anew #3 Redesigning Industry - MA Industrial Design, KABK

Graduates

GRADUATES It is with pride that we present this year’s graduates on these pages.

During one year they worked on design projects addressing issues both topical and relevant such as human enhancement, unpaid care work, the physicality of the cloud and the future of the cosmetics industry.

At MID we strongly believe that relevant design is rooted in design research. You can find the research the following projects on these pages are based on inside the main magazine. Our graduates were guided by: Yassine Salihine, Merel Kamp, Thomas Vailly, Lenneke Langenhuijsen and Cynthia Hathaway.

Alessandro Celli —

CLOUD ZOO The Cloud is both everywhere and somewhere. It is both a global phenomenon, with its worldwide network of layered infrastructures, and a composition of local physical elements, which are affecting - and are affected by - their surroundings. Exploiting the weaknesses of its physicality can defy the mythology of the Cloud, revealing how ironic and earthly it is, thus reducing the immense hierarchical gap that separates us – Users – from tech corporations.

Cloud Zoo is an interactive installation that functions as a collateral reading of the Cloud’s structure through its surroundings. It is a semi-fictional diorama where nature interacts and merges with the physical body of the Cloud, creating a new landscape of unexpected connections, defying geographical limitations. The goal is to reduce the seemingly infinite size of the digital realm to a scale that is more relatable to humans, exploiting its own physicality.

Elena Genesio —

COOKING GESTURES ARCHIVE The cooking gestures archive aims at preserving the tactile knowledge originating from traditional cooking practices by creating a universal language of symbols that purely refers to movements. This embodied knowledge, Traditionally passed on from generation to generation by oral transmission, represents the instinctive ability to make with the involvement of the senses and bodily perception, a practice that is slowly disappearing.

The reclaiming of these manual skills, can consequentially make us revalue the way we perceive and consume food, questioning the impact that the industrialization of the food sector has had on the way we pass on knowledge.

The movements have been translated into a series of objects which all together create a physical installation where to see cooking as a physical experience based on movements and tactility, allowing the body to re-learn the ability to knead, cut, mix, scoop, beat and eventually make pasta by hands.

Honor Newman —

THE HUMAN HACK The Human Hack is a collection of videos and an interactive installation that speculates how contemporary genetic technologies look to shape our future. The videos tell the narrative of a near future where genetic enhancements are the norm. The installation takes photos of the audience and transforms them using a Generative Adversarial Network, a type of Artificial intelligence, to create a crowd of faces that merge and morph becoming visually homogenous.

Isabella Monaco —

ORBIT Daylight improves our well-being both physically and psychologically. Sunlight stimulates the production of serotonin in our brain, providing energy and relieving pain in some cases, making us feel rested and promoting wellbeing. Yet many people live in spaces devoid of natural light.

Orbit is a product that reflects and imitates natural light in its intensity, saturation and movements, bringing specific reflections into domestic environments.These reflections, taken and adapted from existing pictures, not only provide exposure to a natural source of light but also bring back the emotions and memories connected to them, giving the opportunity of experiencing once more the sensations previously felt thanks to the light.

Magazine Anew Elina Alekseeva —

#3

Design for repair society

BE THE WAVE Today many people, who live a busy modern life, become interested in the alternative rhythms that correspond to the natural cycles. Indeed, our physiological and psychological states have a certain cyclicity but we often ignore it, striving for productivity. We tend to forget that both being on top of our energy and feeling low is normal. We are human beings, not human doings.

The project Be the Wave illustrates the significance of these natural rhythms, and questions the value of modern productivity. In a sensory calendar it indicates the lunar phases and their connection with our body. The objects for a future interior are inspired by old sensory time-measuring devices and tales and beliefs about the moon: of healing, dreaming, protection, and self-reflection. They translate this cycle through sensory clues, changing according to the lunar phases, and invite us to interact with them to find our own rhythm.

Extended reality

ual en ne ity ble or or But ue lly ed. nd rg is ng, ds his all d’.

ns: ual en ne ity ble or or But ue lly ed.

GRADUATES

Teresa Feldmann —

women have displayed equal capabilities to mens’ in seeking and creating knowledge. But the playing field is still uneven.

I propose unlearning gender MS. UNPAID LABOURER stereotypes. Unlearning means releasing a false or unhelpful belief To cite a 2017 OECD report, the unequal that you held true. Unlearning requires division of unpaid care work between revising your perspective holistically, men and women in the home is one of dissolving thought patterns, habits, and the most important gender-equality default mental frameworks. It aims to issues of our time. This invisible labour, get people comfortable with the idea as it is often called, is crucial for the that all knowledge one currently holds smooth functioning of society, for is subject to change. economy, and for life as we know it. But My Designer’s Guide to Unlearning when women do it, the capitalist value asks these five questions: system considers them economically unproductive and unoccupied.

1. Why is it this way?

Why do women spend a disproportionate amount of time on housework and childcare compared to men, even when they’re employed full-time?

2. What have I assumed?

It is in their nature: women/ mothers are hard-wired to care for other family members.

3. What could this be?

Social pressures of becoming a certain type of woman and learned behaviour witnessing their own mothers.

4. What have I stopped noticing? Male resistance to doing more at home as caregiving is not considered manly. Men view themselves more stereotypically than women do: masculine identity is more vulnerable to social backlash.

Childcare, shopping, cooking, and cleaning is only the tip of an iceberg however. Below the surface there is the remembering, the list-making, and the planning. Women’s minds are constantly occupied with this thinking that feminist theorists call 5. What else? The stigma associated the ‘mental load’. with ‘feminine’ traits, as it starts Historically, wives’ indispensability to take root early in children’s gave women very few options to interactions, is hard to overcome. lead a different life. Through gradual So men steer clear from these. emancipation in the public sphere,

Urgent questions.

TABLE OF CONTENT pg. 2 Thesis Teresa Feldmann

pg. 3 Introduction: Urgent Questions

pg. 4 Thesis Elina Alekseeva

pg. 5 Design for a Repair Society pg. 7 An interview with Joanna van der Zanden pg. 10 Thesis Elena Genesio

pg. 11 Can design for everyday rituals bring complex electronic products closer to longevity? pg. 12 Thesis Alessandro Celli

pg. 13 Six design strategies to increase memory forming with products pg. 15 Exhibition: Want the Unwanted pg. 20 Thesis Kevin Shek

pg. 21 Faking Nature

pg. 23 Thesis Sandipan Nath pg. 24 Thesis Lucija Novosel

pg. 25 Transplanting Aesthetics

pg. 27 Thesis Marion Dupuis

pg. 28 In conversation with Sander Hermsen

pg. 30 Thesis Honor Newman

pg. 31 Dead Media New Trajectories: Lucie Ponard Malin Dittman

We live in extraordinary times, in which daily routines, work, social life and education are challenged and reshaped by the global pandemic.

Mandatory lockdowns lay(ed) bare the global networks of industrial production we designed to produce our goods. Production slowed down or came to a halt resulting in the vanishing of work and income, exacerbating already existing inequalities.

