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ÍNDICE
Presentación
Rubén Urosa 7
Director General del Instituto de la Juventud
Ministerio de Educación, Cultura y Deporte 9
Itziar Taboada Aquerreta 10
Directora de Relaciones Culturales y Científicas. aecid
Roberto Vidal 11
Comisario de la exposición
Obra realizada
Premios
Álvaro Goula y Pablo Figuera 16
Laboratorio Inclusivo 28
Bet Puigbó 40
Accésits
Valentín Garal 54
Rocío Pina 66
Manuel Rodríguez 78
Seleccionados Exposición
Laura Jofré 92
Ander Lizaso 104
Ornella Stocco 116
Daniel Villalonga 128
Proyectos
Menut 142
Moenia 154
Arantxa Rueda 166
Itziar Taboada Aquerreta En los tiempos actuales en los que se demanda un consumo ético, los aspectos
anteriores no se deben entender como un valor añadido, sino que tienen que ser in-
Directora de Relaciones trínsecos al propio proceso de diseño. Cuando se diseña, se debe pensar en términos
Culturales y Científicas
de uso y desuso, el cómo es tan importante como el qué y convendría plantearse el
Agencia Española de
Cooperación Internacional por qué. De esta manera, quizás, la percepción de la figura del diseñador sería más
para el Desarrollo clara y se conseguiría un mayor reconocimiento de la función, importancia y aporte
Ministerio de Asuntos del diseño.
Exteriores y Cooperación
En los últimos años no existen corrientes dominantes que guíen al diseñador en el
desempeño de su trabajo. Han desaparecido los dogmatismos que lo definieron
en el siglo pasado. Tras la euforia y los cambios en la metodología de trabajo que
trajeron consigo los avances tecnológicos en las últimas décadas del siglo XX, de
un tiempo a esta parte se vuelve a reivindicar lo tradicional, lo hecho a mano, la
belleza del error. Sin embargo, no se trata de un diseño antitecnológico, sino más
bien de aprender y mirar hacia el futuro teniendo presente lo que ya ha ocurrido
para mejorar.
Actualmente, nos encontramos en una situación compleja: la crisis ha generado una Otros proyectos fomentan la producción artesanal, exaltando la singularidad de cada producto
nueva coyuntura en la que los recursos son más escasos. Aun así, esto no está siendo mediante la aplicación de técnicas tradicionales que van más allá del consumo ético y plantean
un impedimento para que las nuevas generaciones de diseñadores salgan adelante. que también la producción lo sea. Ejemplo de ello son Banca Familiar o V100, de Valentín
Está claro que su situación es más complicada que la de sus predecesores, pero la ener- Garal, que además proponen un punto de encuentro que refuerza las relaciones sociales y una
gía y las ganas de hacer cosas son capaces de superar cualquier obstáculo. Aparecen sátira sobre el lujo respectivamente. Boibo, de Manuel Rodríguez, desarrolla un nuevo producto
nuevas fórmulas porque se exprime la creatividad al máximo. Los proyectos indepen- que fusiona y difumina elementos de la botella o el tradicional botijo español. Y Fragile, de Laura
dientes y autoproducidos son cada vez más frecuentes. Asimismo, también se están Jofré, es una particular adaptación de los torneados, materiales y formas del mobiliario clásico
formando cada vez más redes de colaboración que permiten la creación de equipos al mundo de la moda, que además muestra una clara vocación experimental con los materia-
profesionales multidisciplinares que resuelven todas las fases del proceso de diseño. les. En este grupo también se inscribe Underconstruction, de Ornella Stocco, un ejercicio que
Con la nueva coyuntura, el ámbito de actuación del diseñador ha cambiado y las inicia- amplía las posibles aplicaciones de la porcelana adaptando su uso a nuevos contextos.
tivas donde este aparece como emprendedor o productor, además de como diseñador
propiamente dicho, son cada vez más frecuentes. Sea cual sea su función, el diseñador En una línea similar de experimentación y con una clara voluntad de innovar, Álvaro Goula y Pa-
tiene que tener en cuenta el mercado, cada vez más segmentado, ávido de productos a blo Figuera presentan Orwell y Lápiz. El primero presenta un mueble atípico a modo de refugio
la medida de las personas. Por ello, no es suficiente tener buenas ideas, sino que tiene donde aislarse y el segundo, un nuevo objeto que combina el material del lápiz y la caracterís-
que haber una clara intención de que estas sean viables y vendibles. tica clipaje propia de los bolígrafos. Esta pretensión de jugar con conceptos que se aprecia en
los proyectos anteriores se da también en la familia Bull, de Ander Lizaso, un mueble-juguete
En este conjunto de sensibilidades y de espíritus creativos que han sido premiados en abierto en cuanto a su uso que fomenta la interacción niño-objeto. El bosque en casa, del co-
esta edición de 2012, se dan muchas de las características que definen el perfil del lectivo Menut (María José Velasco y María Baldó) va también dirigido a los más pequeños, con
diseñador actual. Se trata de una selección de propuestas que desafían las barreras del una línea de productos para que estos puedan explorar, investigar y manipular los objetos que
diseño, con un claro espíritu innovador, donde tradición y tecnología se dan la mano y se les rodean.
contemplan conceptos como la sostenibilidad y el impacto social. Aquí encontramos el
proyecto Hipervínculos, de Bet Puigbò, que fomenta la interacción entre miembros de Teniendo en cuenta todo lo comentado con anterioridad y la información que proporcionan los
una comunidad donde la reivindicación social es compatible con lo lúdico y lo experi- proyectos que forman parte de este observatorio del panorama del diseño español más joven,
mental o Ciudad crea ciudad, de Rocío Pina, de características similares, que persigue podríamos concluir que el futuro del diseño pasa por tornar la mirada hacia atrás y volver a unos
la participación activa de los ciudadanos mediante un proyecto creativo de innovación principios básicos, donde cobre mayor protagonismo una filosofía del diseño que potencie el
social. En esta misma línea se encuentra Hacia un diseño gráfico inclusivo del colectivo lado más humanista de esta disciplina. Es un viaje de regreso a los orígenes, donde se debe
Laboratorio Inclusivo (Sonia Ciriza y Miguel Ayesa), más focalizado en una cuestión con- aprender de lo que otros han desarrollado, aplicando aquellas novedades que los avances so-
creta, que reflexiona sobre los límites del diseño gráfico y cómo este puede ser adap- ciales, culturales, científicos y tecnológicos permitan, para generar un diseño sustentable. Se
tado a un público invidente. Y Órdaga, de Arantxa Rueda, que ahonda en cuestiones trata de potenciar la comunicación y la socialización a través del diseño, favoreciendo que este
de género, reinterpretando la tradicional baraja española mediante la realización de un se convierta en paradigma de la difusión de conocimiento. En paralelo, se ha de profundizar en
código icónico basado en la figura de la mujer. la idea de que el fin último del diseño no tiene que ser la producción de objetos, sino que sus
principios se pueden aplicar a lo intangible, quedando pues más orientado a los significados y
De marcado carácter social es también Desenfreno amarillo, de Daniel Villalonga, que a la generación de experiencias, en un mundo en el que lo material comienza a ser un lastre.
reutiliza materiales de fácil acceso, proponiendo para ellos nuevos contextos de uso. Por
otro lado, Imagen (con)texto, del colectivo Moenia (Claudia González y Elena Mateo), des-
taca por su afán contextualizador: pretende dar visibilidad, en forma de publicación, a Roberto Vidal
los procesos de trabajo de una serie de artistas, mediante un conjunto de entrevistas y
documentación gráfica. Comisario de la exposición
15 / 15
Lápiz. 2010
Colaboradores: Viarco, Portugal.
Lugar en donde se ha realizado el proyecto:
Lausanne.
Madera de haya, grafito.
180 x 10 x 8 mm
Folio. 2011
Colaboradores: Boo in Barcelona.
Aluminio anodizado, componentes electrónicos.
Fotografías de Pablo Figuera.
Orwell. 2011
Tela, espuma de polietileno, aluminio, madera de pino.
2100 x 1000 x 1400 mm
El diseño actual está construido sobre una serie Álvaro Fernández-Goula Pera
Barcelona, 1989
de conceptos complejos que los diseñadores Pablo Figuera Arranz
tienen en cuenta a la hora de elaborar el Madrid, 1988
producción, la cuota de mercado, la distribución, University of Southampton > 2010 Eras- Álvaro +34 669 612 648
mus. École Nationale Supérieure de Créa- Pablo +34 687 875 280
la calidad, el impacto medioambiental, etc. tion Industrielle (ENSCI-Les Ateliers), París. info@goulafiguera.com
www.goulafiguera.com
Exposiciones
El trabajo de Pablo Figuera y Álvaro Goula a menudo huye de las aspiraciones
2012 “FADExpo, The best design of the
más elevadas de algunos diseñadores actuales para centrarse en “un punto
year”, Adi-fad, Barcelona > “Elisava’s
intermedio”, en el que los valores industriales y la creatividad pueden confluir
World”, Elisava, Barcelona > “Design Plus
y retroalimentarse, construyendo un “negocio de la belleza”. Las personas, al
Awards Exhibition”, Light+Building Fair, Frán-
fin y al cabo, necesitan la belleza en su vida cotidiana. Y los negocios, por su
cfort > “Estocolmo de ida y vuelta”, Galería
parte, como proveedores o generadores de necesidades, deberían preocupar-
Il·lacions, Barcelona > “Boo in Barcelona.
se por la belleza. Al diseñar, Álvaro y Pablo se aferran desde el inicio del pro-
The youngest design producer”, Otras Co-
yecto a un principio irrenunciable: el cuidado obsesivo de la forma del objeto,
sas de Villar-Rosàs, Barcelona > “Young De-
que manifiesta sus valores estéticos, según ellos, a través de la expresión del
signers from Barcelona”, BCD, Greenhouse,
material, el respeto al proceso de fabricación y, por supuesto, la utilidad. Sus
Estocolmo > Furniture & Light Fair, Estocol-
piezas pretenden ser elegantes y sencillas de comprender, cuidar los detalles,
mo > 2011 “Éxits”, Elisava, Barcelona.
ser honestas, y sobre todo, huir de la referencialidad divertida, de la decora-
ción, del guiño fácil, y de que su efecto parezca ir más allá de su uso. Nunca
Conferencias
han pretendido cambiar el mundo a través del diseño industrial, sino hacerlo,
quizá, un poco más hermoso, más fácil de habitar. 2012 “The Making of Folio Lamps”, ADI-
FAD, Barcelona > “Escandinavian design
versus Mediterranean design”, mesa redon-
da organizada por el Barcelona Centre de
Disseny y Svensk Form, Instituto Cervantes,
Laboratorio Inclusivo
30 / 31
Manual de tiflografía.
2011
Barcelona.
Papel braille de 180
gr/m2 impreso a color
con textos en braille y
encuadernado wire-o.
210 x 148,5 mm
La representación.
Ejemplos gráficos
adaptados. 2011
Barcelona.
Cartulina de 240 gr/
m2 impresa a una tinta,
con textos en braille,
ilustraciones en relieve
y encuadernación
wire-o con tapa dura
amagada.
300 x 330 mm
forma el acceso a cierto tipo de materiales con Miguel Ayesa Usechi Referencias en la red
predominio de gráficos e ilustraciones. 2012 Licenciatura de Bellas Artes. Univer- bcd.es > experimenta.es > yorokobu.es >
sidad de Barcelona > 2007 Técnico Su- blog.grrr.es > fad.cat > designforall.org >
perior en Artes Aplicadas de la Escultura. ondiseno.com > llotja.cat > cosasvisuales.
