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[Ilse] Some people think
interior design is a look.
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In fact, "It must be
really fun buying furniture"
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is something one person
said to me once.
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But I see it differently.
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We spend 87% of our lives
inside buildings.
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How they are designed really affects
how we feel, how we behave.
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Design is not just a visual thing.
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It's a thought process.
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It's a skill.
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Ultimately, design is a tool
to enhance our humanity.
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It's a frame for life.
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[lively piano music playing]
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[gentle studio chatter]
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[colleague] It's still got
a really strong design quality.
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I just added a note.
That's a stone floor...
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[Ilse] All our projects start
with a strategy.
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Basically prioritizing people,
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putting the human experience
at the beginning of the design process.
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Each of these chairs has met many
of these criteria.
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I think we should
narrow it down to two.
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Michael, what are the pluses
and minuses of this chair?
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[Michael] The materials are great.
We really like it.
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-It's got real tactile memory, actually.
-Yeah, and it's quite easy to handle.
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[Ilse] In our process,
we interrogate the place, the client,
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and then empathize...
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because empathy is a cornerstone
of design.
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[Michael] It's great. The form.
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[Ilse] Yeah, it's a good chair.
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-Quite a challenge, isn't it?
-[colleague] Yeah.
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[Ilse] You want to feel easy and relaxed,
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so I think it does come down to these two.
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And then from that process
of interrogation and empathy,
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that's when
the imaginative process kicks in.
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Interiors, which for ages
have been treated
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as being
a slightly sillier side to design,
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is now beginning to be taken seriously.
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[TV reporter] Glancing at
the artistic lines of this modern home,
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we forget the old idea that houses should
follow past and out-of-date fashions.
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Traditionally, interior design has been
a predominantly visual medium,
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it's been rather frothy and flamboyant.
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It's all about showmanship
and theatricality.
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Ilse's approach is much more subtle,
it's much more sensual.
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It's about how things feel and smell
as much as how things look.
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She wants to imbue people
with a sense of wellbeing, empowerment
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and sort of gentle joyfulness.
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By many people, Ilse's seen
as something of an icon... [chuckles]
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because she has developed
a whole new way of looking at interiors.
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One of the qualities
that distinguishes her work
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from that of other interior designers
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is that it's about
how we experience a room
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and how we ourselves feel in a room
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to satisfy the subconscious.
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Ilse's strength is her humanity
and her caring.
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She really cares about wellbeing.
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Everything that surrounds us
is really done with this care,
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with this love that makes you
kind of feel good.
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And not just look good, too.
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[Ilse] I am a very self-motivated person.
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I actually had always worked.
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I mean, literally, I started working
on the side when I was 13
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because I've never wanted
to ask for money.
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I've always wanted to be independent.
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I worked at Pitts Cottage as a waitress,
I'm sure completely illegally,
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serving coffees and shortbread biscuits
which had a cherry in the middle
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and looked like a breast. [chuckles]
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I remember it so clearly.
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From a kid, I was interested in how people
behave differently in different spaces.
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That fascinated me.
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So when I went to university, I studied
history and history of architecture.
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After university, I was the studio manager
for an architect,
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and from there, was hired
to work on the editorial team
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of an architect's magazine,
because I knew my stuff.
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So when I was asked to start Elle Deco,
it was a no-brainer
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because I really wanted
to do a contemporary magazine
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that was warmer
and reached a bigger audience.
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[Rawsthorn] Ilse has always treated
interior design,
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both as a designer
and magazine editor originally,
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with a seriousness and a complexity
that was arguably lacking before.
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[Ilse] Editing a magazine
is really about having
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a very close connection to your audience
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and knowing how to reach them,
how to excite them, how to inspire them.
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It's a conversation, essentially,
that you have with your reader.
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We presented these livable spaces.
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The journey of the scene,
4,000, 5,000 different interiors,
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seeing how people really use space.
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Which spaces really worked,
which spaces really touched our audience.
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I mean, that was really
my design education.
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But I wanted to do my own thing,
I wanted to make things,
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I wanted to get my hands dirty
and really do something for myself.
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I'm driven by my curiosities.
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By learning more about what made
people comfortable in space,
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researching in Anthropology,
Behavioral Science and so on,
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that really made me understand
how we discover the world.
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I wrote a book called Sensual Home.
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In that book, I went through the senses
because it seemed to me fascinating.
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That is, after all,
how we experience the world.
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We are our bodies.
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Writing Sensual Home
was the aha moment,
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because it wasn't
the current understanding of design.
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So I knew that my days
as a two-dimensional person were over
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and I really wanted to move into three
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and figure out
whether I could work in that field.
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[piano music playing]
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My first project was
immediately after I left Elle Decoration,
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when Nick Jones from Soho House
asked me to help him with Babington House.
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His first hotel out in the countryside.
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I had no practical experience
at that point,
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so it was pretty adventurous of him
to ask me.
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Nick started on a path
of it being rather traditional.
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It's in the country, so it was going to be
a country house hotel.
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I was very clear that
that was the last thing it should be.
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It was for the media and advertising
and film crowd,
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so my proposal said it should be
this very informal place
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that you could just treat
as if it was your own.
