ITS NOT EITHER ART OR DESIGN... ITS ABOUT IMAGINING THE WORLD OTHERWISE

7TH EDITION 1000 RISOGRAPHED AT THE VAN ABBEMUSEUM EINDHOVEN

FRIDAY 23 OCTOBER

WWW.DEDAILYWHATEVER.NL

KlautÕs Barretje ÈEditors Choice! We gaan alweer het laatste weekend in van de Dutch Design Week, met volop lekkernijen ( ook heerlijke Canneloni) en een tafel vol tekenspullen voor de kinderen.

FRIDAY 23 OCTOBER 2009

Daily 500 Computers are to design as microwaves are to cooking.Õ

ÈCours, camarade, le vieux monde est derrire toi!

BITS& PIECES GOES NY

ÈExhibition design EDHV lets the bugs out in The Big Apple

Column and thoughts on our profession.

READ ALL ABOUT IT Your Daily Design Week Newspaper. de Daily Whatever Est. 2006

SUNDAY BACK ISSUE DAY ÔGet your full packageÕ

Bottom line: Get your copy! Come and get it at the van !!"# $%# &'(# )*"+# $'# ,"-"%./# design week locations.

Printed In Room 9 Of The Van Abbemuseum During The Dutch Design Week 2009

ÈSUNDAY 25th Limited Riso Reproductions

ÈSUNDAY 25th De Daily Whatever Full Pack

1. Photograph by Boudewijn Bollmann 100 editions 2. Illustration piece by Conditional Design 100 editions

Get your full back issues neatly packed and wrapped!

A SHORT MANIFESTO ON THE FUTURE OF ATTENTION

LOOKING BACK

ÈMichael Erard Originally Published: August 13, 2009 on The Design Observer. Michael Erard is a writer in the US and has granted the Daily Whatever publishing rights.

ÈPhotography of the Dutch Design Week by Boudewijn Bollmann Theater Company AARDLEK

Frame's Grand Stand Dialogues House

!"#$%&' ()*$*+',-.#/',)0$+*'1))2

In 1971, the oft-quoted political scientist Herbert Simon predicted that in an information age, cultural producers (thatÕs design!"#$ %&'$ ()"*$ +),,(- !"#$ '. (' !$ types, musicians, artists) would quickly face a shortage of attention. What information consumes is rather obvious: it consumes the attention of its recipients,Õ he wrote. The more information, the less at' /'0*/#$ (/1$ 2'. $ / 1$ '*$ ())*3(' $ '.('$ ('' /'0*/$ 4+30 /')5$ (,*/6$ the overabundance of information sources that might consume it.Õ Now we have a wide-ranging discussion about what is and what canÕt be free (Malcolm Gladwell on Chris Anderson, Virginia Postrel on Chris Anderson), which is %("03())5$ (%*&'$ '. $ 4&'&! $ *4$ 7!*+'8$ Maybe we should be considering a dilemma of a human nature: the future of attention. Because thereÕs a connection between the two. $ 9(-0/6$ "*, '.0/6$ 24! :$ 0"$ obviously an allocation stra' 658$ 2;! :$ (''!(3'"$ ('' /'0*/8$ Making things brief is an allocation strategy as well. The problem is that free isnÕt sustainable, and that brief is underpriced. We need a Ronald Reagan of attention, someone to inspire us (<(5$ 4!*,$ '. $ +6.'$ *= !$ ",()) !$ and smaller pieces of the attention pie. Someone who will inspire us to make the attention pie bigger. I imagine attention festivals: week-long multimedia, cross-industry carnivals of readings, installations, and performances, where you go from a tent with 30-sec*/1$ +),"#$ 6&0'(!$ "*)*"#$ >?@,0/&' $ video games, and haiku to the tent with only Andy Warhol movies, to a myriad of venues with other media forms and activities requiring other attention lengths. In the Nano Tent, you can hear ringtones and read

tweets. A festival organized not by the forms of the commodities themselves but of the experience of interacting with them. Not organized by time elapsed, but by cognitive investment: a pop song, which goes by quickly, can resonate for days; a poem, which can go by more quickly, sticks through a season. A festival in which you can see images of your brain on knitting and on Twitter. I imagine a retail sector for cultural products thatÕs organized around the attention span: /*'$ (!*&/1$ 2%**-":$ *!$ 2,&"03:$ %&'$ around short stories and pop songs in one aisle, poems and arias in the other. In the long store: 5,000 piece jigsaw puzzles, big novels, beer brewing equipment, DVDs of The Wire. Clerks could suggest and build attentional menus. We would develop attentional connoisseurship: the right pairings of the short and long. We would understand, and promote, attentional health. I imagine attention-based pricing, in which prices of information commodities are inversely adjusted to the cognitive investment of consuming them. All the candy for the human brain Ð haiku, ringtones, bumper stickers Ð would be priced like the luxuries that they are. Things requiring longer attention spans would be cheaper Ð they might even be free, and the higher +A 1$3*"'"$*4$7!*1&30/6$'. ,$<*&)1$ be covered by the higher sales of the short attention span products. Single TV episodes would be more expensive to purchase than whole seasons, in the same way that a six-pack of Oreos at the gas station is more expensive, per cookie, than a whole tray at the grocery store. I imagine an attention tax that aspiring cultural producers must pay. Continued on next page

Ý

de Daily Whatever



Saturday the 24th & Sunday the 25th: ÈSpecial Edition Special Limited Editons Prints ÈSpecial Edition Back issues

ÈThe fast lane ÔDe-bugging the Daily Whatever logo.Õ follow our digital content The images below show the DDW logo interpreted by bugs, Edhv developed a post online. digitalÕ tool for creating the identity for the dedailywhatever.nl

New York exposition ÔBITS&PIECESÕ, that will open in two weeks. The tool is runned by bugs, well euh designer bugs actually.

ÔWe need a Ronald Reagan of attention, someone to inspire us away from the fight over smaller and smaller pieces of the attention pie. Someone who will inspire us to make the attention pie bigger.Õ Continued read frontpage

A barrier to entry. If you want people to read your book, then you have to read books; if you want people to buy your book, then you buy books. Give your attention to the industry of your choice. Like indie musicians have done for decades, conceive of the scene as an attention economy, in which those who pay in (e.g., I go to your shows) get to take out (e.g., come to my show). It would also mitigate one oft-claimed peril of the rise of the amateur, which is that they donÕt know from quality: consuming many other examples from a variety of sources, even amateur producers would generate a sense of whatÕs good and whatÕs bad: in other words, in their community theyÕd evolve a set of standards. This might frustrate the elitists, who want to impose their standards. But standards would, given enough

time, emerge. (In this I have faith.) I imagine software, a smartphone app, perhaps, you can use to audit your attentional expenditures. So that before you embark on trying to write a book, you will be able to see how much time you spent reading books over the last month or year. So that before you design a marketing campaign that assumes that people arenÕt doing much else with their time until you show up, you will be able to see what you yourself were doing with your time, which was something perfectly good. This will show you that youÕre a savvy allocator of your attentional resources Ð and so is everybody else. And yet I canÕt shake fantasizing about attention that has no price,

THE HOT TICKETS FOR THIS WEEKEND ÈAgenda Our pick of the day between all daily events highlighted. BCDE;BBFG$EEH Party!!! DDW sluit de week af met een eindfeest in het Dialogues House. Designer DJ's spinnen hun tunes vanuit een zorgvuldig ontworpen playlist. Locatie Dialogues House Lichtplein (achter de Witte Dame) 5611 XP, Eindhoven za. 24 oktober 21.00 - 01.00 u.

KLAUTÕS BARRETJE TIGRE BLANCO Tigre Blanco neemt je mee op een roadmovie waarin je zelf de hoofdrol speelt, het is een muzikaal experiment op het kruispunt van Quentin Tarantino en Buena Vista Social Club. Kindjesdingetjes: Vanaf 15.00 uur kunnen de kinderen stevig aan de slag om een leuke Halloween tegemoet te gaan. Klaut's Barretje at Strijp S. Starting at 15.00 from 16.30 onwards live music met Tigre Blanco

COLOFON Founder /Creative Director: Eric De Haas Editor at Large: Hugo Naber Assistant: Lucas van Hapert Webdesign: Hexaplex Design van Abbe: Bob Copray Final Text Editor: Jill Lauret

de Daily Whatever

CONTACT [email protected] 040-2381004 Bilderdijklaan 10 5611 NH Eindhoven Special thanks to the city of Eindhoven.

that canÕt be bought or sold, but is given freely: a gift. I buy and read books because I want to give the gift of my attention to the attention economy IÕm (as a writer) a part of. IÕm inspired by Lewis Hyde in The Gift, who says that what distinguishes commodities is that theyÕre used up, but what distinguishes gifts is that they circulate Ð the gift is never trapped, consumed, used up, contained or con!"#$% &'()% *""+*% ,-."% )'"% /"*)% /(sis for cultural production to thrive. So this is what itÕs come to: when an attention gift economy seems more practical and sustainable than an exchange economy for information commodities, which is being rotted by the giftÕs ugly negation: the free. Michael Erard is a writer in the US and Read more at www.michaelerard.com

FRIDAY 23 OCTOBER 2009

ÔPunch Line YesterDaily 500 {22-10-09}Õ ÈRectificatio Unlike yesterday we would not like to withhold you from the sharpend punch lines of yesterday!s daily 500. We pick it up where we left you. Ik ben aangenaam verrast dat de gemeente ondanks eerder ÔonomwondenÕ toegezegde steun, daar uiteindelijk toch vanaf heeft gezien. Er is op politiek niveau wellicht wat gebeurd waardoor men niet tot subsidiring is overgegaan, of misschien was gewoon het geld op. Mij maakt het eerlijk gezegd niet uit. Want wat is dit Waarmerk Eindhovens Design nou helemaal behalve een zoveelste Ôtop downÕ idee dat volledig scharniert op de aanname dat het publiek dommer is dan de bedenkers van het plan? Is dit wat wij willen en wat we nodig hebben of is dit iets dat een paar vrienden na misschien iets teveel wijntjes Ôheel erg supertofÕ leek en het toen maar gewoon zijn gaan doen? Ik pleit daarom voor het opzetten van een Stichting Stop Slap Gelul. Het zal een stichting zijn zonder

winstoogmerk, zonder startsubsidie, zonder kantoor en zonder directeur, maar mt speciale stickers. Deze stickers kunnen op netwerkbijeenkomsten uitgedeeld worden aan mensen van bijvoorbeeld Stichting Waarmerk Eindhovens Design en als zij maar genoeg stickers te zien krijgen zullen zij uiteindelijk ook snappen wat ze te doen staat.