While a lot of us in the global West retreated into our homes, stocked up on bottles of wine and enjoyed the ‘slow life’, others had no homes to be locked into in the first place. Our (the affluent) ‘slow life’ meant even more challenges for the people around the globe that produce our flat screens, jumpsuits and scented candles. Flora and fauna may have flourished when emissions dropped, skies and waters may have cleared after human activity decreased, but at the same time oil prices dropped, lowering the price of virgin plastics, causing plastic recycling companies to be stuck with large quantities of used plastic that nobody wants.

There doesn’t seem to be one clear-cut lesson to be learned from this pandemic and the economic crisis that follows in its tracks. The term ‘crisis’ derives from the Greek ‘krisis’, meaning decision, critical point or judgment. As with any decision, the outcome, or its effect, is uncertain. A crisis can conclude well or badly, and – as everybody keeps saying these days – should never be wasted. And wasted it would be, if we do not ask urgent – in some cases long overdue – critical questions about the way we inhabit (one might say exploit) this planet. How (much) should we produce? How (much) should we consume? How should we treat non-human animals? What are the (hidden and historical) costs of our affluence? Who do we refer to when we say ‘we’ and ‘our’? Who are or have been excluded from conversations like these and why?

At MID we continually urge our students to work from precisely these confronting and complex questions. And despite this semester’s challenging circumstances (remote classes, no access to workshops, social isolation), they developed research and projects in which they questioned and redesigned the conventions of the industrial system and envisioned more sustainable and meaningful futures.

We are impressed with the research and projects our ten graduates developed under exceptional conditions. Their projects are courageous in subject and deal with complex as well as urgent matters.

Themes range from privacy under surveillance capitalism to human enhancement practices, from the future of the cosmetics industry to the physicality of the Cloud. All projects are built on a meticulous and passionate design research process, resulting in distinct and outstanding designs.

We are proud to show our ideas on industrial design through a selection of projects, interviews and images by first and second year students, teachers and affiliate experts, in the following pages.

pg. 34 Thesis Isabella Monaco

Hope you enjoy it!

pg. 35 Staff & Tutors

Maaike Roozenburg Head of Master Industrial Design

GRADUATES

Elina Alekseeva —

De

gy ng. of es ent orhat cal se ory ey he ms ns dy My ms ve s? ve tal ng ow ng ed ole gs,

comforted. I investigate traditional nonverbal communication ways, analyze the principles of calm technology, that only approaches our peripheral attention and distributes information CALM HABITAT between senses, and therapeutic digital (Eliza) and traditional (music therapy) tools, that aim for initiating a better Calm Habitat explores the relationship self-dialogue and self-understanding, between people and digital technology rather than recovery. within the area of emotional wellbeing.

From ancient times, sitting in Today we see the proliferation of devices circles, playing, having fun and being that apply to our senses and feelings: light-hearted together, was a way to from attachment to external memories create a safe ground, provide space to to sensor-based biofeedback systems all feelings and vulnerabilities. What that aim to alter our psychological we need the most for our emotional condition. I wondered why these wellbeing today is not a quick remedy, innovations are in contradictory but a possibility for sharing and positions? Seemingly positive, they listening to others and to ourselves. don’t consider the real needs of the As possible design solutions, I human body, vulnerable systems of propose using principles of calm primary, unconscious reactions and interaction and new technological sensory differences. Remedy can be body language for meaningful easily followed by harm. My question social interactions; using sensory is, how can these systems evolve as orchestration in devices that can beneficial, restorative elements to our inform and calm at the same time, fast-paced lives? focusing on self-dialogue instead of

all hat nal dy, nd es.

I lm cal

In my work, I explore the positive and negative influence of digital signals, the body mechanics of feeling safe in our modern habitats, and how our senses work together addressing the primary needs. I am also interested in personal coping reactions, the role of pleasure and silencing the feelings, and activities and cues that help us feel calm and

coping scenarios; and creating a space that helps us learn about our feelings through activities and senses.

Digital technology could then be compared to a language that lets us communicate and share our emotions, and listen to the others and to ourselves in a more profound way.

esign for a Repair Society

By Yassine Salihine

Why should objects be designed in order to be repairable?

What new typologies could emerge when repair is integrated in the production process of an object? How can we include repair in the design thinking process?

Designers love to create new things. The experience of something not being there and suddenly existing through decisions and actions on the part of the designer can be quite magical. But when that act of creation is finished and whatever is designed exists, the focus shifts to the next thing to design and the existing is left to its devices.

Whatever happens to our creation is now the responsibility of someone else. This obsession with the ‘new’ and neglect of the ‘old’ is part of the reason we are in an ecological crisis. The ‘new’ has become a structural element of our thinking and our society.

During the first semester of 2019, the 1st year students of the MID explored the theme of repair by participating in different lectures and workshops, all under the guidance of Joanna van der Zanden, artistic director and avid advocate of a repair society. With her vast (hands-on) experience in the field of repair and sustainability she has provided valuable insights, food for thought and critique, resulting in many interesting outcomes.

Heleen Klopper, founder of Woolfiller, and Lotte Dekker, from Humade, presented their techniques to repair broken clothes and ceramics through a hands-on workshop.

An interview with

Joanna van der Zanden ‘OPEN IT UP AND GO ON AN ADVENTURE’ Joanna van der Zanden is an artistic director at De Modestraat, Amsterdam North, which hosts and plans cultural, artistic and social projects. She is an avid advocate of a repair society; a society which, in contrast to ours, focuses more on the ‘old’, by prolonging a product’s life span, rather than only being interested in the ‘new’.

With her vast (hands-on) experience in the field of repair and sustainability she has been mentoring students of the Master Industrial Design, during their first semester at the KABK, providing valuable insights, food for thought and critique, resulting in many interesting outcomes. This interview will shed some light on what has motivated her to embark on this mission for repair and what projects she is working on today.

By Arno Eiselt

Anew Joanna van der Zanden

Here at De Modestraat in Amsterdam North we collaborate with a lot of volunteers and resident artists to create projects for people in this neighbourhood. The aim is to work together and connect people. We believe that through design and art we can get to know our neighbours in a different way while also helping to create a more social society. To sum it up, creativity opens us up to become more aware of the stranger who we didn’t know before.

With this idea in mind, we try to attract people from all areas of society. The neighborhood we are located in is currently undergoing a lot of change while Amsterdam is steadily growing, eventually resulting in an increasing number of people from downtown coming to live here.

The space we are located in is called ‘the breeding grounds’. It is a temporary location, given to us by the City Council, providing local artists with a space to work. It can be seen as a cultural incubator with the goal of giving back to the neighbourhood.

Anew Joanna van der Zanden

You’re an independent curator with a focus on socially engaged art and design projects and participatory practices, what exactly do you do on a day to day basis?

Are the projects you are working on at the moment related to repair?