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Like a family house of a friend
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where the parents have gone away
for the weekend
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and left the keys to the drinks cabinet.
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And now, that doesn't seem so radical,
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but really then,
it was the first of a kind.
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And then Nick asked me to do
the next Soho House in New York.
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And that's really where the studio began
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because that's when
I brought people in to help me,
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and it grew from there.
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And it has been
one project after another since then.
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Cecconi's was an old,
failing Italian restaurant
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in the center of London.
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We looked at making it
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something that had the character
of the grand Italian station bar.
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Those wonderful, democratic,
beautiful spaces,
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that was very much like a stage
for the staff that work there.
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And an interior made with materials all
from the region around Venice.
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High Road House, Chiswick, was about
making this great public space downstairs,
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and then rooms
that reflected the simplicity
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of the arts and crafts houses
that were all around it.
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We did The Olde Bell,
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a really quite smelly pub
when we first saw it.
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We were asked to define
what an English coaching inn would be,
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translating that into furniture,
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materials,
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food,
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uniforms.
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We also worked with Mathias Dahlgren
in Stockholm
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to develop two restaurants
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which would be
the physical manifestation
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of his love and philosophy
of Swedish gastronomy.
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We did the first Aesop in the UK.
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The owner said the thing about skin care
that made the difference
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was not just what was in the product,
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but the ritual of daily maintenance.
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So we put the sink
in the middle of the store.
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The notion of taking care of yourself
elevated through design.
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What we're really interested in
is translating the client,
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the future life of a building,
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into a design language.
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So quite a range.
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What was really exciting was to figure out
if our approach worked
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for very different people
in very different places.
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We managed to create
these special identities.
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I mean, people said that,
while they didn't look the same,
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they did have a similar feeling.
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By creating places that really affect
people through five senses,
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they had a real connection
that was very unusual at the time.
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While I know what works for me visually,
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I need to make sense of it
through writing
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in order to then do what I do.
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I need both hands to speak to each other.
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So the second book
was trying to figure out
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how to structure my design thoughts
into actually a design manifesto.
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[Thompson]
Ilse makes things easy to comprehend
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'cause she's broken them down
into very basic ideas.
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Twenty-plus years ago,
Ilse had very new ideas,
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and I think it takes a long time for a new
idea to really become an established idea,
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and so it's been a process.
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[Ilse] I grew up
in a pretty progressive family.
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Both my parents were
extremely free thinking.
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My mother was a trained artist
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and my father was an investigative
journalist for The Sunday Times
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and an economist.
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My father was very demanding academically.
I learnt how to prove myself very young.
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Because he was of the mind that humans
don't question or interrogate reality
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before they have an opinion.
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If you interrogate a situation,
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actually, the answers
present themselves to you.
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And my mother was adventurous.
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She gave us total freedom really,
with our own environment
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to express ourselves.
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But when I was a teenager,
my mother got quite sick.
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She was in her mid-30s.
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I spent quite a lot of time going in
and out of hospitals to hang out with her.
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Those great long corridors
reduced people to patients,
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waiting for the doctor in the white coat
to march up and down.
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They were really inhuman.
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To see that a building could have
such an impact on the way people felt,
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on the way they interacted.
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It was a real revelation
that human values are non-negotiable.
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That combination
of interrogation and empathy
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is something that's been with me
from the very beginning.
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When we first approach a project,
we always hold off what our opinion is.
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So we ask questions. We watch a lot.
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We listen.
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I always say to my team we've got
two eyes, two ears and one mouth
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and we should use them
in that proportion.
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[general project chatter]
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[Ilse] Through that process
of interrogation and empathy,
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we can understand
really what it is we're looking at.
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Our expertise in terms of process
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was relevant when it came to
working on a project like with IKEA.
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They noticed the humanity of our approach,
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and that's something that is embedded
in their ideology as a company.
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They're very interested
in how we can bring those human values
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into their restaurants.
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This has to be a very robust vision
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because it's going to be
translated round the world.
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[colleague] It's a huge thing.
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The restaurant is always done
as an afterthought.
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The store is the mammoth thing
to get right.
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Yeah.
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And, like we talk about,
the end of the system,
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that's the bit that gets
the last bits of the money
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and the last bits of the time.
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So it would be quite interesting
to reverse that process.
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I didn't know it was called a restaurant.
I just thought that's really interesting.
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-[Ilse] It's a cafeteria.
-[colleague] Yeah.
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They can use that space to encourage
and give sort of behavioral cues to people
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to eat more healthily, especially kids.
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Although it sounds like the hot dog
is something that will be hung on to.
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Maybe that's okay.
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It just needs to be sort of framed
in a different language, not advertised...
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[Ilse] But apparently the veggie ball
is doing brilliantly.
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[colleague] Is it really? That's great.
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[colleague] The next steps
will be to go and do
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some very rigorous observation in IKEA
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in the existing environments.
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[Ilse] Changes on this scale
could make a massive impact.
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Almost every client finds this room
their favorite space.
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Each project has its specific
material language that we might use
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in terms of how they're laid,
how they're finished.
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Materials are the thing
that tell the truth.
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It's something that
we go into in great detail.
240
00:17:48,359 --> 00:17:50,361
Humans naturally are drawn to materials.
