Graduation Catalogue 2016 - Royal Academy of Art, The Hague (KABK)

W  O RKS

Royal Academy of Art The Hague

Dear graduates, It is with great pride and a touch of sadness that I bid farewell to you. Along with the lecturers, I think that it is fantastic that you put your faith in the Royal Academy of Art by taking your degree programme here.

You have made every use of the expertise that exists in and around the academy, both drawing on it and also criticising and questioning it. In doing so, you have not only shaped your own development, but you’ve also contributed to the discourse within the academy, for which I thank you.

This final examination catalogue features the work of your class, the Class of 2016.

It offers an overview of the examination work in ArtScience, Fine Arts, Graphic Design, Interactive/Media/Design, Interior Architecture & Furniture Design, Photography and Textile & Fashion, the Postgraduate Course Industrial Design and the Master’s studies in Artistic Research, ArtScience, INSIDE (Interior Architecture) and TypeMedia.

The catalogue designers came up with a nice metaphor for the time that they spent at the academy: as an art academy student, you fill yourself with ideas and thoughts, you immerse yourself in the knowledge of your colleagues and like-minded souls, and experiment with techniques, equipment and machines. When the time comes to graduate, you’re almost ready to explode ― but that’s when it all really starts! This process of expansion is symbolic of a creative development that does not end in an explosion or implosion, but in an ongoing enrichment. One that, with individual projects, commissions and exhibitions, repeatedly assumes new forms. A process of learning with no clear start or end; one that may have begun at the academy and, in some cases, a long time beforehand, and that continues unhindered after graduation. We have every faith that you will make a remarkable contribution to your field and society, and we will follow your development with pride and pleasure.

The academic year included many highlights, a few of which I shall mention. It’s wonderful to see that neither the talent of the Royal Academy of Art’s students and alumni, nor their relationship with the public, went unnoticed. The BNI Award, Lichting,

the Startpoint Prize and Steenbergen Stipendium are just a few examples of prizes awarded to Royal Academy of Art graduates.

In April, students and alumni from every department took part in the Salone del Mobile in Milan. We received 23,000 visitors and there was huge interest in the press.

The Fashion Show in the Electriciteitsfabriek in June was truly spectacular and well attended by the international press.

We are keen to express our thanks to our main sponsors, who’ve helped to give you the best possible start in your professional careers. For a second time, the Keep an Eye Foundation has pledged a generous donation to facilitate the further professionalisation of the annual Fashion Show. The Stichting tot Steun contributed to the costs of taking part in the Salone del Mobile in Milan, the academy prizes and the Paul Schuitema Award, among other things.

Other prizes for the final examination week were supplied by Stroom, the Jan Roëde Foundation, the Overduin Foundation and the Heden art institution.

Finally, dear graduates, as you know, we attach great importance to the positive, warm and open atmosphere for which the academy is known. I would like to thank you for contributing to this atmosphere in your years with us. It has been a great pleasure working with you.

I wish you all the very best!

Marieke Schoenmakers Director

3

(BA) BACHELORS

8

ArtScience

10

Fine Arts

20

Graphic Design

62

Interactive/ Media/Design

106

Interior Architecture & Furniture Design

120

Photography

142

Textile & Fashion

174

(MA) MASTERS

190

ArtScience

192

Artistic Research

198

Interior Architecture (INSIDE)

206

TypeMedia

216

(PGC) POST GRADUATE COURSE

234

Industrial Design

236

AWARDS

240

WORKSHOPS

242

LECTURERS

244

COLOPHON

251

6

7

8

(BA

) A

9

(BA) BACHELORS ArtScience Awad, Samiha Beltrรกn, Manuel Blugerman, Natali Ghilardi, Marcello Kolganova, Tatiana

1 1

8 10

11 12 13 14 15

Omen, Eve Pols, Falco Reznik, Flora Vinther, Alexander

16 17 18 19

(BA) ARTSCIENCE Amor Fati “Amor Fati: SAMSARA”; I took the idea of the repeating cycle of birth, life and death (reincarnation) as well as one’s actions and consequences in the past, present and future. Stretching back before birth into past experiences and reaching forward beyond death into future reincarnations. Samsara’s literal meaning is a “wandering through” which is in reference to the passage through many states of existence. And the belief that a person continues to be born and reborn in various realms. Thus, leading to a new personality in a new form to arise somewhere within the totality of phenomenal worlds, which represents states of mental qualities and experiences.

An endless cycle of existence and knowledge.

(Abstract Film)

PROJECT

Electronics are the new black The Future of Wearable Electronic Art ― Digital Dresses to Remote ― Control Couture “Will the future be exposed to a revolutionary interface and change the interaction between contemporary fashion and new-age technology, suggesting a quasi-notion of intersecting the body, couture and technology?”

THESIS

AWAD, SAMIHA miha4blr.tumblr.com awadsamiha@gmail.com 0031 (0)6 1818 3603

Jordan/United States of America Internship at: Roodkapje Rotterdam ― Curator

1 1

(BA) ARTSCIENCE Speculative Capital Machines are outing us. As some time ago happened to horses after the invention of the steam engine, humans are becoming obsolete to perform mechanical labor. With the advance of artificial intelligence it will soon also affect our possibilities to be useful workers performing intellectual labor. To cope with a labor market dominated by machines we must re-adapt the position of humans in society. We present an alternative to that scenario in order to contribute and subsist in our capitalist societies.

We employ humans to perform biological labor and speculate with the value of their bodies.

PROJECT

BELTRĂ N, MANUEL www.MBeltran.es

1 1

mbeltran@protonmail.com

Spain

(BA) ARTSCIENCE Light observatory #2 I’ve been experimenting with natural and artificial light for many years, and I believe in the power of both for giving us another understanding of the universe we are part of. I use natural light as a raw force and contextualise it to create a transcendental experience with which I aim to un-shape static notions of how we see and perceive the universe, in order to open up more possibilities.

PROJECT

Unlearning through light If what we see happens in our heads, how can I make people lose their own limits and start to experience the rawness of light as an element?

How can I create awareness that the way we see things depends on our own limits? There’s so much more to see than what we allow ourselves to believe we see. I want to open this threshold. My last works have been about creating settings where people meet natural light in very raw ways to get as little distracted with images as possible. This way I hope to evoke a whole new consciousness to appear: one concerning light and our close intimacy with it.

THESIS

BLUGERMAN, NATALI Argentina n.blugerman@hotmail.com 0031 (0)6 4317 9472

1 1

(BA) ARTSCIENCE Circumstances “Circumstances� consists of two installations: Circumstance #1 and #2. Circumstance #1 deals with saturation and stress. Circumstance #2 is about filtering feedback.

PROJECT

Noise About What There will always be noise. Its definitions claim a strong will to obstruct it, its omnipresence works as awkward condition around which our rationality has to find its way out, it leads to an indeterminacy which exalts its contrast with all the rest. Here I attempt to mould the extended concept of noise by rephrasing, reinterpreting and reacting to it. More extensively I argue of that noise is capable to embody the conflicts and parallelisms between rational and irrational cognition, it contains the clash between words and sensations. I consider my thesis being a summary of all the impressions, thus reflections, raised by the topic of noise within the research I have carried throughout my bachelor.

THESIS

GHILARDI, MARCELLO www.marcelloghilardi.com

1 1

writetomarcello@gmail.com 0031 (0)6 3157 2609

Italy Internship at: Elektronische WerkPlaats

(BA) ARTSCIENCE Lettersonic A sound-visual live performance is a concrete poetry of letters. The letters were created by the artist and have been recorded as sound of their shapes. During the performance a performer is using an ordinary computer keyboard to type the sound of letters. The sound becomes visible by a sonogram. Each screen is a stanza. Does it have meaning? Only letters know...

PROJECT

A Word in a Space How does a written word or text influence a perception of a space? Could a space make difference for what we are reading in a moment?

If we take a word as a single significant event could it become a realm on its own? The thesis consists of two parts: First part is a text which considers projects of artists who work with words or text such as Joseph Koshuth, Jenny Holzer, Lawrence Weiner, Jung Lee and others.

Second part is an art project in which the writer suggests a reader to answer the questions by him/herself.

THESIS

KOLGANOVA, TATIANA Russia balyasina@gmail.com

1 1

(BA) ARTSCIENCE WILD-O-RAMA Eve Omen (HI) is a rock & roll garage punk artist with a low-budget, Lo-fi & DIY attitude.

Totally obsessed by this scene she makes music, sound art & videos. For her it is all about the primitive, the stupid, the raw, the honest.

