DAE Milan (Not for sale.)

(Not for sale)


DAE Milan (Not for sale.) Crop

Information (Not for sale)

On behalf of Design Academy Eindhoven, a very warm welcome to Not for sale. The place to freely explore and revalue the meaning of design — and what can and cannot be bought or sold — behind our complex, continuously evolving culture, amidst a typical Milanese urban setting. For this year's Salone del Mobile, Design Academy Eindhoven is back in Milan with a unique spectacle that questions in vivo the various activities, implications and alternative definitions of design. What’s more, this bold mise en scene is fully embedded in the daily life on Milan’s Via Pietro Crespi.

Value For Money

With a pharmacy, hardware store, newspaper kiosk, church, food market, Internet café and osteria, Via Crespi represents a slice of everyday Italian life, a stone’s throw from the Stazione Centrale di Milano. Here, day in, day out, people come to buy their newspaper, grab an espresso, shop for food, get a haircut. At first sight, we observe a thriving system of exchange. A micro-society designed around transactions of goods, services, and currency. A co-existence of inhabitants and visitors of various ages, cultures and professions, traveling up and down the street within a grid of set rules and values.

Priceless Design

Yet against this burgeoning background, the street’s inhabitants have developed a deep-rooted culture of ingenuity, creativity and idiosyncrasy. Underneath the tangible market dynamics, each venue boasts its own curiosities: locals have pasta competitions inside Carmen's shop, dance in the aisles of food market, and proudly display their collections of baseball caps or T-shirts — not for sale. Design provides us with the building blocks of society — commodities such as a plate of pasta, the newspaper, the screwdriver, the coffee pot. It is how these things come together, though, that makes a place what it is.

A Street-long Installation

This year’s DAE presentation merges organically with the street’s fabric, spanning from the former Osteria Crespi, revived by the Design Academy for the Salone del Mobile, through the famous covered market, Mercato Comunale Monza, to Piazza Morbegno, with its hardware store and newspaper kiosk. The street-long installation explores design along a spectrum from the banal to the avant-garde, from the amateur to the professional, from the market stall to the street performer.

Future Urban Visions

Graduates from each of the Design Academy’s eight bachelor’s departments and four master’s departments propose stimulating site-specific design projects. At Osteria Crespi, Martina Huynh’s Basic Income Café explores different economic scenarios through the flow of coffee. Further down the street in the Mercato Comunale, you are served a freshly brewed drink by SAM, a self-owning soda-making machine by Marie Caye and Arvid Jense, while one block down at NoLoSo bar, the displaced human worker performs The Last Job on Earth. In the Anaesthesia nightclub, Donghwan Kam’s After-Photography freezes time, re-entering iconic moments in photojournalism through the virtual reality of Second Life, while Théophile Blandet's Fountain of Money speeds up the flow of data to mine cryptocurrency. And these are only a few of the twelve installations to be discovered by adventurous visitors to Not for sale.


Participating Graduates

Adams Ponnis, Alice Bleton, Billie van Katwijk, Donghwan Kam, Irene Stracuzzi, Johan Viladrich, Lennart and Lauren Leerdam, Marie Caye and Arvid Jense, Martina Huynh, Nadine Botha, Razma Hassani, and Théophile Blandet.

Exhibition Location

Headquarters at Osteria Crespi, Via Pietro Crespi, 14, 20127 Milan, with other venues on Via Pietro Crespi, Via Luigi Varanini, and Piazza Morbegno.


Tuesday 17 April to Sunday 22 April 2018

Opening Hours

10am to 7pm daily (closing at 6pm on Sunday)

Press Preview

Tuesday April 17 at 4pm

Opening Party

Thursday April 19 at 6pm

(Piazza Morbegno, 5)

Ferramenta (Not for sale)


Johan Viladrich

What if a piece of furniture owes its physical form to the anonymous, globalised standards of industry, rather than to its individual designer’s ideas about style and fashion? With Ratio, Johan Viladrich attempts to find out. “I want to discover how far I can take my ‘no-style-no-drawing’ approach,” he says. The result? “Objects that speak for themselves, and exist on their own terms. Not because I shaped them, but because it is almost a necessity for them to exist.”

