anew - Redesigning Industry by Royal Academy of Art, The Hague (KABK)

anew

Redesigning Industry

2017 – 2018

Master Industrial Design Royal Academy of Art, The Hague

Value Futures 3

Recycling creates more waste Merel Kamp

Value Futures; product life after design Ed van Hinte

Things that survive

An extension to who he is Conrado Bergemann

Just a lonely piece of textile Johanna GĂźnzl

Bricks are also gold David Derksen

The Future Is Local 25

Meeting the industry Erlynne Bakkers

Customised serial production; interview with Bas Froon Merel Kamp

Local production responding to local needs The green house project; 3D printed vertical gardens in prison Federica Marella A medical device as locally produced jewellery Marsha Wichers Tipits; 3D printing housing with local materials in First Nation Reserves Johanna GĂźnzl

Transplanting aesthetics Bas van Beek

Designers must declare their position; interview with Maaike Roozenburg Merel Kamp

Networked distributed manufacturing Yassine Salihine

Design in the Anthropocene Alice Twemlow

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Responsive tactility: 4D printed skins Tessa Petrusa

Value

Futures

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If recycling was not a synonym for green, you could call it the new black. Companies proudly state on their products that they are (partly) made using recycled materials and every week consumers dutifully make their way to the plastic recycling container armed with bags full of plastic. But is it worthwhile? Not necessarily, according to industrial designer, writer and researcher Ed van Hinte. van Hinte (1951) has spent many years conducting research on improving the sustainability of production processes. ‘Currently, recycling is generally seen as the obvious thing to do, but that shouldn’t be the case. It wastes a lot of energy and produces products that are of lower value.’ Worse than that: recycling means that we actually produce more waste. ‘If there’s demand for waste that can be recycled, the supply increases’, says van Hinte. ‘As a result, there’s no incentive to produce less waste and reduce the flow of materials. Recycling replicates the ideal of material growth.’ It is worthwhile producing waste because waste is a good-value raw material for another company. Some examples: In the past, fruit juice carton misprints were used to make protective cardboard for floors. Additional packs were then printed to be marketed as protective cardboard. Another example: Friesland Campina recently launched its ‘Mest de Groene Motor’ (Manure as a Green Engine) campaign, in which manure is used as a raw material for biofuels, alternative fertilisers and foodstuffs. On the circular business website ciculairondernemen.nl, the surplus manure was referred to as a ‘goldmine’. This removes any incentive to produce less manure. Continued use rather than reuse Yet another example: work clothing manufactured from yarn made with PET bottles, in other words used packaging. ‘With packaging, it makes much more sense if it’s made biodegradable’ says van Hinte. ‘Recycling is largely about logistics and the logistics involved in the recycling of plastic are hugely

Recycling creates more waste Merel Kamp (translation: UvA Talen)

complicated: there are lots of different types of plastic in circulation of differing quality and they all end up in a single pile.’ The Netherlands Bureau for Economic Policy Analysis recently reported that recycling plastic delivers hardly any environmental benefit. The best thing that can be made from all the plastic you have so carefully collected and handed in is a roadside post. So should we stop recycling? ‘I wouldn’t go that far, but it makes a lot more sense to see how we can extend the life-cycle of products and produce things using less material. Unfortunately, the way we think about sustainability is still bound up in economics, which takes quantitative rather than qualitative growth as its point of departure. Too little account is taken of the rebound effect.’ The best thing that can be made from all the plastic you have so carefully collected and handed in is a roadside post On the subject of material reduction, van Hinte has written a book entitled Lightness. He has been working for some time on research into the construction of a lightweight house that requires fewer raw materials. ‘A third of all the waste we produce comes from construction and a third of that from new construction! Concrete pollutes the environment, is almost impossible to recycle and digging up sand in large quantities – used to make concrete – disrupts the ecosystem!’ On the subject of extending life-cycles van Hinte has written three books, including Eternally Yours and Products that Last. ‘Extending product life-cycles traditionally focused on design and the possibilities for repair’, says van Hinte, ‘but much more is involved when you consider that it’s really about delaying recycling and maintaining the value for as long as possible: ‘continued use, in other words’. According to van Hinte it is here that the emphasis should primarily lie. Recycling is pointless if we do not first learn to produce and consume more smartly and in a completely different way. ‘Economics is about identity and selfimage’, says van Hinte, ‘We need to innovate so that we 5

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can satisfy greater numbers of people in their self-image using fewer materials.’ ‛A car is a dress on wheels’ How can we do things differently? The car ‘When steel from the car industry is recycled, the quality of the steel is degraded. What’s more, the main thing that a car actually transports is itself (considering the weight of the car and that of the people in it) and our self-image. It’s a dress on wheels. If we made cars lighter, with less exterior, as is now happening with experimental solar-powered cars, for example, less would need to be recycled and an electric car would also have a greater range.’ Construction ‘In Changsha in China, a lightweight apartment block with 57 floors was recently built in just 19 days. It is calculated that this saved 15,000 truckloads of concrete. It is known that the manufacture of one ton of concrete produces a ton of carbon emissions. Concrete is also difficult to recycle.’ Clothing ‘Some time ago, H&M announced a range of recycled clothing. If you look at the life-cycle of products from chains like H&M and Primark, recycling textiles is a difficult process. The turnover speeds of clothing vary. In the case of a blouse that people wear for a month after purchase, or never at all, you would be

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Who is Ed van Hinte? Ed van Hinte (1951) is an industrial designer, researcher, writer and lecturer on the Master’s programme in Industrial Design in The Hague and at the Gerrit Rietveld Academie in Amsterdam. In 2011, he joined forces with designer Renate Boere in setting up the DRS22 design agency, where he conducts research into lightweight structures. On the subject of lightweight structures, with a particular focus on sustainability, he co-authored the book Lightness with Adriaan Beukers, specialist in lightweight structures. Before sustainability became fashionable, Van Hinte also wrote Eternally Yours (1997) on extending the life-cycle of products. The book has become a collectors’ item. In partnership with Delft University of Technology, he also wrote Products that Last (2014) on the same theme. Currently, van Hinte is part of the Feed your Mind foundation, which develops initiatives to prevent food waste.

VALUE FUTURES

better off using biodegradable materials. In that case the degrading process uses no energy.’ What is the rebound effect? Paradoxically, developments in technology and other areas that result in more efficient use of energy or raw materials do not save any energy or materials because consumption increases. This exasperating law of economics was first described in 1865 by Englishman William Stanley Jevons. ‘In thinking about sustainability, too little account is taken of the rebound effect’, argues van Hinte, ‘the financial benefits of recycling or energy conservation are converted directly into more consumption.’ A classic example is the energy-saving light bulb: its introduction resulted in no energy gain because people left the lights on for longer in more places, because it consumed less energy and therefore cost less.

Value Futures; product life after design Ed van Hinte

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Not unlike most professions, design is conventional. It has its language and its fixed ways of handling things. One of these conventions is that projects are organized with a deadline at the end, which presupposes that the design, be it some product, or something more abstract like a service, is finished. That is not how it should be, since, for every design result, life does not truly begin until after the deadline. The project Value Futures is meant to address product life after design. This way of thinking started some 20 years ago with a research project entitled Eternally Yours, with Henk Muis, Liesbeth Bonekamp, Arnoud Odding and myself. The main idea was that products could age with dignity, provided they were designed according to certain principles, based on quality, materials, shape and composition. The main discovery was that design is not the only ingredient and that it takes continuous effort to make products last. Their value must be sustained with every means imaginable. About four years ago the new book Products that Last; product design for circular business models appeared. It contained ways of thinking, in which the notion of value did gain importance, but still the â&#x20AC;&#x2DC;lifelineâ&#x20AC;&#x2122; behind the deadline could do with ideas for a more organized approach: developing future scenarios of value cultivation. Two areas of interest define this challenge. Futures come first. (The future is unknown and cannot be discussed. A future is open to debate). The first layer is reasonably predictable. It is the one that concerns globalization, demographics and, believe it or not, technology, which simply turns more refined, smaller and cheaper. The middle layer is far more difficult to predict, but can be estimated to a limited extent. It concerns all that emerges from the first layer: travel, mobility, pollution, climate change, social media, protest and notions that are fashionable, such as robotization and artificial intelligence. The top layer is unpredictable: erupting volcanos, political landslides, hurricanes. They always turn up, but one never knows when or where or with what kind of impact. Second is the notion of value. In essence it is a sense, an intuitive awareness that can have two main directions: (oughtness (what should be) and potential. These senses can be shared, discussed, negotiated and occasionally they culminate into a transaction that can involve money. Economics, as a set of models, almost exclusively concerns financial transactions and is therefore rather limited and naive. 7

VALUE FUTURES

There is more language than just economics to discuss value in all its richness. The aim of Future Values was to let students explore and discuss a way to compose a 50 year future value scenario for a certain product. They were expected to foresee what could happen to value, and what kind of interventions (technical, legal, cultural, commercial) could help keeping value on the right track. The students worked in small groups that were expected to express their findings in a tangible

VALUE FUTURES

model that could serve as an exhibit to explain its underlying principles. There were three groups, two of which chose rather complicated products: time and the human body. The third group focused on the food truck as a product. They came up with the idea to develop a game to explore future potential and possible changes. Developing a game to discuss future scenarios presents itself as a new tool to help turn the sadly ignored world beyond the deadline into more familiar territory.

