Geographically, the selected recipients for 2009 “Europe 40 Under 40®” hail from across 19 European nations: Austria, Belgium, Denmark, Finland, France, Germany, Great Britain, Greece, Iceland, Italy, Latvia, The Netherlands, Norway, Poland, Portugal, Serbia, Slovania, Spain, and Switzerland—the best of the young best of Europe.

The “Europe 40 Under 40” program is sponsored by KONE Oyj.
An exhibition of work by the 2009 Laureates opens at Contemporary Space Athens (46-48 Megalou Vassiliou, Rouf-Athens, Greece) on Wednesday, September 16 and continues through November 1. A more formal exhibition and presentation takes place at the symposium, “The City and the World,” in Florence, Italy the second week of November 2009.

The 2009 “Europe 40 Under 40” Laureates are:

AUSTRIA
• Josef Saller, Architect, heri & salli, Vienna, Austria
• Herbert Wolfmayr, Architect, heri & salli, Vienna, Austria
BELGIUM
• Frederik Aerts, Industrial Designer, Berghoff Worldwide, Heusden-Zolder, Belgium
• Thomas Bercy, Architect, Bercy Chen Studio LP., Austin, Texas, USA
• Wim Goes, Architect, Wim Goes Architectuur, Gent, Belgium
• Pieter Jan Deblauwe, Industrial Designer, Brussels, Belgium
DENMARK
• Thomas Brinch-Møller, Architect, DOK54, Jordup, Denmark
• Anders Lendager, Architect, MAPT., Nørrebro, Copenhagen, Denmark
• Jacob M. Lund, Architect, DOK54, Jordup, Denmark
FINLAND
• Olli Komulaninen, Industrial Designer, Polar Electro Oy., Kempele, Finland
• Illka Suppanen, Architect and Industrial Designer, Studio Suppanen, Helsinki, Finland
FRANCE
• Charles Bessard, Architect, Powerhouse Company, Copenhagen, Denmark
GERMANY
• Alain Berteau, Architect and Industrial Designer, Alain Berteau Designworks, Brussels, Belgium
• Jens Bruenslow, Architect, Architecture Project, Valletta, Malta
• Kati Meyer-Brühl, Industrial Designer, Brühl & Sippold GmbH., Bad Steven, Germany
• Holger Kehne, Architect, Plasma Studio, London, Great Britain
• Claudia Schmidt, Architect, MIR Architecten, Amsterdam, The Netherlands
• Timm Schönberg, Industrial Designer, Kraus Schönberg, Konstanz, Germany and London, Great Britain
• Alexander Tränkle, Industrial Designer, Alexander Tränkle, Langenargen, Germany
• Constantine Wortmann, Industrial Designer, Büro für Form Designstudio, Munich, Germany
GREAT BRITAIN
• Simon Frommenwiler, Architect, HHF Architects GmbH., Basel, Switzerland
• Morten Villiers Warren, Industrial Designer, Native Design Ltd., London
GREECE
• Panos Parthenios, Architect, Parthenios Architects + Associates, Athens, Greece
ICELAND
• Erla Dögg Ingjaldsdótir, Architect, Minarc, Santa Monica, California, USA
ITALY
• Federico Bargone, Architect, Sbarch Associates, Rome and Folgno, Umbria, Italy
• Francesco Bartolucci, Architect, Sbarch Associates, Rome and Folgno, Umbria, Italy
• Franco Cervi, Industrial Designer, 27_9, Milan, Italy
• Alessandro Console, Architect, Console/Oliva Architects, Rome, Italy
• Francesco Iodice, Architect, IODICEARCHETTI, Aversa, Italy
• Daniele Lago, Industrial Designer, Lago SpA., San Giorgio in Bosco (Padova), Italy
• Orsola Pezone, Architect, IODICEARCHETTI, Aversa, Italy
• Marcello Silverstre, Architect, IODICEARCHETTI, Aversa, Italy
LATVIA
• Juris Mitenbergs, Architect, AB3D Ltd., Riga, Latvia
THE NETHERLANDS
• Nanne de Ru, Architect, Powerhouse Company, Rotterdam, The Netherlands
• Frederike Top, Industrial Designer, Amsterdam, The Netherlands
• Ronald Schleurholts, Architect, Architectenbureau Cepezed, Delft, The Netherlands
NORWAY
• Petter Knudsen, Industrial Designer, Petter Knudsen Design, Bergan, Norway
• Leif Steven Verdu-Isachsen, Industrial Designer, KODE Design AS., Oslo, Norway
POLAND
• Beata Goczol, Architect, Goczolowie Architekti Studio, Zabrze, Poland
• Barbara Grabczewska, Ovo Grabczewscy Architekci, Kracow, Poland
• Oskar Grabczewski, Ovo Grabczewscy Architekci, Kracow, Poland
• Marcin Kościuch, Architect, Ultra Architects SC., Poznań, Poland
• Tomasz Osięgłowski, Architect, Ultra Architects SC., Poznań, Poland
• Anna Siedlecka, Industrial Design, Studio Puff-Buff Design SC., Warsaw, Poland
PORTUGAL
• Camilo Rebelo, Architect, Camilo Rebelo Arquitecto Uniperssoal Lta., Porto, Portugal
SERBIA
• Branko Lukic, Industrial Designer, NONPROJECT, Palo Alto, California, USA
SLOVANIA
• Aljosa Dekleva, Architect, Dekleva Gregoric Arhitekti, Ljubljana, Slovania
• Tina Gregoric, Architect, Dekleva Gregoric Arhitekti, Ljubljana, Slovania
SPAIN
• Raul del Valle González, Architect, Maquinas Para Vivir, SL., Madrid, Spain
• Luis Suárez Mansilla, Architect, Suárez Santas Arquitectos, Bilboa, Spain
• Pablo Oriol, Architect, FRO-Rodriguez y Oriol Arquitectos, Madrid, Spain
• Fernando Rodriguez, Architect, FRO-Rodriguez y Oriol Arquitectos, Madrid, Spain
• Asier Santas Torres, Architect, Suárez Santas Arquitectos, Bilboa, Spain
SWITZERLAND
• Simon Hartmann, Architect, HHF Architects GmbH., Basel, Switzerland
• Tilo Herlach, Architect, HHF Architects GmbH., Basel, Switzerland
• Pascal Müller, Architect, Müller Sigrist Architects, Zurich, Switzerland
• Tanya Ruegg, Architect, Camenzind Evolution Architects, Zurich, Switzerland
• Peter Sigrist, Architect, Müller Sigrist Architects, Zurich, Switzerland
• Claude Zelleweger, Industrial Designer, One & Company, San Francisco, California, USA

