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    <title>+81 Ecode - A project to regard a design as environment</title>
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<entry>
    <title>What is creativity for sustainable society?</title>
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    <published>2006-04-21T13:00:05Z</published>
    <updated>2006-04-21T13:48:05Z</updated>
    
    <summary>　</summary>
    <author>
        <name>+81</name>
        
    </author>
            <category term="010vol.2" />
    
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        The trend of creativity is changing. Beautiful or novel designs used to impress people until a while ago; wonderful artworks used to be created based on strong concepts. This situation, however, seems to be changing. It seems that creative work today has to be based on solid logics.

I think that creativity is going to develop on the foundation of &quot;philosophy, ethics, and sensitivity&quot;.

Philosophy is pursuit of fundamental principles of life.
Ethics is reflection on duty of human beings.
Sensitivity is emotions we have when we have contact with things.

Impressive work is created through knowledge of principles of the world and actions which are useful for the world. This is true in all creation including architecture, design and art. Creativity has to contribute to society in today&apos;s world.

What do human beings living today have to do in order to realise sustainable society? This is the question we often ask when environmental issues are in discussion. Naturally, creators are a small group of the human beings. &quot;What is creativity for sustainable society?&quot; is the proposition for creators today.

What is sustainable society, then? Human beings are facing many issues such as destruction of ozone shield, explosive increase of the world population, food scares, and energy crisis in which the petrol is going to be scarce in forty years; the existence of human beings is not sustainable in this situation. We are going to ruin ourselves unless we change our current behavioural patterns. We need gui-delines for social structures and systems which allow human beings to live on earth in a sustainable way; this is &quot;realisation of sustainable society&quot;.

Many people may say that creators should just make good things and they don&apos;t need any difficult ideas. More people, however, are starting to find expressions of superficial beauty, which are not based on any reflection on principals, trivial and unbearable. This is a newly emerging trend. As materialistic mass consumerism is being replaced by optimal consumerism in today&apos;s society, superficial beauty becomes out of date and is consumed like a bubble quickly.

I would like to suggest the idea of a circulating creative system which enables human beings to live in a sustainable way. The system is based on solving every single small problem. For example, a big company prohibits distribution of photocopies in a meeting. All the process is done with computers and projectors. This is only a small step. This decision, however, saves consumption of hundreds of million pieces of photocopy paper. Such a small suggestion has a power to change the world.
As 100% recycled paper is used for +81 E code, no trees are consumed. If virgin pulp were used, around 80 natural trees would be consumed according to the calculation based on the actual number of copies printed.(Calculation of number of trees consumed has been done by CSP PROJECT).
We start by planting the number of trees we would have consumed. The idea of planting as many trees as cutting down is part of the circulating creative system. As trees take several dozens of years to grow, we must also find ideas and actions to fill the gap. Along with use of recycled paper, if all the paper-consuming industries put the idea into action and start planting as many trees as cutting down, the most creative activity which is creating big forests on earth is going to take place. There should be no greater creation than that.
Such an idea is &quot;philosophy&quot;, putting the idea into action is &quot;ethics&quot;, and having sympathy in it is &quot;sensitivity&quot;.

Creative work has a power to make the world better. &quot;Creators, please make your best in making the world better&quot;. This was the message to the readers from the Brazilian architect Oscar Niemeyer at the interview two years ago. Let&apos;s put our creativity in actions in order to make the world better. That makes the most beautiful and most impressive creation.


Satoru Yamashita, +81 E code Director
        
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</entry>
<entry>
    <title>Design × Land-mine Removal</title>
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    <published>2006-04-21T12:55:14Z</published>
    <updated>2006-04-21T13:48:53Z</updated>
    
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        <name>+81</name>
        
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            <category term="044Design × Land-mine Removal" />
    
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POM&sup2; is a Japanese organization that helps demine efforts in Thailand by selling stickers at 300yen and donating the proceeds to local NPO. 300yen is nearly equivalent to necessary money for 1-square-meter land-mine removal.

From 2006, they sell new attractive original stickers designed by retired weapons and POWER GRAPHIXX, fabulous Japanese designers. This project is produced by Trigg, a social creative label from Japan, which connects design and social activities. You can choose one and put it on wherever you want. Like this way, design can make communication which pleasantly involves us in social activities.

Yoshihiro Kanematsu

■You can order stickers online at following websites.
<a href="http://www.jirai.org/" target="_blank">www.jirai.org/</a>
<a href="http://www.trigg.jp/" target="_blank">www.trigg.jp/</a>]]>
        
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<entry>
    <title>AVEDA</title>
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    <published>2006-04-21T12:50:43Z</published>
    <updated>2006-05-12T03:34:50Z</updated>
    
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    <author>
        <name>+81</name>
        
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            <category term="010 AVEDA" />
    
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<strong>Many firms have shown a greater awareness of the environment over the past years. This is not a trend. This awareness is firmly rooted in each of these firms' business style. They explain very accurately and clearly why their firms exist, and why they will carry through in the future. In their words, the structure of capitalist exploitation, &quot;Corporate = Evil&quot;, does not seem to exist. It is time to think thoroughly about way of being firms and our lives by examining the philosophies of firms that have focused on and have become involved in environmental issues for a long time, never letting the IT boom distract them after the collapse of Japan's bubble economy. </strong>
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<strong>Words such as eco, lohas and slow life have become common words in our lives today. Let's look at the quality of life and our environment and reevaluate them; this kind of thinking has been firmly established among people. AVEDA is a natural-cosmetics company that has grown through the power of flowers and plants, communing with nature since 1970's. The pioneer company that focuses on the relationship between beauty, health and the environment. What messages can we take from AVEDA's achievement and vision?</strong><br /><br>
<strong>Aesthetics and science born from a bottle of shampoo</strong>
Since its establishment in 1978, AVEDA has been loved by people the world over. The brand, whose products are sold and used at ov-er 8,000 shops, spas and network hair salons in 23 countries and regions today, surprisingly, started with a bottle of shampoo. The founder Horst Rechelbacher, who was then an internationally successful hair-stylist, encountered "the science of life that uses the human being's natural healing power" in India - the traditional medicine called Ayurveda. He took this inspiration and created a shampoo with natural plant ingredients. AVEDA's products, who-se main ingredients are plants and flowers, and which are made mostly of organic ingredients and non-oil minerals, attracted people, not only in the US, but all over the world. AVEDA has been kno-wn, not only for its excellent hair care products and skin care pro-ducts, but as a brand that helps people create beautiful lifestyles. 

