We are very excited and proud to announce that The Institute of Advanced Design Studies (IADS), a new educational platform set to launch this October in Budapest, Hungary, co-founded by Karina Vissonova, PhD and Róbert Héjja, PhD.
Some of you may remember the article on Karina we published a while back. Well, she has been busy again! Her partner in this new venture, Róbert Héjja, is a well-known financial investor with a strong interest in green investments.
The Institute’s vision is to create a new wave of multidisciplinary design thinkers who will bring new sets of skills to their respective fields for radically increased sustainability. Ethics is at the heart of the venture; an idea that it is time for design to solve global challenges and that technology should be harnessed for the benefit of humanity and the environment.
The Institute’s manifesto is a summary of their values and learning objectives: Radically Sustainable, Deeply Ethical, Practically Resourceful, Respectfully Challenging and Openly Interconnected.
The highly integrated and interdisciplinary nature of the programmes is designed to complement well-established academic courses. The programmes are modular and combine the latest co-creative tools and processes used at leading organisations and consultancies with the Philosophy of Design and Ethics. As an independent, not-for-profit educational platform, all profits will be redirected to creating new educational and research opportunities and scholarships aligned with their values.
A One-Year Postgraduate Course for a select group of peers Every year, the Institute will select a complementary group of 25 postgraduate students to work intensively together with some of the world’s leading names in sustainability, design, product and service development and technology. These visiting lecturers replace a traditional faculty, allowing students gain access to an immersive learning experience with experts active in their field. Both the tutors and the students explore subjects in depth, with the shared ambition of shaping more comprehensive solutions that consider the potential impact of design manifestations, whether those outcomes are intentional or not.
Students leave the course armed with the latest knowledge on current developments in design, such as Design Thinking, new approaches such as Circular Economy, and how to organise around the continuous change. At the end of the one year course, the students publish their process and findings and are issued a diploma in Advanced Design Studies for Sustainability acknowledging their attendance and accomplishments.
In parallel to the postgraduate programme, the Institute will host extra-curriculum short courses and lectures in collaboration with the Arts Quarter Budapest. These courses also are open to external students.
Venue and Collaborative Partner: Art Quarter Budapest The Institute’s activities will be based at Art Quarter Budapest, an international contemporary art centre dedicated to the development of art and new media. Located in the vibrant city of Budapest, it consists of several buildings with indoor and outdoor exhibition space, workshop studios, residencies and common rooms.
The Institute began its collaboration with Art Quarter Budapest in 2018 with a common goal of advancing knowledge in the fields of Art and Design. Our extra-curriculum workshops and short interdisciplinary courses are run in collaboration with Art Quarter.
Launching during Design Week Budapest 2018
The two founders, Karina and Róbert will present their vision at a launch party and 3-day seminar and workshop during Design Week Budapest this October. Between the 10th and 12th October, there will be a series of seminars and workshop activities on biomimicry, where artists, designers and participants from other backgrounds such as ecology, technology, or engineering will work with each other to generate ideas applicable in arts and design inspired by nature.
I was on transit from Copenhagen to Stockholm. We shuffled towards the gate, slowly forming a queue. There was a friendly-looking couple in front of me, and we quickly started chatting. They were still absorbing all the many impressions and experiences that come from long-distance travel, from their trip to Sri Lanka. I was on my way back from India. We were longing to get home, but we also had mixed feelings about leaving.
That’s how I met Ingrid and her husband.
You can get to learn a lot about people in a short conversation. And those at the gates of random airports always seem to be especially economical in that way, especially poignant and memorable.
Ingrid told me that she is a 59-year-old mother of 4 children. A grandmother. She spent her whole life bringing up her children and working full-time. She loves everything do with nature. She had a pony once, and enjoyed taking care of her pony a lot.
Tommy had worked abroad before he met Ingrid, and had lived in Sri Lanka for a year. He got to know about the charity SOS Barn when he was there, and the great work they do at their children’s villages all over the world.
When Ingrid started to talk about SOS Barn, her eyes welled up.
“I’ve never donated to any other organization before I met Tommy. But he had seen with his own eyes how well the organisation works. I only send 250 SEK per child per month, and that makes such a difference. 250 SEK- for us it’s nothing really. I wish more people would donate,” she said.
“I just want every child to have the same start in life. Every child should have food, and clothes and go to school. Every child should be loved,” Ingrid explained.
When Ingrid’s youngest child finally moved away from home, Ingrid decided to sponsor another child. The children are orphans or have parents who can’t take care them.
Ingrid and Tommy decided to see the children’s village where the two children she was sponsoring live.
“Everything there was beyond my expectations. We spent about 2 hours at each school. It was wonderful. The children were happy and so curious about us. They tried to speak English with us. We met the two kids we sponsored, and they were so proud to have visitors from abroad.”
Each SOS village is made up of small houses where about 8-10 children live. Every house has a housewife who takes care of the children and everything in the house. For 250 SEK a month, a child gets to have a home and an education.
“The trip affected me a lot. I want to sponsor a third child now. SOS Barn has recently opened a new orphanage in northern Sri Lanka. An area that was very hard hit during the civil war that only ended in 2010,” she explained.
The conversation at the gate left an impression on me too.
And her parting words: “I want to tell everyone that just a small contribution every month can do wonders for a child.”
On the South of Delhi in Gurgaon is a technical college that has high ambitions to provide a new type of education within service and hospitality. Unlike others, this college has a strong focus on applied knowledge and circular economy within food, from ‘farm to forks and fingers.’
Food cooked and plated by first year students.
