Kolding School of Design graduation 2013
Curation and design of DSKD’s graduation exhibition 2013 at Koldinghus
In March I was invited to curate the graduation exhibition at Kolding School of Design, a programmatically determined, carefully composed and joyful, almost motherly organization and one of the two national design academies of Denmark. When I began working on the project, it felt for both the humane characteristics of this program and the fact that I dislike exhibitions of this kind that serve the institution more than the graduates to be appropriate that I align my approach with the individual graduates and their amibitions setting out into their careers.
In an initial workshop, I asked how each of them wished their practice to develop once having left the frame of the academy. There emerged different "wills" from there and from their theses that I felt characterized the designers better, by a more intimate layer of temperament, in their production. These became the structure of the show, across which projects from all study departments were distributed.
In KRYDSNING (crossing), projects were shown that dealt with conflicts of all sorts. RADIUS grouped works that aimed at expanding practical reach in technique, method or technology. FUNDAMENTET (the foundation) showed projects that set to inspect fundamental concepts, mechanisms and conditions such as infrastructure, perception, tradition, construction of identity etc. VÆLD (abundance, overflow) joined work that proposed for a sensual dealing with the environment.
To defy scale and save the show from suffocating in the imposing mass of Koldinghus castle, the display was realized by the graduates themselves, in a dimension that challenged the stage as much as their construction experience, in a beautifully intense, two-week production effort in which we used a mere 8.000 Euros in equipment and material.
Curation, design, technical planning, production and budget control. 2013
Oak dining table 2400 × 750 × 750 mm. Produced by Petri Koivusipilä, Finland
I got the commission to design a table for a client who wanted to accompany it with a set of Hans Jørgensen Wegner’s CH24 chairs. Since much of the strength of Wegner’s work stems from his training as a cabinet maker, I got interested in how I would reply to him from a background that was based around completely different things.
I eventually drew the table in an essentially 2D shape, one that is the material’s own only in relation to a machine environment, and whose response to Wegner’s joinery is in an admission of absence. The graphic, volatile slab structure that lets the eye slide off easily lends more to the environment than to itself, and thus occupies a space that is very different from that of Wegner’s mesmerizing compositions and that complements them effectively. Directly related to Wegner’s idiom are the fine-tuned angles of the tapered legs that reveal a silent but complex dynamic when one moves about the piece.
* Of course there is lots to argue against that, too. But Grcic or Diez, for example, have both a cabinet makers background. A big influence, by the way, was also Clemence Seilles for this project, check her out.
To shield off glare, no hard material is used in this light but the manual gesture of applying spray paint where light should not pass. Tweaking the driver electronics allowed for building a circuit with three cathodes instead of the usual two in order to draw a more voluminous object in terms of space and light.
Fluorescent light, electronics, spray-paint. 2010
Remote Material of Implication
Contribution to Instatements, an exhibition on the future of the post-industrial city.
When our studio was asked by the Van Abbemuseum to present our position on how cities should address the evacuation of the former industrial sites in their centres, we soon found that it is not only the industry that is retreating from the city but, more generally, all various trades of manual—“manipulative”—character. Our daily paths are most likely to oscillate between two poles of city life—areas for dwelling and areas for shopping and leisure (with work succumbing to the interplay of both). While production becomes increasingly obscure and products hermetic, we rarely find a workshop to fix electronic devices or a woodworker to repair broken furniture. This binary construction, which has to do with proprietary strategies of production as much as with visibility, is the urban rendering of the consumer model.
To install the idea of a city in which production and manipulation have equal place beside dwelling and commerce, we chose to appropriate and produce by hand a piece of heraldry of the real-estate industry and erect it in a heavily contested brown field in Eindhoven. The construction billboard, a structure that usually announces the end of a decision making process based on capital grounds, was in this way confronted with a new kind of work—a thinking work less inclined to (re)produce than to manipulate, to question and to know of, in a sense that appears important if the citizen is not to degrade into a user.
Support structure and billboard (W 7m × H 5m × 4m) with silk screen print in seven colors, accompanying documents.
Instatements program curated by Clare Butcher/Van Abbemuseum Eindhoven and Uri Ben-Ari. Presented on occasion of the Dutch Day of Architecture 2010. Exhibition catalogue published by
Van Abbemuseum, Eindhoven. With Pierre Tectin, Garance Echazarreta, François Dumas, Gero Asmuth, Erasmus Scherjon. 2010
Kraken heeft Nederland vormgegeven
Initiative to advocate the continuity of Dutch legal squatting.
The Dutch Kraakwet was a unique expression of famed Dutch liberalism. Ruling that citizens may appropriate any real-estate standing vacant for a minimum period, it helped mitigate the stress on an utterly overcrowded housing market. Particularly beneficial to creatives in search of production space, it also played a vital role in facilitating the large-scale manual research that characterises the Dutch creative output of the last decades.
