Open Set 2014 Social Game, catalogue

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open set 2014 graphic design summer school catalogue tutors & speakers Andy Altmann Max Andrews Max Bruinsma Mariana Cánepa Luna Jeanne van Heeswijk Richard Fussey Cuby Gerards Andreas Gysin Els Kuijpers Karin Langeveld Annelys de Vet Richard Vijgen Karel van der Waarde participants Giulia Franchi Anusia Grennell Nick Reilly Carmen Reina García-Matres Heather Griffin Connor Campbell Cally Gatehouse Ellie Thomas Jiyoon Cha Ioanna Kyrtatou May Chiang Margarida Botelho Giulia Semprini Arianna Di Betta Emma Conway Veronica Sung Daniel Stettner


Chenoa Pettrup Isabelle Pleno Astrid Hesse Rüdiger Hahn Jonathan Shi Irina Smirnova Anne Franke Jeong-ah Kim Vanessa Müller Alexander Ter-Avakyan Isabella Schlagintweit Shinyoung Kim Joel Derksen Mark Jan van Tellingen Milou Terpstra Jenny Stuttard Mabelle van der Feijst Hannah Kalverda Raphael M. M. Gerland initiators & organizers Vlad Butucariu Irina Shapiro location coordinator Germa Roos production, communication, special projects Giacomo Boffo Alessandro Carosso Oana Clitan Catarina da Silva

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workshop with andy altmann


workshop with latitudes


workshop jeanne van heeswijk


workshop with tripped in suburbia


workshop with annelys de vet


workshop with karel van der waarde


workshop with richard vijgen


workshop with jan van toorn


open set tutors


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preface This catalogue represents the results from the third edition of Open Set Graphic Design Summer School. Open Set is a two-week summer event directed towards young creators (designers, artists, architects, curators), thinkers and innovators. Our goal is to promote and enhance the social value of design by facilitating debates around the chosen theme from a rich diversity of perspectives, design traditions and socially engaged cultural practices. We advocate for design which equally can have a tangible shape as well as being a hidden process, but always remains powerful enough to make an innovative change. The event aims to offer our participants an environment where they are inspired to step out of their comfort zone and question the conventional ways of working (in any professional practices), experiment with different strategies, techniques, ideas and cross-sector collaborations in order to develop their own practices with confidence. While each year has a theme that subscribes to Open Set’s core values, the 2014 edition under the theme Social Game, has been focusing on the role of the designer in processes of public engagement with cultural production and distribution. The processes we addressed and their consequences are directly connected to current global economical, technological, and social change. We experience the arising of new economical forms, creative and decentralized forms of economy. We are part of a new type of cross-disciplinary collaboration, which deals better with the complex and ever-changing social requests and at the same time questions the concept of unique skills of the expert. Working in an era of technological boom requires attention to the digital medium and ability to adapt and build our own creative tools. This situation influences not only the designer, but the consumer (end-user) and the society in general. Maarten Hajer, the director of the Netherlands Environmental Assessment Agency (PBL – Planbureau voor de Leefomgeving) argues that we live in a time of an Energetic society, which is more creative and takes initiative with the help of open source tools and 4

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platforms for sharing information, making it effective in solving the problems of communities within the local landscapes. This societal context positions the designer not as executor or producer, but as creator of strategies, facilitating the conditions for social processes and even provoking new ones. Designers are busy searching for new links and ways of interaction between the areas of visual culture, social environment, economy and education. Open Set examined this theme by focusing on existing reactions from the creative industry to new social requirements — a focus informed by designers who create participatory and interactive experiences, act as journalists building visual stories, activate the audience and initiate social processes and digital platforms. The program included simultaneous workshops of one or three days by Dutch and International tutors such as designers Andy Altmann, Jan van Toorn, Annelys de Vet, Karel van der Waarde, Andreas Gysin, Richard Vijgen, curatorial duo Latitudes, visual artist Jeanne van Heeswijk, independent design critic Max Bruinsma and art historian, curator Els Kuijpers. We wanted to show the results of the event not as finished solutions but rather visual notes from the dialogue that took place and which sparked new collaborations and projects, even shaping some creative practices of those involved. We aim here to illuminate the working processes of an international group of young professionals who were motivated to change the patterns of design working and to be influenced by different ways of looking at design expertise. This pursuit was enabled by bringing together designers’ experiences from around the world, and also by embracing a diverse range of methods from key tutors.


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Workshop 1.0 Andy Altmann Word Building


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Arianna Di Betta Blaw proposal for the public space installation


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Heather Griffin, Margarida Botelho, Rüdiger Hahn Heart Bombing Rotterdam proposal for the public space installation

On the 14th May 1940 the German army bombed Rotterdam, destroying the heart of the city. Since then, the centre has been completely redeveloped but it has been said that Rotterdam has no heart. Our response to this was to give Rotterdam back it’s heart, and not just one but several all around the city. Heart sculptures of various sizes dropped all over the city, for people to look at, photograph, sit on, climb on, get shelter from the rain. They are multi functional, sculptures that can act as furniture, play things, surfaces to deface or make into artworks. They would become part of the landscape of the city.

