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11. In Vitro Me , 2013 Lick marble track , 2017

4. I want to be good TEXT TIMO DE RIJK Oh, aren’t we all just SO interested in food these days. Not so very long ago, we had just one type of potato, and Italian food meant elbow macaroni with tomato sauce. And now, the choice is infinite. But appearances can be deceiving. Never before have Dutch people spent less time in the kitchen in an effort to feed their hungry families: just 19 minutes, and that’s a world record. And this ambivalence to our luxurious culture of convenience is what leads us to take all kinds of absurdities and paradoxes in the food industry for granted. For designers, it’s tempting to respond to this alleged ignorance with advice, action and design. But come on – the average consumer can usually see through that. Children know perfectly well that milk comes from cows, and no one really believes that the salty pizza sauce from Unilever is made in old copper pots by Italian grandmothers. The remarkable thing is that many designers trade one kind of romantic fiction for another, often combined with visions of the future that come straight out of fairy tales. Let’s all start wearing shoes made from mackerel skin or melon rinds! Sure thing, mate! But you and I know that it will never happen, your plan is hardly scalable, and above all, leather shoes are quite nice and no one’s in the mood for this. What’s more interesting is designers who play with cultural expectations, which often dictate that food should be traditional, artisanal and natural. And they interpret it in an ingenious way – a bit more artificial, technological and futuristic. But a new plan for the future must be convincing. Well, design is often unclear and unfinished, and then it’s suddenly speculative, and the impracticality is just for increasing awareness. But that’s not enough to be relevant. It’s not for nothing that Mies van der Rohe’s motto was: I don't want to be interesting, I want to be good . Endor Fine Dining, Mediamatic with Schüller de Waal, 2018. Photo: Henri Verhoef. Mediamatic is examining our food and eating habits at a fundamental level. But to what extent do designers who work with food or for the food industry also examine their field at a fundamental level? They should be relevant instead of speculative; informative instead of manipulative. Read more in CONTINUED on pg. 34. 7 column dude 6

18. Plantbones , Marije Vogelzang Creative Food Studio , Naresh Ramdjas science. It’s not so clearly divided. Our food system is also complex – it involves politics, culture, taste and is interwoven with every - thing. Putting things into boxes doesn’t do it justice.’ INFLUENCER Since Vogelzang’s pioneering work, the field of food design has grown enormously. The creation of the Food Non Food depart - ment at the Design Academy Eindhoven, headed by Vogelzang, certainly contributed to this. The Dutch Institute of Food & Design, launched in 2016 by Vogelzang, shows how international the movement has become. Twelve international correspondents contri - bute to the Institute with stories about developments in their country, and 50 designers from 30 different countries signed up for this year’s Future Food Design Awards. Food design is now an essential part of Dutch Design Week as well. Every year, Naresh Ramdjas takes advantage of the event to show what he’s currently working on. ‘Last year I worked with Anouk x Vera, the conceptual fashion designers. We created a dinner where the textures and flavours of the food changed with each course, as did the tableware and servers’ outfits. This year I’m bringing together professionals from the food and beverage world to create a pop-up restaurant.’ Ramdjas considers himself a kind of art director: ‘I bring together conceptual thinkers, ceramicists, fashion designers and more.’ He’s also part the Slow Food Youth Network which puts him directly in touch ‘We changed everything every six weeks: not just the menu, but also the interior, the performance and our clothing. A restaurant is visible. People come to you to give you the chance to show them what you do.’ Around 2004, people finally started to under - stand what Vogelzang was actually doing. ‘In the beginning, people asked me why the vegetables had to be organic and they thought it was weird that salads were served in a jar. The whole idea of pop-up restaurants didn’t exist yet. Today, food design is a worldwide movement and many people are consciously focused on food.’ But she prefers not to use the term ‘food design’ herself. ‘Food design is part of a larger overarching concept that I call “eating design”. Gastronomy falls under that, as does Marije Vogelzang is considered the uncrowned queen of food design. However, as a designer, she had to overcome some scepticism when she decided to work with food. ‘Serious designers at least do something in bronze; that was the idea at the time. That way you can capture your ego in a lasting object. Food design was dismissed as catering or something for housewives.’ That didn’t stop her from designing a white funeral meal in 1999. During this banquet for the bereaved, only white food was served on specially designed white dishes. Lidewij Edelkoort, director of the Design Academy Eindhoven at the time, selected Vogelzang for the first-ever academy presentation in Milan, where the reactions were overwhelm - ingly positive. On her graduation day, she got her first assignment. ‘I thought that more people were working on it then. After all, food is as old as humanity. But it seemed that there were only a handful of specialised food designers.’ Vogelzang couldn’t make a living from her food-related projects. She spent a year working for Hella Jongerius, but her desire to do something with food remained. The solution presented itself in the form of Piet Hekker, founder of De Bakkerswinkel, who wanted to set up a restaurant with her. That became Proef – first located in Rotterdam, and later in Amsterdam as well. ‘The second restaurant especially was a design studio where you could also eat’, Vogelzang says. TEXT EDO DIJKSTERHUIS Food design is much more than assembling a attractive plate or doing styling for advertisements – this field encompasses everything from catering logistics to radical experiments. It also touches on nearly all the major issues of our time. dude continued

35. As a reward, Kolkman received a cash prize and the oppor - tunity to create a design of his choice with precious Swarovski crystals. But this distinctive young designer didn’t build a sparkling showpiece; he created an installation for neurobiological stimulation. His device amplifies and bends beams of light with crystals, turning them into a pulsing stroboscope that influences brain activity. In short: he built a dream machine. Kolkman will probably never create another Dream Machine besides the provocative prototype he presented this summer at the prestigious Art Basel/Design Miami art fair. But his experimental design is just a vehicle for encouraging discus - sion. With his design, Kolkman is saying that our generation is in need of dreams. The world is indeed facing drastic changes. Natural resources and raw materials are no longer sufficient for our destructive lifestyle. The power of tech - nology over our lives keeps increasing. As a result, the earth is warming up and human contact is cooling down. To break through this deadlock, we need to find unorthodox solutions. With his fusion of investigative science, luxury crystals and inventive design, Kolman wants to stimulate us to think about those solutions. And why not? After all, design is no longer solely about products, but also about our dreams – whether they’re generated by fictional dream machines or not. The fact that Kolkman was recognised by Swarovski, the bling-bling company, is very telling. Designers are increas - ingly making visionary reflections on social issues such as pollution, automation, social inequality and urbanisation. Using fictional scenarios and artistic installations, they’re making predictions for a better world. This kind of speculative design is now being embraced as a full-fledged discipline. At the Dutch Design Awards, there’s even a separate cate - gory for it: Design Research. The very first winner, in 2014, was the In Vitro Meat Cookbook , which consisted of non- Every year, crystal manufacturer Swarovski names three young designers the Designers of The Future. This year, Dutch designer Frank Kolkman was one of the chosen ones. He made his name with a homemade robot that could perform small operations; he also designed a machine that simulates an out - of - body experience to reconcile us with our unavoidable deaths. TEXT JEROEN JUNTE friction about fiction existent recipes for lab-grown meat, like a bone marrow cocktail and knitted steak. This research on cultured meat is both a popular science book and an art project. But is it also design? ‘It’s the design of a discussion’, says project initiator Koert van Mensvoort. With his fictional investigation of how lab-grown meat can influence our eating habits, he’s making complex social changes – like advances in food technology – tangible and therefore accessible to a wider audience. Van Mensvoort: ‘In this case, a book was the obvious medium.’ For young designers, speculative design is clearly a separate discipline. At the prestigious MIT in Boston and the Royal College of Art in London, speculative design is part of the official curriculum. Last year, Marie Caye and Arvid Jense graduated from the Design Academy Eindhoven with a project called SAM, a robot that autonomously produced and sold soft drinks. The robot determined the production volume and price of drinks by itself, based on sales. The flavour of the drink also changed based on customer preferences. Caye sums up the starting point for SAM: ‘The autonomous robot works symbiotically with people. We trust him. But he has no legal status. Should robots perhaps have legal status as well, so we can hold them accountable for their actions?’ The rise of speculative design is related to the profound and complex changes that our world is facing. ‘Traditional solu - tions are no longer sufficient and so designers are searching for unorthodox alternatives’, Kolkman says. ‘Speculative future scenarios are part of that search.’ Many of these changes are driven by technology. Speculative design is often a hybrid of journalism, design, research and art. It sounds catchy and functions like a new kind of science fiction – not for escapist entertainment, but with social relevance. Designers are trained to create strong visualisations of their ideas – which is exactly what the powerful visual culture of blogs and museum blockbusters demands. This was also evident at Change The System! , an exhibition at Museum Boijmans van Beuningen in Rotterdam earlier this year. While it was extremely speculative and rarely applicable, the exhibition was received as ‘a manifesto for a better world’ (Volkskrant) and ‘actually influencing major world issues such as the scarcity of natural resources, pollution, social inequality and the growing influx of migrants’ (Trouw). In short, speculative design is a recognised testing ground for social innovation. But sometimes, it requires a bit of empathy. At Change The System!, with his project The Incredible Shrinking Man , Arne Hedriks contemplated a future human that’s only 50 centimetres tall. It would solve environmental problems and overpopulation in one fell swoop. His scenario covers the shrinking process in medical detail. Hendriks therefore isn’t a problem solver, but a self-proclaimed ‘designer of desires’. ‘We all fantasize about sex, so why not about shrinking? Our world is being destroyed by our obses - sion with growth. To break that pattern, we need imaginative ideas that offer room for new kinds of dreams.’ Although the motivation for speculative design research often points to social involvement, designers are mostly driven by their own fascinations. Since completing her graduation project Edible Growth in 2014, Chloé Rutzerveld has been experimenting with innovative food concepts. For more than ten years, driven by her critical curiosity, Christien Meindertsma has been looking into the invisible systems behind industrial production. With her project Bottom Ash (2015), she took inventory of the ash that remains after waste incineration – the trash of our trash, you could say. She also analysed the composition of our clothing based on natural and synthetic materials with the installation Fibre Market (2016). This ‘documentary design’, as she calls it, doesn’t result in tangible or functional products, but instead illumi - nates and puts entrenched structures in product design into perspective – kind of like investigative journalism for Dutch design. The importance of this is being highlighted with her major exhibition next spring at the Vitra Design Museum in Weil am Rhein in southern Germany. Even among designers who are driven by their own fascina - tions, there’s the danger of a lack of commitment. Students often fall into this trap; they have the abundant freedom required to get lost in navel grazing. That’s why the number of material experiments that pour out of design studies every year is depressingly high. The choice of subject matters seems more based on chance than on their paper- thin conviction: a Scandinavian student who ‘discovers’ the pine cone, or a vegetarian who does something with cow stomachs. The results often correspond: they’re anecdotal and missing a link to the professional practice, let alone the industry. ‘ traditional solutions are no longer sufficient and so designers are searching for unorthodox alternatives ’ ‘ should robots perhaps have legal status as well, so we can hold them accountable for their actions? ’ 68 69 essay dude

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8. INTERVIEW FLOOR VAN ESSEN, FREEK KROESBERGEN TEXT FLOOR VAN ESSEN × PORTRAIT VALENTINA VOS Right next door to the Silly Bakery in Eindhoven, Chloé Rutzerveld rents a modest studio. A professional kitchen fills most of the space. To avoid any confusion, Chloé is not a chef: she ’ s a food and concept designer, but prefers to call herself a food futurist. ‘ We really need to learn to look differently at our food. Above all, that requires knowledge, and plenty of it. ’ 14 dude

9. Stroopwafels made almost entirely from vegetable waste. Cultured meat grown from your own stem cells, on your own body, meant for your own consumption. Or edible ecosystems created with a 3D printer, resul - ting in a much shorter food supply chain. These are examples of the provocative, and often speculative, concepts which Chloé Rutzerveld develops to make us think about the future of food and technology’s potential influence on it. Because of their innovative nature, her ideas often seem far-fetched to the outside world, especially in their early stages. As a young designer with a limited portfolio, it wasn’t always easy to convince external parties to participate in her projects. But now that Chloé has gained recognition and her portfolio contains a solid series of projects that speak for themselves, there’s more confidence that collaboration will yield results. Food design is a fairly new field with many different specialties; only a handful of Dutch designers are involved in it. Chloé first encountered it while studying industrial design at the Eindhoven University of Tech - nology (TU). And gratefully, because until then, her studies had been a major struggle. ‘At the TU, nothing fit with my interests. Biology, anything related to the human body, cooking, creativity and art – that’s what I enjoyed. But there I was just programming LEDs. I kept wondering why I was doing this degree, and thought about quitting every day... Until Koert van Mensvoort and his research lab Next Nature linked up with the university and started a project on lab-grown meat (among other things). I found it very exciting, dove right in, and actually didn’t do anything else from that point on. At first, the TU made an issue of it, because the intention is that you rotate through all the different themes within your degree and get acquainted with all the aspects of your study. But fortunately, the Next Nature team supported me. As a result, I was able to start building a small food design portfolio while studying, precisely because of self- directed learning – the very same approach that gave me problems at the start. It’s now much easier to focus on food design at the TU because there’s a lot more interest from the industry.’ BALLOON CLOWN After completing her bachelor’s degree (cum laude), Chloé immediately started her own studio – mostly because she didn’t know CHLOÉ RUTZERVELD — EST. 1992 — Chloé Rutzerveld investigates the future of our food. She’s been doing so since she first encoun - tered food design while studying industrial design at the Eindhoven University of Technology. In 2014 she graduated cum laude, and since then, her work hasn’t gone unnoticed. She was one of the top three Food100 changemakers under the age of 30, was a finalist in the VPRO television program the Toekomstbouwers and has won several awards for her work. She’s been a fellow at the Next Nature Network since 2015. She knows how to communicate her provocative ideas to the general public in a smart way, using her skills in presenting, coaching and consulting and more. 17 dude

1. ZWARTFRAME + 62 DUTCH DESIGNERS 30 GRADUATES AND ONE ALIEN BP BP CH L O É R U TZ E R V E LD dude dutch designers magazine autumn 2018 VEVDL RUBEN PATER SILO DESIGN BRIDGE SPARK KOSSMANN.DEJONG ADDIKT ‘ why make dogs if you could do so much better?! ’ EN 6,95 EURO AUTUMN 2018 dude is a publication of the bno dude

10. Edible Growth, 2014 jobs at the florist and baker were terrible. Not because they paid so poorly – she’s clearly not motivated by money – but because she felt her employers lacked passion for their profession. ‘At one point I was part of the entertainment team at a campsite. But all those children constantly wanting attention wasn’t for me. And that’s too bad, because I thought balloon modelling and face painting were fantastic, and I actually wanted to get better at it. So, I placed an ad online to work as a “balloon clown”. In Limburg, where I come from, it’s still very common to celebrate First Communion. They have parties with lots of children, and they’ll often hire that kind of clown. Thanks to YouTube videos, I quickly got the hang of it and kept getting better. Eventually, I could make whole mermaids, hats with palm trees and monkeys – you name it. But for events like these, it took far too long: “Come on – we’ve got fifty kids waiting here and you’re trying to make a beautiful work of art”, they told me. “Just make some dogs.”’ She was indig - nant: ‘Why make dogs if you could do so much better?!’ 3D PRINTER GIRL The few years since Chloé has been profes - sionally active have been turbulent and educational. She discovered the importance of making choices, being kind to herself and taking breaks, how she can best explain her projects to the outside world, and that what else to do. She definitely didn’t want to do the associated master’s programme at the TU, and Wageningen University was far too theoretical. ‘Due to my graduation project Edible Growth , for which I also did research at TNO, I noticed that for researchers and the industry, it’s very difficult to look beyond their own tunnel vision, but they do find it interesting. If I had completed another scientific degree, I too would have ended up in that tunnel doing exactly the same thing. Besides, I had nothing to lose. I had few expenses and still lived in student housing. But after a while, I wondered more and more what I was still doing there.’ She laughs: ‘And it went both ways. I was constantly working and the kitchen was always full of my stuff. When my roommates were partying at night, I was often still working. Thankfully, I received a talent development grant from the Creative Industries Fund. That’s what allowed me to rent my current studio. I installed a decent kitchen, and with very little means, I could do exactly what I wanted.’ For a year and a half, she earned nothing, was always working and did a lot for free. But in return, she gained a large network and expanded her expertise. She grew up with an entrepreneurial spirit, and Chloé had already proven to be inventive and ambitious. She often thought her part-time ‘ if I had completed another scientific degree, I too would have ended up in that tunnel ’ ‘ I want to quickly become an expert on a specific topic ’ 18 19 chloé rutzerveld dude

16. Mamman , 2001 Variations on Normal , 2012 DOMINIC WILCOX Shoes with a built-in GPS system, a calendar filled with 365 fish oil capsules for a healthy life, or a device that helps you better listen to birds: nothing is too strange for Dominic Wilcox. Chloé: ‘Dominic’s work is mostly about the quantity of ideas, and not so much about their quality. There are many crazy, unnecessary or conversely, super smart solutions for “problems”, and new ways of looking at or using objects. His work is very inspiring and funny. In our world, there’s a great need for creativity and breaking away from the beaten path. I always try to do that with my own work, but I also don’t want my work to be purely speculative – perhaps that comes from my technical university background. For me, it needs to have a foun - dation in scientific research. The beautiful, refreshing thing about Dominic’s work is the fact that he embraces the naiveté and open-mindedness of young chil - dren who aren’t limited by rules and knowledge and don’t see the pitfalls. Dominic also works a lot with primary school children. He develops programmes to encou - rage creativity. If he encounters good ideas from the children, he develops them further and/or tries to build them.’ LOUISE BOURGEOIS Louise Bourgeois was one of the most important artists of the 20th century. Her Cells are an impor - tant part of her oeuvre; the closed cages and rooms are filled with human-like sculptures and everyday objects or tools. They unite important themes in her work, namely the privacy of family as well as its sense of imprison - ment. Chloé: ‘I saw Bourgeois’ work for the first time in 2015. Never before have I been so fascinated by art. The cells exude something dark, mysterious and exciting. I also find her enormous pieces, like the gigantic spiders and structures, very unique and intimidating.’ 31 dudelicious

17. Forest of Resonating Lamps - One Stroke , 2016 STEVEN SPIELBERG ‘Films and documentaries are a great source of inspiration – from Chef ’s Table , Cookes or Black Mirror to science fiction movies. I really enjoy watching Steven Spielberg films like ET , Men in Black , Back to the Future and Ready Player One . These kinds of movies influence our view of the future and perhaps even shape it without us noticing.’ TEAMLAB Last summer, Japanese art collective TeamLab opened their own museum in Tokyo to display their impressive digital art instal - lations. The 360-degree art pieces are united by the fact that they respond to the movements of the visitors and are worlds unto themselves. Chloé: ‘WOW. Respect for the way that TeamLab manages to build magical worlds using light, simulations, VR and physical materials. In contrast to my work, TeamLab’s pieces are extremely large. You’re fully immersed in them, and that gives you a beautiful, surreal experi - ence that you can participate in with others as well as alone. That’s completely different with food: it’s small, intimate and personal.’ 33 dudelicious