The Institute, called Vedatya, is still young but has already achieved so much. I arrived there on a sunny December day with Sanjoo Malhotra, co-founder of the platform and network Tasting India. It was towards the end of Tasting India’s 2017 symposium on food, where Sanjoo and his co-founder Sourish Bhattacharya, had collected some of India’s leading influencers and change-makers. The missing piece at the symposium, until that day, had been education; how to create a new integrated learning model for organic food businesses that would teach theory in a practical and experiential way.
Sanjoo Malhotra, co-founder of Tasting India on the grounds of Vedatya, December 2017.
From star chefs to culinary entrepreneurs.
I didn’t expect to find an organic farm on campus. Sanjay Sharma, Head Chef at Vedatya explains: “For a chef to be able to work effectively and maximize their creativity, they really need to know how food grows; what local ingredients are available, what is the seasonality, how are they grown, and which parts can be used.”
High tech buildings of the Vedatya Institute.
Vedatya currently has 4 acres of farmland, a herb garden, lots of fruit trees; mango, lychee, lemons, oranges, chiku, and papaya. And to complete the full ecosystem of sustainable practices, the institute is going to keep cows on-campus, for both compost and dairy and develop an 100 percent organic fish farm that can also create natural fertilizer. This integrated approach to applied learning allows current students in training, as well as industry professionals, to really value local, organic produce, and explore more sustainable culinary practices.
Vedatya chefs in the farm.
Amit Kapur, Managing Promoter of Vedatya explains: “India’s population is over 1,2 billion, almost 18 percent of the world, and yet we are a nation of mostly male engineers. 90 percent of those engineers are unemployed. We need to change our education system quickly and develop new types of skills. India’s education system is still in silos, and very gendered, and class divided.”
Amit Kapur, Managing Promoter of Vedatya.
Kapur continues: “We really wanted to create something that will last beyond our lifetimes.” Ved means knowledge in Sanskrit, and Aditya means Sun. Vedatya, therefore, is a coined name that sounds like ‘Source of Knowledge.’ Its goal is to become a model for higher education and a hub of interdisciplinary knowledge with industry – where scientists and philosophers can work alongside farmers, gardeners, artists, chefs – and even engineers.
Chef Megha Kohli, Head Chef at the restaurant Lavaash Delhi, holding a class on how cuisines are reborn.
At Vedatya, a chef isn’t just a chef anymore. A culinary student could work anywhere in India’s food business – from being a hotelier or restaurateur, to re-branding and distributing local products to support small scale farmers and communities. Students need to know about locality, seasonality, and heritage – as well as all the soft skills of service design. One of the Vedatya’s alumni, Preet Singh, went back home and became an organic honey producer, selling his brand across India and overseas in Singapore.
Alumni’s organic honey brand is sold across India and overseas.
Another way that Vedatya is promoting applied education is by partnering with different industry players through an industry-academic partnership model that is quite unique in India. Industry partners are potential employers of Vedatya’s graduates, and so they can be an integral part of student’s curriculum that is reviewed every two years. This initiative has led to partnerships with InterContinental Hotels Group (IHG), one of the world’s largest hotel companies, and with Columbia Asia Hospitals, one of Asia’s leading hospital chains, in the healthcare industry, to name but two.
Most of India cooks over traditional wood fire ovens.
Class inequity – a major challenge. “The Institute is in a rural setting, so every year we give 2-3 scholarship to young people from the neighboring local village,” adds Kapur. “Slowly we are getting young people interested in coming here to get an education but it isn’t easy.”
Vedatya has great plans for maximizing its land with organic farming.
India has huge inequalities and a very complex caste system. The villagers come from backgrounds where they have absolutely no exposure at all to rapidly changing urban life. It’s a huge sacrifice for a youngster get an education when they are expected to help their families survive.
“One of our scholarship students wanted to quit after only a few months,” Kapur explained. Eventually he told the director that the reason he wanted to quit was because he is being bullied by his friends about the formal way he is required to be dressed at Vedatya. Even his family teased him for looking like a ‘plucked chicken’ because he was following Vedatya’s dress code to be well-groomed and wear a uniform.
“It sounds funny to us, but he was deeply ashamed. There is a conflict and context that even we don’t understand. We are talking a difference of 20 kilometers. We need to support rural communities and give them a longer perspective. We also need to help these communities survive,” concludes Kapur.
Fresh organic produce grown on site.
When Vedatya and the Tasting India platform talk about food, they mean everything from the production of food, to food on the plate. Vedatya believes that organic food is second nature for India and it has the potential to be the new economic driver for a sustainable future, to getting people into the workplace and tapping into new industries such health tourism. Organic farming has the ability to feed India through new distribution channels, and offer solutions to major challenges, such as how to deal with food surplus, nurture cultural diversity within the vast continent, and create major export crops and produce that can take more than India’s current 1 percent of the growing global organic market.
You don’t have to go to the Himalayas to find yourself – but it might help!
Immersing yourself in natural surroundings brings a huge amount of physical and psychological benefits. But naturalness is much more than a superficial sense of wellbeing. It can bring us to another level of autonomy, where we are freed from all the usual external influences that shape our beliefs and behaviour. It’s about gaining insight into The Human Condition.
View from Majkhali Village. Photo by Dhirendra Bisht.
That kind personal transformation is much easier to attain with hands-on experience, says Ajay Rastogi, Philosopher and Applied Ethics practitioner, and founder of The Foundation for the Contemplation of Nature.
