The first object to attract our attention on Atelier Bonk’s stand in the Ventura At Work exhibition in Milan was the candle stick holder.

That is until it was pointed out to us that it is actually a potato masher.

It’s a very simple mistake to make. Especially if you’re as daft as us.

The Potato Masher Stoemp by Atelier Bonk.

Bruges based Atelier Bonk is the result of a co-operation between designer Tim “Interror.be” Baute and graphic artist Stefaan de Croock, a.k.a. Strook.

The name of the atelier may cause uncontrolled sniggering among British primary school children; the work however is worthy of a little more mature respect

The concept is very simple: Strook draws something and Tim then transforms the 2D drawing into a 3D object.

Strook’s art has the impudent rawness of street art, his weapon of choice is the marker pen, and Tim’s metalworking background allows him to transform Strook’s lines and curves into objects that loyally translate the original graffiti narrative into a socially acceptable object without losing any of its boldness.

The collection was, effectively, premiered at DMY Berlin 2012 when Tim exhibited the first result of the co-operation: a powder-coated steel bench that can be used indoors or out. The bench formed the focal point of the Atelier Bonk stand in Milan, and was complemented by a live drawing performance by Strook which illustrated the design process. And the large piece of steel he was drawing on.

In addition the collection includes a powder-coated aluminium coffee table, Merged, an object which in its form language is very reminiscent of many classics from the modern era – yet which has a background that couldn’t be any more different.

Further proof if it were needed that form does follow function, and the path you choose to get there is ultimately what is important and interesting.

We’d love to say that the potato masher Stoemp is our favourite item in the collection. But you wouldn’t believe us. You’d just think we were saying that to cover up our embarrassment.

What we really like about Atelier Bonk’s approach is less the products, delightful as they are, and much more the combination of methods and processes they use and the possibilities that arise through this combination.

As with all good contemporary design Tim and Stefaan have carefully considered the options before them: and from these options devised something new that allows them to create new objects that are as interesting as they are respectful of resources.

Specifically they have created a sort of  “design development system”, a system that is endlessly customisable, and not just in terms of the pattern, but also in terms of form, size and proportion. The creation of objects isn’t automatic, it always involves the creative and experienced input from both Tim and Stefaan.

But from this input comes an infinite number of possibilities.

And in our modern world of consumers looking for individual objects within the context of familiar form languages, we can think of nothing more interesting for the market.

And in our modern economic climate we can think of nothing more valuable for designers.

More details on Atelier Bonk can be found at: www.atelierbonk.be

Milan Design Week 2013: Atelier Bonk

Milan Design Week 2013: Atelier Bonk. Strook doin' his thang....

....and what results from his thang.

With DMY Berlin standing in front of the door like some excited child waiting to be taken to its chums birthday party, all eyes are slowly turning to to the German capital.

The first Berlin design events are already running and until June 9th the gallery “Haus am Waldsee” is presenting the exhibition “Home of the Future” by and featuring Werner Aisslinger.

We already posted a few photos in a (smow) facebook gallery.

Staircase Sofa in cooperation with Vitra and Honeycomb Landscape in cooperation with Kvadrat. As seen at Werner Aisslinger: Home of the Future, Haus am Waldsee.

Delightful as the exhibition unquestionably is, for us one of the more interesting aspects of the exhibition is/was the objects that weren’t on show. For all the Bikini Island concept Werner Aisslinger premiered on the Moroso stand at Milan Furniture Fair 2013.

Essentially a multi-level, multi-component living room/den system Bikini Island combines sofa units with a range of add-ons to create a modern modular system.

Yes it is outwardly more lifestyle than design.

No that shouldn’t appeal to us.

However, just as with the very closely related Level 34 office system for Vitra, Bikini Island is the result of not only careful observation of contemporary society but is also unmistakably the work of a designer looking for solutions for a reality still to come.

As such, for us, it really should have been included in Home of the Future.

Bikini Island by Werner Aisslinger for Moroso as seen at Milan Furniture Fair 2013

Not least because when viewed in the context of Home of the Future Bikini Island in many ways represents the combined realisation of many of the ideas explored in the exhibition.

And also highlights the current limitations of taking experimental design projects into commercial production.

For example:

Bikini Island features space for hanging flowers, but no option for integrating plants into the system.

