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World of W

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Wonder To me circus is like a romance, a tragic story of those devoting their lives to entertainment. For some it is the only way to earn a living, as their “special skills” are not appreciated outside the range of a spotlight. In this exact position the romantic part ends and the tragedy begins. The multiple layers of make-up can no longer hide the scars, revealing the true story of artistic life. Their visual appearance, the first impression, ever so appreciated; marked by the road they have been travelling. Despite the dangers and risks taken to entertain the open public, the smile that appears on a young girl’s face is worth the pain, sweat and tears it took to create. The artist, safe behind the appearance of his work created only to perform, never to reveal his true self. However, this reflection of the act on the surrounding faces, tell the demands of the wider public. When their expectations change a new act is to be launched. The critics are the ones in control. They can translate their impression of beauty in to another manner or another material, and thereby offer new insights to the work of the creator, resulting in a non-physical truth of new age entertainment. Looking back at the perception of people hundreds of years ago, our latest creations would have been pure magic to them. I am proud to present to you, the beauty of a hidden wonder world. Laura Duncker, Editor

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column THE

The role of today’s designer is becoming ever more diluted. It seems there is a designer for everything these days: industrial designer, graphic designer, interface designer, experience designer, interior designer, packaging designer, web designer, fashion designer, game designer, sound designer. There are more types of designers than there are middle-eastern countries shopping for new leadership. And where will this defragmentation end? Are we one day going to educate toilet designers? How will clients be able to figure out which type of designer they need? This has got to stop. Therefore I have decided to make it my life’s task for the next 250 or so words to put an end to this forever expanding specialization of

CLOWN DESIGNER

designers and seek a solution. After spending an elephantine amount of time in between 4 and 5 AM seeking a solution to this challenging problem, it was looking as though my life’s task would be a short-lived one. Luckily for me, this would not be the case (as it had been with my previous life’s task: inventing a method to stop time). The epiphany came when a bearded woman lured me into what I presumed to be her rather luxurious tent (I have a thing for women heavy on the facial hair on Tuesday evenings). This turned out to be, as you will undoubtedly have guessed by now, a circus tent. Upon observing the house clown doing his thing, changing his act on the fly, drawing in new stereotypes and characters, it hit

me: the Clown Designer. The Clown Designer does not take his role very seriously; he does not stick to one mantle. The Clown Designer changes his appearance to suit the needs of his cameo. Are you in need for a different type of designer? Allow me to get back to my make-up mirror. The Clown designer is the ultimate hybrid designer. Educated in the broad basis of design mixed with a large quantity of flexibility, the Clown Designer can adjust to any task or job at hand. Why hire a bunch of different designers, when one single Clown Designer will suffice? Lose the prejudices. Stop specialization. Become versatility in design incarnate. Be a Clown Designer. Text Jan van der Asdonk - Lay-out Tim Ebbers

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Caroline Hummels A TANGIBLE

Talking with Caroline Hummels about the Industrial Designprogramme at the TU/e is an adventure in itself. Even the TU/e board has that experience. While ID does not obey any of the classic rules of composing a bachelor’s programme, Hummels never gets in the defensive position. Designers must prepare for a quickly changing world, and it is the strength of our study to deliver designers who can learn and work independently. “We are one of the best”, knows Caroline. “We are just not so good at PR”. When Caroline sits down in de Zwarte Doos, her “office”, she firstly grabs the Philips candle light on the table out of its holder and she starts playing with it: a first sign that Caroline likes to use her hands. Just like our education, this interview will be an interactive, tangible conversation. After ordering coffee, Caroline was faced with objects matching elements in our education, varying from duct tape to a crystal ball: guide lines to reflect on the changes she made during the last couple of years.

INTERVIEW

Ranking the Schools The last time we spoke to Caroline over two years ago, she explained her goal: turning our faculty into the best design school in the world. Our question now: are we there yet? With printed logos of different universities Caroline was asked to make a ranking somewhere between two post-its with ‘best’ and ‘worst’ written on it. “I will not compare directly to others, but I think we are growing towards being the best. It may sound arrogant, but I think we are doing something unique. We are incredibly good, because we see design in a different way.” Is that unique thing perfect then? “Of course not, a lot can be improved and holes can be found. But what matters, is that we do not only deliver good designers, but we do deliver a certain kind of designers; they are innovative thinkers, they know how to put their projects on the market and they are lifelong learners.” So why are we not on the international fairs? Why are we not world famous? “We are in a relatively small university and we are not good at PR. The Design Academy is much better at this.” How can we be so certain of our quality then? “Everybody thinks The Royal College of Arts and MIT are the best institutes there are. I find them pretty overrated.

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They are good, but not the best. Besides, our students are all accepted when they apply. That tells me a lot about the quality of our education.”

ID3 So, we are unique. Most of you, readers, probably agree that we are different from Design Academy students. However, they also say they are studying “industrial design”. The University of Twente recently started a new bachelor’s course: Interaction Design. Should we not have another name? Caroline jokes: “ID3: Industrial Design, Interaction Design and Intelligent Design”. “On one hand, the name is not correct indeed. But on the other hand... Well, give me a paper.” With help of complex illustrations, she explains: “Look, there was once the industrial revolution. Industrial designers came into existence to give all these new, mechanical machines a shape. Nowadays, the industry has shifted: it is not mechanical anymore, but digital. So you can say the name is incorrect and we are in a new profession now, or we keep the name and it revolves into this new industry.”