<strong>What AVEDA is doing in order to treasure the life-filled earth</strong>
With the theme "An environment that can be sustainable", AVEDA has been making a great effort toward environmental preservation through the manufacturing of their products and by sharing some of the company's profits with society. The brand's activities include using only materials that are considerably non-burdensome to the earth with which to build shops and salons, using recycled materials for packaging, and the most unique activity that AVEDA is involved in, the traceability system which allows customers to see how the product was made from the soil to becoming the product. Holding hands with many indigenous people and farmers all over the world, and borrowing their wisdom learned only from living with flowers and plants for a very long time, AVEDA nurtures plants with rich soil. Using this process, the brand makes products with plants such as sandalwood from West Australia, lavender from Bulgaria and babacu nuts from Brazil. This answers the question of who nurtured what, where and how and guarantees rich products, while at the same time, becomes a source of income. We also support education system and medical facilities for a stable life among those involved. 
AVEDA has also been actively promoting the use of natural resources. Under the partnership with the RARE Center for Tropical Conservation, AVEDA is involved in programs to support six world heritage listed areas to help preserve their ecology. AVEDA continues in the effort to reach people and teach people about what eco-tourism is and to engender respect for natural environments. 

27 years ago, a man faced the greatness of nature's gifts and understood the importance of living with nature. He started a brand and the brand has become a leader in the world of beauty, and now that brand is becoming a leader in environmental conservation. The way AVEDA holds hands and lives with nature opens our eyes and makes us realize many important things.

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<strong>Earth Month 2006</strong><br><br>
<strong>What is Earth Month promoted by AVEDA</strong>
As a part of their effort to preserve our safe environment, AVEDA calls April Earth Month and has devoted themselves to lead people to look at our environment for the past 10 years. This year Earth Month run from March 30th until May 10th, and with the slogan "Plants’ breaths are our lives". AVEDA does everything in its power to save plants in danger of extinction, and did some campaigns to save the diversity of species on this planet. AVEDA is known for its dedication to activities that we can all be a part of, such as donating at AVEDA’s network salons and spas. Here are some of AVEDA's most outstanding activities that were done during Earth Month.

<strong>Signature campaign to let the world know the importance of the planet's plants</strong>
Soil pollution, excessive deforestation and illegal trading all over the world have pushed many plants and their ecology near to the point of extinction. AVEDA has launched a signature campaign wherein customers' signatures are collected at AVEDA salons and shops. The signatures collected in the US are submitted to President George W. Bush. Those collected in other countries are submitted to the UN. During Earth Month 2005, 2,867 customers participated in this campaign, and 235,000 signatures were co-llected worldwide. AVEDA aimed to collect 275,000 signatures this year to support environmental preservation.

<strong>Limited Edition- Light the Way: Rose Geranium Candle to save plants</strong>
Light the Way: Rose Geranium Candles, limited edition candles were sold to support Earth Month this year. Rose geranium, found in South Africa, is a beautiful violet flower with the sweet scent of roses. This plant is also a symbol of AVEDA's traceability system, with which customers can see how the products have been manufactured. The entire proceeds of this aroma candle, which is made of organic ingredients, were donated to BGCI (Botanic Gardens Conservation International Japan) for plant preservation.

<strong>Join the green activity with celebrities</strong>
Using a hand-made technique that has been brought down through the generations in Alabama, the eco-fashion brand, Project Alabama, creates various products. Project Alabama has designed Earth-friendly Eco-bags with used T-shirts. The bags will bear celebrities' autographs and handprints, and will be put up for auction on June 5th, World Environment Day. Many celebrities are participating in the project including Jessica Alba and Kirsten Dunst from the US and Kahimi Karie and Mari Natsuki from Japan, to name a few. The unique eco-bags have a playful touch and are perfect for shopping and outdoor activities. The proceeds will be donated to NRDC (Natural Resources Defense Council).
Online auction site: <a href="http://www.evay.com/aveda/" target="_blank">www.ebay.com/aveda </a> (June 5th – June15th)
]]>
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<entry>
    <title>Brazilian Contemporary Design: The Campana Brothers</title>
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    <published>2006-04-21T12:02:16Z</published>
    <updated>2006-04-21T12:05:50Z</updated>
    
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            <category term="012Brazilian Contemporary Design: The Campana Brothers" />
    
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The first exhibition of Fernando and Humberto Campana in Tokyo will happen as of next 2 November until 18 at the Brazilian Embassy in Kita Aoyama (www.brasemb.or.jp). This show will feature some of the recent pieces of these Brazilian designers, whose work represent a new way of producing design. Coming from a country which has been influenced by different cultures such as European, Asian and African - apart from the native Indians - the Campana Brothers' work is the result of the blend of these very diverse cultures.