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This is not an obvious typographic solution at first, but that’s where the people of Rotterdam come in. The hearts are there for users to interact with and put their own mark on them. The typographic feature will be the people’s hand type, displaying messages of affection for one and other, celebrating the city, messages of protest. Rotterdam is also known as the multicultural capital of the Netherlands, therefore we would see typography in many different languages. They would become the environmental graphics of the city. These sculptures are there to engage people in creating messages as well as receiving them. Further development of the project would be in creating an identity for Rotterdam encompassing the heart. Where the city would now be recognised for its heart rather than for not having one.

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Nick Reilly typographic kinetic sculpture

Typographic kinetic sculpture, in response to the windmill which survived the bombing, however did not survive the modernization of the city. One arm reads ‘Verleden’ (english translation; ‘past’), and the other reads ‘Heden’ (english translation; ‘present’). The arms rotate in opposition directions on an axis, when they meet together parallel they read ‘Verleden & Heden’ (‘past & present’).


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Daniel Stettner ENERGIEHAL 92-99

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Proposal for a sculptural installation honoring Energiehal, Rotterdam’s destination for Gabber and Hardcore raves before it’s closure in 1999. Markers honoring famous events in Gabber history would be installed within the former footprint of Energiehal, which is currently one of the parking lots for the Rotterdam Zoo. Created for Andy Altmann.

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Carmen Reina GarcĂ­a-Matres WORD BUILDING IN ROTTERDAM is an experiment on Urbanism and Typography.

From landscape and cities to letterspace, architects are trained to comprehend reality in different dimensions. Through this alphabet, I create a game of scales, considering the city of Rotterdam as a very complex, organic grid in which letterforms can be designed. Could they be used as real urban walks through the city? How obvious are letterforms in a grid for different people? How many imaginary cities can I create with this alphabet?

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(on the right page) DO YOU READ THE CITY? is a poster that takes the same principle as the previous word building project to the scale of streets and buildings. The area of the Witte de Withstraat in Rotterdam serves as a canvas for new letterforms. The sentence Lees je de stad? makes reference to the game of scales previously explained.

DO YOU READ THE CITY? OPEN SET 2014 Workshop Andy Altmann Rotterdam carmen reina | mylittlearchitect

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Two pages from the WORD BUILDING IN ROTTERDAM 22 open set 2014

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Emma Conway

each buildings’ impact is somewhat diluted when placed next to an equally exciting structure.

Typographic Response to Rotterdam

On approaching this brief my initial idea was to look for traces of the past in the architecture of Rotterdam and in particular in the lettering on buildings. This proved to be difficult due to the bombing of the city during the war and the depletion of the original architecture found in the old city (Stadsdriehoek). Over the following years the architecture was replaced with a hybrid of architecture styles. The city decided not to dwell on the past but to reinvinvent itself, using new styles and materials. This resulted in a miss-match of an identity; with the city in some areas looking like it could be mistaken for downtown LA. For my response I decided that I would pick a focal point in the city that I perceived to be particularly grey and lack lustre of a clear character and to unite it with one word. The architecture in the city can be a lot to take in and

During Andy Altmann’s workshop I made a mock up (fig 1.) I photographed an area near the train station that had interesting angles and a large area where my structure could go. For this mock up I picked the word “Kleur” which is Dutch for colour. Breaking up the letters and placing them at different distances the word itself could only be read from a certain focal point. At this viewing point the letters would not only form the word but would line up with the buildings behind it, illuminating the structures of the city and adding colour to them. If this structure was to be materialised, I would have it constructed in metal and it would consist of obstructed shapes that would only be recognised as letterforms from one focal point. Other words for consideration would be words that perhaps related to the area of Rotterdam or perhaps related to Rotterdam as a whole eg. Past Rotterdam: Stadsdriehoek and present Rotterdam: Hybrid.

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Irina Smirnova and Alexander Ter-Avakyan proposal for the public space installation

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We created project to support Rotterdam suburbs. There’re 12 problem districts in the Netherlnds and several of them are in Rotterdam. Also I read much about not well-knowen buildings made in international style near Rotterdam. So we created nice object under the influence of Alexander Rodchenko who was a famous constructivist and place hash tag “Rotterdamsuburbs” and name of one of interesting building in the Rotterdam suburbs to interest and motivate people to go there and see it.

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Veronica Sung proposal for the public space installation

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In Andy’s workshop, we created a design with a relation of a typographic structures that represent the importance of Rotterdam. My idea was to make a window installation on the street in order to bring the awareness of history of window designs in Rotterdam. There was a huge transition before and after the WW2; the structure of windows were very traditional and conventional but everything became modern after the building were demolished by the war. Window is a structure that people has the most access to design but because it’s too obvious, they wouldn’t pay attention to it anymore, at least is decreasing. So why don’t I make a installation with something that is obvious but make people to aware it more these days? The installation starts with the window design from Baroque, Rococo, WW2 in 1940, and it continues with the dramatic transition to modern.

