 I would like to introduce our panel of this morning. The panel will be moderated by Hans Finhäuser, who is standing here at the left, cultural planner. And there will be introductory statements by Mustafa Tasiolu, who has a business in Düsseldorf, in the Ruhr-Biet, called Urban Rison. Also on our panel will be Bob Kreeps, director at the Ministry of Culture, Luciana Blesing, vice president for research at the University of Luxembourg, and Anna Bernagotsi, who is a design consultant and theorist. Hans, the floor is yours. Okay, thank you, Tasi. Thank you. Happy to be here. And you said cultural planner, and as we've seen the presentation by Charles Landry, that can mean literally anything. And that's the field I'm moving in. What does culture mean to urban planning? Where does it culture hit urban planning? How can it support urban planning? What is the cultural side of urban planning? And for me, urban planning is culture. The city is basically the Gesamtkunstwerk in this time. So the three questions I've asked the panelists are, what is your position about designing the world or the world of design? The second is, what can design bring to a city like Luxembourg? And the third is, what would be the very first thing to do tomorrow? What should we do tomorrow, and who should do it? So the first speaker is Mustafa Tasiulu from Duisburg-Marxlow. Please take the stand. Hello, together. So first of all, thank you. It's my first time in Luxembourg, and I'm happy to be here because we speak French and German here, and two languages I like. And for me, it is for sure it's about the design of the world, because I'm coming from a part of Germany who is really in a transformation process after the industrial area, getting into the knowledge area. And what we see is that we have thousands or hundreds of different cultures and ethnic groups, and I see design as the entry to the people, to the culture, and as a communication method, as a code to get into the people, to find distinctions and also to put the people then together again, because they're living in the same border, they're living in the same area. So it's about the design of the world, and I would say it's the design of our world, mostly. And what can design bring to Luxembourg? I think Luxembourg is a melting pot of, because of the work, like Charles Landry said, it's the, I think more or less, the job deciding people come to Luxembourg, and they have to find ways to make the place interesting, and I think to show the diversity of the people, to celebrate their cultures in form, with the help of design, could help Luxembourg to make it more multi-ethnic and multi-diverse. And what is the first thing to do? I will continue away with the sentence of Charles Landry. It's about mind change, it's about changing minds, and to change minds we have to give things new sense or show a different sense of it, and to give you an example of our work, how we did it, is a picture Nadine can show it. This is my example, this is a changing mind salad with a migration background, we just call it like this, and it's about seeing things, and how you look to it, and how you define it, and this can help to enter into different cultures. Thank you very much. So thank you, Mustafa. Mr. Bob Kieps, so your work for the Ministry of Culture, you're a director there? I heard this correct. So please help us find answers to these questions. So the first question is, is it the world of design or design of the world? It is of course the design of the world. We are here on this planet to keep it the way it is in a certain sense and to transform it in another sense. The fact is that design is belonging to cultural and creative industries. Creative industries are not very much developed in this country, but in Europe they make 4.5% of the GDP in Europe, and I think they make 3.8% of the working force in the European countries. It is the strongest growing part of the economy in our part of the world, and if I understand well that if we use it the way we should, there is much more potential ahead. Design can certainly bring to Luxembourg a much different way of living together, of looking at things, and this city has a lot of advantages, but also has a lot of, let's say, as Enrico put it, it is because this was a fortress, so the city is a fortress. It is very small and it had a lot of problems finding the right design for its urbanistic purposes. So for me, urbanism of course belongs to culture. It is actually the centre of human culture. If you think about the Greek city, the Angora was the centre of the Greek police, and police as you all know is the basis of the world politics. And the way the Greeks looked at it was actually the way that we in the Western countries we look at cities, and for them the design of the city and the rules of their society were identical. They didn't even see a difference between this, and this is something that we should try to come back to, and design a city so that we can take full advantage of the working places, schools, leisure, and have the best way to communicate between all these places, and this is something that I'm not very sure that we always were aware of it. Well, what would be if you, let's say you're not here as a private person, but what would be the first thing to do tomorrow after you spend the day here being inspired by these lectures? There's a hell of a lot of things to do. I mean, we certainly need a change of mentality so that we, Landry said that we should love our city, and this is very important, we should not only love the money that we take out of our city, and what we make by destroying old buildings and putting new buildings in place, and there is also where property comes into the whole question, that is, do I have the right to tear down a nice building and put in place an ugly building? Do I have the right only because this belongs to me to put up a house that is two or three stairs higher than the others, and that looks ugly from the outside? So I have more the point of view that the outside of a house belongs to the community. The third speaker I want to invite is Lucien Blessing, Vice President for Research of the University of Luxembourg, and a Professor in Design Methodology. Welcome to your first question, the world or design or design of the world? I think they both exist, and I see the world of design, the designally way of thinking as something that can help