{"id":3546,"date":"2013-09-01T00:28:49","date_gmt":"2013-08-31T22:28:49","guid":{"rendered":"http:\/\/padjournal.net\/?p=3546"},"modified":"2022-04-13T17:35:22","modified_gmt":"2022-04-13T15:35:22","slug":"corque-design-a-new-world-branding-for-cork","status":"publish","type":"post","link":"https:\/\/www.padjournal.net\/new\/corque-design-a-new-world-branding-for-cork\/","title":{"rendered":"Corque Design: a New World Branding for Cork"},"content":{"rendered":"

1. Design as a research-driven opportunity for Cork<\/strong>
\nPortugal has one of the largest\u00a0cork oak forest\u00a0areas in the world, to the point that cork oak forests (Fig. 1) have traditionally been a social and economic vital element playing a decisive role in economic and cultural activities. It remains to this day one of the greatest and most important Portuguese natural resources. Cork is a natural material with exceptional environmental qualities: it is a renewable, recyclable, non-toxic and durable resource, with excellent physical and mechanical properties. Cork extraction doesn\u2019t require that trees be cut down in that cork is naturally renewable, as it grows back in the bark of the cork oak (about 1 cm per year). The cork bark is harvested every nine years through a careful manual process, without harming the cork oak or the environment (Mestre and Gil, 2011).
\nThe Portuguese cork industry has a large technological capacity in terms of materials and processes (APCOR, 2009), however this capacity is not being fully exploited nor does it take advantage of the eco-efficient aspects of cork (Mestre and Gil, 2011). It is still mainly oriented to the traditional products and applications (stoppers, flooring and insulation construction materials), which in the majority of the cases, no longer represent competitiveness and differentiation. Natural cork, granulates, composite agglomerates and expanded agglomerates are four of the most noteworthy groups of cork materials available in the industry (Mestre and Gil, 2011). However, the scarcity of technologies suited to design and a certain lack of information on this matter shed light on the need for developing a systematic work that could field the knowledge of cork as a material for product design (Mestre, 2008; Mestre et al, 2009; Mestre, 2013).
\nEmerged from this thriving context and anticipating the launch of Corque Design\u00a0<\/em>brand, the Cork Design project (designated as Design Cork for Future, Innovation and Sustainability)(Mestre, 2008) has been implemented in the Portuguese Cork Industry for the period of 2006-2009 by Lisbon based Susdesign studio in collaboration with the Delft University of Technology with the following goals (Mestre, 2008; Mestre et al, 2009; Mestre, 2013):
\na) Incorporate Sustainable Product Design Innovation as a strategic factor in the Portuguese cork industry;
\nb) Explore the application of potential uses of cork materials and technologies in Design, through research and development of new added-value and proved eco-efficient cork products and solutions, thus stimulating companies to innovate with cork and at the same time, motivate designers to work with this material;
\nc) Create awareness to foster strategies and implement activities to promote sustainable product innovation amongst a broad audience (academia, industry, designers and consumers).
\nTo meet the three-presented goals, a Design Cork Intervention Approach to stimulate the cork sector to open the horizons for advanced product design, was formulated based upon the conceptual framework of Sustainable Product Innovation, Action Research and Design Methods (Mestre, 2013). This combination revealed to be an optimal approach to cork product innovation, generating a great product portfolio and potential market directions that could \u201copenly\u201d inspire the next generation of cork products and those contributing to rethink the future of the greatest material sector in Portugal. This is the subject of a detailed article submitted to the Journal of Design Research (Mestre, 2013).
\nWithin this Design Cork Intervention Approach, new thirty-eight cork product-prototypes of different market categories (from furniture to technological devices) were presented for the first time. Speak of a team of 50 designers (Mestre, 2008) who joined the Design Cork Project Exhibition, presented in Lisbon, in May 2008 at the Berardo Museum (located at Bel\u00e9m Cultural Centre) (Fig. 2) which received 13 000 visitors (in the first 10 days). The successful results of the Design Cork Exhibition defined the rising moment of CORQUE DESIGN foundation.