15. Transfigurations , 2013 The Long Awaited , 2008, Courtesy of the artist, Tolarno, Roslyn Oxley9, and Hosfelt Galleries The Bond , 2016, Courtesy of the artist, Tolarno, Roslyn Oxley9, and Hosfelt Galleries PATRI CIA PICCINI The alienating yet hyperrealistic sculptures by New Zealand artist Patricia Piccini don’t shy away from confrontation. Chloé: ‘Such magical creatures; they seem so real! I think the mystery and imagination, as well as the art of mastering the techniques to make these figures out of sili - cone, fibreglass and hair, is very impressive. Personally, I prefer to use clay to express my ideas, but what you can achieve with the overall appearance is quite limited. In order to depict my future scena rios as realistically as pos- sible, I would love to learn new techniques – maybe as Patricia’s intern’, laughs Chloé. AGI HAINES 3D printing can now be done with plastic, clay and metal, so why not living cells? Thanks to bioprinting, we might be able to duplicate – or even improve – human organs in the future. But where are the ethical boundaries? British spec - ulative designer Agi Haines is focused on questions like these. Chloé: ‘Agi mainly focuses on the design of the human body. The questions that she poses and the resulting hyperrealistic work match closely with what I do, except I pay more attention to nature and our food. As a person, I also think Agi is really funny, and she’s hugely passionate about what she does.’ 29 dude

12. The Other Dinner , 2013 good visuals are essential. Her graduation project, Edible Growth, immediately gener - ated considerable (media) attention. She was even contacted by someone in Canada who asked if she wanted to give a TEDx Talk. ‘It was so extreme, it almost made me depressed. You’re being pulled from all sides and you’re invited everywhere. Because of that you can’t get anything else done and you constantly have to make trade- offs. For example, I was frequently asked to participate in exhibitions. You don’t get paid, but you think that it’s probably good for your name and it might be fun to do. But with experience, you learn that you’re often a kind of decoration. They just put you somewhere and beyond that, the organisa - tion doesn’t really care that you’re there. So, you stand there and wonder: “Why am I doing this?” That makes you more selective and you realise it doesn’t make much sense to be at these exhibitions if, like me, you don’t make things you can sell. At that time, I also didn’t want to be part of the industry, but I’m starting to change my mind. By doing consulting work, I can use my expertise within different companies, because if there’s a big reach, there can be a big impact too. And I really enjoy doing it, even if I can only make a small difference.’ Chloé admits that it’s scary to achieve early success. And it was very strange to realise that the success wasn’t based on the content of her project. ‘People liked the images and the fact that the project was about 3D printing was a huge trigger. But if they had looked into the story behind it, they would have known that it was a rather critical project about the fact that until now, 3D printers for food had only been used as moulding machines. Nothing innovative or smart is being done. Look at healthy food and ask yourself what we could achieve using this kind of tech - nology! They also thought that what I had designed could already be made, which certainly wasn’t the case. It was a concept, a speculative design that definitely needed a few more years to be fully developed. Besides the question of what would come next, I also felt pressured by the fear that I would always be known as the 3D Printer Girl. Being positioned that way – I thought it was horrible and hilarious at the same time. I had never touched one of those things, even when I was at TNO. It would have taken me a month and a half to slog through the instruction manual of their printer that was modified for food printing; I had better things to do with my time!’ Because she noticed how important good imagery is, and how crucial it is for conveying her ideas, she’s also become more selective in their use. ‘To a certain extent, the imagery has to actually show the process. The stroop - wafel [ Ed. note: a typical Dutch caramel-filled ‘ look at healthy food and ask yourself what we could achieve using this kind of technology! ’ cookie ] project is a clear example of that. At its core, this project is about the question of when something is perceived as healthy, and when the perception shifts to unhealthy and unnatural. Root vegetables contain a particularly high amount of natural sugar; funnily enough, most people don’t know that. Therefore, you can use these vegetables to make products that we see as sweets. At first, I wanted to make candyfloss from the sugar found in carrots, beetroot and celery root – the ultimate treat in my opinion. But it didn't work very well. Stroopwafels worked better. The cookies themselves don’t really excite me; I don’t even eat stroopwafels, but they’re a way to get people thinking. To make things accessible, you have to “frame” your projects and add additional layers. How does it all fit together? To do that, you have to think strategically, which is why food waste and veganism have also become important themes in the stroopwafel project.’ Although Chloé states that her projects stem from personal fascinations, it seems it’s her approach that’s the most specific to her. The topics that occupy her are fortu - nately very socially relevant and not only personal. ‘What I’m very good at and what I enjoy most, is finding answers to questions that I ask myself – something that concerns or excites me enough to investigate it thoroughly. I speak to as many people as possible to ensure that I quickly become an expert on a specific topic. I then attempt to unite all the information I gather into a concept that makes people think or offers an innovative perspective on something and holds a mirror up to society. If we want to keep eating meat, for example, how far are we willing to go? Only when a concept becomes more concrete do I approach different parties and try to involve them in my project. That could be in the form of financial support, helping me to exhibit my work, or providing raw materials – anything you can think of. I only got in touch with Proverka, a vegetable processing company, once I knew that I wanted to make stroop - wafels out of root vegetables. They were able to provide me with the by-products from their supply chain.’ Chloé is therefore primarily focused on innovating and researching new possibilities. Developing new ideas into market-ready products isn’t what she’s striving for or what makes her happy. It’s not always possible – or rather, almost never – because then it’s too speculative or too many concessions ‘ I can ’ t find balance 22 23 chloé rutzerveld

42. These days, there’s often not enough time to prepare and eat a nice meal together. That’s too bad, because sitting at the table together gives us an opportunity to talk and pay attention to each other. To strengthen the social aspect of eating, Sophie Kleuskens designed a set of ceramic dishes that works like a puzzle. Each set of dishes comes in a stack. In order to get it apart and start eating, you need to work together. DESIGN: SIMON BALLEN BOTERO PROJECT: SUELO ORFEBRE INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND WELL-BEING SIMONBALLEN.COM In Marmato, Colombia, everything has revolved around gold for centuries: the mountain village sits on top of a gold mine. The ore that remains after the gold is extrac- ted is considered worthless, but it contains traces of gold, silver, iron and sulphur, and when it’s crushed, can be used to make glass. With help from the local community and a glass-blower, Simon Ballen Botero built a glass furnace and used moulds with stones and pieces of metal from the mine to create a series of glass objects. Foto’s Daniek van de Ven DESIGN: JOLEIN MELIS PROJECT: HET DAKPLAN (THE ROOF PLAN) INSTITUTE: AKV ST. JOOST, DEN BOSCH DEPARTMENT: GRAPHIC AND SPATIAL DESIGN JOLEINMELIS.COM In the Netherlands, there’s a very high chance of flooding. While more than fifty percent of Dutch people live in high-risk areas, only five percent have emergency kits at home. Jolein Melis came up with a way to help many more people in the Netherlands prepare for a potential flood and to encou - rage them to take shelter in the safest place possible, which is the roof. She developed a hollow plastic version of a roof tile that has a buoyancy of five kilos. By connecting different tiles together, you can make your own raft, tailored to your specific weight, which could save your life. the roof plan CHLOÉ RUTZERVELD SELECTION COMMITTEE ‘It’s a creative way to add new functionality to something we already need. It’s outside the box and innovative.’ potential gold mine DESIGN: SOPHIE KLEUSKENS PROJECT: SOCIAL FUEL INSTITUTE: FONTYS, TILBURG DEPARTMENT: ART, COMMUNICATION & DESIGN SOPHIEKLEUSKENS.NL social fuel 82 dude

33. Tata Motors brand identity Schwarz attributes the fact that Addikt’s work is appreciated by Indian clients to the agency’s signature style, among other things. By Dutch standards, their motion graphics are quite brash and loud. But in India, they stand out because the exuberance is dialled back. ‘Apparently we’ve struck the right chord – somewhere between reserved and complete hysteria.’ Now and then they try to tempt a client with a less-is-more concept. So far with limited success, although that seems to be changing. For example, their design for the rebranding of Tata Motors is relatively clean, with clear graphics and a carefully selected colour palette. ‘We were allowed to completely reinvent the brand. Cleaner, more modern and more in line with today’s 24/7 media consumption.’ The new identity consists of a core concept with fixed ingredients, which enables many variations. This flexi - bility is essential because Tata Motors, part of multinational conglomerate Tata Group, is a brand with many faces. In Europe it’s mainly know as the owner of Jaguar and Land Rover. In India, Tata builds low-cost cars, as well as trucks, delivery vans, buses and military vehicles. One of the challenges was to ensure a consistent look and feel in this versatile mix, says Schwarz. ‘The concept only works if every stakeholder always applies the core principles of the new brand. In this case, that means an army of advertising agencies, employees, car dealerships and more. To give you an idea, 300 Tata Motor ads in one day isn’t out of the ordinary.’ So together with Dog and Pony and CoDesign, Addikt devel - oped an online brand guide that provides the tools for implementing the new brand. And they took the time to get it right. ‘We did extensive research on local values and needs’, explains Schwarz. ‘That approach, working cooperatively on a project, is highly appreciated in India. I think that’s how we, as Dutch designers, stood out from the American and British agencies.’ Being ‘Dutch’ comes with other benefits, too. ‘Apparently it’s sexy to be Dutch, especially if you’re from Amsterdam. The city’s free- spirited image rubs off on us.’ And Schwarz consciously employs the other well-known stereotype about the Dutch – that they’re direct and boorish. ‘Large Indian firms are to indicate that a brand only really comes to life when those different components come together.’ When Schwarz says ‘we’, he’s usually isn’t just talking about his own agency. For the past year and a half, Addikt has joined forces with two other studios: Dog and Pony and CoDesign. The first has an office in the same building as Addikt on Amsterdam’s busy Weesterstraat. CoDesign is located in New Delhi, over 6,000 kilometres away. Together, they operate under the name Grit Network. ‘The biggest advantage of this collaboration is that we can tackle assignments in an integrated way’, says Schwarz. ‘As motion designers, we’re often approached during the last phase of a project, but now we can be involved from the beginning – and there - fore take full advantage of the power of motion design. In the past, we’ve been asked to create a “wiggling logo” by clients who don’t want to have a conversation about whether or not it’s actually relevant.’ Partnering with these two graphic design studios has another serious advantage: With the three of them, they can handle major international brands and accounts – in the Netherlands, but especially abroad. India is an important market for Addikt, where they’ve already been active for nine years. ‘We realised early on that the Dutch market was too small for us’, Schwarz explains. ‘And everyone around us was busy focusing on fairly saturated markets in the West, like the US and UK, which is why we saw opportunities in the East.’ In 2009, at the invitation of the BNO and Indian design platform Kyoorius Exchange, Schwarz participated in a trade mission to Mumbai. He was one of the speakers at Designyatra , a four-day design conference. Shortly after, invitations for big pitches started pouring in – and Addikt managed to win a few of them. ‘What helped was that the Indian agency we were working with had a strong network. Because of that, we were immediately taken seriously.’ According to Schwarz, local presence is always crucial. ‘It makes you more approachable and gives you insight into the social, cultural and political structures that help define a society. You really need that extra pair of feelers to get to the question behind the question and understand your client.’ Kyoorius Creative Awards 2016 ‘ local presence makes you more approachable and gives you insight into the social, cultural and political structures ’ 64 65 64 65 international dude

36. SANDBERG INSTITUUT AMSTERDAM TU/E EINDHOVEN AKV ST. JOOST DEN BOSCH ARTEZ ARNHEM HKU UTRECHT MINERVA GRONINGEN FONTYS TILBURG KABK DEN HAAG MINERVA GRONINGEN SANDBERG INSTITUUT AMSTERDAM ARTEZ ZWOLLE DESIGN ACADEMY EINDHOVEN The graduation projects that make the biggest impression are the ones that find a balance between social relevance and individual involvement. In particular, with inclusive themes like gender or LHBTQI, a personal incentive can provide the maker with the necessary empathy and related agency, or moral authority. For her gradation project at the Minerva Academy in Eindhoven, graphic designer Jonna Bo Lammers explored a current struggle many young women face: they’re profoundly averse to forced beauty ideals, yet at the same time, they’re constantly trying to present themselves as attractively as possible. Lammers visualised this dilemma with a series of drawings of her own body that walk the line between seductive and grotesque. The all-encompassing title of her post-feminist work: The struggle of being a feminist who is aware of the absurdity of the beauty ideal, and also being a girl who wants to be thin . Here, the social relevance is being driven by a personal quest. It’s hard to imagine that a man would have been able to depict the same topic with so much intensity. Speculative design may be a recent and dynamic discipline, but there’s already criticism. Too often designers outline utopian, sometimes completely unrealistic visions of the future. Concrete starting points for a better world are seldom provided or aren’t mentioned at all. And no matter how exciting 3D printed food and lab-grown meat might be, they don’t offer a feasible solution to one of the biggest problems of our future: how will we feed the world’s popula - tion? It’s a pretentious flight of fancy, a pseudoscience created by posturing designers, the critics say. ‘Speculative design is a creative radar that scans what’s approaching. It’s an artistic way to prepare for the future’, counters Van Mensvoort. ‘That’s why it’s valuable, even though it some - times seems absurd.’ ‘Besides, why does design always need to have measurable results?’, asks Rianne Makkink. Together with her partner Jurgen Bey, she’s part of Studio Makkink & Bey, one of the pioneers of speculative design in the Netherlands. For example, in 2009, they researched a live-work campus at vacant office parks with self-driving cars and flexible work, where the window washers could also deliver the mail. Feasibility wasn’t the starting point for this Rampless City . ‘By studying what isn’t possible or desirable, you also learn about what is.’ Moreover, speculative designs aren’t just teaching material for the future, they also offer unexpected insights into the current reality. ‘You learn more about today’s society by thinking about what the future might look like.’ In other words, using a future scenario as reality check for the present. Or as critical designer Kolkman puts it: ‘Good designers don’t just come up with the car of the future, they also think about what the new traffic jams will look like.’ ‘ speculative design is a creative radar that scans what ’ s approaching. it ’ s an artistic way to prepare for the future ’ 70 dude G R A D U A T E S ! G R A D U A T E S ! G R A D U A T E S !

20. Twenty years ago, Niels van Eijk (1970) and Miriam van der Lubbe (1972) founded a studio together in Geldrop. Trained as genuine signature designers of autonomous objects, they decided to take a new, broader path. Nowadays, they ’ re focused on product and spatial design, and prefer to use their creativity and ideas for innovative organisations. ‘ Personal necessity has become public necessity. ’ TEXT VIVEKA VAN DE VLIET × PORTRAIT LISA KLAPPE ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g n e w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g ne w w a y s o f t hin k i n g 39 dude career

38. the parasitic humanity grafeiophobia ductile assembly DESIGN: TIM TIMOTHEUS BERNHARDUS DEKKERS PROJECT: THE PARASITIC HUMANITY INSTITUTE: HKU, UTRECHT DEPARTMENT: FASHION DESIGN TIMDEKKERS.COM In his collection, Tim Dekkers puts natural and artificial materials next to each other: alum and polyurethane. Both materials possess the property of growth. But to what extent do you, as a maker and a person, have control over and influence on this growth? The parasitic humanity refers to our human need for growth and the negative consequences that has on the earth. DESIGN: GEOFFREY PASCAL PROJECT: GRAFEIOPHOBIA: UNEXPECTED OFFICE INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: PUBLIC PRIVATE If you’re grafeiophobic, that means you’re afraid of desks. Geoffrey Pascal designed a series of furniture that could replace our traditional office chair. Sitting in a chair is tiring for your body, especially if you do it all day long. If you adopt a reclining posi - tion, your weight and muscle use are more evenly distributed. Geoffrey was inspired by the postures of people who work from their bed – because some people actually enjoy doing that. SANNE SCHENK SELECTION COMMITTEE ‘Original design vocabulary – something that finally breaks free from office furniture.’ DESIGN: TIM TEVEN PROJECT: DUCTILE ASSEMBLY INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: PUBLIC PRIVATE INSTAGRAM.COM/TIMTEVEN_STUDIO The construction of this cupboard is extremely strong, but there are no connecting elements involved. The aluminium tubes and acrylic panels are treated and shaped in such a way that they support each other. It’s an interesting exercise for both consumers and the industry, who don’t dare to do such research. 74 75 graduates

6. FOLKS & DUDES The Folks Magazine and Dude are launching a new, adven - turous, Amsterdam-based event called Folks & Dudes , where the location always matches the theme. The first edition is located in the new, circular Hotel QO in Amsterdam and will focus on creativity and sustainability. The speaker is David Snellenberg, founder of Dawn and co-chair of ADCN. The Folks Magazine has a mission: to tell stories about creative courage and change. They uncover stories from Amsterdam’s creative sector. But it’s not about trendy interiors or beautiful things. The Folks writes about people – and that ties in with Dude’s focus on designers and how they think, work and do business. The first event brings a combination of creativity, adventure and entrepreneurship to the forefront. Three young creatives will pitch their sustainable idea or start-up plans to Snellenberg, who will review each separately based on originality, completeness and feasibility. 10 November 2018 bno.nl/dude thefolksmagazine.com The LOEWE Craft Prize is fairly new: launched in 2016, the international prize aims to show the value of artistic vision and modern craftsmanship to the general public. Craftsmen, designers and makers can register now for the third edition of the prize. The deadline is 31 October 2018. The prize focuses on the entire scope of applied arts, such as ceramics, book binding, jewellery, furniture and glasswork. Submissions are limited to (partially) handmade, original work that’s a maximum of five years old and has never received a prize before. The winner of the LOEWE Craft Prize 2019 will go home with 50,000 euro. The winning design, along with the other finalists’ work, will be included in an exhibition – last year at The Design Museum in London, and next spring in Japan – with an accompanying catalogue. 31 October 2018 loewecraftprize.com Simone Pheulpin, special mention 2018 Takuro Kuwata, special mention 2018 Jennifer Lee, winner 2018 Are nutrients important? Not when we’re buying food – its presentation plays a major role, and we’re drawn to the packaging, name and promises these products make. The exhibition Food is fiction lets you see, hear and taste how we’re willingly tempted by attractive design and delicious promises. Visit the ‘fictional supermarket’ to discover how we come to believe whatever we see and hear. Through workshops and interactive lectures, you’ll experience firsthand how we satisfy our daily hunger for stories, meaning and desires with themes like authenticity, craftsmanship, nostalgia, health, patriotism and lust. After Food is fiction, everything will taste different... until 28 October 2018 designmuseum.nl FOOD IS FICTION LOEWE CRAFT PRICE 10 11 shares & likes dude