241
00:17:52,863 --> 00:17:55,116
We discover the world through our senses.
242
00:17:56,534 --> 00:17:59,996
What we're interested in
is how materials speak to us.
243
00:18:00,580 --> 00:18:04,375
The things that touch the skin,
the things that really give you memory.
244
00:18:05,459 --> 00:18:07,420
We focus a lot on that.
245
00:18:10,464 --> 00:18:12,425
Materials are
much more compelling and convincing
246
00:18:12,508 --> 00:18:13,718
once you see them in context,
247
00:18:13,801 --> 00:18:17,513
or at least in the character of light
that will hit it,
248
00:18:17,597 --> 00:18:21,475
and ideally in association with
the other materials that will be with it.
249
00:18:30,526 --> 00:18:35,615
Really, it's that combination of materials
that speak to each other
250
00:18:35,698 --> 00:18:42,121
and create this tactile, warm
and very physical environment.
251
00:18:43,539 --> 00:18:48,711
So for example, when we were working
on Cathay Pacific Airport lounges,
252
00:18:48,794 --> 00:18:54,091
you really need to choose materials
that are functional, but yet luxurious.
253
00:18:55,468 --> 00:18:58,220
Now, these are people who are tired,
who are probably jet-lagged,
254
00:18:58,304 --> 00:19:00,514
and a lounge is a place
to make them feel human.
255
00:19:02,433 --> 00:19:07,021
Typically, an airport lounge will often
line chairs up rather institutionally,
256
00:19:07,104 --> 00:19:08,522
and we didn't want to do that.
257
00:19:08,606 --> 00:19:12,860
We wanted it to have the sense of
domestic space, but yet function well.
258
00:19:13,486 --> 00:19:14,737
That was a challenge.
259
00:19:15,529 --> 00:19:17,990
The lounge needed to have
minimal maintenance,
260
00:19:18,074 --> 00:19:21,702
to be somewhere that could withstand
many, many people per day
261
00:19:22,203 --> 00:19:24,997
going through with wheelie suitcases
which bash the walls.
262
00:19:25,081 --> 00:19:27,083
So paint, for example, was a no go.
263
00:19:28,501 --> 00:19:32,797
It needed to be materialized
in a way that expressed Cathay
264
00:19:32,880 --> 00:19:35,049
and not, for example, another airline.
265
00:19:35,132 --> 00:19:38,260
So when it came to choosing materials
for the first-class lounge,
266
00:19:38,344 --> 00:19:41,138
in the hallway, we chose onyx.
267
00:19:42,139 --> 00:19:46,018
It's a natural material,
it's from the area, it's an Asian material
268
00:19:47,186 --> 00:19:49,063
and because it's robust.
269
00:19:49,814 --> 00:19:51,649
It's not the cheapest material
you could find,
270
00:19:51,732 --> 00:19:55,486
so we needed to balance it with something
more down-to-earth that offset it.
271
00:19:55,569 --> 00:19:57,238
So we chose a limestone.
272
00:19:59,490 --> 00:20:00,866
But then we needed to add warmth.
273
00:20:02,493 --> 00:20:05,621
We actually understand materials best
by contrast.
274
00:20:05,705 --> 00:20:09,959
Our senses are wired in such a way
275
00:20:10,042 --> 00:20:14,046
that we understand that rough
feels rougher by contrast with smooth.
276
00:20:15,923 --> 00:20:19,510
To get the best out of these materials,
we needed to find its opposite.
277
00:20:20,010 --> 00:20:24,557
So mohair velvet,
which is a very robust velvet,
278
00:20:24,640 --> 00:20:28,769
which is totally durable
but feels luxurious.
279
00:20:29,478 --> 00:20:31,480
So offsetting the hardness,
280
00:20:31,564 --> 00:20:34,358
the coolness of the onyx
and the limestone.
281
00:20:35,025 --> 00:20:39,113
Then bringing in something natural,
both in finish and also form.
282
00:20:39,822 --> 00:20:44,577
And then to bring in the touch of lux,
it had a brass base.
283
00:20:46,162 --> 00:20:48,789
So it was less about the aesthetics
or the appearance,
284
00:20:48,873 --> 00:20:51,125
although that's obviously in the mix,
285
00:20:51,208 --> 00:20:54,754
but much more about
how to make an environment
286
00:20:54,837 --> 00:21:00,050
that made people feel better after
they'd been there than when they arrived.
287
00:21:00,801 --> 00:21:03,095
It's all about wellbeing.
288
00:21:03,721 --> 00:21:05,890
That means that
when people walk into it,
289
00:21:06,474 --> 00:21:08,934
they don't know why they feel
the way they feel,
290
00:21:09,769 --> 00:21:12,396
but it's actually all been orchestrated.
291
00:21:17,943 --> 00:21:20,362
[general studio chatter]
292
00:21:20,946 --> 00:21:22,907
[colleague] I don't know
if that's enough...
293
00:21:25,701 --> 00:21:28,913
[Ilse] The execution of our projects
comes down to the tools.
294
00:21:31,040 --> 00:21:35,336
Tangible tools,
such as materials, sketching,
295
00:21:36,796 --> 00:21:40,841
and all the technical tools,
CAD, Vectorworks, etc.