Duct Tape Imago

The Crystall Ball

Our uniqueness can be found on different levels; also within the TU/e. Students from other faculties do not always validate our intelligence. They laugh about our LEDs, about our use of Duct Tape and about not having written examinations. How come? “Again, our PR is not very good. Even our rector, Hans van Duijn, at first did not understand that our education is not only about thinking out of the box.” She thinks for a moment. “By the way, I am sure you ID students also have prejudices about other faculties... Probably it is just a matter of mutual respect.”

“You like metaphors, don’t you?” she smiles. “In the future, I would like to give a better meaning to Junior Employee. Until now, we did not use that term often. The aim is to have one big space with a few clusters. These clusters can be dynamic: assignments, project groups and research groups all work in the same space.” Don’t we need an entirely other building for this? “In the end, probably yes. Unfortunately, we are only in turn in building phase three. If there is still money left by then. But as a first step, next year we will be melting the research groups with the spaces.”

But are they not right? Do we belong at a university of technology? Are we educated for using the brush or the microcontroller? “I do not like the ‘versus’ questions, you are educated for combining both of them.” She puts the brush on top of the microcontroller. “Actually, the brush is a tool, and the technology a material. In the future, I would like the students to be able to combine it in such a way, that we can paint with technology.”

Sometimes, Caroline walks too far ahead in her thinking, as she mentions herself. The TU/e has its own plans, but Caroline will fight for her system. “I definitely want to keep the foundations of the current system. For example, reflecting is very important; it is about getting used to lifelong learning and developing. The concrete knowledge you will gain, will be outdated as soon as you are graduated. However, if we do not think about this carefully, you students will be making examinations in the new bachelor’s system soon.” Text Tessa Steenkamp - Lay-out Tim Ebbers

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Sensory Fusion in Design LISTENING TO COLOR, TASTING PICTURES AND WATCHING SOUND Numbers and letters have colours; days of the week have colours and are located in space around you. Hearing makes you perceive a colour. Certain words trigger a taste in your mouth. Smell makes you feel a sense of touch… sounds like fun? Synaesthesia is a phenomenon that does just this, without the use of any psychedelic drug. It is a condition in which sensory experiences (sounds, tastes) or concepts (words, numbers) evoke additional sensations. Synaesthesia comes in several kinds. Grapheme - Colour synaesthesia, in which letters of the alphabet and numbers are perceived as a colour. Pat Duffy, author of “How Synesthetes Color their Worlds” describes it as follows: “I realized that to make an R all I had to do was first write a P and draw a line down from its loop. And I was so surprised that I could turn a yellow letter into an orange letter just by adding a line.” Furthermore, there is sound - colour synaesthesia, in which sounds trigger colour and shapes that arise, move around and fade and, last but not least, the very rare lexical - gustatory synaesthesia in which words evoke taste.

What makes synaesthesia interesting for us designers is that there are a lot of similarities between the mind of a synaesthete and a non-synaesthete. For example, high sounds are often linked to clear and angular images, whereas low sounds create a round and dark image in our minds (Köhler’s Takete and Maluma). The same goes with taste; sweet sensation is represented with round shapes, whereas acid is angular. This suggests that synaesthesia is based on universal mechanisms. A small setback in this theory is that synaesthesia usually does not work both ways; for instance, if a digitcolour synaesthete views a digit (say, 3), it automatically stimulates a colour perception (say, blue). Yet, however hard he tries he will never see the digit 3 in the blue sky. As an exception to this rule, and probably every rule in this world, there is Daniel Tammet; in his mind each number has its own unique shape, colour, texture and feel. He can solve complicated calculations as he simply sees the answer. He describes number 289 as particularly ugly, 333 as particularly attractive and 9 as large and towering. In the documentary “The Boy with the Incredible Brain” he expresses his experience of a visit to New York as being surrounded by nines.

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So could this sensory fusion help us designers to create products? Could these subtle hints in linked sensations help to communicate functions? Meals that change colour suitable to their overall taste, headphones changing shape and colour through the type of music, calculators projecting their answers in colours and shapes… what a wonderful world. Text Doenja Oogjes - Lay-out Norma de Boer


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Non Objects MUSIC LIES IN THE SPACE BETWEEN THE NOTES

This is where the new approach of NONOBJECT comes into the picture. No human-centered or object-centered design, but the space in between as a starting point.

Design fiction. “NONOBJECT” is a book full of imaginary products, not necessarily meant for production. The book proposes a radical new approach to design. For impossible is way more exciting than possible, says Branko Lukic, author of “NONOBJECT”.

“I realized that 19th, 20th century design was almost entirely about the object. I worked further and understood that everything I ever designed was actually intended to live in the space outside of the object: it was designed for people’s connection to the object, it was in their mind. “That led to the further understanding that everything I did ultimately resided in the non-material world: your mind, the mind of the consumer, the people for whom I designed the object in the first place. Their minds were the space where objects continued to live. So it is the space between you and the object in which nonobject was born, away from current design practice.”

The microchip ended the age of “form follows function” for digital devices. Products no longer need to be simply functional, but also stylish and modern. Designers are well able to meet these expectations, merging function and style. But what happens next? If each product is both functional and aesthetically pleasing, what will make the difference? People will seek deeper, greater and longer lasting product experiences.

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“In the very beginning of each product, there is this very expressive stage, where ideas are thrown around without really judging them. There is a lot of energy in this first stage of conceptualization,” says Lukic. This enthusiasm is often killed by realism. From Lukic’ point of view, designers should strive for capturing and containing this energy and excitement throughout the design process.