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Workshop 2.1 Latitudes Mapping Rotterdam

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Emma Conway ro-purposed re-purposed re-covered re-discovered re-type


proposal for an application

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Workshop 2.2 Jeanne van Heeswijk Communication of trust

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Carmen Reina, Cally Gatehouse, Jonathan Shi Status Update


A commo space for hire.

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A common space for hire.

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The is cl

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e market square leaner.

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Chenoa Pettrup (together with Mark Jan van Tellingen, Alexander Ter-Avakyan, Catarina da Silva and Irina Smirnova) Afrikaanderwijk Coop Card Game

The goal for this one day workshop was to develop a communication strategy that addressed one or more challenges that the Afrikaanderwijk Coop had been facing in conveying their message to the constituents of its community The group that I was working with decided to focus specifically on issues of trust and collaboration as they are particularly interesting challenges in terms of communication. Trust and the values of collaboration cannot be expressed through traditional mediums of communication with any level of efficacy. Simply stating that you are trustworthy or that collaboration is worthwhile does not make either believable or comprehendible. The way in which we chose to address this issue was to develop a scenario based card game. In this game, individuals took on the role of a local business (in this case they would be taking on the role of a business actually located in Afrikaanderwijk) and would need to collect the cards of other businesses that could assist them by negotiating with other players. For example, a player may assume the role of a clothing business who wants to put on a fashion show and, as such, would have to collect the cards of other businesses that may assist them with this— a hair dresser, a photographer etc. The players also had to gain services that existed outside of what other businesses can provide (e.g legal advice, electricity, venue hire etc) by earning Afrikaanderwijk Coop cards, which were earned by cooperating and working with other players.

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As the photos demonstrate, not a lot of time was invested in what the cards looked like on the day (we worked with an extremely, extremely rough prototype). The time we invested in determining the best ways of communicating through game play. In part this was informed by research e.g In looking at different styles of games, anything that involved the exchange of money becomes extremely problematic. In an area where residents have low socio-economic status, games that trivialise money issues could cause anger or be patronising. Likewise, any game play couldn’t be too flippant, as it would appear to trivialise the legitimate issues that residents face (which in turn would make the coop appear unsympathetic and condescending). A lot of time was also in determining where the game would be played, with formal settings being too alienating. Third places, such as coffee houses and tea houses would work better, being a common place of informal gathering. The best method of working out the game play also required acting it out through the use of a prototype. It was only in “playing” the game that rules could be tested, negotiated and retested. Scenario based games such as this one require an incredible level of complexity. While at the end of the one day workshop, some issues in gameplay had not been fully resolved, it would be difficult to do so comprehensively in such a short amount of time. However, the process of development and subsequent discussion at the end of the day were incredibly valuable for me as a designer as a means of gaining better understanding of communication through “non-traditional” means of visual communication.

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Ioanna Kyrtatou, Giulia Franchi, Connor Campbell Freehouse, proposal for visual identity

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Workshop 3.1 Trapped in Suburbia Experience Design

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Carmen Reina GarcĂ­a-Matres

Wearing this complex membrane, dancers and audience can perform together. The different parts DANCE! - Costume for a choreography. of the costume can be attached to each other by velcro straps, and through them, the parts of the bodies are moved together. The dancers have to be aware of the bodies that are restricting their moves while the non-dancers feel the movement, Workshop Trapped in Suburbia are part of the dance and play their own role in the performance. she is curious

she is a dancer

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dance - restricted - movement

she is a dancer she is a dancer wtf?!

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she is dancing

she is restricted

she is feeling the dance


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Veronica Sung Essence: Katendrecht prostitution A feminist is anyone who recognizes the equality and full humanity of women and men

During the workshop, I explored the area of Katendrecht, a small neighbourhood of Rotterdam. It was interesting to learn that the area contains its own history and personality even though it’s connected with Rotterdam. The essence I choice was prostitution. People who are not used to the environment may feel embarrassed just being in the area but those people don’t realize that prostitutes treat their job as normal like the others. So I wanted to create an environment where also those kind of people can feel comfortable, free, but not overwhelming. The space I created it’s sex gallery-like but outside of between two buildings. While people are walking through the street, they can read and enjoy objects, photographs, quotes, and videos related to sexism, and see the designs on buildings. So the area wouldn’t looks like full of red and dark but warm and welcoming atmosphere. The idea behind this concept is to make people to touch the actual object so even if the think it’s awkward at first all the people share the same experience and laugh at it if they want to.

I ns pi r at ion

Inspiration 50 open set 2014

Marilyn Monroe by Andy Warhol

Marilyn Monroe by Andy Warhol



The Kiss by Kimlt 51 social game The Kiss by Kimlt

I Love You

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Arianna Di Betta

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Heather Griffin Duw me - Trek je (Push me – Pull you)

I attended a festival that Saturday and decided to test out the first stages of my concept. I brought with me a reel of string and some arrow stickers. Throughout the evening I approached people handing them one or the other and letting them do what ever came to mind, while interacting with someone else. I filmed the results.