296
00:21:41,675 --> 00:21:45,471
And the ultimate measurable tool,
the tape measure.
297
00:21:45,554 --> 00:21:48,015
A blissfully simple, essential tool.
298
00:21:50,643 --> 00:21:53,562
Dimensions, for us as a studio,
are super important.
299
00:21:54,021 --> 00:21:56,440
When we're making furniture, for example,
300
00:21:56,524 --> 00:22:01,028
three inches is a massive difference
as to whether something is comfortable
301
00:22:01,111 --> 00:22:04,406
or whether it's the right dimension
to have a conversation.
302
00:22:05,574 --> 00:22:09,912
I prefer a table where the dimensions
enhance conversation,
303
00:22:09,995 --> 00:22:11,455
where you're closer together.
304
00:22:12,039 --> 00:22:13,374
What's interesting about tables
305
00:22:13,457 --> 00:22:17,503
is that they can be metaphors
of power and confrontation.
306
00:22:17,586 --> 00:22:20,464
The conference table
is typically wide and long,
307
00:22:20,548 --> 00:22:23,676
and the one at the top
is the one who pulls all the strings.
308
00:22:24,593 --> 00:22:28,430
The informal table, for me,
is a more lovely thing.
309
00:22:29,431 --> 00:22:31,559
The Together Table
is a really good example.
310
00:22:31,642 --> 00:22:35,938
It's actually narrow enough
to have a conversation quite comfortably,
311
00:22:36,021 --> 00:22:37,106
75 centimeters,
312
00:22:38,023 --> 00:22:39,066
and then the oval...
313
00:22:39,608 --> 00:22:43,070
An oval does give you the possibility
to squeeze more people in.
314
00:22:45,573 --> 00:22:50,160
Design that encourages people
to be close together is a good thing.
315
00:22:52,454 --> 00:22:53,914
[general chatter]
316
00:22:54,498 --> 00:22:56,834
I didn't initially see product
317
00:22:56,917 --> 00:22:59,962
as being something
that we either could or should do.
318
00:23:00,045 --> 00:23:03,007
But when we were designing
some interiors,
319
00:23:03,090 --> 00:23:06,802
we needed to do
specific products for those interiors,
320
00:23:06,885 --> 00:23:08,429
because we couldn't find them.
321
00:23:09,972 --> 00:23:13,767
The Brass Cabinet was an original piece
that we did for the Aesop store.
322
00:23:14,476 --> 00:23:17,813
And we evolved the design
for other clients.
323
00:23:19,440 --> 00:23:22,818
To make a good product
is so much more complicated
324
00:23:22,901 --> 00:23:25,195
than just throwing a sketch over a wall
325
00:23:25,279 --> 00:23:27,990
or a CAD drawing to a manufacturer.
326
00:23:28,657 --> 00:23:31,493
Design is a relationship with the maker.
327
00:23:35,289 --> 00:23:39,168
The best results are always
about the collaboration.
328
00:23:40,836 --> 00:23:44,465
You really need to sample it
and refine a product.
329
00:23:46,508 --> 00:23:50,721
It takes many iterations,
so that ultimately it can live on its own.
330
00:23:55,559 --> 00:23:58,979
So for example, when we were designing
the Sinnerlig range for IKEA,
331
00:23:59,063 --> 00:24:00,481
it was very important to us
332
00:24:00,564 --> 00:24:03,984
that we make furniture
that could reach the whole world.
333
00:24:06,028 --> 00:24:07,321
The project for IKEA,
334
00:24:07,905 --> 00:24:09,865
trying to understand
what is mass manufacturing
335
00:24:09,949 --> 00:24:14,119
and instead of maybe saying,
"Oh, this is horrible."
336
00:24:14,203 --> 00:24:16,080
It's questioning
and trying to understand
337
00:24:16,163 --> 00:24:19,500
that mass manufacturing
can give us a great benefit,
338
00:24:19,583 --> 00:24:23,712
because it can give us access
to things for everyone.
339
00:24:25,464 --> 00:24:29,259
[Ilse] For many people, IKEA is a big,
bad cheap furniture warehouse.
340
00:24:30,552 --> 00:24:32,513
But actually, what's really interesting
341
00:24:32,596 --> 00:24:38,435
is strategically what is in that system
that can be used positively,
342
00:24:38,936 --> 00:24:41,397
using design to make things better.
343
00:24:44,400 --> 00:24:49,363
The basis of our relationship was to bring
emotional values into that system
344
00:24:49,446 --> 00:24:53,492
and come out with products
that are sustainable,
345
00:24:53,826 --> 00:24:55,411
but people really love.
346
00:24:56,829 --> 00:24:59,623
What we wanted to do
was not just product development.
347
00:24:59,707 --> 00:25:02,501
We wanted a development of an experience,
348
00:25:02,584 --> 00:25:07,339
and since StudioIlse is working with
both products and interior design,
349
00:25:07,423 --> 00:25:08,841
that's like a perfect fit.
350
00:25:10,008 --> 00:25:14,138
This is actually one year
from when they started, still here.
351
00:25:14,221 --> 00:25:15,264
It's kind of nice.
352
00:25:16,974 --> 00:25:18,684
[Ilse] It's great to see it in the store.