\n2. Corque Design: Vision & Strategy<\/strong>
\nCorque Design\u00a0founder Ana Mestre together with co-founder Gon\u00e7alo Riscado, introduces a new brand concept: \u201cDesigning Living Objects\u201d, which refers to the design of new exclusive and differentiated products made from cork with unique sensorial properties and exceptional environmental characteristics (Corque, 2009). From the Mediterranean forest to the world most well-known design stores, as MoMA retail store, Corque early succeed as a recognized world brand and a trendsetter in the field of sustainable product design (Vilar, 2013).
\nThe vision of Corque Design\u00a0is to promote eco-efficient and sustainable ways of production and consumption while positioning cork in a worldwide sustainable development movement (Mestre, 2008). As recently quoted in the International Direct Arts International Magazine, Issue 4 (2013) \u201cthis is a Portuguese brand with its own seal of quality. Environmental awareness, a vision of sustainability, the questioning of established paradigms and a search for new solutions. Any challenge worth undertaking involves a good deal of irreverence along the way (\u2026) This is the spirit in which Corque Design was created, a project that offers design objects made from cork that is proud of being entirely Portuguese, from the raw material used to the talent that works it. Like any good venture, it has already secured its place in the market\u201d (Vilar, 2013).
\nAlong these lines, the mission of Corque Design\u00a0is to commercialize new creative products and solutions based on cork materials and technologies, ensuring the use of eco-efficient principles in product development and presenting exclusive and quality cork products while satisfying the economical, environmental and socio-culture concerns of a contemporary sustainable driven society (Mestre, 2008). In this, Corque Design\u00a0offers quality and creative eco-efficient cork products for the home environment \u2013 furniture and accessories, targeting a medium to high-income adult audience that prizes creativity, differentiation and sustainable conscious design.
\nAnticipating the brand\u2019s mission, Dowdy (2007) wrote in the Financial Times weekend edition of December 8-9, 2007 that \u201cin the hands of young Portuguese Designers vying to save one of their country\u2019s biggest export industries, the material is being transformed into something rather more creative and contemporary\u201d. In 2010, the international Monocle Issue 37 (Monocle, 2010) dedicated to the theme of \u201cGlobal Style Survey\u201d with a guide of the brands, business trends and buyers of 2010 stated that \u201cthe material has now catched the attention of the country\u2019s designers, eager to find sustainable ways to make product for daily living. Since 2006, Lisbon based Corque Design\u00a0has used the natural, non-polluting and renewable material\u201d. In November 2011, international Wired Magazine selected Corque Design\u00a0as one of the Sustainability Icons of the year, showing-case the brand product collection at the largest Wired store ever, in New York Times Square, attended by 566,500 visitors (Millner, 2011).
\nThough it is a design brand with a distinct identity rooted in the Mediterranean cultural region, Corque Design\u2019s impact grows internationally achieving, in a short amount of time, a global diffusion. From Lisbon Design studio headquarters and strategically implemented in several international destinations, the brand is managed from a creative (science based) entrepreneurial point of view. The brand\u2019s plan and communication strategy is permanently enriched by external advice of strategists, marketers, designers, production engineers and commercial managers. Four brand concept-values defined the Corque Design\u00a0strategy (Mestre, 2008):
\ni. Design & Innovation<\/em> – Design experimentation is a relevant drive to innovation in Corque Design\u00a0generating different types of product characteristics, visual features and functions. It implies the study and implementation of new concepts for cork and advanced materials research & development which are combined with both traditional production capabilities and 3D advanced technologies using cork agglomerates and composites.
\nii. Creativity and Cultural Identity<\/em> – while Design is nowadays considered one of the greatest influential marketing innovation tools, creativity through design is the most powerful tool for differentiation in product design. Accordingly, this is one of the most recognized values of Corque Design, which counts with a group of diverse designers, who are encouraged to explore and translate their own individual and social-cultural identities into their design work.
\niii. Sustainability & Eco-efficiency<\/em> – the natural and renewable characteristics of cork, its transformation process with little waste and low usage of resources and the high eco-efficient results that it generates, present not only acknowledged environmental benefits but a high social-economic value when compared with similar products made of other conventional materials. Specific LCA studies, based on Eco-efficient value creation are made for Corque Design\u00a0products (Mestre and Vogtlander, 2013).