The publicity material speaks of Bikini Island as being domestic furniture for a digital age, yet the system itself remains confusingly analogue with no options for accommodating modern technology.

Both situations that Werner Aisslinger tackles in projects on show in Haus am Waldsee.

But which, we assume, went a little too far for Moroso and their distribution network.

At the moment Bikin Island is still a concept and we’re not so green behind the ears as to believe that it will appear as an off-the-peg, ready-to-buy product any time soon.

Our hope is that in the coming months Werner Aisslinger can persuade Moroso not to be so conservative and to maybe consider adding one or the other more radical element to the system.

And certainly judging by a conversation we had with another designer in Milan about Moroso we are hopeful that the company are moving away from their more reserved, traditional positions.

Time will tell.

And for all wanting to learn more about how Werner Aisslinger thinks, and what he believes is possible, Home of the Future can be viewed at Haus am Waldsee, Argentinische Allee 30, 14163 Berlin until Sunday June 9th (That’s the last day of DMY Berlin for all planning visiting the festival :))

Bikini Island by Werner Aisslinger for Moroso

We quote:

“It’s probably fair to say the biggest surprise at Salone Satellite 2012 was seeing Rui Alves aka My Own Super Studio. Because we thought 2011 had been the last year he was allowed to exhibit.”

Fast forward 12 months later. And guess what the the biggest surprise at Salone Satellite 2012 was…. ?

He has however promised us that this is his final, final, final year at Salone Satellite. A thought which to be honest doesn’t disappoint or otherwise upset us because 2013 was also the first year in which works by Rui Alves could be seen in the main, professional, grown-up, halls at Milan Furniture Fair.

And if the rumours are correct next year should also see one or the other appearance in the bigger exhibition halls.

Something that would make us very happy.

Milan Design Week 2013: Rui Alves aka My Own Super Studio

For his Salone Satellite swan song Rui was presenting a collection of furniture that once again underlined the quality of his craftsmanship.

For us the highlight of the collection was the sofa. A deliciously effortlessly reduced down piece the sofa combines a turned wooden frame with a pressed felt seat to create a sort of simplified domestic sinkhole in which to vanish of an evening. Or Sunday morning..

With an obvious, and potentially deliberate, Scandinavian inspired form language “Sofa” presents a nice mix of materials in a fresh, unapologetic fashion. A true delight.

The rest of the 2013 collection was for us just a bit too generic; that said the simple wooden chair and “side table with book rest” did attract enough attention to justify a longer, more detailed, look.

In Hall 16 meanwhile Italian manufacturer Valsecchi1918 was presenting two new works by Rui: A_Chair and Tableone.

A_Chair had previously been shown as part of Rui’s presentation at Salone Satellite 2012. For our part we completely ignored it in our post, and would still maintain that LAPA was the better chair. That said in the bright colours on the Valsecchi1918 stand it not only looked like a very self-assured and competent piece of work, but more importantly fitted in well with the complete Valsecchi1918 programme. The extending table Tableone meanwhile was commissioned by Valsecchi1918 and the detail of the finish on the edge of the table top is a real joy to behold.

If an absolute scunner to photograph.

Obviously with Rui’s work there is always going to be the question of in how far his meticulously carpented objects can be recreated in mass production. However the examples on show on the Valsecchi1918 stand in Milan certainly left us convinced that the company understand their craft.

Which given that they’ve been producing items out of wood since 1918 is probably to be expected.

As we said 2013 is officially Rui’s last year as part of Salone Satellite, but is also, hopefully, the first year in which the hard work and commitment to his ideals finally starts to reap tangible rewards.

We certainly hope so.

And we will of course keep you updated.

More intuitive readers will have enjoyed our post on the exhibition “Objects for Neighbours” from IMM Cologne 2013 and for all our interview with the participants.

To be fair you’d have to very intuitive as it hasn’t been published. Yet.

We are however working on it.

You can therefore imagine our absolute horror on bumping into two of the participants at Salone Satellite during Milan Design Week.

There being little worse than admitting that you still haven’t finished something.

Fortuitously, not only are Thomas Schnur and Karoline Fesser very amiable and forgiving characters, but the work they were showing in Milan was of a quality that meant we could easily negotiate the conversation away from Cologne.