She often finds reality boring so her shows are based on her true fantasy stories. Where she can live underground, with the other freaks and play her dirty sounds. “WILD-O-RAMA” A trash extravaganza! Is an audio/visual music video collage installation, a trash mountain build out of old TVs and audio equipment.

The installation plays short music sketches.

Imagine fuzzy guitars sounds, 60’s organs en loud screams that sound like James Brown on speed. Combined with videos that reveal a bit about the life of Eve Omen.

PROJECT

OMEN, EVE Hawaii

1 1

eve.omen@gmail.com

(BA) ARTSCIENCE Stamper & Tikkers In search of spatial sonic qualities of spaces in the academy, by scraping, ticking on walls and windows, stamping on floors and clapping; in the entrance hall of the Bleijenburg building a powerful resonance was found, reaching through the walls of the building. A heavy wooden block came to mind, which is lifted up to hit the floor in a certain tempo. Also outdoor spaces were analyzed; the windows and brick walls of the courtyard were subject for 200 ticking electromagnets. In order to compose between the two they were brought together.

The Tikkers will be around the entrance at Bleijenburg, where there will be a dialogue between the Stamper and them. This way creating a site-specific communication between sound, material, form and rhythm.

PROJECT

Noises of Our World This thesis is about noise music and about noise in general. To define noise in a unifying way is not possible, so the thesis first goes through the different forms of noise, then follows the history of noise music, from the first instances in primitive human life, to the present.

Last, the thesis covers personal interests and own work, making connections between the subjects and conclusions covered during the research and writing of the thesis.

THESIS

POLS, FALCO The Netherlands falcopols@gmail.com 0031 (0)6 3038 3305

1 1

(BA) ARTSCIENCE Hole/Matter My work often takes the form of installations that are the result of long-term performances in which my body is entangled with other materials. In this project I dug a hole in a public space for 8 months long. In general I use the human body as a point of departure for the creation of new concepts in the realm of the “us”. I intend to do so by performing actions or situations that defy assumptions about what physicality is and how it should behave. I aim to develop a new aesthetics of strength in relation to movement, and detached from traditional values such as virility, certainty and control.

PROJECT

Ode to Movement, The Tensegrity

Principle and the threshold of solids Our intuitive idea of solidity shapes the way we experience our body and its relationship with other bodies in space. We think a solid fills a space. We think that because a solid does not change, it can only engage in certain relationships with other things. But a space is an event; it is a matter of taking place. Can we think of a structural principle of physical, spacial entities that focus on the threshold of matter? One that allows us to see solids moving in unexpected ways and engaging in new relationships?

THESIS

REZNIK, FLORA www.florenciareznik.com

1 1

florenciareznik@gmail.com 0031 (0)6 1416 6911

Argentina

(BA) ARTSCIENCE It’s up to the boats Continuation is a virtue. Boats tell a tale of motion. Their frame holds them together and by their numbers, they frame a new boat; the boat between them.

PROJECT

A horse is a horse of course, of course A thesis that discusses the relation between “promise” and “precision”. The musical qualities to a moving language is discussed from the points of view of the: “White horse Dialogue”, Frege’s “Concept Horse Problem” and selected texts of Wittgenstein.

THESIS

VINTHER, ALEXANDER Denmark alexander.benjamin.vinther@gmail.com 0045 2539 3651

1 1

(BA) BACHELORS Fine Arts Alexandropoulos, Alex Atzori, Sarah Bado, Candela Bigaj, Maria Blankevoort, Julie Boeschoten, Sophia Borghesi, Katia Brown, Tom Chaguidouline, Anastasia Charalambous, Iliada Chen, Kiem Loon Comendant, Dinu Cornevin, Jerome De Benedictis, Anatole Dmyszewicz, Daniel Franke, Pleunie Gieben, Jessie Hardeman, Doris Harpsøe A. H., Benjamin Hartog, Lisa Hivailand, Molly

FT = Full Time PT = Part Time

8 20

21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41

Hollanders, Elsje Kashian, Negar Kaufmann, Bas Lengkeek, Tobias Metaal, Belushi Nina, Ariuna Peperkamp, Anna Lotte Radvilavičiūtė, Ieva Schot, Puck Sidorova, Katerina Siemons, Judith Smeur, Sébastien Steinbusch, Edmond Ubbens, Bauwien Van Aarle, Irene Van Heesch, Roel Van Roekel, Renée Van Staaveren, Suzie Veldhuijzen, Renate Young, Debbie

42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61

(BA) FINE ARTS ― FT PROJECT

Thoughts on an empty stomach The physical, emotional and psychological influences hunger can have on either an individual or society as a whole, reflecting on politics, religion, personal experiences and the experience of others.

THESIS

Two pieces. The first is a musical performance experimenting with both the border between music and pure sound, and the border between visual and musical performances. The audience's and the performers' physical presence in space are taken into full consideration, in relation to the physical process of making sound or music. The second is an installation consisting of structures with motorized devises creating sound and movement, intended for the audience to experience while standing amongst it.

ANDROPOULOS, ALEX www.alex-andropoulos.com tou.alex.andropoulou@gmail.com

Greece

2 2

(BA) FINE ARTS ― PT Hauch!

“Hauch!” Is a complex installation that develops another dimension. Here the walls are no longer only walls, but “heavens crying drama”.

The floor loses its most basic function and becomes a source of life represented by the colourful land of acid green. It blends with different texture tonalities of pink, evoking the essence of human flesh. Spaces are defined by elements representing different existentialisms that are brought on the same line through the videos in which a woman carries out daily activities in which pain lurks, associated with the canon of beauty that goes against nature by confusing the human being.

PROJECT

A coffee with Anne The thesis is built through a dialogue between me and an almost fictional character named Anne, a man dressed as a woman that was close to me during my route here at the academy. Everything takes place in a bar, in front of a coffee, where I tell about myself through my fears, my needs, my dreams about my artistic career.

THESIS

ATZORI, SARAH www.sarahazzurra.com

2 2

azzurrasarah@hotmail.it 0031 (0)6 4878 1230

Italy

(BA) FINE ARTS ― FT The seeing eye will urge the using hand I make ceramic objects attempting to investigate their practical and abstract qualities, the trancendentality of objects and their relationship with the user. The relationship between the object and the user is narrated through performance ― through use I want to approach the secrets of beauty that are contained in objects. Research on the folkloric and the construction of national identity refers to my interest in genealogy as an historical technique in which one questions the commonly understood emergence of truths.

Objects can also be carriers of these constructions and their contradictory nature.

PROJECT

How does the unlettered craftsman

produce beauty?

My thesis manifests a desire for the revival of craftsmanship, searching for the human quality during the creative process that goes beyond the intended construction of the visual. Using as a case study the life and work of Soestu Yanagi founder of the mingei (Japanese folkcraft), who explored the traditional Japanese appreciation for “objects born, not made”. Introducing concepts such as Foucault’s heteropia concerning our relationship to the object and the Nietzschean perspective on genealogy referring to the becoming of the object. Beyond the construction of visual identity there lies an intuitive desire for beauty which determines the craftsman to create. The work of the craftsman perseveres unto the daily life of the user.

THESIS

BADO, CANDELA www.candelabado.com candebado@hotmail.com 0031 (0)6 3316 5825

Uruguay

2 2

(BA) FINE ARTS ― FT PROJECT

Ocularcentrism

and disenchantment of an eye In my thesis, I critically reflect and analyze the apparent ocularcentrism, that is, its hierarchical privileging of sight over the other senses, observable in the history of Western culture.

I explore the possibility of having an alterative discourse; can we also think outside of the eye? Are there different approaches? Is the visual sense the primary one? Subsequently, I discuss the beginning of conceptual art and analyze its movement in context of the denunciation of the ‘retinal eye’. I discuss the rise of ocularcentrism in this age of advanced technology and how it shapes our perspective.

Finally, I present the role of art in that regard and attempt to propose a new way to approach the phenomenon through the medium of art.

THESIS

My work paradoxically shifts between minimal approaches to form and a highly intuitive process. I often use modular units and grids and I overturn them through inserting perishable organic materials that I source, such as fruit, trees or flowers. The elemental quality of these materials results in natural processes of transformation and decay, often with unpredictable results.

BIGAJ, MARIA 2 2

www.marysiabigaj.nl

Poland

M.Bigaj@student.kabk.nl

Internship at: Central Saint Martins College of Art and Design

0031 (0)6 2412 8336

(BA) FINE ARTS ― FT PROJECT

Affect In my thesis I research a possible place for ‘affect’ in or with the artwork, with a focus on two and three dimensional formats.

THESIS

In an abstract way my work visualizes and references a non fixed constellation of entities.

This comes together with an emotion that comes within the experience of living human life.