In contrast to the Milanese invasion of attention-seeking furniture trends, Viladrich’s approach looks into the archetypes of product design and manufacture. His shelves, tables, and benches use a language of basic elements that could be made almost anywhere in the global supply chain. Stripped of all unnecessary frills, the Ratio collection relies on the search for fundamental expression, re-using widely available materials and basic connection methods as the basis for a flexible and adaptive furniture design system.

In Milan, Ratio is to be found at the local hardware store in Piazza Morbegno. This venue is a new kind of exhibition space, showing the connection between the designed furniture and the standardised components on sale. It also throws a new light on Viladrich's graduation project. “I read that the neighborhood had seen a high level of immigration,” he says. “I think my assemblages relate to the speed and energy of the local community — they may seem improvised, but they are really the most basic constructions because they rely on what is most available.”


Signs outside

Gardening; DIY; Distribuzione Lega; Tool shop; Hardware store; Engraving; Keys; Locks; Security; DOM Sicherheitstechnik; Titan; Authorised Centre for Radio-commander Keys; Attention! These keys may not be secure! Secure your door with the best security solutions! Option 3KS Plus e-code. The perfect mechanical system: electronic control of the key; duplicated registration; anti-theft security alerts. Option ICS. The versatile mechanical system. Maximum resistance to burglary. TAF possibility of temporary access management. Armour-Plated Furniture. Stark. Welcome! You are in a high-quality hardware store! Car Key Duplication; Forget the past, defend your future.

(Piazza Morbegno, Spartitraffico)

Edicola (Not for sale)

Misinformation Times

Irene Stracuzzi

In this age of fake news, can we believe all that we read? And what role does graphic design play in adding weight to the insubstantial and the undocumented? Irene Stracuzzi hopes to prompt people to ask such questions with her rather timely Misinformation Times, a new title joining the newspapers for sale at the Piazza Morbegno newsstand.

Misinformation Times contains real news about fake news,” says its creator. “False information is presented in an aesthetic and attractive package, forcing users to concentrate more on the meaning and the truthfulness or falsehood of what they are reading.”

Everyday objects like newspapers are underrated in terms of their design, Stracuzzi believes, precisely because they are so ubiquitous. Her project provokes a reconsideration of the paper as a crafted and designed object. “Misinformation Times doesn’t discuss any preconceived notion of design, but challenges the viewer to question the role of graphic design in spreading information, both true and false,” she says.

Her hope is that Misinformation Times “will encourage people to develop a more critical attitude towards the news they hear or read. It would be nice if the newspaper were integrated into normal life like a 'real' newspaper, and recycled in a variety of ways.”


Comments from the locals on the redevelopment of Piazza Morbegno

Well done, for once without ifs and buts… By the way: long live the newsstand! ...When is the first idiot with a little car going to pass over the tracks? Piazza Morbegno is in GRECO (in fact, the centre of Greco) and not in the nonexistent and ca-cophonous “NoLo”. Thanks. ...Exactly! That invented name is not even on GoogleMaps. ...I completely agree. Leave “NoLo” to the real estate agents and call things by their real names, please!

(Via Luigi Varanini, 5)

NoLoSo Bar (Not for sale)

The Last Job On Earth

Studio Arvid & Marie

As much as we like to believe it, our self-proclaimed position as the pinnacle of intelligent life is looking increasingly debatable. With artificial intelligence on the rise, machines are starting to put us to work instead of the other way around. So what is left for the human in this new social hierarchy? To find out, head to local bar NoLoSo, where Marie Caye and Arvid Jense’s performative installation The Last Job On Earth anticipates a time when humans and machines converge.