Unusual not only in their style, but also because they use very simple and sometimes discarded material, recycling it in order to transform cheap raw material in a sophisticated piece of design. Very representative of this is the "Favela", which is made of scraps of wood that are assembled piece by piece to be transformed in an incredibly beautiful and comfortable chair. Another example is the "Bubble-wrap chair", which is made of plastic bubble wrap and iron. In their approach to design, creativity and invention stand out.]]>
        
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<entry>
    <title>Environment and Design in the Netherlands</title>
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    <published>2006-04-21T11:56:53Z</published>
    <updated>2006-04-21T12:00:15Z</updated>
    
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        <name>+81</name>
        
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The relation between design and society/environment has always been an important aspect of Dutch design. In the 1990's for example, when consumption and individualism set the tone in society, the people of Droog Design started to question these attitudes through their products, by using recycled and alternative materials. Examples are Piet Hein Eekﾕs furniture from scrap-wood; Tejo Remyﾕs chair made from old textiles and the works of Jurgen Bey, who gave old furniture a new life. Many of these products made an impact both in the Netherlands and abroad and firmly put Dutch Design on the map.

Since the 1990's the Dutch government as well has been active in promoting awareness of sustainable design with designers and industry. Furthermore, especially in the last few years we can see a renewed interest in sustainable design in The Netherlands, as both designers and government now recognize that design can make an important contribution towards a sustainable society. At the well-known Eindhoven Design Academy for example, learning about the relation between design, society and environment forms an integral aspect of the curriculum.

Sustainability, i.e. concern for the limited supply of natural resources, for the environment and for society, will the main points of departure for design in general in the 21st century; this will earn Dutch design a prominent position internationally in the years to come.

Erik van der Molen / Press and Cultural Dept. Netherlands Embassy, Tokyo]]>
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<entry>
    <title>French Eco Design</title>
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    <published>2006-04-21T11:49:35Z</published>
    <updated>2006-04-21T11:54:17Z</updated>
    
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        <name>+81</name>
        
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The respect of environment and human rights is a major concern; therefore France has ratified the Kyoto Protocol and promotes sustainable development at many occasions - especially in its dedicated Pavilion for the Aichi Expo that has been visited by 2,100,000 people during 185 days. When it comes to design, "Esprit Design France" presents every year the French creative diversity to the Japanese scene. Global design among all, Eco Design is meeting today's needs  without  endangering  the future. More than  a  trend;  it's  a  new  discipline  that obviously deserves  a  special  attention.

In  2004,  among  the  26  French events, "O2 France Agency", foundation  of  the  first International Eco Design network, was one of the five French Embassy's guest. It gave lectures in the Hokkaido Design Centre or at the Tokyo Designers Week Forum but also showed two exhibitions - one at Kenzoﾕs boutiques (Aoyama then, Kyushu), the other at the French Institute which has received 2 awards: Etoiles - APCI L'observeur du design (the French Industrial Design Association). 

This year, inter alia the Embassy is supporting: "Fresh Touch", the first French-Japanese food design exhibition held in Japan gathering more than 10 creators including designers, artists and chefs. With "the 21st century hunter-gatherer" as its main theme, "Fresh Touch" is revealing another side of Eco, the respect of our own human nature.

Sarah Carriere-Chardon, Independent Curator
Commissioned by the Cultural Service of the French Embassy

Fresh Touch
Place: LAUNE Galerie Hanae Mori Bldg. 5F (Omotesando Station A1 Exit)]]>
        
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<entry>
    <title>MESSAGE</title>
    <link rel="alternate" type="text/html" href="http://www.plus81.com/ecode/en/2006/04/message.html" />
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    <published>2006-04-21T11:41:47Z</published>
    <updated>2006-04-21T11:45:10Z</updated>
    
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        <name>+81</name>
        
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        Why eco magazine? Why now? 
It has been 10 years since I first published a magazine targeting creators called +81. The theme of +81 is to introduce creators who we consider important to the world, but at the same time, we are aiming for our interview magazine to be an important resource for art, which will remain as documentation, 50 years, 100 years from now. I&apos;ve often thought of producing a book that will still be read 50 years from now and I couldn&apos;t help but wonder, &quot;what will the world be like then&quot;? Rosy-hued images come up only to be replaced by cruel, tragic images. Which images do human beings choose? I was stunned when I began to realize that it won&apos;t be people 50 years from now who will choose the way to go, it is we who are now living who choose. 

Today we live in a design era. Yet at the same time, we hear about ecology or the environment every day. When people think about the environment and design at the same time, the word, &quot;environmental design&quot; pops up in your head and stimulates your preconceived ideas and narrows the possibilities of activities. During the first week of November, 2005, there will be many events held such as Design Tide, Tokyo Fashion Week, Design Week, and 100% Design. Many creators and journalists will come together in Tokyo from all over the world. I wonder, and I expect, what they think of design and environmental issues and what they will say about them. How are these two problems perceived in foreign countries, I wonder. 
As I think about that, some questions are raised in my mind. How many people have read all of the Kyoto Protocol? What about the issues concerning industrial waste? What about the problems between South and North Africa? I began to think to myself, &quot;Why don&apos;t I make something that can be seen and read about what we want to know, what we need to know?&quot; That was the beginning of &quot;E code&quot;. 

If the earth were only one year old, the history of humans would be even less than a second. We humans, as latecomers, are now destroying the earth. I went to the Sahara Desert this August. I was in awe, standing in the wilderness of the great Sahara and the cruel nature of the land. I call +81 a magazine that inspires people. I meet creators in person and am moved by their work and concepts, and my task is to convey what I feel to readers, I believe. I have already met more than 800 creators all over the world. 
Of all the creators I have met, the greatest and the most inspiring, the most mesmerizing creator was nature. When I realized that, an irresistible feeling of respect arose in me and it led me to believe that what we are doing to the earth is inexcusable and unforgivable. 