DAILY 500 ÈCours, camarade, le vieux monde est derrire toi! Wat is !ie weer mooi, dit op een Risograph gedraaide krantje. Niks dan complimenten aan de makers ervan (en dan reken ik mezelf even niet mee). Wat ik misschien nog wel het mooiste aan dit kleinood vind is het feit dat het tastbaar is en een eigen geur en textuur heeft en dat gemaakte fouten ook gemaakte fouten blijven (het bewijs daarvan vindt u in 1 $ ! 3'0+3('0 $ )1 !"$ 0/$ 1 I $ -!(/'J8$ Want zo nu en dan beste lezer, als ik in een bijzonder melancholieke bui ben, bekruipt mij wel eens het gevoel dat ik en mijn vakgenoten misschien wel de laatsten zijn van een soort die nog echte waardering heeft voor wat gedrukt staat. Hoe gek ik ook op krantjes, pamK '' /#$ %* - /$ /$ (/1 !$ 1!&-< !-$ ben, ik ben net zo gek op de nieuwste en vreemdste technieken. Kijk maar eens naar de laatste ontwikkelingen op het gebied van Augmented Reality. Om van te watertanden. Ik maak me dus geen zorgen om waardevolle dingen uit mijn vak te verliezen omdat ik weet dat oude technieken soms vervangen dienen te worden door nieuwere en betere ideen en dat de kracht van werk ook nu nog niet uitsluitend zit in de techniek, maar meer nog in het idee en

de toepassing ervan. Ik wt het en toch is het jammer om bijvoorbeeld een stagiair te zien die werkelijk geen weet heeft van zeefdrukken, of een die niet meer schetst voordat hij/ zij een nieuw document aanmaakt. Dat zijn de momenten dat ik me oud voel, al ben ik dat nog niet echt. Er zijn uiteraard ook uitzonderingen. Gelijke pas houdend met vernieuwing is er altijd een tegenreactie: hoe meer nieuw er is, hoe meer je niches met ambachten ziet opbloeien. Internet en haar rare regels zijn voor de meeste mensen wellicht nog zo nieuw dat men afentoe geneigd is terug te vallen op het bekende - hoe bevreemdend en paradoxaal dat ook mag wezen. Websites van jonge n gevestigde ontwerpers staan vol met plaatjes van posters, boekjes en andere prints die nooit ÔechtÕ gemaakt zijn (buiten het ontwerpproces gerekend), maar er wel uit zien alsof ze gedrukt zijn. Het vreemdste aan die tendens van Ônamaak echtÕ is de voorliefde van jonge creatieven om splinternieuw werk eruit te laten zien alsof het een 60 jaar geleden met lood- en cadmi&,$0/-' /$= !=((!1061$7(,K '$0"#$LM$ jaar in een kast heeft liggen vergelen om vervolgens weer gevonden, ingescand en op internet te worden geplaatst. Waardeloos, zou je kunnen zeggen, of juist een eerbetoon aan en groeiend begrip voor wat ooit was. Tegenwoordig begrijp ik die anderhalve leraar waar ik wl naar geluisterd heb steeds beter. Ik snap waarom ze hamerden op de ÔoudeÕ technieken en methodes en ik snap

dat ze de digitale revolutie waar hun studenten zo gretig aan mee deden met bezwaard gemoed steeds nieuwe slachtoffers zag maken. Ze waren simpelweg bang dat er iets van de charme van hun vak verloren zou gaan met de komst van nieuwere technieken. De geniale Milton Glaser zei het heel kundig: ÔComputers are to design as microwaves are to cooking.Õ Maar, beste Milton, je had het misschien wel bij het verkeerde eind.

Daily Preview Saturday the 24th & Sunday the 25th: ÈEditorial The Density of Design, plan your next visit. ÈACCLAIR ÔNeuro MarketingÕ [email protected] Youtube: DailyWhatever Twitter: dedailywhatever www.dedailywhatever.nl


THURSDAY 22 OCTOBER


Jo Meesters

THURSDAY 22 OCTOBER 2009

Daily 500 Hallo vriendjes en vriendinnetjes! Ik heb een heel gaaf geheim dat ik jullie wil vertellen. Ik weet dat het dan niet meer zo geheim is, maar voor jullie maak ik een uitzondering.Õ

Tenerife Design AWARDS

ÈHighlight

ÈDe Supergave Geheime Club

ÈInternational shows

Our pick of the day Studio Jo Meesters

Column and thoughts on our profession

Last nights awards during Tenerife design festival

Desiign Week Newspaper. Newspap READ ALL ABOUT IT Your Daily Design

de Daily Whatever Est. 2006


Printed In Room Ro oom 9 Of The Van Abbemuseum Abb During The Dutch Duttch h Design Week 2009 20

ITS NOT EITHER ART OR DESIGN... ITS ABOUT IMAGINING THE WORLD OTHERWISE ÔSimeon de pilaarheiligeÕ, Carel Willink, 1939. Gemeentemuseum, Den Haag.

CHARLES ESCHE ÈArticle

Ôwe are in need of new, explicit criteria

of artistic (or design) quality that satisfy contemporary conditionsÕ

It is becoming a commonplace observation that art and design are growing closer together. Designers are increasingly engaged in producing one-off products that have less relation to function than to impressive visual presence. Art meanwhile has developed more socially orientated actions in the past 20 years, becoming less concerned with discrete aesthetic objects than with visualising processes of production and consumption, and !"!#$%&" '%(&")&" '%**+,'-*#',.!/&0/'1&!2!#,'*#'3,!#,4'5(!,!' %2*'%!"6!"/&!,'6*',!!7'%*'/*"0#7'%($%'%(!'-*#7!#+8',!.$#$%!' disciplines of art and design are closing in on each other. At times they seem to almost swap places, as when design exhibitions use much of the traditional repertoire of art presentations from Ôdo not touchÕ signs to large-scale multimedia installations. Since William Morris and the Bauhaus, both disciplines have obviously always had much to learn from each other, and .#$/%&%&*"!#,'92(!%(!#'$#%&,%,'*#'6!,& "!#,:'3,3$++8';!"!0%'2(!"' they can share studio space or educational experiences within which they can challenge each otherÕs truths. The divisions we see today, in which Eindhoven has a design academy but no art academy for instance, is a product of a post-1945 construction of autonomous art, a desirable state of freedomÕ that has become in the subsequent half-century devolved to a synonym for social and political irrelevance. Today, the reinvention of the terms of autonomous art are sorely needed, a process to 2(&/(' 6!,& "' %(!*#8' /$"' 7$)!' $' ,& "&0/$"%' /*"%#&;3%&*"4' <,' design has lost its tight union with functionalism and commercial exploitation, it has opened up to a new discourse around ,*/&$+'#!+!1$"/!'-#*7'2(&/('$#%'/$"';!"!0%'$' #!$%'6!$+4' However, much the same kind of argument could be made about contemporary artÕs relationship with a number of other .#!1&*3,' 6&,%&"/%' 0!+6,' *-' $/%&1&%8=' -#*7' $#/(&%!/%3#!' %(#*3 (' 0+7' %*' !%("* #$.(8=' ,*/&*+* 8' $"6' !1!"' %(!' ,/&!"/!,4' >"' %(!' past 20 years, contemporary art has become a generally permissive territory, at least at its more experimental edge, where .!*.+!',%#3 +&" '%*'0"6'#!/* "&%&*"'-*#'&6!$,'%($%'6*'"*%'!$,&+8' 0%'&"'%(!&#'*2"',.!/&$+&,7'/$"'*-%!"'0"6'$'#!$68'$"6'/3#&*3,' -*++*2&" ' &"' %(!' $#%' 0!+6=' 2(!#!' %(!8' /$"' ;!' ,3..*#%!6' %*' 6*' what they want. While design has also gone through a similar phase in which products have become as much about image and .#*/!,,'$,'0"$+='6!+&1!#$;+!' **6='>'$7'"*%',3#!'2(!%(!#'.#&1&leging the art-design axis is useful in itself. Rather we need to think beyond inter-disciplinarity towards a concept such as

OPEN HELSINKI ÔEmbedding design in LifeÕ

Ôextra-disciplinaryÕ in which stepping outside the discipline in order to construct a new set of arguments and understandings is preferred. This extra-discipline could then be the ground on which specialisms meet and mix, without sensing that their own slowly crafted knowledge base is being undermined. The danger in such a process is however that new disciplines are created that then build there own logics and borders. To avoid this, we would need certain new criteria that would allow us to make judgements about which direction of travel is desirable. Here, the advantages of the permissiveness of both art and design, while substantial especially in its openness to new, still untested experiences, does leave the question of judgement and the rationale for decisions about inclusion or exclusion of a particular individual practice too rather open. If innovation is the number one prized qual&%8=' %(!"' $"8%(&" ' "!2' &,' ;8' 6!0"&%&*"' %*' ;!' 2!+/*7!6' ?3,%' as any kind of repetition must be avoided. But to what extent is such a celebration of the new sustainable in the current social, economic and indeed aesthetic climate. If sustainability is indeed to be more then a new marketing buzzword, then it must imply new criteria that reduce innovation for innovationÕs sake and support more applied thinking about our future needs on a grander, more socially responsible scale. Simply put, the issues that are likely to be at stake in the coming years are more crucial than the next art auctionÕs prices or the viability of manufacturing a market for another unnecessary product. They concern how we envisage our collective future and what kinds of individual responsibilities we are prepared to adopt or make the subject of social cooperation. Under these anticipated conditions, we may well need to rethink the question of judgement and permissiveness that we inherit from late modernism in terms of what choices we make #$%(!#'%($"'(*2'2!'!@.$"6'%(!'0!+64'A($%')&"6'*-'$#%'*#'6!,& "' do we want to encourage, what are the fundamental objectives of such an activity? These are questions that a museum has traditionally been obliged to answer. In the past, the concept of quality was always foremost in museum decisions, but itÕs 6!0"&%&*"'2$,'+!-%'6!+&;!#$%!+8'1$ 3!=')"*2"'*"+8'%*'$'+&7&%!6' number of appointed acolytes. Curators and directors of art institutions generally held up their opinions as self-evident truths based on experience and a connoisseurÕs eye. The audience was there to share their views, or turn away uninterested. While this

system was successful and functional up until (say) 1989, such a mechanism can only work when a broad cultural community shares core ethical and aesthetic values. In the past 20 years, 3"6!#'%(!'&"B3!"/!'*-'!/*"*7&/' +*;$+&,$%&*"='7$,,'.*.3+$%&*"' movement and cultural relativism, there is much less common ground even in the territories of western Europe, and certainly when we take a more planetary view of art or design. The sagacious judgements of the aesthetic class therefore necessarily come under much closer inspection. Partly, the answer to this development has been found in uncontrolled growth, ;*%(' &"' 7!6&$' $"6' &",%&%3%&*",' &"' %(!' 0!+6' *-' $#%' *#' 6!,& "=' that seek to accommodate all views, but this kind of solution is obviously unsustainable after a certain point for ecological and economic reasons (see, most recently, the Scheringa Museum, for instance). Therefore we are in need of new, explicit criteria of artistic (or design) quality that satisfy contemporary conditions while maintaining the public museumÕs historic role as a guardian of particular kinds of objects that speak to the human imagination (and not only to its bank balance). These criteria need to be worked on but I would like to suggest a partial answer in the idea that that we think about the quality of an artwork or design product in terms of its speculative potential. Under this rubric, we could ask to what extent does a thing/phenomenon/activity strengthen our ability to imagine the contemporary world otherwise than it is today? Such a criterion would allow us to loosen, or even abandon, the rigid borders between art and design, as well as between other disciplines, when making a decision about the quality of a particular manifestation. Works (whether paintings, products, texts or gestures) that simply serve to satisfy an existing market and do not seek to open up new imaginative territory would be valued less than those addressing the here and now while anticipating what might be to come. In this way, while methods of production and research may stay within the boundaries of disciplines, the process of what is shown and how it is received is opened up to a set of judgements lying outside of the discrete 0!+6' &%,!+-=' #*2&" ' .*,,&;&+&%&!,' &"' $' ,3,%$&"$;+!' 2$8' $"6' $+lowing those not included in the internal knowledge logic of a subject a chance to contribute to a discussion in public about what makes good (or bad) art/design/culture. Charles Esche is director of the Van Abbemuseum and kindly wrote this article for this daily issue.