\niv. Quality & Exclusivity<\/em> \u2013 Corque Design\u00a0works on a small-scale production with both technological and handmade processes, having a rigorous material selection and a precise control system. The overall production criteria, account for the brand\u2019s values of quality and exclusivity. These values stand side by side with customers\u2019 trust and loyalty. The sustainable, physical and sensorial characteristics of cork, highly contribute to label Corque Design\u00a0as an exquisite and eco-trendy brand.
\nCorque Design\u00a0brand logo (Fig. 3) was design to be a graphical easy recognition of those concepts. According to the brand\u2019s graphic identity designer (Oliveira, 2009) \u201cthe brand identity concept combines cork and sustainability perception with a sophisticated and contemporary aesthetics yet using organic differentiated elements target to an urban eco-exclusive driven audience\u201d.
\n3.Product Design Portfolio<\/strong>
\nCorque Design\u00a0explores the diversity of cork materials, composites and technologies as expressed by the brand\u2019s Design portfolio (Corque 2009, 2011, 2013). The products created by Corque Design\u00a0meet the characteristics of sustainability, creativity, aesthetics, playfulness, sophistication, eco-friendliness, uniqueness and quality; and they are targeted to a public who values these aspects (Pires, 2011). Corque Design\u00a0product portfolio includes innovative furniture pieces and accessories, with fifteen products designed by a team of professionals that includes names such as Fernando Br\u00edzio, Sofia Dias, Pedro Silva Dias, Luis Pessanha, Toni Grilo and Ana Mestre (also the brand\u00b4s creative director). \u201cCorque Design began by focusing on objects such as \u2018puf fups\u2019 (seats made of spheres), chairs, candlesticks or ice buckets. In four years, it has diversified, expanded and triumphed\u201d (Vilar, 2013).
\nPuf-Fup design by Mestre (2005) (Corque, 2009) (Fig. 4) is the most iconic piece of Corque and it is the brand’s first creation with the purpose of exploring the sensorial characteristics of cork through the application of 2500 natural cork spheres, thus providing a sensorial experience as a result of the body’s direct contact with the material. The structure of the string that links the spheres turns this piece into a malleable seat, challenging the user’s creativity to adapt it to his needs and self-comfort
\nLagarta design by Mestre (2011) (Corque, 2011-12) (Fig. 5) is a playful and very flexible and multifunctional modular seat. It is produced from black expanded agglomerate, which is one of the most eco-efficient cork composites, for it only uses one boiling process at high temperatures, allowing the cellular structure of cork to expand. This process allows for a small quantity of material to increase its volume. In addition, it changes the natural colour of cork to a darker tone, without the introduction of any synthetic pigments.
\nMestre has also designed a seat named Puf String (2008) (Corque, 2011-12) (Fig. 6), a playful seat taking to the limit the plastic and visual possibilities of rubber cork (a special cork composite with natural rubber). The Puf String is made of a single rubber cork belt strip, which is fixed by joint screws. The wavy movement creates the final aesthetic language of this object, which can be used as a single unit or as separable modules.
\nVinco design by Grilo (2008) (Corque, 2011-12) (Fig. 7) is a sophisticated chair with a natural feel, produced from a combination of cork agglomerate and rubber cork. This chair is named after its aesthetic form, which results from the creases produced in a cork composite slab and that enable a volumetric installation on top of a polished steel structure.
\nWallcork design by Dias (2008) (Corque, 2011-12) (Fig. 8) is an innovative and unique wall covering that brings the texture of natural cork produced in rolls with vibrant visual patterns. This \u2018wallpaper’ has low environmental impact coloration, due to the water-based printing processes that are used. In addition, the use of natural cork adds acoustic and thermal insulating characteristics, which fulfills an advantage point in relation to similar products made of other materials.
\nCorque Design\u00a0collection also includes ten additional pieces launched in 2009 for the debuted catalogue of the brand. This is the case of Vine wine cooler design by Mestre and team (2009) (Corque, 2009), one of the brand’s designs selected by MoMA retail store in New York and Tokyo.\u00a0 All of the abovementioned creations have been presented in exhibitions in several world cities and they can be better appreciated on the website corquedesign.com<\/em>\u00a0and on the current catalogue of the brand (Corque, 2013).
