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The DESIGN MAGAZINE started more than four years ago. It started firstly as a Facebook page and then, one month later it went fully recognized by the Por-tuguese authority for the mass media. I’ve started the project alone but I needed a publisher and at that time I saw a digital rock magazine produced by Elementos À Solta. I’ve made a contact with the pub-lisher and then I met Joel Costa and Cátia Cunha. I’ve made them a proposal and so we began our work. Both Joel and Cátia were responsible for putting the magazine operational, not only via social media but also with a website. Gave them the ideas I had for the magazine which were basically to keep it simple and like a white sheet of paper in which news would show up. So they developed the logo and the whole graphic design concept. A website was raised and all social media platforms had their specific layout and mission. In 2013 Joel and Cátia told me that they would have to shut down their publishing house due mainly to hard tax policies held by the Portu-guese government. Good work we held together and beyond that a good friendship raised. In the begin-ning of 2014 I’ve decided to open my own publishing company – K Innovative Diffuser – which holds now the DESIGN MAGAZINE. Some people called me cra-zy and some still think we’ve got a solid media but that we are going nowhere.More than two years ago I was contacted by Lucas Fernandes, a Brazilian designer, who proposed me to produce a DESIGN MAGAZINE BRASIL issue based

on our editorial product. Lucas told me that it was a project he wanted to present at his university as a final year work. So Joel and Cátia designed the logo of the Brazilian project and our small team allowed Lucas to use the logo. The project was well received and Lucas and I became friends since then. Then I told Lucas why not to turn the DESIGN MAGAZINE BRAZIL in more than just a final university work? He agreed on that and over the last two years the Bra-zilian magazine is working its process of recognition among Brazilian readers and creating the similar me-dia partnerships we did with the DESIGN MAGAZINE. Lucas build up his team and we are working close-ly ever since. In 2014 Lucas and his team became responsible for the pagination of the DESIGN MAG-AZINE and one month ago a new website of both media was redesign by Lucas Fernandes. Now we are working as a media group based in Rio de Janeiro, Brazil, with the DESIGN MAGAZINE BRASIL written in Portuguese, and in Lisbon, Portugal, with the DE-SIGN MAGAZINE written in English.Why are we doing what we do? Lucas, I and the rest of the team we all are passionate about our work and we aim to go further but most important it is how we are, what we stand for and how we believe we can release news and information with dignity and commitment to the readers and followers worldwide. What the future would bring us? We don’t know but we sure know that the current situation has been good to us so far.

EDITORIALTiago Krusse

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CONTENTS

Interview Brandon Gien 12

Interview Sara Jónsdóttir 18

iF Student Design Award 2015 22

Media Architecture Workshop 32

GLU 38

International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition 2015 46

Library in Aarhus 48

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Coming soon

The new iF WORLD DESIGN GUIDE, the spirit of creative power

Take your first big step into the future with iF and become part of the iF WORLD DESIGN GUIDE.

This new online platform will give you access to countless opportunities for cooperation, unique inspiration and the attention that excellent design deserves.

This network will be the ultimate authority for the future of the design world.

www.ifworlddesignguide.com

05_154021_krusse_250x320_4.indd 1 23.04.15 07:58

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Director/Editor - FounderTiago Krusse

English editingK

Advertisinghttp://revistadesignmagazine.com/publicidade/

Juridic ConsultorDr. Maria de Lourdes Castelo Branco

AccountingAuditoc

OfficeDESIGN MAGAZINEJardim dos Malmequeres, 4, 2.º Esquerdo1675-139 Pontinha (Odivelas) | Portugal

www.revistadesignmagazine.com

Publishing HouseK Innovative Diffuser, Sociedade Unipessoal Limitada Jardim dos Malmequeres, 4, 2 ESQ1675-139 Pontinha | PortugalNIPC: 513 314 652

Media founded in 2011.Officialy recognized by the ERC - Entidade Reguladora Para A Comunicação Social under the register number 126104.

Photo ContributorsJoão Morgado – Architecture Phtography

Rui Gonçalves Moreno

Executive DesignerDouglas Silva

Leandro Siqueira

Lucas Fernandes

Text Contributors

Francisco Vilaça (Stockholm)

Cristina R. Maier (Brussels)

Hugo Poge (Reykjavík)

Rodrigo Costa (Oporto)

http://www.arquiteturasfilmfestival.com/

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The Chicago Architecture Biennial will take place from October 3 of 2015 until January 3 of 2016 in the city of Chicago, the United States of Amer-ica. The event was titled The State of the Art of Architecture and its program includes sever-al exhibitions “featuring new generations of the world’s leading architectural talent and a rich offering of public programs that engage an ex-tensive network of cultural partners (over 60 to date).” The supporters of the biennial are BP, Presenting Partners the City of Chicago Depart-ment of Cultural Affairs and Special Events, the Graham Foundation for Advanced Studies in the Fine Arts and the additional support of the Re-build Foundation and the Chicago Park District. The Chicago Architecture Biennial held the rep-utation of North America’s largest international survey of contemporary architecture and it is funded through private donations. The artistic directors of the biennial are Sarah Herda, direc-tor of the Graham Foundation, and Joseph Gri-ma, architect, curator and writer based in Ge-

Chicago Architecture Biennial

noa, in Italy. The list of participants is wide and gathers architects and artists based in more than 25 different countries. The purpose of the event is “through its constellation of exhibitions, full-scale installations, and program of events, the Chicago Architecture Biennial will invite the pub-lic to engage with and think about architecture in new and unexpected ways, and to take part in a global discussion about the future of the field.” Admission to the event will be free.