Trapped in Suburbia’s experience design workshop, began with a handout giving a brief history of Katendrecht. It was the port side of the city and during wartime it became a free state within Rotterdam. It was a place where Jazz music prospered and a safe zone that was forbidden for German’s to visit.

One group started a skipping game with the string, while onlookers, not really knowing what was going on joined in. Another girl took the arrows and stuck them on people and sent her friend off to try and find as many as he could. This was more of a tag team experience.

While researching this story we had to find what felt was the essence of the place and design a experience based around this essence. My essence was Improvise, partly due to improvisation in Jazz and partly due to the people of Katendrecht not having much but improvising with what they had to get by.

The festival was a great place to try something like this out, because people are already having fun and are willing to try things. There were many people who wouldn’t take art either but that was also fine. I was completely out of my comfort zone approaching people to partake so it was a learning curve for me also.

Using this word and the party spirit of the area I developed my concept around providing various unrelated tools to people and observing how they worked together and improvised with these tools, ideally with a fun outcome.

To develop this project I would organise a Katendrecht festival where the residents and visitors are invited to take part and improvise using their imaginations along with various tools provided. Different areas in the district would be set up to promote different interactions, but the people taking part would really be the ones who are generating the overall experience. Naturally Jazz would be the music of choice for Duw me Trek je Katendrecht festival.

The experience was called Duw me - Trek je (Push me – Pull you) inspired by the push-me pull-you from Dr Seuss. An animal with two heads and one body, it has to work together and compromise to get achieve anything.

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Push me - pull you 57 social game

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Emma Conway Mood Music

Starting point: The music in Katendrecht had an impact on peoples moods, whether it was the locals and the uplifting aspects of the jazz music or the Germans and their negative reactions to the jazz if they entered a bar. Response: What if music responded to our moods? Is it possible for our moods to be measured? The music could then match these moods or help uplift these moods. Scenario: the club. DJs often play off the crowds energy. Some DJs are better than this than others.


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r bands that determine mood by measuring your rature and heart rate. blue: mood is 0/10 - 3/10 (not great)

yellow: mood is 4/10 - 6/10 (a bit better/feeling up to it)

pink: mood is 7/10 - 10/10 (feeling great and enjoying the moment)

rubber bands that determine your mood by measuring your temperature and heart rate.

pink: mood (feeling g the moment

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Ellie Thomas Counter Stereotypes

My Katendrecht piece is based around the idea of counter stereotypes. The part of the Katendrecht story that interested me the most was the changing assumptions people made about the area and the people in it. Before wartime, it was considered a blight on the city but later became the only part of the city where people felt at home. I took this idea and designed a typographic poster featuring two seemingly opposite descriptions of the area: “moral ruin” and “safe haven”. The messages are overlaid on top of each other and, through the use of different coloured lights, the messages can be hidden and revealed in turn. Both messages exist and on the same poster and, although they conflict, both are true at once - it just depends on how you look at it. Hopefully this can open up a discussion around the assumptions we make and our own skewed perspectives.


Counter stereotypes

‘The downfall of all morality’ ‘Criminals’

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‘Safe haven’ ‘Close-knit’ ‘Ours’

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Jonathan Shi, Margarida Botelho Afdeling van Culturele Rechtvaardigheid Department of Cultural Righteousness