The “Europe 40 Under 40” program was initiated by The European Centre and The Chicago Athenaeum to spotlight and identify the next generation of European architects and design professionals who will impact future living and working environments, cities, and rural areas in Europe and around the world.

Presented annually, the program is open to all young European architects, landscape architects, urban planners,dustrial designers, graphic designers, and fasion and textile designers who are under the age of 40 who are working independently or in a firm or on a specific project where they are the lead designer.

In 2008, hundreds of architecture and design submissions for 2009 were received by The European Centre from across Europe (both Members States of the European Community and Accession States). “The jury selection and process was extremely difficult,” states Ioannis Karalias, Museum Vice President, The Chicago Athenaeum. “The jury was presented with hundreds of excellent projects and designs from skyscrapers and large-scale urban planning projects to the highest quality industrial design for commercial and consumer use. It was difficult to narrow the number down to simply 40 design firms (60 designers and partners of design firms in total).”
In the category of architecture, projects by the selected architects included corporate architecture, skyscrapers, institutional projects, religious buildings, civil and political structures, planning projects, urban renewal, restoration/renovation projects, sports and transportation centres, institutions, parks, monuments, and public environments.
In the category of industrial design, the latest products for furniture, lighting, household items, and bathroom and kitchen fixtures.
Projects were judged on the merit of design innovation with the emphasis on pushing the envelope on conventional methods and exploring new ideas, theories, and approaches to contemporary design.

