As a tradition, the autumn design market will again be a part of the festival weekend: to explore the Design Street no driver’s license is needed as there's plenty of room for wanderers on foot! Walk through the streets and discover lots of great fashion-, accessory-, product- and interior design.
In order to value design and the profession of designer, the Estonian Association of Designers decided in 2006 to start giving out the Estonian Design Award. The first Design Award was given out in the eighties by Tallinn Art Institute Department of Design at the initiative of Bruno Tomberg, after whom the Estonian Design Award has been named. Among the award-winners are experienced professionals like Matti Õunapuu, Heikki Zoova etc.
The Estonian Association of Designers wishes to present innovative, high-standard new products to the public that would prompt Estonians to consume domestic design and motivate entrepreneurs to involve professional designers in product development. The recognition would encourage designers to create new interesting products and motivate them to learn about tendencies in design on the international level. For the design-knowledgeable entrepreneur participating in the competition with a designer and the public sector, product development from the aspect of design and design management would bring recognition and would be a good role model for others. In the long-term perspective, the Design Award is a springboard for new products and brands to the international arena.
The Italian Ministry of Foreign Affairs and International Cooperation presents the exhibition "3CODESIGN. 3R: Reduce Recycle Reuse". Spread over a space of 150 square meters, “3CODESIGN” offers a selection of recycled objects, products and furnishings, but also sustainable materials and technologies, all designed by Italian designers and/or Italian industries and companies in the sector.
The exhibition, with its sustainable installation plan designed by Bruno Morello, aims to offer an inevitably concise yet sufficiently paradigmatic overview on how Italian design is working towards the direction of the latest environmental sustainability needs, a real inversion of trend compared to the systems of production and design strategies employed during the 20th century. It is an overall and radical rethinking of a production model that aimed at the over-exploitation of resources; a re-evaluation of all the stages of design and production – a starting point for thinking of objects and products that become repairable, reusable, shareable, and recyclable. Instead of ending up in landfill, the value of an object must remain in circulation, by regenerating itself continuously.
Curated by Silvana Annicchiarico, the exhibition will be circulating abroad through the diplomatic-consular network and Italian Cultural Institutes for the next three years, with the aim of giving space and visibility to the new frontiers of Italian design and to actualize the reputation it enjoys around the world, telling the story of the journey of the designers toward environmental sustainability. “3CODESIGN” has previously been to Prague, Doha, Shenzhen, Toronto, Washington, Tunis and Pristina.
On display: Massimiliano Adami, Luca Alessandrini, Alessi, Giuseppe Arezzi, Antonio Aricò, Artemide, Alessandra Baldereschi, Mariapia Bellis, Guglielmo Brambilla, Anna Castelli Ferrieri, Carraro Chabarik mosaico contemporaneo, Valentina Carretta, Acqua Chiarella, Citco, Lorenzo Damiani, Da a Italia, Rodolfo Dordoni, Pablo Dorigo, ECAL, Errepi technology e Pepo con Allard, Assenza, Ferretti, Paniccià e Marin, Favini, Salvatore Ferragamo, Fondazione Cologni dei Mestieri d’Arte, Fonderia Artistica Versiliese, Doriana e Massimiliano Fuksas, Piero Gatti Cesare Paolini e Franco Teodoro, Gervasoni, Luca Gnizio, Grado Zero Group, Kanesis Mkr Lab Bilcotech, Keep Life, Konstantin Grcic, Martí Guixé, Giulio Iacchetti, It’s Great Design, JoeVelluto Studio, jpeglab, Kartell, Marta Laudani, Piero Lissoni, Roberto Lucchinetti, Magis, Manerba, Enzo Mari, Antonio Marras, Luciano Marson, Issey Miyake, Mosaicomicro, Myop, Paola Navone, Nerosicilia Group, NestArt s.r.l., Lorenzo Palmeri, Pieces of Venice, Matteo Ragni, Sapiens Design, Seletti, Silk hi-tech classical instruments, Slamp, Sovrappensiero Design Studio, Philippe Starck, Martina Taranto, Teraplast, Tipstudio, Toiletpaper, Toiletpaper loves Seletti, Paolo Ulian, Zanotta, Zava Illuminazione, Marco Zito.