El Laboratorio Inclusivo se inscribe dentro de la disciplina del diseño de la Escuela de Artes Plásticas y Diseño de com > fadfest.cat
información y del diseño inclusivo o diseño para todos. Apuesta por la investi- Pamplona.
gación como eje del proyecto gráfico y trabaja a fondo las relaciones diseña- Contacto
dor-usuario en todo el proceso creativo. Proyectos realizados
+34 618 152 782
2012 The Sketchbook Project Diseño sciriza@gmail.com
El proyecto “Hacia un diseño gráfico inclusivo” nace como respuesta a la se-
editorial experimental, proyecto personal, miguelayechi@gmail.com
vera estandarización en la que se encuentran sumidos tanto el alfabeto braille
Barcelona > 2011 Hacia un Diseño Gráfico laboratorioinclusivo@gmail.com
como la gran mayoría del material gráfico adaptado para lectores invidentes
Inclusivo Diseño editorial inclusivo, proyec- www.soniaciriza.com
o con visión reducida. Esta homogeneización dificulta la producción y adap-
to final de la Escuela Llotja, Barcelona. www.miguelayesa.com
tación de libros de gran formato, un producto muy extendido en el mercado
gráfico actual. El proyecto se propone como el primer material pedagógico
Exposiciones y eventos
adaptado sobre representación gráfica y cultura visual contemporánea.
2012 “FADExpo. El mejor diseño del año”,
Tras una exhaustiva fase de documentación se organizó un laboratorio en el ADG-FAD, Barcelona > 2011-2012 “Hacia
que, a través de una serie de experimentos multidisciplinares, se desarrollaron un diseño gráfico inclusivo”, La cripta del
diversas técnicas de producción de escritura braille y de adaptación de ilus- FAD, Barcelona > 2011 “In Progress II”,
traciones en relieve. Los materiales resultantes de estas sesiones se testaron Espacio Blanco de la Escuela Llotja, Bar-
con usuarios potenciales y finalmente fueron evaluados por Xabier Armendá- celona > “Mercado de Ideas del Barcelona
riz Arraiza, invidente y colaborador del proyecto. Design Festival”, Palo Alto, Barcelona.
Premios y becas
Grand Laus Estudiantes 2012 ADG-FAD,
Barcelona > Candidatura a los “Design
for All Foundation Awards”, Design for All
Foundation, Barcelona.
Bet Puigbó
42 / 43
Hipervínculos. 2011
Hipervínculos consiste en un conjunto de ac- nuación se lleva a cabo la fase más creativa, donde los partici-
tividades dirigidas que configuran un proyec- pantes trabajan conjuntamente intercambiando y compartien-
to de participación colectiva dirigida a ado- do los diferentes módulos para diseñar la tipografía. Se utiliza
lescentes. Este proyecto educativo consta de la técnica de los stencils, muy atractiva para los adolescentes.
diferentes fases: en una primera fase se con- La tipografía tiene que servir para difundir e invitar a la reflexión
ciencia a los adolescentes del conflicto provo- sobre el conflicto: se obsequia a todos los colaboradores con
cado por los cambios que se han producido una tela con uno de los valores perdidos para que lo cuelguen
en nuestro marco actual. Es un momento de en su tendedero y ayuden a difundir la reivindicación social.
debate y reflexión; seguidamente se lleva a
cabo una práctica de cooperación entre los Las aplicaciones diseñadas son: un documento con las ins-
participantes y su comunidad con el fin de trucciones del proyecto para su correcta implementación; un
despertar el sentimiento de pertenencia a un documento con material teórico sobre el tema del proyecto;
grupo. Los vecinos colaboran proporcionando un documento donde se detalla todo el material necesario
objetos que serán utilizados para crear unos para desarrollar el proyecto y, finalmente un proyecto editorial
módulos para diseñar una tipografía. A conti- que recoge gráficamente la experiencia ya realizada.
44 / 45
Campaña de
comunicación para Ö
Hotel sin lengua. 2010
Barcelona.
Personas de todo el
mundo pueden comu-
nicarse fácilmente en
Ö Hotel porque tiene
un código visual propio
basado en Ilustraciones
y onomatopeyas.
Caution! 2010
Taller de maquetas de Elisava.
Banca
Familiar. 2011
Fotografía: Paula Silva Ruvalcaba.
V100. 2011
Fotografía: Valentín Garal.
XXY. 2010
Fotografía: Choche Gómez.
fuerte compromiso con temas sociales, uso de Graduado en Diseño Industrial – Istituto Domaine de Boisbuchet > Moritz Walde-
materiales y el trabajo artesanal. El punto de Europeo di Design. meyer lighting design workshop - En co-
laboración con Powerfilm y Ferrari Textiles,
partida en sus creaciones es una reflexión propia Proyectos realizados Domaine de Boisbuchet > Curso formativo
en comunicación y experiencia de usuario.
del individuo y su naturaleza, desde las relaciones 2012 Laúreum Espejo, en proceso. Arta Ce-
Edgar González. IED, Madrid > Mauro Gil
rámica, México DF > Stilleven Escritorio, en
Fournier / Estudio SIC. Curso de sostenibili-
más básicas de los seres humanos hasta la crítica proceso. PECA, Guadalajara, México > He-
dad y Slow City. IED, Madrid > 2009 Héctor
ritage Mobiliario, ejecutado. Le Porc Shop,
a una sociedad acobardada. Así el diseño y el Guadalajara, México > Relicario Sistema de
Serrano workshop, Domaine de Boisbuchet
> Katja Gruitjers, Food Design workshop.
arte encuentran un punto de equilibrio entre la estanterías, en proceso. Autoproducción,
México DF > 2011 V100 Florero, ejecutado.
IED, Madrid > Gala Fernández and Sigga
Heimis workshop, Domaine de Boisbuchet
simpleza de forma y la riqueza de contenido. Auto producción, Puebla, México > Banca
> 2008 Truc Design, Nespresso workshop.
Familiar Mobiliario, ejecutado. Le Porc Shop,
IED, Madrid > Cate & Nelson workshop. IED,
La pasión, la constancia y la práctica lo han Guadalajara, México > 2010 XXY Pomo
Madrid.
puerta, ejecutado. Autoproducción, actual-
llevado a ser ganador de varios premios y es mente Le Porc Shop, Boisbuchet, Francia >
Premios y becas
habitual en la prensa internacional. 2009 Prosthesis Prótesis de vidrio. Edición
limitada autoproducida. Boisbuchet, Francia 2012 Premio Quórum en diseño industrial >
> 2009-actualidad Diferentes proyectos de 2008 J&B Party Project, Beca en Domaine
En 2008 viaja a Domaine de Boisbuchet siendo esto un parteaguas en su vida. management y dirección creativa así como de Boisbuchet > 2007 Beca al mérito por
Allí, en colaboración con Vitra Design Museum y Centre Georges Pompidou, campañas de marketing y estrategias de proyecto, Istituto Europeo di Design.
colabora en diferentes talleres con diseñadores como Culdesac, Moritz Walde- desarrollo. Domaine de Boisbuchet y Galería
meyer, Héctor Serrano y Sigga Heimis. Esto abre para él un panorama nuevo, Mexicana de Diseño. Contacto
que será para siempre un referente en su trabajo. Bajo la dirección de Alexan-
Exposiciones y eventos +52 5519537265
der von Vegesack en 2010 trabaja en la comunicación y administración del sitio.
+34 653714425
2012 Premio Quórum. Exposición. Museo info@valentingaral.es
Con diversas experiencias internacionales llega a México y con 23 años se con-
Franz Mayer, México DF > 2011 Fábrica www.valentingaral.es
vierte en Director Creativo de la Galería Mexicana de Diseño. Con su propia in-
Mexicana. Exposición. Museo de Arte Mo-
terpretación del diseño, Valentín ha sabido sacar provecho a un país emergente
derno, México DF > Expoventa de diseño,
en el que ha sido bien recibido y espera que sea su hogar por algún tiempo.
Destination México. Museo Franz Mayer,
México DF > 2010 Workshop formativo
Banca Familiar, V100 y XXY dan una muestra del trabajo desarrollado por el
en Cerámica y Porcelana. École Nationale
diseñador en diferentes escalas, desde la particularidad del uso individual como
Supérieure d’Art de Limoges, Domaine
accesorio, al uso común en mobiliario.
de Boisbuchet > Workshop formativo en
vidrio. Corning Museum of Glass, Domaine
Javier Irigoyen y Valentín Garal
de Boisbuchet > Culdesac™ Workshop de
diseño en colaboración con Studio Marisol,
Rocío Pina
68 / 69
Boibo. 2012
Andalucía.
Cerámica esmaltada para botella y taza. Tapón de corcho natural.
Técnica: Modelado digital en 3D, realización del modelo mediante ceramistas artesanales de Huelva, realización
de moldes de escayola, vertido de colada y dos cocciones.
Botella: 19,4 x 7 x 7 cm; taza: 6,5 x 6,9 x 6,9 cm
Fotografías: de Manuel Rodríguez.
BOIBO, nace de la unión del concepto BOtella Y BOtijo. Mezcla la virtud decorativa que ha tomado el botijo y
el aspecto funcional de una botella. De ahí que BOIBO no solo es un recipiente contenedor de líquido (vino,
sake, agua, aceite, orujo) con distintos usos (aceitera, botijo, licorera, entre otros) sino que puede modularse para
convertirse en una pieza meramente decorativa, invitando a las personas a interactuar con el objeto mediante
composiciones creativas que permitan desarrollar infinitas piezas únicas. Boibo se abre a un mundo donde las
cosas cambian y se quedan obsoletas rápidamente y, facilita que el usuario pueda modificarlas y combinarlas de
distintas maneras. Esto arroja una idea fundamental: todo ser humano es diseñador y el diseño nos da, de alguna
forma, la habilidad de expresarnos.
BOIBO, por tanto, insiste en la idea de generar una experiencia, en la que el diseñador no delimita y acota perfec-
tamente el producto final, sino que deja abierta al usuario la posibilidad de vivir esta, expresarse y crear su realidad,
en la línea de lo que Joseph Campbell escribió: “Lo que busca la gente no es el significado de la vida, sino la
experiencia de estar vivo”.
BOIBO se comercializa a través de Surco (www.elsurco.es), una pequeña productora que tiene como valores con-
ceptos como: honestidad, emoción, cariño y trabajo. Interesada en explorar cualquier tema dentro de la amplia
disciplina del diseño, su filosofía gira alrededor de la artesanía, materiales y formas, reinterpretando los oficios
hacia la modernidad, donde el uso, el diseño y la emoción son pilares fundamentales. Productos con un espíritu
pausado, con especial interés en el detalle, simple, práctico y atemporal donde el carácter manual de sus obras
magulla la esencia minimalista y pura del producto. Su objetivo es intentar conectar culturalmente con nuestros
ancestros, y de alguna manera auxiliarnos de la uniformidad, rapidez, inmediatez, aislamiento físico, pérdida de
raíces y tradiciones que impone la globalización.
Surco está naciendo y apoya sus bases en pequeños proyectos. Las piezas miran hacia un futuro que mezcla arte,
artesanía, tecnología, sencillez y materiales locales.
82 / 83
84 / 85
Fragile. 2012
Fragile medita sobre todos aquellos objetos que te han acompañado en el camino de tu vida. Este proyecto
nace dentro del ALMACÉN de un taller de EBANISTERIA donde hay muebles creados y queridos en un pasado
pero sustituidos en un presente. Protegidos dentro del plástico polvoriento y a pesar de ello envejecidos y DES-
GASTADOS. Bebiendo de toda esta historia y de su formas, de la madera que absorbe todo lo que la rodea y
la ARTESANÍA que la ha creado, nace la colección. La marquetería y los torneados son parte de la esencia de
Fragile. Delicadas piezas de madera dibujando alrededor del cuerpo humano nuevas formas como articulaciones,
protecciones o extensiones. Adquiriendo así forma de escultura.
Los looks se forman de prendas aparentemente bien conservadas con guiños que descubren el paso del tiempo
y colores que hablan de sus orígenes.
De dentro de las prendas sale la esencia del material, plumas, boata... El tiempo las desgasta: decolora el tejido,
deja ver su estructura interna, los nervios que la construyen y también las acaricia formando un polvo protector o
bien las agujera como se ve en el punto tricot de bucles, calado o desagujado.
Look 1
Casco
Colaboradores: Nina Pawlosky y
Josep Jofré.
Empresa: Mobles L’Art.
Marquetería (madera de
wenge, de arce y de teka) sobre
base de fieltro.