More - www.chicagoarchitecturebiennial.org

AGENDA

Iwan Baan / Chicago, 2014, courtesy of the Chicago Architecture Biennial

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ERRATA

In the last May/June 2015 issue about the news of the World Design Impact Prize 2015-2016 by the International Council of Societies of Industrial De-sign (ICSID) we wrote a wrong information about the competition saying that “a panel of experts will nominate projects and will gather a shortlist, with a maximum of seven projects, to be voted by ICSID’s members”. The accurate information is that ICSID opened up the nomination process to the public, while the expert panel is responsible for determining the shortlist. ICSID members will then vote on the shortlist in order to select the winner. We want to sin-cerely present our apologies ICSID and the magazine readers for our mistake.The World Design Impact Prize nomination period is open until the 29th of July of 2015. Anyone, design-ers and design enthusiasts, can nominate a project. These nominations do not necessarily have to be made by ICSID members which is a new aspect of this cycle. The expert panel is formed by Mariana Amatullo, USA, Krista Donaldson, USA, Ashley Hall, UK, Younghee Jung, South Korea and Sérgio Póvoa Rodrigues, Brazil. The expert panel will take the nom-inations and will determine a shortlist. Finally the IC-SID members will then vote for a a winner out of the shortlist. The voting process will take place between

the 17th of October and the 18th of December of 2015. The finalists will be announced on the 12th of January of 2016. Those finalists would be given the opportunity to show their work to members of ICSID that represents 167 organizations all over the world. The goal of the prize is to “bring attention to tangible examples of social impact industrial design that will help shape the future of the profession and create a better world through design.”The first award was presented in 2012 to Ken-yan-based Planning System Services Ltd. for their Community Cooker project. In the 2013-2014 cy-cle the prize was awarded to A Behaviour Changing (ABC) Syringe, developed by Dr. David Swann from the University of Huddersfield, United Kingdom.The 2015-2016 prize will be awarded during a cere-mony at the World Design Capital International De-sign Gala, which in February of 2016 will be held in Taipei, in Taiwan the Chinese Taipei. The World De-sign Capital designation is a biennial city promotion project that celebrates the accomplishments of cities that have used design as a tool to reinvent them-selves and improve social, cultural and economic life.

More information - http://worlddesignimpact.org/

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INTERVIEWBrandon Gien

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By matching mechanical engineering and industrial design he started to see the world in a different way. Being CEO of Good Design Australia and president of the International Council of Societies of Industrial Design (ICSID) gives Brandon Gien the opportunity to fulfill his passion and carry on with the mission of putting in evidence how design is important to improve everything around us.

Interview by Tiago KrussePhotography and image a courtesy of Brandon Gien and Good Design Australia

What are your strongest values and dreams that you kept from growing up years till to-day? Passion. I’ve always believed that you must be pas-sionate about something and dedicate 1000% to this once you eventually find it. I was very fortu-nate that from a young age, I was drawn to design and it slowly became my passion and my life. I was always fascinated by how things worked, how they were made and how they could be improved. This fascination led me to a career in Industrial Design and from there, I’ve become intensely passionate about how design can improve everything around us – not just better products, but better services, better experiences, better businesses, a better, saf-er and more sustainable society and yes, ultimately a better world. It is easy to see how one can be-come passionate about that!

How your family and friends were important to build up your personality?My family, particularly my father, has been very in-fluential in shaping my values and the way I look at the world. Both my parents come from a medical background – my father was an orthopedic surgeon and my mother an intensive care nurse. The notion of helping people was ingrained in me from a very young age and although I see the world through the eyes of design rather than medicine – to me it is just another tool that can ultimately help serve humanity.

Australian contemporary history shows a whole lot of social, economical and political changes since the beginning of the Common-wealth, in 1901, until the 80’s with the re-cession after an entrepreneur boom and then the 90’s with a shifting interest towards Asia. How did you experience your learning years

and which aspects brought a deep positive impact on social and cultural aspirations at that time?I actually grew up in South Africa and moved with my family to Australia when I was very young so I have an interesting blend of experiences from both these beautiful parts of the world. Growing up in Africa one definitely sees a very dif-ferent side of the world and how it works. From a design perspective, there is so much potential for positive impact as the diverse continent opens up to the rest of the world both socially and econom-ically. Australia on the other hand is still a very young country by comparison to countries in Eu-rope and Asia and in many ways, we are still shap-ing our culture and defining what it means to be ‘Australian’. Design is slowly getting more and more understood and valued here in terms of what it can bring to helping us craft this culture. I truly believe that in many terms, Australians are leading the way in pushing design thinking forward in areas of busi-ness strategy and social innovation.

Your academic path goes from engineering, industrial design and ending up with philos-ophy and environmental design. What were the reasons that lead you to choose these dif-ferent steps during university years?I started off studying Mechanical Engineering, largely because I didn’t know anything about In-dustrial Design as it was a very new faculty in our University (this is about 25 years ago). Engineering provided me with a good technical understanding of the world around me but it was Industrial Design that really opened my eyes and made me look at the world very differently. I think design and engi-neering go hand in hand – designers need to think more like engineers and engineers also need to see the world through the eyes of design – but they

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are two very different ways of thinking. I embarked on a PhD in Environmental Design that took nearly seven years to complete but it was worth the effort as it really allowed me to focus deeply on this area of design that I believe is vitally important.