ÔI certainly hope we could start up a co-operation between design weeks. No matter how the ÒraceÓ ends!Õ

ÈBackside Q&A With Kari Korkman Festival director of the Helsinki Design Week

de Daily Whatever



MUST SEE ÈThe fast lane Studio Jo Meesters focusses on the research of new ways of material handfollow our ling. The results are often products digital content that can be placed on the intersection of craftsmanship and mass production online. techniques. In his own studio at the kanaalstraat he shows some beautiful lamps from the PULP collection. Worth visit we would say. dedailywhatever.nl a Studio Jo Meesters Kanaalstraat 4 5611 CT Eindhoven

THURSDAY 22 OCTOBER 2009

TENERIFE DESIGN PARADISE AWARD 2009

ÔSeriously, for some of the citizens the design capital race is like sports.Õ

2012

ÈFrom our correspondent Daniel Charny:

ÈQ&A With Kari Korkman

Our colleague from the Londen Design Week Newspaper ÔThe IncidentalÕ

FESTIVAL DIRECTOR OF THE HELSINKI DESIGN WEEK You are the director of the Helsinki Design Week, can you give us a short insight on what this week has to offer? Our aim is to promote the creative sector of Helsinki. We work inside the creative industries and try to get the different disciplines to work closer within each and other. We believe that the new ideas often require a multidisciplinary approach. Particularly today when the digital and physical world are embedding. Our other task is to communicate about the achievements of the creative industries. We operate more and more also abroad. Helsinki Design Week produces next an exhibition called HELSINKI MADRID FIN DESIGN which opens November 3, 2009 in Madrid, Spain. Have you ever visited, or are you familiar with the Dutch Design Week, and in what way do these

weeks relate to each other? I was planning to come and visit DDW this year. Unfortunately it seems now that the coming Madrid exhibition does not allow me to travel anywhere else but Madrid. I certainly hope we could start up a cooperation between design weeks. No matter how the ÔraceÕ ends! How do you see Eindhoven as your city's main competitor in thedesign capital race? We are proud to be related to Eindhoven who has such a

THE HOT TICKETS & MUST SEES FRIDAY Our pick of the day between all daily events highlighted.

De Krabbedans i.s.m. Items Locatie De Krabbedans Clausplein 10 5611 XP, Eindhoven vanaf 11.00 u.

INVERTUALISTISCH FEEST De Dutch Invertuals zijn neergestreken in designstudio EDHV: een !"#$%& '()* +,,&* $% -(./(()* (/0,% )1* Ook een prima locatie voor een feest trouwens. Daarom organiseren zij daar vrijdag een invertualistisch feest. www.dutchinvertuals.nl Locatie EDHV Fuutlaan 12b 5613 AB, Eindhoven Vr. 23 oktober, 20.00 - 00.00 u.

ITEMS


de Daily Whatever


sports. For many of us the results obviously make an impact for the coming years. What is HelsinkiHs theme for 2012? ÔOpen Helsinki - Embedding design in LifeÕ. Our winning slogan, naturally. On the 25th of November the !"#$% &'()*)+"% +"% ,-+% ,)$$% .'% the design capital will be made public, if Helsinki wins can we publish our newspaper there? The drinks are on me! !"#$%&'(#)$%'*%!+

www.tenerifedesignfestival.com

DAILY 500 ÈDe Supergave Geheime Club

ÈAgenda

EINDEXAMENSELECTIE Expositie Een bijzondere samenwerking tussen Items en Krabbedans. Alleen tijdens DDW zijn de highlights van ontwerpend Nederland in een tentoonstelling te zien.

strong position as a creative area (Brainport) with one of the most respected universities. As I have not actually visited the city I cannot say much about its activities etc. Is the design capital race something that is very much alive in Helsinki or merely in the design scene and politics? People do ask me quite frequently if I have heard anything about the results. I have not, which worries me... Seriously, for some of the citizens the design capital race is like

The Jury statement: To give the award corresponding to category A 9%(&" ,'8*3'0"6'&"'%(!' beach) to the project called ÒTenerife Paradisum:1.0Ó, submitted by Javier Sicilia Pederero and Arantxa Sarmiento Saiz, for their advanced design thinking, consisting in highlighting the resources of the island by means of a communication piece that evokes the emotions one can feel in ÒParadiseÓ with the aim of encouraging the personal experience of nature in a sustainable way. This design is about well being and using on site local materials. To nullify categories B and C because the quality of the entries does "*%' -3++0+' %(!' #!G3&#!7!"%,' ,%$%!6' in the award rules. Members of the jury: Pierluigi Cattermole, Daniel Charny , Gloria Daz, Mayte Mederos, Yapci Ramos, America Sanchez, Xnia Vilads.

Hallo vriendjes en vriendinnetjes! Ik heb een heel gaaf geheim dat ik jullie wil vertellen. Ik weet dat het dan niet meer zo geheim is, maar voor jullie maak ik een uitzondering. Ik heb namelijk ontdekt hoe we allemaal heel gemakkelijk superberoemd kunnen worden. Er is namelijk in Eindhoven een groepje belangrijke mensen een speciale club begonnen waar ze met elkaar zo nu en dan bij elkaar kunnen komen om lekker te spelen. De naam van deze club? Stichting Waarmerk Eindhovens Design. De club is speciaal opgericht voor jongens en meisjes die leuke dingen maken. Iedereen in de hele wereld mag eraan meedoen, als je maar in Eindhoven geboren bent. Of er woont. Of er toevallig een keer door(!!"' !0!%,%' ;!"%4' C*!' 2!#)%' (!%D' Eerst moet je centjes betalen als je bij de club wilt horen. Voor maar 250 euro mag je de belangrijke jongens en meisjes naar je leuke ding laten kijken en als ze het, net als jij, supervet vinden krijg je een sticker. Op deze sticker staat een tekening die niemand snapt, maar jij wel! Want jij hoort dan bij de club! Supertof! Als je de sticker wilt houden moet je wel 100 euro per jaar betalen, maar dat is het he-le-maal waard. Jammer

genoeg mag ik hier geen plaatje van de sticker laten zien, want dan kan ik straf krijgen omdat ik nog niet bij de club hoor. Helaas pindakaas Het klinkt onwaarschijnlijk, maar de Stichting Waarmerk Eindhovens Design bestaat echt al zat het ze in den beginne niet mee. In een op 1006-2009 in het Eindhovens Dagblad gepubliceerd artikel omschrijft de duidelijk teleurgestelde directrice Elisabeth de Haan van de bovengenoemde stichting het in korte zinnen zo: ÒEr is een stichting opgericht, Stichting Waarmerk Eindhoven Design. Een stichting zonder winstoogmerk. Een startsubsidie is het enige benodigde om ons te kunnen laten aanvangen. Er kwam een geregistreerd waarmerk, een kantoor en !!"' 6&#!/%!3#4' E$$#' !!"' 0"$"/&F+!' steun van de gemeente.Ó Nou moe! Geen steun van de gemeente? En jullie hebben nog wel een kantoor n een directeur! Eerlijk is eerlijk: dit initiatief is natuurlijk ge-wel-dig. Okee, op dit moment lijkt het de zoveelste wassen neus te zijn waar de grote designers en andere belangrijke mensen in Eindhoven die er verstand van hebben voor gaan staan, maar wacht maar! Later zal dit Waarmerk de stad veel goeds brengen. Gezien de ongelofelijke domheid van het publiek kan het niet anders dan dat deze club Eindhoven en haar producten heel erg beroemd gaat maken. Want wie wil er nou niet een waterkoker omdat Ôie uit Eindhoven komt?

Of nou ja, uit EindhovenÉ Ergens in de geschiedenis van het ontstaan van die waterkoker is de naam Eindhoven gevallen. En daar kan ik nou wel allemaal lekker cynisch over gaan zitten doen, maar het wil natuurlijk toch wel wat zeggen. Dat een echte, misschien Eindhovense ontwerper zijn of haar naam aan deze stichting durft te verbinden. Als dat geen geloofwaardig waarmerk is dan weet ik het ook niet meer.

Daily Preview Friday the 23th: ÈEditorial Facts&Figures Dutch Design Week ÈDaily 500 ÔSomething CynicalÕ

[email protected] Youtube: DailyWhatever Twitter: dedailywhatever www.dedailywhatever.nl


WEDNESDAY 21 OCTOBER


WEDNESDAY 21 OCTOBER 2009

!"#$%&'#() Daily 500 Gary Hustwit

To whom does design address itself: to the greatest number, to the specialist of an enlightened matter, to a privileged social class? Design addresses itself to the need.Õ

ÈAgenda Our pick of the day. A shortlist of design week highlights.

ÈOntwerpen voor de ontwerper Column and thoughts

A bridge too Far ÈLa Bolleur Night on the town at the fantastic greens of La bolleur


Bottom line: Get your copy! Come and get it at the van *!!#) +,) '-() %.#/) +-) 0#1#,23) design week locations.


IS THIS ART? ÈFreek Lomme

Een authentiek bestaan vergt radicaal design. Design is in onze cultuur richtinggevend. Design manifesteert zich in verboden voor architectonische ingrepen, in regelgeving rond kapvergunningen, in de identiteit die je muziekkeuze representeert, in de kleding die je draagt, de supermarkt die je bezoekt, de goede doelen die je steunt. Een emotie als schaamte vindt zijn weg in de vormgeving van taboes. Een emotie als hebzucht vindt zijn weg in de vormgeving van een omgeving waarin macht !"##"$%& '#(& #)!$*#& +,-& !(.#/"*0& vindt zijn weg in de vormgeving van een schild. Alle dingen die we doen, Continued

Ý

de Daily Whatever



ÔA night on the town.Õ

ÈThe fast lane follow our digital content online.

Last night the Daily Whatever team set out to visit some design week locations. After visiting the Dutch Design Awards, the Dialogues House, the Laughing Prohibited exposition and the Re-kwi-siet show, we finally got to the essence of good design: The golfcourt of La Bolleur. Even Tiger Woods will wet his pants on this court. This is definitly a must see, be on your guard for injuries at HOLE 5 ÔclubsÕ.

WEDNESDAY 21 OCTOBER 2009

During the Dutch Design Week La Bolleur presents itself as a mini golf club in the center of Eindhoven. Eight designers bring their playClubhouse LA BOLLEUR Opening hours during full ideas to the mini golf course with nine the dutch design week every day from 12:00 holes and a crazy club house. This will be the till late. Smalle Haven 24. Eindhoven. meeting point, have a drink and play!!

dedailywhatever.nl

Continued read frontpage

in groepsverband of individueel, bepalen hoe we ons bewegen en presenteren: dat alles is design. Design brengt ons in vervoering, design is het medium waarmee de beleveniscultuur ons vervolmaking brengt.... Design stelt meestal geen vragen naar waarden en normen maar vult ze in, veelal na zorgvuldig onderzoek naar de, zo wordt vaak verondersteld, enige relevante vraag: of het afzet kan vinden. Afzet functioneert als legitimering. Als zodanig is design niet passief, maar juist actief sturend waar het de vorm van onze cultuur betreft. Het vraagt niet naar diepe behoeften of authentieke deelname. Design is het beoefenen, door producent en consument, van geprefabriceerde waarden en normen, ingegeven door ingesleten gedragscodes. Zo geeft design onze welzijnsstaat vorm. Design vult in zonder vraag of antwoord af te wachten. Design staat boven de werkelijkheid door ons een werkelijkheid voor te schotelen. Het bepaalt de wijze waarop we onze geschiedenis betekenis geven in de vorm van een historisch besef, het bepaalt de wijze waarop we onze moraal vorm geven in normen en, evenzo, onze ethiek vorm geven in waarden en wetten. Design negeert de natuurwetenschappelijke werkelijkheid als intellectualistisch gebazel. Veel design zet in op het hier en nu, is populistisch. Design kan zich deze inzet veroorloven omdat ze rendeert: ze Ô-+$*-1#-Õ. Sinds de intrede van de massamedia leeft er in de gemeenschap een eigen, vage notie van Ôcommon senseÕ die bepaalt wat Nederland tot

ÔDesign is het levendig en dictatoriaal resultaat van de moderniteit.Õ Nederland maakt en evenzo wat een -0#3*1#4#&3!))5(*$6&!0&*($#"(#$&$!$& 7#8#& -0#3*1#4#& 3!))5(*$6& )++4$& etc... Elk medium en de gebruikers van dit medium worden geleefd door de normen en waarden die hierin gevoerd worden. De technologische cultuur heeft zich in onze porin gevestigd, niet alleen als instrument, maar bovenal als een sociaal gecodeerd instrument. Naast het bekende feit dat ons aankoopbeleid in winkels gestuurd wordt, gaat het ook om onze waardering voor gezondheidszorg (verzekeraars suggereren dat we, vanzelfsprekend, op de meest kostbare, vernieuwende behandelmethode kunnen rekenen), of om liquiditeit (ongelimiteerde kredieten zijn mogelijk), onze waardering voor het traditionele huwelijk en zo meer. Het systeem biedt (aanbod), wij vertrouwen op haar belofte (vraag). Alleen criticus accepteren we niet; dat is een rare outsider die de droom verstoord; de droom is immers al tastbaar. Design drijft op Ôcommon senseÕ en technologische cultuur. Design is het levendig en dictatoriaal resultaat van de moderniteit. Design heeft zich, als retorische werkelijkheid, in het geheel maatschappelijke verkeer genesteld. Design is een uiterlijk mechanisme wat ons dagelijks bewegen bepaalt. Perversiteit, agressie, stress en andere

THE HOT TICKETS & MUST SEES THURSDAY Our pick of the day between all daily events highlighted.