I had the good fortune to meet Ajay at the recent Tasting India Symposium in New Delhi, an event that brought together some of India’s brightest minds within food and sustainability. Like many of his contemporaries there, Ajay had left a successful career to go back to his home region and drive change from within. For Ajay that meant working together with the rural villagers of his homeland at the foothills of the Himalayas, in Uttarakhand.
Ajay welcomes everyone, regardless of race, caste, age, religion, gender, orientation, or education.
The foundation aims to research and develop new models for Resilience through cultural exchange, by connecting villagers with people from the cities and other countries in residential homestays and programs such as yoga and meditation retreats. The Contemplation of Nature is threefold; immersion in nature, mindful meditation, and a hands-on experience of the rural ‘resilient’ life.
Resilience moves far beyond current definitions of sustainability. On a 2-week homestay, you get to take part in everything that rural village life offers. Don’t worry – there is no enforced programme here. You are free to just rest and explore if that’s what you need, but guests usually end up getting quite involved with village life; learning about everything from organic seed banking, to preparing grain harvests, to tending to the village cows, cooking the local Kumaoni cuisine, or celebrating one of the many festivals that happen throughout India.
The Yoga Hall was listed as one of the top ten yoga venues of the world by The Guardian newspaper.
The Vrikshalaya centre is the headquarters and heart of the Foundation. It also offers longer-term residencies for artists and designers who are interested in exploring the principles of resilience as part of their work. Vrikshalaya means ‘Home of the Trees’ in Sanskrit – so outdoor activities such as rock-climbing, water rafting, camping and hiking are all part of nature immersion. The area is stunning, and the centre has been listed as one of ten top yoga venues in the world by the Guardian newspaper.
The aim of the foundation is to get people to experience three basic principles of Resilience that sustain all life; Dignity of Physical Work, Interdependence and Interconnectivity.
Women transplanting of rice accompanied by a Hudikia Ball musician. Photo by Dhirendra Bisht.
The Dignity of Physical Work
There is a long tradition in India of travelling to the Himalayas and rural areas to practice yoga and meditation as a spiritual practice, but not physical work.
Ajay explains: “In India, we have such an inequitable society. The caste system is still deeply ingrained in society and especially in rural life.”
Specific tasks, such as tailoring, traditional music, cleaning and different crafts, are often associated with specific castes. It’s considered servant’s work. And work is very gendered. Traditionally, women prepare the food, work in the fields and take care of the house. A recent survey revealed that women spend more time in the fields farming than men and bullocks combined!
Homestay Mums preparing food.
“We never even imagined the value of cultural exchange with western visitors. Younger westerners, in particular, would challenge outdated ways of thinking about caste and gender,” explained Ajay. “They wanted to know why the village girls were fetching water and taking care of the cows after school, instead of playing cricket with boys.”
Also, the homestay families are from different castes. This was purposefully provocative on Ajay’s part. The foundation hosts communal events for the visitors and their host families, challenging these deeply ingrained practices. Traditionally, lower castes do not eat together with higher castes. They do not attend the same meetings. Lower castes are even given separate plates and cutlery if they go to the house of a higher caste.
For the visitors, the learning curve is clear. Artisanal types of work and growing our own food re-connects our minds and hands. Doing something mindful with our hands together with others is natural and enjoyable.
This especially affected some of the younger visitors from the States, Ajay explained. “Their tears welled up as they realised they hardly ever spent time with their family. Here in the villages, shared activities, whether its farming or preparing millet, or making textiles, is a way to spend quality time with our friends, family and neighbours. It’s fun to create something of value together.”
Traditional farming is organic.
The repetitive actions of simple tasks also have a positive effect on the mind and body. When your mind can reach a level of sustained calmness, your body starts to do miraculous things. It’s called the ‘deep relaxation response’ in psychology. The stress hormone cortisol isn’t frantically released as our bodies aren’t in a fight or flee mode, aggravated by extremes in emotion. Combine this innate calmness with physical movement and you have a recipe for better mental and physical health.
Interdependence Interdependence is about people, reciprocity and solidarity. We are all used to financial transactions; I buy something and I pay for it, I own it. But it’s far smarter and more beneficial for the individual to systemically build a society around shared spaces and shared resources. In the village, not everyone has to take care of their cows every-day. They can share the duties, and reduce the daily work from once a day to once every 30 days.
Celebrating Diwali. Photo by Pete Zhivkov.
Traditionally, when someone dies in India they are cremated on an open funeral pyre. So when someone dies everyone visits the house in mourning to pay their respects and donate some wood. The job of collecting wood for the funeral pyre is taken care of by the community. Community takes care of necessities. It used to be the same with cooking for a wedding. Surplus food and goods are also distributed throughout the community to those in need. Interdependence exists as a fact, so working with it is just common sense.
A host family house in the village.
Interconnectivity The third and final principle of the foundation is Interconnectivity. This is about striving for a harmonious coexistence with nature, as we rely on our environment for all the resources that keep us alive. Ajay’s hope is that people will take the realisation of interconnectivity back with them and apply it to their own lives.
Celebrating Spring. Photo by Jogendra Bisht.
Interconnectivity The third and final principle of the foundation is Interconnectivity. This is about striving for a harmonious coexistence with nature, as we rely on our environment for all the resources that keep us alive. Ajay’s hope is that people will take the realisation of interconnectivity back with them and apply it to their own lives.
Words by Tanya Kim Grassley. Published in The Forumist, March 2018.
Many of us dream of quitting our jobs and leaving the city, but how many of us manage to do it? I asked Innovation Strategist, Karina Vissonova, how she and her partner Aron designed ‘the good life.’