The Chicago jury of distinguished architecture and design practitioners included:
• Brian Douglas Lee, Partner, Skidmore, Owings & Merrill, Chicago
• Mark P. Sexton, Principal, Krueck & Sexton Architects, Chicago
• Richard Tomlinson, Partner, Skidmore, Owings & Merrill, Chicago
• Christian K. Narkiewicz-Laine, President, The Chicago Athenaeum

The program is organized by Kieran Conlon, Director/COO, The European Centre and Lary L. Sommers, Director of Administration/Marketing, The Chicago Athenaeum.
“The success of this program, in identifying Europe’s most prominent emerging design talent, attests to the continuing strength of contemporary design in Europe today,” states Mr. Conlon. “The key,” he continues, “is to bring wider recogition to these 40 most promising architects and designers working in the European Union and other countries inside Europe, fostering and encouraging new talent and new creative thinking at the forefront of the profession today.”

Information about the winning architects and designers together with their works can be found at The European Centre’s website: www.europeanarch.eu.

The winner of the Formland Design Award, Josefine Bentzen, was overwhelmed when she received the award during the opening of Formland Autumn 2009 on Friday at MCH Messecenter Herning. The design award was presented to the designer and the ToddlerCompany for a new and modern version of children’s cutlery, which focuses on comfort, functionality and play.

- Winning the Formland Design Award is a great honour. We are here at the Formland fair for the first time and it is here that we begin marketing of our children’s cutlery. We could not have got off to a better start, says Josefine Bentzen, who was presented with the award by the Director of the Danish Design Association, Gitte Just.

Design recognition in 2003

The idea for the product came in 2003, when Josefine Bentzen created children’s cutlery as a study project at the Danish Design School in Copenhagen. In the same year the project was shown at the Formland fair, where it came first in the DesignSpot competition for young design students.

- The children’s cutlery looked a lot different back then, not like it does today. But the idea was the same. To create a product, which makes everyday life easier for families with young children, says Josefine Bentzen.

After Formland the idea was returned to the drawer – and five years would go by before it was taken up again. Josefine Bentzen has spent the past year working on functionality, form and design in cooperation with Fabrikators, who are the company behind ToddlerCompany. Production is now ready to begin in Skive – and from 1 November the product will be shipped to both Danish and foreign stores.

Launch in 30 countries

- ToddlerTable Cutlery is being launched in more than 30 countries around the world and we are expecting a great deal of our children’s cutlery. It has been really well received so far. Japan in particular has been really interested in the product. Now we have won a design award in Denmark and are moreover nominated for an innovation award in Germany, says Peter Andersen, partner in ToddlerCompany.

ToddlerTable Cutlery consists of a knife, fork and spoon in four fashionable colours – orange, blue, green and red. The cutlery is aimed at toddlers and small children above the age of six months. The recommended retail price is DKK 299. From spring 2010 the series will be expanded. ToddlerTable Cutlery will also offer a cup, plate and bowl in the same colours and design.

ToddlerTable Cutlery is designed by Josefine Bentzen. The designer has placed emphasis on creating cutlery that supports the children’s development of motor skills. The cutlery was designed on the basis of the special way children grasp things. The Scandinavian Award Committee who are responsible for the choice of winner gave the following reasons:

“This is the child’s own cutlery. The design is good with a handle that fills the whole hand. The design, combined with an anti-slide material on the handle, means that the child has a good grip on the cutlery, which can quickly help to make eating themselves a good experience. The colours are spot on and the expression is unique. The cutlery is playful, practical and very attractive – it looks good on a well-laid table. And it is also made of environmentally friendly material. A new, obvious idea for a christening present.

The recommended retail price for ToddlerTable Cutlery is DKK 299. The children’s cutlery can be seen at stand C2710 at the Formland Fair.

The other nominees for the Formland Design Award were EGO with a bamboo collection, Eva Denmark with Eva Trio kitchenware, PK Design – Design House Stockholm with the Arrow hook and Hornvarefabrikken with the Anines vases. A total of 70 products were submitted for judging at the Formland Design Award – Autumn 2009.

On the occasion of the anniversary, we decided to take a walk down memory lane: the Vipp 70th Anniversary Edition has been produced according to the specifications of the very first Vipp bin, created in Holger Nielsen’s workshop 70 years ago. The miniature bin comes with the original ears, logo and wavy lid.

The first Vipp bin saw the light of day in 1939 when Holger Nielsen created it for his wife Marie’s hairdressing salon. Much has happened over the past 70 years – the Vipp bin has been dressed in a variety of colours, it has been exhibited at the Louvre, and many international personalities in the worlds of fashion, design and music have sprinkled stardust on the Danish design icon. And yet, the Vipp bin remains just the same.