“The interactive installation links artificial minds to human bodies,” says Caye, who invites us to take a seat across from the machine and learn from its behavior.  “As human and machine learn to understand each other, the difference between the two will start to blur.” TLJOE is a fictional situation, yet “the conversation between the visitors of the installation and the program is real and unique every time,” she says. “We hope that the store owners and bar visitors will miss their respective competitor and conversation partner after they’re gone.”


Facebook Review, 21 January 2018

Because of an incident with my otherwise intelligent dog, Argo, who this morning, while I was taking him and his mother Molly Bloom to Park Trotter, peed exactly where he shouldn’t have, on the sign of NoLoSo in Via Varanini, I had the opportunity to, sinking from shame while I asked the gentleman working inside for a jug of water to wash the sign on the ground, I say, I had the opportunity to get to know the exquisite kindness of the staff that not only did not insult us but even showed understanding for the caricature of the dog Ulysses that embarrasses me eve-rywhere. With a Roman mother and a father from the valleys of Como, this creature with cappucci-no-coloured hair, all ruffled and full of enthusiasm that mostly annoys me, made me discover, due to his desire to mark his territory always, in any way, and especially everywhere, a very elegant and pleasant place to which I returned a few hours later with my family. I must say that the at-mosphere is really pleasing, with beautiful cultured faces, with an impeccable service, not at all in-trusive and only attentive. A quality buffet, divine braised beef with mashed potatoes, the welco-ming prosecco, the soft lights and candles lit on the tables. An environment that makes you feel friendly, recognize and greet the friends of Nolo that in turn greet you affectionately. Gianni, the owner, and all his wonderful staff have created a place where we will return more than voluntarily. Thanks from me and my family. Also the loyal wife Molly and the bastard dog Ulysses! After all, it’s all thanks to him.

(Via Luigi Varanini, 6)

Chiesa cristiana cinese (Not for sale)


(Via Luigi Varanini, 2)

Anaesthèsia Nightclub (Not for sale)


Donghwan Kam

With his project After-Photography, Donghwan Kam brings the plight of refugees into the heart of Via Varanini. By creating a 3D rendering of the Sicilian harbor of Trapani and the rescue boats arriving at the port, he invites audiences to experience a “gamified” refugee crisis, creating photojournalistic documentation of the scene with a specially designed camera.

“The image of the refugee boat is so familiar to us and at the same time so objectified,” he explains. “Because of the repetitive nature of the images, we are no longer responsive to the actual events. By bringing the images into the realm of virtual experience, I defamiliarize the press photos.”

According to Kam, After-Photography exemplifies “real” design because it “creates a tool,” in this case the device for taking photos in virtual reality. Nevertheless, he argues that the function of design today is more about commenting on contemporary reality than creating it. “Design can have more freedom to raise questions than fine art,” he says. “And design is much closer to our daily lives, which means it’s a more efficient way to invade people’s behavior.”

In the local context of Via Varanini, he wonders if his work will “cause some chemical reactions,” and admits, “I’d love to see people try to read the narrative of my project and get involved with the real story as well. I’d also like to see some people get upset and say, ‘How dare you!’ — which has actually happened a few times.”

Fountain of Money

Théophile Blandet

Inside the mysterious world of lights, smoke, and mirrors in the private disco Anaesthesia, a piece of machinery is quietly mining digital money through the flows of online data. Théophile Blandet's installation, Fountain of Money, gives form to the abstract phenomenon of cryptocurrencies. “This was about the freedom of designing a shape as a sculpture,” Blandet says. The carefully crafted sculpture depicts flows of bitcoins pouring endlessly out of the gleaming cylinder like “a personal home system for creating money,” as Blandet puts it. The contrast between analogue and digital production is marked, and rather unnerving. What is the true cost of all this digital bounty?