Karina and Gazsi, at home in their cottage. Gazsi is a local Pumi dog. Photo by Alexandra Heim.
Q: What was your childhood like?
A: I grew up in Latvia. I played in our family vegetable garden since I could walk, and was outdoors all year round. As a teenager in Riga, I spent every free minute with my friends making fires on the beach or partying in the forest.
Q: Why did you move away?
A: I studied in Copenhagen and was recruited right away into a job in innovation, that was still a relatively new field at the time. I got to work with some amazing professionals – architects, designers, and thought leaders. It was like working with rock stars! But Copenhagen was never really ‘my town,’ despite all the ‘goodies’ that came with life in the city. It felt like my lifestyle was bought, somehow.
Q: How did your job evolve your thinking?
A: I found it challenging to accept that so many great ideas, which would truly help people to live a better and more sustainable everyday life, would get chiselled down to fit into existing production systems. It’s as if we design for machines rather than people. We have all the technologies we need, but we have heavy, outdated systems that are resistant to change. I started wondering what else I could do.
Q: So you decided to leave your job?
A: Not immediately, but I knew I needed to change my own path. I wanted to be able to seek answers to the ‘big’ questions. Eventually Aron and I decided to make the leap and move to the countryside in Hungary. Aron is half Hungarian, but it wasn’t particularly about living in Hungary, it was about pursuing a quality of life with less, and rediscovering ourselves without a professional identity tag. We moved in the middle of winter, without TV or internet. It was the most silent 3 months of my life!
PAP Wines Garden Restaurant- Under the Volcano.
Q: How did you cope with that silence?
A: Just by giving it a chance. We missed our friends, but we were also in love with our new home on the hill. In the Spring, I started gardening. Portuguese friends had told me about permaculture, and so I spent hours on YouTube learning everything I could. My first garden was a mandala garden; a beautiful, unruly patch. I was the laughing stock of the neighbourhood at first, but when my neighbours saw how my garden was flourishing, even during periods of drought, they switched to permaculture methods. I also practice companion planting, where you pair plants that can support each other with nutrition and healthy insect populations; my strawberries grew together with spinach, for example. It’s pretty in its own wild way.
Aron selling at the Farmer’s Market – from chai and chutney to wine, 2017.
Q: So your food brand evolved almost by accident?
A: Yes! Suddenly we had all this surplus produce so we started making condiments to sell at the farmer’s market. We made our own labels and suddenly we had a brand!
Q: What came next?
A: One day, Aron announced, “Do you realise we are living in one of the world’s very famous wine growing volcanic regions? We should make wine!” My response was a hesitant ‘OK…’ Aron went to work for a local wine maker, to learn the ropes. A year later, Aron made his first wine, a ruby coloured Pinot Noir. We made 300 bottles. It was excellent. We couldn’t believe it. It was like we had the volcano gods on our side!
A selection of PAP Wines.
Q: And it’s organic?
A: The wine is organic, yes, and with a low sulphite content, but for us it’s not about labelling our product as ‘organic’ or getting expensive certifications, it’s just about being true to the traditional, artisanal wine-making methods. We want to make the most honest and highest quality wine we can, while caring for the land. Many of the new wine makers here follow regenerative farming methods – it’s far less costly and far more effective.
Aron in the kitchen, January 2017. Photo by Alexandra Heim.
Q: When did you decide to open the restaurant?
A: Our wines became commercially successful within 2 years, and our garden was abundant. It was a natural progression to pursue Aron’s dream of having a small restaurant. He is an exceptional chef, albeit with no formal training. Aron had learnt to cook regional dishes, in Tamil Nadu, in the south of India, and in Himachal Pradesh, up in the North, in the foothills of the Himalayas. This influenced our concept – Indian, Middle Eastern and Mediterranean vegetarian tapas-sized dishes served with local wines . We just offered our own home cooking. We opened for guests last summer and it turned to be the busiest summer of our lives!
Q: How does your life today compare with life in the city?
A: Countryside offers an unveiled life, a connection to oneself and the systems that let you survive. Leo Tolstoy wrote about the division of intellectual and physical labour, and the need to experience both to acquire true wisdom. I couldn’t agree more. I scribble away about sustainability, but I feel that it is the experience of working the land and being part of a community that entitles me to write about sustainability.
PAP’s ceramic plates and Aron’s samosas. Photo by Alexandra Heim.
Q: What are your plans now?
A: I want to continue writing and consulting. I still have more questions than I have answers, and I get the feeling others do too. But we need to ask the right questions. If I can attend to the vineyards and the garden during the season, run our little home restaurant, and write for the rest of the time, I will be a very happy and lucky person.
Karina and Aron, Pinot Noir harvest 2017.
Q: Any advice to someone wanting to make a total change in their lives?
A: Dream! Plan big and trust your intuition. Life is unpredictable but it’s also full of opportunities. You just need to have the courage to believe in yourself.
These days, we have a false sense of security because of social transparency, where events and emotions that used to be very private are always on a display on social media. We have an impression that we are emotionally connected to other people, which also gives the false impression of a safety net. I find that such a net, if it indeed exists, is very thin.
Despite social media, we are more dependent on relationships in our physical communities than we realise – and the support that they can provide. Nurture real connections. Value where the things in your life come from and go to. When taking a life changing step, make sure your ties are offline as much as online.
Text by Tanya Kim Grassley & Karina Vissonova
Images: Alexandra Heim and otherwise, Karina’s own.