The projects we initiate here have various topics. Repair is a theme which, for me, started in 2009 while I still was the artistic director of Platform 21, an incubator for a new design Museum, which was meant to be built at that time. During this incubator we were experimenting with different formats of design exhibitions as well as rethinking what the role of designers in our society should be. For us design was less about the aesthetics of an object and more about designing as an activity, as the making and the process is something that professionals as well as amateurs experience. This is something that is of great interest to me personally because most products are being designed by professionals but repared by amateurs. The topic of repair is also a topic about brokenness and imperfection.

One could say that design has been traditionally focused on the perfection of aesthetics but things that break down and have been repaired don’t usually look as perfect anymore.

However, they get a whole new character and charm from this process.

At that time recycling was a buzzword but my colleagues and I were aware that even recycling things contributes to products and materials being thrown away. It was during that period that I wrote a repair manifesto. The questions I ask myself is: what are our responsibilities as designers and what roles do products play in our lives? At the moment a product breaks the relationship with it intensifies. It is then that you realise what the meaning was that this product brought to your daily life. Once it stops functioning there are a lot of questions you have to ask yourself. Can I repair it myself, who else could repair it, should I throw it away, should I replace it or should I keep it broken? I am interested in all these questions.

Martine Postma who was inspired by our repair manifesto opened the first Repair cafe in 2009 and within 10 years their numbers have grown to over 2000. These repair cafes provide a workspace for people to repair their products in collaboration with knowledgeable volunteers. In essence there’s a strong emphasis on the social aspect as well. In our Western society the culture for repair has disappeared and we have become focused on only the new, not caring anymore about the old. I like to find products to care for, and in that sense care playes a big role in my work.

Anew

What responsibility do designers have concerning repairability and what critical questions should they ask themselves ideally?

They should ask themselves how they imagine a product’s life in use. How will it be used, how will it age and how could it become attractive for the user in all kinds of different ways?

It’s not just about convenience but more about starting relationships. Many people talk about ‘circularity’ these days but I feel like a product’s life span should be stretched out as long as possible

Anew Joanna van der Zanden

Yes I do, big companies for sure. When products are made to break just after the guarantee period has expired, also referred to as planned obsolescence, one could argue that this is a criminal act. Many objects are designed as black boxes and as consumers we have no idea what is inside. Why not be more transparent about the products? We should challenge these producers to provide us with the information we need to repair a product once we have purchased it. We should challenge these producers to make products easy, transparent and fun. We should also live with the idea that the products we create age and break eventually; it’s a constant repair cycle we are part of. We just need to make the right choices.

Anew Joanna van der Zanden

How can manufacturers be motivated to become more transparent?

We could change our tax system. Taxes on resources could be increased while taxes on labour could be lowered. This would result in a scarcity of materials which would automatically make us care more about them. This would motivate the manufacturer to get their materials returned to them or to be involved in a certain chain or cycle. Ultimately this should also lead to rethinking the design and manufacturing process. Basically a shift in value will have to occur.

Anew Joanna van der Zanden

How do you believe such a conversation with manufacturers could take shape?

There are several ways the manufacturers could make sure that the knowledge is available.

They could collaborate with repair shops to receive feedback and make sure that the products are easily repairable while sharing their blueprints and instructions. Ideally the parts required for repair should be produced by the company itself and should be made available to the repair people as well. In general people who repair products should be empowered by the manufacturers and supported by them. However, today our society is built around guarantees, in essence transforming products into legal time bombs or booby traps that no manufacturer wants to burn their hands on.

Anew Joanna van der Zanden

Do you believe that makers, designers or manufacturers should be held accountable for their creations?

Do you have any advice for someone who is interested in repair and contributing to a positive change but doesn’t know where to begin?

The least you could do is to have a look at the repair cafes website and find out if there’s one in your neighbourhood to assist you with the repair. More in general, I think the first step everybody can take is to open up broken products and try to understand how they work. We should get interested in this process, seeing it as a journey to discover new knowledge. We should challenge ourselves to see a product as something that truly belongs to us and not as something that can be thrown away and replaced as soon as it does not function anymore.

By Teresa Feldmann

GRADUATES

Can design for everyday rituals bring com

Elena Genesio —

ne ial to ain ce nd nd er. en ust art he ng hat ur es. cal he es

Imagine you are sitting at a long wooden table covered in a white cotton cloth. In front of you lays a flat ceramic plate. On the plate, you can see a little menu which illustrates three different courses of a dinner you are about to attend. You will soon have a chance to travel to three different times, try three different dishes and meet three different people: my grandmother, my mother and a future me.

a­ cts nd nt, es us est ket on, ok, nd try

This research project, as you have probably understood, is about food; about the way food has shaped human civilization through history and how it allows us to express and create cultural identity. It is about the intricate relationship between mankind and the natural environment and the way in which our feeding necessities have profoundly altered it. These needs have caused, during the 15,000 years that followed the invention of agriculture,

FOOD ANTHOLOGIES

the wiping out of forests, the reshaping of natural landscapes, and the severe alteration of biodiversity.

Ultimately it is about transformation, and a future that will force us to deeply reconsider the way we globally produce and consume food. How to feed a global population which will increase by 2 to 3 billion in the next 30 years, on a planet whose average temperature will rise by 2 to 4 degrees by the end of the century?

This research focuses on the evolution of food culture in the sociocultural context of the Northeast Italian region of Piemonte and, more specifically, within different generations of my family. It studies the way our consumption, distribution, and perception of food has changed in

the last 100 years. How will it further change and evolve in the next 100 years?

The aim of the research is to speculate on the future of the cultural heritage that comes with food cultures, using design and research tools as means of investigating how preserving traditions can simultaneously act as a medium of change and an adaptation to future challenges.

mplex electronic products closer to longevity?

By Job Oort

This comic tells the story of changing object values. The research was inspired by the Nokia 3310, a phone built for extreme durability. Yet, despite this physical durability, the phone still faced obsolescence in favor of more modern phones with a completely different set of features. The main finding of the research is that in order for an object to reach longevity, it needs to be emotionally durable. The bond actually lying in between the person and the object (interaction) is what holds true value. This bond with

an object is personal and subjective and therefore changes from person to person. It is also something that evolves and changes over time.

The comic is an example of how the Nokia 3310 has a completely different value for the young child than for the grandfather who discarded the phone years ago. The physical value of the phone has remained unchanged, but it has a huge imaginative value for the child, while it is value-less for the grandfather.

ne ial to ain ce nd nd er. en ust art he ng hat ur es. cal he es are cy, ily he nd ed as oat us. ng is ve es ce er, cal ng ex us. a­ cts nd nt, es us est ket on, ok, nd try ry. art cy

GRADUATES

Six design strategies to in with products

By Louw Visscher

Alessandro Celli — IF YOU TOUCHED THE CLOUDS

Every single action we take online is far from being immaterial and ethereal as we may seem to believe.

In fact, it triggers a chain of events that mostly takes place inside windowless data centers and through cables buried underground or submerged underwater.

Just imagine the sound of ten thousand fans spinning. This is just one part of the physical counterpart of what happens online. It is the endless hum of the air conditioning systems of the data center that run 24/7/365 to cool down our digital selves.