I Have Pop www.ihavepop.com AreaFiftyOne skatepark Klokgebouw 51 5617 AB Eindhoven

TAKE A SEAT WITH MU Publiek gesprek, multidisciplinair !"#$%&'($)& *-& ##(& 1,)& 2+(& Gary Hustwit over onze relatie met gefabriceerde objecten. Aansluitend: debat met deskundigen. Organisatie Van Abbemuseum en MU Locatie Van Abbemuseum Bilderdijklaan 10 5611 NH Eindhoven Data do. 22 oktober, 18.00 za. 24 oktober, 14.00 zo. 25 oktober, 14.00 COLOFON Founder /Creative Director: Eric De Haas Editor at Large: Hugo Naber Assistant: Lucas van Hapert Cover Design: Felix Weigand Webdesign: Hexaplex Design van Abbe: Bob Copray Final Text Editor: Jill Lauret

de Daily Whatever


we opvatten als een uitdaging waar onze diepe authenticiteit zich daadwerkelijk voor gesteld ziet. We moeten de vorm van de welzijnsmaatschappij ter discussie stellen want onze diepe authenticiteit kan zich niet langer achter deze vorm verschuilen. We worden immers geconfronteerd met economische globalisering. We worden immers geconfronteerd met andere culturen. We worden immers geconfronteerd met milieuproblematiek. We kunnen onze deuren niet sluiten voor rare buren en we kunnen geen protectionisme voeren in ons kikkerlandje. Zo mogen we ons niet laten verleiden tot een kleine gift, wanneer we een goed getypecast hongerkind op een poster zien. Ons diepe, authentieke bestaan verdient het te mogen ontluiken. Niet alleen in het outsider discours van academici maar vooral ook op de maatschappelijke vloer! Dit heeft ieder van ons, als persoon, nodig om werkelijk te leven. Te vaak zijn we corrupt: ieder van ons wil het goede maar zit verstrikt in spelregels en een spelbord wat dit goede niet of te weinig toelaat. We moeten diep en authentiek reken-3;+0&++(&#,4++"&+ #//#(&!)&-+)#(& de decadentie te overkomen. We moeten de motieven die het spelbord bepalen radicaal durven ondervragen en onder de loep durven leggen. We moeten met de ballen bloot

Freek Lomme, freelance curator en schrijver; o.a. directeur van presentatieinstelling/uitgeverij Onomatopee, gastcurator Van Abbemuseum, redactielid kunstjournaal De Kantlijn. Tijdens de Dutch Design Week 2009 (17 t/m 25 oktober) cureert hij diverse exposities met nieuwe culturele perspectieven op

DAILY 500 ÈOntwerpen voor de ontwerper

ÈAgenda STREET FURNITURE Exhibition multidisciplinair Leuk hoor, al dat design... maar wat kan je ermee?! Deze expo geeft een inzicht in de gedachtengang van skateboarders en hun interactie met het publieke domein.

(#/+$*#9& /#4:+,*13##"7#& +-0#3$#(& van ons bestaan vinden geen weg op dit spelbord. Culturele innovatie, een progressieve omgang uit andere perspectieven en individualisme, wordt door dit systeem geweerd. Technische innovatie, versterking van het systeem, wordt aangemoedigd. Veel van onze authentieke en diepe belevenissen komen niet tot wasdom, omdat ze niet aangesproken worden of geen weg naar buiten vinden. Onze cultuur verliest ruggengraat door dit hoog technologisch systeem. Door design vergeten we hoe we de diepte van ons authentiek bestaan aan kunnen raken. Design, als vormelijke belichaming van de beleveniscultuur, ontbeert de mogelijkheid om de inhoudelijke gelaagdheid van ons bestaan ter discussie te stellen. We hoeven niets diep aan te kijken: onszelf niet, de dingen om ons heen niet en elkaar niet, omdat de goed gestileerde etiquette het niet van ons vraagt, omdat we geleefd worden door design. Zo wordt een vals bestaan, een bestaan in decadentie, mogelijk. Sociaal bekeken is onze welzijnsmaatschappij te jong om haar voor absoluut te houden. Moreel bezien is er te veel frustratie en te veel onderhuidse spanning om ze voor een heilstaat te houden. Deze lacunes zetten de lijnen uit voor een negatief cultureel kader. Dit kader kunnen

en onderling bepalen, los van onze eigen sensatiezucht en los van de dagelijkse loop van het systeem, wat die ballen betekenen en waarom die nooit eerder zijn ontbloot. Ieders ballen verdienen waardering voordat ze in geniep een dodelijke ziekte oplopen. U moet mij en ik moet u dit vertrouwen geven. Wij moeten elkaar dit vertrouwen gunnen. Dit betekent dat we design, als modus operandi van de decadente verzorgingsstaat, op zijn merites moeten beoordelen: wat wordt er daadwerkelijk ontworpen en wat betekent dat? Goede artistieke productie brengt relevante zaken tot spreken en dat is nu vitaal! Kritische, onderzoekende (artistieke) productie vergt inzet, van maker en gebruiker. Immers: pas wanneer er nieuwe spelregels tot spreken worden gebracht kunnen we ons werkelijk tot elkaar verhouden en onze wereld authentiek vormgeven! Op dit pad zullen veel verleidelijke vormen, zal veel verleidelijk design, ons van de koers af proberen te houden. Er zullen zich redenen voor smoezen aandienen maar we mogen ons niet verschuilen. We moeten ons radicaal concentreren op onze levenspraktijk, als radicale vormgevers! De maatschappij, dat zijn wij!

Nou ben ik nog niet bij de Graduation Galleries gaan kijken, maar het ontwerpwerk dat ik tot nu toe gezien heb heeft, op enkele uitzonderingen na, op mij geen grote indruk gemaakt en eigenlijk is dat ieder jaar tijdens Dutch Design Week het geval. Meer en meer heb ik het gevoel dat ÔontwerpenÕ en ÔleukÕ bij elkaar leentjebuur aan het spelen zijn. Meer dan ooit tevoren vraag ik me deze week af voor wie en waarom we nu eigenlijk zitten te ontwerpen. ÔTo whom does design address itself: to the greatest number, to the specialist of an enlightened matter, to a privileged social class? Design addresses itself to the need,Õ zei Charles Eames en die ÔneedÕ is precies waar ik nu al een tijdje naar op zoek ben. In goede gesprekken met ontwerpervrienden constateerden we steevast Ð vaak ingegeven door een ergernis naar een klant toe Ð dat de ontwerper uiteindelijk altijd voor zichzelf ontwerpt; de ontwerper als vaandeldrager van het goede en zuivere en in het uiterste geval als bewaker van zijn of haar portfolio. Bewijs voor deze stelling dacht ik gevonden te hebben in wat ik het best kan omschrijven als het ÔGrote OntwerpersasielÕ op Strijp-S. Daar zaten ze dan, enthousiaste, lieve

ontwerpers. Schijnbaar ongedwongen naast elkaar, met grote ogen naar de volgende bezoeker kijkend, hun gehele trukendoos uitgestald in de hoop dat iemand zou zeggen ÔDeze, schat!Õ ÔDeze wil ik!Õ De eerlijkheid gebiedt me te zeggen dat er werkelijk interessante dingen tussen zaten, maar hoe vaak heb ik niet bij een stand mijn pas wat versneld om het maar voorbij te laten zijn. En hoe vaak heb ik niet rondgekeken of ik niet ergens het bordje ÔKorte route naarÉÕ zag hangen, met de geur van Zweedse gehaktballetjes in gedachten. Het ergste waren de momenten waarop ontwerpers van gewoon leuke dingen een heel poeha -verhaal op gingen hangen over hun toch echt wel heel erg goed doordachte spullen. Ik was in zoÕn geval naarstig op zoek naar iemand waartegen ik in alle eerlijkheid kon zeggen ÔLeuk ding joh.Õ Waarop de ontwerper in kwestie zou kunnen antwoorden ÔJa h!Õ Maar nee, het waren allemaal onderzoeken en concepten en grootse processen. Het is een vraag die zo oud is als het vak zelf: wat maakt iets een goed ontwerp? Smaak en stijl zouden hierin buiten beschouwing moeten worden gelaten, of toch niet? Stefan Sagmeister zei het op een seminar in april 2009 ongeveer zo: A good design is only a good design when the client says so.Õ Hij refereerde daarbij aan het Bridges To Babylon hoesje dat hij voor de Rolling Stones had gemaakt Ð in mijn ogen een ongelofelijk

gedrocht. En toch heeft hij misschien wel helemaal gelijk, want als iemand Ð wie dan ook Ð het getoonde leuk of mooi vindt Ð hoe lelijk en overbodig dit mag lijken in de ogen van een ander Ð de vraag, of beter gezegd ÔneedÕ is op dat moment herkend en voldaan. Misschien dat we naast een landelijke ÔKoop Niets DagÕ ook maar eens een ÔOntwerp Niets DagÕ moeten instellen. Ik stel voor zo rond half oktober, te beginnen in Eindhoven.

Daily Preview Thursday the 22th: ÈEditorial Charles Esche Director Van Abbe Museum ÈKari Korkman Director Helsinki Design Week 09 [email protected] Youtube: DailyWhatever Twitter: dedailywhatever www.dedailywhatever.nl


TUESDAY 20 OCTOBER


TUESDAY 20 OCTOBER 2009

Paper Zoo

Daily 500

ÈAgenda

ÈDONÕT PANIC

ÈColumn preview

Our pick of the day. A shortlist of design week highlights.

Column and thoughts on our profession.

A New guest column Cross Chanel design differences

A common mistake that people make when trying to design something completely foolproof is to underestimate the ingenuity of complete fools.Õ

Cultural Creatives ÔThe Second Day of the Four Day Battle of 1666Õ by Bruce Von Stetina




RETHINKING THE SHAPE OF EVERYDAY LIFE

ÈAlice Rawsthorn

Originally Published: October 4, 2009 in the New York Times. The New York Times granted the Daily Whatever publishing rights for this article.

LONDON A few weeks ago, a friend explained to her 8-year-old son that when she was his age, you could only make phone calls from those old-fashioned telephones at home, or phone booths on the street. ÒHe was shocked,Ó she said. ÒThen he looked at me half-pityingly and half-contemptuously as though I was some sort of decrepit dinosaur.Ó

Lots of once familiar objects and habits must now seem equally prehistoric Ð to 8-year-olds, at least. Paying by check. Listening to music on CDs. Videoing TV shows. Planning a journey with a road atlas. Calling a telephone helpline to check a train timetable or airline schedule. Being awoken by an alarm clock, and everything else that has been rendered redundant by digital technology. After decades of being an evolutionary process of incremental improvements, design is now revolutionary. Just think of how quickly we have come to depend on once unimaginable innovations like cellphones, the Internet, BlackBerries, iPods, Bluetooth, satellite navigation and iPhone applications. ThatÕs just the start. Advances in technology are accelerating, and the social and political pressure on businesses to develop environmentally responsible alternatives to existing products is increasing. Over the next few years, many more familiar objects will be reinvented. Here are a few possibilities. 1. CARS You donÕt need a crystal ball to guess that more and more of us will soon be dumping our gas !""#$%&'()%'$*$% +,$(-./$*0'$#$.0%/.' .1%&2' 34$' -%&0' )(' 04$' ()%04.)5/* ' crop of electric models, like the Nissan Leaf and Mitsubishi i-Miev, have looked (disappointingly) like their predecessors. But the electric car is a thrilling opportunity for

designers to develop a new type of vehicle that could have as dramatic an effect on this century as the Model T Ford did on the last one. ÒI just wish someone would let me try,Ó said Yves Bhar, founder of the San Francisco-based design group, fuseproject, whose Mission One superbike broke the land speed record for electric motorcycles last month by tearing along at 150.059 miles per hour, or about 240 kilometers an hour, for one mile. Another change is the trend for consumers to share their cars, rather than own them. This will create more sharing services, like the Zipcar network in the United States, and also has implications for design.