Food for Change a new platform in Stockholm. Food for Change is a CSR platform for businesses connecting waste food with people in need. Local supermarkets explore how to reuse all the waste food they throw away every day, by creating a membership scheme for low-income people. Membership or gift cards for people in need costs roughly 50 euro to gain access to regular food deliveries. The programme invites volunteers to deliver the food to local communities. Many large companies invite their employees to take part in the scheme as a CSR effort.
A few other examples of green initiatives turning wasted into wanted:
Networks: The carpet manufacturer Interface has created a sustainable line of products called Net-Works. Net-Works is the first step in creating a truly restorative loop in carpet tile production, whilst cleaning up oceans and beaches of plastic and creating financial opportunities for informal economies; some of the poorest people in the world.
A firm in Brazil, Arteplas, is taking plastic bottles out of landfills and repurposing them as high quality rope. Treehugger reports that their product is both higher quality and cheaper than traditional rope constructed from fibres. Arteplas have independent analysis from a third party assessor showing that their recycling processes for rope use 70% less energy than ropes from virgin materials. Their plant employing up to 400 local people. The quality of the product, is proven in the success of the company and its applied use across different industries.
Blest.Making oil from waste plastics: Typically made from petroleum, it is estimated that 7% of the world’s annual oil production is used to produce and manufacture plastic. That is more than the oil consumed by the entire African continent. A Japanese company called Blest created a small, very safe and easy-to-use machine that can convert several types of plastic back into oil. Amazing. A machine like this would be invaluable to informal waste pickers the world over, allowing them to add value to collected plastics.
The Green HangerMade in Australia from 100% recycled cardboard, the Green Hanger will be used as an event invitation during Tokyo Designers Week, then as a coat hanger. The Green Hanger eco coat hanger is a fully recyclable and biodegradable cardboard coat hanger made from 100% recycled materials.
Parapu Durapulp pressed chairby Södra in Sweden is a winner of the Red Dot Design award; the product concept is a collaboration between an ad agency, the pulp manufacturer, KTH and famous PR-driving designers Claesson Koivisto Rune. DuraPulp is a new material that combines paper pulp and PLA (a biodegradable plastic) to create an incredibly resistant paper. Created from one pressed cut out sheet the new product demonstrates how a simple manufacturing process can add value to raw waste materials and create perceived value for the hotels and companies who use it.
Eco-Drywall: While recent interest in sustainable building has spurred the creation of eco-minded materials like Greensulate and Cow Dung Bricks, drywall is one building component that has remained essentially the same over the past 100 or so years. That’s about to change, however, thanks to EcoRock, a new drywall material that’s made of 80 percent recycled materials.
Poly-Al is made from recycled Tetra Pak. Tetra Pak Europe pays a local producer to take care of old Tetra Pak. He removes the paper part and recycles and then uses the plastic/metal foil part to make a board, 15 mm thick, flat or corrugated that is used as a building material in walls or roofs. It is water proof, fire resistance and uses no additives in the compression process. They have started to use it for making cow-sheds in India and it has increased the milk productivity with 2-3 l per cow per day! It keeps the cows cool and comfortable, and is a beautiful material as well!
Imaginary Life recently was invited up to the Artic circle by artist Laila Kolostyak to help organise a seminar and workshop for over 20 selected snow and ice professionals from Russia, Finland, Sweden and Norway. The seminar was funded by Kulturkontakt Nord and the Norwegian Barents Secretariat and aimed to explore how Snow and Ice professionals can raise the profile of their work, as well as collaborate and share knowledge across borders on how to drive successful projects of all scales; from installations in nature parks, to interior and architectural design, to urban planning and urban reclamation and festival planning.
Keynote speakers included leading professionals such as Timo Jokela from the University of Lapland, Rovaniemi, known decades of spectacular land art, Jens Toms Ivarsson, Design Director at the world-famous ICEHOTEL in Jukkasjärvi, Sweden and Ole Morten Rokvam, an artist and craftsman who has curated leading events with snow and ice in Norway for over a decade. In addition, the artists from Kirovsk and Murmansk were exceptionally inspiring, sharing their festival and community work and bringing a lot of love and live music.
We spoke with Jens Thoms Ivarsson:
We were discussing the ‘eternal ephemerality’ or ice. Is that something Design can learn from?
Absolutely. Imagine: the earth was created at some point, some billions of years ago. The water we are working with could have come from a comet- its ancient and essential stuff. Two different materials met and collided, basically stone and water. They became a frozen moment. Hot lava froze into stone, and water turned into ice. It’s this moment of change that artists and designers often explore in the materials and contexts they work with. Moments of change. Tipping points. How materials age next together. How they behave. It’s fundamental stuff, but ice also teaches us about the nature of continuous change. The seasons, nature’s needs, human needs in winter climates, and of course, climate change. These are new frontiers for design in general. We always think about the negative aspects of snow and ice, how to get rid of it, how to avoid it. We’ve hardly scratched the surface of how to use it as a material.
How long is something ephemeral?
It’s a good question. It all depends on the point of view, the objectives of a project. We follow the melting process of the ICEHOTEL too- it is so beautiful. We spend so long making details, crafting interiors and design elements –always knowing it will melt and return to the river again. And during the process, the sound changes in the building, the atmosphere is fantastic. It’s not sad- its liberating. The ice hotel doesn’t collapse, it opens up in the centre to reveal the sky and the surroundings of the place where it started. There is so much new knowledge to be gained about snow and ice.
But there is a high risk of making mistakes working with such a volatile material?