37. hidden potential wearcare WITH COMPLIMENTS This graduation special wouldn’t have been possible without our sharp and experienced selection committee. Dude would like to thank Chloé Rutzerveld and former dudes Jeroen Barendse, Joost Jansen, Gijs Kast, Simone Post and Sanne Schenk. JEROEN BARENDSE SELECTION COMMITTEE ‘This explains a major problem in a simple way, without pointing fingers. It’s a breath of fresh air among all the other world- changing projects because it offers a clear and practical alternative.’ DESIGN: JORN VAN STEIN PROJECT: HIDDEN POTENTIAL INSTITUTE: HKU, UTRECHT DEPARTMENT: PRODUCT DESIGN JORNVANSTEIN.NL Hidden potential shows the beauty of the materials found at a building supply shop. Jorn van Stein brings these materials – which aren’t usually visible after they’re used – to the surface and gives them new and different applications. DESIGN: EEF BEUSEN PROJECT: WEARCARE INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND ACTIVITY EEFBEUSEN.NL Doing laundry too often isn’t just bad for your clothes – it’s also more expensive than you realise and is harmful to the environ - ment. Every time you do the wash, countless plastic fibres from your clothes end up in rivers and oceans. These fibres are too small to be filtered out of the water. Clothes are often thrown in the laundry basket after only one wear. But airing them out, brushing them off or steaming them is often enough to make them wearable again. Therefore, Eef Beusen designed a garment rack with a built-in steamer. If you take care of your clothes properly, they not only last longer – you can greatly reduce your ecological footprint, too. Strong, smart, surprising or innova - tive in concept, execution, originality or commercial insight. We found thirty fresh new Dutch designers whose work certainly meets those criteria. In this graduation special you ’ ll see the winning projects, hear a few compliments from the selec - tion committee, and find out what five of last year's graduates are up to. 72 73 graduates dude

50. The electronics is filled with unethical issues. But mobile phone brand Fairphone believes that change can come from the inside out. About five years ago, they started a movement to make the electronics industry more sustainable and create social impact. By showing what’s possible, Fairphone is motivating the rest of the industry to make more respon - sible choices. The Fairphone community now includes 150,000 owners, but to make a bigger impact, the company wants to grow. As part of this goal, Fairphone asked Dietwee to help create their crowdfunding campaign. Dietwee produced the champagne video and filmed it completely with a Fairphone. In just over a minute, the video shows what Fairphone does and what they stand for – and the story is told by members of their own community. The company aimed to raise 1 million euro. However, within the allotted time, 1,800 people invested, raising a total of 2.5 million euro. Never before have so many people invested in a Dutch crowdfunding campaign. And that’s something to be proud of. dietwee.nl NEVER BEFORE HAVE SO MANY PEOPLE INVESTED IN A DUTCH CROWDFUNDING CAMPAIGN DIETWEE LET ’ S STRETCH TOGETHER AEROPRINT Creative design comes with specific requirements for the production process. Turning ideas into reality demands crea - tivity, and producers have to be prepared to adapt to designers. But that’s just the beginning. During Dutch Design Week, held in Eindhoven from 20 to 28 October, Erwin Koerts from Drukkerij Aeroprint will talk about the role of producers when it comes to challenging designs. Erwin Koerts discusses ‘stretching’, a concept that removes nearly all the barriers between creators and makers. Designers have to be able to think completely outside the box, and the production process should encourage that. ‘Too often, comments like “it’s not possible” or “it won’t work” are motivated by “it’s too difficult” or “I don’t want to”. Of course, that’s not how the creative process should work. Although budget is often a limiting factor, we try to turn it around: What’s the actual budget, and how can we achieve as many aspects of the design as possible without sacrificing the final result that the designer had in mind?’ Erwin Koerts will talk about his experience with brands, designers and the way his company handles demanding projects, in order to achieve perfect results. Want to come to Dutch Design Week on Friday 26 October to hear what Drukkerij Aeroprint has to say about Creative Stretch? Email us at ddw@aeroprint.nl. We start at 2 pm and have a limited number of tickets available. aeroprint.nl Every Dude is a joint production of the BNO and their partners. This edition of Dude wouldn ’ t be possible without the support of creative agency Dietwee, paper supplier Antalis, printing company Aeroprint and bindery Brepols. On the following pages, they each present a project that illustrates the love with which they practice their profession. 98 99 partners partners

3. Discover he real brand inside ou. 14 6 25 CONTENTS 71 CHLOÉ RUTZERVELD Food and concept designer Chloé Rutzerveld prefers to call herself a food futurist. With her provocative and speculative concepts she wants us to think about our food and the potential influence of technology on it. ‘We really need to learn to look differently at our food. Above all, that requires knowledge, and plenty of it.’ ARTICLES CONTINUED 34 We are what we eat CAREER 38 Van Eijk and Van der Lubbe TALENTS 44 Talent, or where to find it CAREER (REPRISE) 50 Automotive queens & kings CHANGES 54 Ruben Pater BUSINESS 58 Mind your own business INTERNATIONAL 62 Addikt ESSAY 68 Friction about fiction CHEMISTRY 94 ZwartFrame YA-SPECIAL Strong, smart, surprising or innovative in concept, execution, originality or commercial insight. We found thirty fresh new Dutch designers whose work certainly meets those criteria. In this graduation special you’ll see the winning projects, hear a few compliments from the selection committee, and find out what five of last year’s graduates are up to. COLUMN TIMO DE RIJK 6 SECTIONS SHARES & LIKES 8 DUDELICIOUS 27 SHOP & SALES 96 PARTNERS 98 COLOPHON 103 5 dude

25. Presented by Main sponsor Sponsor Public partners Event partner Media partners Kossmann. dejong Kossmann. dejong Amsterdam agency Kossmann.dejong designs exhibitions. Or, as they say them - selves: the agency tells stories with carefully designed spatial experiences. Their prize- winning work can be seen worldwide. After bringing in several new assignments, the agency had to hire a number of fresh faces in recent months. The team now consists of 30 people, including a core group of 15 employees, and three internships that are nearly always filled. Since the beginning of this year, designer Robert van der Linde has also been respon - sible for the agency’s HR activities. He often involves his fellow designer Michèl de Vaan in the search for the right new employees. It’s obvious that the candidates need to meet the requirements in terms of design and technical expertise. ‘Being able to work in a structured way and think analytically about exhibitions is very important. It’s equally crucial for them to be able to think from the perspective of the exhibition’s visitors.’ Additionally, both designers emphasize the social aspect. ‘What roles can someone play within the team? Can they successfully discuss the exhibition we’re working on and their contribution to it? To what extent does the candidate explicitly put their stamp on the end result – or can they easily put their ego aside; are we dealing with a real team player?’ They’re certainly not just looking for one type of employee. ‘Having variety within the agency is extremely important – especially considering the wide range of projects we’re often working on for long periods of time. People with short attention spans, for example, might quickly lose focus and interest.’ For Kossman.dejong, recruiting new emplo - yees is mostly done via advertisements on bno.nl. Furthermore, they keep in touch with their interns, and many return to work there full time after graduation. In practice, it’s much more challenging to find people at the mid and senior levels. ‘They’re often strongly shaped by the agencies they’ve worked for in the past. In addition, they may lack the specific skills necessary to success - fully function at the required level within our agency.’ But in that respect, it also means that junior employees have more room to grow: ‘With our junior colleagues, we only expect that they’ve found their place in the team and have mastered the culture after a year. Ultimately, it’s about finding the right match.’ KOSSMANNDEJONG.NL right match PATRICK AARTS BNO ‘Whether it concerns specific skills or more general abilities, it’s a smart career move to keep working on your own develop - ment – and that applies to employees as well as entrepre - neurs. For interior architects, completing a traineeship after graduation is actually mandatory. Did you know that the BNO Academy offers recognised training modules for this?’ BNO.NL/ACADEMIE ‘ are we dealing with a real team player? ’ 48 dude

13. have to be made to her concept. For example, attempts were made to bring her stroop - wafels – one of her most concrete projects – to market. But to ensure they didn’t spoil, some things had to be changed, and they needed to add more sugar. That meant the stroopwafels would have actually become sweets, and unhealthy, which would have diminished the strength of the entire concept. So are her projects ever really finished? ‘I never really feel like something is truly done, but I’m at peace with that. If you look at it very critically, my projects are always the beginning of something that could take root in society. But at a certain point, I’m no longer involved. When I’m done with my research, know what I’m going to do with it and have structured it, I’m actually not very interested in it any more. That comes back once I’m working on the best way to get my ideas across to the general public: How can they optimally experience the concept? What kind of discussions do I want to spark? I help bring them to life in the best possible way, with prototypes, installations, experi - mental dinners, or by giving presentations. Afterwards, I hope that the ideas will be picked up by scientists or chefs so that they can take them to the next level.’ Chloé works in extreme peaks – not only during projects, but also in between diffe rent projects. ‘Apparently, I can’t find balance in what I do. It has to be full throttle or not at all; I have to spend a month hiking or some - thing. I need time to reflect and find new inspiration. I mainly get that from nature and science, and not from other food design.’ She’s come to accept that this is how she works, especially since she noticed that she reached her limit at a certain point. ‘For years, everything has been about my work. I don’t see it as work; it’s who I am. But everything else suffered because of that. For a while I had very little connection with others outside my work and found it difficult to discuss trivial, non-work-related topics. In my envi - ronment, that was tough. Last year after Dutch Design Week I realised that I needed a break. I had often been asked why I didn’t have something physical, like a book about my work. And now I thought: “That might be a good idea and would give me the feeling that I had actually finished something.” In addition, a book offers a more accessible way for people to start engaging with the questions that I pose. I thought it would be great to share my recipes, experiments and research, and to make a publication with an open-source character. You might think that’s stupid because I could earn money from that now. But if I have to choose between earning money and doing what I love, I’ll take the latter. If other people use my ideas, their impact will only increase.’ ‘ t he c oo k i e s t h e m s e l v e s d o n ’ t re a lly exc it e me; FOOD FUTURES For her book Food Futures: How design and technology can reshape our food system Chloé worked closely with Studio Lisa, who created the illustrations. WWW.BISPUBLISHERS.COM Future Food Formula , 2017 24 25 dude

44. in pursuit of tactility haptic pedal DESIGN: STUDIO PMS PROJECT: IN PURSUIT OF TACTILITY INSTITUTION: HKU, UTRECHT DEPARTMENT: FASHION DESIGN STUDIOPMS.NL It’s common knowledge that the fashion industry is anything but sustainable. Over - production and waste are just the order of the day. Can digitalising the design and production process bring about change? Studio PMS put it to the test. The trio designed their own fabric collection and used 3D photography, animation and virtual reality to make sure it could be optimally experienced, even if you can’t physically touch it. Tactility and movement were depicted with lifelike realism, and the interactive experience with the fabric and collection gained an extra dimension with a specially designed soundscape. SIMONE POST SELECTION COMMITTEE ‘Great ambition! So much of the clothing that’s made never even ends up in stores. A realistic, beautiful and tactile virtual experience like this could save a lot of unnecessary production. Buy it first, and then make it!’ DESIGN: SARAH BRUNNHUBER PROJECT: WEAVE (K)NOT WASTE INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND IDENTITY In response to the flood of waste in the fashion industry, Sarah Brunnhuber devel - oped a technique to keep the amount of waste generated during the production phase to a minimum. Clothes are woven for specific patterns and are assembled with knots instead of sewing. The result: less cutting and sewing waste. While the fashion industry is focused on hiding the details of production as much as possible, Sarah shows off her production methods and celebrates the way clothing is made. SANNE SCHENK SELECTION COMMITTEE ‘Beautiful and well thought-out.’ Photo: Isabelle Mauduit DESIGN: ALEX DE RUITER PROJECT: HAPTIC PEDAL INSTITUTE: TU/E, EINDHOVEN DEPARTMENT: INDUSTRIAL DESIGN To encourage fuel-efficient driving, Alex de Ruiter designed a gas pedal that gives drivers feedback on their driving behaviour. These days, reducing our energy consump - tion is of utmost importance. This project demonstrates how interaction design can contribute to sustainable transport in an intuitive and effective, yet subtle way. SANNE SCHENK SELECTION COMMITTEE ‘Interesting technical develop - ment and nice thought process.’ weave (k)not waste 87 graduates dude

47. return to default mating dance wova DESIGN: FREA ZWAAG PROJ EC T: WOVA INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND ACTIVITY FREAZWAAG.NL Anyone who lives in a small space and has a garden will be delighted by Wo va . This smartly designed sofa is suitable for both indoor and outdoor use. If you slide the armrests out from under the sofa, two small chairs appear. Just like the rest of the sofa, they’re made from stainless steel and waterproof, dirt and stain-repellent material. What happens if you digitally stretch, inflate and deform three extremely boring standard office chairs? You might get a three-seater sofa, a thick conference chair or an armchair that looks like a spider. Moreno Schweikle and Janne Schimmel used a 3D printer to make their strange sitting objects a reality, then upholstered them and brought them back to the office. Why only recycle materials when you can also recycle shapes? GIJS KAST SELECTION COMMITTEE ‘It’s just really funny.’ DESIGN: JELLE RUBEN REITH PROJECT: MATING DANCE INSTITUTE: ARTEZ, ARNHEM DEPARTMENT: INTERACTION DESIGN JELLEREITH.NL Services like Google, Facebook, Snapchat and Tesla are powered by self-learning algorithms. These artificial neural networks might seem like they don’t make mistakes, but Jelle Ruben Reith shows that’s not true. Mating dance consists of two silicon robots, each with its own untrained neural network. The robots have a day to train themselves and perform a mating dance. To achieve this, they need to figure out what they are, what they look like, how they move and what kind of material they’re made out of, as well as learn which environment they’re in. Their learning strategy is trial and error. By endlessly trying out different kinds of moves, the mating ritual ultimately comes to life. JEROEN BARENDSE SELECTION COMMITTEE ‘Interesting and poignant instal - lation about self-learning systems and the mistakes they make. The combination of neural networks and mechanics make it an impressive installation.’ CHLOÉ RUTZERVELD SELECTION COMMITTEE ‘Simple, practical and cleverly conceived.’ DESIGN: MORENO SCHWEIKLE AND JANNE SCHIMMEL PROJECT: RETURN TO DEFAULT INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND COMMUNICATION INSTAGRAM.COM/SCHIMMEL_AND_SCHWEIKLE 92 93 graduates dude

27. people from six different degree programmes at the TU/e in order to completely focus on the Bridgestone World Solar Challenge. Stella won the Best Technology Achievement Crunchie Award. With a ‘hero team’, as Van Ham calls the roughly 70 industrial designers, engineers, developers and high-tech, electronics and software specialists, they now develop nearly everything in-house at the Automotive Campus Helmond. ‘Solar panels, cell inte - gration, the electronics, and making the car efficient – we do all of that ourselves with our people from the TU as well as people with valuable expertise who’ve come from compa- nies like Tesla or Ferrari. We outsource a few things that can be done better by others – for example, we work with a design agency in Turin and an engineering company in Germany.’ The orders are already coming in. ‘It confirms that there’s a lot of demand for Lightyear One.’ DESIGN RIDES Someday, Dutch Design Week (DDW) visi - tors might be transported to and from the various DDW locations in Eindhoven in a solar-powered Lightyear One. This year, they ways of getting around and did qualitative and quantitative research on the car of the future. Her graduation project, ‘Value-driven mobility design for future cities; a vision for 2040’, is about the ambitious goal of persuading Mercedes Benz drivers to give up their cars. How do you change the don’t- touch-my-car mentality? Which values does that require? ‘If you want to bring about a change in behaviour, I think that emotions and values are more important than pure facts’, she says. Roodbeen discovered that Mercedes-Benz users have a number of traits in common: security (a safe living environment, harmony, stability), self-direction (making your own choices, freedom) and benevolence (caring for loved ones). For them, she designed a platform to help (future) friends and neigh - bours travel together. They form a club of like-minded people who take similar routes to work, listen to the same music and pod - casts, and so on. ‘The shared car belongs to everyone in the network, but you still have the feeling that it’s yours’, she says. ‘In the future, we’ll have more autonomous, self-driving cars that will increase mobility in the city; the number of cars will decline, can do it in an electric ZOE from Renault; based on Renault’s and DDW director Martijn Paulen’s shared ambitions for sustainability, the brand worked with DDW to provide 45 cars for the event – a service called Design Ride. According to Jos van den Bergh, Marketing & Communications Managers at Renault Nederland: ‘With events like these, Renault can present itself as a brand that stands for design, innovation, sustainability and the future. In addition, we want to apply our designer philosophy more broadly and appeal to new audiences that you can’t reach in the traditional way with commercials.’ Like Renault, luxury car brand Lexus organises an annual international design competition that, according to Yoshihiro Sawa, designer and president of Lexus Inter - national in Japan, was created to support and promote up-and-coming design talent. ‘Design has always been leading within our company – it influences everything that Lexus does and goes far beyond the car itself’, says Michael Tripp, general manager of Lexus Brand Communication & Experience from the US. ‘It also offers us a platform to tell our brand story and to get in touch with but the amount of driving will increase’, she predicts. ‘I just read an article in The Guardian that said Daimler and Porsche are digging their own graves if they keep doing business the same way. That’s why I hope my research sparks some change.’ Because she’d rather not work in Germany – despite the fact that many good car brands are based there – it’s her dream to learn more in the Netherlands and use her inquisitive nature to contribute to change. ‘I want to come up with beautiful, sustainable systems as a Service and Interaction Designer in the automotive world.’ Van Zeumeren also has an Interaction Design degree with a specialisation in Auto - motive Design. ‘I’d prefer to start at a small agency that frequently works with auto - motive-related companies. As a designer, I find it interesting to think about the entire process; I don’t want to focus on one small part – I want to design the experience before, during and after the car ride.’ LIGHTYEAR ONE Five passionate alumni from the TU Eind - hoven (TU/e) even achieved the dream of creating their own car brand: Lex Hoefsloot, (future) drivers who are interested in design, luxury and quality, and who are looking for new experiences and inspiration.’ After talking to Dutch designers, it seems that the Lexus Design Award is virtually unknown here. Of the over 4,200 entries from around the world, only three of them came from the Netherlands this year. That’s a shame, because this serious award features international juries that include top archi - tects and designers – and each of them coach one of the six finalists. The finalists also show their work during Milan Design Week and they receive 25,000 dollars and guidance to further develop their concept into a working prototype. ‘We have close contact with design academies in Asia and Australia. Now it’s our job make sure we get the atten - tion of design students in the Netherlands’, says Tr ipp. LEXUSDESIGNAWARD.COM LIGHTYEAR.ONE RENAULT.NL/DESIGNAWARD Martijn Lammers, Qurein Biewenga, Arjo van der Ham (CTO) and Koen van Ham (head of design) and their rapidly growing team are working on the first almost entirely solar-powered family car: Lightyear One. ‘We’re combining all of our skills to contri - bute to a better world: Lightyear One has the potential to reduce CO2 emissions and can convert the sun into kilometres’, says industrial designer Koen van Ham about their ambitions. ‘We also want to ensure that people in developing economies who are gaining more access to cars don’t all drive ones that run on petrol.’ Van Ham knows that with a small car brand, their chance of survival in the automotive industry isn’t good. ‘Developing a car is a capital-intensive sport and we have to keep doing new investment rounds to take the next step in developing our car. We’re still here because we already have so much know how from our previous solar team’, he says. He’s referring to his prototype Stella, the world’s first solar-powered car, which these designers came up with in 2012. To make it, they temporarily interrupted their studies and put together a team of twenty-one The founders of Lightyear One. Photo: Bart van Overbeeke Testing Hypotheticals by Extrapolation Factory, winner of the Lexus Design Award 2018 EXPERIENCE AMAZING Designers can submit their designs for the 7th edition of the Lexus Design Award until 28 October 2018. The finalists’ concepts will be on display during Milan Design Week 2019. LEXUSDESIGNAWARD.COM ‘ we also want to ensure that people in developing economies who are gaining more access to cars don ’ t all drive ones that run on petrol ’ 52 53 career (reprise) dude