18,5 x 19 x 17 cm
Zapatos
Colaborador: Josep Jofré.
Empresa: Mobles L’Art.
Tacón: madera de roble.
Zapato: polipiel.
18 x 22,5 cm
Prenda
Tejido exterior: lana fría
(80%Pes 20%Wo).
Forro: (80%Pes, 20%Co).
83 x 53 cm
96 / 97
Look 2
Pulsera
Colaborador: Josep Jofré.
Empresa: Mobles L’Art.
Madera de caoba.
7,5 x 11,5 x 7,5 cm
Pieza pierna
Colaborador: Roser Coll.
Empresa: Mobles L’Art.
Lana (80%WO, 20%WM).
30 x 16,5 cm
Zapatos
Colaborador: Josep Jofré.
Empresa: Mobles L’Art.
Tacón: madera de caoba.
Zapato: antelina.
22 x 20 cm
Pieza hombros
Lana (80%WO, 20%WM), piel,
ganchillo (60%CO, 20%EA, 20%Pes)
y boata.
51 x 47 cm
Prenda
Tul de polyester, tejido de seda y
plumas.
72 x 42 cm
98 / 99
Otros looks
100 / 101
102 / 103
“Las cosas hermosas, las obras de arte, los Laura Jofré Rosell
L’Ametlla del Vallès (Barcelona), 1989
OBJETOS sagrados sufren, como nosotros, los
efectos imparables del paso del tiempo. Desde
el mismo instante en que el ser humano les
pone un punto y final y las entrega al mundo,
comienza en ellas una vida que a lo largo de 2008-2012 Diplomatura de Diseño de en Lindström Awards, de la colección “You
los siglos, las aproxima también a la vejez y a Moda. Escuela Superior de Diseño y Moda are what you eat”, Helsinki > Diseñadora de
Felicidad Duce, Barcelona > 2011 Postgrado moda y estilista en tres sesiones de fotos
la muerte. Pero este tiempo les da a ellas una Funciones del dibujo, el patronaje y la moda > 2011 “China International Young Fashion
en la creación del vestuario escénico. UB y Designers Contest” (Hempel Award), Chi-
nueva forma de encanto que la vejez humana no FD moda > Cursos especialización: Patro- na > “Vestidora”, desfile Proyectos Finales
naje y Diseño de Ropa Interior y Homewear; Felicidad Duce > 2010 Desfile Creati-
podría ni tan solo soñar”. Comunicación con Proveedores Extranjeros; vidad, Teatre Alegría, Terrassa > 2009
Matilde Asensi Técnicas Audiovisuales en Moda; Fotogra- F.C.Barcelona, Colección “Casual Wear”
fía de Moda; Moulage > 2010 Erasmus en Hombre y Mujer > 2008 “Golla”, Diseño de
L’Accademia di Belle Arti di Cuneo. > 2007- fundas para móvil, Barcelona (2º premio) >
Un objeto, una habitación, un paisaje, una canción, un sentimiento... Cualquier 2008 Curso de acceso. Escuela Superior “Vestidora 080”, Barcelona > 2007 “Vesti-
cosa por pequeña que sea puede contarme una historia con la que empezar a de Diseño y Moda Felicidad Duce, Barcelona dora Marina Rinaldi”, Barcelona.
relacionar formas, colores y texturas. > 2005-2007 Bachillerato artístico, Escola
d’Art i Superior de Disseny, Vic. PAU (8,13). Premios y becas
No busco un momento para crear, mi mirada hacia el mundo está siempre
Proyectos realizados 2012 080, Bolsa de merchandising para la
abierta y cuándo menos lo busco, recibo estímulos para crear el esbozo de
080, Barcelona (Finalista) > “International
una idea.
2012 You are what you eat Colección uni- Talent Support” (ITS) - Accesories, Trieste
formes (hombre y mujer) para un restau- (Mención especial) > “Lindström Awards”,
Para desarrollarla recopilo imágenes, tejidos, melodías, textos. Todo tipo de
rante, desfile de la colección “You are what Vestuario para un restaurante, Helsinki (Fi-
información que veo y que encaja en el concepto con el que estoy empezan-
you eat” en Lindström Awards, Helsinki > La nalista) > 2010 Beca AGAUR (ERASMUS) >
do a trabajar. Al tener todos los elementos juntos, imagino cómo plasmarlos
troba kung fu Vestuario videoclip “El petit Beca Programa de movilidad Ministerio de
en piezas de ropa, complementos, tejidos. Y dibujando y dibujando pruebo
rumbero”, St. Celoni > 2011 Fragile Colec- Educación (ERASMUS).
siluetas, detalles, voy desarrollando, descartando. Es un proceso largo que
ción creativa (mujer), Barcelona > Fragile
muchas veces termina en ideas que no había imaginado en un inicio, y esto es
Fashion film, Barcelona. Contacto
lo que me hace seguir creando, a seguir con la mirada abierta.
Bai. 2012
Silla de comedor con reposa-brazos.
Madera de haya, carcasa de plástico PA, tejido de lana Bute,
curvado de madera sólida, inyección de plástico.
730 x 520 x 520 mm
Fotografía: Mikel Del Rio.
Bull. 2011
Mueble infantil.
Contrachapado de abedul.
385 x 370 x 260 mm
Fotografía: Gonzalo González de Vega.
Bull es un mueble infantil que nace de la convicción de que se pueden plantear aún productos que pasen de
generación en generación. Desarrollado partiendo de vivencias de la niñez del diseñador, se propone un mueble/
juguete muy abierto en cuanto a su uso y juego.
Se trata básicamente de una pequeña silla infantil con la particularidad de que el respaldo lo forma una enorme
rueda giratoria y que al darle la vuelta a la silla esta se convierte en un carrito con el que transportar otros juguetes
u objetos. La rueda es hueca con lo que el niño también dispone de un compartimento “secreto”.
El mueble se ha construido usando técnicas de corte CNC en plano dando lugar a un acabado que invita a ser
tocado.
110 / 111
Troll. 2011
Mueble infantil.
Colaborador: Juan Alfonso Ruano.
Contrachapado de abedul.
350 x 600 x 250 mm
112 / 113
Flake. 2012
Panel acústico modular.
Espuma de poliuretano tapizada en fieltro.
300 x 200 x 30 mm
Panel acústico de sencillas líneas que permite una gran variedad de combinaciones. Además de acondicionar la
acústica del espacio actúa de elemento decorativo. La parte frontal, revestida en fieltro de lana, presenta un ligero
ángulo de forma que las ondas sonoras se dispersan al rebotar en ella.
114 / 115
Por último, uno de sus trabajos más recientes, es el panel acústico Flake. Sus
sencillas líneas permiten una gran variedad de combinaciones para que ade-
más de acondicionar la acústica del espacio actúen de elemento decorativo.
Ornella Stocco
118 / 119
Este proyecto tiene como objetivo cuestionar las relaciones entre la silla Windsor, de origen inglés, y sus procesos
de fabricación tradicionales. Mi intención fue reinterpretar algunos aspectos de estos procesos de fabricación de
la silla aplicando una variedad de materiales más contemporáneos que permitieran crear algo diferente sin que
la silla perdiese su identidad original. Más que imponer formas que requieren nuevas tecnologías o maquinaria,
he trabajado la silla Windsor en un nuevo contexto. Los materiales escogidos contrastan con cualquier suposición
de cómo una silla Windsor debería ser normalmente pero, sobre todo, cómo cada material participa de alguna
manera en la funcionalidad de la silla.
Con sus varillas tornadas, esta silla cambia la La silla Lisina es una pieza de mobiliario contemporá-
percepción de la tradicional silla inglesa Wind- neo para niños. A los niños les gusta jugar con la cuer-
sor al tener un respaldo curvado en lana. La lana da como si de una guitarra se tratase. La cuerda rosa
aporta flexibilidad al respaldo haciéndolo más fluorescente aporta de nuevo una visión moderna de un
adaptable y cómodo. diseño muy clásico.
En el marco de la silla se han tornado unas ani- Como un dibujo de punto de cruz, el asiento ha sido per-
llas. La lana se enlaza a estas anillas ajustándolas forado para encajar la cuerda elástica fluo y acaba en un
y creando una atadura fuerte. No se ha utilizado gran nudo. La cuerda pasa por unos raíles marcados en el
ninguna cola. respaldo curvado impidiendo que se deslice por los lados.
120 / 121
Underconstruction. 2011
Londres.
Madera de fresno y porcelana.
53 x 40 x 57 cm, altura del perchero 160 cm
De la misma serie ‘Clearcut’, estos candelabros fueron pruebas de color para el vidrio en su día. Al final, acabaron
por ser piezas para decorar tu mesa.
126 / 127
El diseño es más que pura utilidad. Los objetos Ornella Stocco Marchal
Madrid, 1984
son concebidos para el uso humano, en teoría
haciendo nuestras vidas más fáciles por su
funcionalidad. Esa función no es solamente física
sino también mental y sensorial, así como capaz
de cambiar el estado de ánimo de las personas. Y Máster en Diseño de Producto. Royal Colle-
es el diseñador el que puede llegar a la conciencia ge of Art, Londres > 2008-2011 BA (Hons)
en Diseño de producto y mobiliario, London
de la gente a través de un objeto que contiene un Metropolitan University > 2003-2008 Li-
cenciatura en Periodismo. Universidad San
mensaje, ya sea social, cultural, medioambiental Pablo CEU, Madrid.
o político. El diseño puede desafiar sus propias Proyectos realizados
expectativas y alcanzar nuevos enfoques de cómo 2012 Clearcut Lámparas de techo en vidrio
soplado > Deadweight Un peso muerto
un producto puede ser usado. como mesa de centro > 2011 Undercons-
truction Codos de porcelana > Windsor
Trabajar sin depender de modas, sin que perezca con el tiempo, son aspectos Sisters Silla tejida y silla infantil.
vitales a tener en cuenta en el diseño actual. Es importante para el diseñador
comprender la psicología del objeto o el comportamiento de un material, y Exposiciones y eventos
desde este punto, aprender a lo largo del proceso de elaboración cómo alcan-
2012 Clerkenwell Design Week, Londres >
zar la idea inicial. El diseño también implica crear objetos que no solamente
Superstudio Più, Fiera del Mobile > 2011
sean útiles para algo, sino que también hablen, rían o reflejen… un diseño que
Arbeit Gallery, Londres > Designersblock,
cuente historias.
London Design Festival > New Designers.
Con Underconstruction he querido centrarme en la experimentación con la
Premios y becas
porcelana y comprender su comportamiento. En este caso, mi meta ha sido
distanciar la porcelana de su contexto común y desplazar el material a un 2011 Ganadora de un espacio expositivo en
nuevo entorno para descolocar así a los usuarios y sus suposiciones hacia Designersblock.
el material. En ese momento, la porcelana empieza a transmitir un enfoque
completamente diferente donde las fronteras de cómo deberían/podrían ser Contacto
utilizados desaparecen.
+44 7969 352 071
Lo mismo ocurre, de una manera más sutil con las sillas Windsor. Añadir lana o ornella@ornellastocco.com
cuerda elástica y que estas además contribuyan a la función de las sillas no es www.ornellastocco.com
algo común y este nuevo enfoque es precisamente el que crea risa, sorpresa o
ironía al público, así como ganas de tocar, de jugar y de probar.
Con las lámparas Clearcut, he tratado de jugar con el material con algo tan
simple como cortar con unas tijeras y observar cómo, por la naturaleza del
propio material, cada resultado es distinto al anterior haciendo de cada pieza
un objeto único.
Daniel Villalonga
130 / 131
Proyectos Menut
Moenia
Arantxa Rueda
Menut
144 / 145
Thea. 2012
Silla.
Madera.
630 x 340 x 395 mm
Guardacuentos. 2012
Estanterías.
Acero y pintura de poliéster.
100 x 300 x 150 mm
Oli. 2012
Alfombra.
Fieltro hipoalergénico,
loneta y material de
relleno.
1200 x 200 mm
Grou. 2012
Perchero.
PEHD.