BLANKEVOORT, JULIE www.julieblankevoort.com juliedematons5@gmail.com 0031 (0)6 4221 1779

The Netherlands

2 2

(BA) FINE ARTS ― PT Come Closer I created a world a world of my own I invite you to come closer and see all things still unknown and share them with me.

PROJECT

Time Travel in a Nutshell In my thesis I travel together with my favorite outsider artist Adolf WĂślfli through my imagination. We visit different places, memories and stories, which I connect to the following themes: death, prison, freedom, love, a new world order and imagination. As different states of mind I believe that they function as the fundamental tools within the process of making art, whereby the artist tries to create something to which the viewer can relate to, but also something new and unknown.

THESIS

BOESCHOTEN, SOPHIA www.sophiamarguerite.org

2 2

sophieboeschoten@hotmail.com 0031 (0)6 1838 1848

The Netherlands

(BA) FINE ARTS ― PT Monday, 19th October 1970 A day can be memorable for many people for many different reasons. For others the same slice of time will surreptitiously slip into the abyss along with the other forgettable days.

I reconstruct pivotal moments of Monday 19th October, 1970.

PROJECT

Monday, 19th October 1970

― A Reconstruction Memory is a wide subject and a slippery concept. In this essay, I attempt to define memory and look at ways contemporary artists have given form to it.

THESIS

BORGHESI, KATIA www.katiaborghesi.com info@katiaborghesi.com 0031 (0)6 4143 6366

France/Italy

2 2

(BA) FINE ARTS ― FT West to East, East to West My work deals with the first person experience, the small moments in life that make our experience unique. In the past I have documented many journeys, usually from Holland to England and back. This time, I wanted to throw myself in at the deep end and travel to a strange and distant land. Since I did not leave Europe for fifteen years, I felt that China would seem to be a rather different and strange land and so I packed my bags and off I went. The project deals with the culture shock as well as how we communicate in these days of extremely rapid digital communications. From beautiful vistas to smog choked skies, smiling people and stone faced guards, it’s been a journey of extremes, revealing lessons to be learnt and a glimpse to the future.

PROJECT

Three Essays on Story Telling My thesis takes the form of three essays, dealing with the cultural and human development of storytelling as a medium to exchange information and arts growth from this exchange.

The ramifications of the massive influence that technology has had and continues to have upon fine art. Finally, where the future of story telling lies and art might be taken. I believe that story telling is one of the greatest gifts we have as a species, allowing us to learn and enjoy.

Many books and essays were read as part of the research for my thesis and it was a truly rewarding experience. This all will be of great use to my own craft of telling stories.

THESIS

BROWN, TOM www.honkingelephant.co.uk

2 2

ooh-mrbrown@hotmail.co.uk 0031 (0)6 4353 9282

United Kingdom

(BA) FINE ARTS ― FT I wish I was a punkrocker This is the end ― The end of this road ― The end of shadows that enter the light. At last I can tell ― At last you will listen ― What I did ― And how I felt. About the illusions of ― Who I am. An intimate story shared in a performative installation. Two actions are performed in the space to add an experiential dimension.

It is a story about dreams, fears, culture and experience. It is an “invitation au voyage”: travel with me to a long forgotten tale of freedom.

PROJECT

Sadness in me “Sadness in Me” is a research about sadness.

I started to write from a personal perspective.

After looking into sadness as a cultural leitmotiv, as a condition, as something sublime or something beautiful, I ended with sadness as experienced through empathy. Empathy comforts maybe even transforms sadness. As an addition to the research I inserted letters, or ‘Intermezzi’ for the reader. These are personal poems or stories that tell about sadness in various ways. In the end I learned to embrace the beauty of sadness and draw the reader to do so too.

THESIS

CHAGUIDOULINE, ANASTASIA www.chaguidouline.com

Luxembourg

chaguidouline_anastasia@hotmail.com 0031 (0)6 2825 5931

2 2

(BA) FINE ARTS ― FT Tell me about countries

 that sound like the sea IV Through the medium of sculpture and installation art, I engage with cultural symbols of my country of origin, Cyprus and the Mediterranean region. The symbols are presented through my personal reflection on them and the influence that their archetypal forms excercise on contemporary society, in regards to political factors and questions concerning the cultural identity of a place; in an attempt to draw the link between history and the contemporary social situation in this region.

PROJECT

Katagogi In a rapidly changing scenery of politics and internationalism, the questions on immigration and the cultural identity in regards to individual identity are filled with urgency. In my thesis, I am discussing issues which resonate with the personal perception of concepts such as immigration, contemporary politics, and the cultural identity of individuals within the framework of a multicultural society.

THESIS

CHARALAMBOUS, ILIADA www.iliadacharalambous@hotmail.com

3 3

iliadacharalambous@hotmail.com

Cyprus

(BA) FINE ARTS ― FT Untitled Every night a dream appears to me, where the past replays and lingering thoughts wander the mind. Moments where you lose selfawareness, were time and place have no meaning, where dreams feel as if it was real and sometimes the reality, the reality becomes nothing more than an illusion. Like a room you entered, befuddled as to what your purpose for entering it means, promising yourself to return once you recalled the purpose of your original trip. In the project, Kiem Loon Elvis John Chen wants to draw the viewer into his world, into his work as monumental as possible. So that the viewer becomes a part of the installation/theater work and also becomes part of a memory of the artwork.

PROJECT

The Living Life of Reflection In this thesis I wanted to analyse the work of Louise Bourgeois, Frida Kahlo, Tracy Emin and Otobong Nkanga. Using these 4 artists as a vehicle for my investigation about the work and the different types of memories, this thesis demonstrates how fragments of memories can be layered onto each other, where it can draw the relationships between the past and the work. To analyze the experience and memory in order to try to have a relation between my work. In return, one can have a better understanding of the relationship that is the representation of the perception of a memory.

THESIS

CHEN, KIEM LOON www.KiemLoon.com KiemLoon@hotmail.com 0031 (0)6 5754 2810

Suriname

3 3

(BA) FINE ARTS ― FT The Walking Thinker I try to “reanimate” stop motion animation by using my surroundings as the context and background for the happening. A way of storytelling where time, distance and space have different properties; still connected to physical reality but but they go beyond into a metanarrative. The distance between me and the outer world can be vast so the “walking thinker” functions as an intermediator between the two. The Neolithic inspired statue was born in Moldova and travels through layers of reality to the Netherlands; it is a facet of my social body. I allow the surroundings to interact and guide the character. It is a crucial part of the process not to know what is going to happen next. This free spirited unfolding is an invitation to slow down and observe.

PROJECT

The Ways of In-Between I am wondering if it is possible, in artistic practice, o reject all personal and cultural conditioning which accepts authority (taking as example my own self-reflection and self-enquiring related to the conditioning of being born in an East European (post-Soviet) country and its respective impulses encountered on the way to my present artistic practice). Can one be consistent in oneself irrelevant of circumstances? Can one’s behavior spring from within and not depend on what people think of you or how they look at you?

THESIS

COMENDANT, DINU 3 3

www.dinucomendant.com

Republic of Moldova

dinucomendant@gmail.com

Internship at: LhGWR (Liefhertje en De Grote Witte Reus) Gallery, The Hague.

0031 (0)6 2831 9967

(BA) FINE ARTS ― FT Hearing rhythmic gestures. A pattern

which occupies a whole number of pulses

in an underlying dependency of needs In my work you can see an expanding scenario that is strictly temporary. A major role in the work is actual time and dependency. Here I made a choreography out of fragmentations of objects, movements and sounds. By accessing the choreography occurs a dependency between the audience and the objects. Here I make sure the audience becomes passive or active in relation to the fragmented objects and elements in the work. Both audience and objects are replaceable. The fragility of the objects and the repetition of material image and sound. To let you question your position as a viewer.

Fragmentation of images, both moving images and sound translated into composition provides a playful approach according to this topic.

PROJECT

What is the role of the public according

to a spatial art work?

In my thesis I was looking for the role of the public according to spatial art works. I started with looking at two-dimensional works. Looking more at direct elements like color shape and form. For example I researched paintings of Frank Stella, all based on color and repetition.

The repetition into these paintings were an important part in my thesis. This brought me to a more mental state of a work. Looking at how a work is placed into a space. How this relates to the position of the viewer. I was looking at choreography, theatre and happenings in art works as well. How the viewer can become active and passive depending on the position of the work. And at the end, how the art work should function on its own to communicate to the audience.