Fountain of Knowledge

Théophile Blandet

Like every other place on the planet, Milan is increasingly shaped by unseen flows of information and data. How to make them visible? Théophile Blandet provides an answer with a thought-provoking installation in the local internet café. Fountain of Knowledge presents us with familiar and banal images of everyday digital life — selfies, Google searches, Facebook chats, YouTube videos. Only in this case, they are painted onscreen in painstaking detail. The effect is dramatic. The paintings serve to press pause on the digital flow, freezing it in time and transforming it from instant gratification into lasting artwork. “In showing something accessible, like paintings, which everyone can relate to, I hope there’s no need to explain more,” says Blandet.

Its companion piece, Fountain of Money, gives form to the abstract phenomenon of cryptocurrencies. “This was about the freedom of designing a shape as a sculpture,” Blandet says. While the sculpture is clearly carefully crafted, it depicts flows of bitcoins pouring endlessly out of the sculpted cylinder like “a personal home system for creating money,” as Blandet puts it. The contrast between analogue and digital production is marked, and rather unnerving. What is the true cost of all this digital bounty?


Promotional copy

The "Show Club" disco was born in Milan in 1972, immediately becoming a meeting point for all those who wanted to spend an evening in company, full of fun, music, dance and cabaret. In fact, at the Show Club, the great Beppe Grillo, Beruschi, Pippo Mario Santanastaso, Teocoli and many others, who at the time were little known, made their comic debuts. In the early 90s, the place changed its name; in fact, for less than a decade, karaoke had become part of the discotheque scene, and it was a huge success. Show Club became "Anaesthèsia" in honour of the song of the same name by the great Prince. But it did not end here, not only was the name changed, but the management was also revolutionised: it was thought, bravely, to reserve the room exclusively for those wishing to organise private parties using the support of an excellent catering service. And it was success. Since then, at the base of our services there are four fundamental elements: high quality, low prices, a great commitment in trying to always offer the best possible service to our customers and a great round of word of mouth among our customers that is always synonymous with trust and appreciation of our work.

(Viale Monza, 54)

Mercato Comunale (Not for sale)


Studio Arvid & Marie

The value we give a thing — whether a product or a service — is determined largely by ourselves. We can, however, just about anticipate a world that no longer revolves (only) around us. The so-called post-Anthropocene era will be influenced by non-human life. For a preview, visit SAM, a Symbiotic Autonomous Machine serving drinks at Mercato Comunale Monza at the corner of Via Crespi.

SAM mixes and sells drinks, earning money, yet currently lacks any legal status. Why, actually? Marie Caye and Arvid Jense wonder. “SAM is not a piece of fiction,” they say. “The robot is real, working and earning money. If it doesn’t make much income, SAM might die from a lack of electricity.” SAM’s struggle to survive is real, they stress. “SAM trying to make a living in a human world is as ‘everyday’ as it gets,” says Caye, who programmed the specific SAM present at this year’s Salone to serve kombucha.


Billie van Katwijk

An everyday byproduct of the meat industry gets a luxurious afterlife, thanks to the innovative handling of undervalued organic materials. Ventri shows how something that is considered waste in many countries is given a new and much higher value through the action of design.

Take the intestines of a cow. After slaughter, the value of a cow stomach is nil. In the Netherlands, the best-case scenario for its use is in dog food. In Italy and other countries, such animal “waste” products can end up on people’s plates, often only because they are low-priced.

What happens to the value, however, if the stomach becomes not a food product, but a designer bag or pouf? Billie van Katwijk's project shows beauty in hidden and unexpected places, discovering new materials by taking a different look at what is already there. Van Katwijk studied the richness of textures and specific properties in each of the four parts of a cow’s stomach, and through a labor-intensive tanning process arrived at a collection of handbags with a unique aesthetic. Says the designer: “I hope that people recognize it as being a cow stomach, and are seduced by its beauty into having a conversation about the value of under-appreciated and everyday materials.”

Monade Capsule

Alice Bleton

Sensory stimuli help us to communicate with the world around us and make sense of it all. So it’s unfortunate that, despite all the good intentions embodied in open-plan offices and French balconies, we spend most of the day inside, separated from cityscapes, sounds and smells.