353
00:25:20,352 --> 00:25:25,023
Looking at materials that we could
work with, we came to love cork.
354
00:25:26,066 --> 00:25:31,697
Because it's very abundant,
utterly sustainable, there's no waste.
355
00:25:32,573 --> 00:25:36,910
It goes from being the bark,
harvested in the very old way
356
00:25:36,994 --> 00:25:40,914
with skilled craftsmen who know
how to do it without damaging the trees.
357
00:25:41,623 --> 00:25:43,876
In order to get that tactility,
358
00:25:43,959 --> 00:25:46,920
we had to work very hard
to find a new coating.
359
00:25:48,422 --> 00:25:50,924
Design thrives on restrictions, actually.
360
00:25:51,008 --> 00:25:54,845
I think of it as a primal drive,
that you need those tight restrictions
361
00:25:54,928 --> 00:25:56,972
and then, somehow or other,
you come out of it.
362
00:25:58,515 --> 00:26:03,103
We looked at the process
of making ceramics in Vietnam
363
00:26:03,187 --> 00:26:07,566
and saw that a way of creating
imperfection and difference
364
00:26:07,649 --> 00:26:09,068
was staring us straight in the face,
365
00:26:09,151 --> 00:26:11,153
which is that the jars are dip dyed.
366
00:26:11,820 --> 00:26:14,406
What you got was
there's never one the same.
367
00:26:15,949 --> 00:26:17,868
The process was nearly three years.
368
00:26:18,368 --> 00:26:22,206
People don't realize, I think,
how long it really takes to make something
369
00:26:22,289 --> 00:26:25,959
that comes out at this price
in these quantities.
370
00:26:26,794 --> 00:26:30,380
Bringing together good design
on this scale is just, for us,
371
00:26:30,964 --> 00:26:33,509
a really, really interesting end result.
372
00:26:34,718 --> 00:26:36,845
Now, we're taking the next step,
into the restaurant,
373
00:26:36,929 --> 00:26:39,097
bringing those learnings
into what we could do
374
00:26:39,181 --> 00:26:40,641
to the restaurant business of IKEA...
375
00:26:40,724 --> 00:26:41,600
[Ilse] Yeah.
376
00:26:41,683 --> 00:26:43,102
[Engman] and that's going to be fun.
377
00:27:03,539 --> 00:27:08,752
[Ilse] I grew up in a part of London
that was filled with derelict houses,
378
00:27:09,461 --> 00:27:13,257
which were being smashed down,
but had beautiful 19th-century tiles.
379
00:27:14,091 --> 00:27:17,219
There was no understanding
of the beauty of these things.
380
00:27:17,302 --> 00:27:21,139
My mother and I used to go out at night
with hammer and chisel and rescue them,
381
00:27:21,223 --> 00:27:24,601
so they wouldn't be smashed
by the wrecking ball the next day.
382
00:27:26,812 --> 00:27:31,108
I've always, since a child,
been fascinated by the atmosphere.
383
00:27:31,942 --> 00:27:36,029
And I still am. I think that houses
carry the atmosphere of their past.
384
00:27:38,949 --> 00:27:41,952
Being a designer,
in some way, gives you X-ray eyes
385
00:27:42,035 --> 00:27:45,455
and you're able to see through
the current iteration of a building
386
00:27:45,539 --> 00:27:48,584
and how you can build on that.
387
00:28:01,722 --> 00:28:04,725
Working on Ett Hem was
a four-and-a-half year conversation
388
00:28:04,808 --> 00:28:09,563
because it had quite a tricky time going
through planning and historic permission.
389
00:28:10,939 --> 00:28:14,192
Before collaborating with Ilse,
I had googled her
390
00:28:14,276 --> 00:28:19,198
and understood, you know,
"Wow, she's a rock star." [chuckles]
391
00:28:19,865 --> 00:28:22,492
We spent eight months together.
392
00:28:22,576 --> 00:28:24,536
They really took the time
to get to know me,
393
00:28:24,620 --> 00:28:28,832
showing them, you know, houses
and places I liked here in Scandinavia,
394
00:28:28,916 --> 00:28:31,627
pointing out the important things in life.
395
00:28:32,252 --> 00:28:33,921
Values, food...
396
00:28:34,588 --> 00:28:36,548
the rituals that I care for.
397
00:28:38,675 --> 00:28:43,013
[Ilse] Ett Hem is in a building
built in 1913,
398
00:28:43,096 --> 00:28:46,683
which was a really important time
in Swedish architectural history,
399
00:28:46,767 --> 00:28:50,729
because the home became the focus
for arts and life.
400
00:28:55,108 --> 00:28:58,737
The everyday was something
that was celebrated and delightful.
401
00:29:00,572 --> 00:29:07,120
So one of the core principles
was moving away from opulent luxury
402
00:29:07,204 --> 00:29:10,958
to a notion that luxury is attention.
It's care.
403
00:29:11,625 --> 00:29:14,836
It's actually making the ordinary
extraordinary.
404
00:29:16,797 --> 00:29:18,507
[Mix] Collaborating with Ilse,
405
00:29:18,590 --> 00:29:22,386
first of all, it's complete trust,
you really feel that.
406
00:29:23,470 --> 00:29:25,055
They are very thorough.