Ten students from Denmark (Design School Kolding), Finland (LAB University of Applied Sciences), Lithuania (Vilnius Academy of Arts) and EKA took part in a week-long CIRRUS workshop ''Reinvented footwear''.
Students covered the following topics: material waste mapping in the industries; handicraft skills to use as part of designing and prototyping; design research methods and working with people from different cultural and socio-economic backgrounds. Course objective was making a shoe / shoes out of recycled materials.artun.ee/aksessuaar
*Local upcycling. Using the post-consumer textile waste as a raw material to create novel designs with new value.
The rapidly overwhelming mountains of textile waste generated from used garments, household textiles or undisposed clothing has become one of the main sources of concerns that take a toll on the environment and waste management. With Europe, US and China exporting most of their textile waste to African countries, the maddening amount of discarded textiles waste is growing into a major component of the landfills- the extremely polluted rivers, textile dumping or burning in the outskirts in Kenya or Ghana are just some of the visible evidence.
Repurposing and upcycling used clothes locally is one of the most effective solutions there is to deal with the textile waste issues we are facing. Upcycling involves endless creative ways of using old products and redesigning or repurposing them by giving them a new life. Moreover, by making use of already existing materials the consumption of new materials is reduced which can result in a reduction of energy usage, water pollution, CO2 emissions, hence taking a significant step towards zero waste.
The invited exhibitors here showcase a selection of possible solutions to the textile waste problem by taking advantage of the qualities and properties that the discarded textiles still possess and by giving them a new purpose.
*Industrial upcycling - circulating leftovers back to production inside factory
The innovative UPMADE® upcycling design & production system allows industries to turn excess pre-consumer materials into garments which present savings in water, CO2 and energy usage.
UPMADE® enables brands and manufacturers to apply our industrial upcycling method and obtain certification. A circular economy produces zero waste and pollution, by design. It is an ideal that the UPMADE® method supports in a real and practical way. Traditional clothing manufacturing creates an average of 18% textile leftovers. Our method closes the loop by applying upcycling on an industrial scale and reducing the amount of textile leftovers. Thanks to this, that 18% can now be turned from cost into value. The UPMADE® Certification process is the outcome of a solid partnership between comprehensive field research and thorough scientific analysis to meet the most far-reaching aspirations in upcycling. It strives for a smaller environmental footprint and maximised resource efficiency in the textile industry through a broader use of upcycling in industrial production.
The display consists of examples in industrial upcycling by Reet Aus PhD.
+ a video describing an example of industrial upcycling in Bangladesh
*Recycling - presenting practical evidence of the potential of textile recycling.
According to the European Commission’s report “Towards an EU Product Policy Framework contributing to the Circular Economy”, recycled materials only account for around 1% of all materials used in textile production. It’s a surprisingly small number, given that we would be able to do much more. Textile waste has become one of the most complex types of waste in the welfare society. But why?
The reason lies within the materials. This 1% is, in large part, due to the fact that many designers don’t take into account the principles of circularity. Most of the clothes we wear are made out of mixed materials that are difficult or even impossible to recycle. Consumption in the welfare society is endless and post-consumer waste has become a massive problem. Within the European Union, we are only able to collect 25% of used clothing, and only 1% of that gets recycled. The rest is burned or sent to landfill. In Estonia, for example, the recycling percentage is 0%. That is shocking and devastating.
The Sustainable Design and Material Lab in the Estonian Academy of Arts is tackling the issue of post-consumer textile waste with an ongoing research project funded by the Estonian Environmental Investment Centre (EIC). The project aims to find solutions to the Estonian post-consumer textile waste through mechanical recycling, new yarn and textile composite material development. This display showcases a selection of results from material and product development process concluded within this project- all presented product designs are made entirely from recycled textile waste.