Milan Design Week 2013: Contrast. Thomas Schnur and Karoline Fesser

The Woonling Collection by Karoline Fesser is a modular seating system based around a simple single element: a round cushion. The design in the concept comes in the form of a connection system that allows the cushions to be freely connected vertically or horizontally to create the seating system you need/want. And then re-configured as your needs/wants change. Stools, armchairs, sofas are all possible.

The system is still in development but we really liked the freedom involved, the possibilities for further development and also the way it plays with a visual image more akin to very stable, very inflexible sofa systems. And so we’re really looking forward to seeing where Karoline takes it.

Sample Avenue is a collection of glass vessels. Developed for the aforementioned Object for Neighbours exhibition Sample Avenue has been conceived to reflect the socio-macro architecture^1. that can be found on every street. Created from one glass bell cut into three units and then separated by wooden trays, Sample Avenue is a flexible, modular storage system for all those things that deserve to be on show even when not in use. Or cupcakes.

Sample Avenue by Karoline Fesser as seen at Salone Satellite Milan 2013

As the old saying goes “Good fences make good neighbours!”

But temporary ones?

Such or similar could be considered as the context for Thomas Schnur’s Barrier. Again developed specially for the Objects for Neighbours exhibition, Barrier is a room-divider that tackles the idea of creating your own space, your own territory, in an otherwise open, free space dominated society.

We don’t all want or need a solution as all encompassing as Workbay by Ronan an Erwan Bouroullec, often it is just about temporarily separating oneself from part of a room; for example work done for the day, physical separation from the desk. Or your better half is still working away in a corner and you want to read.

Comprising a steel frame and a removable cloth cover Barrier is a phenomenally simple object that when not being used as a room divider can be “opened” by removing the cloth. Over long periods you can use the open structure as a hanging system. And over shorter periods as a friendly reminder of the room divider it will soon again become

In addition to Barrier Thomas Schur was also presenting Rubber Lamp, an equally simple yet much more technically involved object. Curiously resembling the comedy rubber chicken that was popular in certain circles in the mid 1990s Rubber Lamp isn’t as rubbery as it initially looks. Or indeed feels. A central steel rod running through the silicon body allows the bulb to be freely and securely positioned as required. Just a delightfully simple, playful product.

More information on the complete portfolios can be found at www.karolinefesser.de and www.thomasschnur.com

And for all who’ve now got a taste for the delights that were on show at Objects for Neighbours. Our post is on its way…..

1. The term socio-macro architecture is ours. Just to be clear, and to save Karoline any potential embarrassment.

Barrier by Thomas Schnur as seen at Salone Satellite Milan 2013

Woonling Collection by Karoline Fesser as seen at Salone Satellite Milan 2013

Rubber Lamp by Thomas Schnur as seen at Salone Satellite Milan 2013

A few weeks ago in our post on the opening of the Droog Lab exhibition The New Original in Guangzhou, China we noted, “….knowing Droog we’re fairly certain that “The New Original” will be presented in Europe before too long. ”

Droog didn’t disappoint and the objects were displayed in Milan as part of the show “Droog 20+, Up to a beautiful future”, 20 years of Droog celebrated by looking forwards rather than the more conventional backwards.

Milan Design Week 2013: Droog 20+ Up to a beautiful future

The background idea to The New Original is relatively simple: copying, according to Droog Lab, isn’t always direct replication, more often than not copying involves a level of alteration, for example to meet local needs or reflect social and /or cultural differences. Since the popular conception is that the Chinese are world champions in copying, Droog Lab visited China and copied everyday Chinese objects, albeit with an adaptation for the European, western market.

The result is a truly engaging collection of objects.

While “Teapot with Handle” by Richard Hutten was chosen as the Poster Girl of the exhibition we were much more taken with Glass Lantern and LED Bulbs, both also from Richard Hutten and both objects which not only represent an excellent interpretation of the brief, but are truly delightful creations. Delightful creations that never would have been realised without The New Original.

Similarly the Family Vases and Five Function Cabinet by Studio Droog are lovely pieces of work and ones that could only have arisen within the context of such a basic research project.

We don’t know what the long term plans are, we however expect you will soon find one or the other in you local Droog shop.