This philosophy leads to many meaningful surprises and impossible and thought provoking designs which are described in the book. Take 1001 drops, a spoon, existing of interconnected small spoons, heightening our experience of taste. Or Thinium, an imaginary material so strong and light that we can literally bend it to our will, creating beautiful but absolutely impossible tables, chairs and other products. Or Tarati, a mobile phone with a touch-less user interface and holes instead of buttons.

So, to stay in the mood of Lukic’s ideas; what if every designer would design the way Lukic does? We would not own phones; we would just imagine what ours would look like and own the idea of a phone. No tangible object would survive, and our world would exist solely out of ideas.

Fantasy design. But, says Lukic, “The book is not really a blue-sky idea, it’s a foundation for a new way of designing and understanding what we can do.” Designers should ask themselves “what if?” at least three times a day. Feasibility and actual existence of a design is beside the point.

Text Doenja Oogjes - Lay-out Chris Gruijters

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High Striker HOW HIGH DO YOU STRIKE AS A DESIGNER?

1. What is preferable role within a team? A. Team Leader B. Brainstorm Facilitator C. Coffee Lady D. Plant

2. Where did you exhibit your designs? A. Internationally B. Exhibition with national character C. ID’10 D. Nowhere

The way to calculate how high you have struck:

3. What do you do with any potential job offers? A. I reject 99% of them B. I always check first if they fit my vision and identity. C. TAKE IT! D. Sadly, I got none.

4. How often do you get messages as a designer from LinkedIn, Twitter and Facebook all together? A. A few every minute B. Every few hours C. Every now and then D. Once in a few months

A: 4 Points C: 2 Points

B: 3 Points D: 1 Point

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5. Was one of your designs ever copied? A. I have been copied numerous times by Chinese manufacturers B. A few times by ID Students C. Only once. D. Never

6. How is your sleep pattern defined? A. I have none. B. Every day of every week far past 12. C. I manage to plan my work really well. D. while(deadlines >= 1 week) { hoursOfSleep / 2 };

Divide your total points by 2!


You reached the absolute top, why are you even still doing this test? You know your way through the design world really well, you have a big network and a lot of experience.

You are probably ending your bachelor study right now, but it is still hard for you to start off. When you participate actively, you will achieve! You are a rookie, you just started in the design business and you are probably still a student, but you are getting along.

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Lay-out & Text Luuk Rombouts


FURBIES

CROCS

It’s amazingly cute and super furry… it’s Furby! Make it laugh by tickling its belly, feed it to keep it happy, and pet its back to put it to sleep. Furby even develops its language skills so that it can really talk with you! You and Furby are guaranteed to become each other’s best friends!

Take a look at these... They are inspired by wooden shoes and made of rubber for ultimate comfort. They are Crocs! With high flexibility and durability, available in all colours of the rainbow: they are your must-haves for the summer! The structure allows you to wear them anywhere: even under water! Choose a model to fit your style: it will be a guaranteed match!

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Inexplicable desire HOW PEOPLE MAKE YOU BUY STUFF We have all encountered them: products that we really wanted to have, although we could not really say why. We were taken off guard with something that afterwards appeared quite meaningless. It is unlike fashion something that seems forced upon you because everyone around you has it or talks about it. A fad: you cannot seem to dodge it. A fad is a form of behavior or consumption that is adapted by a large population in a short amount of time. As long as people perceive it as being “new”, the fad will be able to spread. When most people in the target group have been reached, the fad will usually come to a quick ending. This is where the difference with a trend shows: a fad has absolutely no permanent results whereas trends usually do. How does this phenomenon work? And what can we learn from it? Interpersonal communication is probably the most efficient way of convincing people to buy things. If you want to buy a

motor cycle, you are unlikely to be advised by a TV commercial saying you to get a Yamaha or a Harley. Rather, you would visit a friend that owns a bike and ask him for an opinion. In that case he is an opinion leader.

certain brands. Even though their parents did not particularly like Smith’s Chips or the Albert Heijn better, their children convinced them to spend their money elsewhere. Their children were the opinion leaders.

The quick spreading of fads works in the same way. You notice some influential people around you that have a certain product and you see the amount of possessors increasing, automatically making you at least think of the new hype. Chances are that you will get affected and purchase the product. The more homogenous a group of people is, the bigger the chances are that a fad will catch on. This explains why children are so often exposed to fads. Being a more uniform group and highly sensitive to peer pressure, children adapt and spread fads extremely quickly.

The so-called “Two-step flow of communication” theory, which makes use of opinion leadership as a means to spread the word on products, has been criticised in recent studies. Nevertheless, there is still a lot in it for us to learn from. It is not always good to go for the large crowds right from the start. How many Apple ads have you seen on the TV during the last year? And how many iPods, iPhones, iPads and MacBooks did you actually see?

Promotional gift products have proven to be successful in creating extremely fast developing hypes among children. Think of products like the Flippo and the Wuppie: products that drew children to

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Do not aim your products at the grey mass. Aim for the top of the market, and let them do the spreading for you! Text Rob Engels - Lay-out Luuk Rombouts


New Nomads ON THE

MOVE TOWARDS A LIFESTYLE LOOSE FROM LOCATION?

The term “Digital Nomadism” is often used to describe a modern way of living, less tied to location and supported by mobile technologies, permanently connected to “the cloud”. But will these networked technologies literally unsettle us? How could the ancient nomads guide us towards such a future?