If a design lacks a concept, it would be just lines. If you pursue a concept in design, you soon begin to ask yourself, &quot;Why does this design need to exist?&quot; &quot;What is the purpose?&quot; You go further and begin to ask yourself, &quot;Who is it that existence can be here for?&quot; and &quot;What is it that we are made to be living for?&quot; 
It&apos;s been 15 years since I established my company and it&apos;s been 10 years since the first publication of the magazine. I am grateful that I&apos;ve always been supported by people in this world. I believe that I&apos;ve always worked with a sense of mission. Now that I&apos;ve finished editing this issue, I truly feel that we are given existence by the earth, and our purpose of living is to live with nature in harmony. The spirit of +81 is to inspire people. I hope that, by sending out &quot;E code&quot;, as many people as possible will take time to think about issues and our purpose. Our next publication will be released on Earth Day in April. 

Satoru Yamashita, &quot;E Code&quot; Director
        
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<entry>
    <title>vol.1</title>
    <link rel="alternate" type="text/html" href="http://www.plus81.com/ecode/en/2006/04/vol1.html" />
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    <published>2006-04-21T11:21:21Z</published>
    <updated>2006-04-21T12:31:51Z</updated>
    
    <summary></summary>
    <author>
        <name>+81</name>
        
    </author>
            <category term="020vol.1" />
    
    <content type="html" xml:lang="ja" xml:base="http://www.plus81.com/ecode/en/">
        <![CDATA[<strong>CREDIT</strong>

<strong>CREATOR</strong>

Cellule Eat Design
Philippe Di Meo
Jean-Marie Massaud
Stewart Russell
Michal Cross + Julie Mathias
Julia Lohmann
Committee
Studio Job
TTTVO
Piet Hein Eek
Norway Says
Campana Brothers


<strong>SPECIAL THANKS</strong>

Miho Kawamura
Motohiro Nakatsuka 
Marco Antonio Nakata 
Erik van der Molen
Chika Sudo
Hitomi Iketani
Kiyoyuki Sawai
Rie Suzuki 
Tomoko Kawai


<strong>SUPPORT</strong>

DESIGN TIDE

Brazilian Embassy, Cultural Section 
British Council 
Press and Cultural Dept., Netherlands Embassy 
Sarah Carriere-Chardon, independent curator commissioned by the Cultural Service of the French Embassy

社団法人全国産業廃棄物連合会
清水浩（慶應義塾大学環境情報学部教授）
吉田博一（慶應義塾大学政策・メディア研究科教授）
堀内貴之

Art-U room
<a href="http://www.mmjp.or.jp/artu/index.html" target="_blank">www.mmjp.or.jp/artu/index.html</a>
CIBONE AOYAMA
<a href="http://www.cibone.com/" target="_blank">www.cibone.com</a>
株式会社インターオーシャン
<a href="http://www.interocean.co.jp/" target="_blank">www.interocean.co.jp</a>
HACHIGO.PTY.LTD
<a href="http://http://hachigo.jp/" target="_blank">http://hachigo.jp</a>
株式会社プレステージジャパン
<a href="http://www.timeandstyle.com/" target="_blank">www.timeandstyle.com</a>


<strong>STAFF</strong>

<table width="500" border="0" cellpadding="0" cellspacing="0">
  <tr>
    <td valign="top"><p>Creative Director &amp; Editor in Chief<br />
      Satoru Yamashita +81Crearives</p>
      <p>Graphic Designers<br />
        Miyuki Hentona Hengraphix<br />
        （P1-13、P22-24） <br />
        Yoshinori Hozumi +81Creatives<br />
        （P14-21）</p>
      <p>Web Director<br />
        Akihiro Arai +81Creatives</p>
      <p>Web Designer<br />
        Hidenori Ishimaru +81Creatives</p>
      <p>Editorial Assistants<br />
        Eri Inamoto +81Editorial Dept.<br />
        Kahori Sugimoto +81Editorial Dept.<br />
        Kyoko Ishima +81Editorial Dept.</p>
      <p>Coordinators<br />
        Akihiro Arai +81Creatives<br />
        Miho Kazama +81Creatives</p>
      <p>Translators<br />
        Shinsuke Kuriyama, <br />
    John Moore</p></td>
    <td valign="top"><img src="http://www.plus81.com/ecode/img/common/shim.gif"  width="15"/></td>
    <td valign="top"><p>Distributors<br />
      Mari Kaida +81Creatives<br />
      Miho Kazama +81Creatives<br />
      Koji Koishi +81Creatives</p>
      <p>Press Inquiry <br />
        Mari Kaida +81Creatives</p>
      <p>Management Director<br />
        Junri Fukuyori +81Creatives</p>
      <p>Photographer <br />
        Satoru Yamashita +81Creatives</p>
      <p>Printing <br />
    Komine Communications</p></td>
  </tr>
</table>]]>
        
    </content>
</entry>
<entry>
    <title>Kyoto Protocol</title>
    <link rel="alternate" type="text/html" href="http://www.plus81.com/ecode/en/2006/04/kyoto_protocol.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.plus81.com/cgi-bin/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=71" title="Kyoto Protocol" />
    <id>tag:www.plus81.com,2006:/ecode/en//2.71</id>
    
    <published>2006-04-21T10:26:53Z</published>
    <updated>2006-04-21T11:35:24Z</updated>
    