Things that survive What object has been in your possession the longest and why? Students put this question to friends and family. The resulting collection of short interviews served as a small-scale investigation into the subject of object attachment. Would it be possible for product designers to design attachment to prolong the lifespan of a products? It seems attachment is a fickle emotion. People get attached to all sorts of things, for all sorts of reasons. Ariel (Brazilian) ‘I have had these Dutch clogs for a long time. I was fascinated with their quality and aesthetics. Back in Brazil when I was still an architecture student, I wore these a pair of these clogs nearly everyday.’

Agata (Polish) ‘Originally this watch was a gift to my dad from his sister. When I moved to another city to study, he gave it me as a present for a new beginning. I’ve had it for six years and cherish it, not because of some emotional connection. I could say that every time I check the time, I think about my father, or my family, but this is not true. I just like it as an object and it is practical.’

Adrian (German/Moroccan) ‘My parents bought these seating cushions on a market in Casablanca when I was still a child. I remember this market vividly. When my parents decided to trash them, I stopped them and kept the cushions. They have been with me since and I moved them around Europe. When they started to fall apart I tried to repair them. These objects are unique in a way that they tell my personal story.’

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Rosemarie (Dutch) ‘My mother in law gave me this coral necklace on my wedding day. She had received it, in turn, from her own mother. I will continue this tradition by giving the necklace to one of my daughters. This is a kind of traditional jewelry: women used to wear it combined with long black dresses and white hats. I have never worn the necklace, but it is very special to me and has great sentimental value. The other thing I have had for a very long time, is a rosary that used to belong to my grandmother. It reminds me of the Sundays I passed with my family going to church. It reminds me of my catholic roots.’

Ellen (Dutch) ‘I bought this ring with the money I inherited from my grandmother and wore it daily ever since. The ring is called a ‘groeibriljant’ (Dutch. Translated, literally: ‘growing brilliant’) It doesn’t really grow of course, but you can trade it in for a bigger one if you have the money. I have added two other rings over time: my wedding ring, and the ring I inherited from my mother. All of these rings are connected to precious memories.’

Giuseppina (Italian) ‘This watch used to belong to my beloved husband. He passed away. I also still have some of his army medals and a necklace. Attachment is about personal history, functionality, symbolism and sentimentality.’

VALUE FUTURES

Natasja (Dutch) ‘This cupboard is so important to me, because it has been in my family for so long. The cupboard is about a hundred and twenty years old and has been in my family for half its life. My mother gave it to me when I went to university. I took it with me wherever I moved since. It is solid and antique. I did make some small adjustments: I painted it white and made some new shelves to go inside. Also I am a collector of wooden spoons. I have a lot of them, as you can see, but this one is my favorite. I love its simplicity: half a coconut, some nails and a piece of wood. That’s it!’

Bart (Dutch) ‘I bought this Leatherman multi-tool with my own money when I was 18 years old. You can get a bit of an emotional bond with things like these. You can get attached to tools because they help you out. They are handy and you can count on them.’

Anny (Dutch) ‘This is my jewelry box, my uncle made it for my birthday 40 years ago. He was very good at woodworking. The box is elegant and is very detailed. Look at the way the knob on top of the box is made, I really like that! The box is a very emotional object for me because he was my favorite uncle, and sadly he passed away very early. When I look inside this box, I see a lot of memories: I see the wedding ring of my first husband, a bracelet my first boyfriend gave me and jewels that I collected on all the trips that I have made. There are a lot of emotions inside this box. When I travel, I always take my jewelry box with me.’

VALUE FUTURES

What do you learn about products when you investigate their lives as a narrative of birth, youth, maturity, old age and eventually death (or perhaps not)? And what if your take the product's perspective for a change?

An extension to who he is Conrado Bergemann

I remember feelings; bits and pieces of me being lifted from a cold soil by tired old hands covered in scars. I believe I was part of this place that was once a forest. Now only a giant hole remains. The first time I felt hot in eons. I couldn’t handle the heat and melted, reshaping into this strange new form with these other things attached to me. I didn’t know what this meant. At first I was just there, felt things but never thought about them. Until lighting passed through me: A rush of 'how' and 'what' suddenly filled me. ‘Who could have been capable of turning this little pile of nothing into a something that can think?’, I wondered. I discovered I could see only at that instant. I will never forget this sight: So many of them working in perfect unison, building many small black boxes with their agile rubber hands. ‘Am I like them?’, I asked myself. They followed a system and acted upon their task. Just like how the 1s and 0s inside of me make me function. I realized quickly these small black boxes were more of me, or more like me, being placed in other boxes. Then it got dark. The next thing I remember: Brightness awoke me but this time in fresh hands. I could actually feel the fingertips and knew he was there. I welcomed the glowing eyes looking at me with a glow back, revealing my allegiance the best way I could. I felt what I later recognized as delight from that stare. The hand with its touch opened doors inside of me. I suddenly heard signals from far away messaging me about a place that doesn’t exist filled with information. I know where and when I am and even who my companion is and all his friends, what they like and what they are doing.

‘I became an extension to who he is.’ When he is lost, I show him the way. When he is in doubt, I show him the answer. When he is lonely, I show him who is chatty. He doesn’t even need to ask me to change to daylight savings time. I go as far as counting his steps. I became an extension to who he is. As much as I take care of him, he takes care of me. He keeps me close every day and even sleeps at my side. He stares at me for hours and listens closely when I call for him. He shares his secrets with me and is eager to let me see the world, so I can remember what he might forget. He rarely ever forgets about me. He drops me on occasion, but then shares my pain. He tries his best to keep me out of harm’s way. He is hopeless without me. Sometimes I fear I may have a bad influence on him. I distract him too much. People get envious when we are together. I realized long ago that I was not his first. My knowledge of my companion originated from my predecessor’s memories. ‘Will I also live on in my successor?’, I wondered and ‘What did happen to my predecessor?’ I imagine that if I could return to the soil from which I came, I could perhaps re-live this journey all over again. Or have I already re-lived it but am I unable to remember my past existence? Will I

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eventually be deleted like the undesirable memories he made me forget? There are so many memories stored inside of me. There is so much history I took note of. We faced many challenges together. I gained many scars from accidents I survived. I was even nearly stolen once. But I am not what I used to be. I am older now and take more time to do that same old things. I have noticed the younger generations of those like me are faster and have new functions I cannot perform. Of course I knew my companion would be interested in the new generation. I helped him look after all.

Conrado Bergemann (1990) is a graphic designer and currently a student of the Master Industrial Design at the Royal Academy of Art.

During the semester themed ‛Value futures’ students of the Master Industrial Design were asked to write an autobiography of a product in order to get a different perspective on ‛the life things’. Here are two examples.