1630 x 790 x 520 mm
Desde nuestro comienzo en 2011 una constante en Estas dos tendencias caracterizan el
nuestros proyectos ha sido la importancia que le da- modus operandi de Moenia, media-
mos a los procesos y no solo al resultado, el explicar dora entre los discursos generados y
los contextos y procesos de creación con la finalidad la realidad existente, facilitadora de los
de poder entender mejor la obra de arte o la obra procesos que nos lleven a construir al-
creativa y reflexionar en torno al producto final de ternativas poéticas pero también útiles
manera periférica a fin de poder llegar más en pro- para la sociedad, espacios de reflexión
fundidad al mismo. Consideramos que el proceso es y apertura de nuevos modos de relación
igual o más poético que la conclusión y mostrarlo es con los demás. Para nosotros la cultura
una forma de implicar al otro y hacerse entender. es la interpretación, pero sobre todo la
reelaboración constante del mundo.
El mundo de la creación y de la creatividad está
cada vez menos encorsetado. En muchos casos el Nuestro propósito es favorecer la media-
proceso creativo deja de ser una cuestión indivi- ción entre todos los sectores culturales y
dual, cada vez más aparece la conciencia de la co- creativos, ya sean creadores, empresas o
lectividad, del “hazlo con otros”, aprende de otros, instituciones, proporcionando proyectos
crece con otros y crea con otros. que puedan desarrollar conjuntamente.
158 / 159
160 / 161
162 / 163
164 / 165
Desde nuestros comienzos una constante en nuestros proyectos ha sido la Elena Mateo
importancia que le damos a los procesos de creación, centrándonos en expli-
2011 MBA instituciones y empresas cultura-
car los contextos con la finalidad de poder entender mejor la obra de arte o la
les > 2006 Licenciada en Filología Hispáni-
obra creativa y reflexionando en torno al producto final de manera periférica
ca. UCM.
para llegar más en profundidad al mismo. Consideramos que el proceso es
igual o más poético que la conclusión y mostrarlo es una forma de implicar al
Proyectos realizados
otro y transmitir otros puntos de vista.
2012 La Ventana Indiscreta: artistas del
Desde este enfoque presentamos el proyecto “Imagen (con)texto”, una pu- barrio de Lavapiés y La Latina Publica-
blicación editorial que plasma una investigación realizada sobre el terreno ción digital. Edición, fotografía y diseño del
para descubrir los lugares y contextos de trabajo de los artistas plásticos. proyecto > Yo me corto el pelo en Tetuán
Esta publicación cuenta con material fotográfico obtenido de los estudios de Acción realizada en el barrio de Tetuán
los artistas, entrevistas a los mismos preguntándoles sobre sus hábitos y sus emulando una campaña publicitaria ficticia
necesidades a la hora de crear e inclusión de referencias fundamentales en su para poner en valor el pequeño comercio
trabajo. > 2011-actualidad RACT Red de Agentes
Culturales de Tetuán. Ideación y coordina-
Nuestra intención es mostrar todo aquello que rodea a la obra final y en qué ción del proyecto.
condiciones se gesta la misma. Desvelar los detalles que no son expuestos en
el resultado pero que tienen un papel relevante en el mismo. La finalidad del Exposiciones y eventos
proyecto, por lo tanto, es poner en relieve diversos factores relativos al espa-
cio físico, las costumbres del creador y sus manías que no sólo afectan sino 2012 “El espejo mecánico”. Microcomisaria-
que en ocasiones son transmitidos en la obra artística. Así esta publicación se do en la plataforma Nowwwh > “Art Clinic”.
plantea como un acto de voyeurismo, a través del cual cualquiera podrá aso- Participación en las jornadas Art Clinic
marse a la cotidianidad de los artistas y su trabajo. organizadas por Pensart. Espacio Trapezio.
Madrid > 2011 “Arranques 2011”. Exposición
de Arte plástico. Gestión y coordinación de
la exposición. Espacio Naranjo. Madrid.
Contacto
Órdaga. 2011
Proyecto final de carrera, ESD Murcia.
Estucado mate 300 gr. Barniz o plastificado especial para naipes.
Troquelado redondeado en la esquina superior derecha.
Packaging completo: 18 x 13,5 cm
Packaging interior baraja: 11,5 x 8,5 cm
Dimensiones de las cartas: 11 x 7 cm
de manera directa. Por ello surge la necesidad Proyectos realizados + 34 606 736 388
2012 Diseño y creación aplicado a textil. hello@arantxarueda.com
de plantear una opción alternativa a la baraja www.my-zak.com > Campaña gráfica www.arantxarueda.com
tradicional, que siga manteniendo las mismas Festival Offf Barcelona 2012, con www.
docecollective.com > Libro oficial festival
pautas y lenguajes tradicionales pero adaptados Offf Barcelona 2012, con Doce Collective
> Camiseta oficial festival Offf Barcelona
a esta nueva versión, manteniendo así el fuerte 2012, con Doce Collective > Dalila
código icónico de la baraja. Virgolini, agenda biográfica, Madrid 2012
> Organizadora y responsable de gráfica.
El hecho de que la baraja sea un objeto universal hace más atractiva la renovación “Sonidos del Sol” Música y arte por Lorca.
de su lenguaje. Para ello se ha tenido en cuenta la realización de un código icónico www.sonidosdelsol.wordpress.com > 2010
basado en el tradicional pero buscando una gráfica contemporánea, viva y actual Sr. Rueda, biografía fotográfica. Proyecto
que además ofrezca un planteamiento a modo de homenaje hacia la mujer con el personal.
fin de materializar su mayor presencia en nuestra sociedad actual y, compensando
así el resto de las barajas que no ofrecen dicha propuesta, se opta por una repre- Exposiciones y eventos
sentación de la mujer a través de estereotipos, en clave de humor e ironía, a modo 2012 Bloop: International proactive art festi-
de sátira social y en definitiva, un juego. Para su realización se tomaron fotografías val, Ibiza > Ponencia Festival Offf Barcelona,
de las distintas mujeres en tres generaciones distintas con trajes diseñados y he- con Doce Collective > Ponencia Selected C,
chos en cartón especialmente para cada una de las clases sociales. con Doce Collective, Bilbao > 2011 “Sonidos
del Sol” Galería Gatos de Marte, Murcia >
En cuanto a la gráfica de los palos, se ha partido del diseño original ya que so- Ponencia en talleres de collage, colectivo
mos capaces de identificar a simple vista sus formas y sus respectivos colores, Paréntesis, Murcia > Reunión y exposición
pero simplificando y dando ciertas connotaciones nuevas adecuadas a cada una fotográfica “Sr.Rueda”, “La noche de los
de las nuevas clases sociales. Partiendo de los mismos se realizó el reverso de los porfolios”, Murcia > Ponencia “Hazte un
naipes. Como producto de coleccionismo se ha ampliado el tamaño de las cartas porfolio en la red”. Jornadas PHOTO 2.1,
de las medidas originales. También la forma de las mismas, utilizando un borde Puertas de Castilla, Murcia > 2010 Ayudan-
redondeado en cada naipe que consigue que en el conjunto de los mismos deno- te personal de fotografía, Manifesta 8, Ilya
te cierta forma de abanico, resaltando el carácter femenino de la baraja Órdaga. Rabinovich.
179 / 179
English Texts
180 / 181
Presentation the Asociación de Diseñadores de Anda- important collaboration, which we are sure will of Education, Culture and Sport continues
Rubén Urosa lucía-, the designers Edurne Ibáñez and Ana be maintained in the future, is a key factor in to show its support with new projects and
Director-General of the Instituto de la Mir and Roberto Vidal –independent cura- meeting the final objective of the prizes: help- with the same dedication.
Juventud tor-. Their profound knowledge of the trends ing to professionalise the prize-winning artists.
Ministry of Health, Social Services and indesign, their enthusiastic dedication to the Also serving to disseminate their works is this
Equality intense work sessions and their serious and catalogue, a compendium of the shortlisted Itziar Taboada Aquerreta
unbiased work endorse the prize-winning and prize-winning artists in Design, a category Director of Cultural and Scientific Rela-
In my first year as Director-General of the artists and contribute to the prestige that with a fully consolidated position within the tions. Spanish International Cooperation
Instituto de la Juventud (Youth Institute), these prizes enjoy. Injuve Awards for Young Creators. Agency for Development. Ministry of
it is for me a great honour to present the Foreign Affairs and Cooperation
Injuve Prizes to Young Creation because of We would also like to extend our thanks to
everything they stand for: the support and the curator of the exhibition, Roberto Vidal, Ministry of Education, Culture and Sport The Injuve Prizes to Young Creation have
recognition of our youngest generation’s for his availability and dedication to the become consolidated over these past
creative talent and the opportunity to dis- artists brought together here. The result of In the year 1985, through the Instituto de la years as a reference for the situation of
play their works at this collective exhibition so many hours invested and his in-depth Juventud (Youth Institute), the then Ministry emerging art in Spain. This is why it is
staged in Tabacalera, Espacio Promoción training in the latest aesthetic currents have of Culture launched and drove forward a pro- such a great satisfaction for AECID’s Of-
del Arte (The Tabacalera Building, Space for made it possible for us to view the best of all gramme targeting young artists that had the fice for Cultural and Scientific Relations
Art Promotion), and at so many others that of them today. prime objective of supporting emerging art in to be able to form part of this project
will succeed each over the coming year. Spain. The success of this initiative has been through the collaboration with Injuve in
Our thanks also go to the Ministry of Educa- confirmed by the continuity of a programme the dissemination of these prizes abroad.
The seventeen shortlisted and prize-winning tion, Culture and Sport for its collaboration that, in 2010, marked twenty-five years with the
artists of this tenth edition of the Injuve with the Injuve Creation Programme as a same vitality as when it was launched. The origins of this collaboration can be
Prizes, in the modality of Design, have been whole by loaning us Tabacalera, Espacio found in a shared viewpoint of the impor-
chosen from among hundreds of candi- Promoción del Arte, now a standard in The young art programme of the Instituto de tance of developing young people’s abili-
dates and their great quality as a whole has Spain as an exhibition centre for contem- la Juventud, though currently reporting to the ties and of the value and potential they
been emphasised by the Judging Panel. porary art, where we can enjoy, in addition to Ministry of Health, Social Services and Equality, have in creative processes as essential el-
Álvaro Goula and Miguel Figueroa, Labo- the Visual Arts, Design and Comic Strip and continues to enjoy the esteem of the Ministry ements in human development. The way
ratorio Inclusivo (Miguel Ayesa and Sonia Illustration, music, literature, theatre, dance that saw it emerge. This is why our participa- this is embodied is by taking the prize-
Ciriza), Bet Puigbó, Valentín Garal, Rocio and other scenic proposals, the creative tion in the Injuve Prizes to Young Creation winning works on tour around the Network
Pina, Manuel Rodríguez, Laura Jofré, Ander modalities featured in our programme. exhibition is so gratifying and appropriate. This of Spain’s Cultural Centres Abroad that
Lizaso, Ornella Stocco and Daniel Villalonga collaboration is embodied in our participation AECID has located throughout Latin
in the category of Completed Work; and And our gratitude also goes to the Agencia in the development of the exhibition project America and Equatorial Guinea as well as
Menut (María Baldó and María José Ve- Española de Cooperación Internacional para and in the loan of the halls where the show will other countries in the world through the
lasco), Moenia (Claudia González y Elena el Desarrollo, the Spanish International Co- be staged, Tabacalera. Espacio Promoción del Cultural Offices of Spain’s Embassies.
