Do It Ourselves

Page 1




From Droog and Dutch to Do it ourselves


Do it ourselves



Telling stories A conversation with ChloĂŠ Rutzerveld



All inclusive A conversation with Gabriel A. Maher

35 51 61

Together is to gather



Take care A conversation with Manon van Hoeckel



Slow tech A conversation with Frank Kolkman




Process over product




Hacking the machine A conversation with Olivier van Herpt




6 Back to basics A conversation with Envisions


Act local, change global



Making more from less A conversation with Dave Hakkens



Beyond green A conversation with Xandra van der Eijk





Manifestos: the question and the answer


Index of names Colophon

273 275



SAM is a small soft-drinks factory that operates entirely independently. It consists of three glass spheres in which water, carbon dioxide and flavourings are optimally mixed. SAM organizes everything to maintain production: elec­ tricity, water and recipes. You can then order a glass yourself, using a bank debit card. When it’s busy or stocks are run­ ning low, SAM automatically raises the price of its soft drinks. Until it has made new ones, that is, after which the price drops again, in accordance with the eco­ nomic principle of supply and demand. The taste is also adapted to demand. SAM’s designers are Arvid&Marie, the joint practice of Arvid Jense and Marie Caye. Although SAM is an abbreviation of Symbiotic Autonomous Machine, Arvid&Marie deliberately chose the name because it comes across as human. It reflects the fact that SAM not only takes care of the custom pro­ duction, but also scans your bank card, prints a receipt, pays for the purchase of raw materials and even has its own bank account and a Facebook account for promotion. This makes SAM a fully fledged legal and economic entity. In an intelligent and provocative way, Arvid&Marie are demonstrating the possible impact of robotization on the economy, food production and even the environment. ‘After all, if SAM is non-profit-making, the price of soft drinks will be fairer,’ says Caye. ‘SAM can also be programmed in such a way that the environmental impact is mini­ mal.’ But what if SAM were to manufac­ ture medicines instead of soft drinks? Who is responsible for any production errors? ‘In this project, we are question­ ing the social rights and obligations of a robot.’ Although SAM is actually nothing more than a mock-up, it poses major and, above all, urgent questions. It is design that offers a critical view of society. Furthermore, the two inventors work just as autonomously as SAM itself.


They do not wait to be asked to play a role in the debate on robotization, but claim their place in a self-aware, almost self-evident manner. THINK GLOBAL, DESIGN LOCAL This entrepreneurial and passionate mentality is characteristic of young designers. As an example, Ermi van Oers was astonished to read a scien­ tific publication on energy released when organic cells are broken down, for instance in yeast processes or plant photosynthesis. Van Oers wondered why this free and inexhaustible energy, which is the subject of research by thou­ sands of scientists all over the world, was not being utilized. At that time, she was still a student of product design at the Willem de Kooning Academy (she graduated in 2016). So she went to work herself. ‘I had containers everywhere in my house with rotting organic waste with little plugs in them. Eventually I was even able to light up a small LED bulb on a lemonade glass containing polluted water from the river Meuse.’ In order to scale up the energy yield, Van Oers sought collaboration with Plant-E, a scientific start-up at Wage­ ningen University that focuses on the generation of energy from organic sources. One year on, Living Light, a mood light that receives electricity from an indoor plant, is in the final phase of development. ‘When you touch the plant, the process of energy release comes into action. So you have to stroke nature to get light.’ She has also been commissioned by the municipality of Rotterdam to build a light-emitting path in one of the city parks. ‘A city that will soon generate its own energy, how cool is that?’, Van Oers continues to dream. With Living Light, Van Oers has linked Arvid&Marie’s passionate and entrepre­ neurial mentality to collaboration with other disciplines and an empirical design practice. The outcome of the design




process is largely determined by the results of the research. The issues addressed by this design continue to be important: sustainable and clean energy. But it is also a search for prod­ ucts with which the consumer can enter into a meaningful relationship, such as an indoor plant that is a lamp. A simple product then becomes a tool to keep a grip on an increasingly complex, digital world.