THESIS

CORNEVIN, JEROME www.jeromecornevin.com

0031 (0)6 1330 9492

The Netherlands

3 3

(BA) FINE ARTS ― FT Errors Reproduce Themselves A statement illustrating the complexities of our world while inducing the viewers to reflect and maybe act upon them. Imposing my order on the disorders of reality, a form creating meaning out of chaos and accumulation. I want to draw maps ― real maps or allegorical ones ―to highlight the structure that can be extracted or deducted from the accidental random appearance of things. Echoes from the world framed through my filtering mind.

PROJECT

Form Matters Should art be democratic, that is easily accessible, interesting, attractive, relevant to each and every individual in society? What is art to society? Should the artist be actively involved, as an artist, in the world he lives in?

And in which way? Aware of the need for practical, concrete, immediate solutions to the immense difficulties a lot of our fellow human beings experience. Can the artist play some role in alleviating these difficulties? Maybe giving structure and meaning to the expression of pain, anger and revolt? I looked for answers to my questions in the works and reflections on the meaning of art of three artists thinkers: Pierre Bourdieu, Guy Debord and Thomas Hirschhorn.

THESIS

DE BENEDICTIS, ANATOLE www.anatoledebenedictis.com

3 3

anatole_moi@hotmail.com 0031 (0)6 1595 5633

France/Italy

(BA) FINE ARTS ― FT Zab zac zaa zah zaf zaj zae zad zai There was a man who filled his house with sculptures, he had made them because he wanted to live with them, to keep them close to him. No one had seen or known about the sculptures untill he passed away and his house was opened by others. If aliens would appear and ask “what is going on here, you are killing each other, people are starving, what good have you done?” I would say "Well, we have culture, we have what we have made".

PROJECT

To be free in connecting the dots I propose a new way of perceiving conspiracy theory, not as delusional ideas produced by delusional people, but as a creative and valuable phenomenon of our culture.

THESIS

DMYSZEWICZ, DANIEL ddffsszz.tumblr.com dmysze@gmail.com 0031 (0)6 3040 9837

The Netherlands

3 3

(BA) FINE ARTS ― PT Capsule I have something to confess: I am mad‌ I am a complete lunatic... Do not believe a single word I say, and especially, do not trust my images.

My advice to you is: only rely on your own ability to judge.

PROJECT

Zin in waanzin A tribute to insanity, aiming to break the silence surrounding madness and to place lunacy in our ordinary daily life.

THESIS

FRANKE, PLEUNIE www.pleuniefranke.nl

3 3

mail@pleuniefranke.nl 0031 (0)6 1818 6629

The Netherlands

(BA) FINE ARTS ― FT Everybody is a Nobody The human psyche and society are my main sources of inspiration. I have found that these are the never-ending battlegrounds between male and female, order and chaos and ratio versus emotion/instinct. It is mesmerizing that even though one does not exist without the other, they often seem in conflict, and how one’s identity is being shaped and formed through the outcome of these conflicts. Within my work I show different elements of conflict by using a variety of texts, colors and materials and search for certain balance in the mayhem.

PROJECT

Wederkerigheid in kunst/reciprocity in art For my thesis I researched the relationship between the artist, the artwork and the spectator. From a psychological approach I deconstructed the dynamics of the relationship between those three entities and showed the importance of having a reciprocal relationship and how autonomy is one of the key-ingredients.

THESIS

GIEBEN, JESSIE www.jessiegieben.com jessiegieben@hotmail.com 0031 (0)6 3392 7262

The Netherlands

3 3

(BA) FINE ARTS ― FT The weight as such Around us all subjects are mastered and marked by time. Think of the obvious; treerings, stretch-marks, glaciers. For instance in a rock, time is archived in the layers of sediment, into this silent, mute mass. A fossil is literally a time capsule, a creature petrified forever, a momentum, solidified forever. I long to catch this moment, when the clay takes shape, moulded by my hands, determined to become a conserved momentum. As if existing inside a newtons cradle, swaying back and forth through time and space. There is no beginning and there is no end, here is just the momentum, the act of the hands. As they attempt to create an environment where the ticking of the clock becomes trivial, where the viewer can step in to take a breath.

PROJECT

Expanding fields, contracting shields It is inevitable, in life we experience, from the moment we leave the womb until death do us part. This experience works as an interplay between man and space, as a diptych they belong together; on your left looking at ‘the field’ (the spacial element) and on the right seeing ‘the eyes’ (the physiological element). In my thesis I am exploring both elements and try to find where these two parts come together, for that is the core of the experience itsself.

As we perceive we are addressing our senses, we let our body explain to our minds what is happening. The body becomes a space in itself for experiencing as it becomes a mediator between the space and the brain.

THESIS

HARDEMAN, DORIS www.dorishardeman.com

3 3

dorishardeman@gmail.com 0031 (0)6 4126 8581

The Netherlands

(BA) FINE ARTS ― FT PROJECT

THESIS

1. When a distinguished but elderly artist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong.

2. The only way of discovering the limits of the possible is to venture a little way past them into the impossible. 3. Any sufficiently advanced art is indistinguishable from magic.

The intersection between the Artist and the Shaman

HARPSĂ˜E ANDREAS HARDER, BENJAMIN Denmark distroy@gmail.com 0045 9196 2378

3 3

(BA) FINE ARTS ― PT Alone A redefinition of love.

PROJECT

Eenzameen A travelogue through the landscape of life with fears, frustrations, desires, dreams, ideals and the healing power of Jessy, my beloved muse and leading lady in my work.

THESIS

HARTOG, LISA www.lisahartog.com

4 4

hartoglisa@gmail.com 0031 (0)6 2633 0040

The Netherlands

(BA) FINE ARTS ― FT The God Chapters When the world of the end comes Will you be there with me daddy I want my daddy to see it with me Whats it gonna look like when it happens daddy I don’t want no fire to scratch my eyes Scratch your soul more like Will we meet all the people in hevan Lord knows I don’t even know how to spell heavn So when the devil has scratched my soul Will it be dark and black Black like the tar drippin Lord knows will I still have my daddy to hold me tight Lord knows I didn’t even had a chance to had a baby yet And hold an baby of my own Will you hold my soul baby daddy I know I lived a sinful life Why im not tryna run When the world of the ends comes You kno people are gonna be crawlin ontop of each other like flies.

PROJECT

D.I.Y. reality ― a rough guide It begins in a chippy. I soak the potatoes in salt and vinegar, not just any old chips the proper fat kind. It’s the day so were not just in any chip shop, were in a proper chippy. No fast food abra kebabra (my local kebab shop) shit after a pissed night out, here you go for cheesy chips.

Here it’s the more slutty (meaning the more sleazy), greasy kind. The ones you shove down your gob (mouth) as quick as possible. The fine nuances of a chip, and I realise that much like the chips that I am looking at which are sweating in salt and vinegar, it is a metaphor for me sweating in this English hellhole. A D.I.Y. REALITY is necessary.

THESIS

HIVAILAND, MOLLY www.mollyhaviland.com mollyhav@hotmail.com 0044 7515 7427 98

United Kingdom

4 4

(BA) FINE ARTS ― FT Untitled I combed the beach for shells and pieces of coral. They were traded with the sea for drawings in the sand. I practiced singing with my vacuum cleaner. Its notes were far more complicated than they seemed. I touched these notes by singing to them, and changed them.

They changed me. We met, the sound vibrated.

I sounded mechanic, and the vacuum cleaner started singing. It was more alive, and I was less so. I was one with the vacuum cleaner, which made me no longer be myself. It was liberating. In my work, I search for and extend the borders of the self. Borders extended hint at borders infinitely extended, creating one body from which to experience. I search in performance, music, film, photography, drawings, and sculpture.

PROJECT

Untitled: On the nonverbal in the creation

and experience of art An inquiry into the communication of art which comes from a personal, nonverbal origin. When work largely depends on intuition and the unconscious, how does it become transferable to a general audience? After evaluating the importance of the Subject and subjectivity in my work, I investigated transference from within the personal. I searched for generally recognizable, yet personally experienced phenomena that I called “intersections”. In art, this lead me to the concepts of the the Barthes’ punctum, Freud’s uncanny, and Lacan’s real and the gaze. Delving into these concepts revealed the beauty of the nonverbal and personal experience in relation to art, and the role of a largely nonverbal working process in invoking such experiences.

THESIS

HOLLANDERS, ELSJE www.elsjehollanders.com

4 4

elsje_hollanders@hotmail.com 0031 (0)6 5230 2579

The Netherlands

(BA) FINE ARTS ― PT Coffee house paintings Negar Kashian (1981) was born in Iran. At the age of nineteen she was admitted in the Best Art University of Iran. After graduation she was a teacher at several locations and had her own gallery. A few years ago, she came to The Netherlands to enhance her art skills and to develop her art for a more worldwide audience.

