DESIGN MAGAZINE 20 (NOVEMBER/DECEMBER 2014) by DESIGN MAGAZINE

EDITORIAL Tiago Krusse

This “Creative” idea is one of the things that the European Union has been spreading over the last two years. At this moment we get to know that there is a concept of creative economy getting supporters and fans through the whole continent. Even after so poor creative business schemes and enormous harm done by high educated yuppies to the whole World, European politicians still prefer to believe in creativeness than to base their decisions on experience, knowledge, proofed skills and wisdom. And who is promoting this “creative” movement through the old continent? The same fellows that allowed anyone who had money do to what they pleased as long as they pay for it. Is the same “creativeness” that allows countries leaders that do not care a bit about intellectual property or private property to buy strategic assets of democratic nations. When this all “creative” idea took form? It took form in the middle of a complex business crisis that result mainly from the liberty given to some individuals to play with people’s lives. How is taking form? Is taking form by promoting this so called “creativeness” by sponsoring creative ideas and allowing anyone to be what they want to be even when without any skills or qualifications to do what they aim to do. I’m sure this “creative” politician when they get hill or catch a strange disease they do not expect to be treated by creative doctors or do they? Let’s build “creative” hospitals!!! Why the idea of “creativity”? Because this measure to promote this so called “creativeness” gives the sense that we can all succeed and that we can all would have the chance to walk on the moon. My idea is that creativeness is only part of a process. We all have to think and we all have to get the tools that could allow us to understand the World and a few facts of the infinite reality. For that you need to have instruction, education, experience and a continuous seek for knowledge. The greatest genius of Mankind they were outstanding individuals with superior intellectual capacities. They did a whole lot of research and they developed their own natural talent. Beyond that they were special individuals with amazing skills that allow them to deliver knowledge and to share their wisdom.

CONTENTS DESIGN Asia Talents

The identity of a wine

Interview Stefan Diez

Serienumerica

Dögg Gudmundsdóttir

Nomess Copenhagen Beau McCellan

ARCHITECTURE C

Wine Shop in Braga – Direct Speech by architect Tiago do Vale

Temporary public toilet

Interactive Design by Cristina R. Maier

BOOKS Lina Bo Bardi 100

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Editor in chief - Founder Tiago Krusse Executive Designers Douglas Silva Hebert Tomazine Leandro Siqueira Lucas Fernandes Text Contributors Francisco Vilaça (Stockholm) Hugo Poge (Reykjavík) Rodrigo Costa (Oporto) English editing K Photo Contributors João Morgado – Architecture Phtography Advertising http://revistadesignmagazine.com/publicidade/ Office DESIGN MAGAZINE Jardim dos Malmequeres, 4, 2.º Esquerdo 1675-139 Pontinha (Odivelas) | Portugal www.revistadesignmagazine.com Media founded in 2011

ASIA TALENTS

“Y Stool”, Tim Webber. www.timwebberdesign.com

The second edition of the Asia Talents took place form the 19th to the 23rd of last October at the Bangkok International Trade and Exhibition Center, in Thailand, during the International Gift and Houseware fair. A selection of 14 designers from the Asia-Pacific region mingled with 16 designers from Thailand showed their products and concepts under the moto “Ideas for Tomorrow”. National and foreign brands were also at the stage giving a broader view of what is coming out from Singapore, India, Indonesia, China, Philippines, Korea, Taiwan and New Zealand. The mission of the trade fair and its showcase event is to nurture talented designers from the Asia-Pacific region rising towards international market. The event is supported by the Thai government by the the Department of International Trade Promotion (DITP). Other supporters were the venue host for the opening night, the W Hotel Bangkok, and 6 design magazines: Casaviva, Interni, Wallpaper, art4d, ELLE Decoration and Living ETC. The DITP, under Thai’s Ministry of Commerce, showed a most clear intention to leave a positive message through this event and to spread out across national borders a promotional view of Thailand’s function as one of the creative hubs in the Southeast Asia - Pacific region. The Asia Talents event gathered 9 jury members constituting from host, DITP and media partners to award outstanding designs. The jury awarded 9 designs having each judge selected its own chosen piece according to their individual preferences. The winning products were exhibit at W Hotel Bangkok during the party night that was held has the opening ceremony on the first day. The Form Magazine from Singapore also showed up as late invited appearing as additional media partner. The five days event allowed all participating designers to benefit from this international meeting and under a common ground they all took the chance to share knowledge and experiences. The final result was very positive and lead to the exchanged of ideas, setting collaborations for future projects or outsourcing specific productions in order to promote productive procedures based on local materials at their place changing the schemes and the costs of the long-distance importing commercial activities. Report by Jonas Becker / Thinkatorium