Mateo) y Arantxa Rueda in Projects, are operation Agency for Development (AECID) Arte (The Tobacco Factory. A Space for Art
young people under 30 years of age se- of the Ministry of Foreign Affairs and Coop- Promotion). This collaboration with INJUVE consti-
lected by a Jury that, after a painstaking and eration, because their help in the interna- tutes a good example of how two institu-
attentive examination of their works, has an- tional diffusion of the prize-winning artists in Staging the exhibition in this building, which tions can work in a coordinated manner
nounced them as the winners. I would like to successive editions takes the form of taking has become a standard among the capital’s on developing programmes that project
extend my warmest congratulations to all of our exhibitions on tour around the Network exhibition spaces thanks to the rigour and culture abroad while considerably optimis-
them. We know that, like other prize-winners of Spain’s Cultural Centres worldwide. This quality of the projects it has hosted, is particu- ing resources.
in previous editions, they will undoubtedly allows these young creators to look beyond larly fitting.
make the most of the opportunity that the our borders with the highest guarantees of This is why I would like to thank the Insti-
Instituto de la Juventud has afforded them. quality and promotion of their works. This The Ministry of Culture launched its decided tuto de la Juventud (Youth Institute) for
year the work of the visual artists recognised support for young national creators with the art their effort and congratulate all the partici-
Our recognition goes to the Judging Panel, in the 2011 edition have travelled to Arge- programme of the Instituto de la Juventud; a pating artists. I trust that this collaboration
comprised of Juan Aguilar –President of lia, Lebanon and Tunis. This tremendously quarter of a century later the current Ministry will continue to flourish.
182 / 183
Roberto Vidal important as what; and why should also be ideas; there has to be a clear intent that production. An example of this is Banca
Curator of the Design Exhibition a subject for consideration. In this way, per- ideas must be viable and saleable. Familiar and V100 by Valentín Garal, who
haps the perception of the figure of design- also proposes a point of encounter that rein-
Contemporary design has to be under- er will be clearer and there will be greater Many of the characteristics that define the forces social relations (Banca Familiar) and
stood not only in terms of its form, function recognition of the function, importance and profile of the modern designer can be found offers a satire on luxury (V100). Boibo, by
and economics; we also have to take into contribution of design. in the group of sensitive and creative spirits Manuel Rodríguez develops a new product
account its social contribution and sustain- who have received awards in this 2012 edi- that merges and diffuses elements of the
ability. At the same time, it has to use the In recent years there have been no dominant tion. It is a case of selecting proposals that bottle and traditional Spanish drinking jug
possibilities for innovation offered by tech- trends to guide designers in their work. The defy barriers to design, with a clearly innova- (botijo). Fragile by Laura Jofré is an unusual
nology, without disregarding the knowledge dogmatism that defined the last century tive spirit; where technology and tradition go adaptation of turnings, materials and forms
provided by tradition. It is a design for peo- has disappeared. After the euphoria and hand in hand and take in concepts such as taken from classical furniture to the world of
ple that takes into account their needs and changes of working methodology brought sustainability and social impact. There is the fashion. It also demonstrates a clearly exper-
problems, as well as the context and cultural about by the technological advances of the project Hipervínculos by Bet Puigbò, which imental interest in the materials. This group
differences. In short, design has to be un- final decades of the 20th century, now there promotes interaction between members of projects includes Underconstruction by
derstood as a form of being in the world, is a renewed commitment to the traditional, of a community where social demands Ornella Stocco, an exercise that extends the
of relating to it, by promoting its capacity to hand-made; the beauty of error. However, it is are compatible with fun and experiment; possible applications of porcelain by adapt-
improve the quality of life and to modify the not a question of an anti-technological de- or Ciudad crea ciudad by Rocío Pina, with ing its use to new contexts.
environment and reality itself. sign; rather, of learning and looking towards similar characteristics, aiming for active
the future while taking into account what has participation by people through a creative Along similar lines of experimentation and
Our perception of the figure of designer is already happened as a way of improving. social innovation project. Along the same with a clear desire to innovate, Álvaro Goula
still vague and confused. If designers are lines is Hacia un diseño gráfico inclusivo by and Pablo Figuera present Orwell and Lápiz.
to become more visible and trusted, if they We are currently in a difficult situation: the the group Laboratorio Inclusivo (Sonia Ciriza Orwell is an atypical piece of furniture in the
are to become more important, design has crisis has generated a new set of circum- and Miguel Ayesa), which is more focused form of a refuge for isolation; while Lápiz is
to be presented as an active tool for social, stances in which resources are scarce. Even on a specific question reflecting on the a new object that combines the material of
environmental, economic, political and cul- so, this is no obstacle preventing new gen- limits of graphic design and on how this can a pencil (lápiz) with the characteristics clip
tural improvement. In this way, design will no erations of designers from emerging and be adapted to a blind public. And there is typical of ball-point pens. This playfulness
longer be viewed from its most superficial forging a path for themselves. Clearly, their Órdaga by Arantxa Rueda, which examines with concepts seen in the above projects
standpoint, as a way of dressing the external situation is more difficult than that of their questions of gender, and reinterprets the is also present in the Bull family by Ander
appearance of an object in a special, novel predecessors, but energy and willingness to traditional Spanish pack of cards through an Lizaso, a piece of furniture/toy that is open
or attractive way. We must transmit the idea do things can overcome any obstacle. New iconic code based on images of women. in terms of its use and that encourages
that design is based on an amalgam of formulas are arising because creativity is interaction between child and object. El
knowledge feeding on fields such as psy- being exploited to the utmost. Independent Also clearly social in character is Desenfreno bosque en casa by the Menut collective
chology, engineering, ethics, culture, ecology and self-produced projects are increasingly amarillo by Daniel Villalonga, which reuses (María José Velasco and María Baldó) is also
and ergonomics. The final goal is to present more frequent. At the same time, more easily available materials and proposes new aimed at children, with a line of products
design as a discipline that resolves problems and more collaborative networks are being contexts for their use. Then there is Imagen allowing them to explore, investigate and
in order to construct societies that are fairer formed. They are leading to the creation of (con)texto by the Moenia collective (Claudia manipulate the objects around them.
in terms of inclusion and social justice. It professional multi-disciplinary teams that González and Elena Mateo), which has a
also involves swift adaptation to new ways of resolve all the phases of the design process. contextualising purpose: it aims to give vis- Based on all the above, and the informa-
living that arise from social change. In fact, it In this new situation, the scope of action by ibility to the working processes of a number tion provided by the projects forming part
must anticipate future needs. designers has shifted; in a growing number of artists through the publication of a set of of this overview of young Spanish design,
of initiatives they appear as entrepreneurs or interviews and graphic documentation. we can conclude that the future of design
In today’s world when there is a need for producers as well as being strictly speaking involves looking back and returning to basic
ethical consumption, the above aspects designers. Whatever their function, design- Other projects promote craft manufac- principles, where a philosophy of design that
should not be understood as added value; ers have to take the market into account. It turing, and heighten the uniqueness of supports the more humanistic side of the
they have to be intrinsic to the actual pro- is an increasingly segmented market that is each product through the application of discipline takes on a new force. It is a journey
cess of design. This process has to include eager for new products adapted to people. traditional techniques that go beyond ethi- back to the roots, where designers have to
thinking about use and disuse; how is as That is why it is not enough to have good cal consumption and also aim for ethical learn from what others have developed and
184 / 185
apply those new aspects provided by social, and Pablo hold on to one irrevocable princi- This shifts all the expressive force from the Laboratorio Inclusivo
cultural, scientific and technological progress ple from the start of their project: obsessive piece to the work on the single material in
to generate sustainable design. The idea is care for the form of the object, which ac- which they are constructed: anodised alu- The Laboratorio Inclusivo collective, formed
to boost communication and socialisation cording to them manifests its aesthetic val- minium panel. by Sonia Ciriza Labiano (graphic designer)
through design, and to ensure that design ues through the expression of the material, and Miguel Ayesa Usechi (specialist in sculp-
can become a paradigm for the spread of respect for the manufacturing process and, The different lamps use flat patterns cut by ture) was formed with the aim of questioning
knowledge. At the same time, more stress of course, usefulness. They want their pieces laser that acquire volume after a series of folds. and trying to extend the concept of graphic
has to be laid on the idea that the final goal to be elegant and easy to understand, care- This simple manufacturing process reduces design and visual communication. The core
of design should not be the production of ful with respect to details, honest and, above the initial investment to a minimum and gives idea of the project consists of finding mecha-
objects; its principles should be applicable all, escape from playful reference, decora- the manufacturer great flexibility in adapting to nisms for adapting the tools of publishing
to what is intangible. It is therefore more tion, facile allusions, or effects that appear demand (this aspect is of great importance in design to a blind or visually impaired public,
geared towards meaning and the genera- to transcend use. They have never tried to the current crisis). In this way, the Folio lamps thus helping them access certain materials, in
tion of experience in a world where matter change the world through industrial design, show the importance that Álvaro and Pablo particular graphics and illustrations.
has begun to be a burden. but simply perhaps to make it a little more attach to purely business aspects such as vi-
attractive; a little easier to live in. ability, efficiency and ease of production within Laboratorio Inclusivo works within the dis-
the framework of their activity. cipline of information design and inclusive
AWARDS Savage Collection design, or design for all. It is committed to
Álvaro and Pablo received a commission Orwell research as a core element of the graphic
Álvaro Goula and Pablo Figuera from Boo in Barcelona, a new company Orwell is a piece of furniture half way be- project and works in depth on designer-user
specialising in work with aluminium panels, tween a sofa, bed and “cabin”, as it was relations across the creative process.
Contemporary design is based on a num- to create a collection of bathroom acces- known affectionately in the study before it
ber of complex concepts that designers sories that avoided the rationalist minimalism was given the name of the author of 1984. The project Hacia un diseño gráfico inclu-
make use of when they work on the design dominant in these kinds of products. The The name refers to the original idea of the sivo (Towards inclusive graphic design) is
of their creations. Based on this conceptual designers proposed a collection that could product, as it aims to recover the intimacy a response to the strict standardisation of
corpus, designers tend to point to observa- be extended to the rest of the home as a that at times has been lost even within our both the Braille alphabet and the vast ma-
tion of human behaviour, social, political way of expanding the product range. Their own homes. Orwell invites us to rest inside jority of graphic materials adapted for read-
and economic change and global issues starting point was working the product using it and revives the childhood memory of a ers who are blind or visually impaired. This
as fundamental. In addition, they express concepts of dynamism and formal irregular- “cabin”, that magical and private place that standardisation makes it difficult to produce
their creativity through form and image, and ity. They aim for contrast between the rigidity every child would want to have. and adapt large-format books, which is an
develop their work in a cultural context that of a very limited material, in the case of folded Thick cushioned curtains insulate the sound extremely common format in the current
interacts with it. Industry, on the other hand, aluminium panels, and the irregularity and and the total size, similar to that of a bed, graphic market. The idea behind the project
is based on another type of fundamentals freedom of form provided by laser cutting. means that it can be used either sitting or is to provide the first adapted educational
that guide its activity: investment, profit, ease lying down. material on graphic representation and
of production, market share, distribution, Lápiz contemporary visual culture.
quality, environmental impact, etc. Lápiz (pencil) is a contradictory product: its Soft Aquarium
goal is strongly commercial, but it is difficult Soft Aquarium reflects, as no other piece in Following an exhaustive documentation
The work of Pablo Figuera (Madrid, 1988) to produce in series. It appears to be a ball- the exhibition, the most experimental aspect phase a multi-disciplinary laboratory was
and Álvaro Goula (Barcelona, 1989) often point, but in fact it is a wooden pencil. The of the work of the two designers. It is a prod- set up to develop techniques for producing
tries to escape from the elevated aspirations element giving rise to this contradiction is a uct whose use does not extend beyond the Braille writing and adapting relief illustrations.
of some modern designers and focuses simple clip integrated into the piece, which merely ornamental, but aims to transcend The materials resulting from these sessions
on an “intermediate point” where industrial is something intrinsic to ball-points. As a simple decoration and penetrate an unusual were tested with potential users and finally
values and creativity can merge and feed result, the user has an unusual object that is and surprising interpretation of the material, evaluated by Xabier Armendáriz Arraiza, a
from each other to construct a “business familiar and strange at the same time. modelled in this case by the force of grav- blind collaborator with the project.