With her work she want to show the audience that although we live in a world with many different traditions, culture and believes, that the general feeling of emotions are the same and closely related. The paintings have a traditional coffee house style background with a mixture of cultures and believes. Different stories and feelings are combined into one painting.

PROJECT

THESIS

Reflections of Iranian Women through the different ages

KASHIAN, NEGAR www.neger-kashian.com negar.kashian@gmail.com 0031 (0)6 1276 0976

Iran

4 4

(BA) FINE ARTS ― FT Vuelta a España I make sculptures the way like the wanderer’s becoming. It is the way to become it rather than the being of it. The form has the intention to take shape like the landscape that you see from an objective point of view. It is like the church on the hill when Nairo Quintana was eager to win the moral over the everlasting champion in the name of Chris Froome.

PROJECT

Swankie town It is a document that contains my thoughts and writings about how I experience the artworld and its reflection upon my own political/ethical/ artistic opinion to what I see. Subjects as free market economy and its positioning into our political system is part of that content as for my personal encountered subjects that contradict and have similarities with this opinion. Subjects like martial arts, folk music and football come to speak here.

THESIS

KAUFMANN, BAS baskaufmann@live.nl

4 4

baskaufmann@live.nl

The Netherlands

(BA) FINE ARTS ― FT Debris For debris to exist, an act of violence is implied ― much like paint simplifying reality only to the visual. “Debris” signifies that these objects once had a function. It illustrates an action ― like painting, lines from skateboarding, old layers, screw and the frame all visualize how a painting was made. They are visual traces of something that happened, just like debris. It is from a urge to paint that I look around to find something to paint. With the violent interference painting has on reality, I attempt to filter reality to its essence. When I look at a painting I feel that every day things hold a higher meaning and realize that even though my eyes are open, I don’t always truly see the things around me.

PROJECT

Het ongrijpbare in schilderkunst

(The intangible in painting) What has been painted will never be the reality because it has been translated to paint that only refers to the visual part of reality.

A painting is made in a blind moment, because a painter has to concentrate on what he is going to paint and not on what he sees or has done. The depiction will always be a snapshot of reality and the framing of a painting always excludes everything around it making the reality intangible.

THESIS

LENGKEEK, TOBIAS www.tobiaslengkeek.nl info@tobiaslengkeek.nl 0031 (0)6 2788 9636

The Netherlands

4 4

(BA) FINE ARTS ― FT Buurthuis Installation, painting and mixed media.

PROJECT

THESIS

Shockproof

METAAL, BELUSHI www.belushimetaal.com

4 4

belushi010@hotmail.com 0031 (0)6 4773 7865

The Netherlands

(BA) FINE ARTS ― FT Evidence Of Things Unseen Ariuna Nina’s productions have decisively shaped the look of contemporary art performance. Through her signature use of light, her investigations into the structure of a simple movement, and the classical rigor of her scenic and costume design, Ariuna has continuously articulated the force and originality of her vision. Ariuna’s close ties and collaborations with leading artists and musicians continue to fascinate audiences.

PROJECT

Het leven ontroert, niet de dood Ik deed een gedachte-experiment voor mijn scriptie. Het vertrekpunt van de scriptie is droom en realiteit, hoe ze elkaar beïnvloeden.

Zowel de bewustwording van je/het bestaan, activatie en de filosofische levensvragen naar wie iedereen opzoek is, in bepaalde fases van ons leven.

THESIS

NINA, ARIUNA www.ariunanina.nl a.e.nina@live.nl 0031 (0)6 3373 3139

The Netherlands Internship at: Intoxica Jeans Homme BV

4 4

(BA) FINE ARTS ― FT Air circulation, healthy for your skin In between the layers. A whole life rolling, on the wheels of my racing car. Listening to Supertramp ― Crime of the century. Wondering what paradise will bring me.

PROJECT

Echtheid in zijn waarde What is the real and what do we call real?

A thesis about reading the mind through telepathy. A place where aliens are mingled with humans and words don’t exist. What a stone can say about true love and how we approach the reality individually.

THESIS

PEPERKAMP, ANNA LOTTE www.annalottepeperkamp.com

4 4

lottepeperkamp@gmail.com 0031 (0)6 8332 3630

The Netherlands

(BA) FINE ARTS ― FT ‫“ ִלֹוּכׁשֶא‬Concentration” Graduation project intends to raise the main issue that any of existing beliefs, ideologies, theories or religions are no better than the other.

As Íeva Radví­la says: “I am a very spiritual person, but spirituality is something in the air...

It is something that everyone feels and understands in different levels or degrees.”

Spirituality relates to Christianity the same way as to the New Age. You may call it the degree of concentration. Spirituality is the highest level of concentration, nothing else. That is Íeva’s religion and this graduation project will try to portray it.

PROJECT

‫“ ִלֹוּכׁשֶא‬The Other Religion” Thesis consists of two major parts. It starts with the brief description of the author herself and the relationship to ‫“( תֶלפבאשאהָנּומֱא‬The Other Religion”). Eventually, an imaginary (“flexdocumentary”) script follows after consisting of bizarre/non-existent instructions on how to build a “Wind Organ House”, historical facts about perfect society for perfect people or invented philosophical ideology named ‫חַרֶּפ‬ (“Flower”) with written guideline on how to become a plant of your own choice. The second part of the thesis plays supportive theoretical role. It is focused on the paganism in Lithuania (XIV c.) and Nigerian Igbo religion (XIX c.)

It explains how forced christianisation tripped up the development of the cultural identity.

THESIS

RADVILAVIČIŪTĖ, IEVA www.ievaradvila.com radvilaviciute.ieva@gmail.com 0031 (0)6 8513 5080

Lithuania

4 4

(BA) FINE ARTS ― FT Inferior Essence This work contains people I have seen on the Internet ― yet I do not know anything about them personally. In exchange for a small amount of money I let them perform extremely personal scripts. These emotionally overwhelming texts are a bit like reality-tv to me: emotional or funny things in reality-tv are the only “spectacular” moments. And as such draw the most attention.

Moreover I find it interesting that just as in reality-tv, you are not too sure when one is acting or not and how one can grow empathy for someone unknown in real life.

PROJECT

Killing time

(and destroying the blue screen of self) Boredom is something I often work with: the feeling when one is alone and does not know how to deal with time. Nowadays we spend most of our time watching screens that depict reality for us. There is a distance to reality and a loss of (trust in) instinct: for example, we look at nature films feeling surprised by what there is in life, yet we yawn and rather stay in bed than to visit the place shown in the film. I reflect on the Internet as well, as I am fascinated by how we can connect to people or imagery without having or seeing something “real”.

Over all I feel like all this is a very generic way to feel and be in our daily lives and deserves more reflection.

THESIS

SCHOT, PUCK www.puckschot.com

5 5

puck.schot@gmail.com 0031 (0)6 5589 0126

The Netherlands

(BA) FINE ARTS ― FT The Feat. Act 6: The Chapel The hero is needed. You make up the hero.

You’re blaming the hero, preparing the hero.

Why is he needed? What is he doing? He’s doing a labor. What is his labor? He builds a Chapel.

The hero is mortal. The Chapel will fall down, just like the hero. Just like you are mortal.

Who is your hero? You are the hero. Are you the hero? Then why are you mortal? The hero is needed. Where is a hero? Where is a hero when he is needed?

PROJECT

How to stop being human:

Guidelines for becoming a squirrel The search for the borderline between the animalistic and the human, the blissful unknowing and the realization of one’s mortality, the seen and the perceived. The self-help book, teaching how to escape one’s own kind.

The diary, shedding light on the reasons why did I ever want to be a squirrel.

THESIS

SIDOROVA, KATERINA www.katerina-sidorova.com sidorova.katerina.ks@gmail.com 0031 (0)6 4137 4056

Russian Federation

5 5

(BA) FINE ARTS ― FT Psychedelic art depression Based on culture, individuality and identity. This work represents several things that define me.

It involves themes such as fashion, shamanistic ceremonies, parties, social media, gender etc.

I chose to create several works with the use of various kinds of media. They represent the results of different extremes researched in several cultures. “Psychedelic art depression” is a theme that explains the difficulties of this transformational processes. A free spirit which is soul searching but is functioning in a social system which contains labeling, pressure and judging. I’ve experienced many different artist’s blocks and in this work I try to embrace all the flows of energies that have been forming me and in doing so, celebrating who I am.

PROJECT

The process of the artist I decided to research my belief systems.