Data centers – the physical appearance of the cloud – are the paradigm of infrastructural facilities of the 21st century. These places are associated with a certain secrecy, a mysterious aura, that heavily contributes to the common idea of the digital realm being immaterial and ethereal. The cloud is not supposed to be touched, heard nor seen, as its abstract bits of information float in a very distant place from us.

One of the most rapidly expanding industries of the last decades is pushed to appear in our collective imagination as something that does not pollute, make sounds, fill space or even touch

the ground. However, acknowledging their very physical appearance is key to understanding how these ubiquitous complex systems work and relate to us.

Lack of clarity about the infra­ structures that drive many aspects of our daily lives in the background is something to take into account, since the role they play in our lives is exponentially growing, leaving us behind. In the last decade, the biggest companies of the world by market capitalization became Apple, Amazon, Alphabet, Microsoft and Facebook, dethroning the oil giants like Shell and ExxonMobil. The information industry is now the new petroleum industry.

This research aims at tearing apart the impenetrable layer of secrecy and strict control that overlooks the information industry. This is meant to open it up to a more accessible and approachable understanding, possibly allowing further different interpretations from and for those who do not have access to the unmanned zones of the cloud.

ncrease memory forming The emotional bond people have with their products – the user-product attachment – influences the lifespan of the object.

If a person experiences a strong relationship with a product, they are more likely to care for it, repair it when it breaks down, and postpone its replacement. From an environmental point of view, user-object attachment is therefore an important design aspect.

Memory-forming is an important aspect in the creation of strong user-product relationships.

WEAR — The products we use tell us about our past and our personality.

The scratch on your leather jacket may remind you of losing your balance after a fabulous night of partying. A designer can choose materials that age with dignity: wood, for example, ages better than plastic. The marks of a shared history between the owner and the product can serve as a carrier of memories, a carrier of habits, and a memory of who we are.

is pe be or int to us co

tra dig bu ch wh inf PERSONALISATION — Items that we su own for a long time grow familiar to us. op The wooden handle of a pitchfork, that inf over time, takes the shape of our hand, the inp feels comfortable and becomes nicer for to hold. The sculpting of the handle is a personalization that increases the pe enjoyment of use. The more often the sc tool is used the more memories and to be experiences will be formed with it, thus making the attachment grow.

ACTIVE PERSONALISATION — Products are not merely functional objects, but convey important signals in human relationships. Our possessions communicate information about who we are, or want to be, and tell stories about our past life. They convey meaning, reflect values, and contribute to human identity. It is for this reason that we like to personalize our objects, telling our surroundings who we are.

Stickers on our laptop show what we care about, friends writing in our yearbook remind us who we have been with, or patches on a denim jacket show us where we have been.

is pe be or int to us co

tra dig bu ch wh inf su op inf the inp for the

CREATION — The more consumers can act as co-designers of their product, the more effort they will put into the product, the stronger the emotional bond is and the more likely it becomes that they want to use them for a longer time. For example, the Do Scratch lamp by Kessels Kramer and Droog ps requires a creative involvement. For it nto to function, the user needs to scratch by the black paint covering the lamp. e’s ns, to GIFT GIVING — The first moment ng, of contact with a product is very imng portant: it provides the first occasion ed for physical contact, thus opening the ue; possibility for memories to be formed. ser When a product is received as a gift, the ve moment itself is often already special. ng It is therefore likely that the gift itself he evokes the memories of that event or are person. However, for a gift to become a is high attachment product, the personal identity of the receiver should be reflected in the gift. The success of a acy ur gift therefore depends on the givers ve capacity to judge what kind of ble product the receiver would like to have. to ble GROUP ASSOCIATION — What the ate proposed design strategies have in ng common, is that strong product ps attachment memories are associated nto with things that we like. Even more by than just objects associated with our e’s personal interest, we like objects ns, associated with our personal social to circle, like our friends and family. ng, To increase the number of associng ed ations with people we like means to ue; design products that will be used in ser a social context and encourage ve interaction between people.

acy ur ve ble to ble ate ng

E Want Th

Exhibition The Unwanted Can designers evoke a desire for maintenance and repair?

This past semester first-year students explored what role repair can play when designing objects. The results of their research were originally going to be shown as an exhibition at the KB, National Library of the Netherlands.

Due to the pandemic it was transformed into an online exhibition

Iris Hagel — REPURPOSE How can I make unwanted Pp5 products interesting again?

I worked with PP5 plastic, found in cups, plates and other tableware in second hand shops. People prefer to buy these products new, as there is not a big price difference. I decided to give them a new purpose, keeping the existing forms, because the colours and shapes they have are already beautiful. I assembled these objects to create a series of lamps, melting some of the objects as a glue to connect the others.

(wanttheunwanted.nl) and a printed one, presented here. Students researched relevant and topical implementations of repair within design and the industrial field, guided by designer Jesse Howard, design researcher Yassine Salihine, designer David Derksen, and curator Joanna van der Zanden.

Juilin Chang — FLUORESCENCE LUBE What is the boundary between maintenance and repair?

My project focuses on maintenance, which should include two types of factors to extend a product’s lifespan: functional and emotional. The functional aspect focuses on prevention, and the emotional aspect helps to build a relationship with the product.

I created a fluorescent chain lube, allowing users to customize their bike chains with the colors they want. It also helps signal when it’s time to lubricate the chain, since the luminance decays naturally.

Louw Visscher — THE PAPERSHOP How can we extend the lifespan of a used book?

Due to the waste-import ban of Asian countries, selling old paper is becoming less profitable and second-hand stores are in need of more creative alternatives to reduce the amount of unsold books. While recycling is a well-known alternative, it remains expensive and its processes still contribute to pollution of the environment. This creates a demand for prolonging a book’s usability, which would benefit both the environment and the profits of the second-hand stores. I created a flowchart which can be consulted for alternative suggestions in case a book remains unsold in the store.

EXHIBITION

Want The Unwanted

Lucie Ponard — THE NEW OLD How can past and present merge on the surface of old ceramics?

Second hand shops are full of old ceramics that are in good condition but that nobody buys because they look outdated.

I worked on redesigning the surface of old ceramic dinnerware, dismantling the traditional pattern and giving it a new meaning. With sandblasting, I erased some parts of the surface, transforming the previous pattern into a new one.

Malin Dittmann — PROCESSOR, WHEN WAS THE LAST TIME YOU HAVE BEEN TOUCHED? Can design create a feeling for our devices?

When a hundred office computers are updated or replaced by newer versions, a hundred perfectly working keyboards are sent to the dumpster early. By designing new covers for computer keyboards, I propose that our tactile experience can influence how we approach our devices and explore how textiles can influence our desire for maintenance for our disregarded devices.

Arno Eiselt — DON’T SCREW AROUND! What if we could repair everything?

Most industrially produced goods are not built to last and – due to the way they are put together – cannot be repaired. My coffee maker seeks to remedy this. It can be taken apart and repaired easily.