Chris Bangle, former head of design at BMW, reckons that sharers will put greater emphasis on the styling of their car interiors, possibly encouraging the development of modular interior components, which can be easily replaced when a new ÒsharerÓ takes over. Conversely, he expects them to be less concerned about the exterior of their vehicles, which could be used to display advertising, like buses. 2. STREET FURNITURE Old-fashioned telephones arenÕt the only victims of the cellphone. Think of all of the things that you see (but generally donÕt notice) on a typical street, and ask whether we still need them, or quite so many of them.

Street lights? Yes. Bus stops? Ditto. Telephone booths? Obviously not. And parking meters? TheyÕre at risk too, now that we can pay for parking by phone. The parking meterÕs days are numbered, but the phone boothÕs fate is more intriguing. We may no longer need them to make calls, but they could provide ready-made sources of electricity for recharging electric cars, cellphones and laptops, not least as they are conveniently located by the roadside and tend to be concentrated in busy places. Spain is leading the way. Rather than build a new charging system from scratch, the Spanish government plans to install a test network

of charging stations, many of which will be converted from under-used phone booths. 3. LIGHTING Tried to buy a light bulb lately? If so, youÕll have noticed that there are fewer old-fashioned incandescent bulbs on sale, and more eco- responsible com61.0'7!)%$&.$*0')*$&2'8!0'9:;&'<1&' theyÕre called) could soon replaced by LEDs and OLEDs (short for light emitting diodes and organic light emitting diodes). As well as consuming less energy than CFLs and incandescents, they look dramatically different; and OLEDs, in particular, offer the tantalizing Continued on next page

Ý

de Daily Whatever

ÈThe fast lane follow our digital content online. @Dailywhatever is a small independent newspaper during (but not limited to) the Dutch Design Week. Very 2.0, so send them your thoughts. looking forward to giving the students from Eindhoven Academy a seat on the blog tomorrow. 18 hours ago from Facebook Read all about it! De Daily Whatever goes to print.



TUESDAY 20 OCTOBER 2009

Daily Preview Thursday the 22st: ÈCharles Esch Director Van Abbe.

ÔYou donÕt need a crystal ball to guess that more and more of us will soon be dumping our gas guzzlers for "'"%012"3&45"')#"/"4)%54# carsÕ

ÔAfter decades of being an

evolutionary process of incremental improvements, design is now revolutionary.Õ

CULTURAL CREATIVES È Cheryl Gallaway Preview of article wich we will run later this week. Designer Cheryl Galloway on Cross Channel Differences.

11:22:46 AM October 18, 2009 from Facebook !is open! come visit at the Van Abbe in Eindhoven!

!Beaming Eindhoven stadhuis, animation projects on Eindhoven @dailywhatever @dailywhat !Helsinki

Design Week director Q&A with daily whatever @dailywhatever @dailywhat

!Reading

: Less Is More Again A Manifesto as published in The Daily Whatever

!@dailywhatever design office is filling up with paper and visitors. !Is Art Furniture Growing Up? as published in The Daily Whatever #DDW @dailywhatever Reading : Is Art Furniture Growing Up? as published in The Daily Whatever | The New York times

dedailywhatever.nl

Continued read frontpage

possibility of developing revolutionary new styles of lighting. Whereas incandescent and CFL bulbs shine light from a single source, LEDs create clusters of tiny light spots. Designers are already embedding LEDs into the structure of lights, whose design has traditionally been dominated by the need to support the bulb. OLEDs are even more versatile. These super-slender strips of light can be integrated into the existing elements of a room, such as walls or ceilings. Lighting need no longer take the form of an object, but could blend seamlessly with its surroundings. 4. NEWSPAPERS, BOOKS AND MAGAZINES How are you reading this column? On the printed page of a newspaper? A computer screen? Or the digital page of an electronic reader? Whatever the shortcomings of the current crop of electronic

readers, like AmazonÕs Kindle, (and everyone I know who uses one has a long list) more and more of us could be reading newspapers, book and magazines on super-sophisticated versions in future. If the bloggers are right and Apple launches a touch-screen tablet computer early next year, it could have the same galvanizing effect on the electronic reader as the iPod did on the MP3 player. Until then, the cute new XOXO tablet computer, which 04$'*)*,6%)-0')% 1*/"10/)*'B*$';16top Per Child is planning to launch next year as an educational laptop for kids in developing countries, is the best example of how appealing

THE HOT TICKETS FOR WEDNESDAY

DAILY 500

ÈAgenda

ÈDONÕT PANIC

Our pick of the day between all daily events highlighted. LE PIEK NOIR Exhibition An exhibition in a warehouse setting which presents the work of likeminded artists ans designers who live and work in the Eindhoven agglomeration. www.le-piek-noir.nl Locatie Kleine berg 28, Eindhoven Daily, 12.00 - 19.00 h.

PAPER ZOO Expositie, multidisciplinair Iedere stad verdient een dierentuin. Ook Eindhoven. Maar dan wel een bijzondere. Een dierentuin zonder dieren die uit hun natuurlijke habitat zijn gehaald, maar «e«en vol wonderlijke creaturen. Niet van vlees en bloed, maar van papier. MU Locatie De Witte Dame Emmasingel 20 Eindhoven Dagelijks geopend


de Daily Whatever


Het gebeurt me regelmatig dat ik aan een opdracht zit te werken en dat de klant - tegenwoordig steeds vaker gerepresenteerd door een Ôcommunicatie-expertÕ - me vraagt rekening te houden met de zogenaamde ÔJan Met De PetÕ. Aangezien ik van nature een nieuwsgierig mens ben dat graag met externe referentie werkt ben ik vanaf de eerste keer dat ik over deze Jan hoorde meteen naar hem op zoek gegaan. En wat blijkt: Jan bestaat niet. Toegegeven, er zal vast wel ergens een Jan met een pet rondlopen en misschien dat hij wel eens met mijn werk in aanraking is gekomen, maar als dat al het geval is, dan was hij niet zozeer Jan Met De Pet, maar een mens en de mens is wispelturig. Jan Met De Pet is naar mijn mening vergelijkbaar met The Missing Link: we zoeken er al jaren naar en er zijn wat wazige, hoogstwaarschijnlijk vervalste fotoÕs en botjes van, maar iedere keer als we er dichtbij zijn vissen we achter het net. In iedere andere situatie zou men zeggen: ÒGoed, zo is het wel weer leuk geweest, tijd om wat anders te gaan doenÓ maar niet in dit geval. Gelukkig zijn er tegenwoordig tal van consultatie- en onderzoeksbureaus die geen steen onomgekeerd zullen laten

an electronic reader can be. The screen opens up like the pages of a book. 5. COMPUTERS Not that computers will stay the same for much longer. The smart money is on the keyboards and mice of old-school computers being replaced by Òhuman interactionÓ systems operated by voice or movement. An early example is the motion-sensitive g-speak system developed by Oblong Industries in Los Angeles, which is now being tested by students at the Rhode Island School of Design. If human interaction takes off, even the computer will be reinvented.

en zich voor ons uitputten in het =$-*/>%$*' ?1*' @$?)#A/* & %)$6$*2' Maar ook als men daar om een thuis- of postadres vraagt zullen zij geen Jan kunnen leveren. Want Jan is man, vrouw, tussen de 3 en 93 jaar oud, heeft bruin/blond/zwart/rood/ geen haar, vind SBS6/Discovery/ EO een geweldige/afschuwelijke/ nooit-van-gehoord zender en woont in/op/naast een caravan/villa/bootje. En als je dan met alle geweld toch iets voor Jan wilt maken, zet dan niet zozeer in op vorm, maar op inhoud. Want we weten dan misschien niet helemaal waar Jan van houdt en woont, n ding bindt alle mensen meer nog dan ons bloed en dat is Angst. Angst om er niet bij te horen, om alleen achter te blijven, om het het misschien niet helemaal te snappen. Angst is niet voor niets sinds mensenheugenis een van de belangrijkste gereedschappen in de reclamewereld. Het eerder genoemde SBS6 grossiert er dagelijks in: Spanning! Drama! Schande! Gruwel! Alles wat onze harten sneller laat kloppen pakken we met beide handen, plakkerig van het zweet, gretig aan. Het kunstfestival Todays Art in Den Haag snapte Ôm: niet alleen maakten ze een (naar mijn mening behoorlijke lelijke) goed volgehouden campagne scharnierend op angst gevoelens (Aanslagen! Gevaar!), toen de juridische terugslag kwam wisten ze ook nog handig een slaatje te slaan uit de spin off die dat opleverde: Vrijheid! en Cultuur! en Big Brother!

After 8 years developing as a designer in The Netherlands, at some point I may return to the UK and continue my practice. The UK, Great Britain. Not so far away, not so different in culture I have heard people say. Both enjoy a cheese sandwich. When I arrived in The Netherlands 8 years ago, I was very surprised and at times taken a back by the many cultural differences between the Brits and the Dutch. I worked hard and adapted quickly. I was motivated to learn a foreign language alongside experiencing new ways of thinking and seeing. With a move across the pond on the distant horizon I am reaching out once again to learn more about a culture, this time my own. To prepare myself for what could be a design culture shock, I will be asking if cultural differences can manifest into a design process.

Mijn advies is daarom altijd aan de klant: laat Jan lekker met rust en vraag ofwel om iets heel gewoons waar niemand koud of warm van wordt, ofwel om iets bijzonders waar je misschien even aan moet wennen. Of zoals Douglas Adams het zei: ÒA common mistake that people make when trying to design something completely foolproof is to underestimate the ingenuity of complete fools.Ó

Daily Preview Wednesday the 21st: ÈEditorial Freek Lomme ÈDaily 500 ÔA good design is only a good design when the client says so.Õ [email protected] Youtube: DailyWhatever Twitter: dedailywhatever www.dedailywhatever.nl

FIRST EDITION 1000 RISOGRAPHED AT THE VAN ABBEMUSEUM EINDHOVEN

SATURDAY 17 OCTOBER



SATURDAY 17 OCTOBER 2009

@.3"#. box Beyond the ,".)

HEAR SAY 6'#70'(*$-"'#"'#8"("%/.'(#0,# +"'#($/#$9#*")#2$$%(#:(",01';5 7%#0,#0'#70'(*$-"'#-""/#+""%# :$')2"%9;#1..'("#(.'#2.)#("# +"",)"#..'(.4*)#3%0<1)#)0<("',# =>)4*#=",01'#?""35

Not All A+$3"# B#C0%%$%,

È45!12#

È6,%071

È89($:$)$,1

G>%#9043#$F#)*"#(.E5# #,*$%)/0,)# $F#(",01'#2""3#*01*/01*),5

6',0("%,#+0'(,#.'(#)*$>1*), $'#$>%#9%$F",,0$'5

@.3"#$'#+"#[email protected]"#+"#$'} ./)"%'.)0-"#2.E,#$F#9%$(>4)0$'5

WE RE OPEN

Your Daily Design Week Newspaper. Printed In Room 9 Of The Van Abbemuseum During The Dutch Design Week 2009

Bottom line: Get your copy! Come and get it at the van !!"#$%#&'(#)*"+#$'#,"-"%./# (",01'#2""3#/$4.)0$',5

WHATEVER OPENS DAILY TAKE THIS YOU DAILY TWEET BLOG FACE WHATEVER !" #$%&"'(#)!*!+",-./!"012!+"/,13)+0/)$,1

De Daily Whatever was founded in 2006, as a free and independent newspaper. The newspaper was being produced Ôon the spotÕ during the Dutch Design Week in Eindhoven. The main motivation for starting up the newspaper was to inform the public on design topics and to stimulate the local design climate by bringing exciting theory and hereby provoking debate.

