11/23/2023 0 Comments Blueprint architecture magazineWe expected Massimiliano Fuksas to give a keynote, but Farshid Tehrani stood in for him, surveying current Studio Fuksas projects with its often Hadidish fluidity and gorgeous upmarket interiors. Simply, deliciously decadent.Įxtraordinary presentations came from unexpected names. ‘Only sex and food engages all the senses,’ he offered, before seducing us with an almost pornographic visual parade of edible products, eating implements and food installations. But the best BDW counterpoint to the bewildering digital overload had to be from Ido Garini of Studio Appétit. Products emerge after perfectionist tinkering at the potter’s wheel or spending so much time with factory craftspeople that Wiig Hansen feels they want to see the back of him.ĭragana Kojicic of Earth Architecture gave a hopeful snapshot of her local house building with earth in BDW’s late-night pecha kucha. (It also wants to transform waste and recycling, but that’s another story.) Another answer lies in a back-to-basics hands-on design approach, like that of Danish ex-IKEA product designer Nicholai Wiig Hansen’s. What do we need that we don’t already have? It was the single biggest question raised at BDW.īeauty is one answer, as in the delicate, fairy-like but tech-dependent lighting designs of Studio Drift, whose Ralph Nauta was another star of the show. But when Zuzanna Skalska, head of trends at Dutch predictive platform 360 Inspiration, took a whirlwind survey of everything from global economic re-ordering to wearable technology, she questioned why we design at all. Guido Woska of German consultancy Designit voiced the prediction that by 2050, there will be 100 billion smart devices, 10 times more than now. Jeremy Ettinghausen of UK ad agency BBH saw design opportunity in the ‘backwaters’ of the ‘wide-open’ internet, despite its 43 billion pages. Various speakers either riffed on such themes or demonstrated its fruits. This year it was triumphantly back again, with a conference theme of Brand New World.ĭesign promises a new world, but paradoxically we’re already familiar with the narrative of its data-driven digital approach for an ever-increasingly connected world. After years of shouting at a deaf Serbian media and government, BDW got its design message to the very top. Two hours later he declared that ‘design is the future of Serbia’. The place was completely cleared, repurposed and everything installed with just minutes to spare before the Serbian president Tomislav Nikolic appeared to open BDW. ‘There were dead rats in the building, no electricity or running water, broken walls and windows,’ says Jelovac. The venue he found, the pre-war Staklopan glass factory in the grid of the lively bohemian-tinged Dorcol district, turned out to have an edgy magic that characterises the Serbian capital itself - decaying but defiantly alive. Suddenly, he was walking the streets looking for somewhere to put them. Just as in previous years, founder and host Jovan Jelovac had lined up international speakers and exhibitors, organised crew and workshops, and more. The Serbian Ministry of Culture threw Belgrade Design Week (BDW) out of its agreed venue a week before the 10th edition was due to open. Belgrade Design Week 2014 – Press Overview by Blueprint Magazine
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