Did you have mentors who played an import-ant role on your higher education?I have been very lucky to have many mentors over the years who have all helped me along the way. My Professor in Industrial Design has been a men-tor to me since the first day I embarked on a design career. He taught me to look at the world around me as an ‘object of design’ and really opened my eyes to the enormous potential that design has.

Do you draw different perspectives when re-garding education, experience and knowl-edge?They are three very different things in my opin-ion. Education gives you a solid grounding about a particular subject – enough to understand the basic attributes. Knowledge comes from experience and the more experience you have, the wiser you become (in theory that is). I do think that you can only teach so much about the basic principles of de-sign and creative thinking and that the rest comes from within. I believe we are all born creative but it slowly evaporates as we grow older, particularly if we don’t follow a creative career. Mush of this is the fault of our education system where creativity is not seen as a valuable enough subject to pur-sue. I believe creativity must play a vital role in all professional fields across business, law, medicine, engineering etc. If creativity is not central to these areas, there will never be any progress and certain-ly and new knowledge.

When did you start working and why did you

decided to embrace Standards Australia?I worked with Standards Australia about 20 years ago now. It was a very interesting period as it taught me the importance of standardization and regulation in an increasingly globalized economy. It also reinforced to me the importance of design in the commercialization process as both are equally important i.e. it is no good to have a beautifully designed product if it does not meet certain basic industry standards. On the other hand, if you have a product that meets all these requirements but is poorly designed, it will also fail in the market. Stan-dards, much like design is invisible to everyone. It is only when things don’t work or operate the way they are meant to that one notices the importance of them.

How did you get involved with the Interna-tional Council of Societies of Industrial De-sign and did you expect to become its presi-dent?Our organization became the first Australian pro-motional member of ICSID and it was a very proud moment for us. We saw ICSID as a very important link to the rest of the world and it allowed us to help put Australian design on the world map. After many years as a member of the organization, I was nominated to run for the Board and in 2007, was very fortunate to be elected to the Board of Direc-tors at the General Assembly in San Francisco. I ran again in 2009 and was elected for a second term in Singapore and then after being encouraged to run for the President-Elect position, I was elected 2011 in Taipei and officially became President in 2013 at the Montreal General Assembly. I never in my wildest dreams expected to end up as the President and it has been an enormous priv-ilege to serve the world organization for Industrial Design and to make a difference to a profession

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“Yes, we still need designers to design ‘posters and toasters’ but design’s true value can be harnessed when applied to much bigger and more important prob-lems. Global warming, traffic congestion, pollution, water salinity, sanitation, ageing population, access to healthcare – the list goes on.”

that I am so incredibly passionate about.

Through more than 8 years of leading ICSID which aspects and facts do you believe where important to the whole design community?We are living in an incredibly interesting time for humanity. On one hand, advances in technology and innovation are happening in milliseconds giving us unlimited potential to advance our world. On the other hand, there is a horrible gap where the large majority of people on this planet don’t have the ba-sic amenities that we take for granted in developed parts of the world. I see design as being one of the tools to help close this gap and in the process, cre-ate enormous potential for the profession of design and the awareness of the significant value it has when used effectively. At ICSID, we are trying to shift the narrative around how design is positioned in the solutions economy. Yes, we still need designers to design ‘posters and toasters’ but design’s true value can be harnessed when applied to much bigger and more important problems. Global warming, traffic congestion, pol-lution, water salinity, sanitation, ageing population, access to healthcare – the list goes on. When we look at these challenges as ‘objects of design’ they turn into opportunities. What we learn on one side of the world designing better appliances, cars, mo-bile technology, medical products etc. can be trans-ferred to the other side of the world with these sorts of challenges. Ultimately, design for a better world is at the heart of what we trying to promote.

What sort of challenges and hard situations are still pending on qualified design profes-sionals worldwide?Recognition and relevance. Compared to 20 years ago, design is definitely now more valued as a crit-ical business investment but it still has a very long

way to go. Unfortunately, professional design is still seen as a cost rather than an investment in the commercial success of a product or service. A good example is the disparity between how much money companies spend on marketing and advertising a new product compared to how much is invested in its actual original design. I think this is changing as companies are understanding that using design as a strategic tool provides a much more comprehen-sive and effective way of looking at your business as a system rather than sprinkling it on here and there. As more businesses become to understand this, the greater demand there will be for design and professional designers.

It has been almost five years now that you began leading Good Design Australia. How is the Australian designers panorama concern-ing not only their fully recognition under the law but also their connection to the indus-tries and active role on strategies?Professional design in Australia is maturing into the service and business strategy space and with this maturity, a world of opportunities are opening up. The service sector in Australia, like most developed countries, contributes to well over 70% of our GDP. As we see a decline in our manufacturing sector and a slowdown in our resources sector as demand for commodities decline, I see a brilliant opportu-nity for design to enter this space and make a sig-nificant impact. This is one of the core reasons we re-structured our Good Design Awards program to include categories such as Business Model Design, Service Design and Social Innovation as well as tra-ditional design categories such as Product Design, Architectural Design and Digital and Communica-tion Design.