32. * namasté Addikt * Cricket is a way of life in India. Young and old, rich and poor, from rural villages to big cities, cricket is watched and played every - where. The number of cricketers is estimated at about 100 million. The number of fans falls around half a billion. And they all watch the matches that are broadcast on TV. Online, the reach is even greater: the world’s most popular cricket competition, the Indian Premier League (IPL), can count on about 1.2 billion ‘eyeballs’ – hits and clicks – per year. In comparison, American Major League Baseball is insignificant, and Dutch Eredivisie football is small potatoes. It may seem unlikely that the tournament’s idents (short animations played during TV and online broadcasts), promos and other online branding tools are conceived and made in the Netherlands, the land of the small potatoes. But it’s only hard to imagine if you’re unfamiliar with Addikt’s work. This Amsterdam-based agency, specialised in motion design, can apparently just as easily create an animated visual identity for AkzoNobel or BNNVARA as for a cricket tournament that’s unparalleled in size and scale. On this Friday morning in August, Addikt can add another high-impact client to its already impressive list. Barry Schwarz, co-founder and creative director of the 12-person studio – including the small office in Mumbai – has just got the green light from India’s most respected film and TV award show. The event, also called the Bollywood Oscars, wants to become a ‘living brand’. In other words: a dynamic brand that can take on various manifesta - tions. Schwarz uses the term to mean the opposite of a static logo. ‘These days, brands exist more on-screen than off. That requires flexible brand designs that lend themselves to all kinds of variations while at the same time conveying a consistent story, regardless of the channel.’ To stand out among the flood of images that fight for our attention every day, Schwarz believes that brands must be surprising and radiate authenticity. Imagery, as well as movement and sound can help achieve that. ‘In the same way that you can recognise a person by how they walk or talk, you can also distinguish a brand based on sound or movement. We use the term “living brand” Creative agency Addikt brings brand identities to life. Especially in India, their motions designs are in high demand. If it were up to co-founder and creative director Barry Schwarz, in a few years ’ time, the rest of Asia would come knocking as well. They ’ ve already taken the first steps: a sales office in Mumbai and a local business partner in New Delhi. The cultural differences are the most daunting aspect, but also the most fun, Schwarz believes. And then there ’ s the difference in scale... TEXT KIM HOEFNAGELS IPL Star Sports Cricket Live 62 63 63 62 international dude

23. Silo Silo Silo, a creative agency in The Hague, specialises in digital design and branding as well as spatial design – like signage and the graphic identity of interiors. ‘It’s a com - bination of disciplines that you don’t often see in the design world. And for Silo, it’s valuable for attracting new staff’, says Dennis Flinterman, partner and managing director of the agency. Right now, 20 people work at the agency. They don’t have a separate human resources department focused on attracting new employees; that task falls to the managing director and office manager, with support from the marketing specialist. ‘We invest a lot of time in recruitment’, Flinterman states, ‘but it’s essential if you want to continue expanding your organisation. So we always keep our eyes and ears open.’ That constant attention is important: although they mainly find candidates for junior positions through academies and internships, the experienced designers who fill their mid and senior-level roles often come from their own network. ‘That doesn’t mean that we don’t post any vacancies. But to be certain that we find the best candidates, we also need to reach out to our network.’ The agency is growing and recently opened a second office in Amsterdam. According to Flinterman, it comes with multiple benefits: ‘We can better serve our Amsterdam-based clients, and we’re also a more attractive employer for the many talented designers living in the capital.’ He says that times have clearly changed now that the financial crisis is behind us. ‘It’s true that freelancers are increasing going back to full-time employment, but despite that, real talent is becoming scarcer and in general, people have more options.’ The options for talented designers are also increasingly coming from other sectors. ‘Silo is focusing more and more on strategic issues and concept development, and the designers we’re looking for have to fit that profile. As a result, we’re competing with accounting and consulting firms, who also employ designers.’ When hiring new staff, Silo takes its time. The application process includes a minimum of three rounds of interviews, and several of the company’s employees join these meetings. ‘That gives us a broad, clear impression of the candidates, and the applicants also know where they stand’, says Flinterman. Once someone is hired, their future remains an ongoing topic of conversation. ‘What do you want to achieve? What skills do you want to improve? Where do you see yourself in five years? By offering our employees the opportunity to gain a broad foundation and continue growing, we hope they’ll stay with our agency for a long time.’ SILO.NL Design degrees don ’ t necessarily prepare students for a future as an employee of a creative agency. After graduation, many young designers seek adventure as independent designers or entrepreneurs with their own studio – sometimes as part of a collective. Therefore, it ’ s not always easy for design agencies to find new talent. So what do they do to attract and keep talented designers? TEXT PATRICK AARTS , VICKY FASTEN , RITA VAN HATTUM AND MARKUS PRAAT desirable workplace ‘ talent is becoming scarcer and in general, people have more options ’ MARKUS PRAAT BNO ‘No two creative agencies are the same, so take a good look at an agency’s portfolio before you apply for a job. What clients do you want to work for? Which ways of working and what projects appeal to you? Silo, for example, offers exposure to a wide range of disciplines – an ideal oppor - tunity, certainly at the start of your career. But the agency also focuses heavily on strategy, which means that projects may take longer or explore issues in more detail. You can get to know our design agencies on our new website.’ BNO.NL/MATCHMAKING Photo: Thijs Wolzak talent, or where to find it talent, or where to find it 45 talents

43. a talking lamp and others minute manufacturing elements of construction DESIGN: LAURA BOLSCHER PROJECT: A TALKING LAMP AND OTHERS INSTITUTE: SANDBERG INSTITUTE, AMSTERDAM DEPARTMENT: MFA REINVENTING DAILY LIFE LAURABOLSCHER.COM A talking lamp and others is a two-part inter - active installation that uses speech as its starting point. People talk to each other every day and speech is one of our most important forms of communication. But how do you experience things if you’re not allowed to speak? And what would happen if an object invited you and a few others to talk about the visual power of language? During the conversation, physical actions ensure that words become tangible and they’re replaced by images. Photo: Sander van Wettum DESIGN: DIEGO FAIVRE PROJECT: MINUTE MANUFACTURING INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND WELL-BEING THEDIEGOSCOPY.COM Time is money, but time is certainly also results. In his Minute manufacturing ‘factory’, Diego Faivre makes products out of waste. All of his products are finished with self- drying coloured clay: Diego dough . The price of the products is determined by the time spent making them. The quality of the design also depends on how long it takes to make. With his project, Diego Faivre questions the traditional way in which we assign value to objects. DESIGN: WILLEM VAN HOOFF PROJECT: ELEMENTS OF CONSTRUCTION INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: PUBLIC PRIVATE WILLEMVANHOOFF.COM Reinforced concrete is a common construc - tion material. It’s all around us and allows us to create large buildings on a grand scale. Willem van Hooff deconstructed this extremely strong combination of materials and gave the concrete and steel each their own function and aesthetic value in sculp - tural pieces of furniture. Together, the pieces make up an urban landscape. JOOST JANSEN SELECTION COMMITTEE ‘Nice idea and clearly executed.’ Lamp made in 240 minutes, Chair made in 200 minutes Photos: Pierre Castignola / Charlotte Calzas dude graduates

26. au to moti v e qu e en s & king s au to moti v e qu e en s & king s au to moti v e qu e en s & king s au to moti v e qu e en s & king s au to moti v e qu e en s & king s au to moti v e qu e en s & king s au to moti v e qu e en s & king s au to moti v e qu e en s & king s au to moti v e qu e en s & king s au to moti v e qu e en s & king s This story is not about putting more cars on the road – whether they be hybrid, electric, solar - powered or self - driving – nor is it about the latest C - class or the most powerful internal combustion engine. It ’ s about the relationship between car brands and the design world. And it ’ s often Industrial Design students at technical universities, with their critical questions and clever visions of the future, who are driving change in the automotive world. TEXT VIVEKA VAN DE VLIET Car brands have been flirting with the design world for quite some time – not only because, just like vases or chairs, they’re designed by creative teams, but also because they want to give young designers a chance, make connections in the design world and tap into new consumer audiences (even if they only reluctantly admit to the latter). For example, students at design academies and technical universities are often encour - aged (whether or not by teachers) to partici - pate in their design prizes. BMW has close ties to the iF Awards, Lexus presents the Lexus Design Awards during the Salone del Mobile in Milan and Renault has the Renault Design Award. Apparently, Dutch designers from the TU Delft and TU Eindhoven are exceptionally good. Jos van den Bergh from Renault Nederland talks about the ‘leading degree programmes from which many move on to the automotive industry.’ They are equipped with a critical way of questioning and the ability to come up with creative new ideas for cars of the future, like a hip self-driving private club, mobile office, storage space, commu - nity, pop-up store, guestroom or simply a more sustainable means of transport. Just ask Jeroen van Erp, co-founder of multi- disciplinary agency Fabrique and professor of Concept Design in the Industrial Design department at TU Delft: ‘The Dutch, and especially Industrial Design alumni, are the true kings and queens of the automotive world’, he says. ‘At least 20 people from the Netherlands are leading figures in the field, including Laurens van den Acker (Renault) and Adrian van Hooydonk (BMW). Very impressive.’ TEAM LOVE Elmer van Grondelle, who’s been Program Manager of Advanced Automotive Design at the TU Delft for many years, knows many of these (future) kings and queens personally. He asked a number of his students, including Nadieh Roodbeen, Evita Goettsch and Ilse van Zeumeren to participate in the Renault Design Award 2017, which was set up for the first time in collaboration with TU Delft because of its specific theme: the car of the future. Van Grondelle coached the students up to the very moment they gave their pitch to Laurens van den Acker, Senior Vice President Corporate Design at Renault. For the pitch, six duos designed the ultimate car of 2030 based on one of the six stages of life from a design philosophy formulated by Van den Acker, depicted in the shape of a flower: Love, Explore, Family, Work, Play and Wisdom. He named the (only) female pair the 2017 winners: Team Love from Evita and Ilse. ‘We thought it would be a good challenge to design a sports car that aligned with a woman’s way of thinking and was inspired by the female body’, Ilse van Zeumeren says about her concept. Based on a study of 80 women, they concluded that practicality and comfort, as well as sexiness and style, were the most important aspects. Tied to their theme of love, the two women combined the feeling of excitement when meeting someone for the first time with excitement as a metaphor for the sports car. Just like a dating site, you can match cars to get to know each other better. Part of the prize was an internship at Renault’s design centre in Paris. ‘It gave us a look behind the scenes at a major company with very inspiring people and departments’, Van Zeumeren says. FUTURE FORESIGHT For Nadieh Roodbeen, who participated in the Renault Design Award 2017 with Lucas van den Elshout as Team Work, it was a very educational experience. The industrial designer has a master’s in Advanced Auto - motive Design from TU Delft, and after graduating, completed an internship at Mercedes-Benz (Daimler) in Germany. Here, in the ‘Future Foresight’ department, she got the opportunity to ask critical ques - tions about alternative, more sustainable ‘ we thought it would be a good challenge to design a sports car that aligned with a woman ’ s way of thinking ’ Evita Goettsch and Ilse van Zeumeren, winners of the Renault Design Award 2017 Lightyear One, designed by five alumni of the TU/e 51 career (reprise)

39. measuring movement mechanical metamaterials DESIGN: DIEDE BONGERTMAN PROJECT: KRAP (BROKE) INSTITUTE: ARTEZ, ZWOLLE DEPARTMENT: GRAPHIC DESIGN DIEDE.CARGOCOLLECTIVE.COM Do you spend 50 euro on a new pair of trousers that you desperately need, and then have hardly anything to eat for a week... or do buy groceries instead? The average Dutch person doesn’t have to face these kinds of decisions. But even in the Nether - lands, poverty is a growing problem, and it’s often invisible to the outside world. Diede Bongertman designed an installation where visitors are confronted by hidden poverty. Pull a ‘setback number’ and experience the endless stream of dilemmas and disappoint - ments that people living in poverty must contend with every day. With her installation, Diede wants to improve understanding and eliminate stigmas – because poverty can happen to anyone. DESIGN: BART SCHALEKAMP PROJECT: MEASURING MOVEMENT INSTITUTE: HKU, UTRECHT DEPARTMENT: PRODUCT DESIGN BARTSCHALEKAMP.CARGOCOLLECTIVE.COM Measuring tapes entice you to play. But what can you actually do with this flexible, yet rigid material? Measuring movement is a machine that shows you the possibilities – by playing with multiple measuring tapes at the same time. While it may seem like you can sense a rhythm, the machine never makes the same movement twice. DESIGN: DAVIDE AMORIM PROJECT: MECHANICAL METAMATERIALS INSTITUTE: TU/E, EINDHOVEN DEPARTMENT: INDUSTRIAL DESIGN DAVIDEAMORIM.COM No two people are the same. Isn’t it strange that our shoes don’t reflect that? The same shoe is meant to be worn by people of varying weights with completely differently shaped feet. Davide Amorim conducted research on personalising our shoes and developed a sole that’s composed of a variety of material structures. Depending on the wearer, the metamaterials adapt to their needs. broke HOW ’ S IT GOING WITH... MAXE VAN HEESWIJK, 2017 GRADUATE INSTITUTE: TU DELFT DEPARTMENT: DESIGN FOR INTERACTION / INDUSTRIAL DESIGN ENGINEERING Well before she began studying, Maxe van Heeswijk wanted to design an aeroplane or caravan. She still finds complex and comprehensive issues related to mobility incredibly interesting. ‘I prefer to be in the position of the “middleman” between the designs, and the research on how people interact and move most comfort - ably’, Maxe says. After an internship at Mijksenaar way- finding experts, where she worked on a project for Schiphol, she applied for a job at Mecanoo, an architecture firm. She’s been working there as an industrial designer since November 2017. In addi - tion, she’s the co-founder of Studio Fietslint, created after both designers won a mobility challenge from the city of Rotterdam. Their smart idea to make people more comfortable biking – another form of wayfinding – was implemented last year as a pilot project in Rotterdam. ‘I don’t really have time for my own com- pany – I’m working full-time at Mecanoo on an exceptional project for the firm: it’s an interior of the future that will be presented during DDW at Strijp-S. It’s an educational dream project’, she says. 76 77 graduates

45. régénéré DESIGN: STUDIO EFFE (EEF BEUSEN AND FREA ZWAAG) PROJECT: FESTIFOLD INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND ACTIVITY STUDIO-EFFE.NL You’ve seen it before: abandoned festival grounds and adjacent campsites, littered with plastic cups and other rubbish. Studio Effe mapped out what visitors left behind. Surprisingly, tents are the biggest problem. One in four festival visitors doesn’t take their tent home after a weekend of partying! At the end of each festival season, 25,000 tents end up on the garbage pile. In response to this issue, Studio Effe designed a special festival tent made from recycled plastic. The tent is quick and easy to set up, can be used multiple times and is also easily recyclable. Visitors can rent the tents and they’re already set up on arrival. That means no more heavy lifting (or sweating!) while you’re trying to pitch your tent. SIMONE POST SELECTION COMMITTEE ‘Nice design from recycled plastic and it looks very cheerful! Very appropriate for a festival. Good audience – I think that the average festival-goer would really like this. Next year’s Lowlands should have at least one field full of these tents. And afterwards, they could move from festival to festival. I want to sleep in one!’ GIJS KAST SELECTION COMMITTEE ‘This literal depiction of the copying process delivers inter - esting imagery. It’s clever how she uses imitation to come up with something original.’ DESIGN: EVITA BOUWMEESTER PROJECT: RÉGÉNÉRÉ INSTITUTE: ARTEZ, ARNHEM DEPARTMENT: PRODUCT DESIGN EVITABOUWMEESTER.COM The fashion industry is nothing more than a production machine where collections are developed under a great deal of pressure and new products have to be in stores in just a few weeks. As a result, many of the items from big brands like Zara and H&M are heavily inspired by or copies of high-end labels like Balenciaga, Prada en Chanel. Is it possible to break this fast fashion cycle? With her project Régénéré , Evita Bouwmeester questions our consumerism and constant need for new clothes. She searched for the limits of copying by making copy upon copy upon copy, until she arrived at a new visual language. It’s a reinterpretation of the concepts of originality and authenticity. HOW ’ S IT GOING WITH... MILOU BERGS, 2017 GRADUATE INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND ACTIVITY After graduating, Milou Bergs planned to apply for jobs at design studios. However, the overwhelming attention she received during DDW for her graduation project ALIGN – a bicycle rack sunken into the ground – brought her in touch with a number of producers. Falco, one of the Netherlands’ largest street furniture manufacturers, saw potential in her smart design. The company is now working on developing the prototype into a full- fledged product. ‘I didn’t expect this at all’, says the industrial designer. Milou also won second prize from the Social Design Talent Award Eindhoven 2017. The award included a coach for six months. ‘He helped me with the business side, because I didn’t know much about that.’ In November last year, Bergs started her own design studio and joined Future More. During DDW 2018, this eight- person design collective is initiating a joint exhibition called Future Mythologies . festifold 88 graduates