It is no longer only material products – hypothetical or otherwise – which young designers are deploying to intervene in the social debate. We Are Human Rights is a collective design process that aims to combat social and legal inequalities in undemocratic countries. To this end, seven designers have been linked to as many oppressed activists from countries such as Russia, Colombia and Sudan. Their activism ranges from actions against land reform to actions in favour of freedom of the press or gay rights. Based on the personal sto­ ries of political refugees, the designers have initiated projects to support this struggle for a more social and inclusive society. The working method of We Are Human Rights is to think global, act local. In Nicaragua, logging companies are stealing the rightful territory of indige­ nous peoples. To tackle this situation, a system has been designed that teaches the native Indian tribes to monitor and record their territory themselves in blockchain data using smartphones with GPS trackers, so that companies cannot manipulate the collected data. ‘On a global scale, the impact of this project is limited, but for the local com­ munities, this collaboration of activists and designers makes a tangible differ­ ence. On the ground, that’s where the change ultimately begins’’, says designer Bernhard Lenger, who is also the initiator of Foundation We Are.


RESILIENT DESIGN FOR A VULNERABLE WORLD A speculative robot, a sustainable con­ sumer product and activism supported by design thinking – SAM, Living Light and We Are Human Rights are pow­ erful and outspoken designs, but also extremely different in terms of form, function and execution. Actually, they’re almost impossible to compare. But what they do have in common is a razor-sharp sense of the zeitgeist. Young designers feel and also take social responsibility. They are adressing the emancipation of vulnerable groups, for instance with the practical smartphone app Emotion Whisperer by Simon Dogger (who is himself blind!), which enables blind people to ‘read’ the facial expressions of their conversation partner. They are showing their concern about big data, for example with The Smell of Data, an artistic installation by Leanne Wijnsma, where a computer emits a pungent odour in the event of a privacy breach, a bit like smelling a gas leak. They are designing a workplace for ref­ ugees and a safe living environment for marine animals. They are investigating the Anthropocene and waste streams. Bisexuality, bitcoins and basic income. This book contains 197 of these crisisproof projects. A sense of urgency is the citerion here. After all, the world of tomorrow is made today. This is a time of extreme changes and challenges, but also of opportunities and possibilities. Designers can and want to play a crucial role in this. After a deeply felt economic crisis, a permanent state of crisis threatens now. There is a short­ age of raw materials and energy and a surplus of CO2 and political instability. This is the last generation of designers who consciously experienced 9/11 and its direct consequences. As a result, they are acutely aware of the vulnera­ bility of the world. Young designers are formed by a raw reality but respond with positive resilience. This awareness



SAM, the Symbiotic Autonomous Machine, utilizes the bacteria and yeasts of water kefir grains or kombucha to produce a beverage that is sold to human customers. In that way, the hybrid entity is a collaboration between living beings and robot parts that earns money and pays for ingredients and electricity bills, but also pays employees and taxes, effectively becom­ ing part of human society in an economic sense. As machines gain more autonomy and importance in human life, they are still given no agency in our society. Could a legaliza­ tion of their status create a movement towards a more collaborative rela­ tionship with humans? As SAM has no legal status, a legal proposition was produced together with a law firm: The Autonomous Actors Rights. It proposes a definition of the role of these hybrid technologies in society, designed to inspire new economic and legal systems based on trustworthy relationships between humans and machines.




A concept introduced by a group of cows that want to start their own business. The cows transform them­ selves into self-sufficient machines for milk produc­ tion, to bring fresh urban milk to the people. They are equipped with a well-being sensor that allows them to rate their customers, but also to provide the system with information regarding veterinary and nutrition costs. Methane gas collect­ ed from their rumen is used as a fuel to power a milking robot. The cows move inde­ pendently in green spaces of a city and use an online service in order to connect to their customers. As the cows start to make a profit, they will be able to buy land for themselves. But cows love quietness. Will there still be a place for humans in the city? BORIS MAAS THE URGE TO SIT DRY, 2018

A global-warming chair that raises awareness of how far below sea level the Netherlands is and, in so doing, acts as an invitation to discuss how global is­ sues are affecting us. With rising sea levels due to global warming, this chair illustrates the need to stay safe in lower-lying regions. The unusually tall chair legs that lift you above the tide are constructed from blocks stacked in an act of panic. It stretches the imagination of the ob­ server to the possibility of living on extensions. This first edition of The urge to sit dry is calibrated to the sea level of the designer’s home town Rotterdam.




A collection of fictitious IKEA furniture catering for a polyamorous relation­ ship between more than two people. By adapting these everyday products for an intimate social construction other than the traditional family, His His & Hers emphasizes that polyamorous relation­ ships are not necessarily based on sex, but on the love between the people involved. It shows the lack of options on the market for alternative households by means of a playful protest against the con­ formity of the double bed, toothbrush holders for two or the lack of a third stick on an ice cream.