Down-to-earth and practical – timeless, elegant and designed to last the next 70 years.

The Vipp 70th Anniversary Edition is available in selected shops.

Retail price: GBP 80 / Euro 95

Meet Jette Egelund – the woman behind Vipp

Jette Egelund grew up with Vipp, and even as a little girl, she loved to watch the production of the bin – at first by looking over the shoulders of the employees and later by taking part in the production herself. It was a tough job in a man’s world, but she managed to get by. And so began the love for her father’s business, which she has headed since 1993.

The Vipp collection has been expanded significantly in recent years and now comprises everything from pedal bins through laundry bins to a complete series for the bathroom with a towel bar, toilet roll holder and much more. Find out more at www.vipp.com.

Price: £ 80 / EUR 95

Design: Holger Nielsen / Vipp Design Lab

Dimensions (cm): Ø 6 x H 10,4

Materials: stainless steel, rubber

Founded in Chicago in 1950 by Eero Saarinen and Charles and Ray Eames, GOOD DESIGN remains the oldest and most established awards program for the most innovative and visionary new product design worldwide. For almost 60 years now, the Award has been given to everything and anything from a NASA space ship to a paper clip. In 2008, over 500 new product designs and graphics from over 33 nations were recognized with the distinguished GOOD DESIGN Award. The world’s most prominent FORTUNE 500 companies use the GOOD DESIGN logo in the branding of their products, which has become a strong and effective mark of public recognition of Design Excellence globally.

Past winners of the Museum’s historic program can be viewed at The Chicago Athenaeum’s website: www.chi-athenaeum.org.

In 2009 and on the eve of the 60-year anniversary of GOOD DESIGN, The Chicago Athenaeum: Museum of Architecture and Design and The European Centre for Architecture Art Design and Urban Studies (based in Dublin, Ireland) initiated a special edition of GREEN GOOD DESIGN AWARDS 2009.

GREEN GOOD DESIGN to focus on the most important new international products and buildings and construction and planning projects that are leading the global way to a design that is fully sustainable and compatible with the highest standards of good environment.

Landscape architecture, urban planning, architecture, and industrial and product designs from over twenty-three (23) nations were awarded in this first-year program: “Build A Better World Now.” Designs for buildings and products that emphasize the most advanced “Green Approach” and the most sophisticated methods and technology to make the most positive impact on the environment were cited and awarded.

The 108 awarded buildings and products for 2009 are to be exhibited at The European Centre’s Contemporary Space Athens (46-48 Megalou Vassilias, Rouf-Athens, Greece) July 8-August 31, 2009 and then form a traveling exhibition in Europe and The United States through 2010. The European Centre will publish the results in a special catalogue available in fall.

All 108 GREEN GOOD DESIGN awarded building and product designs for 2009 can be viewed at The European Centre’s website: www.europeanarch.eu.

Buildings and products from those nations include: Austria, Australia, Belgium, Brazil, Canada, Chile, Czech Republic, Denmark, France, Germany, Great Britain, Greece, Italy, India, Ireland, Japan, Korea, Luxembourg, The Netherlands, Portugal, Singapore, Sweden, and The United States.

The United States and Germany led with greatest number of awards for the best “Green Design” followed by Japan, Canada, and Belgium.

Some of the world’s most advanced corporations leading the “Green Revolution” are recognized: Bosch und Siemens Hausgërate GmbH., BMW AG., Daimler AG., Grohe AG., Asko Cylinda AB., Johnsonite/Tarkett, Herman Miller, Gaggenau Hausgërate GmbH. adidas, Ford Motor Company, Microsoft Corporation, Steelcase, Inc., Electrolux AG,. Electrolux Zanussi Italia SpA., Coca-Cola, Mohawk Group, Timberland, Royal Caribbean International, Ernst & Young, Kimball International, and Whirlpool Corporation. Designs by the world’s most important international architecture and product design firms are also cited: Benisch Architkten, Richard Rogers, Yves Béhar, Philippe Samyn, Dominique Perrault, Bjarke Ingels, Kengo Kuma, Richard Meier, Jo Crepain, Peter Latz, Gorden Wagener, Peter Pfeiffer, Souto Moura Arquitectos, Christopher Bangle, Arup Group, HOK, Martin Ballendat, Gensler Architecture, Gustafson Porter, Niels Diffrient, NKS Architects, Dirk Linke, Robert A.M. Stern, and Skidmore, Owings & Merrill for such buildings and planning projects and product designs as Westergasbabrik Park in Amsterdam to South Waterfront Greenway Development Plan in Portland, Oregon and the World Wildlife Fund Headquarters in Zeist in The Netherlands to the stunning, energy-efficient Mercedes-Benz F700 Concept Car.