I wanted to create an awareness of all the concepts that are attached to the cultures I am part of. I asked myself, what do I define as the truth? Better said, what defines me? To position myself as an artist in the society I dissected my Ego. That personal process is reflected in my thesis. I sat down typing all the thoughts I believed in at that very moment. What do I think of labels? What do I think of Jesus Christ?

Later, I realized that I was ending up in mental loops. Mental loops that continually resulted in the word: love. I decided to distance myself from conceptual thinking, by intuitively drawing symbols on top of the text that represent a manifesto against my own belief system.

THESIS

SIEMONS, JUDITH www.judithsiemons.com

5 5

The Netherlands

judithsiemons@live.nl 0031 (0)6 5385 1542

Internship at: Kiki art

(BA) FINE ARTS ― PT Self portrait as others Painting is my means to construct faces. We construct identities using fragments. By piecing together facts, impressions, interpretations and ideas we create our own identities and those of others. Similarly, portraits are constructions.

Painting fictional portraits allows me to freely address my empathy and fantasies for others and to define my position towards others.

Ultimately my portraits are self portraits, self portraits as other. They are based on memories of the other and they cannot exist without the other. Life is strange, others are alien to us as are we to ourselves. My work is about the strangeness of being human and that strangeness that comes through having a face.

PROJECT

The human face in painting My thesis is a research into the elements that constitute the human face in painting. I have taken the liberty to concentrate on those elements that are particularly meaningful to my own artistic practice: deformation, the eyes, form and outline, the skin of the painting and a deep investigation of the effects of low contrast.

I analyse these elements through a selection of painted heads, chosen from the history of western art right up to the present time. An accompanying essay addresses the possibilities of the portrait as a format and links it to the current discourse in art, particularly in painting.

THESIS

SMEUR, SÉBASTIEN www.sebastiensmeur.nl saasmeur@gmail.com 0031 (0)6 2438 4114

The Netherlands

5 5

(BA) FINE ARTS ― PT Un soir moiré Although memories can sit in your mind in perfect clarity, it is sometimes difficult to explain why some have a special significance. A moment from your childhood can lose its power if you go back to the place where it happened. So my most cherished memories are linked to persons or places that are no longer there. There is a drive to experience those memories ― maybe it comes from a need to immortalise that lost world. Here there is a certain tragedy.

Realistically, immortality does not exist, but the illusion can be a welcome painkiller.

PROJECT

Sanatorium The sanatorium. Both itself as a vanished memory and as a whole other world of thought and feeling. A hidden world secluded in the woods. For the inmates the incredible thought that you might disappear there for years.

As a strategy for survival the whole concept of time had to take a different form. Time in all its manifestations, I see as a building with a main block and annexes linked by corridors.

And filled with my memories, interspersed with anecdotes and the vanished history of my home region.

THESIS

STEINBUSCH, EDMOND The Netherlands

5 5

edmond.steinbusch@gmail.com 0031 (0)10 4778528

(BA) FINE ARTS ― FT Siren songs for the swimming pool While thinking about entertainment, recreation, and re-creation in the public space, it struck me that my surroundings slowly started to transform into something surreal.

PROJECT

Uh, MOMENT! A research on the importance of a collectively shared experience, as can be seen in performance art, and its possibilities for the digital environment.

THESIS

UBBENS, BAUWIEN www.bauwienubbens.com info@bauwienubbens.com 0031 (0)6 403 64 730

The Netherlands

5 5

(BA) FINE ARTS ― FT PROJECT

De Aanwezige Kunstenaar?

My thesis, written in Dutch, is about my search of the bodily present artist. By studying the works of some of the greatest performance artists I try to find the answer to the question if the body of the artist can just be a presence without referring to other events or meanings.

Applying the theory of semiotics I come closer to my answer.

THESIS

Growing up was a wonderful and carefree experience for me. I grew up during the wealth of the 90s, always had lots of friends and nothing to worry about. But when puberty hit, I found that I was struggling with my suddenly changing body. The struggle is over now, but the great interest in the human physique is something that has remained. I’m fascinated by the human body and I want to share that fascination. I use film, photography and performance art to create situations, images or ‘sculptures’ that make the body function as an artwork itself, both literally and metaphorically.

I try to make my artwork a home for my body, as I once had to find a home in my body itself.

VAN AARLE, IRENE www.irenevanaarle.com

5 5

irenevanaarle@live.nl 0031 (0)6 4673 2418

The Netherlands

(BA) FINE ARTS ― FT Deliverance 2.0 Collection of short films + video installation.

PROJECT

THESIS

The portal in cinema

VAN HEESCH, ROEL www.shortfilms.neocities.org rbvanheesch@gmail.com 0031 (0)6 1355 3801

The Netherlands

5 5

(BA) FINE ARTS ― PT PROJECT

There lies surprise in discovering the possibilities of making things alive. Let materials spark off, where they otherwise will remain unnoticed. Nothing iss left untouched.

VAN ROEKEL, RENÉE www.reneevanroekel.org

5 5

reneevanroekel@gmail.com 0031 (0)6 5371 3628

The Netherlands

(BA) FINE ARTS ― FT Ik ben een fokking kind in het paradijs Taking a fluid approach and working on several things at the same time gives me a clear playing field and more interaction with the material. You see several sculptures with a recomposable existence. I see these objects like shapeshifters that float in between categories like tool, product and sculpture. I found that I strongly relate to the idea of –¹–¹Richard Artschwager when he explains that there was a point were the things he made were no longer useful or useless, but merely his daily companions. When the object is freed from categories and becomes a companion it feels like it truly becomes alive. I do not want to move into a specific way but I want to find the place between borders were I can stand still like a child in paradise.

PROJECT

The artistic strategies

of Richard Artschwager Making many things over a period of years I became lost in the role I had sought out for myself and arrived at a kind of disoriented freedom in which the things I made were no longer useful or useless, but simply my daily companions along with the place where I worked and the people who worked with me.

“Richard Artschwager” This is a search into the artistic methods of Richard Artschwager.

I can relate to him in my own search for personal and artistic formulas and understanding of things. I recognize similar topics explained in different words. Artschwager found answers where I am left with open ends.

THESIS

VAN STAAVEREN, SUZIE www.suzievanstaaveren.com

The Netherlands

suzievanstaaveren@gmail.com 0031 (0)6 1756 5628

Internship at: Fabian Bredt

5 5

(BA) FINE ARTS ― PT Humdrum By transforming the mundane into visual poetry, I free that which we take for granted from its functional meaning.

PROJECT

In lijsten Making lists “¦ so as not to forget/remember “¦ to create order from chaos “¦ in order to argue why “¦ as a way to create a framework “¦ in order to marvel.

THESIS

VELDHUIJZEN, RENATE www.renateveldhuijzen.nl

6 6

renateveldhuijzen@gmail.com 0031 (0)6 4057 9984

The Netherlands

(BA) FINE ARTS ― FT Renaissance of the Decadents’ Everything fragments due to the cyclical nature of time. Decay is the visual evidence of this fragmentation ― proving that preservation of this is impossible. Post-digital revolution, now comes an inevitable dark-age; an inability to cope, and a rejection of this new un-natural form of communication we have developed. The decline in religious faith and skilled crafts has brought to light the potential damage technology could have on humanity’s overall life satisfaction.

Therefore, a nostalgic desire to take a step back to a slower-paced, 'more simple' time is evident.

With new technologies making possible a form of control and surveillance, a decline in trust and freedom is percolating throughout the collective consciousness.

PROJECT

Do humans cause detrimental effects

on a wall’s consciousness?

A pseudo-scientific, fictional psychology report shining doubt on the trust we place in scientific jargon. With science as the new religion, society tends to have complete faith in its preaching.

Written word is often mistaken for fact, however with information being so readily available on the internet - much of it ends up being skewed.

The aim of this work is to make the reader begin to question information they receive from any source, and where to draw the line between fact and fiction.

THESIS

YOUNG, DEBBIE www.debbieyoung.space dyoung1990@hotmail.co.uk

Scotland

6 6

(BA) BACHELORS Graphic Design Benassarou, Zineb Berner, Caitlin Blom, Jana Broersen, Evelien De Heer, Martijn De Quaasteniet, Jorick Eggenhuizen, Luc Erkamp, Joëlle Gay, Valeria Gramberg, Charlotte Hendriksma, Lennart Henneberke, Rafael Hoefnagels, Veerle Houieh, Amir Jilderda, Andre Kerekes, Gábor Kloppenburg, Sanne Komen, Tomas Langendoen, Caroline Moret, Lisa Mulder, Alice Naus, Naomi

FT = Full Time PT = Part Time

63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84

Neppelenbroek, Sophie Pritychenko, Elizaveta Raeside, Jordan Scheeve, Joany Shkarupa, Olena Shydlouskaya, Viktoryia Tan-A-Kiam, Orphé Van Bemmelen, Eva Van De Seyp, Vera Van Den Berg, Marloes Van Der Gragt, Reni Van Der Meule, John Van Der Veen, Erik Van Horik, Octavia Veenstra, Eelke Veloso, Yara Weise, Marlen Woudstra, Joeri Yarashevich, Christina Zavidova, Karina

8 62 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104

(BA) GRAPHIC DESIGN ― FT (N)ever after In the ocean of content, spread by the new media, what is actually worth preserving? “(N)ever after” is a poster installation that argues the value of information. The project questions the practice in the field of Graphic Design on two levels. Is Graphic Design doomed to become as instant as the news has apparently become?