Just a lonely piece of textile Johanna Günzl

Time is the strangest concept developed by humankind. It is precious to those who have little, but as soon as there is a seemingly endless amount of it, one develops other ideas of existence. Like a prisoner who lost count of the days spent from freedom, I am waiting for something to happen without the proper means or abilities to end this little life. Stuck in time and space, I like to remind myself of my once glorious past, as the memory of it is all I have. I was born on a rainy Sunday in March in a dusty suburb south of Delhi called Shahurpur. That day was an ordinary labor day for my mothers who put as much care into me as they put into my siblings and I like to believe that their love was equally divided among us children. In a painful process, just like any other birth, they stitched me to life under their sweat and my suffering. And I like the idea that, just like any other mother would be, they were immensely proud when seeing me in full completion. Two tubes made from heavy blue cloth and a connecting bridge of a weird shape, buttons and a zipper: my mind was incarnated in the form of some deep blue jeans. I felt mature and handsome as I had turned out pretty beautifully made. Transportation on earth, I thought naively, is the most powerful and multidimensional human invention. Full of excitement, my sisters, brothers and me were packed in huge plastic bags, driven by trucks and trains, and then shipped over the Pacific Ocean to British Columbia in Canada, were we finally arrived at a storehouse in the harbor of Vancouver. After a heartbreaking separation from my siblings, I was sent to a H&M store, where I cheerfully awaited my new owner. Days turned into weeks and weeks into months. Then sales season came and I was priced down and finally found by Charlotte. Oh Charlotte, my first true love. Her small bottom fit perfectly into the weird tube-bridge connection I had always been a bit insecure about and she bragged about me to her friends – we simply completed each other, our love was mutual. Whenever she chose me above her other jeans, I felt superior and light, ready to explore another day with her. Tight to her skin, I knew the rhythm of her body and the demands and pleasures of the weird outside Vancouvean world. And I promised to keep her safe, warm and self-secure on any step she made. That day she crouched to lift the grocery box from her kitchen floor and thereby initiated a huge rip between the bridge and my left leg pipe, I died a little inside. Not only because it hurt, but because I

knew that I had broken my promise and had become unattractive to her. She will abandon me, I thought, and so she did. Packed and pressed close to other smelly fellows, I was collected at the central Red Cross station in British Columbia, peeing my pants awaiting what would happen next. Francis, a heartless and unappealing employee decided about my further existence by frowning at me before throwing me in the ‘recycle’, instead of ‘garbage’ or ‘reuse’ container. An enormous industrial shredder tore me apart. This is the end, I thought, but unfortunately, I was wrong. The mind of a commodity is detached from its physical properties and while I was once proud of my beauty, I learned that my soul did not change with the physical metamorphose I went through next – it already did with Charlotte’s rejection. Shipped to China and reincarnated into the form of a cute little teddy bear, I got a second chance to discover this world. I arrived at Manchester by plane with all these other quirky toys and was driven to a huge Amazon storehouse outside the city. Some months until Christmas would pass until I was wrapped and sent to dear Jonathan, a good quiet kid aged four. The first time he looked me into my brown eyes, I knew he would need me and take care of me. And I promised to myself that I would be loyal to this little guy until my very end. If you have ever experienced what it is to be loved, truly loved by a child, cuddled and held tight at night you can only estimate how much pain it causes to be banned as the child ages and turns into an annoying pubescent. My heart was broken for the second time and I decided to finally give up. For many years now, I have been stored in this smelly box next to old books and pillow cases, forgotten by both Jonathan and Charlotte and any other living creature in this world. Wrapped in a joyful shell, my inside is empty and sad. Why do all teddy bears need to look happy anyways? I used to struggle with my sadness, used to label it as weak or inappropriate. But I learned to accept my feelings as they are and acknowledged that my body is not part of who I am. After two owners, I am not thrilled to know the third one, not looking forward to be either sold, given away or trashed and burned. But who am I to think I could influence this anyway? I am no one, just a lonely piece of textile self.

Johanna Günzl (1993) has a master’s degree in psychology and is currently a student of the Master Industrial Design at the Royal Academy of Art. 13

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Bricks are also gold David Derksen ‘Ladies and gentlemen, do you know what a brick is? It’s trivial and costs 11 cents; it is common and valueless but possesses a peculiar characteristic. Give me this brick and it will be worth its weight in gold.’ - Frank Lloyd Wright How can you change the value of a material, which is considered cheap, inferior or even worthless? This question was the point of departure of David Derksen’s design assignment during the first semester of 2017– 2018. Students were asked to alter a freely chosen material (with a low perceived value) by cutting, CNC-milling, dying, screen printing, bending, gluing, melting, mixing etc. Is it possible to increase, or at the very least change, the emotional, economical or functional value of a material by manipulating it? ‘I wanted my students too start from materials with low perceived value, such as MDF or cardboard, because I think it is important for designers to be able to see the beauty in every possible material, no matter what it’s status is’, says David Derksen. ‘Furthermore I think asking questions about various kinds of value and consequently adding value is precisely what the design profession is all about.’ Once the students had a collection of altered materials, they were asked to design possible applications for these materials ‘This is doing things backwards, in a way’, says Derksen, ‘Classically, as a designer, you start your process with a problem that needs to be solved. I challenged my students to think from the material and recognize and optimize it’s true characteristics and value in their applications.’

VALUE FUTURES

Designer Babette Porcelijne recently said in an interview that not scientists but designers should show us the way forward in coping with our contemporary problems. Do you agree with her? ‘I do not believe that design can solve all problems and designers are the big problem solvers of our present society, which is something you frequently hear being said today. It becomes interesting if designers translate the knowledge developed by scientists into visions of an alternative way of doing things. Designers can contribute to change by

What needs to change? ‘The system that we developed, roughly speaking, during the Industrial Revolution and on which we based our economy, which depends on growth and the continuous large-scale acquisition and production of consumption goods needs to be reviewed. At present, it creates more problems than it resolves. The focus has shifted from human needs to keeping the system in operation by creating needs. This is actually quite perverse.’

Why has yet another new master’s degree programme been launched in the Netherlands? How does this programme distinguish itself from other postgraduate study programmes at universities of technology and art academies? ‘There is a gap between technical design education, on the one hand, and artistic design education, as taught at art schools, on the other hand. Technical education considers technology as a given and invents applications for this within the confines of technology; it does not question technology. Artistic education takes ideas and design as its basic premise, but frequently does not take sufficient account of technology and production systems. We aim to bring these two together at the KABK, in which the focus will be on questioning technology and the industrial system in a product. If you learn to think and design in this way, you can make changes.’

Can you describe a collaboration project with an external industrial party? ‘Next semester we will be joining forces with Smart Robotics, a temporary agency for robots. They are interested in examining the useful application of robots. The agency noted a certain resistance among humans to working together with robots. A solution for this problem could be to make robots look different, more human. But this is a very limited solution. What you should actually be asking is: where would it make sense to use robots? Robots make it possible – because this is profitable – to bring production processes back to the Western world, for example. Next, it is interesting to see if you can design a product that will make people understand that working together with robots at local level makes sense, or even make them enjoy doing so. With an operation like this, you – as a designer – can change

How is all of this reflected in the new master’s degree programme? ‘Design research and/or artistic research is part of the curriculum of this master’s degree programme, in addition to theory, communication and, of course, design-related subjects. Students learn to formulate research questions and collect data, among other things. Additionally, we seek collaboration with external parties every semester, such as research institutes, universities and the manufacturing industry.’

The research method is free and, as a result, students are able to set to work in an intuitive and creative manner. The results obtained by scientific research can provide interesting input for this process. I therefore think that bringing together the scientific, the technical and the artistic will yield far more than when everyone is operating entirely independently from one another. If you want to do something that makes sense, you must collaborate at interdisciplinary level.’ Designers must declare their position; interview with Maaike Roozenburg Merel Kamp (translation Margot van der Krogt)

In September 2017, the Master of Industrial Design was launched at the Royal Academy of Art, officially transforming the first study programme in the Netherlands in industrial design – which dates back as far as 1950 – into a master’s degree programme. An interview with designer and head of the programme Maaike Roozenburg about the interface between technical and artistic education, the curriculum of the new master’s degree and the role of the designer in our society.

Why do you believe that a master’s degree programme at an academy of fine arts would be the best place to learn this? ‘Science has its limitations. The methods are fixed and, as a scientist, you need to satisfy certain rules and regulations. This makes scientific knowledge reliable and broadly applicable. However, the domain of meaningfulness is difficult to investigate according to fixed rules and methods, simply because something like meaningfulness does not stick to rules and is subject to change. Within the discipline of artistic research, or design research as we call it, this is much easier. You can ask questions about the sense and value of the available production systems and technologies. Not only the economic value, but also the value for the development of meaningful, aesthetic and sustainable products with a positive impact on our society.