Tin-An Erco Lai — PLAYFULL E-WASTE KIT How can I reuse unwanted electronic appliances in a creative way?

This project is about reusing unsold electronic products from second hand shops in various ways. Instead of repairing them in their original forms, I reused their components to create personal kits. For example, speakers and microphones become noise-making boxes.

EXHIBITION

Want The Unwanted Job Oort — A GIFT FOR LIVING, A GIFT FOR LIFE. How to design for Emotional Durability?

Emotional durability hasn’t been taken into account enough in design, resulting in flows of products being thrown away. The most essential requirement for a long product lifespan is that an emotional bond forms between the user and the product. The goal of designing should be to create an intimate connection between humans and their products. This kettle is designed as a kettle for longevity.

Nicolás Vischi — RE-PAIR Are products as closed to user intervention as we think?

Can industrial products be repaired in new, diverse, more accessible ways? What if instead of repairing, we exercised re-pair? To pair is to combine two things to produce a particular result. By re-pairing we don’t simply repair.

We can create not only new objects, but completely new typologies. We can make more personal objects, all while rebelling against the imposed, and taking back control.

GRADUATES

Kevin Shek —

Faking

of of he is le. es, to ers ng ed. ps nto by e’s ns, ed n-

information, there will be no revenue; therefore, I believe that it is the user input that makes the big data so lucrative for the capitalist market.

However, the process of interpreting URGENCY OF PRIVACY personal data happens behind the scenes – the consumer is not aware to what extent their daily behaviour is Understanding the concept of privacy being tracked. Personal information is problematic for most of us when our stored in various apps and websites is personal data – the traces we leave also difficult to access as the settings behind online – is not readily accessible are hidden. It all takes effort and time: or readable. Without the ability to for example downloading data files interpret cues, it is almost impossible can take up to three days. Personal to relate to it emotionally or to motivate data itself is a disorganized collection users to inquire how their data is being of various types of data that can be collected, stored, and processed. understood only by data scientists.

I realized the lack of accessibility and readability is the primary reason for this widespread ignorance.

So how can private data be translated into a format that puts consumers in charge? Visualizing personal data into a simplified, clear overview improves the readability of data without requiring technical skills or tools. The more intuitive the format, the more likely it comes to mind automatically. In addition, providing a visual format that is always reachable and modifiable puts the consumer in control of their own data. This design is transparent of what personal data contains and how it is processed into profitable data.

Personal data is relevant because it is the reflection of people’s identities.

After all, privacy is not about wanting to hide something. It is about accessibility and informed ownership of one’s data, the ownership of one’s own daily life experience.

on ce. ed in nto es ng ore ely

Smartphones, watches, and apps translate our physical behavior into digital data. This data is used by businesses to understand people’s characteristics and habitual patterns, which in turn can be employed to influence people’s decision-making, such as purchasing products or forming opinions. Without the user-generated

g Nature

By Tin-An Erco Lai

Nature always fascinates me, not only its beauty but the system behind it. As a designer, I want to take a step further. What if we produce objects in the way that volcanoes create lava, rivers create pebbles or snails create shells? I think this cycled system is the core quality of nature. Consequently, I want to duplicate the process of nature to manufacture objects. By following the natural rhythm objects will be made by nature, of nature, for nature.

This idea came to me last semester. I starting to duplicate natural things, and wondered what the border between nature-made and human-made is. I thought about Latour’s distinction between non-human nature and human culture, and the second dichotomy of hybrid networks. What is modern design then? I see design as translation, and this practice of ‘faking nature’ is creating hybrids.

In this perspective, I am not trying to duplicate nature, let alone faking it; I am trying to translate these forms/materials into new daily objects.

By Marion Dupuis

GRADUATES

Sandipan Nath — RETHINKING

RATIONALITY: THE CHALLANGE OF THE NON-HUMANS What happens when we start considering non-human agencies to be as valid as our own? We open ourselves up to a richer, more engaged relationship with the biosphere with the potential to undo some of the damage our pervasive anthropocentrism has inflicted. In the present geological epoch, we can no longer reduce an individual to a body. Entities should also be recognized as the rich network of relationships that they are.

Thus we find ourselves on the same

page with various non-human agents that question us with their interactions.

The act of speaking in the name of a river, or of an endangered species, for example, is closely related to the notion and practice of relationality.

Rethinking Relationality introduces an ontological approach to the design practice in order to help reducing our human-centric bias and provide grounds for living ethically, fully immersed in a relational world. It invites us to pose the question of how we can find out what nature or non humans want, therefore avoiding to think on their behalf, but rather try to find ways to communicate and find out what they are thinking.

The research makes use of a series of tools, including helmets, mirrors and lenses, through which the human vision can be reshaped towards a mixed human/animal perception. Encouraging the user not to speak on the behalf of non-humans, but rather find ways to understand their experience of the world.

Such objects are not meant to be vocational tools for developing products that solve problems, but rather instruments for the practicing of critical inquiry. Offering new avenues to build intimate and physical connections beyond the individual towards a shared experience with others and the Environment. In Donna Harraway’s words ‘In becoming-dog, for example, one does not acquire fur or paws, but becomes attuned to a multiplicity of worlds through encounters with a new relational context.’

Wh co to ou rel po ou inf ep ind als ne Th pa tha Th riv for no Re an pr ou

That is to say, by engaging in the process of observing from a nonhuman perspective, we become-with lives, instead of bodies.

wh res an us no to the Su vo pr rat of av co tow oth In be

Transplanti GRADUATES

Lucija Novosel — TRACELESS TRENDS

es mic ed his on. try nd ed ns. he up he ge rs he me or

The makeup industry continues to experience rapid economic growth.

This growth is sustained by a constant flux of trends that this industry is inherently based on. For decades the makeup industry has relied on mass production and mass advertising that forms a closed system controlled by big corporations.

be nts hat le. he ng ers ur ns ty’ ol. on ur ers es hy dia er. ers are

However with the emergence of the Internet, the context in which makeup was consumed started to change. The ability to instantly exchange knowledge created online blogs where users shared their experiences with the public. These product reviews became a trusted source of information for many consumers.

Meanwhile, social media has helped to amplify a throw-away culture where user-generated content in the form of makeup tutorials continues to accelerate the passing of trends and facilitate purchases. Over-consumption and -production, that follows degrades the environment. Due to its form, cosmetic packaging has a highly adverse effect on the environment, contributing to land and marine

pollution, threatening biodiversity.

Makeup casings are considered singleuse packaging, it is too complex to be recycled with many small components made of different materials that are impossible to disassemble.

In its strive for sustainability, the industry focuses on substituting existing packaging containers for natural materials. Yet our culture of consumption remains unaffected and ‘sustainability’ becomes another marketing tool.