of beauty”. After all, people need beauty in ity. Each object is therefore unique, and its
their everyday life; and businesses, as sup- Folio manufacturing process, half-way between Guide for an introduction to inclusive design
pliers or generators of needs, must be con- Folio is a family of lighting objects with very industry and craftsmanship, helps blur the This collection is composed of seven vol-
cerned with beauty. In their designs, Álvaro simple lines and no superfluous element. old boundaries between art and design. umes that include consultation materials
186 / 187
on typhlology (the science that studies the a la Teoría de la Imagen (Introduction to an exhaustive phase of study and research. Bet Puigbò was co-founder in 2010 of Re-
problems of the visually impaired) and inclu- image theory). The collection consists of five Based on these, designers propose specific medios y Milagros, together with the indus-
sive design (design accessible for all pub- volumes explaining complex conventions on solutions, or proposals for reflection, that trial designer Paula Pladevall. Sharing their
lics). Most of the texts are from publications graphic representation through examples can help improve a difficult or conflictive time between Madrid and Barcelona, they
by ONCE and other researchers specialising of graphic adaptation. The use of macro- situation. Even so, many people continue to engage in all kinds of graphic projects that
in typhlology. The aim of the collection is characters and the inclusion of support texts understand design as a discipline that only always make communication a social tool.
to present and relate the results of these in Braille guarantee the collection is fully acts on the final phase of a long process They are committed graphic design through
investigations, as well as laying the possible accessible both for the blind and those with and solely affects purely aesthetic questions. artistic, cultural and investigative initiatives
foundations for future research and works on some visual impairment. This compendium affecting public space.
inclusive design. is a response to the lack of material in the In this context, the Hipervínculos (hyperlink)
area of graphic representation adapted for project is a reflection on the crisis of values Hipervínculos
Inclusive Christmas cards people with visual impairment. The illustra- of contemporary society, and specifically Through the design of a typography the aim
This is an inclusive design project for Christ- tions play with both visual and tactile dimen- on the dissolution of community. The new is to reflect on the dissolution of the concept
mas cards. The project consists of creating sions. They also stimulate the development social framework has had a great impact of community. It offers the opportunity for
prototypes and a series to send to institu- of haptic perception and thus help later on individuals, and this has led to conflict people to work together to generate a feel-
tions and individuals (mostly blind or visually access to more complex tactile materials. at the point where the individual relates with ing of belonging to a community.
impaired) who have offered to collaborate by society. Collective links have broken up. This
testing the designs created for this graphic is why today we talk about individualism, Changes to the new social framework have
design project for the blind and the visually Tell Me How I Can Help and thus of living in permanent conflict. had a great impact on individuals, and this
impaired. The prototypes constructed are This magazine has been created for the This project invites reflection on this conflict has led to conflict at the point where the
fully inclusive and are made using environ- Sketchbook Project 2012, a collective art and offers an opportunity for people to work individual relates with society. The commu-
mentally-friendly materials. project organised by the Brooklyn Art Li- together and generate a feeling of commu- nity fabric has weakened and human attach-
brary in the United States. The publication is nity through the creation of a modular ty- ments are very loose and unreliable. Many
Manual of typhlography entitled “Tell Me How I Can Help» and com- pography forming a typographical alphabet individuals are not capable of accepting this
This compendium includes the data ob- bines photographic images with Braille texts thanks to the contribution by each individual and this leads to interior conflict.
tained during the experimental phase of the in different colours. The idea is to offer two with his or her modules.
research, which is among the most interest- types of information: first, visual information Hipervínculos consists of a set of guided
ing and innovative in the project. Following through photographs; and second, verbal The project investigates a very complex activities that make up a participative col-
the experimental process a number of information in Braille. The two are combined theme. It therefore obliges designers to lective project aimed at teenagers. This
different typhlographies (different styles of and create a type of paradox as, in general, search for an approachable and friendly educational project consists of a number
Braille reproduction) that had emerged from people who see photographs won’t under- tone to help communication of the mes- of phases: a first phase makes the teenag-
the experimental laboratory were presented. stand Braille and those who understand sage and to reach the target public clearly ers aware of the conflict resulting from the
The validity of these typhlographies was Braille won’t appreciate photographs. The and easily. The activities carried out in the changes that have been produced in our
tested in a study on reception carried out idea is to encourage the public to relate to Hipervínculos workshop cover the use of current framework; this is the time for de-
with visually impaired users. This collection each other and work together to decipher techniques such as graffiti, employing bate and reflection. Next there is practical
analyses the results obtained. The main pur- the complete meaning of the magazine. stencils and sprays, which are not only very cooperation between the participants and
pose of the manual is to show the problems attractive for the teenage public they are their community with the aim of awaken-
generated by the strict rules on which the targeted at, but are also a resource as- ing the feeling of belonging to a group.
current Braille system is based and to pres- Bet Puigbò sociated with social demands and guerrilla Neighbours work together to provide objects
ent and assess possible aesthetic changes. interventions at street level. that will be used to create new modules for
Design can be a tool for change and for designing a typography. The next phase is
Representation Adapted graphic examples improving the world. Designers play a key It is undoubtedly a project that has contrib- the most creative, where the participants
This collection forms part of the end-of- role in our society because they have the uted much satisfaction to those who had work together exchanging and sharing the
course project carried out for the Llotja capacity to spread values, educate, promote the opportunity to take part in it, and also to different modules to design the typography.
school in Barcelona. It is based on theoreti- conduct, establish relations, etc. That is why all those who in some way worked to make it Stencil techniques are used, which are very
cal fundamentals on representation extract- we talk about their social responsibility. This possible. In short, it is a design that carries a attractive to teenagers; typography can invite
ed from Justo Villafañe’s book Introducción social role of designers is combined with great human input. and spread reflection on conflict. All those
188 / 189
taking part are given a cloth printed with one tance of health and safety at work in a mod- Banca Familiar, V100 and XXY are examples based on the idea that people with disabili-
of the lost values so that they can put it on el workshop. It uses the superimposition of of work by the designer on different scales, ties have the right to a luxury lifestyle. The
their clothes hanger and help make social layers of acrylic paint by means of stencil ranging from the specificity of individual use irony of the concept becomes real as the
demands better known. techniques. as an accessory to common use as furniture. “imperfect person” becomes the one cho-
sen by the design instead of the “complete
The applications designed are: a document Banca Familiar person”: only an amputee can fully use the
with instructions on the correct implementa- SECOND PRIZE Banca Familiar is a collaborative exercise by design as it has been conceived.
tion of the project; a document with theo- the Madrid-born designer Valentín Garal for
retical material on the subject of the project; Valentín Garal the Mexican workshop of hand-made furni-
a document setting out all the material ture Le Porc-Shop. It is an object destined Rocío Pina
needed to develop the project; and finally, Democratise luxury, reflect on where we live for “non-places”: sites that are usually for-
a publishing project that with graphic testi- and satirise our collective life are some of gotten and with no specific character. The solitary “creator” is a dying breed. No
mony of the experience so far. the threads of discourse in the creations of Made of solid weeping willow wood, its qual- doubt he never existed (it is impossible that
Valentín Garal. The execution of his projects ity of construction goes hand-in-hand with a Renaissance painters completed their square
Cantonades DHub always goes hand-in-hand with a strong concept of excellence in the area of society kilometres of frescos without a horde of exqui-
A communication campaign for DHub for commitment to social issues, use of materi- and emotions. It is educational in concept, site professionals who very probably were of
the construction of the new headquarters in als and craftsmanship. The starting point and functions as a bench for family ties, the same level, or even outdid the maestro).
the Plaza de las Glorias square in Barcelona. in his creations is a reflection on the nature as it demands care from all the members The profiles of success demanded by society
The aim of the campaign was to make DHub of individuals, starting with the most basic around it. With a touch of satire, it is a re- as “representative”, those extraordinary beings
into a hub where people’s opinions could be relations of human beings to criticism of a flexive piece designed to become a point of who do extraordinary things all the time, have
valued and spread. The campaign is based pusillanimous society. In this way design and encounter, discussion and conservation of their days numbered. PKMN [pacman] is for
on the creation of “corners”: opinion spaces art become a balance between simplicity social relations. me something more than a work platform. It is
open to the public where they can write their of form and richness of content. Passion, a summary of skills, of superpowers, and also
questions, ideas, conclusions, reflections... constancy and practice won him a number V100 of manias… One group connects with other
These opinions are included by Dhub and are of awards and he often appears in the inter- Luxury is an abstract concept that has groups or individuals to become stronger, bet-
the basis of publicity campaigns that make national press. been disfigured by society. It goes beyond ter equipped, without losing the character of
people’s views better known. the cost of a product or the materials with a “guerrilla”; it is a place in which you can give
In 2008 he travelled to Domaine de Bois- which it is made. V100 satirises luxury with vent to your personal obsessions and gener-
Typo Topogràfica buchet. This was a turning point in his life. a limited series of 100 vases made of top- ate a series of collective dialogues based on
This is a reflection on the relationship between He worked with the Vitra Design Museum quality recycled marble. Much is made of them.. and while being PKMN [pacman] I am
our urban environment and pedestrians. We and the Pompidou Centre on workshops its manufacturing method, aesthetics and more Rocío Pina every day...
wanted to design a typography for the street, with designers such as Culdesac, Moritz material, and of the pleasure of being one
work among people and see how they them- Waldemeyer, Héctor Serrano and Sigga of only 100 people who can use it, to create My work on PKMN is basically linked to the
selves intervene directly or indirectly. They have Heimis. This opened up a new panorama the concept of luxury. city, to public space, one of the great “un-
contributed their opinions, manipulated and for him, to which he will always turn in his knowns” of design, which generally has un-
moved around within the characters. work. Under the direction of Alexander von The marble is extracted in the mines in derstood it as a place where it can indiscrimi-
Vegesack, in 2010 he worked in the site’s Puebla, Mexico, from the borders of the nately replicate its brand objects, totally out of
Communication campaign for Ö Hotel communication and administration. perforated layers, called sidings, which are place… with no relation to the urban identity
without language usually crushed or left unused. Its values and that surrounds them, which is not only its
People from the whole world can commu- With a variety of international experiences aesthetics link the project to a brutalist ap- urban landscape (sometimes misinterpreted
nicate easily in Ö Hotel because it has its behind him he arrived in Mexico, where at the proach and arte povera. It is a unique piece as “heritage”) but also its inhabitants. That is
own visual code based on illustrations and age of 23 he became creative manager of that vindicates true luxury of design. why we approach our urban design work in
onomatopoeia. the Mexican Gallery of Design. Valentín has three aspects: the identity of its inhabitants;
known how to take advantage of an emerg- XXY the process possibilities of the city under-
Caution! ing country with his own interpretation of Simple and functional. XXY consists of a stood as an intermediary; and the generation
A creation of twenty-five illustrations for a design. He has been well received and hopes series of door handles, manufactured tradi- of urban artefacts that provide new ways of
communication campaign on the impor- to make his home there for some time. tionally in high-quality wood. The concept is experimenting in public space.
190 / 191
Transformable urban seating for El campo He uses methods of craft production, which idea: every human being is a designer and Different products and designs were stud-
de Cebada are slower, more careful with respect to in some way design gives us the ability to ied, which took as their basis the materials
The seating of La Cebada become an in- details, and highlight the beauty of error. He express ourselves. and processes pertaining to this industry.
frastructure that capacitates the identity of tries to “adapt” these traditional techniques We thus made use of the wooden panels
the La Latina neighbourhood. Fifteen seats and promote more responsible and sustain- BOIBO therefore insists on the idea of and dealt with the technical limitation that
donated by neighbours have become Trans- able ways of manufacturing that also allow generating an experience, where the the vast majority of the bicycle parts should
former furniture, which can be converted to the development of local economies. And designer does not limit and completely come from a single panel of wood. To cre-
anything from a bench or a row of seats to they encourage ethical consumption. restrict the final product, but leaves ate a different product, one that could yield
a picnic table, reclaiming the programmatic open to users the chance of living the financial returns within the company, was a
diversity that does not exist in Madrid’s His working method begins with a prior experience, expressing themselves and capital factor in defying the grave recession
urban furniture, where it is nearly impossible study that gathers information on the con- creating reality, in line with what Joseph in the furniture sector.
to find benches on which it is possible to text and relations of the individuals with the Campbell wrote: “People say that what
talk face-to-face. objects. This study of forms of behaviour we’re all seeking is a meaning for life… I After the search we concluded that the
and trends discovers new niches for creative think that what we’re seeking is an experi- investment required to manufacture and
City creates City. Creative Platform for action and provides sufficient clues to create ence of being alive.” develop the product was low and that this
social innovation in Our Cities a new paradigm, which can serve as a start- could be a product of interest.