With Monade Capsule, a transparent rooftop pod, Alice Bleton offers a new perspective on our daily urban reality, thanks to a design based on survival construction — think bunkers, space ships, and submarines. “It’s an urban refuge that can be plugged into buildings with a flat roof or terrace,” she explains. “It becomes both an observatory and escape for the locals, and allows for a fresh viewpoint on the frenzy below that otherwise is not to be seen.”

In a busy context like the Milanese market, the pod acts as an introspective retreat with a surprising perspective on a rarely-seen landscape. But Bleton also imagines a network of pods in and around Via Crespi, which would not only allow us to observe reality differently, but would also open up the locality in a new way: embrace your habitat! “Monade Capsule offers a physical and conceptual reflection on urban growth and contemporary city dwelling,” she says.


“The local covered market of Viale Monza in Milan”, Rassegna di architettura, 1935

In recent years Milan has been populated by markets but none with a stable place and well-built, as in many other cities, also lesser ones. They were local markets, built on public lands, with provisional characteristics, thus with easily removable materials (wood, iron, glass, etc.). Now the muni-cipality finds it useful to build in the area of Loreto this permanent market that occupies a building site on the corner of Via Monza and Via Crespi and covers an area of 1,322 square metres. It is built in reinforced concrete, three naves in plan, disposed in parallel to Via Crespi, the central one with an arched roof, with 18.5 metres of natural light and 16 metres in height, while the sides with light are 4 metres. The flat roof cover is 5 metres high. The market can hold various stands for a complex of more than 140 linear metres. The building is studied in a way that, with little work it can also have another future usage (for example as a garage or a spectacle theatre). The cost of this work is about 456,000 lire.

Overheard on Facebook

Alessio Cognolato gave the Taverna Dei Terroni one star. Alessandro Diaco: Impossible…are you sure you ate at the Taverna? Alessio: ? Alessandro: A Puglia-style restaurant in the market that you gave one star. Alessio: Look…I don’t know how it could have happened, I’m from Padova. Why would I give one star to a restaurant where I’ve never eaten? Alessandro: Then it’s as I thought, I said “impossible”, nothing serious, you involuntarily judged…it seems strange because you eat really well there…try it if you’re in the area of Viale Monza 54. :-)

(Via Pietro Crespi, 17)

Milan Tec Internet Café (Not for sale)


Signs on the window

NEW OFFERS ASIA Now; with 4g; Hello World! C’all Vodafone MONDIAL BONDY SERVICE money transfer AUTHORIZED PEOPLE; International Pho Air Ticke; Help With; dwide Money; Send Money to Burkina Faso; Lycamobile; Call the world for less; Pass Web Voice; Send Money to Senegal; Money Transfer to Ivory Coast; Phone Fax Photocopy Internet; Send Money to Romania; camobile.it; NEC MONEY; PLACID EXPRESS srl National Savings Bank; Send Money to Ghana; Transfer Money to the Whole World; Ria; Send Money to Morocco; Send Money to Bolivia; Send Money to Pakistan; Send Money to Mali; Send Money to Tunisia; Send Money to Congo

(Via Pietro Crespi, 14)

Osteria Crespi (Not for sale)

Basic Income Café

Martina Huynh

How would society look without our current economic system? At Martina Huynh's Basic Income Café, coffee drinkers can experience a playful foretaste of such a reality. “It works as a regular café where people meet and socialize over a cup of coffee,” she explains. “Even if they don’t talk about the concept of a basic income system, but about personal stuff, it’s still the system that provides for this moment, free of charge. The experience is still that of receiving something unconditionally.” 

Huynh's presentation is both an interactive design installation and a social experience, in which the real design, that of facilitating communication between people and making the idea behind a basic income scenario tangible, is initially hidden behind the seductive form of the transparent, oversized Plexiglas Bialetti coffee maker. “It’s a complex installation, disguised and placed in a familiar context where people know how to behave but end up talking about big issues such as the future of work and society and the economy,” says Huynh. 