Five Function Cabinet, Family Vases and Glass Lantern from the Droog Lab project "The New Original"

A further highlight of the far too compact “Droog 20+, Up to a beautiful future” was the results of the Rijksstudio project, Studio Droog’s cooperation with Amsterdam based design studio deJongeKalff.

Rijksstudio is a digitalised databank of 125,000 works from the Rijksmuseum Amsterdam’s collection and publicly available as a free online resource. Having digitalised the works Droog and deJongeKalff then went a stage further and borrowed images and moments from the databank and transformed them into real objects.

Copying, with an adaptation. If you like.

The highlights of the collection for us is Napkin Collar, a napkin ring inspired by a 17th century ruff, however notable mentions must also go to Tasting Glasses and Rubber Tablecloth.

One of the things we like about Droog is the fact they are essentially a design research agency, a conceptual troupe who sell products to finance the rest of their work.

Older readers will remember the 2011 Why Design ? symposium at the HFBK Hamburg when Andreas Brandolini said more or less the same about the early days of the Neues deutsches Design movement in Berlin: they sold products to raise capital. The products themselves having little or no meaning for their creators.

For ultimately much like there is no show without business, so to can design never completely free itself from industry.

The question is what is produced, how, in what quantities and with what motivation.

You don’t have to like everything Droog do. And we certainly don’t. But you do have to respect and admire the way they do it.

And hope that they continue doing it for the next twenty years.

Rijksstudio with an homage to Johannes Vermeer at Droog 20+ Up to a beautiful future, Milan

Napkin Collar, Tasting Glasses and Rubber Tablecloth at Droog 20+ Up to a beautiful future, Milan

LED Bulb by Richard Hutten at Droog 20+ Up to a beautiful future, Milan

Teapot with Handle by Richard Hutten at Droog 20+ Up to a beautiful future

During Milan Design Week 2013 Knoll formally launched the “Tools for Life” collection from Dutch architecture practice OMA, a collection overseen by OMA co-founder Rem Koolhaas.

The collection had previously been previewed as part of the stage decoration for the Prada Fall Men’s show in January, and was formally unveiled in the same location…. the Prada Milan HQ

A location that theoretically the likes of us should never be allowed to enter. But Design Week is Design Week.

Milan Design Week 2013: Tools for Life by OMA for Knoll at Prada Milano

The first thing to say is that the collection looks like it has been designed by an architect.

Just not in the easily accessible way we all know from the likes of Jacobsen, Eiermann or Haller. And certainly not in the tradition of the architects with whom Knoll’s reputation was founded; Mies van der Rohe, Bertoia, Saarinen….

It’s all very much the result of a conceptual thinker, a pure author collection from a designer working on the basis of a theory rather than a specific functional or aesthetic brief. Haute couture to misuse the Prada vocabulary.

For Knoll the signature piece of the collection is the 04 Counter. Three beams stacked on another, the top two can be rotated through 360 degrees thus allowing for a range of variable, fluid uses: seating, presentation, discussion. Innovative and interesting as the functionality unquestionably is, we’re just unsure who actually needs or wants such. And certainly in an object that stands around one metre high and two metres long.

The 03 Coffee Table works on a very similar principle with similar mechanics; however, being smaller in scale the movement makes a lot more sense, is friendlier, more desirable and is something we can well imagine attracting a following. Albeit a very wealthy following.

For us the highlight of the collection is the 11 Floor Seating, a legless chair that at first glance looks as if it is just for relaxing; however, in context of modern working with tablet computers et al, sitting low down, knees raised, slightly hunched is likely to become a much more common option. And high-quality, well considered chairs that allow one to, effectively, sit on the floor are about as rare as Prada jackets in our wardrobe. For us “11″ just needs a slightly higher backrest to be truly functional.

The 11 Floor Seating from the Tools for Life collection by OMA for Knoll (The cushions will be upholstered)

Amongst the further objects the 01 arm chair has a not unappealing form language, albeit takes a little bit of getting use to. When we first saw them we didn’t like them at all, felt they evoked an unpleasant Star Trek meets 80s Miami Beach Nightclub imagery indicative of a designer trying too hard. However, having let them work on us for few days, we are starting to understand and appreciate them a lot more. It’s a bit like David Bowie. Didn’t get him for decades, then suddenly a few years ago we approached his music in a different way and since then find it much more appealing.