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le e le ure e rel ure ult rel ltu ult ltu nC d Cu Cu d van C eid an heidg va ighei v n e i n h d va he ing le rel ig li ng le e dig eli ard fde aar ig l ltu ng ure ure rel Afdeling van Culturele Afdeling van Culturele Citation eli ard fde vaar Citation Cu ult Afd htva A echtv ult ltu Afd htva A echt c Citation n C eidg van heid Afdeling van Culturele Cu d van C eid R Rechtvaardigheid Notice of Cultural Violation Rechtvaardigheid Notice of Cultural Violation e a n v R c g R h va heiing e Re ighlin rdi ng Rechtvaardigheid Notice of Cultural Violation form b form b dig ig l rel le ng eli ardfde vaa eli ard fde aar ltu ure form a Afd htva A echt Cu d ult Afd htva A echtv c R i an nC Re R ec e g v ighe va heid R l n e i g e ig n el ur ard rel eli ard ult Afd htva Citation Citation van Culturele Afdeling van Culturele ltu uAfdeling Afd htva n C e id c C a e v c n e id R Notice of Cultural Violation Notice of Cultural Violation le Rechtvaardigheid va Rechtvaardigheid Re igh ng e eli ard igh ng ure form b form b rel eli ard ult Afd htva ltu Afd htva c nC Cu va heid Re c an heid g v le g Re i n e ig ng eli ard ure rel eli ard ult Afd htva ltu Afd htva nC c Cu va heid Instruction Instruction c Re an heid g g v Re i n le eli ard ig ng le eli aard More Information More Information Why did I get this citation? Why did I get this citation? ure Afd htva ure ult Afd htvthe c To learn more about ACR, Katendrecht Laws or To learn more about the ACR, Katendrecht Laws or This ticket was given since you were in violation of This ticket was given since you were in violation of ult n C e id Re c nC va nC Re va payment information, please contact us at 0800-1400 payment information, please contact us at 0800-1400 the Katendrecht Laws of Department of Cultural the Katendrecht Laws of Department of va heid leCultural ng rdigh i e e l g i ng r l g lin ardi re (+31 77 465 2267 from abroad), or visit our website (+31 77 465 2267 from abroad), or visit our website Righteousness (ACR). Listed reasons and/or penalty Righteousness (ACR). Listed reasons eli ard ltu and/or penalty fde tvaa e u u t A d l Afd htva u Af htva ch n C eiofd your violation. below with photographic evidence of your violation. below with photographicaevidence C e c n d v R c Re g va hei le gh Re i n e i g e l d r g i n de vaar rel ltu eli ard AfInformation t 1 Violator Information ultu 1 Violator Cu d Afd htva ch C i an c Re an heid g v ighe Re e lin d gv e lin ardig d/ e vaar rel : f e u Date & Time Date & Time / / : / : : rel t A ht ul ltu Afd htva c C e Cu d R c an heid i Location Re Location an gv e g v ighe ele lin ardig e r n l i e l d rel u e e ar ur ltu ult Name of Violator Name of Violator Afd htva Afd htva ult Cu d c n C e id c i nC va Re an Re va heid le g v ighe ng rdigh Gender M F X Gender M F X i e g l n e r g i l i n e l d u a li d e re lt ar Afd htva de vaar ltu Cu1 Violator Information Afd htva t c Cu an heid c ch Re an heid Re gv 2 Violation 2 Violation Re e lin rdig Date & Time gv / e / : : l lin ardig rel fde tvaa e e u r t A d l u a u lt Af htv ch Location n C e id Cu ReViolation Description c Warning Violation Warning va Description Re an heid e igh ng gv le Violation Description Warning rel eli ard lin rdig ure ltu Afd htva fde tvaa ult Cu d A c n a hei n C e id ch Re va e gv Re e lin ardig rel ng rdigh i e l u rel t e d l a ltu Af htva Cu Afd htva Cu d c an heid c i Re an gv Re g v ighe lin ardig e n l i e e l d e l e ar ur Afd htva ure Afd htva ult c ult c COfficer nC Re Violation Code Officer Violation Code Re va heid an heid le ig ng gv e eli aard lin ardig rel ure d t e â‚Ź â‚Ź u l f Amount Due Amount Due t d l u A htv Af htva Cu c nC c va heid Re an heidViolation Code Officer Re e ig gv ng e rel eli ard lin rdig rel ltu ltu fde tvaa Afd htva Cu d A n Cu c h i va he ec Re an heid Type of Violation Citation Comments Type of Violation Comments Type of Violation R Citation Number Citation Number ig ng Number g v Comments le eli aard e lin ardig l d e ure f e Evidence Photographic Evidence A hPhotographic tv ur ult Afd htva No Yes No c Yes ult nC c Re va heid nC Re va heid ing rdig e l g l g e i n a eli ard ure Afd htva ult Afd htva c nC Re c va heid Re e le ig ng rel eli aard ltu ure d t u l f u A htv nC c nC va heid va heid Re ig ng le ig ng eli ard e eli ard ure rel Afd htva ult Afd htva ltu c u e nC c R e va heid n C e id R a g e g v i n rel le eli ard igh ng ltu eli ard ure Afd htva Cu ult Afd htva ec an heid n C e id v R c a e g v R ig n igh ng eli ard eli ard Afd htva Afd htva c c Re Re


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ACR 14 - A01FM

ACR 14 - B01FM

ACR 14 - B01FM

The object(s) is in violation of the Katendrecht Laws of the Department of Cultural Righteousness (ACR) and will be removed immediately. Please contact the local ACR officer.

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Workshop 3.2 Annelys de Vet Facilitating conditions for social processes

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Jenny Stuttard Us and We

Annelys is clearly a motivated and passionate woman. She’s a force to be reckoned with and an inspiration. She started her workshop with examples of her work, people she’s inspired by and most importantly the social issues and causes that are a strong focus of hers, and are obviously very close to her heart. This set the tone for us when it came to starting on our projects and seemed to get us all thinking about big topics. A couple of areas came to mind, and I chose to focus my project on homophobia. For me it’s the frustration at the injustice of homophobia, and how unnecessary it is, that draws my attention to it and made me want to look at it as the focus of my project. The workshop was structured in several parts where we discussed our ideas with a partner, and they then went on to take what ideas we’d come up with to another person. These two people would then come up with a brief relating to the chosen topic for the original person. I thought this was a great process - I really liked to be able to have that idea generation and development that comes from discussion. I think it’s a pretty time effective way to get an idea together, but you also tend to come up with ideas you would have never thought of on your own. And of course it makes you focus on how you present an idea or how you explain it so that people understand you thoughts and ideas clearly. Out of this process we decided that fear was one of the main factors in homophobia, and went on to link it to homophobia in sport - and I was set the brief of coming up with a game. I decided to base my game on netball - where there are two teams, a ball and two goals, with teams scoring by getting the ball to the goal keeper in their goal. 70 open set 2014