If you had to point down a list of crucial ob-

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jectives among Australia’s design sustain-ability what it would be on top priorities?I laugh when people describe Industrial Designers as ‘landfill designers’ but in many ways it is true. Designers face a horrible dilemma. On one hand, we design for obsolesce. We are forced to come up with new models and variants of products that feed consumer demand and many of these end up on rubbish tips at the end of their life-cycle. On the other hand, we want to design with sustainable and ethical practices that lead to a better world. More than 80% of a product’s environmental factors are decided at the design stage. The more that busi-nesses understand this and the value of good de-sign vs. the negative impact bad design decisions have such as material selection, energy / water consumption etc., the more this will change. We are getting there but there is still a very long way to go.

With more than a half century of existence of Good Design Australia and with such an ac-tive and important role in promoting design culture which kind of purposes have reached outstanding results?Our core aim is to raise the awareness of good de-sign to business leaders, government and consum-ers / end-users of design. The objective is a create a growing demand for design and using the plat-form of our Good Design Awards, we are able to shine a spotlight on projects that are competing by design – both nationally and internationally. I think there is certainly an increased level of awareness of design in Australia and our designers and architects are up there with some of the best in the world. The Good Design Awards have what sort of an impact on Australia’s economy?I will use an example of the recipient of the Good

Design Award® of the Year this year - the Tes-la Model S. This is not only a brilliant example of great automotive design but a real game changer for the whole sector. This car is going to completely revolutionize the way we look at transport and our reliance on fossil fuels. It runs on battery power which can be charged for free (at Tesla Charge Sta-tions) and is faster that some of the most expen-sive sports cars on the market today (0-100kms in less than 4 seconds). All this is packaged in a beau-tiful looking car that is very reasonably priced. This sends a very powerful message not only to other automotive manufacturers but also to government and consumers that a big change is coming our way and we need to be ready to embrace it. This is not only about the design of a car, it is a complete and holistic way of thinking about the design of our transport and energy systems with the end impact of the planet being a major consideration.

Do you share the vision that technological development and this new burst of crucial in-novative solutions are only a new stage for a radical boost on consumerism?It really depends how you look at this question and how you classify consumers. There will al-ways be an ever growing demand for new tech-nology driven products and services in developed countries and this will only be fuelled by good design as our appetite grows for well designed stuff. Consumers in developing countries need a completely different kind of design. A good exam-ple is mobile technology in Africa. You would be surprised but people in Africa have access to mo-bile phones but the biggest challenge is charging them as electricity is not only expensive but very difficult to supply. Again, a very interesting and challenging design problem that can be fixed as these parts of the world develop.

“Only when the last tree is cut down, the last fish eaten, and the last stream poisoned, will we realize that we cannot eat money.”

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Looking back to all these years that you have given for an evolution of the design commu-nity, how would you evaluate your commit-ment and which aspects you keep has most relevant?I’m trying always to look at the bigger picture. That is where true design needs to operate – not only looking at the individual bits but the whole system. I am continually thinking about ‘the design of the world’ and if we were truly enlightened as human beings to the concept of design and that at the end of the day, everything around us designed as part of a system. Our environment is a vitally import-ant part of this system and we need to ensure that whatever we design being products, services, build-ings, businesses and ever our government policy takes this into consideration. This Indian American quote sums it up perfectly: “Only when the last tree is cut down, the last fish eaten, and the last stream poisoned, will we realize that we cannot eat money.”

For you Good Design stands for what?Kenji Ekuan, the famous Japanese industrial de-signer who recently passed away told me that good design is beautiful. To me, this one world sums it up perfectly.

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About to make seven years of existence, DesignMarch continues to promote not only Icelandic design but creating opportunities for local designers. Before the upcoming 2016 edition to be held from the 10th to the 13th of March in Reykjavík, we’ve talked with Sara Jónsdóttir, festival director, about the event that is gradually building a wide and prolific network.

Interview by Tiago Krusse with Hugo PogePhotographs a courtesy of DesignMarch

INTERVIEWSara Jónsdóttir

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What is the mission of the DesignMarch?The DesignMarch is for promoting Icelandic design locally and abroad. The festival is very well sought by the Icelandic public and over 30.000 people are involved in it in some way every year. Furthermore it is an important venue for designers for network-ing, collaborating, being inspired and expanding in so many ways. During the days all areas of de-sign meet, graphic design, fashion, architecture, and product design, so there is plenty of room for new ventures and cross disciplinary collaboration on all levels. The event promotes Icelandic design but also imports inspiration and knowledge from abroad on a day of DesignTalks with international speakers that are excelling within their fields of de-sign. Furthermore it works as a platform for expan-sion of business connections for designers, where Icelandic designers get a chance to meet with in-ternational buyers and design companies. Who were the persons that planned this an-nual festival?We at the DesignMarch team create a platform, some kind of an empty canvas and it is the Ice-landic designers themselves that fill it. We arrange DesignTalks, the key event of the festival, a day-long seminar focusing this year on Play. Apart from that, designers themselves put up the show. When was the first edition?The first DesignMarch took place in March 2009 just after the historic crash of the Icelandic banks and in the start of a financial crisis. You should never let a good crisis go to waste. In crises the creative start blooming. How it was possible to create such a design event?With great designers, a lot of hard work and a load full of optimism. Why it was important to start gathering so-cial, professional, cultural and economical awareness to design?Because design it is extremely important for almost every aspect of our lives. Almost everything in our man made surroundings can be affected by good or bad design. Enlightenment and interest usually work as the key to progress and improvement.