The first cup of coffee is free. For more coffee, you need to grind your beans (“the work”), which makes the barista redundant and guarantees a great-tasting cup of joe. Afterwards, you clean your cup for the next person. “In a basic income future, you can’t just buy as much as you want with all the capital you have,” says Huynh. “If nobody works, nobody gets any more free coffee. In that sense, the coffee did not fall from the sky, but is the result of the previous work of people for other people.”

Politics of Stuff

Nadine Botha

In Politics of Stuff, a Friday breakfast discussion is inspired by Nadine Botha’s research into how the camping toilet — a leisure accessory elsewhere — became a powerful symbol of continued apartheid in her hometown of Cape Town. “My research into how this transformation took place revealed that objects, and the supply and maintenance chains around them, can make visible otherwise unseen infrastructures and systems of oppression,” she says. “The designed environment around us seems to be of our own making, yet it actually shapes us — both as designers and users. We design our tools once, and then the tools design us.”

For the discussion in Milan, she has selected a range of objects available in the stores along Via Crespi that raise interesting questions about how things inform our reality — the “politics of stuff,” as she calls it. The Lycamobile shop, for example, offers SIM cards for migrant workers, so that they can call home. How do these seemingly innocent objects influence our shared ideas about belonging and family? Then there’s the kitchen appliance store that sells classic goods by Miele: how do these readily available items compare with the futuristic kitchen objects on show nearby at the Salone, and what do they say about each other? Politics of Stuff investigates how objects acquire their (often hidden) levels of influence and meaning.


Facebook Posts

24 November 2010. Winter is coming and it’s time to prepare for the cold season…wild boar, polenta, and mushrooms for the weekend.
31 May 2012. Aperitivo Anti-Pope. In Milan, armoured for the occasion of the arrival of our “beloved” pontifex, are you wondering where to go to to calm the nerves caused by this undesired visit, which has cost us a fortune and which promotes a discriminatory and ancient idea of the family? Come one, come all to Osteria Crespi to honour the god Bacchus with our best selection of wines! If you want to eat, reservations are advised.
13 June 2012. We love anyone who defends public water.
27 December 2012. Yesterday, today, & tomorrow. Oysters forever! Eat ‘em like there is no tomorrow. Only @ Crespi 14.
4 August 2015. We have activated the WiFi, sure to make you feel welcome!

(Via Pietro Crespi, 14)

Negozio di Carmen (Not for sale)


Lauren Leerdam

Carmen’s store is a local landmark on Via Crespi. “Carmen is an amazing older woman who has a small community of local people around her,” explains Lauren Leerdam, whose Paperthin stools become a part of the store’s furniture. “People visit the shop throughout the week, sometimes having lunch or stopping to chat for hours over a coffee during the day. The stools fit in beautifully with this context, contributing to the everyday social interaction.” As well as offering a place to pause and rest, at the same time they create a fresh topic of conversation for Carmen and her store visitors.

The stools, which can also function as side tables, are created from tin cans — a raw material that Leerdam calls “one of the biggest icons of consumerism.” Touching on questions of value, recycling, up-cycling, and mass consumption, they are made completely by hand in limited quantities. “Yet if there were no industrial mass consumption, these handmade Paperthin stools couldn’t exist,” he says.

With their strong sculptural presence, the stools will become new characters in Carmen’s store. “Hopefully, regular customers who would normally talk about their everyday activities will now be prompted to talk about their new ‘roommates,’ and ultimately about design itself,” says Leerdam. “It would be great to see a group discussion, with everyone sitting on a Paperthin stool and arguing furiously about good and bad design.”


Adams Ponnis

In the city, we take electricity for granted. From streetlights to trams to WiFi networks, it invisibly powers our urban lives. On Via Crespi, the Skaut wind turbine is a visual reminder of our need for energy. Compact and mobile, Skaut perches on existing street elements. Initially designed for remote areas with off-the-grid electricity needs, its presence here shows that “energy is everywhere, and everyone can harvest it,” in the words of its creator Adams Ponnis.