Cited governments and institutions for GREEN GOOD DESIGN 2009 include: Town of Nachod in Czech Republic; Government of Greece; Government of The Netherlands; Chicago Park District; City of Amsterdam; International Polar Foundation in Brussels; World Wildlife Federation in Rome and Zeist, The Netherlands; Dublin City Council; University of Cork; U.S. Environmental

Protection Agency; U.S. General Services Administration; U.S. National Park Service; City of Seattle; and Tulane University.

“We initiated this special Green Edition of the annual GOOD DESIGN program to emphasize the most profound and enlightening developments in this new world era of design for sustainability,” states Kieran Conlon, Director/COO, The European Centre for Architecture Art Design and Urban Studies from his office in Dublin, Ireland.

“In partnership with The Chicago Athenaeum, the idea is to bring into the international forefront the most important advances, pioneering design, management, manufacturing and building processes that can improve the world’s environmental quality and product quality while lowering the world’s environment and toxic discharges, minimizing the use of non-renewable resources, and reducing the use of renewable resources to sustainable levels,” Mr. Conlon added. “This is a public education outreach program of paramount purpose at a time when countries like the United States are changing their environmental perspective. We specially were interested in on focusing on industry, new technology, government, and the public.”

Hundreds of submissions from around the world were submitted for this first edition of GREEN GOOD DESIGN by architects,

developers, product designers, manufacturers, organizations, foundations, and general public. The submissions were reviewed and awarded by a jury comprised of the European Centre’s International Advisory Committee—leading experts in the fields of architecture, design, real-estate, and manufacturing from Europe, the United States, and Japan.

For GREEN GOOD DESIGN 2009, the entire nation of Sweden was awarded as the most “Green” country in the world and for the country’s lead in policies concerning energy consumption, waste management, green design research, life cycle impacts, commerce and industry, carbon footprinting, corporate responsibility, and public education.

The Headquarters for the Council of The European Union by Philppe Samyn and Partners in Brussels and Studio Valle Progettazioni Architects in Rome is a superb extension and refurbishment of the Residence Palace Building built between 1922 and 1927 that converts the L-shaped building into a glass “cube.” The new double façade, made of a harmonized patchwork of re-used wooden windows with simple crystal like single glazing becomes an acoustic barrier that offers thermal insulation while providing sustainable regeneration. Philippe Samyn’s International Polar Foundation Belgian Antarctic Base Prince Elisabeth takes a sustainable development approach with the intergration of renewable energy sources, optimsation of energy flows, optimization of materials and total waste management integrated into the design for the new research station located at 72° S 23E on the northern ridge of the Utsteinen Nunatak in the Sør Rondane Mountains of Antarctica.

Other prominent Green buildings awarded in clude new skyscrapers , corporate headquarters, museums, universities, educational buildings, research facilities, showrooms, libraries, apartment buildings, bus shelters, recycling centers, and private homes in

Dublin, Milan, Rotterdam, Copenhagen, Seoul, Paris, Santiago, Vancouver, Antwerp, Brussels, London, Calgary, Chicago, Seattle, New Orleans, New Delhi, Sao Pãolo, and New York.

Leading the awarded Green Products are new designs for furniture, lighting, washing machines, refrigerators, overs and cooktops, dishwashers, floorcovering, and packaging design that forward the principals of regeneration, energy efficiency, ecological

consequence, deforestation , and renewable energy while providing the latest and most innovative design.

“GOOD DESIGN” is not about color, style, impression, or trends but instead about thoughtfully considering the use and user of the product or building, the experience, the social and environmental context, and the impact a building or object has on the surrounding environment,” states Christian K. Narkiewicz-Laine, the Finnish architect and architecture and design critic and curator of the

historic GOOD DESIGN program. “Green Design is GOOD DESIGN. No design can be considered good design unless it attempts to address all these concerns. We believe in the original modernist ideology of the original GOOD DESIGN program as forwarded by Saarinen and Eames in 1950 that form and function are intertwined in design. Style and substance are not mutually exclusive.