“Lyan”, Alvin T. www.alvin-t.com

“Basilsa”, Ito Kish. www.kish.ph

“RB Backpack”, Rubberkiller. www.rubberkiller.com

“Pin Tuk Lamp”, Sahil + Saarthak. www.sahilsaarthak.com

THE IDENTITY OF A WINE Design: Rita Rivotti / João Miranda Photography: Rita Rivotti – Post production Pedro Roque

The Rita Rivotti Wine Branding & Design agency won the 2014 Pentawards edition, a worldwide design packaging. The designers Rita Rivotti and João Miranda won the Gold Pentaward under the Luxury – Fine Wines, Champagne category for their work with the Crochet wine. The design agency developed the whole wine identity for such a specific product from the Douro wine region, near Porto city at north of Portugal. The two winemakers Susana Esteban and Sandra Tavares da Silva needed someone capable to capture the atmosphere of the Douro region and to best promote the exquisite of the product. The name Crochet came from the fact of the two winemakers been women and by giving a sense of a female “sowing” through the whole wine production process. The logo kept in mind the hand movement that is characteristic of the crochet technique to make fabric. About the logo design the describing text sent by Rita Rivotti says that “the typography was designed with robust strokes whose endings depend on the size of the label and the printing process.” The “&” at the signature got a scale that could express the commitment between the two winemakers. The agency underlines that “weight/ thickness of this character is in line with the two names.” About the design of the logo “the illustration occupies the entire label and the point-by-point design was inspired by ancient books on embroidery.” Regarding printing and the production of the label, it was developed a method that used “a combination of paints to create the desired effect of the matte varnish.” A team work developed between the agency and the Gráfica Etiquel printing. The packaging reveals a innovative box in which the logo was engraved by laser cut in order to produce a visual effect that lead us into the embroidery textures. www.ritarivotti.pt

INTERVIEW Stefan Diez

Photo by Robert Fischer

More than one decade has passed since industrial designer Stefan Diez opened his own studio in Munich, in Germany. From the early 90â&#x20AC;&#x2122;s that heâ&#x20AC;&#x2122;s been consolidating his passion for the profession, keeping the focus in values and committed to high standards of delivering. He leaves us a perspective about the chosen path and how he deals with life. Interview by Tiago Krusse

Why did you choose to become an industrial designer? I have learned about design through the perspective of a craftsman. My family background played an important role, especially my father, who took me to all sorts of workshops he was collaborating with when I was a small boy. Later on I visited the Academy of fine Arts in Stuttgart, were Professor Richard Sapper was a teacher and I immediately fell in love with the idea of becoming a designer.

When you decided to open your own studio in 2003 you felt it was a risk or an opportunity to your ambitions as a professional designer? I did not think about risk. I just always wanted it exactly like this.

How do you evaluate the design teaching in Germany when you look back at your learning years and most recently under the role of a teacher? The biggest benefits I had in Stuttgart were great teachers, a complete freedom and fantastic workshops. I would say Germany is a good place to study if you know what you want. But especially at the art schools you have to have a great self motivation. Nobody is breastfed.

How is the relation you have when working for brands? Is it a struggle or a compromise to keep your working spirit and values? We have had good and bad experience over the last 10 years. Clients like e15 or HAY are for us dream clients. They know what they want, are having high expectations and are pushing us towards our limits. We never do have to make any compromises with such companies. We find solutions that fit best the common goal. Other clients have different goals than us. In these cases we are sometimes forced to make compromises. Usually such relations do not last.

What were the positive and negative aspects you found as a teacher when looking to nowadays students? As a teacher I suffered of a lack of ambition of part of the students. Design education is often too much focused on furniture and accessories. More complex fields are often avoided by both, the teachers and the students. On the other hand, we had some really great collaborations and projects with companies. After 6 years I have quit teaching and am fully back to my studio now.

Which are the essential elements to keep the studio under the balance? Upmost are good customers and a good organization.

Have you ever denied a work? That happens all the time. Sometimes because I think the company is too small to pay a designer, some other times because I am not sure about their values and goals. Very often it is quite difficult for me to say no, because behind every proposal lies a challenge, no matter what circumstancesâ&#x20AC;Ś To say No is hard but very important.

