The Tube 2015

The Tube 2015

by

Design School Kolding

08

10

12

FOREWORDHONEY, WE NEED TO TALK.

Wood knots cover one table. Another is off balance. A third made from linoleum lace. Taking their cue from the Latin idiom Tabula Rasa, young designers turn the tables on the iconic object to interpret it afresh.

THE TUBE2015

For the fourth consecutive year, Design School Kolding presents The Tube exhibition. The Tube is the result of a unique collaboration between talented designers from Design School Kolding and leading Danish companies.

SIDSEL SØGAARD SPAS +DESIGN SCHOOL KOLDING +KVIST INDUSTRIES

A facilitated space that kindly invites you to join in the serious discourse about future design, designers and materiality.

20

28

36

CAMILLA SKØTT +FORBO FLOORING

Traditional craft meets modern tech-nology. Camilla says: “My installation is a comment on the lack of space for traditional artisanship in the design world. Spectators are free to interpret the comment.”

SOLVEIG STILLING +KiCK-KOPENHAGEN FUR

I want meat on the table to visualize the basic terms for survival. Wild, meat, blood, fur, tanning, humans, chain mail, ornament. Words of the Viking and my take-off for designing a table in collab-oration with KiCK-Kopenhagen Fur.

STINE WEIGELT +DANISH HORTICULTURE

Tipping Point is a “light” installation on global climate change and resource distribution and inspired by the similar scientific term. It utilizes the plant as a symbol of Earth’s resources and fragile life.

44

60

DITTE BLOHM +ECCO

Regardless of age, career or gender, no one should walk about on sore feet. My passion for this task stems not from the table as a piece of furniture, but the interaction that happens by and around the table.

ANNE HALSKOV +AMBIENTE

With the Unite table, Anne Halskov illustrates the encounter between the raw material – the newly fledged design-ers – and the established companies.

52CARL EMIL JACOBSEN &DANIEL KOWAL-ANDERSEN +DESIGN SCHOOL KOLDING

In search of a Nordic spirit, Carl Emil Jacobsen and Daniel Kowal-Andersen created a beautiful, raw table.

70

72

APPLYDESIGN SCHOOL KOLDING

What does it take to apply for the MA programme at Design School Kolding? The MA Programme is free for appli-cants from the EU and EEA countries.

Come, play with us.

SPONSORS & CREDITSTHE TUBE 2015

We extend our thanks to the compa-nies and supporters who made the exhibition and this publication possible.

68THE DNA OF DESIGN SCHOOL KOLDINGABOUT

Our education programme is an inter-national talent workshop for Danish design, and we base our student intake solely on talent. The school’s approach is not to provide the answer, but to find the answer together.

8

HONEY, WE NEED TO TALK

Wood knots cover one table. Another is off balance. A third made from linoleum lace. Taking their cue from the Latin idiom Tabula Rasa, young designers turn the tables on the iconic object to interpret it afresh.

invokes the neon letters inside the 33-metre long exhibition, made up of seven bespoke containers. In each container, a De-sign School Kolding alumna, working closely with six leading Danish design companies, puts forward their personal interpretation of a conversation piece; namely the table.

The duo Kvist Industries and Sidsel Søgaard Spas channels the peculiar aesthetic of wood knots in a challenge to popular consumer opinion that wood tables ought not to show branch artefacts.

Camilla Skøtt, with Forbo Flooring, breathes new life into a dying craft us-ing new techniques and materials. She has created a table by lacing it using the natural material linoleum, supplied by the company. The interpretations run the gamut.

9

A dramatic, fur-swathed skeleton is the centrepiece of the cooperation between KiCK-Kopenhagen Fur and Solveig Stilling.

Working with Danish Horticulture, designer Stine Weigelt has created ‘Tipping Point’, a table that can turn off-balance by moving the green plant that is a microscopic illustration of a vulnerable ecosystem.

Ecco and Ditte Blohm invite you on an interactive journey of the consciousness.

Carl Emil Jacobsen and Daniel Kowal-Andersen’s careful choice of materials and craftsmanship makes every piece of their Due North furniture convey an individual story permeated by a ‘Nordic Spirit’.