407
00:29:29,768 --> 00:29:35,440
[Ilse] Typically, a building process
is a sequence of decisions,
408
00:29:36,275 --> 00:29:39,111
and what are called the "soft decisions"
are made at the end.
409
00:29:39,194 --> 00:29:42,698
If indeed there is any money
left at the end, or time.
410
00:29:42,781 --> 00:29:45,826
But in this case, we wanted
to reverse that process.
411
00:29:46,576 --> 00:29:50,289
We wanted to integrate the experience
of the place with the design
412
00:29:50,372 --> 00:29:51,790
from the very beginning.
413
00:29:53,792 --> 00:29:56,545
To make a place where,
the minute you walked in,
414
00:29:56,628 --> 00:29:59,631
you just felt relaxed
and as though you belonged.
415
00:30:00,966 --> 00:30:02,009
A home.
416
00:30:02,092 --> 00:30:03,719
Ett Hem: a home.
417
00:30:05,804 --> 00:30:10,976
[Mix] When we came up with
the name Ett Hem, it all fell into place.
418
00:30:12,060 --> 00:30:13,729
So regarding the design,
419
00:30:14,229 --> 00:30:17,399
every decision came back to
how does it feel
420
00:30:17,482 --> 00:30:19,651
and how is it run in a normal home?
421
00:30:23,530 --> 00:30:26,616
[Ilse] So we got rid of front
and back of house.
422
00:30:27,326 --> 00:30:30,037
That formality, those boundaries.
423
00:30:30,746 --> 00:30:35,500
Not only do they take up space,
they also make people behave differently.
424
00:30:37,169 --> 00:30:40,756
It's more about the things you do,
rather than the way things look,
425
00:30:41,256 --> 00:30:43,925
and how to create
a proper focus for those.
426
00:30:45,469 --> 00:30:48,180
Those are the moments
that make it all worthwhile.
427
00:30:49,598 --> 00:30:51,099
In Denmark, they call that hygge.
428
00:30:52,351 --> 00:30:54,311
To focus on the moment,
429
00:30:54,394 --> 00:30:58,440
on making the ordinary extraordinary,
making the normal special.
430
00:30:59,149 --> 00:31:01,610
But what happens when we do that
431
00:31:01,693 --> 00:31:05,280
is it makes us
much more open to each other
432
00:31:05,947 --> 00:31:06,990
and much closer.
433
00:31:08,200 --> 00:31:11,620
And it's a really interesting way
of building community.
434
00:31:12,954 --> 00:31:14,748
For example, in the kitchen,
435
00:31:14,831 --> 00:31:17,959
we made it warm and inviting
with a great old table
436
00:31:18,043 --> 00:31:22,255
and we chose the things on the table,
so they really felt memorable, tactile.
437
00:31:24,049 --> 00:31:25,300
Caring about the details,
438
00:31:26,218 --> 00:31:29,054
thinking about how people
will experience the place.
439
00:31:29,805 --> 00:31:32,766
People understand
the care that's gone into that.
440
00:31:35,560 --> 00:31:39,898
Obviously, Ett Hem is a high-end,
relatively small hotel,
441
00:31:41,733 --> 00:31:44,152
but you can do this on a bigger scale.
442
00:31:52,494 --> 00:31:57,082
When you integrate design
into a company like IKEA,
443
00:31:57,165 --> 00:31:58,834
it can have huge effect.
444
00:32:02,337 --> 00:32:08,301
What is so interesting about this project
is IKEA is very much a family store.
445
00:32:08,385 --> 00:32:10,512
You really see big families here,
446
00:32:10,595 --> 00:32:13,390
and it's quite tricky
to take a big family out to eat,
447
00:32:13,473 --> 00:32:18,562
not to mention quite expensive,
so that's a really valuable contribution.
448
00:32:19,312 --> 00:32:21,606
The restaurant hasn't
kept step with the times.
449
00:32:22,649 --> 00:32:24,693
And so they want us to interrogate that.
450
00:32:26,820 --> 00:32:29,823
This is the very area
which we're going to take
451
00:32:29,906 --> 00:32:32,826
-and change it all, hopefully.
-Yeah.
452
00:32:34,035 --> 00:32:36,746
[Engman] We're in one of
the oldest stores now, of IKEA,
453
00:32:36,830 --> 00:32:38,039
and it's the biggest store.
454
00:32:38,457 --> 00:32:45,422
Now we're spread to 375 different stores
in 48 countries around the world.
455
00:32:47,924 --> 00:32:50,427
It was really a new take
on how to serve food
456
00:32:50,510 --> 00:32:52,637
and really good food.
457
00:32:52,721 --> 00:32:57,726
But this is the thing. It doesn't matter
how good we do our baked salmon.
458
00:32:58,226 --> 00:33:01,438
If you meet it in the wrong way,
you get the wrong impression.
459
00:33:01,938 --> 00:33:05,775
[Ilse] Yep, it feels like airport security
at the moment, you really...
460
00:33:05,859 --> 00:33:08,904
-Let's say there is room for improvement.
-Yeah.
461
00:33:08,987 --> 00:33:10,238
[Engman laughs]
462
00:33:12,199 --> 00:33:16,119
[Engman] We serve
640 million people every year.