    <summary> </summary>
    <author>
        <name>+81</name>
        
    </author>
            <category term="095Kyoto Protocol" />
    
    <content type="html" xml:lang="ja" xml:base="http://www.plus81.com/ecode/en/">
        <![CDATA[<table  class="entry_top_margin" width="500" border="0" cellspacing="0" cellpadding="0">
  <tr>
    <td valign="top"><div class="entry_footer">This is an abbreviated version of the Kyoto Protocol that is established by the Ministry of the Environment.</div>
      <p>KYOTO PROTOCOL TO THE UNITED NATIONS FRAMEWORK CONVENTION ON CLIMATE CHANGE</p>
      <p>The Parties to this Protocol,<br>
Being Parties to the United Nations Framework Convention on Climate Change, hereinafter referred to "as the Convention",
In pursuit of the ultimate objective of the Convention as stated in its Article 2,
Recalling the provisions of the Convention,
Being guided by Article 3 of the Convention,
Pursuant to the Berlin Mandate adopted by decision 1/CP.1 of the Conference of the Parties to the Convention at its first session,
Have agreed as follows:
 </p>
      <p>&nbsp;</p>
      <p>Article 2</p>
      <p>１.<br/>
        Each Party included in Annex I, in achieving its quantified emission limitation and
reduction commitments under Article 3, in order to promote sustainable development, shall:
 </p>
      <p>(a)<br/>
        Implement and/or further elaborate policies and measures in accordance with
its national circumstances, such as:
 </p>
      <p>(i)<br/>
        Enhancement of energy efficiency in relevant sectors of the national economy;</p>
      <p>(ii)<br/>
        Protection and enhancement of sinks and reservoirs of greenhouse gases not controlled by the Montreal Protocol, taking into account its commitments under relevant international environmental agreements; promotion of sustainable forest management practices, afforestation and reforestation; </p>
      <p>(iii)<br/>
        Promotion of sustainable forms of agriculture in light of climate change considerations; </p>
      <p>(iv)<br/>
        Research on, and promotion, development and increased use of, new and renewable forms of energy, of carbon dioxide sequestration technologies and of advanced and innovative environmentally sound technologies; </p>
      <p>(v)<br/>
        Progressive reduction or phasing out of market imperfections, fiscal incentives, tax and duty exemptions and subsidies in all greenhouse gas emitting sectors that run counter to the objective of the Convention and application of market instruments;</p>
      <p>(vi)<br/>
        Encouragement of appropriate reforms in relevant sectors aimed at promoting policies and measures which limit or reduce emissions of greenhouse gases not controlled by the Montreal Protocol;</p>
      <p>(vii)<br />
        Measures to limit and/or reduce emissions of greenhouse gases not controlled by the Montreal Protocol in the transport sector;</p>
      <p>(viii)<br/>
        Limitation and/or reduction of methane emissions through recovery and use in waste management, as well as in the production, transport and distribution of energy;</p>
      <p>2. <br/>
        The Parties included in Annex I shall pursue limitation or reduction of emissions of greenhouse gases not controlled by the Montreal Protocol from aviation and marine bunker fuels, working through the International Civil Aviation Organization and the International Maritime Organization, respectively. </p>
      <p>&nbsp;</p>
      <p>Article 3 </p>
      <p>1. <br/>
        The Parties included in Annex I shall, individually or jointly, ensure that their aggregate anthropogenic carbon dioxide equivalent emissions of the greenhouse gases listed in Annex A do not exceed their assigned amounts, calculated pursuant to their quantified emission limitation and reduction commitments inscribed in Annex B and in accordance with the provisions of this Article, with a view to reducing their overall emissions of such gases by at least 5 per cent below 1990 levels in the commitment period 2008 to 2012.</p>
      <p>2. <br/>
        Each Party included in Annex I shall, by 2005, have made demonstrable progress in achieving its commitments under this Protocol. </p>
      <p>4. <br/>
        Prior to the first session of the Conference of the Parties serving as the meeting of the Parties to this Protocol, each Party included in Annex I shall provide, for consideration by the Subsidiary Body for Scientific and Technological Advice, data to establish its level of carbon stocks in 1990 and to enable an estimate to be made of its changes in carbon stocks in subsequent years. The Conference of the Parties serving as the meeting of the Parties to this Protocol shall, at its first session or as soon as practicable thereafter, decide upon modalities, rules and guidelines as to how, and which, additional human-induced activities related to changes in greenhouse gas emissions by sources and removals by sinks in the agricultural soils and the land-use change and forestry categories shall be added to, or subtracted from, the assigned amounts for Parties included in Annex I. </p>
      <p>&nbsp;</p>
      <p>Article 4 </p>
      <p>1. <br/>
        Any Parties included in Annex I that have reached an agreement to fulfil their commitments under Article 3 jointly, shall be deemed to have met those commitments provided that their total combined aggregate anthropogenic carbon dioxide equivalent emissions of the greenhouse gases listed in Annex A do not exceed their assigned amounts calculated pursuant to their quantified emission limitation and reduction commitments inscribed in Annex B and in accordance with the provisions of Article 3.  </p>
      <p>&nbsp;</p>
      <p>Article 6 </p>
      <p>1. <br/>
        For the purpose of meeting its commitments under Article 3, any Party included in Annex I may transfer to, or acquire from, any other such Party emission reduction units resulting from projects aimed at reducing anthropogenic emissions by sources or enhancing anthropogenic removals by sinks of greenhouse gases in any sector of the economy, provided that:</p>
      <p>(a)<br/>
        Any such project has the approval of the Parties involved; </p>
      <p>(b)<br/>
        Any such project provides a reduction in emissions by sources, or an enhancement of removals by sinks, that is additional to any that would otherwise occur; </p>
      <p>(c)<br/>
        It does not acquire any emission reduction units if it is not in compliance with its obligations under Articles 5 and 7; and </p>
      <p>(d)<br/>
        The acquisition of emission reduction units shall be supplemental to domestic actions for the purposes of meeting commitments under Article 3.</p>
      <p>&nbsp;</p>
      <p>Article 21 </p>
      <p>4.<br/>
        The Parties shall make every effort to reach agreement on any proposed annex or amendment to an annex by consensus. If all efforts at consensus have been exhausted, and no agreement reached, the annex or amendment to an annex shall as a last resort be adopted by a three-fourths majority vote of the Parties present and voting at the meeting. The adopted annex or amendment to an annex shall be communicated by the secretariat to the Depositary, who shall circulate it to all Parties for their acceptance. </p>
      <p>&nbsp;</p>
      <p>Article 24 </p>
      <p>1. <br/>
        This Protocol shall be open for signature and subject to ratification, acceptance or approval by States and regional economic integration organizations which are Parties to the Convention. It shall be open for signature at United Nations Headquarters in New York from 16 March 1998 to 15 March 1999. This Protocol shall be open for accession from the day after the date on which it is closed for signature. Instruments of ratification, acceptance, approval or accession shall be deposited with the Depositary. </p>
      <p>&nbsp;</p>
      <p>Article 25 </p>
      <p>1. <br/>
        This Protocol shall enter into force on the ninetieth day after the date on which not less than 55 Parties to the Convention, incorporating Parties included in Annex I which accounted in total for at least 55 per cent of the total carbon dioxide emissions for 1990 of the Parties included in Annex I, have deposited their instruments of ratification, acceptance, approval or accession. </p>
      <p>2. <br/>
        For the purposes of this Article, gthe total carbon dioxide emissions for 1990 of the Parties included in Annex Ih means the amount communicated on or before the date of adoption of this Protocol by the Parties included in Annex I in their first national communications submitted in accordance with Article 12 of the Convention. </p>
      <p>3. <br/>
        For each State or regional economic integration organization that ratifies, accepts or approves this Protocol or accedes thereto after the conditions set out in paragraph 1 above for entry into force have been fulfilled, this Protocol shall enter into force on the ninetieth day following the date of deposit of its instrument of ratification, acceptance, approval or accession.</p>
      <p>4. <br/>
        For the purposes of this Article, any instrument deposited by a regional economic integration organization shall not be counted as additional to those deposited by States members of the organization. </p>
      <p>&nbsp;</p>
      <p>Article 27 </p>
      <p>1.<br/>
        At any time after three years from the date on which this Protocol has entered into force for a Party, that Party may withdraw from this Protocol by giving written notification to the Depositary.</p>
      <p>2. <br/>
        Any such withdrawal shall take effect upon expiry of one year from the date of receipt by the Depositary of the notification of withdrawal, or on such later date as may be specified in the notification of withdrawal. </p>
      <p>3.<br/>
        Any Party that withdraws from the Convention shall be considered as also having withdrawn from this Protocol. </p>
      <p>&nbsp;</p>
      <p>DONE at Kyoto this eleventh day of December one thousand nine hundred and ninety-seven. </p>
      <p>&nbsp;</p>
      <p><div class="entry_footer">Annex in 1990. Carbon dioxide exhaust ratio of advanced country </p>
      <p>Annex I</p>
      <p>Australia, Republic of Austria, Republic of Belarus*, Kingdom of Belgium, Republic of Bulgaria*, Canada, The Czech Republic, The Slovak Republic*, 
Kingdom of Denmark, European Economic Community, Republic of Estonia, Republic of Finland, French Republic, Federal Republic of Germany, Hellenic Republic, Republic of Hungary*, Republic of Iceland, Ireland, Republic of Italy, Japan, Republic of Latvia*, Republic of Lithuania*, Grand Duchy of Luxembourg, Kingdom of the Netherlands, New Zealand, Kingdom of Norway, Republic of Poland*, Portuguese Republic, Romania*, Russian Federation*, Spain, Kingdom of Sweden, Swiss Confederation, Republic of Turkey, Ukraine*, United Kingdom of Great Britain and Northern Ireland, United States of America
<br /></div></td>
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</entry>
<entry>
    <title>National Federation of Industrial Waste Management Associations</title>
    <link rel="alternate" type="text/html" href="http://www.plus81.com/ecode/en/2006/04/national_federation_of_industr.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.plus81.com/cgi-bin/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=70" title="National Federation of Industrial Waste Management Associations" />
    <id>tag:www.plus81.com,2006:/ecode/en//2.70</id>
    