48. frame game Bart Schalekamp (1995), Bernd van Riel (1994), Emilio Timp (1993), Jeroen van Veluw (1994), and Jorn van Stein (1989) didn ’ t fall into a black hole after their final exams this year. On the contrary: while they were still studying Product Design at the HKU, they formed the ZwartFrame collective, now located in Utrecht. Here they work on their own projects, often at the intersection of art and design, as well as joint projects for the BNO and Dutch Invertuals. TEXT VIVEKA VAN DE VLIET × PORTRAIT ELISE BORSBOOM second year at the HKU. ‘We shared the same mentality’, says Bernd. ‘We would all keep working until ten at night until our work was perfect. In terms of design and finishing, we all liked refinement. We appreciated each other’s work and thought that together we could be stronger than alone.’ ‘It’s evident, for example, by the fact that we support each other in both our individual and collaborative work, but you also learn a lot from critically examining and assessing your work and the work of others. That takes us to a higher level’, adds Emilio. Their passionate way of working – operating at the intersection of art and design with a fondness for experimentation and the conceptual – forms the founda - tion of their collaboration. Within it, the similar fascinations of these five individuals, combined with their different areas of expertise, create a beautiful cross pollination. For example, Bart and Emilio lean towards the visual arts. Before coming to the HKU, Emilio studied mechanical engineering and completed a related internship with Daniel de Bruin. He is inspired by the forces at play between infrastructure and mechanics which he translates into poetic sculptures, where these dynamics become visible. Fasci - nated by their unpredictable behaviour and physical phenomena, Bart brings together unlikely combinations of materials in kinetic sculptures. In contrast, Jeroen has a more eclectic design approach. He combines identifiable shapes to create new, functional objects. His intern - ship at Studio Mieke Meijer was a good fit for his fascination with industry, industrial architecture, construction, landscapes and his appreciation of the making process. Bernd and Jorn previously studied Interior and Exterior Design at SintLucas in Boxtel. Jorn observes how materials behave – both in functional and autonomous forms. He questions the original value and investigates the potential of materials and functions. His pieces are often narrative products that interact with the viewer. And Bernd is a researcher. With his unusual material combi - nations he makes objects and installations that incorporate physical phenomena, such as sound and electricity. We’re in the basement of a monumental building that once belonged to the Concordia insurance company and is currently managed by Leegstand Oplossers Utrecht (LOU), which offers temporary workspaces to artists, community initiatives and start-ups like ZwartFrame. Here you’ll find a few small machines, a workbench, tool-filled bins and a recent experiment with plaster. The entire quintet is present and we’re drinking coffee out of porcelain cups, one of Jeroen’s products. What’s remarkable about our conversation is that everyone talks roughly the same amount. What about their egos? It’s rare when egos don’t try to fight for attention, but these five are working for the collective, operate as equals, and guard the level of quality together. That’s not to say the friends don’t have tough discussions or challenge each other. They just play tug of war until the rope goes in the right direction for everyone. One example of a successful joint project was their participation in Mutant Matter by Dutch Invertuals during Milan Design Week 2018. It was the first time designers who hadn’t graduated yet were participating, as well as the first presentation by a collec - tive. ZwartFrame did that with Conflict , a research project and production technique based on the power of materials such as plastic and metal that expand and contract due to changes in temperature. ‘Conflict is a joint project that also shows what we stand for as individuals. Everyone is equal during the process and has their own role’, Bernd explains. The collective is flexibly organised and based on trust. ‘No one tries to slack off or keep tabs on the others. Everyone is full of ambition’, says Jorn. Sometimes three of them work on a project together, and some - times all five, but you can also step away to work on your own designs without feeling guilty or obligated. ‘Another advantage’, Bart says, ‘is that when someone’s doing really well, everyone benefits. And if one of us is having a tough time, the others are your safety net.’ In addition, with a group you can take on bigger projects that expand your network and visibility. For instance, ZwartFrame was delighted to be asked to participate in another Dutch Invertuals exhibition, and BNO asked them to do the set design for the YA Present! presenta - tion at Sectie-C in Eindhoven, both during Dutch Design Week 2018 in October. ‘The BNO project offers a great opportunity to play a role in curating, thinking about the space, and to giving a stage to our work and the work of the young alumni’, they say enthusiastically. With their design, Abstract Gym , they’ll bring YA Present! to life by encouraging visitors to step into the designers’ training field to discuss their work, ambitions and the future. After Dutch Design Week, the BNO will continue to advise ZwartFrame on expanding their company. That will start with a search for a larger space with a workshop that’s suitable for bigger machines. Then it’s time to get back to their own projects, start new collaborations with others and continue to grow. ZWARTFRAME.NL It’s very tempting to call these five designers a boy band, if only jokingly. But there are some obvious comparisons: everyone plays a different instrument and they all have their own signature and preferred materials and production techniques. Together, they form a design collective that serves as a platform for joint projects. There are plenty of design duos, but – perhaps because academies train students to become individual, all-around designers – you can count the collectives in the design world on one hand. Most collaborations are only formed for a specific occasion, like a presen - tation at Milan Design Week. But for the men of ZwartFrame, working together was fairly logical. They started gravitating towards each other in their ‘ you learn a lot from critically examining and assessing your work and the work of others ’ 95 chemistry

24. Design Bridge Design Bridge Spark Spark The office of Spark design & innovation is located in Rotterdam’s innovation district. Robert Barnhoorn and Maarten Wilming form the core of the agency, and founded Spark with the idea of designing products that are particularly innovative and truly contribute something. They now work with a tight-knit team of 30 people and specialise in integrated product development. ‘Of course, with a single conversation, it’s very difficult to know whether someone fits in your team. And at Spark, that’s the guiding principle: the team.’ Barnhoorn talks about his employees with great pride. He sees them as a football team, with himself in the role of the coach. ‘As a designer, you have to be prepared to hire designers who are better than you. That’s how you bring in people who add value to your business. And that’s what you want: valuable exper - tise and motivated people. You don’t want people who do exactly what you tell them to. It’s much more fun to give them freedom and make adjustments at the right time.’ Spark doesn’t hire just anyone. ‘If you’ve made a good impression with your portfolio, you’ll then have conversations with different people from our team. We look not only at your work experience, but also at your personality. That lets us assess whether you fit in the team, because they have the final say’, Barnhoorn explains. ‘Ultimately, talented people want to work with other talented people. That’s the way to attract to young talent – and hold on to them. You don’t want someone who does the bare minimum and underperforms. That causes unnecessary tension in the team. By allowing the team to cast the deciding vote, you get a consistently high quality and a close-knit group of people.’ Just like Silo, they often find new employees through their networks. Barnhoorn, for example, has good relationships with TU Delft and the Erasmus University. ‘Talented designers often know exactly where they want to work. As a business, it’s important to be visible and to work with other parties’, he says. ‘The activities within a design agency are very diverse. There are many different phases between concept devel - opment and production. To do this, you need people who aren’t just good at their job, but can also take other aspects besides design into account.’ SPARKDESIGN.NL Design Bridge is located in the former horse- drawn tram depot between the Overtoom and Vondelpark in Amsterdam. The agency is active in the field of brand design, and operates on an international scale – besides Amsterdam, they also have offices in London, New York, Singapore and Shanghai. ‘It’s still challenging to find young talent in the Netherlands’, says Nicolien Zijp, HR Director of the Amsterdam office, ‘but with the increase in applicants from abroad, it’s going well.’ The latter has made Design Bridge a multicultural agency with English as its official language. Zijp adds: ‘I checked: the average age of designers at our agency is 35, so it’s a young environment.’ Like all agencies, Design Bridge is constantly looking for new talent. For senior roles, they sometimes turn to a specialist recruiter, but for the new generation of creatives, the agency follows a different path. To reach this audience, they employ a variety of times the possibility to gain experience at one of Design Bridge’s offices abroad. ‘As a junior designer, you’re paired with a senior designer in a multidisciplinary team, and you can work on different types of projects so that it becomes clear where your strengths lie. There are coaching sessions, presenta - tions, and internal and external workshops and courses’, Zijp explains. The advantage of working at a large agency is that there are many facilities and they invest a lot in creating a stimulating working environment, where team spirit is impor - tant. ‘Our group of people is unique; during or after some hard work, we often find a reason to party.’ DESIGNBRIDGE.COM warm reception ‘ you don ’ t want people who do exactly what you tell them to ’ deciding vote VICKY FASTEN BNO ‘Salary is no longer the primary motivation for many employees, but it’s still an important point of negotiation when applying for a job – or when hiring new staff. The design sector doesn’t have a collective labour agreement, but the BNO does publish an employment conditions directive every year. It includes a chart with different positions and corresponding salary indications, so you know where you stand.’ BNO.NL/FAQ methods, including social media and blog posts, contact with networks like The Design Kids and D&AD New Blood , and visiting graduation exhibitions in the Netherlands and abroad. According to Zijp: ‘Word-of- mouth – young designers and interns talking to their own networks – is still a sure-fire way to attract new talent.’ Zijp has noticed that Dutch designers don’t seem to be very enthusiastic about brand design. She thinks they’re lagging behind students and graduates from abroad. ‘It seems like the design degrees in the Netherlands don’t pay much attention to brand design. At our London office there are so many applications for internships and jobs that we’ve had to set up a graduate programme with a strict selection process.’ ‘Design Bridge Amsterdam regularly has internships available – we hire about six interns a year.’ Some of them stay on in positions like junior designer. ‘In addition, talented interns might qualify for a bursary, which means that the agency pays for their final year of school. In exchange, the student in question signs a contract to work at Design Bridge after completing their degree’, Zijp says. That doesn’t seem like a bad deal, because the salaries at Design Bridge are usually higher than average – in part because the agency must compete with other major international agencies. Another unique benefit is their referral programme: if someone is hired thanks to your assistance, you earn a nice bonus. And once you’re part of the team, you can expect a warm reception with lots of focus on your personal development, and some - RITA VAN HATTUM BNO ‘Working at an agency for a few years can be the start of a nice career in the agency world, or valuable practical experience if you dream of having your own studio. It allows you to learn everything about the design process in a commercial environ - ment. It also gives you the chance to develop your soft skills such as presenting, collaborating and leadership. Offering these kinds of learning experiences can also help creative agencies hold on to young talent for longer. These are some of the topics we’re discussing in our HR platform.’ BNO.NL/PLATFORMS ‘ we often find a reason to party ’ 46 47 talents

51. BENT U EEN KAMPIOEN IN DUURZAME ONTWIKKELING? Kies met het Green Star System van Antalis snel en eenvoudig het papier dat overeenkomt met uw strategie van milieuverantwoordelijkheid. Het Green Star System van Antalis is een eenvoudig en duidelijk systeem dat gebaseerd is op onbetwistbare standaarden. Omdat niet alle papiertypes dezelfde milieugaranties bieden. Ook al is papier een van de meest ecologische communicatiedragers die bestaan. Het is biologisch afbreekbaar en kan 7 keer recycled worden. En wat men dikwijls niet weet, is dat in Europa 99% van het hout voor de productie van papier afkomstig is van duurzaam beheerde bossen. Wilt u graag meer weten? Just ask Antalis! www.antalis.nl ARE YOU A STAR OF SUSTAINABLE DEVELOPMENT? Choose the paper which corresponds to your eco-responsible strategy easily and quickly thanks to the Antalis green star system. Antalis has created the green star system, a simple, clear system based on irrefutable standards. Because not all papers offer the same environmental credentials. Even if paper is one of the most environmentally friendly communication media that exists. It is biodegradable, can be recycled 7 times, and a little known fact, 99% of the wood used for paper production in Europe comes from sustainably managed forests. You want to know more? Just ask Antalis! www.antalis.nl ONE-TWO-THREE-FOUR BREPOLS (FORMERLY HEXPOOR) Over the years, photographer Anton Corbijn has worked closely with numerous musicians and bands. His photographs have often played an important role in defining the images of these artists. Anton Corbijn 1-2-3-4 brings together Corbijn’s lesser-known and rarely published work featuring the The Rolling Stones, U2, Depeche Mode, R.E.M., Metallica, Arcade Fire, Nirvana, Johnny Rotten/John Lydon, Nick Cave, Tom Waits, Siouxsie Sioux, plus tour coverage of The Slits (1980). It includes over 350 photographs, with some 70 individual portraits of musicians like Joe Cocker, David Bowie, Johnny Cash, Grace Jones, Courtney Love, Morissey, Neil Young and many more. The book was originally published in 2015 for an exhibition of the same name at The Hague Museum of Photography. A new, expanded edition was released in 2018 to accompany a new series of exhibitions (at Antwerp Photo, Kunsthalle Rostock and Brandts Museum Odense). Anton Corbijn 1-2-3-4 is published by Hannibal Publishing, which organised a worldwide release in cooperation with their partners Editions Xavier Barral and Prestel. The book been reprinted multiple times and became a bestseller. The printing was done by Die Keure, Bruges. The finishing was carried out by Brepols in Turnhout, and includes a stitched hard cover with a rounded spine and blue headbands. The book also has a paper wrap with a foil stamp in matte black. Brepols recently acquired Hexspoor bindery, and as a result, has become a high-end binder for both hardcover and paper - back publications. The patent for cold adhesive Otabind® and Otastar® is part of this acquisition. brepols.com hannibalpublishing.com uitgeverijkannibaal.be Photo: Anton Corbijn 100 partners

41. DESIGN: TAISIIA RESHETNIK PROJECT: THE UNDESIRABLES INSTITUTE: KABK, THE HAGUE DEPARTMENT: GRAPHIC DESIGN Privatisation and security measures are changing the political significance of many public spaces. Instead of neutral places where you feel welcome, they’re becoming ‘non-places’ that you can visit with ‘permis - sion’. Although surveillance and law enforcement aim to make these places safe, they’re becoming places where everyone is treated like a potential criminal. Utrecht central station is a good example of this kind of place and serves as the stage for the video installation The undesirables . Photo: Céline Hurka DESIGN: FRASER MCPHEE PROJECT: DATA MORTIS INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND ACTIVITY FRASERMCPHEE.COM What happens to the data we leave online when we die? Although the digital world plays an increasingly important role in our lives, very few people consider this. Data mortis lets people take control of their digital heritage. With the help of a password manager, online profiles for platforms and services are deleted after death. Next of kin can put this process in motion with a copy of the death certificate. The data and files that were specified to be saved are copied onto an offline device for friends and relatives. They can view this digital legacy whenever they choose, but won’t be confronted with the memories online at unexpected times. JEROEN BARENDSE SELECTION COMMITTEE ‘A very fascinating approach to storytelling. It takes you along and tells a unique story in its own way. It has the potential to shake up the documentary genre.’ CHLOÉ RUTZERVELD SELECTION COMMITTEE ‘I think it’s very interesting to encourage debate about what happens to your digital infor - mation, or digital life, after you die. The idea that you might get to know someone better this way after their death is both beautiful and sad.’ HOW ’ S IT GOING WITH... EVA MARJAN SIELJES, 2017 GRADUATE INSTITUTE: ARTEZ, ARNHEM DEPARTMENT: TEXTILE & FASHION DESIGN At ArtEZ, what Eva Sieljes enjoyed most was working with others – joining forces to create something beautiful. ‘That’s why I prefer working in a team at a big company to the challenging existence of a freelance fashion designer’, she says. She got the chance at Adidas in Nuremberg, even though the job as a product developer wasn’t what she had trained for. Eva was hired for her artistic skills and knitwear knowledge that she had gained while studying. ‘It’s an unbe - lievably educational experience that’s also commercially valuable’, she says. ‘You learn what happens to your design and how you can earn money with it.’ It may sound great, but getting started after graduation wasn’t so easy. ‘I only started at Adidas this year at the end of February.’ But it helps that she knows what she wants, takes action, is curious and enjoys learning. Before her one-year contract ended, the designer seized a new opportunity and she accepted a new job in Vietnam. the undesirables data mortis 80 81 dude graduates