Democratization of communication media is an opportunity to rethink our current makeup industry. Producers and consumers now find themselves in the same ‘space’ where hierarchy is crumbling and traditional media is losing its grip on the consumer. Consumers are now producers themselves as they create and share content on social media. Millions of users showcasing their beauty routines in the public eye have a powerful role they may not be aware of. Sharing skills and knowledge on social media is an opportunity to attach a new set of values to makeup consumption that could replace the one based on luxury and excess. How can social media facilitate sustainable practices in the makeup industry?

ing Aesthetics

By Merel Kamp

By NicolĂĄs Vischi

Can aesthetics be transplanted? Can the design of a sugar pot be used for designing a saucer or a chair? Bas van Beek’s design assignment for the second semester was all about form. Students were asked to pick at least 50 objects older than 50 years through a process of curating and research. From the resulting collection an object with unique aesthetic qualities was chosen and digitized with the use of CAD-software. This digital replica was the starting point of a design process. 'The formal part of designing - developing an aesthetic as opposed to developing a concept - is something that is hardly taught in academies nowadays', says van Beek. 'As always we can learn from our predecessors: in my opinion objects from before the 1930’s are especially rich when it comes to form. Their designers are dead and cannot be invited for guest-lectures. What is left for us is to learn from the designs themselves.'

In order to learn from the designs, students deconstructed their digital replica. They took aesthetic qualities from the digital replica and applied them elsewhere, in new objects with a different function. 'This process of reverse-engineering can be seen as a sort of dialogue with the original designer', says van Beek. The set goal of this dialogue was to design a collection of five objects and produce these by either CNC-milling or 3D-printing.

By Tin-An Erco Lai

GRADUATES

Marion Dupuis —

VISUAL IMPAIRMENT AS A STANDARD Different forms of visual impairment often lead to further development of other senses which become essential tools for navigating open spaces.

Affected people find ways of using their senses that are unknown to sighted people: scent might be used for recognition and identification, or sound is used as an important communication tool.

This phenomenon has some hidden implications. The visually impaired are more sensitive to smell whereas unaffected people base their first impressions on vision and external appearance. Sound can be problematic in open spaces where it can quickly become invasive and hardly understandable. What does this say about the way we, humans, make use of our senses?

There are actually no rules telling us how to use our senses. Depending on personal conditions, we all find the best way to exercise them through a process that works closely with the brain and memories, as well as with our

individual tastes and feelings. However, some people use them more efficiently than others. Sighted people greatly limit themselves, as the ability to see often fools them, by hiding things that are impossible to perceive if not through other forms of interaction. Research reveals that we cannot fully understand an object until we touch it or ‘feel’ it, as the visual appearance of things can trick our judgement through textures, colors, transparency and so on.

This project aims to explore ways in which the use of multiple senses in the interpretation of objects or situations could help them become more complete. It argues that – even when we don’t realize it – objects cannot be fully experienced until touched, smelt, or heard.

There are different elements that the human body employs in order to visually identify or predict notions like density and weight, but we are rarely aware of them when we use them. By playing with the feelings we have between the moment we look at something and the moment we interact with it, we can affect the perspective and understanding of the world surrounding us.

Dif oft oth too Aff se pe rec or co Th hid im wh the ex pr ca un ab of Th ho pe be pr br ou Ho mo pe the hid pe int ca we ap jud tra Th wh int co co we ful or Th the vis lik rar

In conversation with

Sander Hermsen

Sander Hermsen is a behavioural scientist (MSc in Social Psychology, Radboud University Nijmegen, PhD in Behavioural Sciences, VU University Amsterdam) and designer (BDes in Graphic Design, Artez Academie voor de Kunsten Arnhem).

Amongst other things Hermsen researches the efficacy of designed artefacts (such as services, campaigns, products, and visual and interactive designs) for behaviour change in the fields of health and sustainability.

By Teresa Feldmann and Elena Genesio

Anew

You have said that the biggest challenges our society faces are all related to our behaviour. Changing human behaviour (to tackle climate change, promote healthy lifestyles, increase our general wellbeing, etc) is a major stumbling block for designers. Do you see the unprecedented crisis of COVID-19 potentially having a long term effect on human behaviour that reaches into the postpandemic world?

Sander At the moment, behaviour change is all we have to mitigate the effects of the corona virus.

Hermsen Social distancing, hand hygiene, voluntary quarantine, it’s all behaviour-related. I think it

is utterly astonishing to see how much change we are capable of at such short notice, if the perceived emergency is big enough. This does shed light on all the other threats to our and our planet’s wellbeing, don’t you think? Apparently, the perceived threat of climate change, unhealthy behaviours, etcetera, have not been big enough to warrant the behaviour change needed to tackle those threats. Especially in sustainability, this is painful to notice. What could designers do to increase the perceived threat of climate change?

Anew

Winston Churchill has said: 'Never let a crisis go to waste.' How can designers actually use this crisis to rethink what we do? Instead of always attempting to problem-solve, should designers become the ones asking inconvenient questions?

Sander I think more than ever, designers should avoid the pitfall of trying to extend their roles. It Hermsen is a tell-tale sign of the immaturity of the design field that design constantly feels the need

to reinvent itself, to justify itself. You don’t see behavioural scientists or mathematicians constantly try to expand the scope of their field. There’s a whole school in design that constantly asks the question whether designers should also do [fill in hype of the day here].

I don’t think designers should be journalists, but they should work with journalists. I don’t think designers should be behaviour change specialists, but they should work with them.

Now more than ever, is the day and age of multidisciplinary cooperation. Designers, and design education especially, should use this crisis to mature, and shake off this current fad in which designers are on the one hand too insecure and try to justify their existence by expanding into others’ fields, and on the other hand (and at the same time) too arrogant, and think design is the answer to everything.

Anew

You asked what can designers do to increase the perceived threat of climate change and a possible answer may lie in your suggestion of closer collaboration with other experts, be it climate scientists, biologists, psychologists, etc, and use design thinking to bring the message home via mass communication.

Sander Absolutely! I think there is so much to be gained from collaborating with experts. For Hermsen instance, take this new challenge that we are having: to keep 1.5 meters distance to others

in public spaces. In many places, this is near impossible to adhere to. Now, social scientists are very well placed to figure out what determines peoples’ willingness and ability for social

distancing. But when it comes to translating the abstract to the concrete – from determinants to actual interventions – they are often at a loss. Designerly methods are extremely valuable here: brainstorming and ideating (diverging), converging into overarching themes, prototyping, iterating on prototypes, everything designers do to keep the process going.

Anew

In the context of industrial design, can we expect practices to permanently change post-crisis, e.g. using less resources, producing less, producing more locally, consuming to meet basic needs only?

Sander Practices will only change if we make them so. If the previous crisis taught us anything, it is Hermsen that nothing really changes if you don’t change it yourself. After the previous crisis, there was

much optimism about how we were going to change the banking system, and that capitalism would never be the same again. A couple of years later, it turned out that as soon as the perceived necessity was gone, so was the initiative. And now we are back to usual. So if you want to change anything, and we should, now is the time to do so. Strike the iron while it is hot.

Anew

Political leaders, health experts, celebrities, neighbours and loved ones call upon us all to act responsibly in order to slow the spread of the virus. Could designers use this momentum to plead for consumer responsibility? To shop less and to support local and ethical businesses, for example?