What are the differences that you find when directing a design festival comparing to oth-er similar events?At this particular kind of a festival touching upon so many fields of design, you are introduced to so many different mediums, whereas say in a film fes-tival. Which design segments have a bigger ex-pression in Iceland?It’s difficult to answer – architecture and graphic design have a longer history, whereas product de-sign and fashion have been making waves in recent years. What are the key concerns about the role of the design to the local economy?I believe locally people and key corporations and the government are increasingly aware of the im-portance of design - and DesignMarch has been a platform for that awareness. So really, we are hap-py about the way things are developing. What sort of challenges does DesignMarch faces in every new edition?Challenges are different from time to time, but funding is still the top challenge, as the festival is growing faster than the funding. In the past edition what was the spotlight?It’s a bit hard to point out a spotlight, but graphic design and architecture is quite strong this year as well as projects collaborating across fields. The theme of DesignTalks this year is Play Away and it seems that the theme has spread over to the whole festival as designers are really playing and working outside the box. What surprised you most?I am at least quite surprised by the hype, all the pictures and messages in social media from far and wide, it’s so warming my heart to see how every-body is excited, everybody is all in, everyone is cel-ebrating Icelandic design. Apart from that, it is still early. I look forward to being surprised every day.

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Work by Karlssonwilker - the New York-based design studio founded by Icelander Hjalti Karlsson and Jan Wilker from Germany - used for the official poster of DesignMarch 2012 edition

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IF STUDENT DESIGN AWARD 2015

This year’s edition of the iF Student Design Award gathered almost 12 thousand entries with new concepts coming from 68 different countries. One hundred ideas were awarded and the final jury decided to equally split the 30 thousand euros prize money among the eight best concepts.

Text: Tiago KrussePhotographs and images courtesy of the iF International Forum Design

The iF Student Design Award 2015 winners were de-cided on March of this year after a selection process involving more than 73 judges that were responsible to admit 11.785 projects coming from young talent designers from 68 different countries. The disciplines accepted on the competition were Product, Packag-ing, Communication, Interior Architecture, Service Design, Fashion Design and Photography. The iF Student Design Award had two judging ses-sions in which every new idea with a vision for the future were examined and evaluated with criteria by an international group of expert judges. The last judging session was held in Hannover, Germany, in March, gathering a panel of expert jurors composed by Ky Yoon from Samsung Electronics of South Korea, Fredrich Mack from Haier Europe of Germany, Ulrich Schumacher from Hansgrohe of Germany, Radhika Seth from Yanko Design of India, Heiko Schmidt from Kolle Rebbe of Germany, Alexandra Martini of Interi-ors Design Kommunication of Geramny, Sultan Kay-gin Sel of Vestel Electronics of Turkey, Stefan Diez a office for industrial design of Germany and Tiago Krusse from Design Magazine of Portugal. This final juror session made a preliminary winners selection of a pre-selected shortlist of 300 entries. The jury chose 100 concepts that were awarded an iF Label and fort the first time the 30 thousand euros of the prize money were equally shared among eight win-ners that the final jurors decided they were worthy

of a prize money. Regarding country statistics, this year’s final winners list gathered 18 different nations: Austria with 4, Brazil with 1, China with 22, Den-mark with 1, Germany with 18, United Kingdom with 3, Israel with 1, Italy with 2, Japan with 1, Sweden with 5, Switzerland with 1, Singapore with 2, Slova-kia with 1, South Korea with 15, Spain with 1, Taiwan with 16, Turkey with 3 and the USA with 3.The iF Student Design Award is one of the largest and most important world competitions for young design talents, requesting innovative concepts based on good design with a futuristic vision of different human needs. This award shows how important is the role of the iF International Forum for the whole design community, putting together a global and wider perspective of the importance of design by giving visibility to all things considered fundamental in a process with so many different players, so differ-ent needs and so similar aspirations. The competition has firmly gain not only importance but also reputa-tion the mission of encouraging young design talents to present what they consider fundamental needs of a near future, reflecting not only about the utility of the product but also demonstrating deep reflections about their actions as future designers regarding the issues of provenience and consequence. The iF Stu-dent Design Award is sponsored by Hansgrohe, Haier Electronics, LG Hausys, Samsung Electronics and the iF International Forum Design.

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Entry: Trident Gum | Gum packaging

Category: Packaging

Design: Mr. Hani Douaji

University: University of Central Lancashire, Preston / United Kingdom Trident Xtra Care is a sugar-free chewing gum that protects the teeth and gums between meals. In this case, an amusing, playful and interactive packaging has been developed to call attention to the key feature of the gum – protecting your teeth. The concept consists of six packages with three flavors. Each package has its own illustration, either a woman’s mouth or a man’s moustache. Through the punched-out opening, the pieces of gum look like pearly white teeth with light pink gums. Held up in front of the mouth, the packaging puts a wide, happy smile on the face of any consumer. Judges’ opinion: “This packaging for chewing gum is not only simple but also communicates the product’s purpose in a witty and effective way: a smiling mouth with pearly white teeth. The concept has been very well and professionally executed!”