    <published>2006-04-21T10:14:50Z</published>
    <updated>2006-04-21T10:25:51Z</updated>
    
    <summary>　</summary>
    <author>
        <name>+81</name>
        
    </author>
            <category term="060National Federation of Industrial Waste Management Associations" />
    
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    <td valign="top"><p>Waste: a word of only five letters but with a frightening character. Why? Because the world has always been faced with the problem of waste. 
During the Middle Ages, the glittering capital city of Paris was also a"capital of garbage," and a site for illegal disposal. 
The Mayor of Paris announced that anyone caught in the act of illegally disposing of something would be hanged. 
However, since this did not lead to any reduction of the problem, the mayor gave up the idea. France today still has a garbage problem, and it is a huge issue for Japan as well. 
In a nutshell, waste disposal is a serious problem for the entire world. Before we realized it, waste grew into a monster, and is a major factor behind both global warming and environmental problems.</p>
      <p>We have achieved abundance and convenience, which we are not at all prepared mindset to lose. Our abundance and convenience are directly proportional to the amount of waste we produce.</p>
      <p>When the "expiry date for consumption" of abundance arrives, things change into waste. And then, waste has its revenge.</p>
      <p>Ecology puts a brake on the greed of humankind, which is continuously evolving. How well are human beings now able to apply the brakes? 
The word "environment" will surely prove to be a testing ground for that question. </p>
      <p><a href="http://www.zensanpairen.or.jp/" target="_blank">www.zensanpairen.or.jp/</a><br />
    </p></td>
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]]>
        