The 05 Round Table and 06 Table are technically very, very interesting; however, the less said about their appearance the better. And no, we don’t think we’ll ever get used to them.

Although we imagine they’ll be very well received in Moscow.

The real star of the launch however was Rem Koolhaas, who was followed round the Prada Cathedral by an adoring crowd, hungry for titbits of information, principally on his reasons for the choice of materials. A question he, patiently, answered at least a thousand times.

We of course weren’t part of the mob. At that point we were busy in hospitality eating croissants with a proficiency that would have put Polar Bear Knut to shame.

They were Prada croissants. When are we ever likely to get the chance to eat Prada croissants again?

Never is the answer. And yes they were lovely.

The 01 Arm Chair from the Tools for Life collection by OMA for Knoll. Here in its prototype upholstery.

Tools for Life is the first time Rem Koolhaas has taken on a furniture project. According to Knoll the first contact was made some 15 years ago, but Koolhaas didn’t have any real interest, or perhaps better put the necessary motivation, for furniture at that time. Then a couple of years ago they started discussing the possibility again and Koolhaas said yes, “….because Knoll asked us to do a collection rather than a single object, and that made it an interesting proposition”

And regardless of what you think of the individual pieces or the form language, as a collection Tools for Life works very well. It has a unity, a solidarity that binds the individual pieces together.

In our post from the Museum für Angewandte Kunst Köln exhibition “From Aalto to Zumthor Furniture by Architects” we hypothesised that what makes much of the furniture designed by architects such as Eiermann, Jacobsen or Le Corbusier so appealing is that it was largely developed for specific projects, it originated in a specific context and so was influenced and formed by this context.

Furniture by Architects also showed what happens when architects develop furniture out of a fixed context, free as it were. Or at least showed what can happen.

Tools for Life by OMA for Knoll is a further good example. An interesting and not-unappealing collection it is, for us, driven too much by a desire to be an OMA furniture collection and as such lacks a certain nonchalance that is necessary to make furniture something that people want to possess and use.

As such we fear that Tools for Life is fated to become a historical footnote in the story of Knoll and OMA, good for a few glossy photos but otherwise culturally and economically irrelevant.

However there is enough genuine technical innovation and interesting new thinking in the collection to be fairly confident that if OMA and Rem Koolhaas are given a more specific brief, then something truly wonderful could result.

Or put another way, having seen the haute couture we can’t wait for the prêt-à-porter

Back in October at Orgatec 2012 Vitra unveiled Workbay, the new concept from Ronan and Erwan Bouroullec.

The latest stage in the brother’s career-long “room within a room” research Workbay is a flexible system based around fleece walls and aluminium supports that resembles a cross between the Alcove Sofa and the Bouroullec’s Communal Cells from Orgatec 2010.

When we saw Workbay in Cologne we thought,  nice idea, nice extension of the Bouroullec programme… and went back to concentrating on their Cork Desk.

In Milan, Vitra and the Bouroullec’s unveiled the full majesty of Workbay.

In an installation specially created for the Salone Ufficio section of Salone Milano, Ronan and Ewran Bouroullec presented Workbay Office: a visualisation of how Workbay can be integrated into an office to create a series of separate areas based around the basic Workbay structure enhanced with very simple add-ons.

Sofas. Shelving. Desks. Storage units. Sinks.

And because the Workbay system can be constructed to practically any length, circumference, diameter or indeed form, it can be integrated as and when required into any office of any size. And then rebuilt as situations dictate.

As such for us Workbay not only offers a completely new approach to office furniture, but as a system offers architects and interior designers a new freedom when designing new office spaces.

And we thought Workbay was just a flexible fleece and aluminum wall!

Ahead of Milan Design Week we received an email from a Belgian designer of our acquaintance letting us know where we could view their work. The email ended with a euphoric “This is finally Belgium’s year!”

A thought that really appealed to us, because as we wrote last year Belgium has the potential to be every bit as successful as Holland. And indeed should be.

And so with an optimistic heart we set off to the Triennale di Milano to view the exhibition “Belgium is Design”

And experienced our first disappointment of Milan 2013.

Belgium is Design was one of our highlights at Milan Design Week 2012, their 2013 show was at best a jumbled, incoherent mess.