Joshua Meyrowitz presents one of the most convincing pleas for the term, describing abstract parallels between the way that nomads used to connect to place, time and each other, and the way in which we do so today. His nomadic metaphor refers to a way of life without a fixed home, as experienced by our prehistoric ancestors and a few tribes that remain on the move today. Given their temporary nature, the nomadic home, or shelter, was usually quite simple. Without separate rooms families or small communities lived

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together in close physical proximity. When we first settled, places started to be divided for a specific use. A cooking place emerged, an area to grow crops, ritual sites and etcetera. With successive steps in human civilization, the spaces we inhabited got more specialized and further segregated. Not just our settlements as a whole, with dedicated areas and buildings, also within our homes walls erected. Just think of all the typical spaces a modern home has, and how they are literally related to specific activities. Words like “workplace” or “living room” would probably just make the moving huntergatherer frown (and growl). Along with the divisions of space, we also created a structure of time and social roles, or identities; discriminating between work and leisure time and the roles of male and


female, young and old. Today we even sort our children by age and put them in separate classrooms to learn for specific hours each day, while their parents head elsewhere for their individual activities. However, Meyrowitz argues, with the rise of electronic, mobile communication devices these societal boundaries seem to blur for the first time since we settled. The internet in specific has had a major influence on the weakening of divides in place, time and social roles. We can now work from home while joking on social networks that connect us to our friends, family and colleagues simultaneously and continuously. Like a community living within line of sight. Now that many of our activities have become digital, we have identities in this digital place as well, less confined by a structure of divides that matured over centuries.

It is important to note that the nomad metaphor is directed at the digital sphere. It suggests some similarities in the relations between our ancestors and their physical surroundings on one hand, and us in our digital landscape on the other. Nomadism is easily misinterpreted here and even Meyrowitz hints at freedom of physical movement as a result of blurring digital boundaries. However, physical (infra-)structure is still a very determining factor in the way we live our lives. And it always will be since it’s also the very condition for the digital realm to even exist. Besides, in reality nomads were far from free, rather they were forced into movement by cold winters or droughts, their physical surroundings. The nomad might actually be better characterized by the acceptance of his boundaries and the lack of drive or capacity to challenge them.

In reality, nomad life seems to be more about uncertainty, which might sound like an exciting and attractive opposite to the boring safety of the structured, specialized society we inhabit today. I believe the further integration of digital layers upon our physical surroundings offer great opportunities to rethink the way we structure our relations with the people and places that surround us. And I do believe that less rigid divides and an overlapping of spheres are important on the way forward. The question is however, whether the digital, in its very essence a dichotomy of everything into ones and zeros, could ever lead to a less strictly structured world? I wonder whether nomads could ever find their way around, let alone guide us in what seems to be the ultimate product of sedentary life. Text Job Japenga - Lay-out Luuk Rombouts

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the

bestest AND

coolest ~ skills OF

leisure ~

If life seems more rushed than ever, you might be surprised to learn that we do not have less leisure time than we did 40 years ago. We actually have more leisure time, quite a bit more. This means more possibilities to develop our special undiscovered skills. Leisure skills may not appear to be an important life skill for vocational success, but it is important to emphasize that it truly is a significant skill. Without meaningful activities to structure a person’s time outside of work, there are a number of troubles that can occur in relation to work. Leisure activities are meant to de-stress a person and carry the attention away from work. But most of all to show that unique side of yourself that makes you special.

With that in mind we took the opportunity to find out how staff members de-stress outside of the university and develop their special skills.

IN U G MR. PEN

MR. G EER T LANGER EIS

The next special-skilled staff member is an expert in sensor systems and models, and a friend for many students: Geert Langereis. At his previous job at Philips he researched analyzing and measuring human emotions, but works now full-time at the university in Eindhoven. As a child he collected stuffed animals, especially from one species: the penguin. When he grew older it turned out not to be the animal itself that fascinated him but its behaviour. Collecting penguins evolved in analyzing their behaviour by reading scientiďŹ c penguin books and visiting them all over the world.

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Penguins are anthropomorphic, they have many human similarities, like their social behaviour in colonies, having relationships in which they also cheat on their partners or even having gay feelings towards other penguins. This is recognizable in our own living which fascinates Geert. Researching penguin behaviour goes beyond just being a hobby. He applies his knowledge also here at Industrial Design. He ďŹ nds new opportunities in social interaction by analyzing the social behaviour of people and comparing it with that of penguins.


MR R ETE P MR. PETER

S

Peter Peters, staff member and researcher at Industrial Design, focuses on the integration of technology in products. He’s not limited to one specialty, but has knowledge in different ďŹ elds of technology like actuators, data modelling and software development. From his childhood onwards he liked being at the beach and the unpredictable self-will of the wind. Since he was about 18 years young he developed a fascination for complex structures called tensegrity. Tensegrity structures are structures based on the combination of a few simple but subtle design patterns. You might not expect it but this resulted in his passion for kites!