463
00:33:16,203 --> 00:33:20,707
And this one alone
is something like 3,500, 4,000 a day.
464
00:33:20,790 --> 00:33:22,667
-Yes. Huge.
-They're big numbers, yeah.
465
00:33:24,044 --> 00:33:25,420
[Engman] What we want to do with food
466
00:33:25,504 --> 00:33:28,215
is make people live a healthier
and more sustainable lifestyle
467
00:33:28,298 --> 00:33:29,716
through their food choices.
468
00:33:32,427 --> 00:33:33,637
[Ilse] It makes huge sense,
469
00:33:33,720 --> 00:33:37,140
because if you can change the way
that children feel about food,
470
00:33:37,224 --> 00:33:38,767
that really changes their futures.
471
00:33:38,850 --> 00:33:40,101
[Engman] Yeah, absolutely.
472
00:33:40,894 --> 00:33:44,773
[Ilse] And I think design
really needs to address that.
473
00:33:47,275 --> 00:33:50,237
If you think about
the scale of the project...
474
00:33:50,320 --> 00:33:55,825
I mean, 640 million customers a year
is beyond comprehension in a way.
475
00:33:56,826 --> 00:34:00,330
It's a ten-year plan
and it's only the beginning.
476
00:34:25,981 --> 00:34:27,524
[Peña] They say
that behind every great man
477
00:34:27,607 --> 00:34:28,942
there's always a great woman.
478
00:34:29,651 --> 00:34:31,069
Here, it's the opposite.
479
00:34:31,945 --> 00:34:35,532
Behind a great woman
maybe there's also a very good man.
480
00:34:37,450 --> 00:34:40,537
[Ilse] I was living in New York.
He was living in Milan.
481
00:34:40,620 --> 00:34:42,747
He was working
for the Design Academy Eindhoven,
482
00:34:42,831 --> 00:34:44,040
which I had never heard of.
483
00:34:45,667 --> 00:34:48,628
[Peña] When we were having
a head of department meeting,
484
00:34:48,712 --> 00:34:51,464
I was asked if I knew someone
that they could recommend
485
00:34:51,548 --> 00:34:55,135
for a new design department that was
going to be created called Wellbeing.
486
00:34:55,218 --> 00:34:58,054
I said, "Oh, maybe there's this lady,
Ilse Crawford."
487
00:34:59,097 --> 00:35:02,392
I only knew about her name and her work
from the magazine, Elle Decoration.
488
00:35:03,101 --> 00:35:06,646
She wrote a book, Sensual Home,
and for some reason, I never bought it.
489
00:35:06,730 --> 00:35:07,564
[laughs]
490
00:35:07,647 --> 00:35:11,568
But actually, I married the one
that wrote it, so I didn't have to buy it.
491
00:35:13,486 --> 00:35:17,866
[Ilse] Oscar has been in
industrial product design for decades
492
00:35:17,949 --> 00:35:19,409
and has joined the business.
493
00:35:19,909 --> 00:35:25,081
He's Colombian, so he's brought in
this wonderful character and big heart.
494
00:35:26,583 --> 00:35:29,252
[Peña] This one is the last green touch.
495
00:35:30,462 --> 00:35:32,839
That counts as a vegetable for you,
doesn't it?
496
00:35:34,215 --> 00:35:37,677
I remember, wasn't it
in the 14th century in Turkey the--
497
00:35:37,761 --> 00:35:39,012
Mmm...
498
00:35:39,095 --> 00:35:40,764
It was grounds for a divorce
499
00:35:40,847 --> 00:35:42,891
if a woman's husband
didn't make her coffee.
500
00:35:43,391 --> 00:35:45,727
[Peña] Yeah, I usually get up
and make you coffee.
501
00:35:45,810 --> 00:35:46,770
[Ilse laughs] Exactly.
502
00:35:48,188 --> 00:35:51,816
I think the small moments are
the things you remember in life.
503
00:35:51,900 --> 00:35:54,361
I mean, all of us remember
those connections.
504
00:35:54,903 --> 00:35:57,614
In the design academy,
we are both heads of departments.
505
00:35:57,697 --> 00:35:59,824
I am Department of Man and Activity,
506
00:35:59,908 --> 00:36:04,871
which is more about kind of products,
services, experiences.
507
00:36:04,954 --> 00:36:06,623
Ilse is Department of Wellbeing.
508
00:36:06,706 --> 00:36:10,418
This kind of human engineering
of the emotional side of things.
509
00:36:11,002 --> 00:36:12,170
[bicycle bell rings]
510
00:36:18,635 --> 00:36:20,470
[Ilse] I really do want wellbeing
511
00:36:20,553 --> 00:36:23,056
in the sense of physical
and emotional health
512
00:36:23,139 --> 00:36:25,392
to affect as many people as possible,
513
00:36:26,601 --> 00:36:29,145
which is why I write the books,
why I teach.
514
00:36:30,605 --> 00:36:32,190
I hope that it's contagious.
515
00:36:38,405 --> 00:36:39,698
The whole structure of the school
516
00:36:39,781 --> 00:36:43,618
is based on using people
who are working professionals.