The Dutch Design Week is an ever growing design manifestation, that is rooted in and around EindhovenÕs city centre. The program offers a huge array of expositions, lectures, workshops, presentations and parties, from high brow to low brow, from independent designers initiatives to corporate agency presentations. It is estimated that around 80.000 people visit Eindhoven during the Dutch Design Week. The

city of Eindhoven has a very ambitious design policy and is in the running for the European design capital title of 2012. This years edition of the Daily Whatever is being edited by Hugo Naber and Eric de Haas, with the kind assistance of Lucas van Hapert. Both Hugo and Eric work as independent designers, with a strong focus on typography, editorial work and a love for print. Lucas is

a last year student at the Utrecht art academy and worked as an intern with Eric. De Daily Whatever was invited by the Van Abbemuseum in Eindhoven to be part of the Take On Me (Take Me On) exhibition during the Dutch Design Week. The newspaper will be produced on location. in room Nr. 9. Designer Bob Copray was asked to shape the room.He designed custom furniture

for all aspects of the Ônewspaper makingÕ process. A new feature of the Daily Whatever is itÕs online presence. Hexaplex, an Amsterdam based design duo (Cheryl Gallaway & Micha Bakker) will focus on the Daily WhateverÕs online edition. !"# $%& '&( % $")* "+ ,-. /%01* Whatever at key exposition locations and of course at several smaller ini,0%,02.34 5+ *"# 6%&, ," 7. ,-. '83, to know, you can come to the van Abbemuseum or follow us on twitter, youtube and facebook. If you want to become our Daily paperboy, you are more than welcome. People are invited to generate content. If you were not invited, this does not mean you canÕt participate. Send us your opinions, essays, observations, announcements or pictures, we will be very grateful. [email protected] Youtube: DailyWhatever Twitter: dedailywhatever www.dedailywhatever.nl

de Daily Whatever

ÈThe fast lane follow our digital content online.

FIRST EDITION 1000 RISOGRAPHED AT THE VAN ABBEMUSEUM EINDHOVEN


SATURDAY 17 OCTOBER 2009

;(!"-,0+#1%$>9,#$' .,,01'+"')#)$#@.3"#$'#+"# [email protected]"#+"#$'H#.%"I# 44/.0%J# K$'(0)0$'./#=",01'J# C").*.-"'J#.'(# G%1.4$+5

ÔA$+")0+",#$>%#4>/)>%"#.'(# $>%#9"%4"9)0$'#$F#)*"#2$%/(# ,""+,#4$',)%>4)"(#$>)#$F# )*"#0+9"%.)0-",#$F#4$++"%4"J#,./",#.'(#)>%'$-"%: ÒI shop, therefore I amÓ !"#$!%&#'(&$#))#*Õ

Ô+,-)&./01&3!-4),&3#'41&3!&4/.!&)#&-"5'/(!?Õ Ô+,-)&/%&/)&),-)&3!&%!!&3,!0&3!&4##.&1!!6&/0)#& #'(&6!(%#0-4&7-4'!&%8%)!$?Õ AHA È01)!(!,!*" @.3"#$'#+"#[email protected]"#+"#$'H +.'E#2.E,#$F#9%$(>4)0$'5 During the Dutch Design Week 2009, from 17 to 25 October, the van Abbemuseum presents Take on me (take me on), a live exhibition project curated by Freek Lomme and Hadas Zemer. It features four groups of Ôartistic designersÕ, individuals or agencies whose ways of working fall "#,30(. ,-. #3#%19 $"&3.82%,02. (.'nitions of ÔartÕ and ÔdesignÕ. Each group will create their own production line in one of the four corners of the original part of the museum and gradually extend their working process throughout the building. Together with visitors, they will each work on the development of a product that seeks to respond to certain urgent questions today: ÔWhat kind of wealth would

we like to acquire? What is it that we see when we look deep into our own personal value system? What are our authentic desires and how much do consumer products satisfy us?Õ The live exhibition will also accommodate various other activities during the week that will mix with these production centres. These include )#710$ (03$#330"&39 1.$,#8.39 '1: screenings, debates, and the production of a daily newspaper. The aftermath of the project, together with all relevant documentation in word and image, will remain on display until 8 November 2009. Take on me (Take me on) Governments often tell us: ÔSociety, thatÕs you!Õ But how is our society created? Sometimes our culture and our perception of the world seem only constructed out of the imperatives of commerce, sales and turnover: ÔI shop, therefore I amÕ becomes our motto. At the same time, this materialistic equation appears to lack meaning and we can experience a sudden gap between our own idea of our urgent needs and the values or solutions that are presented to us. The credit crunch has anyway begun

THE HOT TICKETS FOR SUNDAY 9'(&6/".&),!&1-8& !)3!!0&-44 1-/48&!7!0)%&,/:,4/:,)!1* Beyond the BOX | Supervisor Salon Seminar/conferentie Ruimtelijk ontwerp Zo 18 okt 14:00 - 17:00 Locatie Stadhuis Stadhuisplein 1 5611 EM Eindhoven Our editors choice: LEAD magazine in stores now. A magazine that rides on unusual thoughts Published by Edhv Media BV.

COLOFON Founder /Creative Director: Eric De Haas Editor At Large: Hugo Naber Assistant: Lucas van Hapert Webdesign: Hexaplex Design van Abbe: Bob Copray Final Text Editor: Jill Lauret

de Daily Whatever

and, above all, with the public Ð creating their work in a concerted effort with their visitors on an alternative %&( $"11%7"8%,02. +%$,"8* <""8 0& ,-. museum. In this way questions about the methods of production that are often hidden from consumers come 0&," 20.64 =. %8. ,-. "&.3 (.'&0&> our own living environment, arenÕt we? Why is something produced? What does production Ð particularly artistic production Ð have to offer us? ?&( -"6 (".3 0, ', 0& 60,- "#8 "6& personal frame of reference? Each design project enters into a 3).$0'$ @#.3,0"& ,-%, ,80.3 ," %((8.33 the visitorsÕ fundamental needs and values. The designersÕ products may be either goods or services. Visitors may determine and change the value of the creative ÔproductÕ by responding to the presentation or to the designersÕ work. Therefore Take on me (take me on) dependents upon active engagement and productive involvement from its visitors. Come and Ôtake me onÕ for yourselves. Participants

DAILY 500

heeft het ooit ongeveer zo gezegd: de ontwerper staat aan de oever van een rivier en denkt na over hoe hij aan de overkant van de rivier gaat komen, de vormgever staat aan de oever van een rivier na te denken over hoe zijn brug eruit zal gaan zien. 4. Met punt 3 in gedachten bent u nu klaar voor het volgende: de gemiddelde ontwerper zal een vrij simpele vraag altijd moeilijk maken. De goede ontwerper daarentegen kan en zal de moeilijkste vragen simpel maken. De vormgever zal gewoon netjes doen wat u hem/haar vraagt te doen en is derhalve de voordeligste keus. 5. Eindhoven is geen ÔmooieÕ stad. En dat is maar goed ook. Hoe erg het soms ook is dat de bestuurders van Eindhoven zo slooplustig zijn (dat schijnen ze altijd al te zijn geweest) en in hun slooplust al vele monumenten-in-wording tegen de vlakte hebben getrokken, het heeft ook goede kanten. Namelijk: Eindhoven is te allen tijde een stad in de maak en een stad in de maak is een stad van kansen, ontwikkeling en ontdekking. Aan de bewoners de taak om dit eco-systeem verder in te vullen en aan de bestuurders de taak dit te koesteren en uit te dagen. 6. Met punt 5 in gedachten moet ook dit worden vermeld: niemand, maar dan ook echt niemand snapt iets van de keuzes van de Eindhovense welstandscommissie op het gebied van smaak. De Piazza is gn versterking van het Bijenkorfgebouw. De Admirant is een gedrocht voor mensen die van hoogglanzende, keramieken panterbeelden in hun huiskamer houden

È !"#$"%&!$%'% ($)**+,%,$%-$,$"

È.#$"&/

TAKE A SEAT with Onomatopee, concerning humor and design. Seminar/conferentie Multidisciplinair Zo 18 okt 14:00 - 16:30 Locatie Van Abbemuseum Bilderdijklaan 10 5611 NH Eindhoven

to discredit the mechanism of supply and demand, though no one is yet offering an alternative. As a result, we are forced to think about our material as well as our immaterial situation almost from scratch: What is it that we really want? What is true wealth? Can we answer these questions, fundamentally for ourselves as individuals? And how do we keep "#8 3)080,3 #) 6-.& "#8 '&%&$.3 %8. ("6&; 5& +%$,9 -"6 (" 6. (.'&. ,-. meaning of life? Take on me (Take me on) investigates the ways in which we relate an idea of our deepest authenticity Ð our ,8#. 3.1+ %3 (.'&.( 7* ,-. 3,%&(%8(3 and values we feel to be our own Ð to societyÕs principles of supply and demand. What values do we value the most in all this? Economic value? Cultural value? Personal satisfaction? Individual uplifting? Peace and quiet? Come and join us The four groups on assignment to Take on me (Take me on) are: Acclair, Conditional Design, Metahaven, and Orgacom. They will develop their own production methods while interacting with each other

CONTACT [email protected] 040-2381004 Bilderdijklaan 10 5611 NH Eindhoven

1.In Eindhoven en Nederland is men dol op het woord ÔdesignÕ. De oorsprong van deze voorliefde ligt waarschijnlijk in het klakkeloos overnemen van wervende reclameteksten en deze voor waarheid aanzien. Eindhovenaren, Nederlanders, hoort het volgende: het Nederlandse woord voor ÔontwerpenÕ is ÔontwerpenÕ. Iemand die ÔontwerptÕ noemen we een ÔontwerperÕ. Mocht u in het Engels moeten refereren aan het bovenstaande, dan is het gebruik van de termen ÔdesignÕ en ÔdesignerÕ u uiteraard toegestaan. 2. Er is in Eindhoven veel meer ÔontwerpÕ gaande dan wat de meeste aandacht krijgt tijdens Dutch Design Week. Breda mag zich Ð vermoedelijk na een handjeklap achtige koehandelsessie met de andere steden in het BrabantStad netwerk Ð nu dan wel Ôgraphic design stadÕ noemen, weet dat er in Eindhoven ook hard getekend, getypografeerd, kortom >8%'3$- "&,6"8).& 6"8(, ") 0&,.8nationale schaal. 3. Er is een wezenlijk verschil tussen ontwerpen en vormgeven. Een beter persoon dan uw columnist, waarvan de naam diezelfde columnist helaas ontschoten is (ik mag dan een ontwerper zijn, ik ben ook maar een mens, zij het in mindere mate)

ACCLAIR

What does our brain tell us about our authentic self? To measure is

to know, which is just what Acclair (".3A ,-.* (.'&. 6-%, %8, %&( $#1ture means to you, in a professional, competent and impressively scien,0'$ 6%*4 CONDITIONAL DESIGN

The act of designing is based on rules. Conditional Design has created a manifesto of explicit rules for design processes. The project invites visitors to use the designers as a vehicle for wall paintings, in accor(%&$. 60,- 3.2.8%1 3).$0'$ 8#1.34 METAHAVEN

Image is identity. Image is politics. Image is a choice. Metahaven presents a graphic jungle in which 3).$0'$ $-"0$.3 :#3, 7. :%(. 0& "8der to avoid getting lost. ORGACOM

A combination of organisation and communication, Orgacom focuses on the conception and realisation of new roles for art in trade, industry, %&( &"&B)8"', "8>%&03%,0"&34 C"gether with local amateur groups, they will create an interdisciplinary )8"(#$,0"& <""89 780(>0&> 1"6 %&( high culture.

http://vanabbemuseum.nl

en, last but not least, ÔDe MarktÕ en de nieuwe winkelstraatjes rondom ÔDe Bruine HeerÕ zien eruit als wat ze zijn: kinderachtig, namaak oud en niemand trapt daar in (of hoort daar in te trappen). 6. En tot slot: La Edelkoort zal nooit ÔhaarÕ Design Academy of Designhuis zogezegd oppakken en naar een andere stad verhuizen ook al denkt zijzelf van wel en heeft ze daar ook anderen binnen het bestuur van de gemeente Eindhoven van weten te overtuigen. La Edelkoort leidt waarschijnlijk aan het Ôik-ben-geloof-gaanhechten-aan-wat-anderen-over-mijschrijvenÕ syndroom. Ernstig, maar goed behandelbaar mits tijdig opgemerkt (bij deze).