. KITE

He bought kite books and started experimenting in building his own kites. Learning through reading, doing and observing others resulted in many homemade kites, which he challenged against the wind. He is even one of the founders of the online kite community. In his lunch breaks he took his kites to the best spots at the university to conquer the wind with his kite, even in the blistering cold of winters. He applied these insights in the complexity of building kites as a designer coach. Not only in complex technology problems, but also in his empathy for students that experience difďŹ culties when making prototypes. Text Mitchell Jacobs - Lay-out Norma de Boer

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Out of Order EVERYTHING BREAKS , DOCUMENT WHEN POSSIBLE

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Lay-out Chris Gruijters

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Invisible technology HOW

WE ARE SEDUCED BY APPEARANCE

Technology is becoming more complex by the day, up to a point where it becomes so small and complex that we cannot see it with the naked eye. If technology becomes invisible to the human eye, how are we ever going to understand and grasp how things work? Technology will only develop further in their complexity, resulting in products we use and take for granted. To be able to understand this increase in complexity we will take a quick venture through the history of technology. The history of technology started 2.5 million years ago with the very first tools, which were stone technology scrapers and axes. A million years later humans discovered the creation and manipulation of fire, after which it took another million years for shelter and clothing to be discovered. From this moment on technological development took off. It started with the New Stone Age which brought better tools, followed by the discovery of agriculture. Later, mankind found a way to melt and forge metals. In that same period humans found ways to harness energy from wind and water allowing for nonhuman power sources. In this the invention of the wheel played a crucial role. In the middle ages innovations included silk, horseshoes, levers, screws and pulleys. These innovations allowed for more complicated products such as clocks, windmills and wheelbarrows. The 18th

century was a period of great technological developments, known as the industrial revolution. In this period there was a great improvement thanks to the discovery of steam power. Quickly after steam power, electricity was discovered which allowed for innovations as the electric motor and light. This is the point where things became really complex with inventions such as powered flight, telegraph, telephone, radio and television; followed by even more complex innovations as nuclear energy, computers, transistors, integrated circuits, Internet, satellites and stem cell therapy. This is a point at which technology has become so abundant and complex that only a few people understand how these things work, let alone understand how everything works. But, at least we can still see this technology at work. A new emerging field in technology called nanotechnology is a technology so small we cannot see it with the naked eye. This nanotechnology is for example very useful in wearable applications, since it does not interfere with the natural feel and qualities of the fabric due to its size. But it can be even more futuristic than this. Many designers and scientists are already thinking of the future. A nice example of this is a design probe from Philips, called the electronic tattoo. In this probe Philips explores the body as a platform for electronics and interactive skin technology. Through stimulation by touch, an electronic tattoo travels across the human body which is navigated by

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the desire of the human. In this probe the technology seems to become a part of the human body, so small in size that it can be interwoven with our body structure. Technology has become so abundant, so complex, that it is impossible for us to understand how it actually works. So maybe for our own sake, to protect us from insanity, we sometimes have to take the technology behind our products for granted. Use new products as they are explained to us and not question the technology that shelters inside. There is one big down side to not knowing how the technology of a product works. It allows companies and scientists to do nearly whatever they want, since the general public is not able to judge on the acceptability and desirability of such new technologies. People will not be able to debate whether a new technology possibly intervenes with the privacy and or health of human beings. A company or scientist may find certain risks acceptable, because they themselves can benefit from it. Nevertheless, the general public may have a completely different view on what is acceptable. Most people will not understand how the electronic tattoo by Philips works. Will it be harmful? Are there any unexplored risks? Can you simply trust the manufacturer? We do not know. So trust your eyes only and be careful with technology that you can not see! Text Nicolas Nelson - Lay-out Mitchell Jacobs


Freaks DESIGN WITH A TWIST

Squid Arm

Talking Jewelry

Prosthetic Arm - Kaylene Kau

Plastic Bodies _ Margaux Lange

Instead of copying the human body, Kaylene Kau has design a new shape for a prosthetic arm. The ď��‚exible tip of the arm can wrap around objects and is controlled by a motor in the arm. The arm only functions as an assistant to the dominant arm.

This piece of jewellery is made by Margaux Lange and is part of the Plastic Bodies Collection. This collection exists of arms, legs, mouths, eyes, ears, breasts and much more of Barbie’s body.

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Candle Cat

Human Chair

Devil’s pet - Thorunn Arnadotti

We Are All Made of Meat - Simone Racheli

According to Thorun Arnadotti candles have no functional use anymore. They only have an emotional function. This design dramatises the self-destruction of a candle, with its wick inside. The candle starts as a sweet looking kitten, but while burning the skeleton of the cat reveals.

Simone Racheli has been inspired by the human muscles; meat. He designed a few everyday objects, such as an iron, a chair, a toilet and a hair blower, as if they are made of meat. They look realistic, but are made of plastic.

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Living life like a buddhist monk THE

THIN LINE BETWEEN BEING INSPIRED AND BEING A PLAGIARIST

Guatama, better known as Buddha, was born in Lumbini Northern India as a king’s son. Grown up inside the palace he had never seen life outside its walls. One day, against the will of his father, he wanted to see the nearby town. On his first three trips to town he met an old man, a sick man and a party of people carrying a corpse to the cremation ground. Buddha had never seen old age, sickness and death before and was shocked. He became very concerned with suffering and finding a way to end it. On his fourth trip he met a holy man who had given up everything to follow religious life. Despite having nothing the man seemed calm and content with life, which suggested that he had come to terms with suffering. Buddha saw this as a possible solution to his problem. Buddha decided to follow the example of the holy man and snuck out of his palace wearing only a simple orange robe and carrying nothing but an alms bowl for people to put food in. He ventured off on a great search to finally reach enlightenment, a state where all desire and suffering are eliminated. Today monks try to live the same as Buddha used to; own as little as possible

and find a way to enlightenment. Living like these Buddhist monks in today’s society may not be a bad idea. Taking it to extremes as the monks do is not necessary, but some minimalism in life is not an excess. As an example take the “Cult of Less”. This is a group of people who have set themselves the goal to get rid of as much of their belongings as possible in an attempt to live a life of simplicity, characterized by joyfulness and thoughtfulness. Just as Buddha in his early life, we all accumulate “stuff” we do not really need. Naturally we form emotional attachments to these objects and we feel as if we need them. But as Buddha found out, we usually do not need all these products. Buddha did not need all the beautiful clothes, jewellery and objects he owned to reach enlightenment. So… do you need all those products you own to reach lasting wealth and happiness? Probably not! True wealth is not found in our career proceedings or our personal belongings. It is found in the quality of our relationships and in the pursuit of our passions. So, slow down for a bit and simplify! Minimizing our personal belongings and the desire to accumulate stuff will lead to a greater quality of life. A simplified lifestyle will lead to owning less ‘stuff’, but in the long run you will feel that you own more by having less. Owning fewer objects to take care of and stop