Finally, With the “Unite” table Anne Halskov has illustrated the encounter between the raw material – the newly fledged designers – and the estab-lished companies.

WELCOME, COME INSIDE; LET’S HAVE A TALK.

10

THE TUBE

For the fourth consecutive year, Design School Kolding presents

The Tube exhibition.

The Tube is the result of a unique col-laboration between talented designers from Design School Kolding and leading Danish companies. The Tube shares knowledge beyond the tight parameters that form common perceptions of design, demonstrating the importance of ongoing collabora-tions between designers and industry. It matches freshly graduated designers with companies supporting the project with their resources, skills and expertise.

11

Taking part in The Tube presents designers with a unique opportunity to use their competencies as part of a professional relationship. It also repre-sents an appeal for companies to enter small-scale collaborations with young talented designers.The Tube consists of specially made containers each comprising a new product, an installation or an experi-ence, which holds artistic dimensions and commercial potential.

12

SID

SE

L S

ØG

AA

RD

S

PA

S +

K

VIS

T

IND

US

TR

IES

+D

ES

IGN

S

CH

OO

L K

OLD

ING

SIDSEL

SØGAARD

SPAS +

KVIST

INDUSTRIES +

DESIGN

SCHOOL

KOLDING

13

SID

SE

L S

ØG

AA

RD

S

PA

S +

K

VIS

T

IND

US

TR

IES

+D

ES

IGN

S

CH

OO

L K

OLD

ING

SIDSEL

SØGAARD

SPAS +

KVIST

INDUSTRIES +

DESIGN

SCHOOL

KOLDING

14

DESIGNER

Sidsel Søgaard SpasCommunication & Interaction Designer

www.sidselss.com

In collaboration with Kvist Industries and Design School Kolding, I have created a platform – a war room - for conversation. I have facilitated a space that kindly invites you to join in a serious discourse about future design, designers and materiality. The core of the room is the Table for Conversation. The materiality and tactility of the table exploits the full potential of its material – oak wood. The Table for Conver-sation represents a material dialogue between perfection and imperfection – an expression of diversity, beauty and possibility. One side of the material is smooth and neat, the other rough and unfinished. This is what design can do – cover every extreme, from one end of the scale to the other, including everything in between. The two sides of the table – the two material extremes – are connected by a space for just this everything in between. This holds the collection of speculative Conversation Starters that in the glare of the neon

15

lights kindly invite the visitor to engage in conversation, taking as their starting point reflections upon the future of de-sign, interpreted and communicated by students of Design School Kolding. The distorted grid covering wall and ceiling interferes with the perception of space, and kindly implies that the visitor dares think outside the box – the container – thus facilitating the conversation.

16

17

MATERIALS AND DIMENSIONS

L: 400 cm x W: 60 cm x H: 105 cm

Oak, metal, bended neon, graphical print on vinyl

18

COMPANY

Kvist Industries

and

Design School Kolding

Collaborating with two companies can be a daunting task, because both parties usually represent very different products, skills and values. I have picked out the key attributes from both and facilitated dialogue between them to discuss mutual potential.

www.kvist.comwww.designschoolkolding.dk

is a war room for conversation. A story about a material – oak - that represents Kvist Industries and establishes their ability to interpret and process the wood from its natural form into a refined piece of furniture. The table also represents the talent development at Design School Kolding. Metaphorically speaking, the students are the material - rough and unpolished talents who transform into experienced, insightful, artistic designers.

19

Furthermore, the table embraces and incorporates student created con-versation starters made to encourage dialogue about contemporary and future design.