Buildings and products are environmental,” he adds.

“Our current civilization,” states Mr. Narkiewicz-Laine, “is on the verge of the next revolution, larger than the Industrial Revolution of the 19th Century, in order to find and make our world the most sustainable and more energy-efficient and to eliminate negative environmental impact completely through skillful, sensitive design. GREEN GOOD DESIGN will blazon that international path.”

The deadline for submissions for the 2010 GREEN GOOD DESIGN Awards is November 1, 2009.

Applications for 2010 and more information is available on line at The European Centre’s website: www.europeanarch.eu

For more inforation contact Lary Sommers at The Chicago Athenaeum at +1/815-777-4444 or by email

at lary@chicagoathenaeum.org

With a Stelton Shopper you can make a difference. We use more than 1 million plastic bags a minute all over the world. In Denmark alone we use abut 300.000 a day – thought-provoking!

Stelton is “going green” – ‘It is time for a change – no more plastic bags” Stelton Shopper = 5,23 plastic bags energy consumption in the production of a Stelton Shopper is equal to the energy consumed producing 5,23 plastic bags – but the Shopper can be used again and again and again – it lasts for many years! This means in fact that after using the Shopper for a week you are making a difference to the climate.

The Shopper is smart and handy and is easy to keep in a pocket or bag. The bag hides away when not in use, folded into its own plastic handle. When you need to use Shopper, simply pull out the bag then slide the plastic handle back over the actual bag’s handles which avoids the handles from going deep into you hands when the bag is full. The Stelton ‘Shopper’ is good for the economy, your hands and most importantly the environment.

• The handle works as a case

• Handle carries the bag

• The bag may be washed at 30 degrees without soap

• The bag carries 10 kg

• Price $ 25,-

Design

Designit was founded by the three industrial designers Anders Geert-Jensen, Mikal Jørgensen and David Fellah. Today Designit has offices in Aarhus, Copenhagen and Paris. Designit awards include the International Interior Design Award 2000, the iF Product Design Award 2001 and 2009 and Red Dot Design Award 2003, 2005 and 2009.

Technical data

Artikel No.

1600-1 Shopper, black, graffiti

1600-2 Shopper, black, statement

1600-3 Shopper, dark blue, pattern

1600-4 Shopper, maasai-red, tree

1600-5 Shopper, lilac, rose

1600-6 Shopper, olive, tree

Materials – plastic and nylon

Width – 41 cm / Heigth – 48 cm / Depth – 13 cm

Design – 2009

The exhibition it’s a small world challenges the Danish design tradition and explores future design practices in a global perspective.

it’s a small world has been developed in a collaboration involving the Danish Design Centre, Danish Crafts and the Danish Architecture Centre based on an initiative from the Danish Ministry of Economic and Business Affairs and the Danish Ministry of Culture. it’s a small world is an international travelling exhibition that will be launched during the Copenhagen Design Week.

The exhibition will travel internationally throughout 2010/2011 and is on display at the Danish Design Centre from 28 August 2009 until late January 2010.

Denmark as a creative nation

Denmark has a long-standing tradition as a leading design nation. With the exhibitionit’s a small world the organisers wish to present and highlight the new Danish design competencies and showcase Denmark as a society with a creative and politically conscious design environment. A society where universal design issues are on the social and, not least, the cultural agenda.

“Danish design, craft and architecture are founded in a strong design tradition and are currently undergoing tremendous development. In the exhibition it’s a small world, which is to be presented to an international audience, the Danish Design Centre, Danish Crafts and the Danish Architecture Centre demonstrate the contributions that new design, craft and architecture can make to a global debate on sustainability”, says Ms. Lene Espersen, the Danish Minister for Economic and Business Affairs.

Individual demands and global responsibility

it’s a small world examines the role of design as problem-solver in a world filled with surplus production and an endless supply of products. Global challenges such as sustainability and, not least, the growing demand for individual, non-standardised solutions make both specialisation and flexibility key concerns at every stage of the design process. The interaction between individual preferences and global needs is the background for the debate that the exhibition raises.

