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Speakers and summaries
Elodie Ternaux, co-director of the material library matériO, Paris Materiology, or how materials, and material libraries, can become an inspirational tool for creative professionals. Summary Nowadays, we are facing a world of hyperchoice, especially in terms of materials and technologies. It has become quite difficult to know how to chose wisely… even though by 'listening' carefully to what matter has to say, we probably have much more chances to be inventive, precise, frugal and finally, sustainable. Materials libraries help professionals to fully apprehend this colossal offer available to them and become places where inspiration, knowledge and creativity meet, giving birth to amazing projects, in which materials play a paramount role. 
Elsa Modin, art librarian, Hasselblad Foundation, Gothenburg: The materiality of the photo book Summary The library at the Hasselblad Foundation is one of the largest libraries of photo books in Sweden. It contains about 14,500 titles. Working in this library you soon find out that it is not just a place where you ask for information through text and pictures in the existing documents. Of course you can do this through the library catalogue by searching for author, title, classification, subject headings, etc. But the visitors at the library also want to "feel" and with all the senses experience the books. Very often they want to get inspired to produce their own photo books, or simply enjoy the book as a piece of art. Mostly, you will get no help from the book catalogue to find relevant books when you ask for the feeling of holding the book in your hand, the shades of colour, paper quality, fonts, print, cover proportions and materials, packaging, placement of images on pages, binding, size and so on. Rarely, any of these qualities can be found by searching the catalogue. Do we need to rethink and add more access points to make it easier for the user and the librarian to find the right items in the photo library? 
Hjörleifur Stefánsson architect: FROM EARTH, the turfhouses of Iceland Summary When Iceland became settled houses in costal areas along the shores of the North Atlantic Ocean were mostly made of local earthern marterials, stone and turf. The harsher and colder the climate the importance af turf as building material grew. In Iceland the turfbuilding tradition was predominent until the beginning of the 20th century whereas in other nordic countries houses of turf were gradually replaced by other materials. The nature of turfbuildings is unique. The forms are organic and the materials are from the nature on the site. A turfhouse becomes a part of the landcape and the appearance changes with the seasons. The turf is a short lived material and a building made of it has to be rebuilt partially at least several times in the span of a human life. A turfhouse is a continuous buildingprocess. In his lecture Hjörleifur Stefánsson will tell about the developement of the Icelandic turfhouse from the settlement period to modern times. The aesthetics of the turfhouse in the landscape will be described and the material properties of the turf defined. 
Jessica Lertvilai, material researcher, Materials & Products Collection for Central Saint Martins and the London College of Fashion, University of the Arts, London. Material Explorations: The investigation of natural & new materials in craft & design. 
Lilja Árnadóttir, inspector, National Museum of Iceland: The silver of Iceland and displaying of the exhibiton Silver of Iceland in the Nationalmuseum. Tar emot deltagarna i utställningen Islands Silver i Bogasalur. Berättar om utställningskonceptet vars ändamål är att förklara och beskriva olika metoder af silversmide. Gemensamt för utställningsföremålen är att de är framställda på Island av isländska silversmeder i olika tider, från 1500 tal till det 2000 talet. Där utställs drygt över 2000 föremål varav största delen är traditionella folkdräktssmycken. Mycket finns av filigranarbeten, s.s. bälten, spännen, knappar av olika slag, huvudbonadsmycken m.m. Utställningens utformnings syfte var också att skapa en sorts värld av äventyr där gästens indbildningsförmåga skall blomstra. Man strävade efter att skapa någon sort djurbilder och odjurbilder s.s. draker och insekter av olika sorter. 
Lisa Martling Palmgren, art librarian and project manager, The Royal Institute of Arts, Stockholm: For and with the students – with an outlook towards the material aesthetic’s land Summary Lisa kommer att reflektera kring erfarenheten att bygga upp ett materialbibliotek. Vidare kring glädjen att arbeta med designstudenter kring biblioteksmöbler. Hon avrundar med en personlig japanrapport. 
Sandra Gonon, architect, The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation: Natural materials in the context of design and architecture. Pioneering works from design and architecture students with use of natural materials. A short cut to the establishment of a material lab at The Royal Danish Academy of Fine Arts. [Naturlige materialer i en design og arkitektur kontekst. Banebrydende projekter af design- og arkitektstuderende med brug af naturlige materialer samt et indblik i etablering af et materialelaboratorium på KADK]. |