19. Creative Chef, Salone del Mobile , 2018 ment. Although it sold 30 million copies worldwide, according to Roodenburg, the impact was limited. ‘People interested in macrobiotics and proponents of bio- dynamic agriculture have always been a small group. Only now, when it’s become painfully clear how great the damage is, is there widespread attention.’ Nevertheless, Roodenburg believes that many designers are still establishing themselves as glorified advertisers. ‘They add a scent you can smell when you open some packaging, or design a soundscape for a restaurant or an elegantly written menu that implies authenticity. Meanwhile, consumers become alienated from their food. We’ve become uncertain: has this been tampered with, is this allowed? We don’t understand seventy- five percent of the fine print on packaging. That’s a wonderful challenge for designers: be informative instead of manipulative. And they could look more at design traditions from non-western cultures. That’s a real blind spot in the design world.’ Designers also need to take more social responsibility, Roodenburg says. ‘And pref - erably with innovative concepts that are also commercially attractive. With arty projects, you only reach an audience that’s already convinced. Something like the Vegetarische Slager (Ed. note: ‘vegetarian butcher’, a brand of meat substitutes) is much more effective.’ Willem Velthoven wholeheartedly endorses the social relevance of the Vegetarische Slager. But the director of Mediamatic doesn’t believe meat substitutes that resemble chicken or sausage are culturally interesting. ‘Our approach to food is more fundamental. We’re experimenting with alternative production systems like aquaponics, for example. We also organise monochrome dinners or banquets where movement, sound and scent provide a richer experience. And soon we’re inviting guests to donate blood which will be turned into a personalised black pudding. That makes you think about what food really is.’ Mediamatic is primarily focused on inventing and testing new typologies: ‘That’s also why our restaurant is vegan. It forces us to develop new things and not just reach for common, easy flavours. We don’t make vegan versions of cheese or hamburgers – we make something completely different.’ Velthoven offers Tempeh Ware as an example. ‘Soy and other beans can be fermented and moulded into all kinds of shapes, like bowls or tacos. There are already similar products based on starch or carbohydrates, but they aren’t as healthy and don’t offer the same variety of flavours. What we’ve made is a protein-based option; it’s a biocomposite meat substitute that we can enhance with vitamin B12.’ MUSHROOM SAUSAGE Besides experiments to create completely new foods or alternative eating experiences, there’s still plenty to do in the regular food ‘ we live in a land of plenty, but we ’ re not impressed by it anymore ’ Juice Skin Kiwi by Naoto Fukasawa (2004), from ‘Food is Fiction’ by Linda Roodenburg (Nai010 Publishers, 2018) industry. That’s what Louis Meisen and Arne Ramak noticed when they set up We Design Food. Together with six professionals specialised in copywriting, marketing and food technology, they offer a complete range of services. ‘Design agencies usually just deliver the concept, but that doesn’t work in practice’, Meisen says. ‘For us, food design is the entire operation surrounding food production, preparation and presentation. So it’s about the origin of the raw materials, but also product design, training staff and how you can maintain the level of quality or scale up certain ideas.’ Among other things, We Design Food develops recipes for the take-away counter at Albert Heijn XL and ready meals for Marqt and Jumbo. Their projects can range from setting up an entire restaurant to training staff on working digitally. ‘Arne worked as a line chef at the Amstel Hotel and I ran a catering company. We have a realistic view of the sector and know how challenging things can be. But we also think that there’s still a lot of room to make things more professional.’ In addition to creative work, We Design Food’s efforts are strongly focused on processes and logistics. ‘Work needs to be done more efficiently, in part to make the sector itself healthier. There’s already a major shortage of cooks, and because overtime is standard, lots of people end up at home with a burnout.’ You see the same interest in the human side of food production at Agri Meets Design. The platform was created six years ago to offer a new perspective on major dilemmas in horticulture and agriculture. ‘Vacant property in the countryside is one of these issues’, says Judith Zengers. ‘That attracts crime, which farmers are prone to, because the buildings that represent their pension can’t be turned into money in any other way. So artist Tabo Goudswaard came up with a cooperative for farmers who are quitting.’ Agri Meets Design matches farmers with artists or designers around topics like animal health and crop protection. ‘These parties have to learn to speak each other’s language. The province of Overijssel has recently joined, and we hope to attract other provinces and related parties as well.’ The co-creation sessions often produce ‘design for debate’, but they’re also working on promising prototypes. ‘With oyster mushrooms, it’s common to cut off the stems, and the grower thought that was wasteful. So Doreen Westphal turned it into sausage. Because the production of oyster mushroom sausage only requires one- fifteenth of the raw materials necessary to make a normal sausage, they made it fifteen times larger. That prompted a discussion about protein transition. In the meantime, we’re also working with entrepreneurs to look at ways to start selling them.’ INFANCY ‘Sustainability, reducing meat consumption, limiting raw material streams (whether it’s animal feed or manure) preventing waste’: that’s how Willem Velthoven sums up a few important challenges for food designers. ‘Personalised food will also become more important. Based on someone’s breath, we can already make individual metabolism profiles and use them to create customised meals. We’re still using nutritional supple - ments, but by simply eating better, we can improve health and well-being.’ Marije Vogelzang, who’s currently focused on creating exhibitions and installations about the future of food, also believes that there’s more than enough for designers to do. ‘Obesity, dying bees, water use and even migration patterns – all our generation’s biggest problems are connected to food. But first, we have to learn how to deal with food again. We live in a land of plenty, but because we’ve never experienced anything else, we’re not impressed by it anymore. Only once we realise that, can we start making different choices. The nice thing is that food is cyclical: the culture of eating is redefined every day, and therefore it can change. As a designer, it’s especially exciting to relate to that.’ ‘Food design is still in its infancy. It’s still a novelty, but that will change. Even the largest companies see the need for change. As many graphic designers as we have today, that’s how many food designers there’ll be at a certain point.’ with different layers of the food industry, from farmers and chefs to employees of multinational corporations. ‘When I started my first home-based restaurant while I was studying, I wanted to cook as cheaply and deliciously as possible. But I’ve now learned that cheap is rarely good – think of discount meat and factory-farmed chicken, for example. As a cook, you’re a kind of influ - encer, and I want to convey message of sustainability through my work.’ That said, taste is still top priority for Ramdjas. ‘If food is just a conversation piece, it becomes art.’ Jasper Udink ten Cate has a different opinion. For the founder of Creative Chef, it’s all about artistic expression, and he also harbours ambitions for his work to end up in a museum. He makes edible paintings, dinnerware, tables, photos and films. ‘I use everything related to food, from smell and sound to stories and the objects you eat from, to create an experience. The edible works of art are a form of co-creation. When I serve the dessert, for example, I tell a story to go along with it. While the guests listen and eat, the real art emerges through the stains and smears – and it’s captured with a technical camera.’ ‘At Creative Chef, the story is always the starting point’, Udink ten Cate emphasises. ‘The food is a means, but it’s not the primary focus. By tasting, people remember the story better.’ ERRAND BOY The belief that the story or the context is more important than the food itself dates from well before the 1990s, when food design was an emerging field. ‘You can trace it back to the start of the food industry, about 150 years ago’, says Linda Roodenburg, author of the recently published book Food is Fiction . ‘The peak was in the 1960s. Those were the years of plenty when the industry exploded and advertising was booming. We went from three kinds of mustard to forty, which were brought to market with forty different stories. Designers became the errand boys of the food industry.’ The report The Limits to Growth (1972) by the Club of Rome was the first to expose the negative consequences of unbridled consumerism – especially for the environ - 37 dude

46. moca DESIGN: AGNETHA SCHOTMAN PROJECT: OGEN DIE VOELEN (EYES THAT FEEL) INSTITUTE: ARTEZ, ZWOLLE DEPARTMENT: GRAPHIC DESIGN AGNETHASCHOTMAN.NL To develop social skills, it’s important for children to play with their peers. But how can you play a game with friends or family if you’re blind or visually impaired? Most board games aren’t accessible for visually impaired children, yet it’s especially impor - tant to encourage these kids to play with others. That’s why Agnetha Schotman designed a board game that revolves around sound, smell and touch. The game also pre- pares visually impaired and blind children for learning Braille. CHLOÉ RUTZERVELD SELECTION COMMITTEE ‘Social, educational, inclusive and nicely executed.’ eyes that feel DESIGN: STUDIO JOACHIM-MORINEAU (CARLA JOACHIM-GODEFROY AND JORDAN MORINEAU) PROJ EC T: M O C A INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND ACTIVITY STUDIOJOACHIMMORINEAU.COM By playing with drop speed, drip size, angle of impact and textures, Studio Joachim- Morineau created a series of ceramic and porcelain objects with distinctive open structures. With a self-built machine and innovative techniques, Carla and Jordan are exploring the boundaries of ceramics. Photos: Pierre Castignola SIMONE POST SELECTION COMMITTEE ‘The preliminary research Lotte did on living with a maximum of 25 litres of water a day was good to see; it makes you aware of how much water you use your - self. She captured the process in a fun way with amusing blogs. Great design!’ Photo: Jonathan Levain DESIGN: LOTTE DE HAAN PROJECT: WAS-A-MACHINE (WASH-A-MACHINE) INSTITUTION: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND WELL-BEING LOTDEHAAN.NL Due to the persistent drought, we were all called upon to use less drinking water last summer. In the Netherlands, the duration of this period was manageable. But in many major cities like Cape Town, São Paulo and Rome, long-term water crises threaten to leave millions of households without water. That made Lotte de Haan start thinking about how we can deal with this in our daily lives. For example, how do you do laundry if there isn’t enough water to run the washing machine? To show what’s possible with simple materials that nearly everyone has, she designed a washing machine made out of bottles, bicycle spokes, water tanks and other rubbish. She shares what she’s learned with a WhatsApp community, where others can add their own ideas and solutions as well. Lotte will implement her project in Cape Town, where there’s an urgent need for such solutions. SIMONE POST SELECTION COMMITTEE ‘Nice machine that finds a balance between industry and coinci - dence. It produces an exciting new visual language for ceramics, and I think there are many more possibilities to investigate.’ HOW ’ S IT GOING WITH... MARIE CAYE AND ARVID JENSE, 2017 GR AD UATES INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: FOOD NON-FOOD After their installation SAM – which stands for Symbiotic Autonomous Machine – was featured in Dude, Marie Caye and Arvid Jense were selected to appear on the VPRO TV programme ‘De toekomst - bouwers’ (‘the future builders’), where Wilfried de Jong speaks to young design talent. ‘It helped us reach a large new audience’, they say. That led to more requests to exhibit SAM in the Nether - lands and abroad. ‘That sounds easier than it actually is’, they say. ‘It took awhile for us to find the right balance between exposure, finances and fun. To keep growing in the “non-human design” sector, we need to carefully select the events and exhibitions that are the most interesting for us, such as the Istanbul Design Biennial.’ In addition to producing two more tech - nically advanced brothers of SAM, the high point of the year was being selected to participate in the talent development programme from the Creative Industries Fund NL. ‘For a full year, we get to combine two goals: developing new work, and going to America and China.’ wash - a - machine 90 91 graduates

5. IT ’ S A DIRTY JOURNEY IF NOT US, THEN WHO? What’s your idea of luxury? At the exhibition Luxury? Changing desires , expensive, rare and authentic objects will arouse your deepest desires... or maybe not? If you have trouble walking, then taking a comfortable stroll with an interactive robot walking frame is pure luxury. Or perhaps you prefer (sex) robot Robin, who takes away feelings of loneliness. And no matter how sleek and stylish Rietveld’s zigzag chair may look, maybe an hour in an Ikea hammock is your ultimate idea of luxury. These surprising objects confront visitors with stimulating questions, tricky dilemmas and personal considerations related to the theme of luxury. The exhibition closes with a look at the future: the new luxury. To this end, five experts shared their visions of the future, focusing on themes like housing, healthcare, food, work and mobility. These five scenarios form the basis of a design challenge for young designers: during the exhibition, they are challenged to develop objects that align with these predictions. until 14 April 2019 cubedesignmuseum.nl THE LAP OF LUXURY Hacking Infinity Collection (Iris van Herpen, 2015), Braille watch Dot Watch (Dotincorp) and interactive robot walking frame Lea Care (Robot Care Systems). HIGHLIGHTS Highlights from the exhibition will also be on display during Dutch Design Week. One of the central pieces is Crystallized , a Swarovski crystal-covered prosthetic leg from model Viktoria Modesta, one of the objects from The Alternative Limb Project by designer Sophie de Oliveira. WWW.DDW.NL If not us, then who? That’s the theme of the 17th edition of Dutch Design Week. Nearly everything in the world has been or will be designed. That creates opportunities, but also places a huge responsibility on designers. Together with clients, users and governments, we’re determining what the world will look like. And how does this year’s programme look? You can find out on the website, which has been redesigned by Vruchtvlees. We highlight a few of our favourites below. Because if not us, then who? ddw.nl Every year, hundreds of designers graduate from Dutch academies, ready to kick off their careers. They’ve worked up a sweat to get this far, but often lack training in the business and social aspects of the design field. To increase their entrepreneurial fitness, the BNO guides this young talent with a year-long programme called YA, which stands for young alumni. During Dutch Design Week, the latest group of young alumni will introduce themselves at Sectie-C in Club-C, Eindhoven’s design hotspot. Together with recent graduates from design collective ZwartFrame, the group developed an extraordinary setting where they’ll exhibit their work. And during the daily evening sessions, the challenges that young designers are wrestling with will be revealed to the audience with a selection of special speakers. There will be parties too, like the launch of this Dude YA Special! on 23 October, featuring Chloé Rutzerveld and other speakers. 20 to 28 October 2018 bno.nl/ya SECTIE-C If you’re coming to Sectie-C, be sure to check out food experience ’28 grams of happiness’ or the exhibition ‘We Are Human Rights’. Styling: Meike Fleskens. Photography: Roza Schous KLOKGEBOUW The Klokgebouw is home to Driving Dutch Design, but don’t miss ‘Mind the Step’ while you’re there. MORE Plan-B, Strijp-T, the Melkfabriek, the IJsfabriek or Natlab – there are countless locations and just as many events. Here are a few more tips: the Graduation Show, the Drive Festival, the ‘Robot Love’ exhibition, the Future Food Design Awards and the Superfast conference with the theme ‘Transparency’. VEEMGEBOUW In the Veem you should really visit every floor, but at least step out of the lift for the Dutch Design Awards, the New Material Award and ‘Manifestations’. 8 9 shares & likes dude

14. ‘ if other people use my ideas, their impact will only increase’ AUTHORITY While her projects certainly arise from herself and mostly play to her strengths, Chloé is by no means a soloist. She’s let go of the competitive drive that she once felt, and strongly values collaboration – especially between different sectors and personalities – as long as there’s a connection to the subject matter. When it comes to the future, she prefers to keep things a bit open, but does have one goal in mind: ‘It would be amazing to eventually become an authority on the future of food. Then people would call me with questions like: How will we produce and consume food in the future? I really want to keep doing what I do now and think it’s important to leave room for experimen - ting and getting new ideas and inspiration. If you’re really busy, you often don’t have that space, and you stagnate. You keep doing what you’ve already done, and your work becomes superficial. Besides that, setting up a kind of food NEMO [ Ed. note: NEMO is a hands-on science museum in Amsterdam ] is a dream of mine. It would be fantastic: a place where people could experiment, smell and taste – a kind of playground like in Charlie and the Chocolate Factory .’ She’s just finished her book, and for Chloé, it’s an emotional closure to a five-year period. Fortunately, she’s already found a new question to tackle: How do different eating habits, like veganism, affect the evolution of the human body? ‘Will rudimentary body parts like wisdom teeth and the appendix become useful again or will our digestive system become smaller if we get more of our nutrition from pills?’ Chloé philosophises about what lies ahead and will surely surprise us with another provocative and potentially confrontational scenario. CHLOERUTZERVELD.COM Strooop! 2016. Photo: Maikel Samuels Chloé said it already: she doesn ’ t get her inspiration from the work of other food designers. She prefers to get lost in nature or the won - drous reflections of the future from makers who work in other disci - plines. Dedication, passion and daring to think big and dream: that ’ s what gets her excited. 27 dude dudelicious

40. what ’ s in a tear? chalkis grace of glaze DESIGN: MERLE BERGERS PROJECT: WHAT’S IN A TEAR? INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: FOOD NON FOOD MERLEBERGERS.NL With tears, our first association is grief. But we also cry when we’re experiencing other emotions. Merle Bergers transformed tears into pearl-like ‘tear stones’, which she then made into jewellery. Literally and figuratively, they show the beauty of emotions and confirm that there’s nothing wrong with good cry every now and then. JEROEN BARENDSE SELECTION COMMITTEE ‘Strong project because it’s simple, but powerful. Perhaps a new kind of wedding ring?’ DESIGN: RUEBEN MILLENAAR PROJECT: CHALKIS INSTITUTE: MINERVA, GRONINGEN DEPARTMENT: ILLUSTRATION RUEBENMILLENAAR.NL As an illustrator, how can and should you relate to the debates about racism and cultural identity? Can you make illustrations about these problems? To what extent does the use of colour influence viewers’ perspec - tives on the topic? And what are their opinions after seeing the illustrations? GIJS KAST SELECTION COMMITTEE ‘Interesting subject with convin- cing imagery and presentation. Nice link between materials.’ DESIGN: SIMONE DOESBURG PROJECT: GRACE OF GLAZE INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND ACTIVITY SIMONEDOESBURG.COM At the end of her design process, Simone Doesburg was struck by indecision. What colour should she make her products? By working with coloured clay and a coloured transparent glaze, she left the choice some - what open. The interaction between the two coloured layers, combined with the shape of the products, produces subtle colour variations. Photo: Huis Twaalf SANNE SCHENK SELECTION COMMITTEE ‘Pure and beautiful.’ Photos: Tom van Huisstede HOW ’ S IT GOING WITH... IRIS MURIEL VAN HOUTEN, 2017 GR AD UATE INSTITUTE: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND ACTIVITY ‘There’s a lot going on’, says Iris van Houten about the period following gradu - ation. ‘What are you going to focus on, and who are you going work with?’ were a few of the question the conceptual product designer needed to answer. ‘The companies I approached just assumed that as a recent graduate, I didn’t have any business experience.’ To better prepare herself, Iris is using an MIT grant to participate in a year-long accelerator program from Designforum in Eindhoven: Design to Market, led by ASML. A coach is helping her develop Piece of Comfort , an attractive, foldable wooden ‘power bed’ for businesses. The redesign is finished, the safety require - ments have been met, and she’s currently contacting companies and looking for a manufacturer. She’ll present her proto - type during DDW 2018 in the Klokgebouw. Iris has decided not to focus on her graduation project, Veggie Vases , for now. The series of containers that serve as vases in your refrigerator to keep vegetables fresh for longer proved to be a complicated product to bring to market. ‘The moulds are expensive, you need to produce a large volume, and the product can easily be copied’, she discovered. Alongside developing her own products like the relaxing bed, she prefers to do freelance projects. ‘Because designing is what I like best.’ 78 graduates

30. mind your own business ‘If you’re still filled with doubt and need to bring more focus to your work, like many new designers, you may want to consider waiting a year before participating in a fair’, says Nicole Uniquole, exhibition producer and founder and curator of Meesterlijk and Masterly . She believes that at least three- fourths of the creatives who approach her about participating in one of her exhibitions are taking this step too early: ‘I discourage them because they’re not ready to present, and it’s a waste of their investment. Acade - mies are responsible for preparing designers, but they produce too many insecure indi - viduals. As a designer you need to make a statement; to have a point of view. I myself, but also consumers, expect to see a vision.’ Beatrice Waanders isn’t lacking that vision. She was trained as an interior designer and is the founder of The Soft World, where she turns wool from Dutch sheep into (acoustic) wall and floor coverings and cushions. Waanders does something very few other designers attempt: since 2010 she’s presented her collections at Maison & Objet in Paris, the oldest, largest and perhaps chicest trade fair. The level is extremely high and there’s a strict admissions policy. ‘A committee checked whether my pillows were sewn well’, she says. ‘No one speaks English very well, it’s organised hierarchically, people are arrogant, and you have to fight to get things done.’ But Waanders doesn’t let that scare her away. ‘At this huge fair where you can find absolutely anything, you can’t assume it’s enough to just be present. As a small player, it’s very important to get a good spot in one of the most exciting design halls.’ Exhibiting in Paris wasn’t only good for her PR – it also led to a new collaboration: her creations were worn on the catwalk during one of the Maison Martin Margiela shows. Waanders also has decent sales in Japan – something that, given the language barrier and other issues, would have been hard to achieve from the Netherlands. She advises going to the same fair multiple years in a row to keep learning and expand your network. ‘You shouldn’t expect to immediately sell out of everything at Maison & Objet, but it is true that buyers from all the big department stores come here to spend a lot of money.’ The high price of participating in Maison & Objet – you’re out about 8,000 euro – is an extra incentive to get as much out of it as possible. That’s why it’s important to follow up leads after an event, but Waanders prefers to outsource that task. ‘It makes me feel like a stalker. It’s not cheap to hire someone to do sales, but it delivers good results.’ Sam van Gurp and Esther Jongsma from VANTOT also see the value in hiring special - ists. ‘Our strength is design. You can’t do everything by yourself, but hiring people left and right isn’t an option, either. However, hiring a PR professional when you’re at a trade show pretty much pays for itself’, says Jongsma. This year they’re once again presenting their work at Big Art , an initiative from art historian and cultural entrepreneur Anne van der Zwaag. Jongsma observes: ‘Last year we got a lot out of it: it attracts a targeted audience and we can sell our work. In addition, it’s really special that the attend - ants know so much about the designs on display – they’re extra ambassadors for your work.’ Van der Zwaag brings designers from various disciplines and other parties together at surprising, temporarily vacant locations such as the SS Rotterdam and the Bijlmerbajes. With her guidance, Object Rotterdam grew into a springboard for recent graduates and offers design and art-lovers affordable products, as well as more unique pieces. Accessibility plays an important role. ‘Participation is affordable (for creatives, it’s already hard enough to see a return on investment); they get to keep everything they make from their sales’, says Van der Zwaag. ‘For visitors, the admission price is low in order to attract new audiences – they are the potential buyers.’ Masterly in Milan also takes young partici - pants into account. ‘It’s true that you pay 1,500 euro, but can get half of it back with a trade mission voucher from the Netherlands Enterprise Agency’, Uniquole says. She talks to the participants in advance about who they want to meet. She reaches out to parties who are always making acquisitions, like top designer Patricia Urquiola, the Cooper Hewitt Design Museum, or the Rinascente NICOLE UNIQUOLE ‘Be well prepared, in terms of text, imagery and products. You won’t get very far with just a nice design. A connoisseur will see right through it if you present your product in a garbage bag, so to speak, even if an unsuspecting consumer is none the wiser.’ BEATRICE WAANDERS ‘Try to figure out what the people visiting your stand are interested in. Ask for their contact information and care - fully and immediately jot down the key points of your conversa - tion. Refer to them later in a thank you email.’ VANTOT ‘Before you go, think about why you’re attending, what you want to get out of it and how you will achieve that. You can never do a hundred things well at the same time. So have a clear focus that’s also attainable.’ What ’ s the added value of presenting at a trade fair? Many designers have that very question. They also wonder which shows are most suitable for their work and how best to present themselves. Two designers and three event organisers help us find the answers, and each shares a golden tip. TEXT VIVEKA VAN DE VLIET × ILLUSTRATION ROBERT VAN RAFFE 58 59 business dude