“Designers without lobby are quite helpless in a globalised working environment”

You have a special interest about materials. Do you do your own research or do you get information from specific sources? Both ways are possible. Usually we collect a lot of material during the research phase for a project. The leftovers we keep and might be an inspiration for another project. There are also a couple of databases on the internet. We are subscribed to one, which is sometimes useful. What is the role that designers play between the world of researching labs and reality? My experience is not very profound in this matter. But I have the impression, that the labs are very interested in giving the designer a good service. They know they could carry a new technique or a material into a project. In which new materials have you been working on for the last couple of years? Among them which ones you think that have the most surprisingly performances and potentialities? It is surprising to work with LEDs. We are working currently on a project were LEDs are leading to a completely new yet simple shape to a lamp. Is nanotechnology a hope or a threat? It’s working, at least with my suncream … How do you deal when someone ask you to work on an entirely new product? This would be a dream. But …

“KIT”, 2014, for HAY Photo by Jonathan Mauloubier

“New Order”, 2014, shelving system for HAY Photo by Rasmus Norlander

What is your opinion about the role of designers when you have millions of people urging for better life conditions? Designers could help to see and understand problems better and find solutions for a better life. This is the theory. In reality, many small design offices are paid horrible and are losing their interest for the problem of others. Designers without lobby are quite helpless in a globalised working environment. I have no exact clue what this means for the new generation. Why do you think designers are not professionally treated with as much respect as architects? Size maters! How do you manage your time? I use good software. Everybody in my studio is linked to the same database. At my wife Saskiaâ&#x20AC;&#x2122;s office it works as well. I try to pass as much as possible to the team. It usually works very well.

www.stefan-diez.com

“Wrong For Hay – Rope Trick”, 2014, for HAY Photos by Jonathan Mauloubier

SERIENUMERICA Spring/Summer 2015

The new Serienumerica Spring/Summer 2015 collection was presented at the latest Paris fashion week, in France. The brand focus is on long dresses and shirts complemented by monochromatic tunics and sweater. The two brand leaders are Maria De Ambrogio and Stella Tosco to whom the essence of Serienumerica is the orientation towards “meticulous attention to its garment cuts.” The innovation relies on new knitting techniques which allow them to present new conceptual possibilities no matter the type of fabric they are working on. For this collection they chose to work with linen, cotton and viscose. All Serienumerica collections are completed with a line of leather products. The story of Serienumerica began in 2010 and since the first moment Maria de Ambrogio and Stella Tosco set the brand’s goals towards “fully fashioned knitwear and leather accessories.” Maria De Ambrogio studied sociology but she’s been dealing with fashion and fashion industry. On her resume she has a long professional experience working as coordinator of the fashion course at the European Institute of Design of Turin the place where she met her partner. The Austrian born Stella Tosco moved to Turin in 2006 to study fashion and after completing the course she began to work for Serienumerica. She also decided to continue her studies so she’s improving her academic path at Central Saint Martins College of Arts and Design, in London, the United Kingdom. The Serienumerica teams up with Italian craftsmanship giving to traditional techniques and concepts new kinds of approaches. They say that “the creative process, despite starting from an individual idea, develops through continuous interactions with the manufacturers of the various items.” The innovation is presented “by pushing the boundaries of the traditional techniques and by altering the rules of classical design, together the designers have brought high standards, high quality and value to raw materials of Italy.” By matching culture and knowledge with new technological developments new possibilities are showed every year. www.serienumerica.it

Photos: Courtesy of Serienumerica

FOCUS D枚gg Gudmundsd贸ttir

With an incredibly rich source of creativity for art, design and craft, Icelandic designer and owner of Dögg Design, based in Copenhagen, experiments with raw materials and develops designs for mass production with new and old materials. Döggs vision is to create innovative and meaningful design for people. She starts with raw ideas by taking materials directly from nature. At first, Dögg’s items are more like functional sculptures or pieces of art. Some of them remain so, others gain their own one life, and some are taken further and cleaned for a more Scandinavian design and mass production. The little Stranda (shore) tables from 2012 are an example of Dögg’s raw style. Dilapidated pieces of driftwood serve as the legs for a concrete plate of black sand and create a small table resembling jellyfish. Here nature in its roughest form is transported indoors. The development of Dögg’s coarser sides is an exciting process and her constant search for unconventional materials has led her to unexpected results. Obviously, Dögg celebrates the processes of work and finds it necessary to see that things can change and get a new life also when mass produced. The story behind the items is at play and the way objects can become more personal and emotional to the buyer.

In 2014 Dögg exhibited at “Kosmos” at the Design Museum of Iceland, with an installation of her past 15 years of design. Mass produced items were shown along with one-off items that had unconsciously influenced her work as a professional designer. At the 2014 annual SE-exhibition (in Danish: Snedkernes Efterårsudstilling, meaning the Autumn Exhibition of Cabinetmakers), this year titled “Textility”, furniture inspired by a textile universe is at play. At this exhibition opening in November 2014 at The Royal Danish Academy of Fine Arts, at the School of Architecture, Design and Conservation, Dögg presents her benches “Sweet and Sour”, from the first idea of Sour to the mass production development of Sweet. Made of natural wood sticks and black sealskin Sour contrasts Sweet, made of turned (twisted?) wood sticks and white bear skin. (www.se-design.dk) Currently Dögg is focusing on a production on small items like Stjaki and Askja among textiles for the tables, to be on the marked by the start of 2015 – some fitting into a suitcase. Her dream is to take her design even further and make her own materials, as well, materials that are easily recyclable, easy to fit into a bag, and possible to get rid of in a good way. To give more back to nature than what you take. Report by Hugo Poge Photos: Courtesy of Dögg Gudmundsdóttir www.doggdesign.com