Have design and design education therefore become activist by definition? ‘You can no longer afford not to take a stance. Whichever way you look at it, you must be aware of the consequences of your actions as a designer. Of course, you can still decide to make polluting, fast-selling rubbish, but not without stating a reason for doing this. In terms of education, it means that students will need to define their relationship to the social debate. Practically speaking, this means that you have to teach your students to read scientific and other articles, and to regard these with a critical eye. After two years of studying, students have to know where they stand and what they stand for. This means that they must also have a clear grasp of how production systems work. In this, they needed to look at the technical side of things as well as the significance of this production technology.’

developing products that question the system and by opening up new pathways.’

For which students is the post-graduate programme intended? ‘Students who harbour not only a fascination for technology and the world of design, but also want to examine both with a critical eye; who are motivated to be both co-designers and part of production processes. Students who want to develop their skills as well as their vision. These students will feel at home in this master’s degree programme.’

Doesn’t this quickly lead to designing systems or processes rather than products? ‘That could happen. Still, it is interesting to retain the concept of a tangible product. That product almost becomes a sort of plea for a new production method. I believe in the power of tangible manifestations. People are physical beings and relate differently to an object than to an infographic or a scientific report, for example. An object – as a conversation piece or something that can be used – is much richer and has a far greater power of expression. This imagination is the primary discipline of the designer. Purely analysing processes is something that others can do just as well, if not better.’

the significance of the robot for humans at a more fundamental level than by giving a robot eyes and painting a smile on its face.’

Maaike Roozenburg (1979) studied art history at Utrecht University for two years before transferring to the DesignLab of the Gerrit Rietveld Academy in Amsterdam. Her work focusses on how we deal with and restore our cultural heritage. In this, she always operates on the interface of design, conservation and new techniques. Roozenburg has been the head of the Master Industrial Design programme at the Royal Academy of Art (KABK) in The Hague since 2017.

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Up until now we created things by violence. We extracted materials with force. We formed materials with force. We joined materials with force. We are now entering an era where we will create with language. An era in which we will communicate things into existence. The 21st century assembly line is all about organizing data flows. The data flows continuously and along the line people organize that data flow in different ways, to create different expressions. For now it is people who organize the data, but what will happen if if the bringing into Smallexistence scale tests on of Ultimaker: with self-folding thingsExperimenting becomes autonoMaterial: Grey stretch textile with red TPE filament mous?

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RESPONSIVE TACTILITY: 4D printed skins Tessa Petrusa We are more surrounded by technology than ever. It is invading nature, our work environments, hospitals, homes, and even our bodies. Technology comes in all shapes and sizes: smaller and bigger computers, robots, little tools, household appliances, drones, and gadgets … but even though the forms vary enormously and are in that sense adapted to the various functions of the technology, the opposite is true for the surfaces. Most technological applications still feel and look the same: cold, hard and mechanical. Take our mobile phones for example. We have the most intimate conversations on them, so why does their surface not match these intimate experiences? For environments, such as health care institutions, one can easily imagine the benefits of having devices and care-robots that are soft to the touch. And in our homes it might be nice to have domotics, such as robotic vacuum cleaners, that are safe but maybe even fun to touch for kids. As technology –and more specifically robotics– is now entering the most intimate parts of our lives, it becomes more relevant to reconsider the way it looks and feels. Why not make the physical interaction an exciting, sensory one? The surfaces of technological applications can be softer, more responsive, and with that more organic in movement and form. But more importantly: surfaces could match or even be complementary to the role and

task of the specific piece of technology underneath. The initial starting point of this project was my fascination with the question whether the relationship of people with objects could be a more attached one. If objects would respond to touch, much like other human beings or pets do, would that affect the way we regard them? How materials respond to touch became my initial focus. I felt that the response should be intuitive, without having to use any hidden electronics, creating a very pure one-on-one reaction. I discovered the shape shifting memory-metal Nitinol, which responds to warmth. But this material does not solely responded to the warmth of the human touch, but also to other sources of warmth, such as the warmth of the sun. As such it did not ask for an intimate enough relationship between person and object. Additionally, nitinol has a limited lifespan for repetitive movements. Both the human touch and the possibility of repetitive response were essential to me. After experimenting with various materials, I discovered that the combined characteristics of some materials created interesting dynamics and movements. Essential is the dissimilar tension in the materials used, combined with variations in patterns. This resulted in small-scale tests of responsive materials, which do not need any technology to be included for it to be functional. This was the beginning of the final project; 4D printed skins. ‘RESPONSIVE TACTILITY: 4D printed skins’ are surfaces consisting of integrally printed patterns of ‘skeletons’, ‘muscles’, and ‘joints’ on stretched fabric. When the tension of the fabric is removed after

printing, the surface folds itself into shape: ‘4D printing’. The skeletons, muscles and joints are designed in a lightweight, adaptable manner. The combined qualities of the rubber prints and the fabric give the surfaces a responsive character, whilst also giving them consistency and strength. Integrated in the prints are the clips that attach various printed parts together and enclose the surface of the 3D shapes. Through the use of transparent fabric, the muscles, skeleton and joints of the objects are visible. The form and details of the surfaces change when touched. The two materials combined, form transparent, fragile-looking surfaces. Without touch, the surfaces are just silent and still, but when touched they show almost organic responses. The main challenge in creating these large skins, were the limitations of the current generation of 3D printers. When creating large volumes, the focus of 3D printers is on creating height through a large Z-axis But my skins are produced by barely using the Z-axis, almost printing the objects in 2D. The large volumes are created as a result of the intrinsic qualities of the materials. For the production of ‘RESPONSIVE TACTILITY: 4D printed skins’ the solution was found in the use of a robot arm. The robot arm, which was used for the project, has a range of 1 meter by 2 meter. It was the solution to my printing problem, and at the same time it opened up a new range of possibilities in 3D printing: printing large flat surfaces that could be formed – or even form themselves – into large 3D volumes. Therefore, I believe the next generation of 3D printers will also explore the possibilities of expanding the X and Y-axis. The project ‘RESPONSIVE TACTILITY: 4D printed skins’ helps to think beyond these limits and imagine non-static, more inviting and highly responsive surfaces for robots and technological applications in general. This line of thinking will be increasingly relevant as robots are expected to be part of everyday life in the future. A question that remains however

is, how can these more organic skins be integrated with the sometimes quite sensitive mechanics inside? Will organic skin-like structures offer enough protection? In general, I think we should open up our way of thinking to different ways of constructing new visualisations of the form and shape of technology, and specifically robotics. In the current visions of a technically advanced future, robot exteriors for instance are still mainly re-interpretations of human or animal-like forms. They are a mirror of ourselves, and of what we already know. But why limit ourselves to these restricting shapes, when robots can be a whole new species of their own?

Tessa Petrusa’s latest work is about transformative abilities of structures as a result of human touch. She researches new developments in technology for tactile applications. The human body and various flora and fauna is what she takes her inspiration from. Tessa has a master degree in Cultural Anthropology and a degree in Trend Research. She teaches at the Fontys Academy for Creative Industries in Design Theory, Trend Analysis and Anthropology. This project would not have been possible without the help of Fonds (Foundation) Kwadraat, Fontys Hogescholen, Enter the Wave Festival, production company DiMarco and company 3D Robotprinting. 21

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C. C. C. AND THE AND INTERNET THE AND INTERNET IS THE A INTERNET IS A IS A 1 1 0 0 NERVOUS DIGITIZED DIGITIZED DIGITIZED NERVOUS SYSTEM... NERVOUS SYSTEM... SYSTEM... 1 0 1 1 0100101 0100101 00 0 0 1 00101 1 0000101 100010001 00 1 0 0 10 1 10001 0 0 1001101000011001010101 01000011100111000110010001100 0010100100 0 0 0 0 1 00101 001010 00101010 11101010100010110101 0000010001100010010011001101001010 11 11001 01 11 1 10 1 1000 110 01010 10 1 00 0 01010100 00 0 00 10100 1 0 1 00010 001 0 0 000 010 00 0101 1 1 1 0 0101 10 1 1 0 010 0101 0000 0 1 1 0 0 0 0 00 101 000 0 0 10101000001000000 010 10 0 000 1 0 0 0 1 0 1 1 0 0 1 0 0 0 100 010 10 1 0 0 01010 11 11 10 0 10101 10 01 0 00 00 1 0 110 101 1 0 1 00 000 10 0010 1110 0010 010 111 1 0 10 10 0 1 1 01 1 1 0111 0 0 0110 1 1 1 01 10 1 101011 01 01 10101 01000001 01010 1 1 000010100101010100001001010110101 01 0 0010 101 0011 1 1 0 0 1 1 0 0 10 00 000 1100 0 0 101 0 00 0100 1 1010 00111001 101 01 010 1 101 01 01 010 010 0110 0 0101 01 010001 1 0 0 0 10 1 1 0010 01 1 10 101 010 00 0010 00 010 1 10 1 10 1001 0 0011 0 1 1 0 0 0 0 1 1 0 0 10 10101 000101 01 10 101 01 00 001 0 0 0 1 1 0 0 10 10 01 01 1 1 1 01 1 01 1 10 1 0 001 10 001 00 0 00 001110 10 010101 000100010001 0 001110 10 101 000100001100001 0