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Entry: PIRA | Respiratory system for premature babies

Category: Survival + Emergency / Eco Solutions

Design: Mr. Carlos Arturo Torres Tovar, Mr. Martin Edlung

University: Umeå Institute of Design, Umeå / Sweden

PIRA is a CPAP respiratory system that provides warm, moist air to prematurely born babies during the first few minutes of their lives. Mechanical breathing support prevents an oversupply of oxygen and guarantees a reliable, yet gentle reanimation process. The system can be put in place quickly and easily by one person, transmits all the necessary data to a handheld device and displays when and how long the patient has to be ventilated until he/she is stable and ready for a long-term CPAP treatment.

Judges’ opinion: “When there is no time to think about which life-saving measures to use, PIRA helps by in-dicating the right actions. A highly commendable idea that could save the lives of newborns in those critical moments.”

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Entry: WATCHING THE WATCHMEN | Foldable poster series

Category :Print Media

Design: Mr. Fabian Harm

University: Merz Akademie Stuttgart, Germany

Video surveillance (CCTV) is a topic that is discussed often and affects each and every one of us, either directly or indirectly. This concept aims to provide information and to encourage people to become more aware and look at the topic of video surveillance with a critical eye. A series of foldable posters was developed here to do exactly that. If the posters are opened one after the other, the abbreviation CCTV appears. If the posters are folded back together, you will see four 8-page magazines on the topic of CCTV. In addition, the exhibition was also under video surveillance and the viewer encouraged to interact with a surveillance camera. This work is a silk-screen print.

Judges’ opinion: “This concept deals with a socially relevant subject and, using the means of graphic design, it has been developed in a very sophisticated way. Using different perspectives, the means of design are used to consider the relationship between the visible and the invisible.”

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Entry: Printtex | Wall printer

Category: Industry / Skilled Trades

Design: Mr. Benjamin Loinger

University: Fachhochschule Joanneum Graz, Austria

How can digital images be transferred to a wall? With Printtex, there are no limits to the imagination – any motif you could possibly think of can be printed onto a wall. The portable wall printer works on the same principle as an inkjet printer. It is equipped with two coordinate sensors that limit the printable area. This area then appears on the tablet, laptop or a similar device. The user has to upload the desired motif and position it in the printable area. Once the positioning is right, the printer prints each color separately. The information displayed on the edge guides the user through the process.

Judges’ opinion: “This wall printer opens up totally new and virtually endless options for digital printing. It has a downright inspiring effect! A great concept, implemented in a very expressive way.”

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Entry: Blind Guider | Orientation system

Category: Telecommunication

Design: Ms. Hui-Chuan Ma, Mr. Yan-Jang Cheng, Mr. Chih-Hao Wang, Mr. Yin-Kai Lee

University: National Taiwan University of Science and Technology, Taipei / Taiwan

Blind Guider is an orientation system for blind people that uses RFID technology to announce street names and the direction you are moving in. If the orienta-tion modules installed in the ground are touched by a white cane, all of the location-relevant information is emitted over earphones. As a result, the blind per-son knows where he/she is and in which direction to continue.

Judges’ opinion: “A very simple design idea devel-oped to build on and enhance an already existing system. The earphones can be quickly and easily used to provide guidance. With Blind Guider, visual-ly-impaired users will experience a huge increase in quality of life.”

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Entry: TIO Diving System | Diving system

Category: Sports / Leisure

Design: Mr. Ivo Wawer

University: Bergische Universität Wuppertal, Germa-ny

Snorkeling and diving with scuba gear are two dif-ferent types of diving, both of which are becoming increasingly popular. There are, however, significant differences between the two. Snorkelers and inexpe-rienced divers often want to be able to breathe under water – without having to get a diving license or use heavy equipment. The TIO diving system combines the simplicity of snorkeling with the advantages of being able to breathe under water – i.e. it’s the best of both worlds. With this unique system, snorkelers now have an opportunity to look at coral and fish, shoot underwater photos, go diving on kayak adven-ture tours or simply enjoy diving.

Judges’ opinion: “TIO closes the gap between snor-keling and scuba diving. The system is very easy to use, perfect for novice divers or for snorkelers who want to be able to go further. The concept is very beautifully executed, down to the smallest detail.”

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Entry: MINUS | Fruit and vegetable scales

Category: Industry / Skilled Trades

Design: Mr. Youngsub Song, Mr. Hyunsub Shin, Mr. JaeHyuk Lim, Mr. Il-Hyun Kwon

University: Hansung University, Seoul / South Korea

MINUS is a set of scales that works on the basis of subtraction. In supermarkets, the price of fruit and vege-tables is usually based on 500 grams. In other words, the customer does not get any information on a single piece of fruit, but wonders, for example, “how much does this tomato weigh and what does it cost?” The MI-NUS scale is positioned underneath the tray containing the produce. As soon as a piece of fruit or a vegetable is removed, the weight is deducted from the sum and the weight and individual price shown on the display. If desired, a price tag can be printed out right then and there.

Judges’ opinion: “These supermarket scales are absolutely customer-friendly: They make shopping easier and quicker, and they can be used intuitively. Definitely worth an award!”