Conceived as a sustainable alternative to noisy and polluting diesel generators, Skaut gives users the option of being truly independent from existing infrastructure. It attaches easily to linear structures like streetlights or trees, requires no construction, and fits in easily with any surroundings. Its blades could even feature urban signage or advertising.

“By using energy produced by the wind turbine, visitors and locals can become more aware of how electricity is produced, and where the energy actually comes from,” says Ponnis. “Skaut shows that there are always multiple alternatives for local and global energy problems. In this case, the solution is small, but its impact could be large.”


Carmen’s Fan Page

There’s a quick lasagne competition tonight between Carmen, Anna, and Federica. The best wins. The important thing is to have a good evening.
Actually, lasagne is better the next day.
Carmen on a red and yellow REPSOL scooter.
Now she’s wearing a green Pearl Jam T-shirt.
I was just scrolling through her fan page when I saw my friend Iacopo buying eggs and a Coca-Cola.

Quotes from Carmen

“I can’t sleep on a bed, only on a sofa.”
“They tried to deliver some packages here for you, but the floor was covered in water because we were cleaning the refrigerator, and I didn’t have your phone number, so I sent them away.”
“Tell him I’m a woman of unusual tastes.”


A black Heineken T-shirt.
A grey SamerPils T-shirt.
An orange Che Guevara T-shirt.
A black A. T-shirt.
A grey GlenGrant T-shirt.
A red Coca-Cola T-shirt.
A white Heineken T-shirt.
A black Jack Daniels T-shirt.
A red Tennents Super T-shirt.
A white vodka T-shirt.

Deep thoughts

That's her aqua-coloured car parked in front. Two years ago the window was broken and patched up with packing tape.

(Via Pietro Crespi, 12)

Lavanderia (Not for sale)

Playful Elements

Razma Hassani

Expressing how we feel, or who we are, is something we do in many ways. Few are as communicative as what we wear. With fashion, we play with our changing moods. Razma Hassani's colorful footwear collection Playful Elements adapts seamlessly to the wearer’s state of mind. The design consists of a base and four interchangeable materials held together by strappy uppers, in a range of natural and synthetic materials. “We want to be unique and stand out; we want to choose what we want and enjoy it for a long time,” says Hassani. “In this way, you can choose what you want and how you want to wear it.”

Fancy colorful straps? A platform sandal? Looking for a flat shoe? Playful Elements is the epitome of individuality and at the same time the epitome of inclusiveness: although each resulting flavor combination is unique, the special pediatric soles make sandal-wearing accessible even for problem feet, and fit uneven foot lengths effortlessly. Hassani's project offers loads of puzzle pieces and exciting colours. “I love for people to puzzle playfully with the elements, and share their stories with me,” she says.


Signs on the shopfront

The machines are disinfected every wash cycle.
Open from 7.30 to 22.00.
Duvets washed and dried in one hour.
1 load €3.50 2 loads €6.50 3 loads €10
Please do NOT insert €2 coins because you will lose them!

Breakfast talks at (Not for sale)

This year, the Breakfast Talks will touch upon a variety of subjects from the politics of objects to the designer’s relationship to material cycles, as well as the bridges that writing and curating build between design and the real world. The breakfast talks will be hosted in the former Osteria Crespi at Via Pietro Crespi, 14, transformed by Martina Huynh into the Basic Income Café, which invites visitors to experience the economical principles behind two basic income scenarios, a complex system made tangible by means of the flow of coffee.

Wednesday, 18 April 2018

10am — 11:30am

Hosted by Alice Twemlow, the head of the Design Curating & Writing master’s department at the Design Academy Eindhoven. This panel will focus on the theme of design writing and the range of formats that spread from social media to the printed page and back, from the independent magazine to the academy, from the streaming platform to the gossip column. How do technological and social conditions impact the way that design is described, debated, and redefined amidst a fluctuating and networked audience? Guests include Oli Stratford, Yannick Boullis, and Delany Boutken.