Six scenarios

We’re so normal, I’m so special and It’s Your turn are the titles of three of the six scenarios that fuse design, craft and architecture into one in an interdisciplinary dialogue that takes place in an exhibition design consisting of iceberg-like structures.

Based in new works and new design processes, the exhibition features examples of New Craftsmanship and non-standardised practices, which are redefinitions of the classic design tools that have been replaced by process competencies and a rediscovery of craft techniques and traditions in a contemporary context.

The audience is invited to get involved in the scenarios, and among other experiences the exhibitions offers a view of the world through a child’s eyes from the transport box of a Christiania bike or experience Henrik Vibskov’s carwash. The audience is encouraged to join a dialogue about the design of future cities and sustainable homes and invited to try out a sustainable sofa for the entire family.

The exhibition has been curated by:

Danish Design Centre, Architect/Designer maa/mdd Tina Midtgaard (project manager)

Danish Crafts, Architect Karen Kjærgaard

Danish Architecture Centre, Architect maa Kjersti Wikstrøm

When the sound of roaring engines and the smell of burning rubber becomes too much, visitors of Aston Martin can retreat to the company’s trackside hospitality pavilion without missing any of the action. No less than twelve of the brand new BeoVision 8 40” LCD TVs from Bang & Olufsen offer a splendid view of the racing on the track, no matter which way you turn. The lounge area also contains state-of-the-art Bang & Olufsen equipment, represented by the new BeoVision 7 40” with built-in Blu-ray player, if you should wish to take your eyes off the race for a while. Two BeoLab 5 loudspeakers, which represent the very best in audio reproduction, complete the idea of escapism; use one of the game consoles to duel against your friends in a car race, and it will literally sound as if you are sitting in an Aston Martin yourself!

Speaking of cars, audio aficionados visiting the Aston Martin hospitality pavilion will truly appreciate the demonstration of the BeoSound DBS audio system offered by Bang & Olufsen. The BeoSound DBS system has been acoustically tuned for the Aston Martin DBS by Bang & Olufsen’s skilled tonmeisters and Bang & Olufsen’s advanced Digital Signal Processing unit, which stage-manages the musical performance of the thirteen individual loudspeakers for the optimal in-car listening experience. Engineered to exceed all expectations, BeoSound DBS embodies the essence of sound and motion, demonstrating conclusively that high fidelity is perfectly compatible with high performance.

Together, Bang & Olufsen and Aston Martin present a partnership of two innovative companies with a proud tradition in technology and design. Both Bang & Olufsen and Aston Martin blend an unrelenting quest for technical excellence with an uncompromising commitment to quality and style. And both have the courage to go far beyond the conventional.

The partnership between Bang & Olufsen and Aston Martin has so far resulted in Bang & Olufsen sound systems for the Aston Martin DBS, the DBS Volante, the DB9 Coupe and the DB9 Volante.

The Bang & Olufsen Sound System for the Audi A5 Sportback is based on a fine line of sound systems, and now it is developed even further to match the personality of this unique car. Like its precursors, this innovative audio system offers the perfect combination of sound and vision with its strong performance, integrated operation and dynamic design that matches the sporty look and feel of the Audi A5 Sportback perfectly.

Music is an indispensable part of modern life, which means that good sound reproduction is more important than ever. With the sound system for the A5 Sportback, there is no compromise in this respect. Surrounding the driver and passengers with sound from its 14 speakers, the 505 watt system completes the driving experience much as the unique design of the aluminium rings integrated in the speaker grills merge seamlessly with the cool interior of the A5 Sportback.

Drive-in bio

The Audi A5 Sportback offers the possibility to play DVD-Video. When adding the optional Audi MMI Navigation Plus, the Audi A5 Sportback comes with a 10GB Jukebox, CD/DVD player and a 7” high resolution wide screen. In addition, Bang & Olufsen’s proprietary True Image™ technology turns 2- and 5.1-channel signals into perfect 7.1-channel surround sound, distributing both channels to all loudspeakers in the car – each with its own particular delay and level.

The quality of the sound system has been tested and proven by our acoustic experts. And the audio system for the A5 Sportback incorporates the same proven technologies, competencies and philosophy as the Bang & Olufsen Sound System presented in the stunning Audi A5 Coupe. In other words, yet another car-audio system has been added to the family of high quality automotive audio systems from Bang & Olufsen.