Presented under the title “The Toolbox – Belgian Design & the Art of Making: A Tribute to Henry van de Velde” the show promised to present “… a portrait of the mastery of Belgian design”

It may very well have done.

If you could find it.

For much like locating anything useful in our toolbox, Belgium is Design 2013 forced the visitor to root through interminable chaos on the search for if not the Holy Grail that at least the correct screwdriver.

We didn’t. Life is far too short to spend foraging in the aftermath of an over ambitious exhibition designer.

What’s really disappointing of course is that following on from “Henry van de Velde. Leidenschaft, Funktion und Schönheit” in Weimar “Belgium is Design” is the second exhibition in a month associated with the name Henry van der Velde that lacked a sensibly executed exhibition concept.

Henry really deserves better.

Fortuitously that was to be our first and last experience of poorly organised Belgians in Milan.

As with 2012 the second part of Belgium is Design was on show at Salone Satellite. And as with 2012 the highlight for us was design studio Two Designers.

Specifically their “island” Curiosity.

We are at a real loss to find a term to succinctly describe Curiosity and so will have to make do with the less than snappy “A sort of  tray, shelf, table, storage box, fusion thing. With some material.”

Basically an object that stands in a room and fulfills several functions in one, while itself being an optically pleasing structure. A device to aid domestic organisation and give an impression of increased order.

Just delightful.

We admit to knowing very little about Two Designers; but having attracted our attention two years running that may soon change.

Milan Design Week 2013: Curiosity by Two Designers at Belgium is Design, Salone Satellite

In contrast to Belgium is Design the show from design platform “De Invasie” at Ventura Lambrate was a real pleasure to peruse.

Featuring a nice mix of Belgian design studios the highlight for us was without question Collectionnaire by Moupila.

As with Curiosity it’s hard to find an easy term to describe Collectionnaire. A modular storage cabinet Collectionnaire has a form language all of its own, a functionality all of its own and a size that means it will make any room its own.

As a concept we found the idea fascinating, and the realisation in wood works perfectly. In metal, for example, one fears a loss of the personality. Collectionnaire is not an object for everyone or every room. But where space and bravery collide, it should more than justify the, almost certainly, not inconsiderable investment.

Notable mentions must also go to Atelier Belge, a company whose development we have been following for several years and who never fail to produce. The Animal Desk by Fermetti on show at De Invasie perhaps not being being the newest object, but a delightful example of what they are capable off.

In addition we were very taken with the imaginatively named Coat Rack by Bram Vanderbeke, an adjustable coat rack system that can be stored in its own base, and and it was nice to see objects from Tim “Interror” Baute being shown in such a context

Tim Baute himself was presenting his latest collaborations with the graphic artist Stefaan de Croock  round the corner at “Ventura at Work”.  But more on Tim later.

Milan Design Week 2013: Collectionnaire by Moupila

Our final meeting with Belgium in Milan was “Landscapes for living in” by Muller van Severen at LAP Lambretto Art Project.

Premiered at Interieur Kortrijk 2012 Landscapes for living in is the first collaboration between the photographer Fien Muller and artist Hannes van Severen, son of Maarten.

We missed it in Kortrijk and so were all the more looking forward to seeing it in Milan. And it was every bit as delightful as we’d hoped.

Conceived in response to a brief set by the Kortjek curators  “Landscapes for living in” is a collection of objects that combine several functions in one unit: for example bookcase and chair or table and lamp. In many ways similar in concept to some of Verner Panton’s later work, no honest, “Landscapes for living in” has been realised with a charming clarity and honesty that endows it with a real familiarity.

A genuine joy to behold.

And despite the fact we’ve listed three projects here that could be described as being “fusions”. You’re not going to get the T word out of us…..

Against the bold claims of our communicant, 2013 was not Belgium’s year in Milan. It was however a further year that demonstrated the strength in depth and variety to be found squeezed in between Holland and France.

A strength in depth and variety that truly embodies the spirit of Henry van de Velde.

The concept of the so-called “Vertical Garden” or  “Living Wall” is reasonably well established in architecture.

In principle it involves cladding an exterior wall with plants in an integrated, self-sufficient system that requires little or no maintenance or external input.