Yes – but the volatility also opens possibilities. Designers always ask “How do I avoid mistakes?” Ernst Billgren’s book ‘Vad är Konst 2′ (What is art 2) says that the short answer is to sit very still! As soon as humans do something there are mistakes, but mistakes also lead to discoveries. All our genetic development and success is built on learning from mistakes. When I work in stone or concrete and it is placed in city, there is a lot of pressure as the object will lasts for a lifetime. Working in snow and ice is very freeing in a way. You can be more brave and experimental. Less self conscious and more playful.
How do you work with seasons of water and light at the ice hotel in Jukkasjärvi?
You’d think it all happens in the winter as the focus is on ice art but we are moving to all year round. In the summer there is rafting, fishing and other nature activities and the phenomenon of the sun never setting at night- that is a very special experience to have. Also we are preparing for the water to freeze long before it does. It’s the pivotal moment for us, as we invite artists from all over the world. And those artists are not all traditional ice sculptors. We work with people from all background to explore what they can create with ice as a material.
We can also funnel water from the river, and blow it through snow canons to create a material we call “snice” –manufactured snow. We can throw snow onto moulds. Sometimes we use reinforcement to create very large structures. We are also learning more ever year about how to use ice reinforcement. The old way is to create giant moulds for architectural structures where the walls are built with plywood moulds and filled with snice, much like the process for creating concrete buildings. By exploring ice reinforcement we open new doors to resourceful innovation in architecture.
How many people are involved in constructing the ICEHOTEL in Jukkasjärvi every year?
At the ICEHOTEL we have a team of over 50 people who work on the structure alone. Then there is all the finishing work on interior design, lighting and so on. Tools and methods are developing all the time and its important to share this knowledge.
Focus on working together is important – the joy comes when it is finished! One of the hardest jobs is being on roof in minus 35 connecting wires without gloves. It’s the engineers, technicians and ice workers we really have to thank! They make these ideas possible.
What other type of work do you do there?
One example is that we send ice and snice all over world- and send our engineers to make large events possible. For examples we created a catwalk for Chanel at the Grand Palais in Paris. We needed to install a cooling system for the 40 m long 8 m high catwalk. Karl Lagerfeld ordered it. We had to tell him not to wear boots not to get wet. He was great fun to work for. We asked him to lick the ice and he obliged!
One of my favourite projects that you showed at the seminar was the roundabout you made in a lake.
Yes, we cut out a huge disc in the river and added a boat engine. It was a simple intervention to see if the disc would rotate – and it did! It rotated at a perfectly even speed. It worked out better than we anticipated it would. Nature is like that.
Back from London and the Photon Symposium, and seeing the prototype of an all glass living pod that will be one of 9 pods in a proposed Photon Village at Oxford University. The concept was conceived by Brent Richards of Transpolis Europe and executed by Cantifix, an advanced glass engineering company based in the UK.
Brent Richards describes the project: The Photon Pod has been designed to maximise daylight for the inhabitants in order to carry out scientific research into “the effects of daylight on human biology”. The 4 year research period will involve 8 Photon Pods and allow 300 participants to be tested in a Photon Village. As a control two of the pods will be “dark” with only 12% of the surface transparent, which equates to the average amount of glazing in a typical home.
The shape of the Photon Pod has been designed to minimise the reflection of light waves by keeping the surface of the glass perpendicular to the sun when the building is orientated north/south. The make-up of the double glazed units uses the latest technology to increase the insulation properties, whilst reducing solar gain to maintain a comfortable living environment in most climates.
The interior facilities were considered in relation to the length of stay for each participant and the fact we didn’t want the research data to be influenced. In the majority of cases a participant will only have to stay for 3 weeks and therefore basic facilities of a kitchen; shower and WC; bed; desk; and seating area were considered sufficient.
Philips were invited by Imaginary Life to design the lighting in the Pod to show how a combination of natural and design light should be combined to enhance the wellbeing and to harmonise the practical need for artificial light with the biological need for natural light. For the purposes of this launch, Hue, Philips connected lighting was programmed to create a compelling and dynamic experience, as well as enhancing the architecture of the innovative structure.
Russell Foster, Professor of Circadian Neuroscience at the University of Oxford University states: “The recent advances in our understanding of the brain mechanisms that generate and regulate sleep and circadian rhythms, and a growing appreciation of the broad health problems associated with their disruption, represents a truly remarkable opportunity to develop novel evidence-based treatments and interventions that will transform the health and quality of life of millions of individuals across a broad spectrum of illnesses.”
The Photon Pod is a means for collecting data on how light effects the mind, body & soul. Photos by George Sharman.
The Photon Pod Installation at The Building Cente, London.
Light is a resource for health & wellbeing – in all built environments
As long as I can remember, I have been drawing. As soon as I could hold a pencil I started scribbling. Those scribbles turned into drawings of my friends, my family, their houses, their cars and other people I saw on the street. It was a way of navigating the world that existed around me. It was my way of labeling things. Drawing was part of my language process, like any child. It helped me categorize the world- and therefore understand it.
I drew a lot of family portraits. People gave me confirmation through those. I got more confidence because they loved my drawings and slowly I started to draw things that I wished to see. A world of my own imagining. A boat with wheels or a man with 8 legs. They were kind of dreams, an imaginary life.
Drawing was also a way to express my moods and feelings and like most kids I used crayons and “wax pastels”. There drawings that were a kind of abstract expressionism. So far it is the story any child might have with drawing. But it was at school that drawing started to have a particular significance to me. Although I was verbally articulate, I soon realised that I wasn’t like the other kids. My imaginary world was visual- not verbal.