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worrying about losing them will open up more time, money and joy in life. Owning less means you have to spend less time taking care of your belongings. In this way you will free up time to do things you enjoy, investing time into things that will in return bring greater joy, like quality of relationships. We often try to keep up with other people around us, owning the same stuff as they do or better. People who realize that it is foolish to keep up with the Joneses and are content with what they own often see an increase in their wealth because they save money instead of spending it on useless stuff. Watch out! For the objects you own will end up owning you, restricting you as an individual in your freedom. You are more likely to leave for distant places and adventures when there is little to leave behind. Living minimalistic is a way to better experience what our beautiful earth has to offer and pursue our passions in life. So try to venture on the same path as Buddha did and his Buddhist monk followers still do. Own as little as possible, living with only the essentials. In this way find your own road to enlightenment, and live in a world where desire and suffering are reduced or maybe even totally eliminated. Pursue your passions in life and live life to the fullest without being restricted by your belongings! Text Nicolas Nelson - Lay-out Mitchell Jacobs


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How to Survive... LIFE AFTER INDUSTRIAL DESIGN There comes a day when you will graduate from ID. Whether you are going to be employed or start your own company, life can become quite a roller coaster. This article focuses on how to survive after ID. Three graduates have been asked to share their experiences with a

simple question “What lessons do you have for the current generation of ID students?” Guus Baggermans (MSc) is currently employed at “Frog”, a large design firm. Thijs Roumen (BSc) and Dick van de Ven (BSc) recently started their company called “Stik Design”.

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Guus has been working for one year as an interaction designer at frog. He recalls: “My plan to stay at my exhibition stand during the whole Dutch design week succeeded. One day an employee of frog came by and this led to a job-interview.” Before frog, he worked as a freelancer. “As a freelancer I experienced that feedback is crucial in a design process. At times you work completely on your own.


Devoid of feedback, this often led to a tunnel-vision. At frog I am able to ask my colleagues for feedback.” In a discussion with a co-worker, Guus has learned his most important lesson yet. “In my first week I said to a colleague that I have a lot of experience in Photoshop, Illustrator, Rhino and etcetera.” She replied with “Every monkey can learn a tool, you should be able to learn it within 10 minutes. The real skill is to know when you need certain tools and enable yourself to use them effectively”. The difference Guus sees between ID and frog is: at ID the design process is important, while at frog the end-result counts, since clients pay for results. In projects, employees work closely with clients. Pitching is therefore a necessity. “Often clients come by and expect to hear a pitch about the added value of your activity.” ”While I intend to stay at frog for a while, I learned that it is common for designers to switch jobs after

three to five years. Switching jobs helps designers stay fresh and creative.” On the question “What has been the added value of ID?” Guus replied: “I believe that no other education would have prepared me for this like ID has at the TU/e.” Thijs and Dick started their company “Stik Design” after winning the Social Design Award. They are currently working with the Danish company Kompan on developing a full scale prototype of their interactive playground concept. The key for their success is to have an open attitude. During Dick’s internship at Van Berlo he saw students from Delft with more material knowledge and calculation skills. This lack in technical expertise was compensated with an open attitude. Thijs adds that networking is really important. Seek out experts for feedback. Companies

are often very open to help out startups, but you must be pro-active. Do not get discouraged when they do not call back, but call them again yourselves. Furthermore be honest about your limited experience, experts can help you with technical aspects. Kompan helps Thijs and Dick with product safety, for instance. Pitching is also a vital skill to have, since managers are not interested in the details. Use the final exhibitions for training your pitching skills. Being an entrepreneur is a great experience. Thijs and Dick recommend to start your company as early as possible. The benefit of being a student is that you do not rely on profits gained from the company as much as a nonstudent. Do not worry too much about survival after ID. Your education prepares you for the roller coaster ride of your life. Be proactive and the rest is up to you. Text Micheal Hohne - Lay-out Mai Lieu

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Take a Walk on The Wild Side ARROGANCE OF THE SPECIE HOMO SAPIENS

We, human beings, have a lot of taboos around treating animals: it is not okay to wear fur, to eat dogs and cats, to kill pets, and so on. In short, it is not okay to treat animals bad. On the other hand, people consider it weird to act like we are on the same level as animals. Acting like animals or treating animals like human beings is not considered normal. Peeing publically, going to a nudist campsite, having sexual intercourse with animals: it is not commonly accepted. We say we care a lot about the wellbeing of pets, but only after we kidnapped them from their family and their natural environment. The concept of keeping pets has always seemed the strangest thing to me. It is just invented to cure our own loneliness. In some cases, it is even worse: dogs are also used as accessories by celebrities, horses need to have braided hair and whales are trained to act in movies. Human beings feel like they rule the world. It is not only the animals we could not leave in peace; it is also the rest of our environment. The current hype about being sustainable did not yet heavily change our behaviour towards nature, it