Daily Preview Sunday the 18th: È Is art furniture growing up. È LEAD magazine How one thing leads to another. È Review DDW Openingday 2009

SECOND EDITION 1000 RISOGRAPHED AT THE VAN ABBEMUSEUM EINDHOVEN


SUNDAY 18 OCTOBER 2009

Daily 500

SUNDAY 18 OCTOBER

ÔHoe men om dient te gaan met de ontwerperÕ


ÈLaughing prohibited

ÈVraag

ÈMagazine

Onomatopee 37 Why, do & should we laugh?

Hoe schrijft men een goede column? Antwoord: Niet.

Our pick of the day. New published goods.

THE RED ISSUE


Bottom line: Get your copy! Come and get it at the van !!"#$%#&'(#)*"+#$'#,"-"%./# design week locations.

IS ART FURNITURE GROWING UP?

Continued on next page>

Continued on next page>

Ônotably that all the hullabaloo distorts public perceptions of design?Õ

kink & BeyÕs wooden Cleaning Beauty trestle table and benches. The rest of the fair will be dominated by modern and contemporary furniture sold by secondary dealers Ð so-called because they sell work they did not commission Ð who are not allowed to participate in prestigious art fairs like Art Basel, which opened Wednesday. Their presence is one reason Galerie Kreo in Paris, one of EuropeÕs most important primary design dealers, has pulled out of Design Miami/Basel and other international design fairs. It is the big three auction houses, though Ð ChristieÕs, SothebyÕs and Phillips de Pury Ð that continue to drive the development of the designart market, with great ingenuity. Since the market is so new, there is a dearth of works to sell, and they are

During the 2009 Dutch Design Awards many received their honors and many didn't. We take a closer look at the winners and nominees.

constantly trying to generate interest in new designers and concepts. Among next weekÕs lots, Phillips has set an upper estimate of $180,000 for the Cinderella Table, made by Jeroen Verhoeven, a young Dutch designer, in 2005, just two years after his graduation from the prestigious Design Academy Eindhoven in the Netherlands. Phillips is also auctioning the contents of a Tokyo recording studio designed by the reigning design-art star Marc Newson, one of which has a high estimate of $400,000. SothebyÕs hopes to get up to $1.2 million for a pavilion designed last year by the Japanese architect Shigeru Ban for Artek, a Finnish furniture company. Some of the auction lots come from the designers themselves. This

Illustration Erik Sjouerman

Originally Published: June 5, 2008 in the New York Times. The New York Times granted the Daily Whatever publishing rights for this article.

Switzerland, which will be followed by auctions in New York next week at Phillips de Pury on Thursday, ChristieÕs on Friday and SothebyÕs on Saturday. Despite puristsÕ sneers, interest in design-art is increasing, and as the market matures, a more thoughtful side is emerging. The highlights of Design Miami/ Basel this week are the sophisticated pieces commissioned by the New York design store Moss and Contrasts Gallery in Shanghai. Moss is showing objects by the Dutch team Studio Job, including the glo2)6/-78' 93:;683<(' "6;;,2' =326<' series of furniture inspired by the lives of American plutocrats. Contrasts has new work by Dutch designers, including Maarten BaasÕs sculptural collages of traditional Chinese furniture and Studio Mak-

ÈAward Bursts Out

During a dazzling and festive show 20 Dutch Design Awards were presented to the winners in Muziekcentrum Frits Philips. The ceremony of the special prizes took place during the same award ceremony, among which the Audi Design Award (Public Award), the Rado Young Designer Award (incentive prize for young talent), the Best Client Award, the Toon van Tuijl Design Prize, and the BNO Ð Piet Zwart Life Time Achievement Award. The international jury awarded the Golden Eye Ð the award for the best Dutch design in 2009 Ð to Studio Wieki Somers. From a design offer of more than 700 participants and 74 5<37)-(->' ?,228@A6@26/<0' *63(' 23*+' proved to be the Ôbest of the bestÕ. ÔThe Merry-go-round coat rack is a spatial ballet for coats, with a colour palette that is determined by the season. Its presence is so strong that one starts experiencing the museum the moment one enters the space: something as banal as a coat rack has clearly become a work of art itself. By participating, the user becomes part of the design. The engagement of the designer is tangible, the technical and aesthetic execution is excellent; all these qualities together make this the best design of the moment.Õ The international jury led by Karien van Gennip was greatly impressed by the diversity and highquality of the entries and the individuality and typically Dutch ÔidentityÕ of the designs: ÔDutch design has much to offer, and in our day and age it is especially important that design should be inspirational. And that is what it was, technically, aesthetically, and in terms of engagement. In some categories, we would have welcomed a higher degree of innovation. Next year, we would also like to invite more up-and-coming designers to participate in addition to the more established designers.Õ ' B/2)'(C,'52-(' copy of the Dutch Design Yearbook 2009, a publication of NAi Uitgevers in collaboration with the Dutch

ÈALICE RAWSTHORN

!"#$%&' ()*+,(-.' !/0)(-.' 12345*' cameras. Long lines at the airport, or anywhere else. Some things seem destined to be disliked, and a recent recruit to their ranks is design-art, the limited-edition furniture that sells for vertiginously high prices at auction Artists despise it on the grounds that expensive, often uncomfortable chairs donÕt deserve to be aggrandized as art. Designers (at least the ones who arenÕt hawking said chairs) resent the presumption that design needs to be considered ÔartÕ to be taken seriously. And they have other objections, notably that all the hullabaloo distorts public perceptions of design, distracting people from what they believe is its overriding mission: to build a better world, not just a few ditzy chairs. Design-art is a commercial phenomenon, not a cultural one. Auction houses began using the term in the summer of 2006, in the hope of selling limited-edition furniture for higher prices than it would muster if relegated to the unfashionable category of decorative arts. And it has been very effective, commercially at least. A new series of design sales started Monday with the opening of the Design Miami/Basel fair in

DDA NIGHT 2009

de Daily Whatever

ÈThe fast lane follow our digital content online. dedailywhatever.nl

SECOND EDITION 1000 RISOGRAPHED AT THE VAN ABBEMUSEUM EINDHOVEN

Onomatopee The work displayed in Laughing Prohibited! states that the world is not enough! If we resign ourselves to what we see, we will not get it.


SUNDAY 18 OCTOBER 2009

Alice Rawsthorn ÔAs more primary dealers emerge, the quality of new work should improve, and the market will strengthen.Õ

ÔA magazine that rides on unusual thoughtsÕ

È

A MUST SEE, MUST GET. ÈMagazine As a participant of the Dutch Invertuals exhibition, the new magazine ÔLEADÕ was launched yesterday morning at the Edhv $0&1"2# The magazine shows some surprising insights from local (creative) industries in an international context. The eclectic content generated through an ingenious concept makes this magazine stand out from conventional magazines. The exposition of the Dutch Invertuals, a group of designers, is a clever and beautifully executed presentation. After a succesfull presentation in Milan earlier this year, this is a group to watch. The Dutch Invertuals exposition is located at the Fuutlaan 12b www.dutchinvertuals.nl

Spreads magazine

is considered ill-advised in the art market, because they will have no control over who buys their work at auction. Instead they are encouraged to sell through primary dealers, who try to place their work with prestigious museums and collectors, rather than risk its being dumped back on the auction market and failing to sell, damaging the artistÕs reputation and torpedoing the prices of his or her work. Until recently, very few primary dealers worked with designers. That is beginning to change as more art galleries invest in design. In London, the Timothy Taylor Gallery has taken on the Israeli Ron Arad, and Albion and Haunch of Venison have signed up the British designers Ross Lovegrove and Stuart Haygarth, respectively. New design galleries are opening, and established ones are expanding. Kreo is planning to move into a 17th-century htel particulier, or mansion, on Rue Dauphine in Paris this fall, and to take on new designers, starting with Naoto Fukasawa, whose Tokyo studio has developed some of JapanÕs most sought-after cellphones. And many of the new galleries are functioning as primary dealers, kick-starting young design,2-F'*32,,2-';8'5<3<*)
È

MONDAY OPEN

DAILY 500

ÈAgenda

ÈVraag: Hoe schrijft men een goede column Antwoord: Niet

Our pick of the day between all daily events highlighted. GETTING LOST Expositie, Multidisciplinair Een evenement gedreven door de spanning tussen krijgen en verliezen. Laat de gebaande paden los en vertrouw je gevoel! Organisatie 4 Apostelen i.s.m. Boaz Cohen & Sayaka Yamamoto

SERVISCH PAVILJOEN Expositie, Multidisciplinair Een online multimedia portaal uit Belgrado dat het creatieve proces ontleedt, creatieve en analytische artikelen over vormgeving presenteert, en theorie en praktijk samenbrengt door middel van persoonlijk inzicht en dagelijkse inspiratie.

www.4apostelen.nl Locatie Kerkje 4 Apostelen Bergmannstraat 76 5615 KG Eindhoven

designed.rs i.s.m. art-east+art-west www.designed.rs Locatie Klokgebouw, hal 4 5617 AB Eindhoven COLOFON Founder /Creative Director: Eric De Haas Editor At Large: Hugo Naber Assistant: Lucas van Hapert Webdesign: Hexaplex Design van Abbe: Bob Copray Final Text Editor: Jill Lauret CONTACT [email protected] 040-2381004 Bilderdijklaan 10 5611 NH Eindhoven

Deze ochtend zette ik mijzelf aan :)G<'*6:H/(,2'6:'/',,<-'C3325G<' uit te leggen Ôhoe men om dient te gaan met de ontwerperÕ.

Special thanks to the city of Eindhoven.

Twee uur en zoÕn 318 woorden later ging ik even het internet op, kwam het onderstaande plaatje tegen en bleek klaar te zijn.

21st April, 1969 Andy Warhol, 33 Union Square, W.N.Y.10003 NEW YORK

Design Awards, was presented to Rob van Gijzel, Mayor of Eindhoven. From now on, this yearbook will appear annually, presenting an overview of the best designs cre3(,0')<'(C,'%,(C,273<0-')<'(C,'5,70'64' spatial, product design, fashion, and graphic design. During Dutch Design Week, the 0,-)A<-' 64' 377' 5<37)-(-' 3<0' D)<<,2-' will be exhibited from 17 through 25 October in the Brainport Greenhouse on the Stadhuisplein in Eindhoven. After that, the exhibition will travel to several international destinations. www.dutchdesignawards.nl

Dear Andy, I'm really pleased you can do the art-work for our new hits album. Here are 2 boxes of material which you can use, and the record. In my short sweet experience, the more complicated the format of the album, e.g. more complex than just pages or fold-out, the more fucked-up the reproduction and agonising the delays. But, having said that, I leave it in your capable hands to do what ever you want........... and please write back saying how much money you would like. Doubtless a Mr.Al Steckler will contact you in New York, with any further information. He will probably look nervous and say "Hurry up" but take little notice. Love,

MICK JAGGER

de Daily Whatever

from BarberOsgerbyÕs anodized aluminum Iris tables at Established & Sons; pieces by emerging designers at Gallery Libby Sellers; and a collection of prototype furniture at Aram. (The prize for best exhibition title goes to ToolsGalerie in Paris, for a show of chairs opening Friday called ÔPlease Do Not Sit.Õ) As more primary dealers emerge, the quality of new work should improve, and the market will strengthen. It will also broaden into other areas. Graphics is a prime candidate, and some galleries are already embracing it. Stefan Sagmeister recently exhibited at Deitch Projects in New York, and Peter Saville, the British designer, has shown at Galerie Neu in Berlin, and M/M (Paris) at Air de Paris and Haunch of Venison. Digital design, spotlighted by this springÕs blockbuster exhibition ÒDesign and the Elastic MindÓ at the Museum of Modern Art, is another possibility. Phillips is developing ideas for graphic and digital design sales next year, according to Alexander Payne, its worldwide director of design. If those sales are successful, rival auction houses will doubtless follow and more primary dealers will emerge, igniting another debate on culture versus commerce in design.