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Entry: WeWOOD Flagship Store | Showroom

Category: Shops / Showrooms

Design: Ms. Yuan Yuan Ma

University: New York School of Interior Design, New York / USA

The idea of the WeWOOD Flagship Store was inspired by the WeWOOD Watch, a wooden wristwatch produced in an environmentally friendly way. The interior design is reminiscent of tree rings and is meant to symbolize the beauty of nature with its warm colors and organic shapes. Tree rings indicate the age of a tree and also serve as a kind of timepiece – just like the WeWOOD Watch – thus creating a connection between the interior design and the product sold in the store. At the same time, it raises our awareness of the beauty of nature and the protection it deserves.

Judges’ opinion: “A strikingly beautiful and poetic concept for a retail space. The use of natural materials cre-ates a perfect connection to both nature and the product (watches) being offered. A very well-conceived, very realistic concept.”

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Cristina R. Maier Architectural Designer and Freelance Research Fellow coroflot.com/InteractiveDesignMEDIA ARCHITECTURE WORSHOP

The Media Architecture Workshop was organized by Interactive Design together with Zumtobel, Ener-golux and Projekt7.It tackled current issues within the emerging field of Media Architecture, that involves new advancements within Lighting Design, Smart Materials and above all Interacting with the People. Technology has a great impact upon our lives and the future implies creating responsive and smart spaces that facilitate dynamic interactions between people and with the space. This provides an interesting and appealing potential. It is through intense collaborations among Architects, Designers, Artists, Engineers that innovations and interesting examples have been achieved so far. We are no longer talking about a singular discipline but more of a collaboration platform, a transdisciplinary approach that leads to unique, innovative solutions.In 2014 the Media Architecture Biennale was held in Denmark, MAB14: World Cities brought togeth-er about 300 academics and professionals from all over the world. It contained Conference, Workshops, Doctoral Consortium, Exhibitions, Awards Ceremony, Field Trips and Socializing Events. The Biennale pre-sented innovations and new knowledge within the field and focused on a diversity of events and activi-ties. In 2016 the Media Architecture Biennale will be held in Sydney, Australia an extraordinary location considering local events like Vivid Sydney, a Festival where Lighting Innovations, Art, Technology are at its core.After the presentations, a Brainstorming session took place, focusing on new ways of working with Light and the Installation that was later realized. The re-flection continued and it was a very interesting pro-cess also during the making of the Light Installation. The concept was Connecting with Light, trying to re-alize Light Stripes by using an existing Light Box near the stair that has been designed to change light co-

An Introduction to Media Architecture, presentation of recent and Awarded examples as well as ongoing research by Architectural Designer and Freelance Re-search Fellow Cristina R. Maier

lour and intensity in time. The light is reflected in the cellophane wrap and thus we have light stripes with-in the space .Re-inventing the space of the staircase as well as using some other sources of light was a learning by doing experience that has been achieved in a relatively short time. It is a rather dynamic space where Light plays an important role and because of the changing colour and intensity as well as the wrap created, the space becomes an intriguing one. Over-all, the Light Installation was an experience where decisions were taken on spot, a nice way of sharing ideas and working together.Media Architecture Workshop was a unique initiative that had a duration of two days and overall an inter-esting and enriching workshop.

Roland Sandor ©

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Capix by Zumtobel is a LED matrix, one Capix pixel incorporating 3 RGB LEDs. It is able to generate colour, effects but also its intelligent control system can run a sequence of moving pictures

New advancements within Lighting Design, recent examples as well as presentation and testing of some latest Lighting devices samples by Lighting Engineer Roland Sandor

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Tutors: Architectural Designer and Freelance Re-search Fellow Cristina R. Maier, Lighting Engineer Roland SandorParticipants: Managing Director Energolux Andras Vernes, Lighting Engineer Catalin Pop, Architecture Student Maria Cenan, Architecture Teaching Assis-tant Alexandra Maier, Graphic Designer and Musician Ciprian Costache, Languages Student Sorina Macec

Aphrodite Projector by Zumtobel is an indoor LED-RGB Projector combining light, colour and movement

Aphrodite Projector by Zumtobel

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GLU

The GLU is a Portuguese brand founded in 2013 by Manuela Poças Ferraz and José Pedro Ferraz specialized in the production of adhesive fabrics. In April of this year the brand presented the new collection GLU by Viúva Lamego, the reputed manufacturer of Portuguese tiles with a history of more than 166 years. The new col-lection presents a selection of tiles patterns by Viúva Lamego produce in these adhesive fabrics which can be easily used on any type of a smooth surface. The innovation goes beyond than protecting the memory of the Portuguese good tiles manufacturers and it goes until the different uses of the product. Flexible and easy to apply the adhesive fabrics could solve the purpose of recover used furniture, coating walls and ceilings, deco-rating lamps or providing a new visual impact to interior design atmospheres where ceramics would hardly fit.

Photographs and images courtesy of GLU

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“A Fonte”, GLU by Viúva Lamego “O Forno”, GLU by Viúva Lamego “A Lagoa”, GLU by Viúva Lamego

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INTERNATIONAL BIENNIAL POSTER DESIGN TERRAS GAUDA – FRANCISCO MANTECÓN COMPETITION 2015

The 12th edition of the International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition is calling designers, artists, design studios, associations and universities to present a poster until the 30 of September. The Terras Gauda wineries supported by the Port Authority of Vigo and the Galician Regional Gov-ernment, through its Office of the General Secretary of Tourism, in Spain, will award 16 thousand euros to the winners.