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only changed the way we talk about it. Taboos like littering in nature, buying non-FSC certified wood and taking the car for a 5 minute drive came into existence. We know it is not good, but it is easy, so we still do it, secretly. The Tinkerbell is one of the notorious artists that addresses this questionable situation. She says: ”A pet has developed from man’s best friend into a completely co modified article of consumption. Pets are no longer bred purely for their function (think of for instance the duck hunt) but are also selected on their aesthetic value and the way in which the animal will fit its future urban environment. Hypoallergenic cats and phosphor luminescent fish are just some of the tragic examples of this process.” One of her artworks, a handbag made of a dog, expresses her protest. Of course, I also think this is horrible. But think about it, why is it? We make hand bags out of cows all the time. Probably, we still associate the dead dog with cuddling and cosiness, while the leather of cows is not even associated with cows anymore. When wearing a leather jacket, no one will think you are walking around in for example, a deer. It created some weird, unnatural functions for the animals in the world we think we own. Amélie Onzon, graduate of the Design Academy, addresses this hierarchy in


her work “From Fable to Table”: “Our relationship to animals is contradictory. We can observe two opposite extremes. One: we love animals, nurture them, name them and share our daily life with them. In some extreme scenarios, we treat them like human beings. Second: we eat animals. We disassociate the living creature from the meat. The animal is abstracted and becomes a functional material.” She developed two objects that can be used for both opposite aims. The (force) feeder is a duck feeder, which can be used by ducks themselves or by animals. For ducks, it will act like a bowl to eat from, while for people it is a funnel to force ducks to eat. The (blood) bath is a shower for ducks, but it also contains a hook, to hang ducks for execution. The blood can then be collected in the sink below. Personally, I prefer a more fun way to look at the hierarchy we human beings created. An example is expressed in the book “Hitchhikers’ guide to the Galaxy”: mice are the smartest animals on the planet and have been doing research on human since ages, although human believe it is the other way around. See this as a challenge: take a walk on the wild side, think the other way around for once, design to make people think and let them face our arrogance. Text Tessa Steenkamp - Lay-out Luuk Rombouts

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Aim for the stars TIPS FOR STARTING YOUR OWN COMAPNY Ever dreamed of turning your concepts into products that are actually being sold? At ID, projects often end with the creation of a proof of concept, a rough mock-up or yet another lo-fi prototype. Some ID students will take the risk of starting a company and chase the dream of launching their hi-fi products or services on the market. This article highlights several business aspects to keep in mind when starting a design company. Be prepared to spend a lot of time on activities aside from designing Think of side-activities such as getting insurance, networking and keeping track of your administration. Outsourcing activities allows you to focus on your corebusiness. It is recommended to give your administration to a bookkeeper, but make your own copies as well. All administration (including receipts) need to be maintained for seven years. Health care insurance is obligatory, invalidity insurance (AOV) is recommended. Before setting up a business, do a reality-check Try to converge your ideas into a businessplan. It will help you gain clarity, focus and confidence. Even one page can be enough. Write down your goals, strategies and

action steps. The Chamber of Commerce (KvK) has a 10-step plan for writing a business-plan on their website. When developing a business model, check the Canvas from Business Model Generation. A break-even analysis shows how many products need to be sold to cover all costs. Furthermore, it is wise to get feedback on your plans of successful entrepreneurs in your environment. Entrepreneurs also share their experiences on websites such as higherlevel.nl. A good business-plan can lure investors in places such as kickstarter. com, nebib.nl and investeringsplein.nl Avoid taking direct hits with your startup Contracts exist to protect you and your client. Several rules of thumb: If you do not understand the contract, do not sign it and get legal advice. Everything in a contract is negotiable. If a client does not want to sign an agreement, then consider it as a bad omen. Become a member of the Association of Dutch Designers (BNO). You can download contract templates and get free legal advice. Managing expectations is difficult in projects; the trick is to write periodical reports to your client for feedback. Keep it short, only include points discussed, outcomes, agreements and the next steps you will take. By doing this, you can protect yourself when the client changes his mind about the outcomes.

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Save on research and development costs using WBSO Your work hours in developing prototypes can be subsidized using the Law of Promoting Research and Development (WBSO). This subsidy reduces research and development costs with 50% up to €220,000, meaning you can hire staff for half the costs. If you want to obtain a WBSO subsidy, keep the following in mind. Subsidy requests must be sent before starting the project. Requests for software development are often declined, so make sure there are tangible aspects in your project. To heighten your chances of obtaining subsidy, let an expert write the request. Invest to save money on tax If you have a low profit, you pay less tax. You can lower your profit by investing your money. Not all goods are accepted as an investment; consult a legal advisor beforehand. You can deduct all costs for design books and magazines. For seminars and study trips you can deduct 73.5%. As a start-up, you are also allowed to writeoff randomly in the first three years. This means if you buy a laptop, you can immediately deduct the investment from your profit. Normally, entrepreneurs have to write-off their investments over several years. Using tax benefits for entrepreneurs you can further reduce profit with more than €10.000. If you want to use these taxbenefits you need to spend at least 1225


work hours per year and more than 50% of your time in your start-up. The Adobe suite you have excludes commercial activities. Companies risk a ďŹ ne when using illegal software. Avoid this; look for Open Source Software such as Blender 3D, FreeCAD, OpenOfďŹ ce, photo-editor Gimp and a vector-program Inkscape. The most important tip for aspiring entrepreneurs is to be passionate in your activities. Passion is a lasting motivator and is also a characteristic entrepreneurs prefer when embarking on new collaborations.