100 00 10

STRIBUTED RIBUTED UTED MANUFACTURING MANUFACTURING MANUFACTURING

10001

00 01

Today, as a global population, we produce 1.3 billion tons of municipal solid waste per year. Waste, that in English Literature professor Brian Thill’s conception, ‘lays thick blankets of our chemical age across the entire planet, into every rocky outcropping, to the bottom of every sea’s floor, nestling in the trees and bogs and pools of the world.’ And it’s not just the planet being blanketed with our detritus, as reports of the increasing volume of space junk attest. On the moon alone there are 200 tonnes of man-made trash, including such bizarrely banal objects as golf balls, boots, cameras, rakes and shovels, used wet wipes and empty packages of space food — a list that is symbolic of a sad legacy of our era of mass production. When design is considered from this perspective, as the waste it will become, then, as design theorist Ben Highmore has observed, ‘it is hard not to see global warming and climate change as a consequence of a variety of design processes, design values and design products.’ French sociologist Bruno Latour summarizes the predicament even more succinctly, when he says, ‘Between modernizing and ecologizing, we have to choose.’ In 2016 a Working Group of stratiagraphic scientists submitted a recommendation to the International Geological Congress that we are in a new geological epoch — The Anthropocene, or ‘new age of man.’ The epoch is thought to have begun in the 1950s, when designed goods began to be made in larger and larger numbers to provide the illusion of choice, and planned to last for less and less time, to provide the illusion of progress. The detritus of our modernist design solutions has, to quote the Working Group’s report, left an array of signals in recent strata: plastic, aluminium, and concrete particles, artificial radionuclides, changes to carbon and nitrogen isotope patterns, fly ash particles, and a variety of biological

In the age of the Anthropocene, argues Design Lector Alice Twemlow, we need to start conceiving of designed products not only as the shiny materializations of design ingenuity satisfying consumer desire, but also in terms of their afterlives, as phenomena with consequences that will impact our deep future.

Plastiglomerate is a stone that contains mixtures of sedimentary grains, and other natural debris (e.g. shells, wood) that is held together by hardened molten plastic. This sample/ ready-made was collected by geologist Patricia Corcoran and sculptor Kelly Jazvac at Kamilo Beach, Hawai'i, 2012.

of the intelligence, encryption, and security industries,

These are profoundly different temporalities than the human-scale one that critics and designers are used to working with and yet a closer examination of what happens when a designed product becomes trash, of the social behaviours, politics, infrastructures, mechanisms, and economies that shape and gather around design and its disposal, could surely enrich our understanding of design culture and provide a much-needed critique of currently dominant labels that mislead with their deflection of attention away from the physicality of waste, such as the supposed immateriality of information, the ‘cloud,’ service design, ‘innovation culture,’ and the ‘creative economy.’ These are the kinds of interrelated themes and issues of urgency which I see as essential contextual reference points for critical design discourse and new types of practice-based research. It is gratifying to see how many designers in the KABK community — including those in the new Master in Industrial Design — are already aware of, and engaging with, such issues. In my role as design lector I look forward to helping to nurture, disseminate, and learn from these research endeavours. A project such as Value Futures, for example, challenged MID students to think well beyond the moment of a product’s conception, and to investigate how its value might be constructed and cultivated over time. The students were tasked with conceiving economic and social systems, scenarios and landscapes of the near and far future in which products might last longer or accrue different meanings. They considered the role of adaptive re-use and repair, the use of ‘just-in-time,’ small batch production methods, custodial use of things and places (rather than ownership) and the concept of ‘emotional durability’ among other factors. My role in the project was to provide the provocation that conscious, sustainable design is not only about protracting the lifespan of a product; in fact, another option that is just as valid, is to dramatically reduce that lifespan. There is a burgeoning aspect of practice in which products and communications are designed specifically to remove and efface themselves after use. These products are programmed to dematerialize, deactivate, disassemble, decompose—in other words, to self-destruct. To date, selfdestruction has tended to be the preserve Design in the Anthropocene Alice Twemlow

It is a matter of urgency, I believe, to start conceiving of designed products not only in their state of imminence — not only as the shiny materializations of design ingenuity, manufacturing labour and consumer desire — but also, in terms of their afterlives, as the indelible plastiglomerates, the rusting, toxinleaching husks they will become, and not only embedded in our present space and time, but as phenomena with consequences that will impact our deep future. Branches of archaeology, social studies, and the humanities such as garbology, discard studies, ecocriticism, geophilosophy, and sustainability studies all provide models for research into post-use manufactured industrial goods and waste systems. Geobiologists such as Reinhold Leinfelder stress the importance of discussing different conceptions of time and how they interact with each other, such as cosmic, evolutionary, cultural, technological, societal, and individual timescales. Ecological theorist Timothy Morton proposes the term ‘hyperobject’ to help us think of things like Styrofoam or plastic bags in terms of their massive distribution in time and space, relative to humans.

‘Too often our engagement with design focuses on one moment in a designed object’s lifecycle — when it is brand new and suspended in a perpetual present [...]’

remains, including that of the domesticated chicken which has become the world’s most common bird, and has been fossilized in thousands of landfill sites and on street corners around the world. Too often our engagement with design focuses on one moment in a designed object’s lifecycle — when it is brand new and suspended in a perpetual present — without attending to what happens to it after its period of usefulness is over. It reinforces the fetishization of box-freshness by continuing to evaluate goods that are just off the production line conveyor belt or, worse, just off the press release, as framed and presented by their designers, manufacturers, retailers, and promoters.

Alice Twemlow leads the ‛Design and the Deep Future’ readership at the Royal Academy of Art, The Hague (KABK), is an associate professor at Leiden University, and is head of the Design Curating & Writing Master at Design Academy Eindhoven. Previously, Twemlow was the founding chair of the Design Research, Writing & Criticism MA at the School of Visual Arts in New York. She writes for publications such as Disegno, Eye, Dirty Furniture, and Frieze, and has recently contributed essays to Night Fever: Designing Club Culture, 1960-Today and Victor Papanek: The Politics of Design (Vitra Design Museum, 2018). Twemlow has a PhD in the History of Design from the Royal College of Art/ Victoria & Albert Museum, London, and her book, Sifting the Trash: A History of Design Criticism, was published by MIT Press in 2017.

of the intelligence, encryption, and security industries, sci-fi movies, and, more recently, sexting teenagers and politicians, but this topic is gathering momentum on the global political stage and as such, it is worth taking a closer look to see how this impulse might help product design counter its problem of overproduction and lack-of-adequate-disposal. The self-destruct mechanism is found in devices and systems where malfunction could endanger large numbers of people, so why are they not included in the protocols of more of our designed products? How might the inclination toward deletion, subtraction, and nothingness contribute meaningfully to the manmade landscape? While self-destruction is more usually considered as pathology—the symptom of an abnormal mental condition—it is also possible to consider the impulse in a more positive light, to be curious about the creative potential of artfully and strategically choreographed destruction, and welcoming to the new values and insights the notion of productive nihilism might bring to the design conversation. Ultrathin, clear, silicon-based circuit that functions for a precise period of time, ranging from minutes to years, then dissolves completely in water, and can be used inside the body or in the environment without any need to extract them after use. Developed by a research team from Tufts University, Northwestern University and the University of Illinois, 2012. Water bottle prototype made from agar, which retains its unique until it is empty, and then it begins to break down. Designed by Ari Jónsson.

Bucket of KFC chicken. The domesticated chicken, which has become the world’s most common bird is likely to be key geological evidence for the Anthropocene, since its bones have been fossilised in thousands of landfill sites and on street corners around the world.