And, can Graphic Designers control the destiny of their productions? “(N)ever after” celebrates the poster as an ephemeral design object and discusses the future of valuable information.

PROJECT

(N)everlasting Trying to answer the very question “How can I preserve this thesis?”, this research investigates the different ways of saving printed and digital works but also aims to prove the importance of preservation. As any object made by a graphic designer, created in a specific context, witnesses a certain moment in a certain society.

THESIS

BENASSAROU, ZINEB www.znbbnssr.fr zineb.benassarou@gmail.com 0031 (0)6 3350 3238

France Internship at: Thomas Bizzarri & Alain Rodriguez

6 6

(BA) GRAPHIC DESIGN ― FT We are all digital hoarders How do digital media and endless digital storage influence the way we capture, share and reminisce about our personal memories?

We have less and less tangible keepsakes but save more than ever. As a result, memories get lost in the mass of files on our computers where they then usually stay untouched.

The sheer volume and lack of organization of digital files discourages most people from accessing and reliving them. To remember we have to take the time to review and interact with the digital files, rather than just amass them.

This project sheds light on a growing problem: is digital hoarding causing us to lose sense of what is really worth keeping?

PROJECT

The life and death of digital signs

and when to kill them ― When the floppy

becomes a 3D-printed save-button Taking graphical user interface (GUI) icons as a starting point this thesis touches upon the subject of acceleration of technological developments and our addiction to the ‘new’.

It discusses how significance of GUI icons is created and how they can lose their meaning when the objects they are based upon become obsolete. This thesis attempts to answer the question: in what way does the design of interface symbols and icons affect the way we see the (physical) world, and, considering the future, should we re-think their design accordingly?

THESIS

BERNER, CAITLIN 6 6

www.caitlinberner.com

The Netherlands

info@caitlinberner.com

Internship at: Studio Derk Dumbar & Dayna Casey

0031 (0)6 2255 3038

(BA) GRAPHIC DESIGN ― FT Focus It’s expected of us to be effective at our job, so we keep putting pressure on ourselves to be as focussed as possible. But what if our brains aren’t made for this type of constant focus? It’s normal that from time to time you lose yourself in the endless world wide web. This just means that your brain needs a little break. Research already proved the brain needs breaks to recharge our focus, but we still feel guilty when we are distracted. This is why I’ve designed different tools to help focus ‘while’ you are working. For example ‘the process table’.

A table where you can doodle while listening or discussing. By doing this you process information better. It helps you to pay attention on the content and prevents you from daydreaming.

PROJECT

How you can apply gra-Wow I like

that paper.

In my thesis I examine to what extent graphic design can make written information more attractive and more accessible to people with ADHD. It is not that people with ADHD are not interested in written content, but reading a substantial text requires quite a bit of concentration, which people with ADHD lack and causes them to see reading as an unattractive task.

THESIS

BLOM, JANA www.janablom.com

The Netherlands

jaan.blom@gmail.com 0031 (0)6 3419 6917

Internship at: Kleurbleur

6 6

(BA) GRAPHIC DESIGN ― FT Common Ground; Common Glory Since we, subconsciously, collectively share, graphic design is often alike. Sometimes this phenomenon even gets confused with copying. It happens because a lot of influences in our lives are common. This project is about reaching for originality through mapping out the collective subconscious. What does the individual subconscious look like? And what are the differences compared to the collective one?

A generator will tell, based on given influences in different categories, what the potential is for originality. It will function as a tool. The next step is to change and shift hierarchy. How to make the individual subconscious more unique? The (unreachable) goal; remote ground.

PROJECT

Common Glory Copyright is outdated or in retrospect even should have never existed in the form as we know it. It is completely focused on the designer and not on the user of an existing work. It has been violated many times, which proves change is necessary. It’s not realistic and it is counter-productive to have a universal idea about what plagiarism and originality mean. These concepts are filled in differently by each individual. The exempt of a work leads to development. So what restrictions do alternatives for copyright like anticopyright, copyleft, General Public License and Creative Commons offer and what would be most beneficial for the graphic designer, a design and its future development?

THESIS

BROERSEN, EVELIEN www.evelienbroersen.nl

6 6

info@evelienbroersen.nl 0031 (0)6 3856 1925

The Netherlands Internship at: Studio Renate Boere

(BA) GRAPHIC DESIGN ― FT World Wide Repository “The World Wide Repository” is an infinite repository containing all the possible books which are filled with all the possible information that exists on the internet. The repository uses the network as a tool for writing, editing and designing. At its core the World Wide Repository gives a perspective on the possibilities of the dynamic online network and the static form of the book. Both the internet and the book are used as strategies of designing information. The selection of books that are exhibited are my subjective reading from this infinite repository. These books reinforce the perspective of the repository.

They answer the question how the internet can give new meaning to the book. Both as a concept and as a practice.

PROJECT

Book/Hypertext/Protocol/ In my thesis I search for what the internet as a network, archive and tool could mean for graphic design, in both practical and conceptual ways. I search for new ways of interpreting this medium by asking a question that came to me when I discovered the Web-to-Print practices. Becoming my main research question: What is the purpose of using internet’s native functionality as a primary tool to produce books? My thesis has come to develop a train of thought. Describing an approach of design in which graphic design should not use the internet only for conditional, dynamic, web or interactive design but instead, use the internet as a tool that is infinitely powerful in its abilities and functionalities.

THESIS

DE HEER, MARTIJN www.martijndeheer.nl

The Netherlands

M.deHeer@student.kabk.nl 0031 (0)6 2382 5337

Internship at: RAAAF

6 6

(BA) GRAPHIC DESIGN ― FT The distance to Mars I have set foot on Mars. Not as part of any space agency, no, the high level of [danger] and [costs] of space travel causes space agencies to set extremely high standards for astronauts. A lack of [skills], [university degrees], [age], [eyesight], and a surplus of [length] already rules me out of being even considered for the job. Therefore, I went to Mars on my own initiative, using only the skills of a [graphic designer] to achieve this goal.

PROJECT

Extraterrestrial Soliloquies In the course of the last century, a number of messages have been sent into outer space, specifically designed to communicate with extra-terrestrial life forms. However, as of yet, they remain unanswered. They have become soliloquies ― spoken with the supposedly collective voice of the inhabitants of Earth and sent into the great void of space, with its only audience remaining ourselves. What are we actually trying to communicate with these messages? http://www.xtrtrrstrlsllqs.com

THESIS

DE QUAASTENIET, JORICK jorickdequaasteniet.nl

6 6

The Netherlands

jorq90@hotmail.com 0031 (0)6 2688 0291

Internship at: Studio de Ronners

(BA) GRAPHIC DESIGN ― FT Conception of Type Can type design be subjective to its own content?

A temporary exhibition is created focussing on type design. Type design can be created for the purpose of an exhibition, but almost never as the focal point of an event. This typeface is trying to reject usability on a large scale, contrary to what many type designers do. Through mapping and using the fundamentals of type design, a new template for potential shapes is created. There has been sought after a momentary feeling, as letters are searching for tension and form. As for the type specimen, it is attempting to present an alternative publication by combining the digital platform with the good old printed matter, rather than instructing the use. The typeface is not for sale.

PROJECT

A research upon the influence of the

digital era on typography: Temporal,

Fluid, Responsive, Interactive, Random In this thesis I worked towards understanding the evolution of typography and type design within the digital platforms, where moving elements are more and more becoming a standard. The positioning of “moving” typography within the graphic design field continues to expand, discovering new conceptual and aesthetic qualities. Considering that the aesthetic power of “static” typography should not be undermined in the digital platforms, I find it important as a graphic designer to position myself in search of the legitimacy of these aesthetics.