“Askja”, 2014

“Askja”, 2014 30

“Demant”, 2014 31

“Bensi”, 2014

“Stjaki”, 2014 32

“Stjaki”, 2014 33

NOMESS COPENHAGEN

Nomess Copenhagen was funded in 2007 and the brand’s orientation it’s towards organizing presenting a range of products putting in evidence simplicity through accurate design. We got to know this new brand at the last September Maison & Objet edition. The Autumn/Winter 2014 collection caught our eye with its five series: furniture, travel, bath, storage and workspace. For this collection the brand set a few collaborations with external architects and designers like Lene Munthe and Karen Wibroe from Anonym Design, Bénédicte de Lescure, Knud Holsher, Hviid Damsbo and Lovisa Hansson. Photos: Courtesy of Nomess Copenhagen

“Wooden Work Space”, 2014, by Knud Holscher

“360º”, 2014, by Anonym Design

“Reflection”, 2014, by Lovisa Hansson

“Only One”, 2014, by Bénédicte de Lescure

“Shelfie”, 2014, by Hviid Damsbo

BEAU McCELLAN

Photo by Eduardo Sousa / Flavour Productions

Photo: LG & KL

Beau McCellan is a fine artist and a designer based in Faro, Portugal, the place he chose to open his Studio43. Beau started to gain reputation through his fine artist career, mainly by sculpture and exploring blacksmithing techniques combined with skilful craftsman qualities that allowed him to present impressive and bold art pieces. It was in 2000 that he was called to create an artwork with a specific demanding for lighting design. This commission made him to start researching and gathering information and knowledge about lighting design. A new challenge arose not only by the emotional aspects that cause him such impact but also for a new opportunity to express his artistic sensibility. It was the beginning of other successful approach to art and design. The impact of his work gained international exposure through a series of innovative and exclusive lighting sculptures and installations. One of the creations that stand out from Beau’s new artistic period is his “Reflective Flow” chandelier that he produce for the Hitmi Al Hitmi Doha in Qatar.

All the fuzz Beau McCellan got from media didn’t make him stop instead he began to dream on reaching a broader market and diffuse all the innovative techniques he was recognized for. So quiet rapidly Beau present his first collection under the Brumberg Lighting, the reputed German manufacturer founded in 1873. Mixing Beau’s artistic skills and view with the Brumberg Lighting knowledge turned into a good combination to reach a wider exposure but also important to achieve working recognition like the won 4 Red Dot design awards. Nowadays Beau McCellan is responsible for the whole manufacture process and it’s under his design team and the brand called byBeau. The information sent by his design studio told us that he is currently producing new luxury items in which there is a capture of a whole lot of different elements and ancient wisdom taken from old and disappearing crafts from around the World. Photos: Courtesy of byBeau www.bybeau.com

â&#x20AC;&#x153;VINEâ&#x20AC;? A digital and interactive wine rack incorporating the latest LED technology, made from high quality crystal and specialized aluminum extrusion designed to take the weight of the bottles and to carry power and data to every shelf. Control system by DMX which provides a specific IP address for each shelf. These can be used to illuminate the bottles of choice or to create interactive content for the low resolution video screen, controlled wireless in your tablet or smartphone. 41

â&#x20AC;&#x153;DUSKâ&#x20AC;? Modular lighting system combining breakthrough LED technology. We achieved this with the combination of some clever internal engineering and producing the main body from cast cooper that makes, not only, a great heat-sink but also provides us with the perfect base to apply precious metals like gold, silver and many other non-precious finishes.

â&#x20AC;&#x153;DUSK ORBITâ&#x20AC;? Modular system that can be purchased in ready produced component parts then connected to match the design requirements of a specific space. This in combination with the different materials and coatings available creates a solution with endless possibilities for shape and form.