Thursday, 19 April 2018

10am — 11:30am

Hosted by Formafantasma, mentors in the departments of Design and Well-being and Contextual Design at the Design Academy Eindhoven and designers of the recent Ore Streams for the National Gallery of Victoria Triennial. This panel will consider the designer’s role in making materials legible, workable, and safe to handle by a variety of people or machines — from miners and makers to users and recyclers and the robots of today and the near future. We will consider how design decisions, made in the seclusion of the studio or the abstraction of the digital modelling space, have wide-ranging repercussions that leave their mark on real world landscapes and social systems. Guests include Aric Chen, Zoe Ryan, and Libby Sellers.

Friday, 20 April 2018

10am — 11:30am

Hosted by Nadine Botha, an artist and design researcher, and one of the featured graduates in the exhibition Not for sale. This discussion revolves around the Politics of Stuff, departing from Botha’s award-winning project Politics of Shit, her multi-media research into the instrumentality of the portable flush toilet in Cape Town’s ongoing toilet wars. Politics of Stuff looks into the objects native to Via Crespi itself — from Lycamobile SIM cards to Miele washing machines — against the context of Salone del Mobile’s avant-garde or luxury design, asking how things influence and inform our reality in diverse ways.


The Design Academy Eindhoven’s Breakfast Talks are where urgent issues surrounding design and its connection to the wider world can be foregrounded and investigated with a critical lens. The Breakfast Talks examine the designer as a hybrid of a bellwether and a canary in the coal mine — as both an instrumental agent of social and material transformation, and as a precarious figure of the avant-garde, immediately vulnerable to waves of financial, political, or technological upheaval.

Colophon (Not for sale)

Design Academy Eindhoven

Salone del Mobile Milan

17–22 April 2018



Joseph Grima
Tamar Shafrir

Senior Producer

Holly Krueger

Milan Producer

Elisa Ci Penagini

Graphic Design and Wayhiding

Michael Oswell


Sammy Kossen


Alexandra Onderwater

Production Assistant

Nienke Helder


Timo Breumelhof

Press Website

Jules Bressers

Public Relations

Marc Ruis


Studio Delfino Sisto Legnani, street theatre
Elisa Ci Penagini, more street theatre
Nicole Marnati, student projects

Osteria Design & Production

Mark van der Gronden

Mercato Design & Production


Osteria Host

Olle Lundin

Breakfast Talk Hosts

Alice Twemlow
Nadine Botha

Exhibiting Graduates

Théophile Blandet
Alice Bleton
Nadine Botha
Marie Caye and Arvid Jense
Razma Hassani
Martina Huynh
Donghwan Kam
Billie van Katwijk
Lauren and Lennart Leerdam
Adams Ponnis
Irene Stracuzzi
Johan Viladrich

Executive Board

Joseph Grima
Jurriënne Ossewold


Thanks to

NoLo, Osteria Crespi, Donatella, Carmen, Mercato Comunale Viale Monza, Paolo, Fabio, Manuela, Ivan, Luigia, Milan Tec, Hossain, NoLoSo, Gianni, Francesco, Anaesthesia, Marco, Bar Tabacchi Varisco, Edicola Morbegno, Andrea, Distribuzione Lega, Andrea Bagnato, Tessa Blokland, Caterina

DAE Friends & Funders

Baltan Laboratories, Bruns, Canon, City Of The Hague, City Of Eindhoven, Daf Trucks Nv, Ecco Leather, GGZE De Grote Beek, Hague Project Peace & Justice, Hivos, Keep An Eye Foundation, Philips Design, Royal Mosa, > Veenhuizen, Van Engelen & Evers, Vescom, Waterschap De Dommel, Woonbedrijf

In tribute

(Not for sale.) is a tribute to the 2002 exhibition Hotel Droog, a one-star hotel on Milan’s Via Mercato that Droog occupied and transformed with subtle interventions by designers in each of its twelve rooms.