The Future

Is Local

Meeting the industry Erlynne Bakkers (quotes by students of the MID) 0.1

The future of production lies in digitization and automation. During the introduction week of the semester themed ‛The future is local’, both students and teachers visited important industrial parties: Smart Robotics, Brightlands Additive Manufacturing, Philips and Festo. They sought and found close encounters with the producers of tomorrow.

Shavers From Scratch On Dutch Soil As part of the introduction week we visited the production and development plant of Philips Drachten and Smart Robotics in Best. At these companies our students could experience the tremendous amount of possibilities resulting from the implementation of high level, flexible productionautomation by means of advanced robotics and machine learning. At Philips Drachten we paid visit to the production and assembly lines were Phillips shavers are mass produced in all different varieties, starting from the raw material like plastic granulate and plain sheet metal. At the product innovation and development department we were shown how Philips optimizes every detail of the product design to be processed in this high level industrial environment. Due to this ‘top of the world’-class product innovation and flexible production automation Philips is able to profitably produce modern consumer products in Western countries like The Netherlands, now and in the future.’ Federica ‛I hadn't expected that an entire, gigantic factory with a large amount of robots and a few dozen of humans would be entirely dedicated to the production of just one kind of device. This gave me an insight into the complexity of industrial product development and the big role robots play in our age.’ Leon ‛Some parts of the production process are done by humans, because it would be too hard to program a robot for those tasks. When it comes to the end assembly and final check, Philips needs a critical eye on the end result, and a human being is still better at this than a programmed robot.’

Marsha ‛Philips keeps the production of the shaving devices local, because it has such sophisticated machines and robots, working together in a precise manner. Labor costs are low, because everything is highly automated and there are hardly any humans needed. So there is no need to go to low-wage countries.’ ‘Skilled Robot Seeks Fulltime Job’ Smart Robotics, suited in Best, is the first Dutch deployment agency where robots, who are the actual employers, are sent to a variety of customers to perform specific tasks within their industrial environment. At Smart Robotics they customize state of the art collaborative robotics (co-bots) and train them to fulfill their set tasks in an appropriate way. Most interesting is the application of machine learning during not only the robots' training cycle but also during their operational duties in the field. Our students experienced that once only one robot had mastered an advanced task, this task could be copied to all other robots instantly. So when you have trained one robot, you have trained them all. It was very interesting to see that robots, using advanced sensors and vision techniques, don’t have to be caged away from humans to fulfill their tasks safely. Which means that now humans and robots can work side by side. This opens up a whole new spectrum of possibilities to optimize product design and detailing in this new era of human-machine collaboration. Cecilia ‘The interaction between human and robot is complicated if you are not an engineer. In the future Smart Robotics wants to develop a robot that is as easy and intuitive to understand and operate as a mobile phone, making the cooperation between humans and machines smoother.’ 27

THE FUTURE IS LOCAL

Leon ‘There are issues still: Robots are always only 'aware' of what they are programmed to be aware of. Human beings are more critical and adapt their actions to the situation. Trust between workers and management is often a problem: The workers are afraid that management will choose to replace them with robots.’ Daphne ‘At Smart Robotics, I became aware that the perception people have of robots in general is based on sci-fi films and some rare developments. In reality robotics is still in its infancy. There is lot to develop and it will be important to educate people, so they become less scared of robots.’

of new products and solutions. Together with our master students Festo is exploring new ideas and applications for the future. Johanna ‘We visited the Festo Lab, which actually looked like a small start-up. Around one big table we saw five young engineers experimenting with robot parts to grab, drag, hold or turn things. We saw all these small experiments of robotic arms grabbing things in different ways; through vacuum or air pressure or different kinds of movements.’

Seeking Cooperations As Master Industrial Design we think it is important to cooperate with the industry on relevant themes. During the semester ‘The future is local’ we cooperated with Festo Delft and Brightlands 3D Industries. Both these highly innovative organizations offer their customers in the industry the most cutting edge applications and technologies to incorporate into their product development and production processes. Our master students can use all the knowledge and facilities of these industrial partners to support their design projects. Their design projects, in reverse, inspire the industry by bringing up new visions and ideas on how to implement additive manufacturing in to design processes and production development. Stealing From Nature Festo Delft is, already for many years, famous for its high quality production automation components and systems. They supply these to almost every kind of industry worldwide. By reaching the zenith of the classic mechatronic approach they look beyond to the secrets of nature. By investigating biomimicry and applying this on component level (like end-ofarm robotic grippers to manipulate products and parts during production processes) the open up completely new ways of designing and thinking about products and production systems. It is really amazing to experience all the new possibilities that come with the integration of advanced automation and biomimicry into the design and development THE FUTURE IS LOCAL

Visiting Smart Robotics, Best, The Netherlands

Federica ‘Festo Bionic -located in Germany– develops animal-like robots which are inspired by for instance the movement of a kangaroo or the lightness of a butterfly. These are combined with an elegant design that mixes the coldness of robotics with the poetry of living creatures in a delicate way. One of the examples shown was the Octopus Gripper –inspired by a mollusk– made almost entirely of soft muscle, so extremely flexible and maneuverable that it could grip a wide range of objects.’

Leon ‘I learned a lot from this visit. It gave me a lot more insight in the manufacturing and assembly industry of the future.’ Printing Bodyparts Brightlands Additive Manufacturing offers state of the art production facilities to produce highend components and parts by 3D printing. At the Chemelot Campus in Geleen our students could experience the latest professional 3D printing processes available in industry today. Beside high accuracy large size aluminum and Selective Laser Sintering (SLS) plastic printers that can produce to aviation standards, Brightlands Additive Manufacturing has a unique production cell to 3D print medical grade titanium implants for the use in human bodies. Jan ‘I think 3D printing is a good manufacturing process to reshore production or at least parts of production. However, I got the feeling that it is not yet advanced enough to be put in the manufacturing process. It is too slow and combined with the material probably too expensive as well to produce multiple pieces of one product. But for custom products like a prosthesis, 3D printing is a perfect fit.’ Daphne ‘I learned a lot about all the different machines there are and how they work. It gave me a clearer insight as to when to use 3D printing. And I was most fascinated by the use of 3D printing in health care. In this industry it can really make a difference because products can be customized to fit to the human body.’ Marsha ‘3D printed implants and devices can diminish operating time and speed up the recovery process of the patient. This can lower the costs of these procedures. We were shown an implanted skull-bone project and a titanium implant for people with an amputated leg. With 3D printing for patient needs it is mainly the possibility of customization that makes it interesting.’ 29

THE FUTURE IS LOCAL

Robot with vacuum gripper in action at Smart Robotics

Customised serial production; interview with Bas Froon Merel Kamp (translation: Margot van der Krogt) Bas Froon (1978) graduated from the predecessor of the Master Industrial Design, the Post Graduate Industrial Design, in 2017. He participated in the Dutch Design Week in 2017 and the Salone del Mobile in Milan in April this year. Froon studied technical administration and worked as a commercial manager at an energy company for almost 10 years before deciding to change direction and focus on design. ‘I had a good job but eventually had enough of looking at the world via Excel sheets. I was looking for something more tangible.’

Can you talk about your graduation project? ‘I graduated with a machine that allows you to locally process soft biocomposites into a strong and sturdy material using a hot press; I call the technique ‘micromoulding’. I made a baby carrier as an example but the technique can be applied in many different ways. The interesting thing is that one material gets a variety of characteristics; it can be flexible and rigid depending on where you apply the technique. Normally you would use two or more materials to achieve the same result. Now you only need one.’

How’s it going with the project? ‘Since graduating it’s been quite challenging. Sometimes I feel insecure and I ask myself, ‘Are things really going well?’ But at the same time, I was asked to present my work at Dutch Design Week in 2017 and I’ll be in Milan this year. That’s definitely something! I’m currently working on expanding my network and promoting my product. During your studies you don’t realise that you won’t actually be doing a lot of designing after graduation; you’ll be focussing on acquisition, writing research proposals and applying for grants. I see this time as an investment. I really have to push myself and that’s not always easy.’ What characterises you as a designer? ‘I’m very passionate about craft and manual labour. I used to restore old timers for fun. During my time at the KABK, I studied glass blowing, metalworking and tufting (a product technique for making floor carpets). I’m fascinated by ‘industrial craftsmanship’, or the translation of traditional production techniques into industrialdigital processes.

