/30
La Cappelletta Via Bertolazzi, 26 Tel. +39 02 2151456 MM Lambrate FS
Here you can taste traditional Northern Italian cuisine especially from the region of Emilia Romagna. A ragù alla bolognese will be typical, but the menu offers a way lot more. If you get lost: the Gnocco fritto – a fried savory dough - served with a selection of cold cuts or cheeses, or the “Elephant ear” – typical Milanese schnitzel – might be a suggestion to escape uncertainty.
Price Range: €15/30
Imperator Via Lazzaro Palazzi 2 Tel. 0239464918 MM Porta Venezia
This small Turkish restaurant deserves to be mentioned, for its moderate Medioriental atmosphere and care of owners, aside for its cousine. Main courses are mostly meat-based (kebab) served along with vegetables and cous-cous . Much choice for vegetarians, too. Hint: if you’re tired of espresso, ask for a Turkish coffee.
Price Range: €20/30
Farmer Street FoodThe Tortona Design Week collaborates with local farmers serving healthy and ecologically sound meals in the Via Tortona.
That’s VaporeViale Porta Vittoria 5, Tel +39 0276281437 MM Duomo or S. Babila
Sometimes Italian cuisine might be heavy, so, we suggest a new place where everything on the menu is light and…steamed! Here a steaming oven is used which cooks the dish you choose in a few minutes. Have a try of vegetables, cous-cous and fish in the healthiest way possible. Hint: don’t worry about tiramisù: also here, it follows a normal cooking process.
Price range: €10/15
Mens@sanaVia Lanzone Tel.+39 0239663631MM S. Ambrogio
Via Teodosio Tel. +39 0223951747 MM Lambrate FS
The “Ealthy canteen” is a chain run by an ONLUS (ONG) which offers vegan food following a Mediterranian tradition. If you want to have a quick lunch, this is a perfect spot where to get something tasty and vegan.
Price Range: €8/10
Where to Eat
A selection by Daniela De LorenzoIt is recommended to make a reservation in advance. Sometimes a pinch of luck is not enough.
‘A recom-mended choice for vegetarians is this unique “Meatballs place”’
‘If you’re tired of espresso, ask for a Turkish coffee’
‘Bread is home-made and water is filtered’
‘If you want to have a quick lunch, this is a perfect spot where to get something tasty and vegan’