design the world. Because the whole thing about design is looking in the future, and I took this longest quote here from Lea, a professor, a German professor in the 50s, 60s, and he said, and I found for it truly new things only come into existence in the product creation process. And then that's what I find the most interesting, what no one has seen, known or thought of, because it didn't exist, is generated here through mental effort for the first time. And that's the exciting thing about design, we're creating completely new things. Sometimes it's a slight change, which can have a major effect, sometimes it's a big change that hardly has any effect. Design affects the world, as you see there on the right hand side. It does affect the world, whether you want it or not. Most cases we want it, we have a purpose with design, but it does affect the world. And therefore, this designally way of thinking is a very, very responsible one. And the first factors that one needs to consider, and I will summarize it in the possible. That's the idea, what would be possible thinking out of the box, thinking about new ways of doing things. The profitable, most circumstances, you need to live off it. But the interesting thing with design, it's this added value of going from nothing to your product. But the important thing, and I think that is truly the designally way of thinking, is this design for the world. So it must be desirable. Creating products people love to use, to take the word love, love to use, whether it's for pleasure, whether it's for need, or whether it's enabling doesn't matter. But last and not least, it must be sensible and sensible in a context. Sustainable well-being, that's what we're talking about. We can't just put anything in the world just because it's desirable. The house Bob Kripser has mentioned was suddenly desirable for the person who live in there, and it's profitable, and it's possible. But is it sensible in its context? There are a lot of things design can bring to any society. And I think the richness of Luxembourg, both its heritage, as well as... I've always the feeling that have not been here that long, but that Luxembourg is able to reinvent itself. It's very innovative, I'd say. You know, it started with very agricultural, and there was steel industry, which sort of, you know, it's a fault. But realizing that that's not the future, what are we going to do? And I'm making huge jobs, yeah? The banking, and then there was the space and the media, and now it's the biomedical. So this is a country, I think, that can reinvent itself, and therefore could be a very fertile ground for design. Plus, it's enormous diversity, and I think openness. Because so many people, if people move countries, they are open to new things. So I think there is, in multiple perspectives, a fertile ground. And hopefully, to university, we can add to that. So what would be, according to you, the first thing to do to raise this awareness? You say schools? Yeah. I mean, this sort of thing, like now the design city, it's also something for society. But, you know, get them earlier, probably. But I think it needs to be part of society, just looking into things. And for me, schools is a very good starting point. There's still a lot of creativity there, but the school systems don't always allow that to be developed. Okay, thank you very much. Our last expert is Anna Bernagotti. And she's Italian, but coming from Paris, where she's a design consultant and a theoretician and working with co-creation. I will talk as an educator, because I think so. I will put the thing the other way around, but the first thing is absolutely to reeducate our students that want to be designers, but they're not alone. So they don't just have to be designers. And having the capability of looking at the world surrounding us and being capable of understanding the complexity. I would say that there has been probably too much freedom. And the designers have lost themselves in this fuzziness. And the thing that designers now have to do in my opinion, that design school have to do, is to offer designers the capacity really of deeply understanding the society they live in and to react to today's context by creating the right design tools and objects that will allow everybody to live tomorrow in what we hope will be a better and of course, sustainable world, even if the world sustainability should be debated. I think that the future role of designers should be that one of bringing clarity in the surrounding fuzziness, as I said before, in an economical and social fuzziness. And we all know that our society is quickly changing. The designers have to invent these new tools for thinking differently. They don't have to solve problems by trying to apply all solutions from the past. They have to tackle these problems differently and invent new object services systems that will have people to imagine what they don't know about the situation, to imagine solutions that they hadn't thought before, to change and find new ways of doing things. Before being capable of acting on the world, so that's the question, what should we do to Luxembourg? I don't know Luxembourg enough to say how we should act on Luxembourg. I think that we have to understand and experience it. So my experience is too short to say you what we should do to Luxembourg. And designers really have to take time, which is one of the most important things, to understand the interactions that happen in a town and really to experience it. So the definition of good design today, as from the fifties in the States, we try to redefine this good design. It always has to be part of an action on our environment, but before acting we have to understand. And implies a certain research of empathy. So empathy really becomes one of the most important things. And to end my statement, the sustainable object of tomorrow has to become a vector, of course, of social innovation, and the subject of a new universal economy that emphasizes the social bond, the exchange, the sharing of experiences and the greater awareness of the surrounding natural resources. So it's very complex. And we have also to find a common idea, because I said before that Ilic was saying that we have to have the freedom to create what is for us, but today's society is changing. And we have bigger, we know nowadays the responsibility we have and how the environment is suffering, et