49. Designing is child ’ s play? Certainly not! But there are designers who create games and toys for children – like these four. Think it ’ s a shame that you ’ re too old to play? Says who?! ELASTIC CAR After you pull back the elastic car by Scheublin & Lindeman, it quickly shoots forward thanks to its clever but simple construction. You can start racing in three colours: blue, green and red. SCHEUBLINLINDEMAN.NL/SHOP PL AYING WITH FOOD Kids should get a better understanding of where their food comes from. Tom Velthuis’s 2011 graduation project was a savagely beautiful and confronting game. His innocent-looking toy farm shows the reality of the meat industry. The barn with 250 pigs includes a massive amount of feed and the trees that were removed to make room for it, as well as manure and acid rain. The original barn never went into production, but Tom is working on a new version. BYTOMM.COM WOODEN ANIMALS Wooden animals are available in many sizes and shapes, but none are as lovely as the ones created by Floris Hovers. He brought a crocodile, hippo, chicken and ten other animals back to their essence, and made each a distinctive colour. IKONICTOYS.NL SWING Transform any tree of lamp post into your own playground with a portable swing, designed by Thor ter Kulve for Weltevree. You’ll need to wait until production starts, but then it’s time to get swinging, wherever you want! WELTEVREE.EU 8500 48 4 9. 95 349 96 97 shop & sales dude

28. TEXT JEROEN JUNTE Ruben Pater (1977) is on a mission: the graphic designer wants to expose injustices. Not only in society, but also in his own field. ‘ Because ’ , he emphasises, ‘ graphic design is a discipline with a social role. ’ In 2016 he published The Politics of Design , an encyclopaedic book with numerous examples of ingrained assumptions and stereotypes in everyday imagery. Take, for example, our ubiquitous icons, where the symbol of a man stands for all people – think of the running man above an emergency exit. The female symbol – a cliché recog - nisable by her skirt – is exclusively used for women’s domains. ‘From the modernistic perspective, it’s long been thought that visual language can be neutral and universal. But that’s simply not possible – and that’s not necessarily a bad thing. I also constantly make choices that affect the subject matter of my work. What’s important is that we’re aware of it.’ With his work, Pater wants to influence people’s way of thinking using little known information (because it’s sensitive, or not profitable, for example) and then presenting it in a clear way. ‘Or by arranging informa - tion in a different way, so that the prevailing view shifts.’ During the elections for the Dutch House of Representatives in 2017, he launched the website Stemmingmakerij.net, where he refuted politicians’ populist state - ments with concrete facts. Similar to jour - nalism, his design practice aims to uncover the truth. It’s no wonder that he calls himself a ‘visual reporter’; ‘I once considered becoming a journalist.’ In his portfolio, text is nearly as important as imagery. ‘It allows me to reflect on my work and explain as carefully as possible which choices I make as a designer and why.’ After completing his graphic design degree at the St. Joost Academy in Breda, Pater began working for well-known agencies such as Dietwee and Lava in 2000. There he worked on classic assignments like brand identities and advertisements, as well as books and posters for the cultural sector. His work won several gold European Design Awards. Although he enjoyed what he was doing, he felt that something was missing: ‘I wanted to focus on topics that touched me personally, like climate change or inclu - sivity.’ He began to satisfy that need in 2012 when he completed his master’s degree at the Sandberg Institute. Since then, he’s been working under the name Untold Stories on projects that walk the line between graphic design, journalism and fine arts. His work has been published in Wired and was recog - nised with a ADCN Lamp award. The Amsterdam-based designer first gained international attention in 2013 with his Drone Survival Guide , which depicted silhouettes of various unmanned aircraft as if they were in a bird-watching guide, so they could be easily recognised. The project arose from his frustration at the constant threat of military drones faced by hundreds of thousands of people in conflict areas such as Afghanistan and Palestine. But it’s also about the indif - ference to the over 30,000 drones that are expected to fly through American air space by 2030: ‘It’s an alarming fact that very few people are unaware of.’ The guidebook is accompanied by Drone Acoustics , an old- fashioned LP record that categorises the drones by their monotonous hum. ‘As a graphic designer, I’m constantly looking for new ways to present my work.’ This search was also born out of necessity. ‘The available platforms where graphic designers can position themselves are becoming increasingly limited. Someone like Wim Crouwel, who’s allowed to radically re-imagine the phone book – that doesn’t happen anymore. These assignments have been privatised and are now dominated by commercial interests.’ Even Pater himself needs to look for the right platforms: ‘I would ‘ someone like Wim Crouwel, who ’ s allowed to radically re - imagine the phone book – that doesn ’ t happen anymore ’ 54 55 dude changes

29. like to collaborate with social organisations, think tanks or scientific research institutes. But for one reason or another, they still can’t seem to find me.’ With his work, Pater operates squarely in the public domain. Sometimes literally: Van wie is de stad (‘who does the city belong to’) is a series of posters created in response to the rising housing costs and increasing tourism in Amsterdam. The red and black propaganda-style designs with slogans like ‘Amsterdam, you’re too pretty to sell yourself’ or ‘An expensive city is a dead city’ can be downloaded online for free, so that concerned city dwellers can hang them in their windows. This urge to be seen isn’t driven by vanity, but because he wants to ‘reach and inform people’. He carefully avoids ‘impact’, a contemporary design buzzword. ‘It implies a shockwave that triggers change, but change isn’t necessarily positive. My work has to be visible; that’s what it’s about.’ Gradually, his focus has shifted from geo- political concerns, like the climate and terrorism, to more local issues. With the research project Camping Kafka , he examines holiday parks that are increasingly inhabited by people who are left behind by society, forced to endure miserable conditions in leaking caravans and crumbling bungalows. ‘This problem represents a much more complex dilemma: the opaque bureau cracy and austerity of social services in the Netherlands.’ The findings of his research project are being presented in a game: ‘The player gets stuck in all kinds of bureau - cratic processes and gains insights into the problems of the campsite residents. The actual stories of these residents are woven in the game.’ During the process of designing Camping Kafka , Pater worked closely with the camp - site residents, as well as policymakers and healthcare professionals. ‘Designers always need to consult with their clients. But in this case the decision making wasn’t in the hands of the management; it was a demo - cratic process – which is far more difficult, by the way.’ But according to Pater, it was an inevitable choice. ‘As a designer, you’re always simplifying. Because of that, you run the risk that you can’t accurately represent the multifaceted nature of the people it concerns. The problems that the campsite residents face are very diverse, and also very personal. To do right by these people, you need to give them a say.’ In addition to this, although Pater is receiving money to create an art project, the campsite residents are scraping by. ‘I have an obligation to repre - sent them as best I can.’ Social engagement was part of Pater’s upbringing. ‘Many of my family members work in the healthcare sector.’ But he picks his subjects based on personal interests. For example, he became fascinated by the growing social divide between people with practical versus theoretical educations. Politically speaking, these groups are diametri - cally opposed to each other, rarely interact, and use their own distinct vocabulary and media. Those with a theoretical education make up 23% of the population, but are over-represented in political parties and the media, giving them a relatively large influence. Because of this, a growing number of people feel that they’re no longer repre - sented in politics, especially young people. ‘With the project Ik zie ik zie wat jij niet ziet (‘I see I see what you don’t see’), I work with these youth to find new narrative forms for politics that they can relate to. That could be videos or animations or maybe even a new kind of web-speak.’ At the same time, with this project, he’s also taking a critical look at his own field: ‘Most graphic designers belong to the small group with a theoretical education. To what extent does their visual language play a role in this social divide and the increasing aversion to politics? I want to investigate this question by talking to young people with different educational backgrounds. I think it’s extre - mely important for graphic designer to empathise with audiences that they don’t belong to. They too often place themselves above their audience.’ In 2016, the same frustration drove him to write an inflamed article for influential website Dezeen.com about the paternalistic way designers involved themselves in the refugee crisis. The impetus was the Refugee Challenge issued by the What Design Can Do conference. Teaching is a natural part of Pater’s design practice, but he had his doubts as to whether anyone wanted him to do it. ‘I don’t ask easy questions. But apparently the field of education attaches value to confirming the political dimension of graphic design... And the need for good research.’ He has now shared his view on the field at a variety of institutions, including the Royal Academy of Art (KABK) in The Hague, the Design Academy Eindhoven and the Willem de Kooning Academy in Rotterdam. Pater is currently involved in the new master’s programme Non-Linear Narrative at the KABK. He trains the students in jour - nalistic skills, and data-based research plays an important role. ‘Together with the students we conducted research on predic - tive policing, a method where the Dutch police use big data and algorithms to predict criminal activity. This system has been used since 2014, without any wider social debate about whether it’s desirable.’ Thorough field research is also a part of the curriculum: ‘We spoke to the police, including the devel - opers of the algorithm, and we visited a prison where refugees were being housed temporarily. But we also talked to activists who are against ethnic profiling. Each student tells his or her own story, but based on the most complete information possible.’ Collaboration is a recurring element in Pater’s work. For Stemmingmakerij.net, he worked with data analyst Stephan Okhuijsen. He partnered with artist Klaas Burger for Camping Kafka and worked with filmmaker Amanda van Hesteren on Ik zie ik zie wat jij niet ziet . This allows Pater to connect different disciplines, such as journalism, research, design, art, film, photography and copy - writing. ‘Graphic designers must increasingly be all-rounders’, he explains. ‘Students at the KABK use cameras themselves and make 3D animations; they edit, interview and do research.’ However, he’s also critical of the expanding requirements of his field: ‘We have to be careful not to ask too much of designers. Specific skills like typography and conceptual thinking are the cornerstones of graphic design. Otherwise we’ll hand over what we do to marketers and data analysts, and it’s too important to let that happen.’ UNTOLD-STORIES.NET ‘ graphic designers too often place themselves above their audience ’ ‘ as a designer, you ’ re always simplifying ’ Camping Kafka , 2017 Ik zie ik zie wat jij niet ziet , 2018 56 57 dude

7. t LUCAS VERWEIJ @LUCAS_BERLIN “Food design is nothing but adver - tising” goo.gl/aogbmm via @dezeen f THE DUTCH INSTITUTE OF FOOD & DESIGN FACEBOOK.COM/THEDIFD “We drink synthetic wine, scramble eggs that do not come from chickens, grill meat that was not taken from animals, and roast fish that never saw the sea.” goo.gl/xqiU3S t WHAT DESIGN CAN DO @WHATDESIGNCANDO In case you missed it. Yesterday we launched the #CleanEnergyChallenge in 5 cities around the world! Learn more: bit.ly/2Ch96Fb THEORY OF TYPE DESIGN t THOMAS SMOLDERS @LJOSMYNDUN Harald from Momkai and Ernst-Jan from De Correspondent launched 'Verwondering', a podcast about design: www.momkai.com/podcast f ROEL STAVORINUS FACEBOOK.COM/ ROEL.STAVORINUS The results of the What Clients Think research has been published once again. Do you have or work for a creative agency? Read the report and do something with it! goo.gl/ou6uaN VICKY FASTEN LINKEDIN/VICKYFASTEN Subsidies come in all shape and sizes. Find out where you belong: bit.ly/ 2NiShuS #subsidie #financiering #creatieveindustrie Francesca Zampollo has a very different opinion about that... youtu.be/ 6IK-QV93Jkk?a v ia @YouTube #roasted #foodforthought There’s finally a comprehensive and accessible overview of the theory of type design. It should come as no surprise that this manual was compiled and written by Gerard Unger. In 24 concise chapters, he clearly describes the different facets of type design, from the influence of language and the digital developments of today, to the way that your eye and brain process letter shapes and their expressiveness. Theory of type design contains more than 200 images and is filled with practical examples of that clarify the subject matter. And thanks to Hansje van Halem, it’s a very attractive book, too. It’s also nice that the relevant terminology is explained in an extensive glossary. nai010.com The clean, understated style Dieter Rams implemented with great success at electronics brand Braun, where he was chief designer from 1961 to 1995, is still the gold standard decades later. Apple, for example, was inspired by his style for the design of the iPod and iPhone. Rams thought that the world was flooded with a cacophony of shapes, colours and sounds. He also realised that he himself contributed to this. Therefore, the starting point for his work was the question: is my design good design? To test his designs, he defined ten principles that his work had to align with. The number of shapes, colours and sounds engulfing our society has only increased since Rams made this observation. But the relevance of Rams’ question and his principles has grown even more rapidly. 20 October to December 2018 galeriedepastoefabriek.nl Everything revolves around food during the second edition of the Art Research Conference . With the theme Food Friction , it takes a deep dive into changes in food production and consumption. The keynote speaker is Louise O. Fresco, director of the Wageningen University & Research. She’ll take a closer look at the need for design, art and science to work together when it comes to food and adjusting our eating habits and actions. The conference programme is divided into five topics: fact and fiction, technology, behaviour, agriculture and culture. This second edition of the Art Research Conference is being organised by ArtEZ Graduates School in collaboration with food designer Katja Gruijters. 30 November 2018 innovatie.artez.nl FOOD AND FRICTION Every year, the Creative Industries Fund NL supports a selec - tion of talented designers and makers in their artistic and professional development. The latest batch from the last year was captured in a series of 23 one-minute video portraits. You can see them on the new Platform Talent database from 15 October. With this new platform, the Creative Industries Fund aims to boost the visibility of design talent in the Netherlands. Platform Talent serves as an online database for today’s best design talent, and is growing every year with the arrival of a new generation of designers. In addition to images and video portraits, there are reflections on the practice of individual makers written by young writers such as Laura Gardner, Nadine Botha, Tamar Shafrir and Matylda Krykowski. During Dutch Design Week you can get to know Platform Talent with a special video installation in the Veemgebouw. stimuleringsfonds.nl/platformtalent PLATFORM TA LEN T AHEAD OF HIS TIME Phono Combination TP 2 (Dieter Rams, HfG Ulm, 1960), Lighter Contour (Gugelot Institut 1977) and Compact System TC 20 (Dieter Rams, 1963). Photos provided by Jorrit Maan. 12 13 shares & likes dude

31. A place where design, brand and technology collide Pentawards Live is an event that facilitates invaluable networking potential, the transfer of knowledge and the birth of new opportunities What to expect? Groundbreaking design agencies that unlock the potential of your brand ● Packaging technologies and materials to optimise the consumer’s experience of your product ● Conferences and interactive workshops that challenge and inspire your next packaging project ● A Pentawards winners’ exhibit showcasing the world’s most influential packaging design VISIT OUR WEBSITE www.pentawardslive.nl Do not miss out! Follow us @ Packaging Innovations Nederland PI_Pentawards_210x270_Adv.indd 1 26/09/2018 14:15 store, and sends them images from interesting designers. During the show, she puts them in touch with the designers. ‘The different parties don’t need to search, the designers aren’t stressed about whether anyone will come, and I think it’s fun to do the match- making’, she says. Instead of direct sales, the Salone del Mobile in Milan is much more focused on establishing new business connections. ‘It’s still a high-profile exhibition that’s good for PR, because so many different parties attend. As a designer, you need to know what you want to get out of it, the best spot to exhibit your product, and who your audience is’, says Van der Zwaag. With their sights set on an international brand that could accommodate their lighting designs and take care of production, that’s exactly what VANTOT did. To their delight, their focus was rewarded, and the designers are currently in talks with a foreign brand. Margriet Vollenberg, founder of Organisation in Design, is no stranger to Milan. She started Ventura Lambrate ten years ago as a counter - part to Zona Tortona , which was unaffordable for many designers. She knows exactly which challenges Dutch designer face: ‘In our little country they know how to find their way, but once they’re abroad, they often have no idea and no connections.’ But she doesn’t help by connecting designers to manufac - turers: ‘From a commercial perspective, I find it more interesting when designers are used within companies. Both parties can benefit, even if it requires a different way of thinking. But many designers aren’t ready for that – academies don’t train them for it, and designers are focused on starting their own company.’ Last year, VANTOT presented their work in Milan for the first time, at Ventura Lambrate . It was their first international step, and it wasn’t without merit. Because their Limpid Lights collection was represented by the brand Hollands Licht, their work was suddenly presented in 83 countries. This year the designers showed their lighting collection at Van der Zwaag’s Bar Anne and were selected to participate in Salone Satellite . These two almost diametrically opposed initiatives complement each other perfectly. ‘They offer different ways of making new connections’, Jongsma says. ‘At Bar Anne, putting all the Dutch brands together is valuable because your name makes the rounds and you drink wine together in the evening. Satellite is better for cold contacts. Someone comes in every two minutes. That means you have to be good at putting yourself in the shoes of someone who’s seeing your work for the first time, and you don’t have time to sit down and have a long chat with them.’ VANTOT decided to use an ‘old-fashioned’ medium: they made a catalogue – a substan - tial investment at 3,000 euro. ‘If you hand out a business card, it doesn’t give any idea how far along you are as a designer’, Jongsma explains. ‘A brand might think: “Maybe I can help these students with their prototype.” But if show them a serious catalogue, you can give more attention to the products and above all, you can start a conversation at the same level. A catalogue is more unique and less noncommittal.’ Because she’s become somewhat ambivalent about Milan, Vollenberg is now focusing more attention on New York and Dubai. ‘Milan is an important moment for my clients and it’s primarily business, but it’s too much of a party. I can achieve more in New York and Dubai; our participation has a greater impact than in Milan because there they’re mainly focused on the European market.’ There are also some interesting initiatives in development in London and Brussels: the  Hamptons and Collectible , respectively. UNIQUOLE.NL THESOFTWORLD.COM VANTOT.COM BIGART.COM ORGANISATIONINDESIGN.COM ANNE VAN DER ZWAAG ‘At least half of the designers still don’t have suitable text or strong imagery when they participate in a trade show. Invest in that – it really delivers results.’ MARGRIET VOLLENBERG ‘Price lists, retail prices, business cards, shipping details and insur - ance information – I send them all! A clear story and vision are important, but so is networking and follow-up in the months after the event.’ 60 dude