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</entry>
<entry>
    <title>Electric Cars</title>
    <link rel="alternate" type="text/html" href="http://www.plus81.com/ecode/en/2006/04/electric_cars.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.plus81.com/cgi-bin/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=69" title="Electric Cars" />
    <id>tag:www.plus81.com,2006:/ecode/en//2.69</id>
    
    <published>2006-04-21T10:03:53Z</published>
    <updated>2006-04-21T10:10:21Z</updated>
    
    <summary>　</summary>
    <author>
        <name>+81</name>
        
    </author>
            <category term="070Electric Cars" />
    
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Electric cars are powered by batteries and motors, and have very little impact on the global environment, since they emit no exhaust gases at all. By changing from an internal combustion engine-based car to an electric car, a fundamental improvement of the global environment, especially a substantial reduction in the amount of carbon dioxide emitted (one of the factors causing global warming), can be achieved, and global warming prevented.

In the Eliica we have developed, we have achieved not only high performance and a smooth feel, but also a design with low environmental impact. It has a record high speed of 370 km/hr, while the time taken to reach a rate of acceleration of 0-160 km/hour is less than that of top-class sports cars by only 7 seconds. Moreover, since there is no engine and all the necessary components for operation are stored below the floor, and the motor installed inside the wheels (in-wheel motor), the floor is both flat and spacious, providing greater room within the vehicle.

Considering its potential to greatly change society through the convenience and environmental awareness it provides, we would like to put Eliica into actual use as soon as possible. 


The Eliica Project
A joint academic-industrial research group was formed, comprising professors and researchers attached to Keio University and representatives of 38 companies, to develop a vehicle based on an entirely new concept. In this project, the research team is jointly developing and assembling a car body that operates using lithium batteries as the power source, with Keio University at the center of the research.

<div class="entry_footer">
Profile of Academics Leading the Project

Professor Hiroichi Yoshida
Policy and Media Research Department, Keio University

Professor Hiroshi Shimizu
Environment Information Faculty, Keio University</div>]]>
        
    </content>
</entry>
<entry>
    <title>Campana Brothers</title>
    <link rel="alternate" type="text/html" href="http://www.plus81.com/ecode/en/2006/04/campana_brothers.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.plus81.com/cgi-bin/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=68" title="Campana Brothers" />
    <id>tag:www.plus81.com,2006:/ecode/en//2.68</id>
    
    <published>2006-04-21T09:50:04Z</published>
    <updated>2006-04-21T09:52:38Z</updated>
    
    <summary>　</summary>
    <author>
        <name>+81</name>
        
    </author>
            <category term="021Campana Brothers" />
    
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<strong>Humberto Campana & Fernado Camapana
<a href="http://www.brasemb.or.jp" target="_blank">www.brasemb.or.jp</a>
Design Team
Location: Brazilian Embassy</strong>

Humberto Campana "the elder brother of the Campana brothers" had been a law student before his interest took a turn toward the world of art. The younger brother Fernando "as if to follow his big brother's footsteps and despite of his academic success in architecture" also took up a new course of his life as a furniture craftsman. The brothers formed a product design unit and have been working together in their atelier since 1984. Their handmade furniture is mainly made of used materials. By recycling and making a good use of waste wood or cheap materials, the Campanas have been introducing vibrant and colorful products with a taste of strong individuality. As expressionists of the Brazilian mentality and old customs, they have been greatly admired.

<strong>+81 : Do you think recycling is a typical Brazilian way of thinking?</strong>
When we started out, a lot of designers were using precious and expensive lumbers from Amazon rainforests because they wanted to attract public attention. But we didn't agree with their ways. Brazil is a very poor country and it lacks a lot of things. So Brazilians always tend to seek for a better life. Instead of moaning about the lack, we try to solve the problem by being creative. Also, Brazil has a very mixed culture and there coexist so many values and ideas. It's a country where Arabs and Jews can happily live together.

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    <td><img src="http://www.plus81.com/ecode/img/common/shim.gif"  width="15"/></td>
    <td valign="top"><strong>Campana Brothers</strong> <br>Born in Brazil, Humberto and Fernando Campana find inspiration in Brazilian street life. These furniture + product designers work from Estudio Campana in Sao Paulo and also design for European clients such as Edra.</td>
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    </content>
</entry>
<entry>
    <title>Norway Says </title>
    <link rel="alternate" type="text/html" href="http://www.plus81.com/ecode/en/2006/04/norway_says.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.plus81.com/cgi-bin/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=67" title="Norway Says " />
    <id>tag:www.plus81.com,2006:/ecode/en//2.67</id>
    
    <published>2006-04-21T09:43:34Z</published>
    <updated>2006-04-21T09:49:14Z</updated>
    
    <summary>　</summary>
    <author>
        <name>+81</name>
        
    </author>
            <category term="020Norway Says" />
    
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<strong>Norway says
<a href="http://www.norwaysays.com" target="_blank">www.norwaysays.com</a>
Designer
Location: Nolte Japan Showroom</strong>

Generally speaking, the unspoiled nature is a national symbol and the adoration of nature in Norway is a vital. Most of Norwegians enjoy their own summer log cabin and they are growing up with such deep ecology circumstance. Under this blessings of nature, Norway Says design could make sophisticated and warmhearted feelings even the design itself is very global and modern. Their culture is based on strong ides, long-term friendship and knowledge. 