\n<\/strong>
\n4. Internationalization<\/strong>
\nSoon after the launch of Corque Design in 2009 (Fig. 9), the brand met its first approach to international markets. The first year results were significant and the brand soon started to be represented in European cities such as Oporto, London, Berlin, Milan, Madrid, Helsinki and Lisbon (Fig. 10). Outside of the European context, the brand was one of the selected brands for \u201cDestination Portugal\u201d, a MoMA retail store initiative taking place in New York and Tokyo. At the same time, Corque was being represented in Los Angeles at Touch studio. Later in 2009, Corque Design\u00a0was invited to be represented in Shangai World Fair, at the Portuguese Pavilion (Fig. 11). \u201cEarly on, it crossed the border and has already reached dozens of destinations in four continents. Although Oceania does not feature in its curriculum vitae, having a loyal international public is a source of pride\u201d (Vilar, 2013).
\nIn 2011-12, a second internationalization phase began, taking Corque Design\u00a0to East and West: it reached the US market with the brand\u2019s largest international exhibition at New York Design Week (Fig. 12); in Hong-Kong (China) it was for the first time represented in commercial design stores, followed by Tokyo (Japan) and Dubai (Emirates) retail stores; in 2012, CORQUE DESIGN was showcased in Belo Horizonte, at the fourth Brazilian Design Biennale and soon in 2013, arrived in S\u00e3o Paulo Design stores and Rio de Janeiro galleries (Fig. 13). Along the way, international retailers and design galleries purchased small series productions and started to sell pieces from the brand\u2019s collection (Fig. 14). Thousands of contacts have been made with a professional audience (mostly architects and interior designers) who is now the main follower and largest buyer of Corque Design, while international groups as Microsoft, Google and BMW are in the list of earlier adopters of Corque Design.
\nThe world exhibition portfolio of Corque Design\u00a0(Fig. 15) includes some of the most relevant world design events such as ‘Tortona Milan Design Week’ (2009), ‘Helsinki Design Week’ (2009), ‘Lisbon Design Show’ (2009), ‘Shanghai World Fair’ (2009), ‘New York Meatpacking Design Week’ (2010 and 2011), ‘Biennale International de Li\u00e9ge’ (2010), ‘Portugal Criativo Barcelona’ (2011), ‘Experimenta Lisbon Design Biennale\u2019 (2011), ‘Most Salone Milan Design Week’ (2012), ‘Interior Life Style Tokyo’ (2012), ‘IV Brazilian Design Biennale’ (2012), ‘Portugal-Brazil Year’ (2013).
\nAdditionally, a series of lectures and seminars have been given by the Corque\u00b4s founder and creative director to promote the scientific content related to the new cork products development and cork innovation. These included, amongst others, the Ecodesign conference in Japan, the Creative Industries conference in Helsinki or the Brazilian Design Biennale conference (Fig. 16). Participation in both exhibitions and seminars target potential international markets for Corque Design\u00a0and have been decisive in terms of the brand international recognition, gathering media attention, public discussion and international dissemination.
\nThere is a loyal audience movement that has been following the brand in different world locations, strengthening the proximity of Corque\u00b4s founders and designers to its audience. Ultimately, the global design networks used to promote design value and local cultural identity enhancement are contributing to achieve a stronger social design democracy. These design principles have been gaining force since the first introduced ‘Design technology for a better life’ Bauhaus doctrine and Ulm design philosophy by Maldonado (1953), who saw the design process as ‘a system embodying both scientific-based and intuitive-based thinking’, and finally by the social-ecological Design approach of theorists as Papanek (1972), Bonsiepe, (1978) and Manzini (1990).
\nCorque Design is today recognized as a scientific research-based sustainable design brand. Its involvement both in academic research and design practice (as a commercial operation) reveals to be an original and successful approach for the future of Sustainable Product Design. \u201cDesign must be an innovative, highly creative, cross-disciplinary tool responsive to the needs of men. It must be more research-oriented, and we must stop defiling the earth itself with poorly-designed objects and structures\u201d (Papanek, 1972).
\nReferences<\/strong>
\nAPCOR, (2009). APCOR Year Book 2009, Portuguese Cork Association, Santa Maria de Lamas.