The identify of a city is that of its inhabit- ing point to generate alternatives. At times BOIBO is sold through Surco (www.elsur-
ants, so Ciudad creates Ciudad becomes these paradigms are invented and can lead co.es), a small manufacturer whose values Balance Bike is a project for a wooden bi-
a creative platform to preserve and foster to a completely fanciful product. The inves- include concepts such as: honesty, emo- cycle that goes beyond developing a child’s
the identity of citizens as leading players tigation is recorded graphically in a series of tion, affection and work. It is interested motor skills: balance and coordination… one
in urban life by the creation of “brands of drawings that define the basic ideas of the in exploring any subject within the broad that also suggests the idea of restyling it,
citizens’ prestige”: the Madrid resident of project through words, colours and textures. discipline of design, and its philosophy is bringing it closer to a more modern, mini-
the year, or how an anonymous resident can focused on crafts, materials and forms, malist and essential aesthetic.
become a representative of his or her city A number of tools emerge from this cre- and on reinterpreting craft in the light of
for a day; Cáceres creates Cáceres, or an ative process that can provide the answer modernity, with use, design and emotion Hence the decision to adopt O-rings for the
exhibition-attraction for people; or E[xtintion] to two key questions: What does each being fundamental pillars. The products handles or footrests. We were interested in
Plan as a new poster demanding answers to human being want to experience? How do are measured in spirit, with a special inter- the idea that the feet would have something
a process of critical depopulation. I achieve this? est in details; simple, practical and time- to rest on so that the child could go further.
less; where the manual character of the Marking the supports with colours so that
Rojo Paquimé BOIBO works marks the minimalist and pure es- the child could better differentiate the con-
Rojo Paquimé is a sign that works on two BOIBO is a combination of the concept of sence of the product. The aim is to try to tact parts.
scales. Closed, it forms a sign measuring BOtella (bottle) and BOtijo (drinking jug). It connect culturally with our ancestors, and
3x30 metres that announces the identity mixes the decorative virtues that have been in some way to help us deal with unifor- One of our contributions to this product
of the archaeological site. Opened up, each adopted by the botijo and the functional mity, speed, immediacy, physical isolation, had to be functional but also creative. The
letter can be turned to unexpected uses aspect of a bottle. That is why BOIBO is not the loss of roots and traditions imposed raw wood should be given a final treatment
ranging from stilts, viewpoints, shades… to only a recipient that contains liquid (wine, by globalisation. so that it could be used as a creative me-
furnish the location. sake, water, oil, spirits) and has different dium. With a ready-prepared surface, and
uses (oil jar, botijo, spirit decanter, among Surco’s new enterprise is based on small providing some coloured chalks, children
others); it can also be transformed into a projects. The pieces look to a future that could tune their bicycle, on their own or with
Manuel Rodríguez purely decorative piece, and invites people combine art, crafts, technology, simplicity friends or parents.
to interact with the object through creative and local materials.
Manuel Rodríguez makes products that in- compositions that result in an infinite num- This balance bike not only develops children’s
vite the intervention of the end user through ber of unique pieces. Boibo emerges in a Balance Bike. My first Bike motor skills independently; it also invites them
a process of participative design. They are world where things change and become This project resulted from the search for to develop their imagination, personality, team-
open projects, to some extent deliberately obsolete quickly. It makes it easy for the products that can be manufactured within a work and social skills. This characteristic led
unfinished, which allow multiple combinations user to modify and combine them in differ- knowhow environment linked to the timber to building a bike that could become a more
and favour the singularity of the objects. ent ways. This gives rise to a fundamental industry, and specifically that of furniture. complete tool for the child’s learning process.
192 / 193
SELECTED TO BE EXHIBITED replaced. They are protected with dusty another humble creative discipline. In the Bai
sheets of plastic, but despite that they grow best of cases, the objects and their design The combination of classical and contem-
Laura Jofré old and are WORN OUT. The collection has may provide a degree of happiness to the porary elements is a leitmotiv in the creation
been created by feeding off all this history user. It is therefore a question of achiev- of this dining-room chair. The morphology
“Things that are beautiful, works of art, sacred and its forms, of the wood that absorbs ing this while respecting the resources and of the chair is inspired in the mid-century
OBJECTS suffer, as we all do, from the inexo- everything around it and the CRAFTSMAN- materials used for the purpose. classics, in particular Saarinen.
rable effects of the passage of time. From the SHIP that has created it. The marquetry
moment that a human being finishes them and turnings are part of the essence of Lizaso’s formal language feeds on Scandi- The chair has an original wooden structure
off and delivers them to the world, they begin FRAGILE. They are delicate pieces of wood navian influences; there is a predominance on which the upholstered shell fits. The struc-
a life that as the centuries pass also brings that draw new articulations, protection and of simple lines, although the curvature of ture’s legs extend into the arm rests, which
them closer to old age and death. But time extensions around the human body. In the the material is a constant in his works. Per- have a subtle curve that fits the shell into
gives them a new type of charm that human process, they acquire the form of sculpture. haps due to the influences of car design he the chair structure. The carcass has subtle
old age can only dream about.” stresses the importance of proportions and organic convex and concave forms, with the
The looks are formed from items of clothing the handling of surfaces. His training and seating being comfortable and enveloping.
Matilde Asensi that appear well preserved, with small details experience, half-way between creative and
that reveal the passage of time and colours technical, has convinced him that any ap- The upholstery is based on classical models,
An object, a room, a landscape, a song, a that give clues of their origin. proach to design requires an overall vision with tweed fabrics from Bute that add to the
feeling… Anything, however small, can tell of the whole process and thus a knowledge natural beauty of the fabric through microfi-
me a story with which to begin to relate From within the items of clothing emerges of and interest in every last detail that de- bre inserts of different colours. Three strong
forms, colours and textures. the essence of the materials, feathers, pad- fines it. colours are offered: vermillion red, aubergine
ding... Time wears them out: it discolours and lime green.
I don’t wait for a time to create. My way of textiles, reveals its internal structure, the sin- Often he wonders whether more objects
looking at the world is always open and it is ews around which they are constructed; but are really needed in our world and whether Bull
when I am looking for them least that I re- it also caresses them by forming a protect- industrial design is a transcendental craft. Bull is furniture for children based on the
ceive the stimuli to create a sketch of an idea. ing dust or penetrates them as can be seen This question and its insecurity is reflected conviction that it is still possible to make
in the knitted textiles that have become in his work. However, Lizaso does believe in products that can be passed from genera-
To develop this idea I collect images, textiles, moth-eaten or unstitched. design as an element that gives vitality to tion to generation. It is based on the ex-
melodies, texts… all kinds of information that the industrial fabric around him. periences of the designer’s childhood, and
I see and that fits the concept on which I Apart from being present in accessories offers a piece of furniture/toy that is very
am beginning to work. When I have all the and articulations, wood is reflected in prints. At this exhibition he is showing three dif- open in terms of use and play.
elements together, I imagine how to form Finally, there are styles that are very close ferent types of products. First, his first chair
them into articles of clothing, accessories, to furniture, lapel collars joined with hinges, called Bai, in which he plays with warm Basically, it is a small children’s seat with the
textiles... and by drawing all the time I try out forms that refer to door mouldings, pieces materials in slightly unexpected forms. It unusual feature that the back is formed by an
silhouettes and details, I develop some ideas that come from chairs and linings stamped is a beech wood structure in the form of a enormous rotating wheel; turning it converts
and reject others. It is a long process that with the word FRAGILE: pieces in a carpen- cross on which rests a shell upholstered in the chair into a cart with which to transport
often ends up with ideas that I would not ter’s workshop. tweed. He is also presenting the Bull col- toys or other objects. The wheel is hollow, so
have imagined at the start, and that is what lection of children’s furniture. These are the child also has a «secret» compartment.
makes me continue to create, to continue pieces with as many functions as the child
with an open mind. Ander Lizaso can imagine. Their starting point is a small The furniture has been constructed using
seat in which the back rest is in the form of CNC plane techniques, resulting in a finish
Fragile Ander Lizaso understands design as a a giant wheel. that is attractive to the touch.
Fragile is a meditation on all those objects convergence of aesthetics, function, indus-
that have accompanied you over your life. trial processes and materials, and accepts Finally, one of his most recent works is the Flake
This project emerged from the STORAGE the limitations inherent in the industry and acoustic panel Flake. Its simple lines offer a An acoustic panel with simple lines that al-
SPACE of a CARPENTRY workshop where market. Lizaso avoids sophistication and great variety of combinations that not only lows a great variety of combinations. As well
there are pieces of furniture created and frivolity at both a formal level and in his dis- give acoustic conditioning to the space, but as conditioning the acoustics of the space it
cared for in the past but that have now been course. Industrial design is for him simply can function as a decorative element. functions as a decorative element. The front,
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covered in wool felt, is at a slight angle that what causes laughter and surprise or sug- cross-stitch chart to fit the fluorescent There are also two options for the table:
disperses the sound waves impacting it. gests an ironic reaction to the public, as well elastic cord ending in a large knot. The once with a single rack and another with
as the desire to touch, play and try them out. cord passes along rails marked in the a rack and trestle.
curved back that prevent it from sliding
Ornella Stocco With the Clearcut lamps, I have tried to play to the side. Clearcut Lamps
with the material using a method as simple These lamps form part of 9 Across, a project-
Design is more than just simple utility: as cutting with scissors and observing how Underconstruction exhibition that was inspired by a newspaper
objects are conceived for human use. In by the nature of the material itself each Similar to tubular systems, Undercon- crossword. I chose the word “clearcut” from
theory, they make our lives easier because result is different from the previous one, struction is a project consisting of por- this crossword because I was interested in
of their functionality. This function is not only making each a unique object. celain elbows that connect to ash sticks how a “clear cut» is a simple action found in
physical, but also mental and sensory. It can to construct furniture. I wanted to extend a vast number of manufacturing processes
also change people’s state of mind. It is the Windsor Family: Lashed Chair & Lisina Chair the frontiers of porcelain and its usual in the design field. Instead of using modern
designer who can touch the awareness of The aim of this project is to question the links values by playing with its symbol of fragil- technologies such as laser cutting or printing,
people through an object that contains a between the Windsor chair, which is English ity and delicacy and giving it a new use. I wanted to make a piece where a simple cut
message, whether social, cultural, environ- in origin, and its traditional manufacturing highlights its essential character.
mental or political. Design may challenge its processes. My intention was to reinterpret The porcelain elbows function like a
own expectations and arrive at new ideas for some aspects of these processes of manu- plumbing system and give users the free- As its name suggests, the Clearcut lamp
how a project may be used. facturing the chair by applying a variety of dom to personalise their furniture. They has been cut using scissors at its final blow-
more contemporary materials that can create become connections joining together ing stage. Each lamp is a one-off, as glass
Working without depending on fashion, something different without the chair losing its something that is “under construction» behaves differently in each cut. The nature
without being consumed by time, are vital original identity. Rather than impose forms that that adjusts to the needs and wishes of of the material leaves its mark on the piece,
aspects to take into account in contemporary require new technologies or machinery, I have consumers. The elbows also create a as once the cut has been made, the glass
design. It is important for the designer to reworked the Windsor chair in a new context. pleasant and functional domestic structure. tends to move and become deformed,
understand the psychology of the object and The materials chosen contrast with any as- making each lamp a unique object.
the behaviour of a material, and from this sumptions about how a Windsor chair should During my studies, I have been interested
starting point, to learn during the process of normally be, but above all each material partic- above all in experimentation with materials Clearcut The Candles
creation how to achieve the initial idea. Design ipates in some way in the chair’s functionality. and how these can be far removed from These candle holders from the same
also implies creating objects that are not only common assumptions and located in new “Clearcut” series were initial colour tests for
useful for something, but that also talk, laugh Lashed Chair contexts. At this point, the materials begin to the glass. They ended up being table deco-
or reflect; design tells stories. With its turned spindles, this chair project an idea that is completely different; rations.