Aren’t most traditional product processes already translated into an industrial process? ‘Yes, of course, on a large scale. But what I’m interested in the possibilities of local industrial productions and experiments. When it comes to production, there’s still a large gap between massive offshore production lines, like that of IKEA, and the local, smallscale, often artistic production of designers and artists. There’s not a lot in between. But that’s the area that interests me, the mediumsized ‘customised’, serial productions. The techniques that you need for that, like electronics, sensors and software, are becoming much more affordable and therefore accessible to individual designers.

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Would you call it a kind of democratisation of the means of production? ‘You could see it like that. The emergence of the so-called ‘maker community’ on the Internet, where knowledge and experiences are exchanged and open-source platforms like Arduino – which enables amateurs to build and programme simple robots – have been invaluable. I was able to build the ‘micromoulding’ machine at home with the information I could find online and parts of existing devices. Everyone can potentially start their own product line in their garage.’ What’s the advantage of local, medium-sized, serial productions? ‘The advantage of this way of producing and designing is that as a designer, you can be much more involved with the production process. When the distances are smaller and the connections are shorter, you can be more flexible and allow for innovation to take place. Local production can also be more sustainable – when you don’t get your materials from the other side of the world.’ Is that important to you as a designer? Do you think designers today have a moral obligation to design sustainably? ‘I think it’s a difficult topic. Personally, I have a love-hate relationship with ‘circular design’; terms like circularity and sustainability were misused as marketing tricks in my old line of work. At the same time, you cannot avoid it as a designer today. You are responsible for

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the products you make, not just at the time of sale but during the product’s entire lifetime. You can make a nice bar stool or a beautiful vase but not without asking yourself questions about the origin and future of the materials being used.’ How would you say your studies at the KABK contributed to your development? ‘In a way, the programme was like a pressure cooker; it put everything into focus. Thanks to the teaching staff, my fellow classmates and the programme material, I felt like I was constantly forced to explore my own boundaries. Sometimes I went too far and ruined it but often my limits were pushed in a way that helped me grow. Finding the balance between being open to criticism and feedback from colleagues and teachers and sticking to my own intuition and conviction was always a challenge. Push yourself without loosing yourself. You have to fail at that a few times to really learn how to do it. That’s so great about programmes like this; failure is accepted.’ Do you have any advice for future Master Industrial Design students? ‘The saying, ‘You get out of it what you put in’ really applies to this programme. There isn't a programme out there that can guarantee success but if you work hard and really go for it, good things happen.’

Local production responding to local needs. Three student projects that explore meaningful local production. The green house project; 3D printed vertical gardens in prison Federica Marella Correctional facilities are stressful environments experienced by millions of people everyday. Yet designers rarely take these environments into consideration. I believe that it makes sense to apply a local production-systems to a disadvantaged and marginalized context such as this one, rather than to other contexts which are already bubbling with activities. The aim of this project is to improve the psychological and physical conditions in prison through the use of Additive Manufacturing for prototyping and producing the design elements of a vertical garden-structure. Both the resulting designing therapeutic systemof inside prison environment vertical garden aand the process prototyping and producing the garden will have therapeutic benefits for the offenders and could possibly reduce recidivism.

the green room therapy

In general the outdoor recreational courtyard area of a prison looks very simple and austere; fences, concrete pathways and a lack of vegetation or â&#x20AC;&#x2DC;natural landscapeâ&#x20AC;&#x2122;. I propose to improve this outdoor area, by adding a vertical garden, so that it becomes a green, therapeutic and restorative place. The elements needed to build the vertical garden are produced locally (in prison) by means of additive manufacturing by the inmates themselves.

During workshops in additive manufacturing and prototyping, inmates learn the technical skills needed to produce the garden elements. They are encouraged to implement their theoretical knowledge and construct a real prototype, produced by 3D printers. During the actual building of the vertical garden inmates are encouraged to collaborate. They can learn from each other in a cooperative atmosphere that they might not often experience in 33

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the usually stressful and psychologically challenging environment of the prison. The acquired technological skills and experience with cooperation and gardening could be helpful when, after leaving prison, the former inmates try to find a job. (Not in the last place since additive manufacturing is an important growth sector.) In this way the programme may reduce recidivism. The relationship between penalty and education within correctional institutions can sometimes be

seen as a controversial oxymoron in our society. I believe, that is makes sense to try to conciliate these two: It is important to improve educational systems inside prisons to balance penalty and re-education. From a designer’s perspective, this project is a chance to debate the psychological and societal role of both penalty and education. A small change in the present prison system could mean a bigger change for society of tomorrow.

A medical device as locally produced jewellery Marsha Wichers A lot of people suffer from arthrosis in the hands. Around 30 % of women above the age of 40 show signs of degeneration on an X-ray of the hands. At some point these women will need a hand orthosis to stabilize the affected joint and reduce pain.[1] Such an orthosis is made by an orthotist. I looked into the system of the patient-doctor-orthotist-health insurance, to see in what way computer aided manufacturing (CAM) could be of benefit.

As it is now a lot of manual labour is involved in the crafting of an orthosis. With the aid of 3D-scanning and 3D-printing the production process of the orthosis could be partly automated and fully executed locally at the hospital, reducing waiting time for the patient. By replacing the making of a plaster cast and model of the patient’s hand with the making of a 3D scan of the hand and a customized, fitted 3D printed orthosis, the process becomes both more time and cost-efficient . Since it is worn on the hands, an orthosis is always visible. Nevertheless the patient has no say or choice in the looks of the orthosis, because it is considered a merely functional medical product. Yet often an orthosis isn’t worn because of its looks, which shows that aesthetics are important when it comes objects worn on the body. In my conversations with both patients and orthotists the importance of aesthetics THE FUTURE IS LOCAL

was confirmed: Better aesthetics, might lead to better therapy compliance (i.e wearing the orthosis). In my proposed system there is room for customizable aesthetics: I developed a double layered orthosis in which the functional base part would be designed by the orthotist and the upper aesthetic part can be designed by the patient. Inspired by the notion of ‘biophilia’ (the love all humans seem to share for natural things and nature), I used structures from the inside of the body for the design. By choosing jewellery-like materials for the upper aesthetical layer of the orthosis, the final result should feel like a piece of jewellery for the patient wearing it. [1] An orthosis an externally applied device used to modify the structural and functional characteristics of the neuromuscular and skeletal system.

Tipits; 3D printing housing with local materials in First Nation Reserves Johanna GĂźnzl Tipits is a 3D printing design and research project to build earthen houses for First Nation reserves in Canada. First Nation reserves are home to many Native Canadians and often remotely located. The shortages of goods and facilities in these reserves are said to have reached Third World standards in a First World country. Housing facilities are often overcrowded and ill-maintained, poorly insulated and mouldy. Due to many reservesâ&#x20AC;&#x2122; isolated location, building materials are expensive to transport and skilled craftsmen are often unavailable.

Additive manufacturing with locally available materials is suggested to mitigate this First Nation housing crisis. 3D printing technology can replace the shortage of skilled craftsmen and lower expenses for material transportation. The proposed method is highly customizable and can be adapted to the different needs of families as well as cultural rules. It is a promising approach to help the First Nations to become increasingly independent from outside policy makers by using their own natural, local materials to build with. The design of the Tipits is inspired by the highly effective ancient pit-houses of the Salish-speaking

Aborigines in British Columbia. These houses were partially underground, sheltering the occupants from wind and weather while keeping stabile temperatures throughout the year. In the present design, the soil that is dug out can be re-used as printing material, making the building material both cheap and locally available. The shape of a Tipit is adapted to larger 3D earth-printers; a flawless and stable print requires round, sloping walls. The living room in the middle is center to family life, sleeping rooms are arranged around it. There are water collection facilities from the roof to the bathroom and kitchen. 35

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Crocodile secretary, Carlo Bugatti ca. 1902

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A set of intergalactic earphones inspired by the sides of the original desk including the two discs incorperated in them (shown on the left).

The Philips Type 2003, designed in 1925 by Ir. Louis Christiaan Kalff, was the first speaker that came in production at Philips.

Juicer, design based on the foot of the Philips speaker as shown on the left.

A redesign of Star Trek's starship Enterprise based on both the foot and the disc of the speaker shown on the left.