Sander Pleading never brought us anything. Also, communicating the right way and changing Hermsen attitudes never brought us anything. Leading by example is the only way to go. But the

question you pose in the end is very interesting: how can designers help people to shop less, and when they shop, choose local and ethical? Not by informing them – they already know – but by making it possible?

Anew

Going back to the design profession being relatively young and immature, we find that having different schools of thought is rather enriching. For example, Master Industrial Design at the KABK acknowledges that currently the industry causes more problems than it solves and invites students to question and redesign the system. There are a variety of interpretations of what the role of a designer ought to be. What would be your definition?

Sander Well, to me, any act of design is an attempt to aim for a better world. What your ideological Hermsen interpretation is of ‘improvement’ differs for people. Some will see the development of

a wearable device that supports people in physical activity as working towards a better world, others will see it as solutionism and contributing to unnecessary use of resources.

To stick to the corona-based examples, an interesting case is the track-and-trace apps many countries are now developing. There are many interesting viewpoints here about how successful such an app could be (or whether these ideas are dead on arrival) and the ethical constraints of tracking and tracing, ranging from allowing full-on panoptical surveillance to going completely open-source and putting privacy over effect. Since the potential benefits for society could be huge, all these viewpoints are valid (for a given definition of valid). Where would your own limits lie? And how do you go about keeping your ethical boundaries in the dynamic forcefields of a multidisciplinary team, where you as designer are definitely not the most powerful member in the room?

Anew

Do you have any (behavioural) tips and tricks for young designers/ design graduates hoping to start their careers in these economically uncertain times?

Sander Yes I do, although it’s easy to give tips from a position of privilege. But two things are vital.

Hermsen Firstly, the economy: learn to bloody well negotiate! I remember when I graduated from art

school and I received a commission from a research institute to do their visual identity. I wrote an offer and had the presence of mind to run it by one of my former teachers first. She scolded me: take yourself and your profession seriously – and quadruple the sum you are asking for!

I did so with clammy hands, but the research institute accepted my offer without a glance.

This goes for every aspect of business life: did you know (for instance) that HR professionals hardly ever accept temporary employment? They know that businesses more often than not have no real disadvantage in handing out permanent contracts right away. Same goes for salaries, benefits, the amount of money you can charge for your work… Learning to play this game (and see it as a game, as will the people across the table) will make your life infinitely more easy, whatever the economic tide. Secondly, realise it takes most people a lot of time to find their niche and occupy it. I know because I am in my mid-forties and still working on this.

Also, there’s quite a bit of luck involved, and it is amazing how, after a decade or so, things will start to land on their feet and fit together. This takes time and it helps to be as patient as you can. You will get there in the end!

ith gy to tic to nts in dely es, ple will ur s? ne ure on ss ers nic on nd es on ed cs, ls. ith ain m. ate ns’ re ed ke. tic se dy er ity tic ed ed ed ns, e‑ ce. its ws. a n’t ple ity,

GRADUATES

Dead Me

Honor Newman —

REVISED HUMAN

Humans have always gone along with technological progress. Technology allows us, among other things, to extend beyond our natural genetic capabilities. If humans continue to pursue fundamental enhancements through participatory evolution in genetics, cybernetics and quantifiedself technologies, they will likely transcend the current human species, and in doing so diverge into multiple new subspecies. But how will these enhancements affect our social environments?

What we can expect to see from gene editing technologies in the near future are designer babies, the eradication of thousands of diseases and limitless life expectancies.

Cybernetics offers the potential for superhuman bionic prosthetics, improved communication and control between flesh and machine.

Quantified-self technologies offer the workings of our body on an interface ready to be analysed and optimised by nutrigenomics, drugs and chemicals.

I look at these technologies with huge optimism but I also see certain areas of society threatened by them. My research led me to speculate on the lives of four ‘future humans’ to better understand how a future society that has fully embraced human enhancements may look like.

For example, expensive genetic enhancing technologies will cause

significant class divides. Our already deeply unequal society will no longer be fragmented only by the vast disparity in assets but also by genetic superiority: genetically enhanced humans, cybernetically enhanced humans, biometrically enhanced humans, medically enhanced humans, and finally, humans with no enhance‑ ments, either by choice or force.

Yet life’s richness comes from its unpredictability, it’s highs and lows.

Are human enhancements really a step closer to mastering life? I don’t think enhancements will void people of all life’s enjoyment, unpredictability, imperfections and humilities. These are subjective terms that will always exist.

In fact, we have evolved to modify ourselves. Adding artificial selection and enhancement to natural selection is part of the human condition. However, as we plough into the unknown I hope we can create equality through open sourced enhancements allowing

everyone equal opportunities and experiences.

In a metaphysical world enhanced species will have multiple perspectives of the world and to avoid conflict all must be respected.

GRADUATES

edia New Trajectories —

By Jon Stam

Dead Media - New Trajectories is a project initiated in the second semester dedicated to the potential of extinct, obsolete, or disappearing technologies. The goal was not merely to research media archaeology, but to uncover how historical ideas can activate completely new forms of perception, forms of interaction, and forms of critique. What can the often rich material, curious and novel media of the past teach us in our current situation of extreme and intensive informtion exchange? How might an Oculus Rift be disrupted by a View-Master disc? How does (digital) weather data match up to weathercocks? These are just a few of the questions that came up when we excavated the obsolete and attempted to revive the dead.

Lucie Ponard — PLAYING AGAINST CLICHÉS I worked on toys and gender stereotypes. I based my work on sociologists’ analysis about sexist divisions in toy catalogues and the analysis of an old bisque doll. I created faux little soldiers, like parodies, putting doll’s accessories in their hands. The materiality and color are the same as the original soldiers, to create a surprise. I wanted to work on this striking, almost comic contrast.

The goal was to create this very ironic distan­ciation, revealing the absurdity of gender stereotypes in toys. Blurring these gender barriers is about not restraining what’s possible for and asked from children, while at the same time revealing them.

Malin Dittman — THE MUSIC HAND The Music Hand or Guidonian Hand is a mnemonic device to learn the practices of reading and performing a piece of song in a music notation that the performer has not seen or learned before. I wondered if it would be possible to capture the experience that the musician expresses through a music piece for someone that hasn’t the same ability or training. It raised questions on how to save and translate emotions as authentic as possible.

I worked on a conceptual holographic music-player. I used a tracking programs to capture the musicians movements, a kinetic sensor that detects the users hand movement and simultaneously compares the user’s hand movement to the musician’s hand movement.

GRADUATES

Isabella Monaco —

Staff

on ms der ntal one of the the are ing rs, ific ng ole

within our current society, arguing that the designer’s job is to rethink its role now more than ever.