A clothing collection to celebrate collectivity in足 stead of glorifying individ足 uality, embracing football scarves as a common symbol of shared interest and pride. As a reaction to the dominant culture of self-centred egoism, this clothing line reinstates the positive power of collectivity. The knitted scarves have traditional club patterns and colours, and are emblazoned with phrases from famous foot足 ball songs, praising unity and companionship. They are sewn onto sweaters and jackets and only reveal their message when the proud wearer opens their arms to the people around them.




For this collection of fabrics, Teresa Mendler collects, deconstructs and reassembles individual ex足 pressions of heritage into techno tweeds. Rooted in different traditions, each thread has a unique story as it is translated into 2D prints and then




—Dirty Design Manifesto



INDEX OF NAMES A Aagaard Jensen, Anna 20, 21, 59, 65 Aeckerlin, Lody 190 Althabegoïty, Clémence 235 Amico, Leonardo 167 Ansingh, Annelie 164 Arvid&Marie 15, 22, 43 Asseldonk, Alissa van 133 Atelier Robotiq 149, 163 B Baarsen, Pim van 91 Baas, Maarten 39, 173 Baauw, Leon 119 Baraldi, Lucandrea 75 Bekking, Merel 113, 134 Benvenuto, Maxime 75 Berg, Job van den 181 Bergeijk, Marleen van 103 Bergers, Merle 218, 237, 241 Better Future Factory 215 Beusen, Eef 196, 210 Bier, Henriëtte 148 Biersteker, Thijs 237, 261 Blandet, Théophile 130 , 131 Boiten, Rudi 171 Bongers, Nienke 133 Bongertman, Diede 89, 92 Bonte, Stefanie 104 Booij, Joel 177 Booij, Kate 177 Bos, Louis 73 Brady, Jim 29, 49 Brevet, Thibault 167 Broeken, Vita 215 Bruijn, Juul de 197 Bruijn, Mirjam de 210 Bruin, Daniel de 149, 167 Buckminster Fuller, Richard 267 Burger, Mireille 171 C Cagnoni, Marco Federico 232 Canivez, Henri 147 Cantenys, Marie 28 Castignola, Pierre 151 Caye, Marie 15, 22, 29, 43 Chen, Dominica 32 Chen, Yi-Fei 55, 73 Chowdhary, Anand 106 Cleven, Tess 209 Cooper, Chris 70 Custers, Thieu 91 D Daal, Lilian van 135 Daems, Ruben 111 Das, Arjan Matteo 239 Deden, Roel 105, 190 Degen, Michèle 59 Derksen, David 178 Dietz, Rosa 209 Dijk, Pleun van 258 Dijkstra, Maxime Robbe 260 Dimitrova, Kornelia 75 Dirrix, Tomas 190 Dogger, Simon 16, 29, 106, 107 Doleweerd, Elzelinde van 215 Dongen, Teresa van 237, 244, 255

E Eames, Ray & Charles 22 Eatelier, The 129, 130 Eck, Jella van 75 Eggers, Anastasia 44 Eijk, Xandra van der 205, 247-254 Envisions 83, 141, 183-190 Essaïdi, Jalila 18, 216, 235 F Ferriere, Laura 198 Fillip Studios 129 Flint, Govert 113, 132-133 Foundation We Are 16, 75-76 Froon, Bas 165 G Galjaard, Nienke Gallet, Alix Geerits, Mick Gemert, Ward van Genis, Alexandra Gerritzen, Mieke Gilde, Tijs Gimbrère, Fransje Gink, Gerjanne van Gomperts, Roos Gourguechon, Coralie Grandry, Diego Grievink, Hendrik-Jan Grima, Joseph Groot, Joris de Gruiter, Jeroen van de

53 120 260 180 34 265, 267 190 121 20, 94 190 167 28 31 22 50 190

H Handmade Industrials 192 Hakkens, Dave 83, 205, 219-225 He, Jing 47 Heikoop, Christian 172 Hekkert, Paul 267 Helder, Nienke 19, 94 Helvert, Marjanne van 265, 267 Henning, Mark 54 Herpt, Olivier van 81, 141, 153-160, 203 Hesse, Eline 165 Hidding, Arwin 148 Higgins, Polly 19 Hinte, Ed van 267 Hoeckel, Luc van 91 Hoeckel, Manon van 95-102, 203 Holland, Matthijs 69 Holthuis, Beer 152 Hooff, Willem van 194 Hoogeweegen, Tamara 27 Hooghiemstra, Hedwich 195 Hoogvliet, Nienke 216, 229 Howard, Jesse 23, 104, 149, 167 Hutten, Richard 5 Huynh, Martina 93 J Jansen, Aukje Fleur Jense, Arvid Jobs, Steve Jongerius, Hella