\nCorque, (2009). Corque Design 2009: Designing living objects, Corque design, Lisbon.
\nCorque, (2011). Corque Design 2011-12: Designing living objects, Corque design, Lisbon.
\nCorque, (2013). Corque Design 2013: Designing living objects, Corque design, Lisbon, also available at: www.corquedesign.org<\/a>.
\nDowdy, C., (2007). Put a cork in it. Financial Times weekend edition. December 8-9. European Edition.
\nMaldonado, T., (1958). New developments in the training industry in product, Ulm.
\nManzini, E., (1992). Prometheus of the Everyday: the ecology of the artificial and the designer\u201fs responsibility, Design Issues, vol.9, no.1, pp.5-20.
\nMestre A., (2005). SM DESIGN – Significados da Mat\u00e9ria no Design, \u00a0Lisbon:\u00a0Susdesign.
\nMestre, A., (2006). Corque PT Design Brand \u00ae. National Institute of Industrial Property. National Trademark n\u00ba 406513, filed 26 September 2006, issued 28 January 2008, also available at: www.marcasepatentes.pt<\/a>.
\nMestre A., (2008). Design Cork for Future, Innovation and Sustainability, 1St Edition. Lisbon:\u00a0Susdesign.
\nMestre A., Brezet H., Christiaans H., (2009). A Material-based Design Intervention Model (Mb- DIM) for Sustainable Product Innovation: The case of the Design Cork Project. Ecodesign 2009, 6th Inter. Symposium on Env. Conscious Design and Inverse Manufacturing, Union of Eco designers and AIST, Sapporo.
\nMestre A., Gil L., (2011). Cork for Sustainable Product Design, Sc. & Technol. of Mater. n\u00ba 23, 52-63.
\nMestre A., (2013). Sustainable Product Innovation with Cork: A Design Action Intervention Approach, Journal of Design Research (submited).
\nMestre A., Vogtlander, J., (2013). Eco-efficient value creation of Cork Products: an LCA-based method for Design Intervention. Journal of Cleaner Production, http:\/\/dx.doi.org\/10.1016\/j.jclepro.2013.04.02<\/a>.
\n.Millner, R., (2011). Largest Wired store ever hits Times Square. November 9, 2011, also available at: www.wired.com\/about\/2011\/11<\/a>.
\nMonocle, (2010). Inventory n\u00ba 37, Monocle Issue 37, Vol. 4, October 2010, 73, also available at: http:\/\/monocle.com\/magazine\/issues\/37<\/a>.
\nPapanek, V., (1972). Design for the Real World: Human Ecology and Social Change, New York:\u00a0Pantheon Books.
\nPires, S., (2011). Design, Corti\u00e7a e Sustentabilidade. Casas & Neg\u00f3cios, Issue 46, Oct \u2013 Nov, 60-68.
\nVilar, C., (2013). Making History with CORQUE. Direct Arts International Magazine, Issue 4, (pp. 76-80), also available at: www.directartsonline.com<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

In April 2009, a new sustainable design brand based on cork \u2013 a Mediterranean, sustainable and eco-efficient proved material \u2013 was internationally launched during the Milan Design Week. The brand was baptized as Corque Design\u00a0(Mestre, 2006).\u00a0The originality of Corque Design remains for being the first\u2013ever launched brand exclusively dedicated to cork and to its application in eco-design products. Hence, it offers a range of high quality furnishing products and accessories carefully designed by prestigious Portuguese designers for people who most value creativity, quality and eco-efficient design (Corque, 2009). The brand has already accomplished several small series production, which have been exhibited and commercialized in the European, American and Asian Markets.\u00a0Corque Design<\/b>\u00a0brand resulted from an applied design research project \u2013 Design Cork (Mestre, 2008, 2013) \u2013 with a focus on the search for new applications and design solutions based on cork materials and technologies and on strategies and processes that championed the use of creativity and conceptual development towards sustainable product design innovation.<\/p>\n","protected":false},"author":1,"featured_media":3986,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[15,121,87],"tags":[137,50,138,139],"class_list":["post-3546","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-en","category-from","category-i10","tag-cork","tag-design","tag-innovation","tag-sustainability","entry"],"acf":[],"yoast_head":"\nPAD Journal - 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