* Regeneraitive Textile design - Layers of Repair
The popularity of the #visiblemending is proof that mending textiles is becoming a trend on social media. Is it just a passing flow or can the act of repair mend the World? To avert catastrophic climate change huge numbers of us must embrace necessary shifts in behaviour. Wearing out gives the user a possibility to interact with the clothing by adding layers of repair as a sign of increasing value over time. Mending could be similar to the way nature heals itself - adding up new layers and slowly repairing manmade damages. Imagine a World where things have a life of their own in the hands of a user or multiple users.
Artisan designer Anthony Luciano is a first generation New Yorker, a second generation Italian, and the last of six children, who carries with him evolution of artistry and old world traditions. Having learned how to do handwork – embroidery, crochet, knitting and stitching – from his grandmother, Anthony started collecting anything vintage before he even started his business.
When he started making accessories, he was obsessed with vintage clasps and would always be on the lookout for local vintage gems, both when travelling abroad (Paris, Rome, London, Cairo etc) and in the States (different state sales, flea markets in NYC and other places). This brought him to the world of handbags: Anthony is fascinated about the history and the story of these women who would carry these beautiful bags. Who were those women and what was their lifestyle? What kind of events were they attending?
His collection of globally sourced vintage handbag clasps provided the spark and inspiration to launch his eponymous collection in 2000, with the intent to produce a luxurious line of day and evening bags of the highest quality and craftsmanship. Almost immediately, his bags filled the racks at some of the finest retailers in America, including Bergdorf Goodman, Neiman Marcus and Stanley Korshak.
Anthony likes to remake the bags using his imagination, his knowledge and research on the history of accessories throughout different centuries. He remakes the bag with contemporary twists and attaches it to the vintage frame.
ELAU welcomes the participants of Tallinn Design Night in the courtyard at the center of the festival. A connecting carpet, designed by Lylian Meister, divides the courtyard into three separate zones. A multi-purpose event space, raised garden beds and Extery pocket-park invite everyone to spend time outdoors, socialize and share thoughts on "green" topics. The yard is designed to have a lot of green elements, but the question is whether everything green is actually green in the sense that we want it to be.
In addition, GREEN YARD hosts the exhibition of landscape students' work.
As a natural building material, wood contains a unique richness which is impacted by many factors including climate and topography. Whether the building site is next to a forest or not, timber used in construction has been subjected to an industrial decision-making process that dictates its final physical properties. In this act of translation, where wood is often treated similarly to other inanimate materials, a tree’s uniqueness is sacrificed for transportability, structural consistency and usability.
Focusing on the characteristics of wood, the exhibition explores the act of transformation across the life cycle of the material; from extraction to transportation, standardisation to encapsulation and eventual disassembly for potential reuse. In seeking out the unique traits of timber, we aim to question how industry and construction can learn from and be shaped by the inherent qualities of the material.
“There is a forest in my backyard but my house is built from trees grown far away” has been awarded with the Architectural Association of Ireland (AAI) Award. Curators: Aet Ader, Helmi Marie Langsepp and Mari Möldre (b210 Architects) and St John Walsh (Alder Architects). Participating offices: Creatomus Solutions, Hannigan Cooke Architects, Joseph Mackey Architects, OGU Architects, Paco Ulman & Kaja Pae, Peeter Pere Architects, Studio Kuidas, Robert Bourke Architects, Ruumiringlus, Wrkshop Architects.
Participants in the Curatorial Exhibition will be gathered in five thematic groups: Metabolic Home, From Brick to Soil, Food and Geopolitics, the Archaeology of Architecture and Food Systems and the Future Food Deal. The exhibition
“Edible" at Estonian Museum of Architecture is open until November 20.