2. HEY DUDE ‘ I can ’ t find balance in what I do ’ , Chloé says. ‘ It has to be full throttle or not at all. ’ With these words, the food designer shows that she ’ s got a healthy dose of self - awareness. And she ’ s also very willing to dive into her subject matter: ‘ I want to quickly become an expert on a specific topic. ’ But therein lies the danger. When do you know enough about a subject to realise that you don ’ t know enough about it ? 1 As a designer, it ’ s important to surround your - self with experts, from within your field, as well as outside it. ‘ You have to be prepared to hire designers who are better than you ’ , says Robert. That also requires self - awareness; you have to develop it and can practice it with others. As the country ’ s largest community of designers, BNO offers you ample opportunities. Like with YA, our ‘ young alumni club ’, but also with our peer - to - peer coaching, our free mentoring and our platforms – as well as our new event Folks & Dudes, with a review session by David Snellenberg. Sign up quick, because it ’ s going to be a full house. bno.nl/dude 1 The first rule of Dunning-Kruger Club is, you don’t know you’re in Dunning-Kruger Club. TEXT FREEK KROESBERGEN

52. society design Design Museum Den Bosch tells the story behind design and reveals the influence of design on our society. From 13 October onwards: Looking In with Thijs Wolzak designmuseum.nl DMDB_adv210x270mm-ENG.indd 1 02/10/2018 12:11 103 dude is a publication of the BNO and is free for BNO members EDITORIAL CHIEF EDITOR Freek Kroesbergen MANAGING EDITOR Floor van Essen EDITOR Viveka van de Vliet CONTACT WG Plein 600 1054 SK Amsterdam T +31 ( 0 ) 20 624 47 48 F +31 ( 0 ) 20 627 85 85 E dude@bno.nl www.bno.nl/dude Dude is open to anything! Send your press releases by Friday 19 October 2018 DISTRIBUTION Dude is published four times a year and is distributed free of charge to BNO members Individual issues of Dude cost € 6,95 plus shipping. Subscriptions are € 25,- a year. Prices include VAT. Only available in Dutch. Learn more at bno.nl/dude ISSN 2352-6521 ©BNO 2014 CONTRIBUTORS Patrick Aarts Jeroen Barendse Edo Dijksterhuis Vicky Fasten Joost Jansen Jeroen Junte Rita van Hattum Kim Hoefnagels Gijs Kast Simone Post Markus Praat Robert van Raffe Timo de Rijk Sanne Schenk Valentina Vos TRANSLATION Liz Keel COPYRIGHT Dude works hard to credit the copyright holders of the images. Did we miss something? Get in touch! ADVERTISING Department C Gerard Otten PO box 20698 1001 NR Amsterdam The Netherlands T +31 ( 0 ) 6 54 23 76 62 E gerard@departmentc.nl Dude has a strict deadline: reserve your ad space before Friday 9 November 2018 DESIGN Dietwee www.dietwee.nl CONCEPT AND DESIGN Joey Schouten Sjors Bazelier ARTWORK AND LAYOUT Gonda Poelman PRINTING Aeroprint www.aeroprint.nl BINDING Brepols www.brepols.com BINDING METHOD Genaaid Otabind PAPER Antalis www.antalis.nl COVER Cocoon Offset 100% recycled 250 g/m 2 INTERIOR Cocoon Offset 100% recycled 100 g/m 2 Dude is a fan of design and printing, as well as the rain- forest and polar ice caps. Our partners and the materials they use cause as little harm as possible to the environment. PARTNERS Dude was created thanks to these partners: SPONSOR The BNO is powered by our sponsor: colophon

22. Me and My Beretta , 1999 2011 — 2014 Toto, Momo, Cantel series for Imperfect Design. 2011 Online shop USUALS opens. 2018 Zorghotel Domstate in collabo - ration with diederendirrix architecten. 2018 Raad van Advies DDW (Miriam). 2018 Advisory Board DDW (Miriam). 2003 — 2006 Teacher at AKV | St. Joost Breda and Design Academy Eindhoven (Niels). 2002 — 2010 Teacher at the Design Academy Eindhoven (Miriam). 2003 — 2009 Board member BNO (Miriam). MVDL × ‘We enjoy promoting new talent and do it in a variety of ways. For example, with our own projects like the Snelkookpan (‘pressure cooker’): we moved a construction trailer from Museumplein to the middle of the Ketelhuisplein to create a place for young designers to use as an exhibition space or studio. We help them with PR, answer their questions, have dinner with them and reach out to our network. It’s a really nice way to coach people and share our knowledge. Spring , an exhibition that we curated in honour of the tenth anniversary of DDW, is another good example. We formed triads of designers, talented individuals and influ - encers to create a bridge between different generations of designers. Top designers from different disciplines gave young designers a new platform. And the established names showed who they were inspired by, who was important for their careers.’ NVE × ‘During Spring, Miriam gave a tour to the director of ABN AMRO and mentioned that as a main sponsor, it’s too easy to just give money; it would be better if the bank could also do something that would really impact the creative sector. Later, his secretary called and asked if Miriam could meet the director for coffee. He said: “You’re right. How can we make our sponsorship more meaningful?” That resulted in Hotspots , which we curated and did the exhibition design for. In 2017, we gathered all the exhibitors from the past five years to create a retrospective exhibition for the bank. And before that, in 2012, we were asked to do the interior design for their head office in Eindhoven. As the main sponsor of DDW, the bank wanted to put young talent in the limelight. We involved numerous up-and-coming designers in the design process. They got the chance to design products that were purchased by the bank.’ VVDV × So you’ve been helping young designers for quite awhile. But isn’t that also the academies’ job? You feel that they’re falling short. What’s lacking and how can it be improved? MVDL × ‘I was a member of the education committee at the Design Academy Eind - hoven, where we were thinking about a new education model. We came up with something fantastic, but it received so much resistance from teachers in their separate corners with their egos. Together with the government, they can be very forceful. That mentality that falls under the old ways of thinking, but our world has changed so much: our field was once one-dimensional, and now it’s four-dimensional. The scope is wide and the diversity is enormous. Acade - mies are responsible for preparing students for the future, but how will they earn a living and how will we get good designers? We recently placed our first-ever opening for an intern, but it’s hard to find someone who can be useful right away – they have very few skills and don’t know how to work well in a team.’ VVDV × And now I’m very curious about that fantastic model... MVDL × ‘Students need the right luggage to pave their own way in this landscape, to design based on what fascinates them, to diffe- rentiate themselves. At the right moments, their luggage must be filled with the right skills and they must be able to speak to the right people. They need to face reality earlier, not just during an internship in their final year. You have to understand the path and facilitate it instead of imposing it from the top down.’ VVDV × You seldom work abroad. Is that a conscious decision? MVDL × ‘The closer the better – that’s what I say now. We have worked in Japan and America, our exhibitions go abroad, and the  Bobbin Lace Lamp is still sold worldwide. But now we even find projects in closer Zorghotel Domstate, 2018. Photo: Jeroen van der Wielen Woonbedrijf de Wal, 2016. Photo: Rene van der Hulst locations like Italy exhausting. You need to understand each other, the mentality is different. I also think the missions to the middle of nowhere are hopeless. It annoys me to no end. There you are with your rolling luggage, thinking you’re doing some - thing good for the cultural sector. The sexy creative industries are good at self promotion, but does it actually generate business for designers? The first priority is to make sure that designers can do something in the Netherlands once they’re done studying. I see opportunities everywhere, the field is large and wide, but no one is making the connection.’ VVDV × Did your membership on the board of the BNO influence how you think as a critical designer and how you see the profession? MVDL × ‘The board was an amazing and informative time. I didn’t have any mana - gerial experience, but from my own work I had learned to appreciate that you can contribute to our field from a broader perspective. Fellow board member Jeroen Verbrugge and Peter Kersten, the chairman at the time, worked very hard to put the creative industries on the map. For me, that period was a real eye-opener.’ VVDV × Do you ever still feel the need to just design a ‘simple’ vase? MVDL × ‘No matter how complex our current assignments are, you still hold a mirror up to your clients, make a sketch, and see a sparkle in their eyes. The moment when your ideas come to life is incredible. And afterwards, when you talk to users who think their new surrounding are really cool, it gives you energy.’ NVE × ‘These days, we create signature products within our projects. And if I do still feel the need to make something simple, I’d rather just build a chicken coop.’ VEVDL.COM Muziekgebouw Eindhoven, 2010. Photo: Frank Tielemans ‘ the cultural sector is too often stuck in the old ways of thinking ’ STE Languages. Photo: Jeroen van der Wielen 42 dude

21. Godogan , 2006 Imperfect design Bloom my Buddy , 2008 time, because we use our creativity to benefit that specific user. We think from a human scale to an architectural scale, but also pay attention to detail.’ NVE × ‘The Zorghotel (‘care hotel’) by diederendirrix architects was an extensive project with 84 hotel rooms, plus offices, treatment rooms and a restaurant. We had never designed a hotel before, let alone a healthcare hotel, and had never done a restaurant either. But it was precisely our open-mindedness that ensured we weren’t limited by impossibilities. Anything was possible. We did a lot of research, and even did an internship in healthcare. Rehabilitation centres are often very uninspiring – places you associate more with being sick than getting better. You immediately see that you could provide much more value to employees and guests; our interior design contributes to the recovery of the residents. Down to the last detail, we tried to achieve a pleasant, stimulating, inspiring and stylish environ - ment, focused on the users.’ VVDV × Do assignments like these require new knowledge or a different type of organi - sation at the studio? MVDL × ‘Greater responsibility and conti - nuity requires a more stable group of people. We’ve grown from two freelancers into a studio with seven full-time employees, a team of designers, an interior architect, an archi - tect and technical draughtsmen. The strength of the concept is still essential, but its trans - lation has become a hundred times more important, comprehensive and complex: a project combines research, execution, sustainable construction, budgets, dialogue, tactics and politics. It’s like playing chess on ten boards at the same time. It’s tough. We’re constantly searching for the right balance between content and organisation, and we also need to focus on the financial side to run a healthy business.’ NVE × ‘We’ve been given a much bigger role. You learn to define and use your leverage in advance. I see it as a game – a kind of politics that teaches you how to avoid problems.’ MVDL × ‘Niels is good at that; he’s very patient. He thinks it’s a sport to make sure that the concept is successfully translated into reality. He ensures that we maintain control and that the end result isn’t some watered-down version, and yet we’re still working for the client. He knows how to give the right input at the right time.’ NVE × ‘Miriam is super inventive in coming up with solutions. She’s critical and sharp.’ VVDV × Miriam, together with Eduard Sweep, co-founder of Yksi and the new label JAPTH, you were one of the founders of Dutch Design Week (DDW) in 2000. Why did you want to create this platform and what do you think of today’s DDW? MVDL × ‘At the time, there was no platform where designers could present their work and connect with producers and the general public. In the first few years, we spent a lot of time on it with a small group of diehards – we even had to convince designers to show their work. In 2011, for the tenth anniversary, I curated the week with Bruno Ninaber van Eyben. And now I’m a member of the advisory board. The most important takeaway is that the value of creativity is now embedded in our consciousness. That’s enormously valuable to individual designers and DDW, as well as the field of design in general. DDW grew in fits and starts into a huge event. That comes with the danger that it might surpass its goal, the level of quality won’t be properly guarded, or that people might not gain as much visibility. On the other hand, success also ensures that commercial parties will want to participate. But you have to keep a sharp eye on whether or not these parties really add value.’ VVDV × You’ve always maintained a close ties to Eindhoven and emerging talent: as curators of exhibitions, DDW ambassadors and by teaching at academies. How impor - tant is it to provide opportunities for young talent? Back in 2007, I was here for an interview with Miriam van der Lubbe and Niels van Eijk for Identity Matters . The first of their two daughters had just been born, and we sat in the meeting room downstairs in their studio in Geldrop, which now contains work - spaces. Today we’re sitting upstairs, they’ve purchased the adjacent building to use as a workshop, and VEVDL has seven employees who work together to make expansive, complex spatial designs. The studio’s growth was closely connected to their changing ambitions and ideals. VVDV × Was your start as independent designers a logical consequence of the way you were trained at the Design Academy, and in Miriam’s case, at the Sandberg Institute as well? MVDL × ‘We were trained as signature designers. At the time we certainly wanted to create strong images, and made exactly what we wanted to. I call that “personal neces - sity”. Everything was in service of the image, like Me and my Beretta , a woman’s leather handbag that made women feel safe because it suggested that there was a firearm inside. NVE × ‘We sometimes made pictures and images of things that didn’t even exist, as well as standalone objects and products like my graduation project – the Cow Chair made of unprocessed cow hide – a chair that’s completely useless for sitting on.’ VVDV × Is the biggest change in your studio the shift from personal to public necessity, as you describe it? MVDL × ‘Being a signature designer is very self-centred. We wanted to be more complete. We prefer to use our creativity for distinc - tive organisations that are looking for something innovative.’ VVDV × Did that happen gradually or is there a clear turning point? NVE × ‘The change occurred when we were asked by Imperfect Design to develop products that would promote social and economic growth in Guatemala, a developing country. Guatemala is poor; everything is reused. ’ MVDL × ‘It was interesting for us to translate our ideas into a series of products. Using different shades of recycled glass – a local resource – Guatemalan artisans made vases, carafes and glasses. Their coop - erative was dying, but since their products have found a way into stores on our side of the world, demand has grown exponen - tially. Due to their success, we’ve expanded the collection with more varieties, sizes and colours, plus added clay pots and woven and embroidered pillows and blankets. It’s a successful economic model: they’re earning an income, and their children can go to school. We got more satisfaction from this impactful project than from making products that are only available to the happy few or can only be seen in museums. It was a completely different experience than when we were commissioned by Droog and the Friedman Benda Gallery in New York to make the Godogan , an insanely expensive table produced in a limited edition of just five pieces. An Indonesian fairytale was carved into American walnut. The ingenious carvings were done by specialist woodcarvers in Indonesia, a place where producers often go to have their products manufactured as cheaply as possible. We made the table as complex and layered as possible so that as many woodcutters as possible could work on it for a long time for a good wage.’ NVE × ‘But we also realised that they didn’t have any work after this project was finished. We learned from that.’ VVDV × Do the Muziekgebouw, Woonbedrijf, language institute STE Languages and the Zorghotel represent major steps towards comprehensive interior design projects where you’re serving and guiding users? MVDL × ‘The cultural sector is too often stuck in the old ways of thinking. We’d rather work for the healthcare sector and ambi - tious companies who welcome innovation, have guts and enjoy our difficult approach, stubbornness and desire to push boundaries. We listen carefully to what our clients need. That leads to something different every ‘ being signature designer is very self - centred. we wanted to be more complete ’ 2000 First edition Designers Present , the predecessor of Dutch Design Week (Miriam, with Eduard Sweep). 1998 VEVDL design studio founded. 1999 Me and My Beretta . 2001 — 2009 Bobbin Lace Lamp series. 40 41 career

34. often family businesses with an opaque hierarchy. The head of Tata, for example, is still one of the descendants of the Tata family. It’s difficult to reach someone like that, yet they make all of the important decisions. To be able to work efficiently, it’s crucial to make connections as high up in the organi - sation as possible. My tactic is to say: “Sorry for my Dutch bluntness, but who’s in charge of this?” By asking the question with a bit of humour, they don’t think you’re rude and you can get more done.’ With nine years’ experience, Schwarz knows that the rules of the game at Indian compa - nies are always different, even if you think you know them. ‘You figure out the best strategy along the way. In any case, what we’ve learned is to offer flexibility, but to be strict at the same time. We now manage the process better than at the beginning. For example, at various points in the project, we agree on a point of no return.’ According to Schwarz, you can only do business internationally if you truly enjoy the adventure, for better or worse. ‘Of course you’ll face plenty of hurdles due to cultural differences. It often takes awhile before you’re on the same page as your clients, but for us, those kinds of challenges make our work exciting.’ Now that the agency has become deeply immersed in Indian culture with clients like the Indian Premier League, Tata Motors and one of the biggest Indian film awards, Schwarz feels it’s time to make the leap to other countries in Asia. They’ve already done a few things in Malaysia, including the graphics for a live presentation of the Volkswagen Beetle, but Schwarz also sees opportunities in China. ‘Together with Dog and Pony and CoDesign, we’ve got the strength to keep growing internationally.’ The next step is to expand their office in Mumbai. ‘At the moment, it’s mostly a sales office. Together with a Dutch brand strate - gist, we want to turn it into a mature studio, so that we’re even more approachable for the local market.’ ADDIKT.TV GRIT.NETWORK ‘ apparently it ’ s sexy to be Dutch, especially if you ’ re from Amsterdam. the city ’ s free - spirited image rubs off on us ’ Volkswagen Beetle Launch Malaysia NOW ONLINE NOW ONLINE NOW ONLINE a platform showcasing the best design talent presented by stimuleringsfonds creatieve industrie WWW.STIMULERINGSFONDS.NL/TALENTPLATFORM Meet the talents at Dutch Design Week @Veemgebouw 20 – 28 October 2018 11:00 – 18:00 gepresenteerd door stimuleringsfonds creatieve industrie WWW.STIMULERINGSFONDS.NL/PLATFORMTALENT een platform voor het beste ontwerptalent NU ONLINE NU ONLINE NU ONLINE Ontmoet de talenten op Dutch Design Week @Veemgebouw 20 – 28 oktober 2018 11:00 – 18:00 NOW ONLINE NOW ONLINE NOW ONLINE a platform showcasing the best design talent presented by stimuleringsfonds creatieve industrie WWW.STIMULERINGSFONDS.NL/TALENTPLATFORM Meet the talents at Dutch Design Week @Veemgebouw 20 – 28 October 2018 11:00 – 18:00 gepresenteerd door stimuleringsfonds creatieve industrie WWW.STIMULERINGSFONDS.NL/PLATFORMTALENT een platform voor het beste ontwerptalent NU ONLINE NU ONLINE NU ONLINE Ontmoet de talenten op Dutch Design Week @Veemgebouw 20 – 28 oktober 2018 11:00 – 18:00 66 66 dude


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