190 15, 22, 43 124 186, 265

K Kannan, Karthik 107 Katwijk, Billie van 217, 228 Kolkman, Frank 81, 121-128, 141 Kooij, Dirk van der 7, 149, 162 Korbanska, Ola 57 Kortbeek, Tom 129 Koster, Nynke 182 Kouwenhoven, Abel 71 Kruijs, Aliki van der 236 Ku, Kuang-Yi 237, 257 Kulve, Thor ter 149, 151 Kundert, Adrianus 190 L Laarman, Joris 5 Lala Tam, Adelaide 33 Lambridis, Kostas 179 Lamiaud, Mariska 21, 29, 48 Lauwaert, Sarah 45 Leest, Emma van der 255 Lenger, Bernhard 16, 19, 75, 237, 259 Lim, Daeun 75 Liu, Timothy 70 Livne, Shahar 20, 255 Lundin, Olle 60 Luttervelt, Hannah van 48, 75 Luttervelt, Karen van 75 M Maas, Boris 29, 44 Maas, Robin Pleun 190 Mager, Isabel 22, 49, 64 Mahadevan, Karthik 107 Maher, Gabriel A. 61-68, 141, 143, 203 Majerus, Lucie 227 Makers Unite 53 Mandemaker, Lisa 31 Marcus, Elise 261 Marinus, Alexander 231 Martinec, Jure 167 Maslow, Abraham 89 Mastenbroek, Jelle 46 McPhee, Fraser 112, 113 Meer, Rosanne van der 164 Meerman, Roos 129, 162 Meijer, Arnout 175 Meijs, Bende Olmo 147 Mendler, Teresa 71 Menheere, Daphne 103 Mensen, Sophie 176 Mijl, Pim van der 76 Mollinga, Felix 115 Montalti, Maurizio 244 Morris, William 265 Muñoz Muñoz, Lucas 192 Muševič, Nataša 167 N Nabuurs, Roel 23, 29, 33-34 Nennie, Bastiaan de 131, 190 Nightshop 180 O Oers, Ermi van 15, 243 Oliveira, Camilo 116 Orjola, Tamara 20, 229-230 Os Δ Oos 176 Otañez, Elisa 54


P Pani, Erez Nevi 217 Papanek, Viktor 17, 267 Pascal, Geoffrey 195 Peet, Oskar 176 Permiin, Louise 218 Perriand, Charlotte 55 Petersen, Michael 197 Pink Pony Express 69 Pol, Iwan 185, 190 Poletti, Guglielmo 194 Post, Simone 18, 185, 190, 211, 214 Project KOVR 113, 119 Putten, Marlies van 192 R Ramakers, Renny 5 Rams, Dieter 265 Rees, Alissa 93 Regt, Rutger de 192 Remy, Tejo 5, 7 Roeder, Ottonie von 44 Rutzerveld, Chloé 22, 35-42, 81, 143, 205 S Schagen, Marcha 119 Schepens, Cisco 115 Schouwenburg, Louise 265 Schuurman, Sanne 185, 190 Schuyers, Teddy 239-240 Seerden, Aina 21, 116 Sepic, Tilen 167 Seuren, Iris 245-255 Sheltersuit Foundation 7, 87, 89 Sibbel, Karlijn 245 Silarâja, Sabîne 213 Sleumer, Noud 111, 113 Smeulders, Tijmen 159, 177-178 Smit, Roland 88 Smits, Ronald 190 Soest, Tom van 214 Spit, Nicole 256 Stittgen, Basse 227 Stonawski, Benedikt 149, 152 Stratmann, Thomas 50 Stück, Alexandra 240 Studio Alissa+Nienke 133 Studio Dáárheen 256 Studio Effe 196, 210 Studio Job 7 Studio Onno Adriaanse 173, 175 Studio Plott 171, 173, 190 Studio Ro Smit 88 Sturkenboom, Mark 27, 237, 262 Super Local 91 T Team Thursday Tegelaar, Rick Timmer, Bas Truijen, Joep Truly Truly Trum, Thomas Tsapenko, Dasha