Staff

Maaike Roozenburg Head of the Master Industrial Design After graduating from the Gerrit Rietveld Academy Maaike Roozenburg founded Studio Maaike Roozenburg in Amsterdam, the Netherlands. The studio initiates objects and products pivoting on the junction of design, heritage and emerging digital technologies with a focus on exploring how historical utensils and design can offer material for meaningful design for the present. Her products and projects deal with time, authenticity and identity. The studio collaborates with archaeologists, craftsmen, historians, technical engineers, programmers and philosophers and works for institutions such as museums, archives, heritage- and archaeological departments and universities. In the Master Industrial Design, Maaike combines her professional practice and love for design education. Zara Roelse Coordinator of the Master Industrial Design Zara Roelse studied Media & Culture in Amsterdam and graduated with a Bachelor in New Media in 2007. After graduating she worked as a project coordinator at the Rijksakademie van Beeldende Kunsten, the Royal Concertgebouw Orchestra in Amsterdam before moving across the pond to work at Somerset House and The English Concert in London. In May 2017 she started working as programme coordinator for the Master Industrial Design at the Royal Academy of Art, The Hague (KABK) where she is responsible for the effective running of the department. Zara assists students, staff, and external partners in all practical aspects of their projects, supporting the delivery of the MA curriculum.

Teachers

Alfred van Elk teacher Design Project A After finishing his Master’s degree in Interior Architecture, Alfred graduated with honours from the Industrial Design programme at the Royal Academy of Art. He worked with Frans de la Haye Design, Philips Design, Well Design and TNO Research and was co-founder and partner of studio MOM. Since 2007 Alfred works under his own name: Alfred van Elk Industrial Design. Projects include furniture design, domestic appliances, packaging and professional products. His designs have received multiple awards. Clients include Heineken, Philips, ABB, Bosch & Siemens, Inventum, Auping, Kembo, Feadship, Royal Delft Group, Tiger Products and Geesa. Alfred van Elk has been one of the core tutors at the Post Graduate Industrial Design course, now Master Industrial Design programme at the Royal Academy of Art, The Hague for 19 years. David Derksen teacher Design Project B David Derksen graduated in 2009 at the Design Academy Eindhoven and completed his MSc degree in 2011 at Industrial Design TU Delft. During his studies he started his studio in Rotterdam where he works on new lighting, furniture and other interior products. He alternates between industrial design and more experimental projects in which he pushes the boundaries of materials. David works on self initiated projects as well as commissioned ones. David is a member of the core teaching team since 2017. Bas van Beek teacher Design Skills In his work Bas van Beek criticizes market mechanisms, branding, poor conceptualism and uncritical designer cults. He studies archive material, restores and adjusts designs that are often either not produced or published. He was the head of the designLAB department at the Gerrit Rietveld Academy in Amsterdam. His work is in the collection of Museum Boijmans van Beuningen in Rotterdam, Zeeuws Museum Middelburg, Van Abbe Museum Eindhoven and Stedelijk Museum ’s-Hertogenbosch. Bas is a member of the core teaching team of the Master Industrial Design since 2018.

Erlynne Bakkers teacher Professionalizing Creativity With a 30 year track record in the development of meaningful products with a highly innovative character, Erlynne Bakkers takes responsibility for concept development, technology implementation and product architecture. She is able to stimulate the creativity of other professionals and reveals the intrinsic value of innovation within organisations. Erlynne either initiated or was involved in the development of a wide variety of recognisable products and businesses. due to her strong entrepreneurial approach and her extensive background in mechanical engineering and industrial product design world wide. Erlynne is a member of the core teaching team at the Master Industrial Design since 2005. Eddo Hartmann teacher Communication Skills Eddo Hartmann lives and works in Amsterdam. He graduated with distinctions from the Department of Photography at the Royal Academy of Art The Hague (KABK) in 1996. Eddo’s approach is grounded in the 19th century photographic tradition. He takes careful consideration for gaining detail wherever possible. His cityscapes, interiors and portraits show this intensive effort. Apart from his personal oeuvre, Eddo is also active as a freelance photographer for advertising agencies, design studios and editorials in the Netherlands and abroad. His images were exhibited in various galleries and museums including Huis Marseille Amsterdam, The Lumiere Brothers in Moscow, The Museum Dr Guislain in Ghent and The Seoul Museum of Art. His work can be found in private and public collections. Eddo received numerous nominations and awards from The Dutch photographers Association (DuPho) and the Association of photographers in London (AOP). He was longlisted for the Swiss ‘Prix Prictet’ in 2012 and the ‘Dutchdoc Award’ in 2013 for his book ‘Here Lives My Home’.

Martijn van de Wiel teacher Exploratory Sketching Martijn van de Wiel is a creative entrepeneur, founder of Sketchdrive and creator of the Design Sketching label. He is based in The Hague where he operates from his downtown studio surrounded by artists and creative professionals from all disciplines. Most of his activities evolve around the Inspirational Power of Sketching, a subject he is highly passionate about. Martijn created the Design Sketching label to share insight and experience on the subject of ‘sketching to create’. With a background in Industrial Design and more than 15 years experience in teaching courses and workshops at international design schools and innovative companies, Martijn has developed a unique approach in effective training of the sketching skill. Martijn teaches Exploratory Sketching at the Master Industrial Design since 2018. Yassine Salihine teacher Design research Yassine Salihine resides in Rotterdam where he runs his own industrial design studio. He provides concept development, design and forecasting services to clients in a wide range of industries. He pushes projects forward with critical thinking, holistic design methods and thorough research that results in concrete solutions. Yassine studied Journalism at the Fontys University of Applied Sciences in Tilburg. He also is an alumnus of the Post Graduate Course Industrial Design at the Royal Academy of Art, The Hague, which was the predecessor of the current Master. His research philosophy is deeply rooted in journalism as he was an infographics editor and head of the Infographics Department of the Dutch quality newspaper NRC Handelsblad. Yassine Salihine is a core tutor Design Research at the Master Industrial Design programme since 2017.

Merel Kamp teacher Theoretical Skills Merel Kamp is a freelance journalist and maker with a background in philosophy, design and woodworking. She currently writes for (Dutch) media such as Trouw, Filosofie Magazine and DUDE on the subjects of philosophy, technology and ecology and is part of the philosophical book-review team of Dutch newspaper Trouw. And since no one is only one person, next to philosophy and writing, hands-on woodworking and ceramic projects are cherished activities. Together with the Master’s coordinator, Zara Roelse, she works on producing interesting programme-related content for on- and off-line communication. Merel joined the teacher team in 2017.

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 Editors/Contributors Maaike Roozenburg Merel Kamp Zara Roelse Yassine Salihine Ed van Hinte Alice Twemlow Tessa Petrusa Conrado Bergemann Johanna Günzl Marsha Wichers Federica Marella Jan Sengers Leon Wezenberg Graphic Design Yessica Deira (Design office, Graphic Design Department, KABK) Auke Lansink (Design office, Graphic Design Department, KABK) Graduating student 2017 – 2018 Tessa Petrusa First year students 2017 - 2018 Alicja Czop, Johanna Günzl, Conrado Machado Bergemann de Aguiar, Federica Marrella, Cecilia Polonara, Jan Sengers, Daphne Story, Leon Wezenberg, Marsha Wichers. Printing Lenoirschuring Photos p. 4,5,6: Aad Hoogendoorn p. 12,13: Hanane El Ouardani p. 15: Anna Kieblesz p. 17,18,19,20: Tessa Petrusa p. 29,30: courtesy Bas Froon Renders and illustrations p. 10: Conrado Bergemann p.34, 35: Jan Sengers p. 36, 37: Leon Wezenberg Cover image Plastiglomerate, copyright Museon Master Industrial Design would like to thank: Museon Den Haag, Alice Twemlow, Ed van Hinte, Paul Pennock (OIL), Phillips, Het Nieuwe Instituut, Jurgen Bastiaansen (FESTO), Mark Menting (Smart Robotics), Hans Ingeveld (Brightland Additive Manufacturing Centre), Chantal Hendriksen and Gijsbert Dijker Copyright Master Industrial Design, KABK The hague/The Netherlands June 2018-03-20

Plastiglomerate Hawaii, Anthropocene, probably formed around 2010. Coll.no. 234622

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The youngest type of rock on earth is a conglomerate. The official name, â&#x20AC;&#x2DC;plastiglomerateâ&#x20AC;&#x2122;, is derived from one of its constituents: plastic. It was created as a result of the pollution caused by modern humans, and thus symbolises a new geological era characterised by human influence: the Anthropocene.