My twists to the game came in with that every time someone scores a goal, that person then has to swap and play for the other team. I wanted to focus on people not being set in a mentality of team rivalry, but working together with other people and having a high level of interaction. It’s not about us and them, its about us and we two positive collective pronouns that ultimately includes all. To distinguish the teams I created reversible sashes - one side saying US the other side saying WE, so that a player could easily swap. Though there was this idea of swapping teams, it’s not meant to be a play on ‘playing for the other team” or “what team do you bat for” or any kind of sexual orientation euphemisms. I just wanted a level of interaction between everyone and to play with the idea of team rivalry. In netball when a player has the ball, they’re not allowed to move. To play on this I decided that the player isn’t allowed to move or throw the ball when then have it - until a member of their teams comes over and the ball holder tells them a fear. To be able to play the game you have to let out your fears. Fear freezes you, but letting some out frees you. When it came to the game play, it went down really well. People got really into the game and it was a lot of fun. One particular comment I liked was that someone said they found it difficult to think of fears while they where playing because they where focused on the game - their fears suddenly felt small. At the start of the project, I definitely wouldn’t have thought I’d have everyone running around on Museumpark, wearing orange and green sashes and yelling out their fears while playing a new version of netball! I liked that I was designing more of an experience, and was thinking in a different way to how I might usually be on a project. I really enjoyed the workshop, and got a lot out of it that I hope to take forward and use in my work.

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Chenoa Pettrup Positive Redaction

My particular topic in this workshop was informed by a couple of different influences, predominantly the Moving House issue of Colors which looks at the nature of human migration, which had me thinking about the rhetoric around migration in Australia. Australian prime-minister, Tony Abbott, had successfully campaiged to be elected with a “stop the boats” policy and typical discussions around this topic refer to asylum seekers broadly as illegal immigrants, which is a loaded terminology that isn’t necessarily accurate. This concept isn’t really anything new or only limited to Australia. The misappropriation of language is a political tactic whose use is ongoing. In process of this workshop, the common thread that started to emerge from the multiple global viewpoints invested was the mediums in which this misappropriation commonly occurs at present. With the commodification of news, language and reportage has become increasingly coloured.

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The final individual who took on this concept before it was handed back to me was particularly adamant that the outcome be “positive”. With this in mind I developed the concept of Positive Redaction. Using the front cover of the newspaper that had been released on the final day of the workshop, I investigated how the cover might change if the misleading or distracting elements were removed. In order to do this I first categorised the predominant tactics of misinformation: sensationalist language, misleading information and misrepresentation of opinion as fact. Given the short time frame for execution, the final outcome from the day shown here is relatively simplistic. However, as a long term project, it has more potential. Presently I am looking to do a more comprehensive study of multiple newspapers from my own social context (Queensland, Australia) over a longer period. In doing so, I am looking to do a more comprehensive study of tactics of misrepresentation of information—how frequently they are employed; which tactics are the most common; and how they change dependent the newspaper employing them.

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Alexander Ter-Avakyan Monopoly game

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Sometimes we can’t predict the consequences of our work. Designer has to think what is he going to do. If client offers you to do a website about cigarettes for children you have to understand the possible result of it. So where is the border between morals and professionals? This monopoly game will make you think of it.

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Daniel Stettner Global Current Local Events

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A series of posters investigating how meaning can change when translated between languages. Headlines from The Guardian were translated and re-translated, often resulting in the destruction or even reversal of the original message. Created for Annelys DeVet.

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Irina Smirnova Series of posters

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I started with the point that nowadays disasters become very picturesque due to the high technology devices. Now it’s easy to get beautiful and impressive picture very quickly. Therefore a new angle appeared in the discussion about aestheticization of violence.

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Workshop 4.2 Karel van der Waarde Practice based research: Can you park here?

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Irina Smirnova and Alexander Ter-Avakyan proposal for a parking Signege

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On this workshop we had to image any complicated parking situation on the streets and improve it. So the situation: doctor is in a hurry to a patient who is dying in his bath full of cocaine. Doctor doesn’t have any time to park his car and he leave it in the middle of the street. His car doesn’t have any special indicators that it is doctor’s car. How does he can show others that he isn’t a freak and that he would leave this place as soon as he can? The balloon! It’s simple. It’s cheap. It’s work.

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Workshop 5.0 Richard Vijgen Reconstructing the digital self

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Ioanna Kyrtatou Poster, Data visualization

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Emma Conway Poster, Data visualization

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best 21 been printed studio actually away her few lovely worries yay

postrer.indd 1

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21/09/2014 19:46

Veronica Sung Poster, Data visualization

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During this one-day workshop, I created a data visualization to reconstruct the digital self. I counted the frequency how often I open each apps on my phone and as placing them in the order, I was able to see the which app I used to most and the least. The size of circles represent the number I opened the app, so the bigger has more visit and smaller is less. The order or circles represent the time so the circles on the bottom are earlier than the top. Lastly, the green is what I see in the morning.