I started to have a very hard time in school. I couldn’t keep up with the class work and worse than that, didn’t understand the point of the exercises. Why couldn’t I carry on imagining the world? Why wasn’t I allowed to draw all the time?
It turned out that I am heavily dyslexic. But in those days, the schools and teachers didn’t have the tools or knowledge to diagnose kids like myself. And because my problems were not recognized or diagnosed at school, my situation just became worse. Drawing was my only refuge- my only way of communicating with the outside world and getting some positive feedback from my teachers and peers.
Drawing became my very own language.
The other kids loved it and I was more popular because of it. It helped me compensate for my verbal and written expression – or lack of it. But one day, when I illustrated my thoughts with drawings in a Finnish language test my teacher yelled at me again and everyone laughed at me. On Monday my drawings were great, on Tuesday they got me into trouble. It was a very confusing time.
Somehow I managed to finish school. My drawings meant that I could go to higher education – it got me into university and it was probably the greatest way for me to learn during my university time. I used drawing to make mental notes. It was the most important single media to learn, document, plan and illustrate all the design and architecture I was learning about. Once again I was allowed to dream.
As a student I traveled to important locations, sites and buildings in Rome, Siena, and Venice to make drawings. Once I sat all day in Siena’s main square until late in the evening. Drawing allowed movement, but it also enabled stillness. It let me observe life I wouldn’t normally have seen. I drew all the buildings around the square. I realized that drawing a building or site is one of the best ways to learn architecture.
During the drawing process you learn every detail, you learn about proportions and shadows, and even the daily changes of the architecture in a profound way. It was through drawing that I realized that architecture is not static, but inherently connected to the time and space of its surroundings.
Only later I understood the importance of life drawing. Even if it was difficult and painful to draw the human body, it was a way for me to learn about layers of structure, from what is seen to what is unseen. From the skin right through to the bones. The breathing living movement that is part of every stillness. Light and shadow. What I learned from life drawing I have also taken with me into my furniture design- it has been translated quite clearly into an understanding of the body’s relationship to furniture- and architecture. Ergonomics, use and pose. The emotion of space.
I have always been fascinated by technical drawings. To me they are like abstract modern art. Technical drawing tells me more about something than a photo or realistic sketch. Technical drawings reveal secrets and mysteries: How things are made, how things work. In the end, technical drawings are the final documents we do in my office. They are my work, and my tools to talk with other people about design. They describe my projects more than words ever could.
And my drawings go on teaching me, more than I could imagine. It’s not as if I have an idea and then I draw it. Drawing is a reiterative process, where the drawing itself takes on a life of its own and tells me the questions that need to be answered. Anyone who draws understands this. You can’t ‘choose’ what you draw unless it is already justified. Already correct. The designs in my studio are always based on technical drawings- they are the last defining work done in the whole design process. Drawing from an early age enabled me to develop a process naturally that enables me to ask all the right questions at the right time, again and again until the solution is just right.
When I am drawing today, there are many reasons depending on the time: maybe I am studying a technical detail, maybe I am trying to understand “what if” – or maybe I am trying to find out why something is good. Maybe I am just thinking aloud. I always make several sketches to communicate and discuss ideas with my people in my studio.
When I am bored: I draw, it’s a friend who can be with me no matter where I am. I entertain myself by dreaming about possible products and spaces for a future that is better than one we know today.
I look back at the old masters: my heroes before me- Alvar Aalto and Eero Saarinen. I look at their drawings and am in conversation with them. In Alvar Aalto’s drawings you can see several scales sketched in a one single piece of paper simultaneously: From a detail of a door handle to the site-plan to the perspective of a house. In a way this represents his holistic view on design. Just one drawing holds all that knowledge.
I meet my heroes in books and discuss design and architecture with them through every line and gesture.
I am still fascinated about the vast variety of problems that Eero Saarinen could try and solve in a one single drawing: I saw a plan of a skyscraper and a evaluation matrix of candidates for his possible future wife in one drawing. For me this represents his opportunistic view on architecture- and how he also used drawing as a thinking process- to think about the future. To dream the future. The drawings are serious, poetic, light and artistic. They are about something that could be or something might not be for centuries.
So when you ask me to explain the importance of drawing, I should in fact, draw for you. Because drawing is not only a strong part of my work and who I am. It is more than that – it has enabled me to be myself, in a complex world ruled by words.
If you happen to be in London on Monday 16th September, or Tuesday the 17th September, drop by and meet us at the Building Centre on Store Street, W1. The Photon symposium invites international scientists, academics, architects, designers and global corporations to join The Photon Project network to debate the link between daylight and science, technology, health, wellbeing, architecture and design.
Moderated by Peter Finch of the UK Design Council, the Symposium includes keynote speakers such as Sean Carney, Chief Design Officer at Royal Philips Electronics.
Store street installation. http://thephotonproject.org/
Philips have also designed a dynamic lighting programme in the Building centre itself and for a glass ‘Photon Pod’ installation out in the courtyard to showcase latest lighting products that front ongoing deeper research and innovation within lighting for increased Health and Wellbeing for built environments such as Hospitals and Schools, to name but a few.
The Photon Project will present a 4 year plan and concept for an advanced integrated scientific research project. The multifaceted proposal works with systems thinking and rapid innovation models to explore and bring to market future Health and Wellbeing applications- also creating new standards and solutions for Healthy Living.
The aim of the project is to ultimately improve the living and working conditions of millions of people across the globe by testing and measuring the biological advantages of increasing the amount of daylight in all types of buildings: residential, commercial, institutional, educational, cultural and leisure.