517
00:36:44,828 --> 00:36:49,332
So that's allowed me to combine my love
of working with the next generation
518
00:36:49,416 --> 00:36:50,959
with running my own studio.
519
00:37:02,053 --> 00:37:04,848
When you first approached
the brush makers,
520
00:37:04,931 --> 00:37:06,516
their immediate answer was no--
521
00:37:06,599 --> 00:37:09,310
[student] Yeah, correct.
At the beginning, I think he just thought,
522
00:37:09,394 --> 00:37:12,897
"Okay, he will be gone this afternoon,
and then he will not come back,"
523
00:37:12,981 --> 00:37:14,607
but I came back the second time.
524
00:37:14,691 --> 00:37:17,402
He was very surprised.
That's when I gained his trust.
525
00:37:18,069 --> 00:37:21,531
So the old stick
is the one he made 23 years ago
526
00:37:21,614 --> 00:37:23,116
and I put my new broom on it.
527
00:37:23,199 --> 00:37:25,702
I think that's the conclusion
of our relationship,
528
00:37:25,785 --> 00:37:28,413
how the new one and the old
came together in a broom.
529
00:37:28,496 --> 00:37:30,540
-Relationships can be a bit messy.
-Yeah.
530
00:37:30,623 --> 00:37:32,375
You have to sort of manage through that.
531
00:37:34,210 --> 00:37:37,839
It's really about having
these lively dialogues
532
00:37:37,922 --> 00:37:39,174
with young individuals,
533
00:37:39,257 --> 00:37:43,636
and then giving them the tool kits
to be able to develop their own voice.
534
00:37:44,637 --> 00:37:47,223
The aim is
to enhance the food preparation.
535
00:37:47,807 --> 00:37:49,809
It acts like a magnifying lens,
536
00:37:49,893 --> 00:37:53,813
so you get a different connection
with the food you are preparing.
537
00:37:53,897 --> 00:37:57,150
[Ilse] What I really love about
your project is, when you look at them,
538
00:37:57,233 --> 00:37:59,027
on the one hand, you see kitchen utensils,
539
00:37:59,110 --> 00:38:01,488
and on the other hand,
you look at this material
540
00:38:01,571 --> 00:38:02,864
you've never seen used that way.
541
00:38:02,947 --> 00:38:04,157
[student] Exactly.
542
00:38:05,533 --> 00:38:08,119
It's been a really,
really great trimester.
543
00:38:08,703 --> 00:38:11,706
What I think was probably
quite challenging with the project
544
00:38:11,790 --> 00:38:16,961
was the collaboration and how that
really involves a craft of a relationship.
545
00:38:17,045 --> 00:38:22,967
It's actually a really good microcosm
of what will happen later on in life.
546
00:38:23,051 --> 00:38:25,845
Whether you're working
on a small scale or big scale,
547
00:38:26,971 --> 00:38:30,350
to be a designer focused on wellbeing,
548
00:38:30,433 --> 00:38:32,727
you have to start
with how things are made.
549
00:38:33,436 --> 00:38:37,148
You should feel very proud of yourselves
for the work you've put in this trimester,
550
00:38:37,232 --> 00:38:38,441
so thank you.
551
00:38:45,323 --> 00:38:46,699
[piano music playing]
552
00:38:46,783 --> 00:38:52,705
Being in the school is really being part
of that magical process of creation.
553
00:38:52,789 --> 00:38:55,750
Seeing how things go
from nothing to something.
554
00:38:57,877 --> 00:39:00,046
[piano continues playing]
555
00:39:05,552 --> 00:39:08,012
[Ilse] And actually, now what's happening
in Eindhoven...
556
00:39:09,180 --> 00:39:12,058
A lot of people are now coming
from other cities to go and live there
557
00:39:12,141 --> 00:39:14,811
because you've got
the opportunity to have workshops,
558
00:39:14,894 --> 00:39:18,439
you've got all these different skill sets
coming together,
559
00:39:18,523 --> 00:39:19,774
a sort of mini Berlin.
560
00:39:23,194 --> 00:39:25,321
I think design's got a great future.
561
00:39:25,864 --> 00:39:28,199
[piano continues playing]
562
00:39:32,287 --> 00:39:37,041
Wellbeing is now a philosophy
that's permeating a lot of design.
563
00:39:42,338 --> 00:39:44,340
My fundamental hope, really,
564
00:39:44,424 --> 00:39:48,678
is that everybody starts to think
in terms of putting people first,
565
00:39:48,761 --> 00:39:53,641
and that's really something that
can be done on an individual basis.
566
00:39:54,392 --> 00:39:56,853
[piano continues playing]
567
00:39:56,936 --> 00:39:59,355
I mean, it's a pretty simple mission...
568
00:40:00,398 --> 00:40:03,192
and we do it one space at a time.
569
00:40:03,276 --> 00:40:04,903
One piece of design at a time.
570
00:40:08,615 --> 00:40:12,201
When you prioritize the human needs
within a space,
571
00:40:12,285 --> 00:40:14,829
design can have a profound impact.
572
00:40:19,667 --> 00:40:21,669
[piano continues playing]
573
00:40:24,672 --> 00:40:28,134
I hope that we can add
to the sum of human happiness.
574
00:40:29,636 --> 00:40:31,638
To leave the world a better place.