190 193 87 117 177 190, 237 70

U Uden, Bart-Joachim van Upeka Rietdijk, Rachel

180 213


V Vanlier, Tim VANTOT Veerman, Daan Verbeke, Nel Versendaal, Katinka Vogelzang, Marije Vries, Iris de Vulpi, Stefania

191 190 149, 166 29, 31 129 267 118 74

W Wand, Jeroen Wanders, Marcel Wassink, Sander Wesley, Elvis Wessel, Emma Wiersema, Pauline Wijnsma, Leanne Wong, Alice Wuchner, Timo

217 173 47, 158 190 190 32, 91 16, 130 58 241

Y Yang, Hongjie

20, 258

Z Zangana, Hozan Zwaag, Frea Zweedijk, Don

55, 72 196, 210 88, 89



© 2019 Jeroen Junte and nai010 publishers, Rotterdam.


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TRANSLATION AND COPY EDITING Christine Gardner DESIGN Team Thursday PRINTING Die Keure, Ghent LITHOGRAPHY BFC, Bert F.C. van der Horst, Amersfoort PAPER Lessebo Design White 1.3 PUBLISHER Eelco van Welie, nai010 publishers, Rotterdam PHOTOGRAPHY CREDITS Ruud Balk (p. 18), Gabriel Barathieu (p. 260), Alexandra Bertels (p. 231), Hans Boddeke (p. 99), Alan Boom (p. 255-256), Yen-An Chen (p. 179), Simon Fluisteraar (p. 16, 106-107), Laurids Gallee (p. 198), Peter Guenzel (p. 151), Rene van der Hulst (p. 88), Rein Janssen (p. 165), Floor Knaapen (p. 134), Michiel Kole (p. 87), Mathijs Labadie (p. 214), Arnout Meijer (p. 175), Tom Mannion (p. 27), Nicole Marnati (p. 115, 147, 194, 197), David Meulenbeld (p. 210), Bart van Overbeeke (p. 110), Lonneke van der Palen (p. 135-136, 236), Femke Poort (p. 216, 217), Alexander Popelier (p. 31), Femke Rijerman (p. 47, 48, 116, 120, 131, 196, 197, 198, 227), Medina Resic (p. 165), Iris Rijskamp (p. 21, 58, 93), Mike Roelofs (p. 216), Michelle Rui, Raymond Rutting (p. 31), Juuke Schoorl (p. 127), Ronald Smits (p. 18, 21, 33, 112, 115, 121, 171, 178, 186, 188, 189, 190, 250, 251, 258-259), Michiel Spijkers (p. 129), Maartje Strijbis (p. 42), Swarovski (p. 125), Waag Society (p. 128), Suzanne Waijers (p. 120), Hans Wolkers (p. 243) This publication was made possible with generous support from Creative Industries Fund NL and Fonds 21


For works of visual artists affiliated with a CISAC-organization the copyrights have been settled with Pictoright in Amsterdam. © 2019, c/o Pictoright Amsterdam Although every effort was made to find the copyright holders for the illustrations used, it has not been possible to trace them all. Interested parties are requested to contact nai010 publishers, Korte Hoogstraat 31, 3011 GK Rotterdam, the Netherlands. nai010 books are available internationally at selected bookstores and from the following distribution partners: North, Central and South America – Artbook | D.A.P., New York, USA, Rest of the world – Idea Books, Amsterdam, the Netherlands, For general questions, please contact nai010 publishers directly at or visit our website for further information. Printed and bound in Belgium ISBN 978-94-6208-520-6 NUR 640, 656 BISAC DES001000 nai010 publishers is an internationally orientated publisher specialized in developing, producing and distributing books in the fields of architecture, urbanism, art and design.


In recent years, Dutch Design has reinvented itself, resulting in the emergence of a new mentality. A generation of inquisitive designers is endeavouring to achieve social relevance and impact, with the focus on a research-driven and collaborative practice. They are international but trained in the Netherlands during the height of the economic crisis and are therefore well aware that design can no longer ignore urgent problems such as food shortages, climate change or social instability. Design writer and critic Jeroen Junte is the first to describe this ‘post-crisis generation’ of designers, by way of 197 surprising, innovative, thought-provoking projects and products.

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