WINE SHOP IN BRAGA Architecture: Tiago do Vale Arquitectos Photography: João Morgado – Architecture Photography

DIRECT SPEECH Tiago do Vale

When delving in architectural refurbishment projects I have systematically encountered a designer’s flaw that I usually blame both on architecture schools and on architects’ pride on their own work: there’s almost always an unsurpassable temptation to reclaim one’s authorship of the design with a bold, architectural gesture, justified with a willingness to contrast the new with the original, usually for clarity’s sake. There’s always a hidden agenda to it too, of course: a need to showcase how the new is so much better than the original. There’s no shame in saying so: I’ve been culprit of falling into this temptation a few times myself, more or less discretely. This happens regardless of the merits of the original construction, many times resulting in the obscurance or loss of very interesting built documents of architectural history. This is partially caused by architecture schools favoring “built from scratch” design theory, setting refurbishment architecture, in the students’ mind, as a second grade practice (which it’s not: quite the opposite). Rejecting that, my approach has progressively leaned towards the one of the master-builders of yore. They designed in tune with their own time and building techniques but nevertheless in harmony and continuity with the previous builders’ work. It relies on a big

deal of intuition, respect, modesty and judgement of the merits of the pre-existent construction. This approach is profoundly subjective, it never results in the same answer twice, it’s harder to intelectualize and to build a theory upon, so, in consequence, it’s harder to justify in today’s over explained architectural context. But this approach maintains the honesty of being true to our time while allowing to preserve the spirit of a building, with no radical brakes with the past, keeping its timeline uninterrupted towards the future and, specially, without suffocating interesting historic architectural objects with blatant contemporary interventions that diminish the original constructions and render them to an anonymous, hollow background. Though there’s always a need for concessions in bringing an old building to contemporary living standards (in both construction and usage), in the end it seems to me that the best refurbishment projects are really the ones were the architects’ designs are as little evident as possible (to many architects’ disgrace), allowing the interesting features of the original construction to shine again. By now you must be asking yourself why I’m wondering in these considerations with such detail but, during the process of developing the “Bottles’ Congress”

project, I realized these lessons were useful to learn and apply in the context of retail architecture too. The “Bottles’ Congress” project relied quite a lot on furniture design. Furniture design can be a formidable playground for architects, not only because furniture informs the quality and characteristics of a space as much as walls and other architectural features do (and it’s an aspect of architecture design that so many times falls out of the architect’s scope and control), but particularly because there can be so much intricacy, detail, exuberance and complexity in such a small, manageable object, making it a truly satisfying experience. The thing is: retail architecture has to take second place to the product. Just as a refurbishment project must not obfuscate the original building’s merits, retail architecture can’t remove the products from the limelight: in fact it has to put them precisely under it. It can’t be the star. It can’t compete with the product nor detract attention from it. Retail architecture should be simple, clear and perform its job down to a T. In a sense, it’s a type of architecture that has to disappear under its function. That doesn’t mean retail architecture should be underdesigned or simplistic: though it takes a

sidestep out of the limelight, it’s still defining the place’s character, informing of its value. It still has to be exquisitely designed as it still communicates the qualities and meanings of the space and the nature of the products. That’s the intent behind the “Bottles’ Congress” project: a simple design presenting wine as if it was jewelry. It’s not simplistic, nor fashionably minimalistic: it’s meant to be warm, depurated, speaking to the pine boxes wineries use for transport and display, fitted to each individual bottle, to each shape and size. It’s modular, per the client’s request, but also related to the unique characteristics of the place, bridging nature and city through its transparent core. It may or may not be a “job well done”, but I’m certain, tough, that good architecture doesn’t always have to shout. In fact, I happen to suspect that most of the best architecture always ends up to be discreetly quiet. Even if it doesn’t make it to the magazine covers. Text by Tiago Do Vale

www.tiagodovale.com

TEMPORARY PUBLIC TOILET Architecture: Lagado Architects Photos: Courtesy of Lagado Architects

The Easehouse is temporary public toilet. The Lagado Architects is a company founded in 2011 by architects Maria Vasiloglou and Victor Verhagen in Rotterdam, the Netherlands. The Lagado architects were asked to design “an attractive, inviting and above all, eccentric toilet” for the Singeldingen Foundation. The Singeldingen is a summer place in Rotterdam with the purpose of providing space for meeting and relaxing in the Heemraadspark, with a temporary coffee bar and program to the neighborhood. Besides other institutional duties to his community, the foundation also has the role of providing public toilets for the park. Up till now the decisions regarding these temporary installations were limited to eco friendly solutions and that was the reason why Lagado were called to the mission for this past summer.

The toilets were set in a very popular playground at the Heemraadssingel, a particular green area located in a 19th century neighborhood. About the temporary public structure both architects wrote that “an inviting, diagonal step makes the height difference between a children’s toilet and an adult toilet.” On the inside visitors were surprised by the triangulated roof that was partly kept open. The option reinforced the idea of being outside and providing the required ventilation. Natural elements played also their role like the tree above the roof gave a protected and covered feeling while casting shadows into the interior and on the closed roof surfaces. The construction materials were green and dark brown concreteplex with the exposed sides sealed off with a transparent coating. The size, weight and dimensions of the whole structure were kept in mind so that the toilet could be easily carried.