20

CAMILLA SKØTT

FORBO FLOORING

&

21

CAMILLA SKØTT

FORBO FLOORING

&

22

23

DESIGNER

Camilla SkøttTextile Designer

www.camillaskoett.dk

LACEMAKING TECHNOLOGY

Is it still possible to integrate some of those qualities which excellent artisanship brings to design - immer-sion, dedication and thoughtfulness - when industrialisation has muscled away traditional artisanship? Through my collaboration with Forbo Flooring, I have attempted to answer this ques-tion and have decorated my container with pattern-cut linoleum. Based in the intersecting fields of traditional artisanship and modern technology, I have combined traditional bobbin lace with a special aqua jet technology and come up with a unique cutting method for Forbo Flooring. Where the bobbin lace represents artisanship, immersion, dedication and thoughtfulness, the aqua jet symbolises speed, efficiency and mass combination. My installation is a comment on the lack of space for traditional artisanship in the design world. Spectators are free to interpret the comment.

24

25


L: 200 cm x W: 65 cm x H: 72 cm

Aluminium, linoleum and iron

26

27

COMPANY

Forbo Flooring

Forbo Flooring is a global player in high quality commercial, residental floor coverings and total solutions flooring projects including linoleum, vinyl, luxury vinyl tiles, Flocked Flooring, Carpet Tiles, Needlefelt and Entrance Flooring Systems. With a market share of over 65%, Forbo Flooring is world leader in linoleum, which comes in rolls as well as modular tile formats.

Design is elementary to Forbo Flooring, and goes beyond the company itself. The personal imprint of end-users, architects, designers or applicators can provide floors and furniture with new dimensions. The many reference projects and experimental ideas of younger generations explore the versa-tility of linoleum.

www.forbo-flooring.com

28

SOLVEIGSTILLING

29

SOLVEIGSTILLING

+ KiCK-Kopenhagen Fur

30

DESIGNER

Solveig StillingFashion and Textile Designer

www.bystilling.dk

MEAT ON THE TABLE

Wild, meat, blood, fur, tanning, humans, chain mail, ornament. Words of the Viking and my take-off for designing a table in collaboration with KiCK-Ko-penhagen Fur. I have transformed the idea of a Viking table into a modern edition by using contradistinctions to the Viking way of the wild. I want the transformation to express purity and make the beholder curious and wonder – with a desire to explore further. I want meat on the table to visualize the basic terms for Viking survival. Meat on the table satisfied their hunger. Meat on the table gave them clothing and kept them warm. Meat on the table gave them material for beautiful jewellery.

31

32

33

COMPANY

KiCK-Kopenhagen Fur

Having been in business for over 75 years, Kopenhagen Fur is steeped in tradition but with an ongoing aim for innovation. To this end, KiCK was established as a platform for creative people from all around the globe to push the boundaries of what is possible with fur; exploring new techniques, spotting trends on the horizon and sharing innovative applications with fur for a range of creative realms, from fashion, to accessories, to interior design, decoration and more.

www.kopenhagenfur.dk

34

35


L: 180 cm x W: 70 cm

Seal, mink, metal, leather

36

STINE WEIGELT

STINE WEIGELT

DANISHHORTICULTURE

37

DANISHHORTICULTURE

DANISHHORTICULTURE

38

DESIGNER

Stine WeigeltIndustrial Designer

www.cargocollective.com/baslevog-weigelt

TIPPING POINT

Is it possible to re-establish the bal-ance of our global ecosystem or did we tip over the edge long ago?

In cooperation with Danish Horticul-ture, I have created an installation that explores the concept of balance. The installation comments on imbalances in nature’s ecosystems and invites the beholder to challenge the fact of man-made equilibrium. With organic mint as the ambassador of nature, the instal-lation stages the changes taking place in the environment. “Tipping Point” is a “light” installation on global climate change and resource distribution and inspired by the similar scientific term. It utilizes the plant as a symbol of Earth’s resources and fragile life.

39

COMPANY

Danish Horticulture

Danish Horticulture is the Industry association for the Danish horticultural trade, including the sectors: Fruit and Vegetables, Potted plants, Trees & bushes and Cut flowers. The associa-tion represents the political interests and approximately 500 members in Denmark. By collaborating with the stu-dents at Design School Kolding, Danish Horticulture wants to add extra value to the product portfolio of these members.

www.danskgartneri.dk

40

41

SPONSORS

Marmor & Granit Aps

and

Økologihaven

and

Gartnernes Forsikring

www.marmoroggranit.dkwww.oekologihaven.dk

www.garfors.dk

42

MATERIALS AND DIMENSIONS:

L: 200 cm x W: 60 cm x H: 230 cm

Biological mint, copper, steel and marble

43

44

DITTEBLOHM

+ECCO

45

46

DESIGNER

Ditte BlohmCommunication

and Interaction Designerwww.ditteblohm.com

47

WALK WITH ME

A room of senses that visualizes what no one sees: interaction. When I first started working on my project with ECCO, I realised that the company has a wide target audience and adapts their production of shoes to fit the individual. My design focuses on individuals and the varying impressions they experi-ence when entering the room.