As designers, I believe we should acknowledge the effect our work can MANIFESTO 2020 have on certain aspects of people’s lives. People continue to be connected The design world tends to focus on to social and physical environments production of objects and systems which although society has lost awareness of time and again fail to consider the needs this connection. We build systems that of people affected by mental health think linearly: we buy, we use, we throw conditions. Depression, one of the most away. Nature, on the other hand, works common disorders of the 21st century, differently: when something dies or it often alters the perception of reality, is no longer useful, it is transformed and assimilated, and so becomes a source of new life. In nature, there is a dynamic balance of species connected to each other. I believe that we should make an integration of these two worlds and ask ourselves the question: ‘Are we doing what we believe we should be doing?’

ary ety, to ver. uld can e’s ted nts ess ms we nd, ing is and In nce her. an

influencing the way environments and objects are judged. In order to avoid neglecting the growing number of such users, designers should adopt a specific sensitiveness, and in doing so being mindful that there exists a whole different set of experiences of the world.

This research project uses depression as a lens through which to investigate the influence human-designed environ­ ments have on our wellbeing and mental health. Rather than the condition itself, it focuses on the ways in which the environments we are surrounded by can have a direct impact on daily life, therefore giving designers an important responsibility. The Manifesto 2020, which condenses the conclusions drawn from this research process, aims to question the position of contemporary design

and Tutors Maaike Roozenburg Head of MID

Erlynne Bakkers Professionalising creativity

Zara Roelse Coordinator of MID

Bas van Beek Design skills David Derksen Design project Eddo Hartmann Communication skills Cynthia Hathaway Graduation project Joris Hofstede Communication skills Jesse Howard Design project Merel Kamp Design theory and research Jeroen Kummer Communication skills Lenneke Langenhuijsen Graduation project Jantien Roozenburg Exhibition design Yassine Salihine Design research Jon Stam Design project Thomas Vailly Graduation project Martijn van de Wiel Exploratory sketching

Kevin Shek —

2019/2020

UNEXPOSED

Master Industrial Design Royal Academy of Art, The Hague

In our daily lives we have moments when we want to be alone, without distractions. Sometimes we feel this need when in public, like in offices, libraries, and other urban environments. We have to make a private call or speak to someone face to face. Or we need a minute to think or pause, and we don’t want to be disturbed. In our connected world we always show the bright side of our lives. However we are emotional creatures – being sad or frustrated is totally normal even if we don’t share it. I believe these personal moments are just as important as being connected to others. Being unconnected and unexposed to the outside world to have your own space. A space where you eliminate environmental noise. A space where digital applications on your phone are temporarily shut down. This is your private space in the public environment.

Sandipan Nath —

INTERFERENCE 53°N,42°E Interference 53°N,42°E is an interactive and immersive installation that uses the metaphor of ship traffic near the shores of Texel, Netherlands to critically investigate the effects of anthropogenic underwater noise pollution. The coordinates in the name is the exact location where these underwater noises were recorded over the course of two years starting January 2018 as part of the ongoing Joint Monitoring Programme for Ambient Noise in the North Sea (JOMOPANS) project.

The work consists of a 3 dimensional space of visualization surrounded by an immersive 8-channel composition of tension-charged noise symphony which is generated real time as people step into the environment. Upon entering the installation, visitors are simultaneously exposed to a noise scape of their own making. Each visitor becomes a noise source.

The installation makes an appeal on our physical presence by creating an embodied feeling of noise pollution marine animals experience everyday.

Lucija Novosel —

TRACELESS TRENDS SUSTAINABILITY IN THE MAKEUP INDUSTRY Today, user-created tutorials are the main source of advice and inspiration for a growing number of makeup users.

In a tutorial we see a single application of makeup. Which points out to an application as measuring unit better fitting the context as opposed to milliliters and grams.

This product set presents an infrastructure in which relationships existing in the current system are altered. In the hands of a prosumer, colour – stripped from branding – is liberated. It becomes free as a full expression of creativity and confidence in one’s own skills. The product exists only temporarily, at the moment of its application. It is permanent only in the digital medium through which we share our techniques and ideas with others. We own our makeup. We create, and recreate. Free from shiny appearances, we are woke to what is important. While the constant flux of trends is made sustainable.

Marion Dupuis —

THE BLIND LEADING THE BLIND This book is made for designers and creatives with the aim to improve our understanding of our senses, other than sight. Through small assignments and interviews conducted with visually impaired people, the goal is to comprehend how the world is perceived by those who feel excluded.

Their diverse perspectives can potentially make a difference for the rest of the world. Most importantly, depending on their condition, they don’t have any other choice.

With this project, my aim is to bring a workshop at home in which everyone is able to participate in, safe and sound in a world where everything has been recently reconsidered.

In this book the reader will go through the main senses: hearing, taste, smell, and touch. In reality, there are many more senses but these are all related to the ones we know the most.

Teresa Feldmann —

BANK OF CARE Bank of Care (BoC) is an alternative banking system for the gift economy in which needs are satisfied unilaterally without expecting a return. The women-run non-market production in households is the basic human economy from which other economies derive yet it is ignored by world governments and the way economics is taught in universities.

Economists justify that women are globally invisible because it is difficult to obtain data on their productivity.

But if the current statistical tools used are inadequate for measuring vital care labour in the home, then these need to be redesigned.

In a three-step loop, BoC records caregiving, translates it into readable data, and rewards caregivers. Members get a detailed overview of their free labour in the form of receipts and user statistics. As a community, BoC seeks to empower women as the producers of welfare through the implementation of our own basic income.

COLOPHON Master Industrial Design Royal Academy of Art Prinsessegracht 4 2514 AN The Hague www.kabk.nl m.roozenburg@kabk.nl z.roelse@kabk.nl All text & editing by (unless otherwise indicated) Lucie Ponard Nicolás Vischi Teresa Feldmann Elena Genesio Field team Malin Dittman Arno Eiselt Iris Hagel Elina Alekseeva Tin-An Erco Lai Coordination Zara Roelse Coordinator Master Industrial Design Merel Kamp Tutor Theory & Writing programme and MID communication Maaike Roozenburg Head Master Industrial Design Graphic Design Ivi Apostolatos & Merel Meijer Design Office, Graphic Design Department, KABK www.ivi-apostolatos.com www.merelmeijer.com Graduating students 2019 – 2020 Elina Alekseeva, Alessandro Celli, Marion Dupuis, Teresa Feldmann, Elena Genesio, Isabella Monaco, Sandipan Nath, Honor Newman, Lucija Novosel, Kevin Shek.

First year students 2019 – 2020 Arno Eiselt, Juilin Chang, Malin Dittmann, Iris Hagel, Tin Erco Lai, Lucie Ponard, Job Oort, Nicolás Vischi, Louw Visscher.

Printing Lenoirschuring, The Netherlands Master industrial Design would like to thank: Sander Hermsen, Joanna van der Zanden, Lodewijk Loos, Dhoya Snijders, Chantal Hendriksen, Gijsbert Dijker, Rathenau Instituut, Waag Technology & Society Cover Photo Elina Alekseeva

Copyright Master Industrial Design, KABK The Hague / The Netherlands July 2020 ISSN: 2589-8957

In a new or different and typically more positive way