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Workshop 6.0 Jan van Toorn Staging a message

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Margarida Botelho, Ioanna Kyrtatou, Connor Campbell, R端diger Hahn Video essay

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Veronica Sung (together with Nick Reilly, Arianna Di Betta, May Chiang) Visual essay

This workshop was probably the hardest in this program but I was so honored to create a project under Jan’s creativity. My group, Nick, Arianna, May, and myself, started off the project under the idea of construction of identity through digital media. People these days engage their lives in countless of social media including Tumblr, Facebook, Youtube, Instagram, and more. We happen to see a person on social media isn’t the same person at all in reality and this explains how constructing one’s identity has been changed so much over decades starting with the period when no access to technologies. Arianna brought photos of random people on the street. Her idea was to capture the moment that experiences on social media and reality aren’t the same, so the moment is intimate and soft. Using one of her photos, we combined it with multiple videos as placing on particular body parts and the videos synchronize with where they are placed on. Through this project, we wanted to show that every human beings have their own personality which we can read through their gesture, behaviour, and movement. I had such a great time working with my group and Jan, which helped me to challenge myself. It brought me into outside of comfort zone and showed me different aspect and perspective of design.

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May Chiang (together with Arianna Di Betta, Veronica Sung, Nick Reilly) Visual essay

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Heather Griffin, Anusia Grennell, Emma Conway, Chenoa Pettrup, Carmen Reina and Cally Gatehouse. Counter Gaze Visual Essay

We live in a visually-rich world that ultimately constitutes an onslaught of messages from various factors. These messages are curated for us and depend upon the passivity of the viewer for their success. It is the aim of this new form of communication as espoused by van Toorn to disrupt the surface of communications to engage the viewer and demand from them an active reading of the text. We have made a punk style zine. Each spread features a collage responding to the representation of the female in society. This found imagery has been manipulated and curated to prompt the viewer to question wellestablished notions of the ‘Real Woman’. Is the subject a victim, sexually arousing, powerful, playful, the enforcer? This is an example of an open work, the meaning is made neither by us six designers as producers nor as women but in the interpretation by the viewer based upon their own experiences and knowledge.

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Irina Smirnova (group project) Visual Essay

What is brand? Ask the people who were waiting all night on the street when Apple begin selling its new iPhone. Most likely they don’t tell you. Brand is something ephemeral, something that exists only in our imagination and gross due to the human fantasy. Branding lets people make their decisions easier, think less, take someone’s point of view without critique. It allows people to resolve in unreal world. Alexander Ter-Avakyan: We live in a cruel world of brands. We don’t care about the quality of goods we consume. We need just “love marks”. In the future this brand love could become to something terrible and ridiculous. This photos show us this funny future worlds.

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Open Set tutors Andy Altmann is a graphic designer graduated from the Royal College of Art in 1987 and almost immediately formed the multi disciplinary design group Why Not Associates with fellow graduates David Ellis and Howard Greenhalgh. Located in London, Why Not Associates gained an international reputation based on a creative and experimental approach. For over 25 years, they’ve been creating innovative work in many different media, including corporate identity, digital design, motion graphics and television commercials direction, editorial design, environmental design and publishing. They still strive to push the boundaries of graphic design and projects collaborating with artist Gordon Young have moved them into the world of public art. A monograph was published in 1998 by Booth-Clibborn Editions documenting the first ten years of their work. A second was published in 2004 by Thames and Hudson which documented another five years. Andreas Gysin lives and works as graphic designer between Berlin and Lugano. Writing custom programs is part of his design process independently of the output medium. When not busy on projects he teaches interaction design and programming at ECAL, Lausanne and in SUPSI, Lugano and in workshops worldwide. Jeanne van Heeswijk is a visual artist who creates contexts for interaction in public spaces. Her projects distinguish themselves through a strong social involvement. With her work Van Heeswijk stimulates and develops cultural production and creates new public (meeting) spaces or remodels existing ones. Her work has been featured in internationally renowned biennials such as those of Liverpool, Busan, Taipei, Shanghai and Venice. She was awarded the 120 open set 2014

2011 Leonore Annenberg Prize for Art and Social Change and the 2012 Curry Stone Design Prize for Social Design Pioneers. Latitudes is an independent curatorial office by Max Andrews and Mariana Cánepa Luna, that works in an international context from and in Barcelona, Spain. It initiates and develops contemporary art projects in association with institutions and collaborates with artists in productions encompassing a range of organisational forms and scales: genres of display and presentation; editorial practice and publication; forms of assembly, hosting and programming; as well as theoretical and interpretative contexts. Trapped in Suburbia is a graphic design studio formed by Cuby Gerards and Karin Langeveld, focusing on human interaction and engaging the audience. They try to open up the senses and set them out to seek and explore. They see themselves as storytellers, critical design thinkers and strategists who are aiming to create valuable and tangible experiences for people. Gerards and Langeveld’s works were awarded by International and European Design Awards, Red Dot Design Award, D&AD awards and many others. They also initiated and run the graphic art gallery Ship of Fools, where they show the works of other creatives. Jan van Toorn is a theorist and design methodologist, a “visual journalist”, teacher, curator. He is a member of the International Alliance of Graphic Design (since 1972) and of the American Institute of Graphic Arts. In 1991-1998, he was the Director of the Jan van Eyck Academie in Maastricht. In 2011, Van Toorn was awarded an honorary doctorate from the Royal College of Art in London. Works by Jan van Toorn were exhibited in several retrospective exhibitions in the Museum Fodor in Amsterdam (1972), De Beyerd Centre for Fine