cetera, et cetera. So we can't have today the same freedom we had yesterday. So the images we saw, for example, before of some buildings, et cetera, I really don't think we should go in this way. So we have to understand, we have to learn, of course, from the mistakes of the past. So we have to find a common idea when, at the beginning. After we have understood where we are. Probably we should start with the people and the people working with the government in a kind of bottom up movement. But who organizes this bottom up movement? The designers. Today we're gonna do a very, very short version of a game I sometimes play in situations of change where we gather ideas and invite people to think of them and do proposals. And the essential moment in this game always is at the end. Where people are aware that you can do your research and do your planning, your ideas, your presentations, your exchange, your debate. But in the end, all that counts is the lobby you have. So we've prepared for everybody here and it's in your bag. You get your own lobby. Everybody has its own lobby power. You get two lobby cards. It's limited lobby power, but you can enjoy it and use it. Mr. Denwald, and I read your CV and what you're doing, I decided to give you this pile of lobby. I think you're in the heart of economy of culture in Luxembourg. So I wanna give you this pile of lobby and I wanna invite you to give it. Who would you give it to? When it comes to what should we do in Luxembourg? Well, the opening of mind. I think we are aware of this. And I think we are doing a lot of things in order to give incitations to people to use their minds to develop things, develop new products to be creative in a certain respect. So I really liked the approach of Anna saying that we have to make sure that we have this bottom-up approach because a top-down approach will not bring anything. I will give, I would say, I would give, I would say 30% to each one of the ladies and 15% to both men. 30% to the ladies and 50% to the audience would approve that. And then if I count, you keep 10% in your pocket. Exactly. Yes, very smart, very smart thing to do. Thank you very much. I will give a symbolic one to everybody, please. And then I wanna ask you, listening to the other speakers, who would you wanna give it to? No, I would give my point to Anna also because there is a big point. I'm not agreeing with you. I would never give the responsibility to designers in something. I would never do that because there's always, the bigger half of a designer is individual, is getting in and not in the social aspects. That's why we have to reinvent out the way to educate them so that they don't have this kind of attitude. This was the one point, but the other big point was really to look with the eyes through design to find the bottom-up movement, to find the similar ways. So I would like to give the point to Anna and I would just answer one to you because I couldn't explain it, but if you design your world in a multi-diversity area, it will create its own economy. This I believe in. It will create its own ways to find economy, to find consumers and to find new products. That's why I prefer before to design a world and then let the world do their own design. I would give my lovely to Mustafa because he managed to speak in three minutes and then he got the message over and I think we got it all. And I wanted to answer also to take advantage now that I have the mic to say that for him and for Anna, I could find maybe a compromise, I would say the world of design designs the world. So this is it and this is also what I think we all agree upon and not only design a little part of the world because there's a lot of other people who also design the world and should have the right to do so. Regarding the lobby and regarding the diversity of nationalities here in Luxembourg, I was just wanting to add that bottom-up work, you also need politics and if you have 18 nationalities in your company there's only one nationality that is allowed to vote. So Miss Blessing, please tell us who would you give your lobby to? Very difficult question. I think that there is a lot of overlap in the things that we say and the mindsets and the bottom-up and it's a society thing. It's just some people who can do it for granted. I think because of what Bopp also just mentioned we need to get also politics behind it and now currently there are budget discussions and they are usually not necessarily in favour of the sort of things that we are talking about and I thought the best lobby is to start with people in the ministry. Very good, thank you. So Anna, please tell us who would you lobby for? I think that of course I give to Mustafa who is doing this as a designer so he's an example of what I was saying. So now I would like to ask the first speaker who gave this great lecture about what culture and cities mean Charles Landry to also... No, wait one more. But you, I'm afraid I will only give two because as an advisor you have a lot of influence but now will power. So I think Bob's getting quite old in a positive sense which I think he can do what he likes in the ministry. He can say you can't sack me, you can't do anything. At last I will do what I think is right. So I'm going to give you a lobby just to do whatever you want and make sure it's bloody crazy. Now Anna, I want you to support him but also sometimes be the opposite of your normal personality. When he's going a bit too wild, you be very like this, yes but if he's being too conventional, prick him. All right, there you are. So to conclude this session about what are we exactly talking about we will give you all the opportunity to physically hand over your lobby and you will get two minutes to do that. So I want to give the final word to Miss Blessing who can celebrate her win and give some advice to the audience here. Now you say those sort of things where they have these awards and they stay there and cry and think. What I really hope is that this is the start, I know it has already been going on but this sort of gets into the lift design here in Luxembourg and that we put that on the map worldwide and that's what I really hope and I think that having heard so many views I think we really, I've been feeling, and I love that because it's an area I'm interested in that we really now get it off the ground and that we have some very, very exciting years to come on this topic.