Photo by RubĂŠn Dario Kleimeer

www.lagadoarchitects.com

INTERACTIVE DESIGN Interactive Design (ID): Designing Sensorial, Dialogical Spaces Cristina R. Maier KU Leuven Faculty of Architecture, Campus Sint-Lucas Brussels/Ghent, Belgium cristina.r.maier@gmail.com (supervised by: Prof. Dr. Johan Verbeke / Dr. Arch. Burak Pak KU Leuven Faculty of Architecture, Campus Sint-Lucas Brussels/Ghent, Belgium) www.coroflot.com/InteractiveDesign Credits: Media Architecture Biennale 2014 in Denmark – http://mab14.mediaarchitecture.org/ - and the Doctoral Consortium

ABSTRACT Within this short paper, first I set the research in a larger context and explain how it started, the main questions that arose in time and of course the aims of the research. Previous work is also presented throughout installations either realized or in the concept phase, as well as pointing out its significance and innovative aspect like representing a base for designers, architects within the process of design of interactive spaces. Finally, I conclude with a reflection upon the unique methods and framework that this research requires and some important questions and issues to be discussed. Designing engaging interactive spaces would imply the creation of interactions within physical spaces that use digital technologies and thus could be a way to facilitate social interactions within the built environment. So the question that rises is how should we design these spaces that we term interactive spaces? The context here is prior, as architecture reflects what a society holds important.

In this process, several challenges were identified. Among those the two pressing ones were: 1) rethinking and reconciliation of the materiality with virtual images 2) overcoming interaction limitations of the built environment through the use of ICT (Rahaman, Tan, 2009)

Author Keywords Interactive Design; Interaction Design; Intuitive Interaction; Sensorial; Installations.

• Should the interactivity and virtual images be included in the design phase or later as an afterthought?

ACM Classification Keywords Real-time systems; World Wide Web; Human Computer Interaction; Interaction Design; Collaborative and Social Computing; Ubiquitous and Mobile Computing; Visualization; Arts and humanities; Technologies. INTRODUCTION The ID project is a practice-based research initiated at an international level during the Research Training Sessions at the KU Leuven Faculty of Architecture. It started with the purpose of addressing challenges regarding the Architectural Space and Information and Communication Technologies (ICT) with a design-oriented approach, specifically focusing on the design of interactive spaces, that are interactive and human-centered. • License: The author(s) retain copyright, but ACM receives an exclusive publication license.

In this context, the main aim of the ID project was to explore alternative ways for combining materiality with virtual images and understand the spatial qualities that emerge through the user interactions. In relation to the above, several questions arose: • What are the alternative approaches for designing interactive spaces? • What are the impacts of interactive interventions in existing spaces? • Which interventions promote more user engagement?

• How long will the process last, considering that it involves a broader design issue? This research project will try to find answers to the above, through the design and evaluation of a series of contemporary solutions that can be used and further developed by designers, artists and architects. The design process will require creating unique spaces that would take into account each time the context and today’s social needs. Our society requires flexible spaces, innovative and transmitting knowledge. The interactive spaces are today mainly within the Art Museums or Galleries and as observed so far these are mainly artistically endeavors, and not permanent creations. As identified by Rahaman and Tan (2009) there seems to be two categories: one where the whole space interacts with the passersby and one where the interaction is with an installation within an architectural space.

Thus the intention of the research project is to take into account these types of innovative solutions to existing social demands or questions today. Testing new materials and lighting techniques, breaking boundaries, experimental approach will be at the core of designing new kinds of interactive spaces that includes different media and becomes a reflection of today’s society. PREVIOUS WORK AND THE CURRENT STATE OF THE RESEARCH PROJECT More and more interactive installations, artistically endeavors, give us clues on how to approach the design of interactive spaces in architectural design. Among those are realizations, for example the interactive space designed by Art+Com, Joachim Sauter, called Spheres for the new BMW Museum in 2008, Munich, the Canadian office Iregular or Kollision in Denmark or several interactive installations by London based office rAndom International, Lab[au] just to name a few.

Figure 1. Sensorial Space Installation, Brussels 2011

Figure 2. iLIGHT Interactive Installation Concept After this analysis process, a preliminary installation was produced during the ByDesignForDesign Research Training Session in 2011. It is called “Sensorial Space” and it basically transformed a rather static space within the Brussels context into a dynamic one. It was based on a succession of clear/halftone projection of the activity when there was any and an animation when no activity was registered. It was easily conceived using an Apple laptop that was running a software transforming the Webcam into a motion sensor and a beamer that was projecting the information onto the surfaces within the space. The impact was quite high and it received interest from the passersby. However no formal observations were made during this installation. Following the “Sensorial Space” installation, a new project, the “iLIGHT” Interactive Installation is in the design phase. It suggests energy saving and raises awareness on zero emission buildings. The pedestrians activate the installation which fades out slowly as they move away. The focus is on energy saving and transmitting this knowledge to the public and creating a dynamic pattern activated by the presence of the passersby.