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    <td><img src="http://www.plus81.com/ecode/img/common/shim.gif"  width="15"/></td>
    <td valign="top"><strong>Norway Says</strong> <br>Norway Says is an office based in Oslo with a broad and international approach to design. Today our company works with various clients national and international providing us with skills in product, furniture, installation and interior design. Our company culture is based on strong ideas, long-term friendship and knowledge. With our compact company structure we offer a personal service to every client. 
</td>
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</entry>
<entry>
    <title>Piet Hein Eekl</title>
    <link rel="alternate" type="text/html" href="http://www.plus81.com/ecode/en/2006/04/piet_hein_eekl.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.plus81.com/cgi-bin/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=66" title="Piet Hein Eekl" />
    <id>tag:www.plus81.com,2006:/ecode/en//2.66</id>
    
    <published>2006-04-21T09:37:07Z</published>
    <updated>2006-04-21T09:42:22Z</updated>
    
    <summary>　</summary>
    <author>
        <name>+81</name>
        
    </author>
            <category term="019Piet Hein Eekl" />
    
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<strong>Piet Hein Eekl
<a href="http://www.pietheineek.nl" target="_blank">www.pietheineek.nl</a>
Designer
Location: CIBONE</strong>

The discussion about our environment and the car for, it is very good but it results often in strange contradictions and activities on the wrong level.  As a designer (artist) and entrepreneur I think it's important to have an understandable point of view and to make people think. The discussion in design is very much about using ecologic friendly materials and to make durable products (which can be part of a solution).  However the major theme should be to think about the way we live. 

In western society most people don't realise that their every day life is full of luxury we can't afford. We don't live near our work so to be able to work we have to travel everyday. Everybody is in his or her own car losing time, wasting oil and industrial efforts and charging infrastructure. The solutions people are talking about are making cars more efficient and extending infrastructure not about changing habits like live nearby work travelling together or by train etc etc. People seem to think it's not luxury but an right, in  the end it will be luxury and  the rich people will travel as much as they want and the poor won't. 

After the Second World War everybody has been working to rebuild our society. Major theme after solving the most urgent problems was to work as less as possible for the best possible fee. By improving efficiency and working hard we succeeded. Now we have all kind of luxury we can afford more then ever. Because we're working and paying as less as possible attention is almost scarce. Products and services are realised with as less as possible labour. Because labour is so dominant material isn't, we throw away huge amounts of leftovers. Probably it'll be exactly the other way around in the future every little piece of material will be gold and labour will be cheap. Which of course will be a major social change. (In Holland we already have problems with education and health. In those sectors you can't use a robot or computer to teach or nourish) 
In our leftover project we turned it around. We act as if the leftovers are worth a fortune and labour is irrelevant. It started as an art project but people understand and feel the quality and different approach probably and hopefully they feel the extraordinary efforts. 
Again we could make a major difference by reconsidering the value of our labour. If we don't circumstances will force us.   


Little examples;

If for example Ikea sells a teak product and the teak is from a plantation (fsc) and a consumer buy's it but throws it away after a short use because of pour quality (both design or practical quality) or it wasn't his intention to keep it for long the ecological implications are huge because the wood has been produced shipped etc. The damage which is done is probably bigger comparing an inland teak product which is bought and built to last for a lifetime. (best  is of course plantation teak for durable products but the story is about the mentality of the consumer. ( the story about Ikea is out of my own experience)

If we use scrapwood it's recycling but the benefits are less then one should expect. 
Because of the labour and transport intensive process part of the advantage is lost in the end. 
The product however is very durable. 
It's almost impossible to ruin it in fact its improving  by using it. 
The design was made very much to show that an imperfect product can be desirable, imperfection is much more durable then perfection! 
A change in taste and perception will make a much bigger difference then the results achieved with recycling.
 ( again recycling is very good but is more or less and often solving a problem in the end instead of at the start) 

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    <td valign="top"><strong>Committee</strong> <br>Born in Holland in 1967, graduated from Academy for industrial design in Eindhoven. Established v.o.f.company in 1993. His design work unites his sense of beauty with functionality and is created from natural wood and scrap materials.</td>
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<entry>
    <title>TTTVO</title>
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    <published>2006-04-21T09:32:26Z</published>
    <updated>2006-04-21T09:35:50Z</updated>
    
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<strong>TTTVO
<a href="http://www.tttvol.nl/info/news/index.php" target="_blank">www.tttvol.nl/info/news/index.php</a>
Designer
Location: Art-U room</strong>

Design vs Nature

Two of the most opposite features, yet at the same time their ambiguous tangle is intriguing. Nature forces us to build houses to protect ourselves from its roughness. Yet we like to have it surround us in the form of a garden, for example. However design, as a verb, balances itself to cope with nature and its mood. In the utmost extreme situation one could destroy the other. Therefore design is constantly challenged by nature.

As for my work, I see nature as a playground, a great source of structures, chaos, shapes..., which can be translated into a language of forms expressing the cultural and emotional values of life. It serves as a point of reference when applying one's own imagination. To me, design is as a language, as an ongoing process in which I react on what I see around me.

Ecology for that matter sounds too futuristic. I don't see ecology as an argument needed to practice my profession, nor as a brand in order to produce. But for now I can only hold myself responsible for my choices when dealing with this issue. I see my work as an attempt to contribute into the process of translating unrecognized viewpoints.

Together with Anthony Kleinepier, we have produced various settings. The setting creates a possibility to experience the works in a context. Staged, but still a context it could be received as one living scenery. Although the items are defined as functional products with their own references. When they are installed in a setting, they are not meant to be as displayed products offered to the consumer. But the setting as one concept, of which the emphasis is on the willingness to rethink our views in relation to what surrounds us and refresh ourselves by playing with rules.

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<td valign="top"><strong>TTTVO</strong> <br>Graduated from Design Academy in Eindhoven. Their skills range from product, furniture to interior design.</td>
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