The theory is that the plants provide an efficient layer of insulation that keeps the temperature ambient in summer and reduces heating costs in winter.

In addition such constructions reduce the impact of a building on its environment in that they reduce the reflection of heat and light from the outer facade.

How effective they actually are is another question…

The internal vertical garden in contrast has remained largely a curiosity reserved for staircases and large vestibules.

What, to our knowledge, doesn’t exist is the vertical garden as room divider. Or at least not as a genuine, self-sufficient vertical garden.

That may soon change.

At Salone Satellite 2013 Brooklyn based designer Danielle Trofe is presenting her Live Screen living wall concept.

Milan Design Week 2013: Live Screen by Danielle Trofe at Salone Satellite

Back at DMY Berlin 2012 we wrote about Green Lamp by Zuzanna Malinowska, a concept that excited us because of the ease with which it allowed plants to be integrated into office environments.

Live Screen is similar in that presents a system that allows anyone to establish a growing, breathing room divider without having to worry too much about watering and/or feeding the plants.

Aside from the environmental benefits of having plants in an office context, plants also provide natural acoustic benefits and all without creating solid, light interrupting walls.

At this juncture we can’t think of any negative aspects.

While we really, really like the technology and thinking behind Live Screen, we can’t admit to be any real fans of the realisation and visual appearance of the work.

For us it just looks too heavily styled, too forced, too artificial. And not particularly something we’d want in our office. Far less our flat.

For us it needs to be softer, needs to think a little less about itself and more about the plants. Potentially also a system that offers a little more flexibility and individuality in the organisation depending on the exact requirements.

That may however just be us.

And regardless of the general reaction to the physical appearance, the concept and technology is certainly something worth developing and we hope that Danielle is the given the opportunity to do just that, because we can see great potential for such a system

Milan Design Week 2013: Live Screen by Danielle Trofe at Salone Satellite

Milan Design Week 2013: Live Screen by Danielle Trofe at Salone Satellite

Many of you will remember the exhibition “Great Taste for Waste” that was staged at Dutch Design Week 2011

AGF Class 3 Bowls by Renee Boute would have been a wonderful addition.

AGF is an abbreviation of  “Aardappelen, groenten en fruit” -”Potatoes, vegetable and fruit” – and Class 3 refers to quality Class 3, so damaged examples that can no longer be introduced into the food chain. Or at least not into the “individual” food chain.

Utrecht School of the Arts’ graduate Renée Boute took these rejected/damaged goods and initially created a range of paper.

Each paper produced from a single fruit, veg or tuber. And consequently each with its own structure, haptic and colour.

What Renée did next is however what really appeals to us.

Applying a similar technique to that used to manufacture the paper, Renée Boute has created a series of bowls.

Again each created from a single item and so with its individual character.

As Renée says through the research she has created two series of objects that not only visualise the food waste generated every day, but have also transformed the role of Class 3 products by 180 degrees. Waste becomes a valuable material.

What really excites us about the bowls however is the global applicability of the production process.

Using agricultural land to produce, for example, bio-diesel is rightly a controversial subject.

Sensible as the use of renewable resources unquestionably is, one must also guarantee that basic food needs can be met before one starts using agricultural products for other ends.

But agricultural waste is a different matter.

Just to be clear, with Class 3 products we’re not really talking about objects that don’t meet some artificial, pre-set size, length or colour standard, but much more have suffered, for example, hail damage or have some form of biological infestation that makes then unsuitable for consumption

At the moment the majority of Class 3 waste is composted, burned or used for animal fodder.

But if one can use it to create biodegradable, every day objects, then for us that is a positive and sensible development.

Not only has one the obvious environmental advantages but much more one has a relatively simple process that doesn’t involve any great investment in machines or complicated training.

As such, such a production method is truly universal and can be applied on a small scale, as required basis, or even as and when the raw materials are available.

And the more communities who can produce their own household goods from locally “generated” agricultural waste, the less mass production, distribution and potential disposing of such goods is required.

Time will tell how the project develops, but for us the research undertaken thus far is certainly something worth pursuing and developing.

Milan Design Week 2013: AGF Class 3 Bowls by Renee Boute

Milan Design Week 2013: AGF Class 3 Bowls by Renee Boute

... and the bowls together with the original paper. Pear if we remember correctly.