“Lightscape” Interactive Installation is another new concept for a space that wants to suggest the speed of today’s life. We seem to lean on simpler and faster solutions that give results than to invest more time. This has positive as well as negative repercussions; one could be that the attention to detail sometimes is lost. Here I am referring also to solutions like 3D Printing for example that seem to be used in several domains already and develop the way we manufacture products. Laser cutting is another technique that involves precision and speed into the process, or prefabricated and highly energy efficient facades that are mounted onto older buildings for example. The first figure suggests no movement when the passerby appears, so a lighted pattern indicating this appears. While the passerby moves away the pattern changes into a more dynamic one indicating the speed, the movement. With rather simple techniques and light embedded materials for example, some amazing results could be achieved. The intention is to try to use embedded sensors, controllers, ultra materials rather than projections onto surfaces. Figure 3. Lightscape Interactive Installation Concept. No movement.

Figure 4. Lightscape Interacting Installation Concept. Moving away. 68

SIGNIFICANCE AND INNOVATION Significance (“the pain”): The research project tries by design interactive spaces to first enhance the experience of space for people, as to represent a base as well as raise questions for designers, architects further. Considering the increased interest for interactive installations, the research seems to be significant also due to the experimental and new state that it is within the architectural design. Innovation (“the pain killer”): Each interactive space is and will be unique in its own way, answering questions to existing needs and to certain contexts and thus advancing and contributing to the knowledge production within this field. The research project is innovative due to the fact that it raises certain questions and offers design solutions based on collaboration and through test and trial technique. Each interactive space is basically an experimental platform, thus novel in its own way. METHODOLOGY The envisioned framework and methods are rather unique in a way and through designing. Each interactive installation or space will be based on certain societal questions, contexts and will be analyzed based on feedback received. The idea is not to use questionnaires or very theoretical ways, but to record and observe the reaction of passersby, weather the space developed the intended effect and so on. Akpan and al used a method that implied installing

the installation or recreating the interactive space in several locations that have different characteristics, social contexts, spatial properties. What is important though is “understanding the nature of public engagement with an interactive installation for their successful design”. (Akpan et al., 2013) Akpan et al. also identify the so called “honey-pot effect” where there is a progressive increase in the number of people looking at the installation or in the interactive space due to an initial group of people interested and engaged. Muller observed that passersby often notice interactivity just as they leave the interaction space, and have to walk back to interact, the so called “landing effect”. Also that “interactive art exists through the participation of its audience” (Muller, 2008-2009) A participant that is engaged in interaction is not just interacting for themselves, but is also performing for an audience and can be encouraged and motivated by their reactions but there is also social inhibition that is associated with the interaction in public. Muller also suggests that “many interactive displays fail to sufficiently attract attention from the passersby, and if they do, many fail to motivate people to interact.” (Muller, 2008-2009) Bilda (2011) developed systematic evaluation methods for obtaining solid results to measure engagement within and across many different examples of artworks, experiences and categories of audience. These methods included experience evaluation (verbal reports and interviews, behavioral data as recorded videos), prototyping (“unfinished working models used for testing and refinement”) thus a longer evaluation period, protocol analysis (“analyzing the period from when a participant walks into the exhibition space to finishing his or her interaction with the artwork”), developing the Creative Engagement Model (CEM), developing 9 design principles (“set expectations, invite for interaction, surprise, allow time for adaptation, provide consistent feedback, allow for anticipation, allow for uncertainty, introduce challenge, provide audience space to reflect on their previous intentions and question their current interactions”) based on the stages of engagement phases (“Initial encounter”, “Adaptation”, “Anticipation”, “Deeper understanding”). When designing these spaces what is very important to take into consideration is the audience and Costello (2007) talks about the Beta-Space, “an experimental exhibition environment”. The interactive space becomes a place that is characterized by memories, experiences, norms and patterns of behavior. So far, literature study, an analysis of existing interactive spaces and installations, has been real-