The 14 circular lights function as a graph model that reflects intimacy and audience participation. The rings of light activate when two participants put on the headsets and manage to stay in the moment at the same time. This happens when different parts of the brain activate and nerve impulses transform into rings of light through the headsets. The more you concentrate and focus, the more lights you will turn on.

COMPANY

ECCO

A world leading brand of shoes com-bining style and comfort that has built its success on quality and innovative technology. Founded in 1963, ECCO is the only major shoe manufactur-er in the world to own and manage every step of the shoemaking process. Today, ECCO products are enjoyed in 91 countries and sold at 1,100 ECCO stores and 14,000 other sales locations. The company is family-owned and the workplace of 19,500 employees in over 50 countries.

www.ecco.com

48

49

MATERIALS

L: 284 cm x W: 239 cm x H: 235 cm

Circular LED lights, shock-absorbent material, brain scanners

50

51

52

CARL EMIL

JACOBSEN+

DANIEL KOWAL-ANDERSEN

+DESIGN SCHOOL KOLDING

53

CARL EMIL

JACOBSEN+

DANIEL KOWAL-ANDERSEN

+DESIGN SCHOOL KOLDING

54

55

DUE NORTH

We have a passion for the diversity and sincerity of materials and cherish craftsmanship just as we believe that quality and responsible design never goes out of style. We are open to new things and turn our acquired knowledge into tangible design solutions.

With Due North we set out to encap-sulate the aesthetic essence of what characterizes the Nordic countries and Scandinavia especially, and we believe our design captures a unique ’Nordic Spirit’ and combines functionality with a deep aesthetic sensuousness.

56

øMATERIALS AND DIMENSIONS

Table L: 180 cm x W: 90 cm x H: 74 cm

Oak, granite, cow horn

57

øøThe materials have been carefully selected and then processed and crafted in a way, which emphasizes their natural character and makes each piece of furniture write its own story. Focusing on quality, first-rate materials and responsible form-giving we hope to inspire new ways of using and consuming.

58

59

DESIGNERS

Carl Emil JacobsenIndustrial Designer

www.carlemiljacobsen.com

&

Daniel Kowal-AndersenIndustrial Designer

60


61


62

DESIGNER

Anne HalskovIndustrial Designerwww.notmyname.dk

UNITE

As a designer you have to collaborate with all kinds of people and professions. This is no easy task and it requires effort, understanding and setting up common goals. New graduates are not necessarily distinct and complete. Yet in collab-oration with other professionals and companies, they get one step closer to becoming just that.This installation is a visualization of how the raw material of Design School Kold-ing (its designers) can collaborate with companies and create new, unique and usable objects, functions and solutions.

With the “Unite” table I have illustrat-ed the encounter between the raw material – the newly fledged design-ers – and the established companies. There is a risk the two sides might clash but mostly the partnerships result in transcendent designs.

63

Due to its form, the project invites you to interact with the installation.Ambiente took a chance by collaborat-ing with me. They were willing to help soften, refine and define the edges of a newly fledged designer.