Arts in Breda (1986-87), Hall of Art in Rotterdam (2004), Maryland Institute College of Art, Baltimore (2007), Sheffield Institute of Art and Design (2008). The designer was awarded with two H.N. Werkman prizes (1965 and 1972), the Piet Zwart prize (1985) and the Athena award, established by the Rhode Island School of Design. Artworks by Jan van Toorn are in the collections as follows: Bijzondere Collecties; Van Abbemuseum, Eindhoven; Stedelijk Museum, Amsterdam; Municipal Museum, the Hague; Museum of the Image, Breda; Museum of Modern Art, New York; Moravian Gallery, Brno; Centre Pompidou, Paris; Center for the Study of Political Graphics, Los Angeles; Library of the Central Academy of Fine Arts, Beijing; VIVID gallery, Rotterdam.

and design. He produces interactive data visualisations and data installations ranging from microscopic to architectural in scale. His work has been widely rec­ og­nized by many pro­fes­sional or­ga­ni­za­ tions and pub­li­ca­tions, in­clud­ing Wired, Gestal­ten, The Smith­son­ian, Rhi­zome, The Eu­ro­pean De­sign Awards and The Dutch De­ sign Awards. Richard Vijgen re­flects on and writes about dig­i­tal cul­ture. He ini­ti­ates and par­tic­i­pates in re­search pro­jects and work with clients to de­sign and pro­duces work that con­nects the dig­i­tal realm with so­cial and phys­i­cal space. Vijgen teaches In­for­ma­tion De­sign and In­ter­ac­tive Ar­chi­ tec­ture at the Arn­hem school of art and de­sign.

Central to his approach is the application of content-based strategies, resulting in a design practice as a form of visual journalism. Opposite to the more selfcontained designs of the modernist tradition, Van Toorn is always striving for designs that are open to different ways of seeing.

Karel van der Waarde studied graphic design in the Netherlands (Eindhoven) and in the UK (Leicester, Reading). He received his doctorate in 1994 for a study about patient package inserts. In 1995, he started a consultancy in Belgium specializing in the testing of information design. Avans Hogeschool (Breda, The Netherlands) has appointed him as professor in Visual Rhetoric in 2006 to investigate the development and use of visual communication. Karel van der Waarde frequently publishes and lectures about visual information. He is moderator of the InfoDesign and InfoDesign-Cafe discussion lists. Van der Waarde is a lifeFellow of the Communications Research Institute (Australia), a board member of International Institute for Information Design (IIID, Austria) and editorial board member of Information Design Journal, Iridescent, the Poster and Visible Language.

Annelys de Vet is a graphic designer and head of the design department of the Sandberg Institute Amsterdam. Her work explores the role of design in relation to the public and political discourse. Since 2003 De Vet designed a series of subjective atlases through which alternative views are developed towards political entities that lack a nuanced representation in the media. Also she was the initiator and designer of the yearly ‘(Con)Temporary Museum Amsterdam’ (2006–2009) which covered the side program of the art fair Art Amsterdam. She was a lecturer and coordinator at the ‘Man & Communication’ department at the Design Academy Eindhoven (2002–2008). Richard Vijgen is a designer focusing on contemporary information culture. He investigates new strategies to find the big stories in big data through research 121 social game

Max Bruinsma is an independent design critic, editor, curator, editorial designer and editor-in-chief of Items, the Dutch review of design. Since 1985, his critical writings have featured regularly in major Dutch art- and design journals and in a range of international design publications (a.o. Eye, Idea, ID, Blueprint, The AIGA Journal, Étappes, Form).

Bruinsma published and edited several books on (graphic and new media) design, and taught at the Gerrit Rietveld Academy and the Sandberg Institute in Amsterdam. In 2003 his book 'Deep Sites, intelligent innovation in contemporary webdesign' was published by Thames & Hudson, in English and French editions. In 2005, Max Bruinsma curated a major exhibition on the cultural significance of communication design, 'Catalysts!', for the ExperimentaDesign biennale in Lisbon. Bruinsma is co-founder of a new masters course in Editorial Design at the Graduate School of Visual Art and Design, Utrecht. Besides his work as an art- and design critic and educator, he was a music editor and program maker for VPRO, a Dutch radio and television broadcasting organisation and an advisor on cultural affairs for a great variety of institutions. In 2005, Max Bruinsma received the Pierre Bayle Prize for Design Criticism.

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