Daily Preview Monday the 19th: ÈWalter Gropius was on to something. È Conditional Design Manifesto. È Daily 500 written out loud.

3RD EDITION 1000 RISOGRAPHED AT THE VAN ABBEMUSEUM EINDHOVEN

MONDAY Y 19 OCT TOBER OCTOBER


Designless or Design less

Take a walk

ÈA Manifesto

ÈWalkabouts

Gabrielle Esperdy on less is more... more or less.

Guest Column Erwin van Doorn

JOB OPENINGS


Papergirls and writers: Feel free to contribute or distribute [email protected]


MONDAY 19 OCTOBER 2009

ÔAchterom kijkende voel ik me verloren, toch zal het de terugweg zijn.Õ

Rekwi-siet ÈMust see Pick of the day aÔtheatreÕ from a different angle

A MANIFESTO FOR ARTISTS & DESIGNERS CONDITIONAL DESIGN ÈManifest www.conditionaldesign.org its shortcomings. Our work focuses on processes rather than products: things that adapt to their environment, emphasize change and show difference. Instead of operating under the terms of Graphic Design, Interaction Design, Media Art or Sound Design, we want to introduce Conditional Design as a term that refers to our approach rather than our chosen media. We conduct our activities using the methods of philosophers, engineers, inventors and mystics.

!"#$%!& '!(& )*+$(*,(& #-& '!(& .(dia and technology on our world, our lives are increasingly characterized by speed and constant change. We live in a dynamic, data-driven society that is continually sparking new forms of human interaction and social contexts. Instead of romanticizing the past, we want to adapt our way of working to coincide withthese developments, and we want #$"&/#"0&'#&"(+(,'&'!(&!("(&1*2&*#/3& We want to embrace the complexity of this landscape, deliver insight into it and show both its beauty and Fragment of drawing applied during the Take on me (Take me on) exhibition at Van Abbemuseum Monday 19 th of October.

PROCESS

LOGIC

INPUT

The process is the product. The most important aspects of a process are time, relationship and change. The process produces formations rather than forms. We search for unexpected but correlative, emergent patterns. Even though a process has the appearance of objectivity, we realize the fact that it stems from subjective intentions.

Logic is our tool. Logic is our method for accentuating the ungraspable. A clear and logical setting emphasizes that which 2#(4&*#'&4((.&'#&5'&/)'!)*&)'3 We use logic to design the conditions through which the process can take place. Design conditions using intelligible rules. Avoid arbitrary randomness. Difference should have a reason. Use rules as constraints. Constraints sharpen the perspective on the process and stimulate play within the limitations.

The input is our material. 6*7$'&(*%1%(4&8#%),&1*2&1,')91'(4&1*2&)*+$(*,(4&'!(&7"#,(443 Input should come from our external and complex environment: nature, society and its human interactions. Manifest by: Luna Maurer, Edo Paulus, Jonathan Puckey, Roel Wouters

de Daily Whatever

3RD EDITION 1000 RISOGRAPHED AT THE VAN ABBEMUSEUM EINDHOVEN

ÈThe fast lane ÔLaughing ProhibitedÕ follow our Anthony Kleinepier, Atelier Van Lieshout, van Beek, Erwin Wurm, digital content Bas Daniel Eatock, Jorre van Ast, online. Heim Steinbach, Helmut Smits, Marti Guixe, Oooms, Atelier Ted Noten & Lara de Greef.

dedailywhatever.nl

ÈRectificatio Unlike yesterday we would not like to withhold you from further info about the laughing prohibited exhibition.


MONDAY 19 OCTOBER 2009

MUST SEE Esther de Groot, Bart Hess, and Harm Rensink present an exhibition in which individual work alternates with collaborative projects. The connecting themes !" #$%#&'&(&')" *%+" ,$-%$.$%'" $%#/,$" consistency and highlight the concept of a ÒtheatreÓ from a different angle Re-kwi-siet Location: Kanaalstraat 8 5611 CT Eindhoven

ÔIf this is the designless world we welcome it and, with apologies to William Shakespeare, first thing we do, letÕs kill all the designers.Õ

reputation and undermining its very place in the world. He thought that by returning to making - by heading 2#/*&'#&'!(&-1,'#":&+##"&<&2(4)%*("4& might regain what had been lost. The world would become more designful by becoming seemingly designless. This has, in fact, come to pass. Whether we are sitting at our computers, shopping at Target or Ikea, or walking down the street with our handheld devices, we are effortlessly, endlessly, unavoidably, inevitably, and mindlessly consuming design. Or to put it another way, we are consuming a thing - a website, a font, a screen, an icon, a t-shirt, a store, a sidewalk, a car, the list goes on and on - that someone, somewhere, sometime designed. If this is the designless world we welcome it and, with apologies to William Shake47(1"(;&5"4'&'!)*%&/(&2#;&8('=4&0)88&188& the designers.

itself. This clarion call is not a longing for some idyllic pre-digital past, nor is it an angry Luddite-like rant. Rather, it is an inevitable evolution of the theories of Morris and Loos. And it is an evolution that is perfectly in sync with our era - think of Terminator 2: Judgment Day and countless #'!("&4,)(*,(&5,')#*&2##.421:&4,(narios in which the computers take over. Let us aid and abet them and allow the machines to design for us. They are doing it already; now we 1"(&.10)*%&)'&#-5,)183&64&'!)4&*)!)8)4tic? Perhaps, but it may be necessary if we are to save our buildings, objects, and graphics from themselves. Until then, we must await the arrival of a Sarah Connor of design who, fully-loaded with guns blazing, will put us in control of our machines once more. Designless The time has also come to diagnosis designÕs place in the global economic meltdown. Like art, de4)%*&)4&'!(&4$7("+$#$4&'!)*%;&1771"ently unnecessary in the ÒIÕm a sucker for the working manÓ ethos of the new austerity. The design world must unite in the face of a world without

design. Designers must control their most basic urge - to make the world a better place - because either the world doesnÕt need improving or the world thinks it can improve without help from designers. We can accept this scenario with a look of glum resignation, but a knowing smirk might be more appropriate. The nay-sayers may welcome a world free from designers, but the world will never be devoid of design. The designless world simply does not exist; and it never has. The gatherers who built the seasonal dwelling at Terra Amata; the hunters who drew in the caves at Lascaux - they were designers. As were the literally countless men and women since then, who have created or adapted almost every single thing that surrounds us in this designed world. Perhaps, like Morris, we can blame it all on the Renaissance: itÕs Alberti's fault for separating theory and practice and itÕs VasariÕs fault for creating the artist as hero. Walter Gropius was on to something when he urged designers to return to the crafts. He understood that the cult of personality and individuality was damaging designÕs

Take a walk

RUNNING HEADLINES

ÈLaughing Prohibited! On the comic and the prophecy

ÈEen wandeling door de Designweek ÝErwin van Doorn

ÈDaily Team

Laughing prohibited! Engages with humour as a technical tool for creatives. Humour consists in many tones of voice and many shapes to visualise. Laughing prohibited! asks the visitor to take a further look into the matter: what does the work put forth? Laughing prohibited! debates the quality of the artistic freedom of expression, against the background of the Danish caricatures. With: Anthony Kleinepier, Atelier Van Lieshout, Bas van Beek, Erwin Wurm (AT), Daniel Eatock (UK), Jorre van Ast, Heim Steinbach (US), Helmut Smits, Marti Guixe (ES), Oooms, Atelier Ted Noten, Lara de Greef. Laughing Prohibited! enhances an exchange of experiences and knowledge about humour. When do we laugh, why do we laugh and when should we laugh? Laughing Prohibited! shows us techniques, strategies and issues of conception and representation. This relates immediately to the classic issues of design processes: the form and context of production. Laughing Prohibited! states this clearly: there is no reason to laugh at all. Is there any (artistic) freedom

het ondergaande licht kaatst via het water tussen de bomen door recht mijn ogen in de prachtige herfstkleuren verstommen terwijl het getjilp me doet beseffen waar ik ben mijn voeten hebben elk gevoel met de aarde verloren door het ijskoud stromende water achterom kijkende voel ik me verloren toch zal het de terugweg zijn waar wil ik naartoe ? er is niets dat me trekt behalve dat wat niet is kunnen we de muur weer opbouwen ? is er nog ruimte voor iets anders ? het leven is mooi zolang het naakt is elke ingreep maakt het water troebel we zijn het pad verloren elke kruimel is verslonden aan het einde van de weg rest ons slechts het omkeren wat is een mens ? zonder prikkeldraad blijft ontsnappen onmogelijk overleven.. over leven het is onze beperking niet te willen eindigen steeds maar weer opnieuw beginnen laat me toch gewoon met rust !

LESS IS MORE AGAIN A MANIFESTO ÈGabrielle Esperdy Originally published on the design observer. Gabrielle granted the Daily Whatever publishing rights for this article. The time has come to update William Morris and Adolf Loos for the 21st century. A hundred years ago Loos told us to suspend the use of ornament so that design could catch up with modernizing culture. A half century before that, recoiling from the aesthetic horrors of the Great Exhibition, Morris told us to stop using machines so that design could return to its origins in craft

and hand production. When Morris died in 1896, the industrial revolution was a century old. When Loos died in 1933, the machine age was at its peak. Today, the revolution is digital and the age is informational, but design confronts a similar crisis. We have amazing electronic tools at our disposal; culture has modernized at staggering, computer processed speeds. But the tools are abused and cultural change is stupefying. We embrace technology because it is there and embrace change for changeÕs sake. Our buildings, objects, and graphics suffer as a result. Things are over-designed because new tools must be exploited; here, design says Òlook what I can do!Ó Things are poorly-designed because new tools provide templates and shortcuts that are mistakenly substituted for design itself; here, design says Òlook how easy it is!Ó Design Less To rectify this situation we must Design Less! We must subject ourselves to a period of privation in which we refrain from designing and suspend the very practice of design

!"#$%"&#$'

of speech left after the debates on the Danish cartoons and the AEL counter-cartoons? Should you laugh about the works of these producers, than you are not sincere. Is there the legacy of Theo van Gogh still fertile? We need to concentrate and to focus in order to ask these fundamental questions. To be able to do so, we need clarity and parameters. Therefore, as a start: do not laugh! Curators: Freek Lomme and Dave Keune www.onomatopee.net

COLOFON Founder /Creative Director: Eric De Haas Editor At Large: Hugo Naber Assistant: Lucas van Hapert Webdesign: Hexaplex Design van Abbe: Bob Copray Final Text Editor: Jill Lauret CONTACT [email protected] 040-2381004 Bilderdijklaan 10 5611 NH Eindhoven

de Daily Whatever

Design-LESS was the topic of the 2009 DesignInquiry conference: www.designinquiry.net. Gabrielle Esperdy is an architectural historian and critic. She is an Associate Professor of Architecture at NJIT and blogs at www.esperdy.net.

Daily Preview Tuesday the 20th: ÈAlice Rawsthorn Reshaping the shape of everyday life. Daily Preview Wednesday the 21st: ÈDavid Barringer design writer, novelist, and the author of ÒThereÕs Nothing Funny About DesignÓ [email protected] Youtube: DailyWhatever Twitter: dedailywhatever www.dedailywhatever.nl

ITS NOT EITHER ART OR DESIGN... ITS ABOUT IMAGINING THE WORLD OTHERWISE

Recommend Documents