64

65

MATERIALSAND DIMENSIONS

Table L: 200 cm x W: 90 cm x H: 74 cm

Oak, aluminium

66

COMPANY

Ambiente

Ambiente creates stands, shop interiors and spaces that accentuate the unique qualities of a company. Am-biente is much more than a standard trade fair stand company. Am biente creates customized, creative spaces rooted in quality craftsmanship. So-phisticated, rough, dramatic, elegantor cozy, Ambiente develops creative ideas and concepts that make brands and products come alive.

www.ambiente.dk

THE BEGINNING OF A COLLABORATIONCAN BE BETTER IF WEUNITE OUR COMPETENCESTO FORM AN ARENA FOR GROUNDBREAKING DESIGNSWITH FOCUS ON CRAFTMANSHIP AND EFFICIENT SOLUTIONSWE KNOW THAT BYDEVELOPING AND CO-OPERATING WEGET STRONGER AND

ANUNIT(E)

WE ARERAW, UNPOLISHED AND UNIQUE

WE KNOW THAT WECAN WORK TOGETHER AND

BY ESTABLISHING A COMMON GOALWE WILL CREATE

ANDRETHINKING THE WAY WE ARECOMPANIES AND DESIGNERS

WE WILL KEEP EVOLVINGWE WILL

BEEPIC

67

THE BEGINNING OF A COLLABORATIONCAN BE BETTER IF WEUNITE OUR COMPETENCESTO FORM AN ARENA FOR GROUNDBREAKING DESIGNSWITH FOCUS ON CRAFTMANSHIP AND EFFICIENT SOLUTIONSWE KNOW THAT BYDEVELOPING AND CO-OPERATING WEGET STRONGER AND

ANUNIT(E)

68

THE DNA OF DESIGN SCHOOL KOLDING

Meaningful design, sense experienc-es, experimentation and collaboration

with the business community are some of Design School Kolding’s

watchwords.

We base our student intake solely on talent, which sets us apart from other universities. We develop, cherish and challenge talent by teaching stu-dents to reflect on their own progress and promoting cooperation through projects drawn from a specific user context – often in collaboration with the business community.This also provides a framework for a number of recognised researchers in a young field of knowledge as well as an increasing output of PhD projects. At the same time, we know the impor-tance of putting design into practice and therefore prioritise good workshop facilities where students can work with their material on a 1:1 scale. It is im-portant to the school that its in-house teachers practice what they teach and make use of a large number of guest professors to ensure inspiration from external professional sources.

69

Design School Kolding builds on the great heritage of meaningful Danish design. We believe that innovation comes from relating design to history and tradition. The school’s approach is not to provide the answer, but to find the answer together.The programme is an international talent workshop for Danish design. We work at eye level, believe in equality and respect diversity.

70

APPLICATION AND ADMISSION

MA Programme at Design School Kolding

PROGRAMMES

Industrial Design, Communication Design, Fashion & Textile Design.

APPLY

Application to Design School Kolding is based on a selection procedure. Appli-cation deadline for the MA Programme is 1 May. For further information regard-ing the application procedure, please visit the school’s website

www.designskolenkolding.dk.

71

TUITION FEE

The MA Programme is free for appli-cants from the EU and EEA countries. For other applicants the tuition fee amounts to €10,700 per study year (2011 prices).

All admitted applicants must accept to pay for their materials.

INTERNATIONAL OFFICE

For information regarding enrolment, residence permits, application proce-dures, housing, insurance, language courses, etc., please contact

Head of the International OfficeAnette [email protected]

+45 4021 1100

74

HONEYEDITOR IN CHIEF: Charlotte Melin

EDITOR: Katrine Worsøe

TRANSLATION: Katrine Worsøe Marianne Baggesen Hilger Thomas Møller Carlsen

GRAPHIC DESIGN: Kristian Lykke Larsen

ILLUSTRATION: Stine Kristiansen (patterns) Kristian Lykke Larsen

PHOTOS: Sidsel Søgaard Spas, Stine Lundgaard Weigelt, Solveig Stilling, Camilla Skøtt, Ditte Blohm, Carl Emil Jacobsen, Daniel Kowal-Andersen and Anne Halskov

PRINT: Rosendahls

PAPER: Cover: Multioffset 200 g MultiDesign White: 90 g

FONTS: Runda Garamond CENTURY GOTHIC

THANK YOU: Kolding Municipality Augustinus Foundation Ministry of Higher Education and Science C&W snijtechniek BV Marmor & Granit Aps Odense Økologihaven Gartnernes Forsikring

HONEY

Documents

The Tube 2015