ized while in the same time designing and putting ideas into practice. Designing more is envisioned in the future. QUESTIONS AND ISSUES As mentioned in the introduction part, there are several questions to which we are working on developing answers and solutions. The interactive installations and spaces are a hands-on and minds-on discovery in a way. Over stimulation can be avoided by using different clusters for example. There are several issues that these spaces or installations raise and that is related to them being useful or just some “useless” interventions, or “overwhelming” with technology for example, as well as: What are the alternative approaches for designing interactive spaces? What are the impacts of interactive interventions in existing spaces? Which interventions promote more user engagement? Should the interactivity and virtual images be included in the design phase or later as an afterthought? How long will the process last considering that it involves a broader design issue? REFERENCES Akpan, I., Marshall, P., Bird, J., and Harrison, D. 2013. Exploring the Effects of Space and Place on Engagement with an Interactive Installation, University College London, UK. Bilda, Z., 2011. Designing for Audience Engagement, L. Candy & E. Edmonds (Eds.) “Interacting: Art, research and the creative practitioner”, Oxfordshire: Libri Publishing, pp. 163-181. Costello, B. 2007. A Pleasure Framework, Leonardo. 40(4). 370-1. Edmonds, E. 2011. The Art of Interaction, Digital Creativity, 21(4), 257-264. Moreno, C., Dywan, B. 2005. They are “Content to Play”: Creating Resonsive Interactive Spaces, presented at the J. Paul Getty Museum Symposium “From Content to Play: Family-Oriented Interactive Spaces in Art and History Museums”. Muller, E. 2008-2009. The experience of interactive art: a curatorial study, Leonardo Abstract Services (LABS). Rahaman, H., Tan, BK. 2009. Interactive Space: Searching for a dual physical-virtual world, International Conference on Computer-Aided Architecture Design Research in Asia (CAADRIA), Taiwan, pp.675-684.

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Born in Rome in 1914 Lina Bo Bardi became one of the most important contemporary architect and designer. She was born on December de 5th and her true name Achillina Bo. In 1934 she begins her architecture studies at the Facoltà di Architettura in Rome and finishing them 5 years later. In 1943 alongside Pagani she becomes one of the vice directors of the Domus magazine. She marries Pietro Bardi and in 1947 they moved to São Paulo, in Brazil, after Pietro’s accepting Assis Chateaubriand invitation to become director of the São Paulo Museum of Art. In 1951 Lina finishes her first building the Casa de Vidro at the Morumbi district of São Paulo. After that point Lina Bo Bardi’s life was filled with most different experiences, from lecturing at the faculty of architecture and urbanism of the University of São Paulo, engaging with Brazilian architects, opening an industrial design studio, publishing, knowing and meeting most influential personalities of the Brazilian culture such as Glauber Rocha or Caetano Veloso and Gilberto Gil at the Tropicália phase. Her commitment with architecture became bigger as time was going by, either through cultural ventures or by being commissioned to urban reforms like the Pompeia district in São Paulo. She dies in March 20 of 1992, leaving a vast series of formal, social and technical approaches through her perseverant work and her vanguard thoughts to a society she felt in love with. Some critics like to call her a modernist but looking into the way she engaged with the popular Brazilian culture during the period she lived in Bahia we dare to say that she absorb all the richness from the social and cultural melting pot Brazil is. Never losing her Italian roots, she truly adopted Brazil has her motherland. She rapidly connected herself through all kinds of challenges that Brazilian design and architecture were spreading to the whole territory. All those realities were the fuel she needed to nourish her professional commitment towards such transversal problems and opportunities for the Brazilian society. Maybe the modernism comes out from her public social and political views she left through designs, exhibitions and writings. Some say her work was always in line with her time and that it stays most up to date nowadays. Would not be awkward to express that Lina Bo Bardi had a rational and formal conviction about the consistence of her work but above all that she had a clear perception of the utile orientation of the ultimate purposes of her line of thoughts.

This book by Hatje Cantz was edited by Andreas Lepik and Vera Simone Bader. The edition gathers text contributions by Renato Anelli, Vera Simone Bader, Anna Carboncini, Gabriella Cianciolo Cosentino, Sabine von Fischer, Steffen Lehmann, Andres Lepik, Zeuler R.M. de A. Lima, Olivia de Oliveira, Catherine Veikos and Guilherme Wisnik. Suming 350 illustrations this book is published on the occasion of the exhibition Lina Bo Bardi 100 at the Architecturmuseum TU in Munich, Germany, at the Pinakothek der Modern. It recognizes Bo Bardi’s entire built oeuvre, including her own home Casa de Vidro, the Art Museum of São Paulo and the cultural center SESC Pompeia which stand today among the most renowned buildings in the city of São Paulo. The introduction, the ten essays and the thirteen projects well documented constitute an important and historical review of Achillina Bo’s life allowing the reader to experience the life and work of this remarkable person who has left such a enthusiastic contribution to the Brazilian architecture and design heritage. More than to build a home, when we look into the photos, plan, sections and drawing of the Casa de Vidro we actually get into Bo Bardi’s spirit, her aesthetic preferences, her sense of technique, her formal approach but also her true respect for the space and its qualities. A women of ideals and strong convictions.

Lina Bo Bardi 100 Brazil’s Alternative Path to Modernism Hatje Cantz Verlag Graphic design by Verena Gerlach English 2014. 400 pp., ca. 390 ills. 25.40 x 30.60 cm hardcover ISBN 978-3-7757-3853-8