Current research, for example, has already proven that disruption to circadian rhythms causes a detrimental effect on health and wellbeing – over a short period this would typically lead to depression, nausea and high blood pressure, and over a longer period this can lead to chronic depression and secondary hypertension. There is also evidence that the lack of sleep caused by an inability to reset the body clock can have a critical impact on: schizophrenia, Alzheimer’s, Parkinson’s, diabetes, some cancers and a long list of other life threatening conditions. As a research area, light has unlimited possibilities to help develop solutions that prevent disease and help the body in recovery.
The Photon Living Concept was initiated by Architect and Innovation Strategist Brent Richards in association with Cantifix Ltd. –a market-leading specialist glazing company. The research team is led by Professor Russell Foster, British Professor of Circadian Neuroscience at Oxford University. He and his team are credited with the discovery of non-rod, noncone, photosensitive ganglion cells in the mammalian retina – which provide input to the circadian rhythm system.
For more information please mail us on: email@example.com
Schedule: PHOTON SYMPOSIUM @ LONDON DESIGN FESTIVAL 2013.
Address: The Building Centre, Store Street, London WC1E 7BT
16 Sept – PRESS LAUNCH (10.30 – 1.00) AT THE BOARDROOM
08.00 -1.00 PHOTON POD TOURS
16 Sept – DAY 1 SYMPOSIUM (1.30 – 6.00, 6.45 – 9.00) VINCENT
SUITE + MAIN GALLERY
08.00 -1.00 Press visits to Photon Pod can be booked, with guide who will be present fulltime at the Pod to answer basic questions and give a tour of the Pod.
Contact: Fiona Sharman <Fiona@Cantifix.co.uk>
17 Sept – DAY 2 SYMPOSIUM (1.00 – 4.30, 5.00 – 7.00)
VINCENT SUITE + Café
DAY 1: 16 September 2013.
The Photon Project: Pioneering Healthy Living through Light.
Presented by Charlie Sharman, MD Cantifix and Brent Richards,
Director, Transpolis Global.
10.00-11.00: Living Under Glass: Presenting the Photon
Research at Oxford University. Present the project and future plans. Purpose of Symposium is to discuss the design implications of light in relation the living environment- and future policy making e.g. space light standards, RIBA lobbying for light space factors to be included in design of future housing.
Press Q & A with Brent Richards and Charlie Sharman.
Theme 1: Daylight + Health & Well Being
Moderator: Paul Finch, Deputy Chair of the Design Council UK
1.40 – 1.45 KEYNOTE INTRO: Paul Finch; Deputy Chair of Design
Council Editorial Director Architects Journal. ON HEALTH &
(1) 1.45 – 2.05: Research into Human Factors within Health &
Wellbeing (title to follow)
Prof Dr Steve Lockley
Harvard Medical School Boston USA
(2) 2.05 – 2.25: On Crowd-sourcing Grand Designs Solutions (Final Title to follow)
Mike Roberts: CEO HAB Housing (Kevin McCloud, MD, Grand Designs)
(3) 2.25 – 2.45: On Human Interaction and the Importance of Light
(Final Title to follow)
Prof Dr Marilyne Andersen
EPFL Lausanne Switzerland
Break & Refreshments.
Theme 2 – Daylight + Science & Technology
(4) 3.30 – 3.50: On The Technology of Glass (Final title to follow)
Tim MacFarlane : Glass UK
(5) 3.50 – 3.10: On Nanotechnology and Glass (Final title to follow)
Dr Martin Kemp : NanoKTN
(6) 4.10 – 4.30 On Developing light with space in the building industry. Carbon neutral housing and applications for integrated sustainability. (Final title to follow)
Paul Hicks: Velux GB
Round Table: Health and Science – the facts, the technology, the ideas and the potential.
4.45 – 5.45 All Presenters Chaired by Paul Finch
5.45 – 6.15 Q&A + Summary for Day 1 Symposium
DAY 2 ~ 17th September
NO PRESS ON THIS DAY- for a broader design audience.
Theme 3 – Daylight + Architecture & Design
Moderator : Paul Finch
1.00-1.15 Intro: The Photon Project: Implications for all types of design, the Plans and the Potential.
Charlie Sharman : MD Cantifix & Brent Richards, Transpolis.
(7) 1.15 – 1.35 On the architecture of light (Final title to follow)
(8) 1.35 – 1.55 On making better architecture. (Final title to follow)
Dikon Robinson CEO
Living Architecture http://www.living-architecture.co.uk/
(9) 1.55 – 2.25 The Science of Design
Chief Design Officer /Senior Vice President Philips
20 mins: Break and refreshments
MAIN SYMPOSIUM Round Table: How can Design facilitate Science?
(Recommended for editorial press)
(x 9 no. participants)
2.30 – 4.00
– All Presenters + Chair Paul Finch
– Rebecca Roberts-Hughes: RIBA Policy Unit
– Mike Roberts: HAB Housing
– Prof Dr Marilyne: Andersen EPFL
– Brent Richards : Transpolis Global
– Charlie Sharman : Cantifix
– Dr Heather Berlin*: Cognitive Scientist
– Prof. Debra Skene*: Center for Chronobiology
– Danny Lane: American Glass Artist based in UK
(NB:* Roundtable participants to be confirmed)
4.00 – 4.30 Q&A
4.30: Summary of both days.
5.00 – End of Photon Symposium
Mingle in the Building Centre Exhibition Area.