changes the perception of the tradi- the boundaries limiting how they should/can
With Underconstruction I have tried to focus tional English Windsor chair by having be used disappear.
on experimentation with porcelain and un- a curved wool back support. The wool Daniel Villalonga
derstand the way it behaves. In this case, my provides flexibility to the support making Underconstruction is a manifestation of this
goal has been to distance porcelain from its it more adaptable and comfortable. experimentation. Its goal has been to com- Daniel Villalonga constructs movable devices
usual context and to move the material into a Rings have been turned in the frame of bine wood and porcelain within a functional that disappear without leaving a trace. He
new environment in order to upset users and the chair. The wool is looped into these structure that aims to find the form and state is capable of making a balloon remain on
their assumptions about it. At this point, por- rings, which are adjusted to create a most appropriate to porcelain to make it use- the ground and transform it into an infra-
celain begins to project an idea that is com- strong bond. No glue has been used. ful and resistant. That is why the elbows have structure in which any activity is possible.
pletely different: the boundaries limiting how it been baked at up to 1260 oC until they are He converts waste materials into installa-
should/can be used begin to disappear. Lisina Chair vitrified, making them as resistant as possible. tions and living works; structures that move,
The Lisina chair is a contemporary piece change their size, contract and mutate as if
The same happens in a more subtle way of furniture for children. Children like to Underconstruction can be assembled by magic.
with the Windsor chairs. It is not normal to play with the cords as if it were a guitar. with elbows that are either enamelled
add wool or elastic cord in such a way that The fluorescent cord contributes a mod- or non-enamelled. There are two pat- This architect has worked on the stage de-
these elements contribute to the function ern vision to a very classic design. terns available: Blue Willow or Blue Delft sign for independent theatre companies. He
of the chairs. This new approach is precisely The seat has been perforated like a Porcelain. has also worked for a number of years with
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exhibition design companies (on pavilions, self-management, combined with practi- morning or a rest area at night, depending it is difficult to remember how they saw
artistic installations or furniture), although cal and decisive proposals, make clear the on the colonisations. the world when they were small, but from
currently he is engaged in the development fact that it is possible, and necessary, to time to time we come across products that
of a series of portable devices focused on open up other ways for the design of self- Globus Popus interact with us and make us smile.
various cultural events. constructed space. Awarded the BID12 seal at the III Ibero-
American Design Biennial. Menut is a design study focused on all
Based fundamentally on the use of eas- Irene Galicia Globus Popus is a pneumatic structure the disciplines related to a children’s world,
ily available, reused or de-contextualised resulting from the transformation of an old including both toys and objects for children.
materials, the design of these ephemeral Autonomous musical capsules aerostatic globe into a portable tent for a Its goal is to bring design closer to children
architectures offers simple and easily re- These musical capsules function as major variety of artistic uses. and adults. Our creations are designed for
peatable solutions whose main aim is utility monolithic structures thanks to three struc- By using conventional ventilators this flex- children’s enjoyment, but they are always in
and the transformation or characterisation tural families of a different order. This system ible artefact (once airborne, now earth- harmony with functionality and the charac-
of the space they temporary occupy. The of non-standard standardisation is used in bound) is adapted to the environment to teristics of the family environment.
use of waste materials is based on a criti- the construction of airplanes and helicopters, offer an instant bubble space. It is a radical
cal and responsible position with respect to given the great versatility of forms it allows. but temporary intervention. We aim to discover and accept new chal-
the environment. It recovers their past and That is why two very specific capsules have It is interesting to note that the ratio be- lenges within design for children, and always
grants them a second life, giving a certain been designed: an orthophonic or equipo- tween the erect size and the energy used aim to take this idea one step further. Our
subversive aspect to his works. tential auditorium in which the sound level to raise it is exceptionally low. The Globus philosophy is to contribute an innovative
(the sum of direct and reflected sound) in Popus is able to reach a monumental size view to the contemporary family lifestyle:
Instruction books and do-it-yourself culture any point of the hall is constant; and a multi- using no more than the energy needed to we suggest new children’s designs that can
are the creative drive behind constructions use capsule for performance events (that has prepare a gazpacho. coexist with everyday objects.
that grow or shrink in response to each spe- a floor moved by pistons and a technical grid
cific need. Thus in the wake of the idealistic for hanging all kinds of lights or projectors). Space Invaders What for an adult is an object for daily use is
and practical Living Units of Andrea Zittel, he Space Invaders is a flying furniture exhibi- transformed into a whole world of possibilities
invents spaces whose size is adapted both Desenfreno amarillo tion. Depending its position with respect to for the eyes and hands of a child. Children
to the environment and the function. They Installation of new pieces of urban furniture the ground it can be used in different forms are experts at making the most of objects by
are versatile pieces that can be folded and in Tirso de Molina square. Operations such within an exhibition hall. It may be a surface using their imagination, often giving them a
unfolded at will; modular environments of as folding, cutting and sticking transform the for projection, an audio campaign, an enig- new use and finding hours of enjoyment.
cardboard to give shade in the desert or an fence element into a seat, a swing, a cycle matic piece with visors to exhibit objects in
aerostatic globe as a point of fusion between parking space or a deckchair. In metaphoric its interior, or a simple desk. The material it We design sustainable projects using easily
available space and activities to be carried terms the fence as an obstacle that sepa- is made of is cheap in economic and en- recyclable, high quality and durable materi-
out. Thus he goes beyond the simple con- rates and divides becomes the exact oppo- vironmental terms (limited industrialisation als. We try to make products that last over
cept of production to relate both elements site: an area for rest and relating to others. process and totally recyclable) and it can time and that are interesting for people
and involve people that must participate in also be printed, die-cast, etc. The prototype whatever their age.
the project and interact with the environment, Valla-Faro can be moved, extended and grow from a
in this way approaching the concept of rela- Rest area and meeting point for those triangular module. At Menut we want to boost the imaginative
tional art defined by Bourriaud. attending the festival. This sculpture is capacity of children and excite them; this
equipped with a zone of shade, electricity is the idea behind our first line of children’s
Based on the idea of the nomadic, and and freely available Internet connection that PROJECTS furniture: El bosque en casa (The forest at
with premises that are parallel to the way creates a focus of attraction and relations on home).
in which Rirkrit Tiravanija integrates the the beach. Menut
conditions of each environment into his The world of fantasy, children’s stories and
work, a container (owing a debt to the All the infrastructure is the result of an From the point of view of a child the home forests enters the home through a mini-
architectonic imagination of Atelier van openness that expects users to complete is a place in which everything is new. Chil- collection of furniture designed for children
Lieshout) is converted into a portable it with their own needs and wishes. In this dren want to discover what they can do with to explore, investigate and manipulate the
museum and created in cooperation with way, it offers furniture that is interchangeable what they are surrounded by and their way objects around them. This helps them develop
various emerging artists. This capacity for and that can be converted into a stall in the of discovering things is by play. For adults their skills and knowledge of their environment.
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El bosque en casa is composed of the also a different conception of the conven- ing able to understand the work of art or patterns and language, but adapted to this
following elements: tional model of work. creation better and reflect tangentially about new version, thus maintaining the strong
the final product in order to reach a more iconic code of the cards.
Thea. Chair. Since the beginning, a constant theme in profound understanding of it. We consider
Sit down and paint, create your story, call our projects has been the importance that that the process is equally or more poetic The fact that the playing cards are a univer-
your friends and tell it to them. we give to the actual process of creation. We than the conclusion, and showing it is a way sal object makes the renewal of their lan-
This theatre chair has a back that can func- focus on explaining contexts with the aim of of involving others and transmitting other guage more attractive. That is why the iconic
tion as a stage curtain. The lower part has a being able to understand the work of art or points of view. code has been created based on the tradi-
drawer that once open hides the rear of the creation better and reflect tangentially about tional one, but aiming for a contemporary
chair and gives privacy to the puppet mas- the final product in order to reach a more The world of the creation and creativity is graphic design, that is alive and of today and
ter. There are finger puppets in the drawer profound understanding of it. We consider becoming increasingly less hidebound. that also offers an approach that is an hom-
with which children can create stories for that the process is equally or more poetic In many cases the creative process is no age to women with the aim of materialising
their friends. than the conclusion, and showing it is a way longer an individual question; there is more their increased presence in today’s society
of involving others and transmitting other and more group awareness, of “doing it with and thus providing a balance to the other
Guardacuentos: Shelving points of view. others”, learning from others, growing with playing cards that do not offer this proposal.
Once upon a time there were animals in the them and creating with them. The choice has been to represent women
forest whose mission was to guard the sto- This is the approach of the Image (con)texto through stereotypes, in humour and irony,
ries during the day so that when the children (con texto = with text; context = context) These two trends characterise Moenia’s mo- thus creating a social satire and a game.
went to bed they could enjoy all these sto- project, a publication that presents research dus operandi. It mediates between discourses Photographs of various women in three dif-
ries before falling asleep. carried out on the ground to discover the and existing reality and facilitates processes ferent generations were used to create the
places and contexts in which plastic artists that lead us to construct poetic alternatives cards. They are specially made in cardboard
Oli: Rug work. The publication includes photographic that are also useful for society; spaces for for each of the social classes.
This is made up of two elements: a rug and material obtained in artists’ studies, interviews reflection that open up new ways of relating
a cushion. The rug is made up of two layers with them asking them about their habits and to others. For us culture is interpretation, but The original design for the suits was used,
of hypoallergenic felt that creates the effect needs when it comes to creation and inclu- above all constant reworking of the world. as we can identify their forms and colours at
of a mountain of leaves. Inside is a cushion sion of basic references in their work. a glance; however, they were simplified and
made of natural cotton, with a soft texture Our aim is to foster mediation between all given some new connotations appropriate to
that is pleasant to the touch. It is an element Our aim is to show everything that is related the cultural and creative sectors, whether as each of the new social classes. The reverse
where children can read, jump, play or do to the final work and in what conditions it is creators, companies or institutions, leading to of the cards was based on these. A special
anything else they like. developed; to reveal the details that are not projects that can be developed in partnership. product was made for collectors, with the
exposed in the result, but that play an im- cards being bigger than their original size.
Grou: A clothes rack portant role in it. The purpose of the project Their form has also been changed, using a
The hangers on this clothes rack can be is thus to highlight the various factors related Arantxa Rueda rounded border for each card with the result
moved on rails along the trunk of the tree. to physical space; and the creator’s habits that the set creates a kind of fan, stressing
Children can measure how they are grow- and obsessions that not only affect, but also Society has undergone many changes since the feminine character of the Órdaga pack.
ing as they hang their clothes: one branch at times are transmitted in, the work of art. mediaeval times, when the traditional Spanish
higher each day! The publication therefore is an act of voy- pack of cards was created. The social hier- Órdaga
eurism through which anyone can obtain an archy reflected by the cards does not cor- Órdaga adapts the language of the tradi-
inside view of the everyday life of artists and respond to the world of today, the terms used tional Spanish pack of cards through the
Moenia their work. are not the same, occupations have changed figure of woman and her presence in today’s
and our concerns are different. One of the society. The word órdago is used in the card
Moenia is a non-profit association set up in Imagen (con)texto most important changes is the presence of game mus meaning an all-in bet made
April 2011 as a point of encounter, exchange Since we were created in 2011, a constant women in society. In the traditional Spanish against the other players. It is a word that
and promotion of cultural and creative pro- theme in our projects has been the impor- pack of cards, the female figure is not directly transmits force, presence of mind and bold-
posals. It acts in an inter-disciplinary way by tance that we give to the actual process of included. That is why an alternative has to be ness. To adapt it better to this homage to
stimulating entrepreneurship and generat- creation and not only the result. We focus provided to the traditional playing cards. It woman, its ending has been changed to the
ing not only alternative cultural content but on explaining contexts with the aim of be- can continue to maintain the same traditional feminine: órdaga.
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