Text Michael Hohne - Lay-out Kimmy Ansems

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Lay-out Chris Gruijters

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During the whole summer the Parade, a theatre festival, will travel through the Netherlands. From Rotterdam, The Hague, Utrecht to Amsterdam

This weekend there is the international street art event, Hidden Beauty, in the old Schellens textile factory in Eindhoven

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Untill this day there is the exhibition Materia World in the Groninger Museum in Groningen

Summer School: Creative Prototyping Skills Training, a intensive week with courses in prototyping technique, Kortrijk (Belgium)

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Untill this day there is the exhibition Graphic Detour in the Grafisch Museum in Breda

The summer. A synonymous term for personal prospects and illusions. Whether you look forward to feeling free or are eager to get your bankaccount explode, the summer is the perfect time of the year to do so.

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Besides these personal significances, many social and cultural happenings are planned during summer. We tell you when and where, and you should be there.

INS AND OUTS OF BUOYANT SUMMER PROSPECTS

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UMBRELLA WISHING FOR A BETTER LIFE

My ancestors were famous. They used to live the good life. They served beautiful ladies, who would hold them tight, while they were catching the sunlight. I serve another purpose. I catch rain. Not just for beautiful ladies, but for whoever wants to stop those wet, often acid drops of juice falling from the sky. Whenever they need protection, no matter how dreadful the weather, I am there to keep them dry. They take me on their bikes, too. This is where I struggle most to keep the wind from flipping me inside out. And when I fulfil my task, when they arrive at a safe, dry place, I am left at the door. No reward, not even a “thank you”, nothing. I’m just left there, expected to shake of the moist, all by myself, in the umbrella stand. Ah, the umbrella stand, our meeting point, where we all whine and complain about our lives. Some have become a victim of bird-poop, others witnessed what awful things the wind could do to us and of course, all of us mourn about the ones we lost to that same, deadly wind. I can imagine happier places. When the oldest umbrellas in the stand, identifiable by their smell, talk about the good old times, I wonder why I was born in this era. This

era, disrespectful to us hardworking, once famed umbrellas. I need to get out of here. Sometimes I even dream of the wind flipping me inside out. I know I shouldn’t. I can’t stand the rain. Not a very good inferiority to have, as an umbrella. If only the wind could take me, if we could turn our hostile relationship into a friendship. We could have the greatest adventures together, we could go places. Maybe I could even experience some sunlight, of which my ancestors spoke so beautifully. Sunlight… It sounds so delightful. Blue skies, can you imagine! All I know is the grey of the clouds and the black of the night. But what if it is just a fairytale? What if it was all thought up to make our lives, if you could call it that, bearable? None of us are living our lives. We are being worn out by our owners, and what else can we do? If only there was a way out… A familiar sound. Voices. Someone is grasping a coat. “I’m going out, see you later!” This is always amusing. Who will be “chosen”? None of us want to, yet all of us do. It is the only chance for something better. It is always the same though: another sad story returning to the umbrella stand. And then there is the risk,

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of course. We might break by the power of the wind. And then where will we end up? Our ancestors never spoke about that! We push ourselves to the front and we hide and we push, we don’t know what to decide. Truth is, our owners never really make a considered decision of umbrella. Sure, some of them have a preference in colour, print or size, but most of the time, it’s unpredictable. Whether you push or hide is irrelevant, yet we continue doing so each time. The hand approaches in my direction. “That’s not fair, he’s been chosen yesterday too!” says the new one. Ignorance. I feel the chubby fingers of the father clasping my handle. Here we go. It seems to be a light rain. I feel reassured. He scrambles his pocket. Oh god, the bike keys appear. What a day. While I am fighting against the wind, he scrambles his pocket again. A product comes out. It is all white and shiny. One of the new age, definitely. “How’s it going up there?” it says with a grin. Arrogant piece of … thinks it’s all that just because it’s interactive. “I’m concentrating on my task, do you mind?” “Your task”, it says sarcastically, “do you really mean you only fulfil one task?” I am


confused. Why would I serve more than one purpose? “Oh my,” he continuous, “I have to communicate this to Steve somehow. You could definitely be integrated in the next model. WhatsApp, Google Talk, Ping… or what the hack, maybe I’ll just give him a call. This is great news.” I still don’t know what it was talking about, or whether it was even talking the same language as me. All I know is that I didn’t like his tone of voice. Those modern age designs really don’t have a clue how to talk to the classics. Try programming some respect into them, designers! But he sure confused me, that sleek piece of modern technology, I lost my concentration. If there is one thing you cannot do during a bike ride, it’s losing your focus. Especially not when your owner is busy with some, how did he call it, App? He lost grip of my handle. I only lost my concentration for one small intersection and now… I’m floating. The wind took me at last. What is it that they say, be careful what you wish for? I have no idea where I am, but I know now that there is one thing I might hate more than rain. Heights… Text Doenja Oogjes - Lay-out Renée van den Berg

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Credits

Top Row Chris Gruijters, lay-ot Rob Engels, managing editor Laura Duncker, chief text Tessa Steenkamp, text Mai Lieu, lay-out Nicolas Nelson, text Tim Ebbers, lay-out Row Below Doenja Oogjes, text Michael Höhne, text Luuk Rombouts, lay-out Kimmy Ansems, lay-out Norma de Boer, lay-out Mitchell Jacobs, editor in chief Renée van den Berg, chief lay-out

Other credits

Jan van der Asdon, text Jop Japenga, text

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