The deadline for entering the 12th edition of Inter-national Biennial Poster Design Terras Gauda – Fran-cisco Mantecón Competition 2015 is the 30th of up-coming September. The competition is promoted by the Terras Gauda wineries and has the support of the Port Authority of Vigo and the Galician Regional Government, through its Office of the General Sec-retary of Tourism, in Spain. This biennial is reputed among the three most important advertising poster competitions. The Terras Gauda wineries will award 16 thousand euros to the winners, 10 thousand for the first prize winners and 2 thousand to the 1st hon-orable mention, 2nd honorable mention and the Spe-cial Mention respectively. The winning poster will be used as the image of the winery over the next two years. The panel of jurors is lead by José Maria Cruz Novilo, a design teacher and Gold Medal for Merit in Fine Arts winner, that during these years called to the panel of jurors people like Javier Mariscal, Óscar Mariné, Alberto Corazón, Manuel Estrada, Isidro Fer-rer, Pep Carrió, Emilio Gil or Roberto Turégano.

The competition has reached impressive numbers of participants since it started in 2002. More than 14 thousand posters from 88 different countries on five continents were submitted, proving not only an impressive participation but also a worldwide inter-est shown by associations and universities as well as from museums of contemporary art. The 11th edition reached o total number of 1,890 poster entries coming from 65 different countries. An exhibition was held for a one month period at the Maritime Station of Vigo, in Spain, attracting a impressive number of Spanish visitors as well as vis-itors from abroad. The 2013 winner was Barbara Pi-larska, a Polish designer. The list of winners includes prominent graphic artists such as University of Osaka Art and Design professor Shima Takahiro from Japan, Thomas Pion from Belgium, Sebastian Büsching, from Germany, Taber Cauldron, from USA or Cristina Vergara Echarri, from Spain.

www.franciscomantecon.com

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Barbara Pilarska (2013) – Polish designer

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Cristina Vergara (2011) – Designer from Navarra, Spain

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Sebastian Büsching (2010) – Professional designer from Germany

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Angel Luis González (2009) – Owner of a design studio in Valencia, Spain

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Taber Calderón (2008) – Owner of a design studio in New York, USA

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Thomas Pion (2007) - Owner of a design studio in Belgium

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Shima Takahiro (2006) - Professor at University of Osaka Art and Design, Japan

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Architecture: Schmidt Hammer Lassen ArchitectsEngineer: Alectia Rådgivende IngeniørerLandscaping: Arkitekt Kristine Jensens TegnestueText: Tiago KrussePhotographs: Adam Mørk

LIBRARY IN AARHUS

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One time someone said that History was ending and since the new digital era began many sentenced pa-per and books to an end. Also the history of libraries and how they started and were kept through the centuries is quite an interesting subject to learn and understand. When a new library is built makes us feel that human behavior, intellectual and spiritu-al aspirations are still very much alive. Most of us could easily recognize the importance of libraries not only from anthropologic and cultural perspec-tives but also from a sort of a transcendental need. We are not only talking about culture, knowledge or education. We are also focusing about the history of human memory and the constant upgrade of per-ceptions about us and the world we live in. About building libraries the architects responsible for this project know a whole lot more than us.The Dokk1 is Scandinavia’s largest library that was open to the public on the 20th of June of 2015 in Aarhus, Denmark. The Schmidt Hammer Lassen Ar-chitects won the competition to design the new ur-ban space in 2009. The project lead by the Schmidt Hammer Lassen Architects had the collaboration of Kristine Jensens, landscaping, and the Alectia com-pany with engineering. The building has 30,000 square meter and is integrating the Urban Medias-pace project, a urban transformation of the harbor front of Aarhus. Dokk1 integrates a new library, a citizen service centre, automatic parking for 1,000 cars and new harbor-side public squares. The new building and its surrounding areas constitutes from all time the largest construction project by the Mu-nicipality of Aarhus.The building is set at the mouth of the Aarhus Riv-er. The large polygonal form makes connections be-

tween the city, the port and the water. Forest at north and south flank the structure and a recre-ational belt was designed to support a new light railway operating to Dokk1 station. Road traffic is-sues were considered so car direct access to the park beneath the building and bicycle parking spac-es for 450 units will be a complementary benefit on daily flow.A transparent covered urban space was the main concept of Dokk1. For Kim Holst Jensen, senior partner at Schmidt Hammer Lassen Architects, the construction could not be seen only as a building, he underlines that “it is a place for exchanging knowledge and opportunities and a multicultural meeting point that will change people’s percep-tion of the entire city.” Like the academia in ancient Greece, the new Aarhus library also plays a wider social role for the citizens and also for the city. Kim Holst Jensen also mentions that “Dokk1 enhances this special setting with an architecture that creates an exceptional visual connection to the city – both from inside the building and out. Through this, we form an icon for the knowledge society, an icon for the knowledge society, an icon that supports and stimulates creative collaboration.”At the heart of the building the approach to spac-es functionalities were worked, we believe, under the spirit of any library. There’s no doubt we are facing a contemporary atmosphere, designed for nowadays spatial optimized functionality and pos-sibilities. Kim Holst Jensen expresses that “inside, the open layout creates visual connections between the various functions, and invites the visitor to be inspired by the vast amount of information that in-evitably meets them.”

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Elevation north

Level 00

Level 02

Level 01

Level 03

Section AA

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