When the law was put up for debate in 2009, public discussion focused on instances of misuse while no due was paid to its place in the biographies of the designers, artists and architects with whose success the country has been priding and strategically promoting itself since the 1990’s.
Since I had been fortunate myself to find my workspace through the conditions set in and around the law, it felt incongruous to me that this dimension be omitted. I therefore launched Kraaken heeft Nederland vormgegeven to lift into view the perspective of creatives working in Holland.
The initiative instantly received strong support from many of Holland’s most prominent creators and institutions. It produced various exhibitions and worked with the media to demonstrate how large a portion of Holland’s creative scene indeed had found the framework to begin their careers in the disputed law. A book of collected statements by the supporters on their experience with the law as part of their work biographies was given to the Dutch Senate.
The Kraakwet was eventually sacked by the center-right government in 2010.
KHNLV was shown at the NAi Rotterdam as part of the Architecture Biennale 2009. It was publicised on in Dutch and international news media and specialised press and has since featured in Dutch urbanist discourse.
Kraaken heeft Nederland vormgegeven, lit.: “Squatting designed the Netherlands”. Various public and press activities, posters, book (silk screen print). See http://mborn.com/kraakinfo/ for a collection of documents. 2009
Coalition of Amateurs
Contribution to Coalition of Amateurs by Jerszy Seymour.
With Travis Cole Broussard, Erasmus Scherjon, François Dumas, Pierre Tectin, Gero Asmuth. 2009
Modular steel shelving system
The faculty to accumulate in three dimensions makes this shelf an efficient storage system as well as a means for structuring spaces.
Steel, laser-cut and bent, plastics. 2009
By bending opaque textile panels, the Shades curtain allows to regulate a room’s daylight exposure from direct to fully indirect.
When shut, direct light no longer reaches any point in the room. Instead, its reflection is caught on the textile, providing a majestic manifestation of indoor natural light. The curtain movement is driven by a string mechanism which can be operated either manually or electrically. Electronic triggering of the movement in function of the momentary daylight situation can be implemented by use of a photo sensor. Next to softening the light atmosphere, the curtain also has favorable acoustic properties. Shades can be applied as a window shielding or a spatial design element, and works in relation with natural or artificial light.
Construction of the atelier building at Voorterweg 136 in Eindhoven.
With François Dumas, Garance Echazarreta, Erasmus Scherjon, Gero Asmuth, Max Lipsey, Jakob Hohmann. 2009-11
Fair trade displays for comic publisher Huuda Huuda
Five shelves to be transported across Finland, by one man, with no car. Tool-free belt-and-beam design, custom made transport trailer.
Pitkämies/Huuda Huuda display furniture
Counter, book and record shelves for Jelle Cugaert’s Pitkämies comic store in Helsinki
Also housing the Finnish Comic Society’s gallery and the studio of comic drawers’ collective Kuti Kuti, the design for the shop was made to honor the hand as the building’s main force.
Accent light with tilt switch
Clamp is an accent light which locks onto level boards by means of its own weight. It features a movement switch, and adapts to different board thicknesses, giving it a plug-in feel.
Stackbox is a multimodal container which can be raised on legs for use as a sideboard; stacked to form a shelf; or function as a transportation crate. Its shape evolves from the central constructive element, the shaft accommodating the legs. It serves to distribute the structural forces in the raised setup, and distances the elements in the stacked alignment.
A vase to put flowers next to each other
The Long Vase is conceived for linear arrangements of flowers. Its columned silhouette originates from the incapacity of a single water tank to hold up such arrangements. At the same time, its repetitive, scale-less shape and the immaculacy of its industrial plastic material challenge both the centric forms and craft-derived techniques that still dominate the vase typology.
223DCNC is a formal and mechanical study of the possibilities to create three-dimensional constructs departing from a two-dimensional production environment. Specific problematics like undercutting and hinges are resolved by employing the thickness of the material as an agent to change the orientation of a connection.
Martin Born is a designer with no single specialization of work. His base business is the industrial design of products and furniture, which by an interest in the immaterial phase of the product and its being the consequence of the conditions that effect its coming to life, is paralleled by a practice of project work in adjacent fields to substantiate the wide-based perspective on design, production and social culture behind his work.
Martin's production concentrates on lighting and furniture typologies and has been presented in several selections of the German Design Council. His designs are part of the Architonic Design Collection (CH) while his political and exhibition activities have been shown at the NAi Rotterdam (NL) and Vanabbemuseum Eindhoven (NL).
Martin graduated from the Design Academy Eindhoven (NL) after studying at the Köln International School of Design (DE) and the University of Pforzheim, School of Design (DE). He lives in Helsinki, Finland, where he also teaches at Aalto University, School of Design in regular intervals.