THESIS

EGGENHUIZEN, LUC www.luceggenhuizen.com luceggenhuizen@gmail.com 0031 (0)6 2841 9070

The Netherlands Internship at: Studio Remco van Bladel

6 6

(BA) GRAPHIC DESIGN ― FT Onland Joëlle Erkamp and Caroline Langendoen Human behavior. What we regard as ‘normal’ ― because we where raised that way ― may not always be completely ‘normal’. Humanity and our planet are facing big challenges and we want people to start thinking about the consequences of our behavior on the level of environmental changes.

PROJECT

THESIS

I’d rather die of natural causes

ERKAMP, JOËLLE www.joelleerkamp.nl

7 7

The Netherlands

joelle.erkamp@live.nl 0031 (0)6 3322 0460

Internship at: Sazza

(BA) GRAPHIC DESIGN ― PT Virtual chickens A group of individuals are encountering a big change. They’re turning allegorically into “chickens”. Inspired by the absurd play “Rhinoceros” by Ionesco, my work wants to point out a dangerous shift that has just begun in our society. A shift where virtual violence against a mutable enemy is turning into reality.

The “chickens” share their fear and hate online; they influence each other but they’re not aware that their virtual behaviours are gradually exploding into the real world. With puzzled looks, they don’t recognise anymore what’s real and what is not; what belongs to the Internet and what happens for real in the tangible world. They eventually begin a real fight against an enemy they’ve built themselves.

PROJECT

On Bread, Water and Wi-Fi On Bread, Water and Wi-Fi is the attempt to prove that today the Internet, and more specifically Google, is dictating our culture through false models of freedom. For this reason, I believe that autonomous thinkers are needed more than ever, because they can break those models. When I say autonomous thinkers, I refer to public intellectuals: those creators who, via their public speeches, challenge the forced silence or tacit agreement that is imposed by dominant powers. These public intellectuals and provocateurs are not afraid of using the arts and the public platform to shake people’s complacency.

THESIS

GAY, VALERIA www.valeriagay.com gay.valeria@gmail.com 0031 (0)6 2213 0915

Italy

7 7

(BA) GRAPHIC DESIGN ― FT Consume guilt In a world where we have more knowledge than ever, we also seem to feel more guilty than ever. We’re aware of the influence our actions have on our surroundings, also when consuming. When buying a product, you can almost buy a feeling of guilt when purchasing the ‘wrong’ product. In the consumer market we see that guilt is being distributed and fetishized, and in the exchange for products, can be atoned for. Due to this, you can also purchase products that make you feel ‘responsible’ and with which you can atone for your guilt. My project focusses on different aspects of this feeling of guilt and invites the viewer to participate and think about their guilt.

PROJECT

Visual Protest/Image metaphors in grassroot movements my thesis is an investigation in the use of image metaphors in certain Grassroot movements. I analysed 6 cases in total of which 4 were recent grassroot movement: ‘Umbrella movement’ , ‘Pussy Riot’ , ‘Occupy Gezi’ and ‘Je Suis Charlie’. Not only were they very dependent on the internet. I also found that the cases all have one similarity. All these movements fought against certain topics, corruption, repression, freedom of speech.

And they all adopted images that could also be seen as a symbol for these topics. Images that could, on their own, have very negative associations. But instead, these movements adopted these images as their identity and got hope and strength out of these symbols. Their weakness became their strenght.

THESIS

GRAMBERG, CHARLOTTE www.charlottegramberg.nl

7 7

The Netherlands

charlotte_grebmarg@hotmail.com 0031 (0)6 8181 9613

Internship at: VanLennep

(BA) GRAPHIC DESIGN ― FT Eye can see you When we browse the web, searching for that perfect pair of shoes, looking at Instagram pictures of that one hot girl, or looking at cute photos of puppy’s, we tend to forget how defenseless an unprotected device can be, when browsing the internet. My project shows this vulnerability by displaying the data you are looking at. In doing so my project aims to confront the user and the audience in a clear and bold manner. To inform the audience on how they can protect themselves against people like me, there will be different kinds of print material providing information and instructions to protect their device and their privacy. Be safe and watch yourself.

A message from a hacker.

PROJECT

HENDRIKSMA, LENNART www.lennarthendriksma.nl lennart.hendriksma@gmail.com 0031 (0)6 8168 1746

The Netherlands

7 7

(BA) GRAPHIC DESIGN ― FT A Space For Spectating Frames connect spaces and frame the way we perceive. They create focus, limitations and order. We’re constantly surrounded by them and they shape our everyday access to the world around us. The way we structure and navigate in the virtual world is similar to how we interact with our physical world. The materiality of our digital spaces and our immobility as users of the screen are changing and so does our work environment. If our desktop becomes our environment, how do we give order to a 360° workspace? We should question and redesign the frame in order to create new ways of interacting with our workspace.

PROJECT

Perceptual Frames A research on the relationship between the frame and the human experience of looking. How do frames influence our way of perceiving? Through the window, the painting, the photograph, the film and the screen.

THESIS

HENNEBERKE, RAFAEL www.rafaelhenneberke.com

7 7

hi@rafaelhenneberke.com 0031 (0)6 2762 5978

Portugal Internship at: Epilogue, San Francisco

(BA) GRAPHIC DESIGN ― FT FiftyFifty It is a known fact that conceptual graphic designers often have to do commercial work in order to earn money. However, these projects are kept hidden from their portfolios.

“FiftyFifty” is the solution for those who are afraid to have their commercial work affect their reputation. “FiftyFifty” will be launched on July 1st and will continue onwards till July 7th, during the graduation show. The company’s aim is to give students of graphic design at the Royal Academy of Art an opportunity to do commercial work, working for real clients, doing actual jobs. But everything will be anonymous, to make sure nobody’s artistic value will be affected.

PROJECT

I vote for the free political affiche For my thesis I have researched the political affiche. For my internship I’ve lived in Zanzibar for three months, an island which belongs to Tanzania. During my stay elections were held. In a short period, the whole city changed completely in a sea of yellow and green, the colors of the CCM Tanzania. A complete difference with the Netherlands during elections, where you see rarely affiches nowadays. In my thesis I describe the revolution of the Dutch political affiche and I compare it to affiches in Tanzania, which are clearly more embraced by the population then in the Netherlands. Actually, how important is a proper designed political affiche?

THESIS

HOEFNAGELS, VEERLE www.veerlehoefnagels.nl bericht@veerlehoefnagels.nl 0031 (0)6 2272 2951

The Netherlands Internship at: PrintPlus, Zanzibar (Tanzania)

7 7

(BA) GRAPHIC DESIGN ― FT Re- a modular content-driven

web browser “Re-” as a new web browser alters the new way of surfing and consuming the web. “Re-” empowers the user to embrace the content of the web pages as well as the design and way how content is shown. “Re-”is a modular platform within which users can decide what type of content of a webpage they see. This becomes true by creating and adding content modules to the browser. Consequently: “Re-” becomes a super minimal browser which is faster, more reliable and more efficient in terms of data-consumption by cutting off all the noises from a webpage’s content.

PROJECT

Design as Metadata Today the web has faced designers with a new paradigm in which the prior reader has become the user ― the person who experiences the web content; produces content as well as consumes it. Therefore, the user experiences and intentionality has transcended more than ever, meaning the graphic designer has to become the future innovator in order to affect the message. Hence, within my thesis, in order to reflect upon the agency of the designer in contents of the web future I propose an idea about implementation of design within the content as a metadata.

THESIS

HOUIEH, AMIR www.amirhouieh.info

7 7

amir.houieh@gmail.com 0031 (0)6 8458 6553

Iran Internship at: MindDesign, Amsterdam

(BA) GRAPHIC DESIGN ― PT De voorbeeldige samenleving For our public safety we increasingly rely on computer algorithms. Risk assessments are based on opaque criteria we don’t have access to. But what is considered normal? And when are you considered an anomaly in the eyes of an algorithm? “De voorbeeldige samenleving” challenges spectators to submit to the process of contemporary profiling and judgement in a social context. It is about classification and the opaque, subjective criteria that are inherently connected to data.

PROJECT

De vervaagde definitie

van grafische vormgeving Graphic design is under pressure. Over the last decades the boundaries of the medialandscape have faded. What is the role of the graphic designer in this rapidly changing information society? ‘De vervaagde definitie van grafische vormgeving’ shows how the debate between Wim Crouwel and Jan van Toorn in 1972 can act as a guideline for today’s graphic designer.

THESIS

JILDERDA, ANDRE www.andrejilderda.nl accounts@pvsp.nl 0031 (0)6 2084 2105

The Netherlands

7 7

(BA) GRAPHIC DESIGN ― FT Parliament of Bots “Parliament of Bots” is a setting in which customized chat-bots argue about issues and agendas of digital space. They discuss privacy, internet freedom, open-source, the blockchain, the politics of platforms, information overload and the pollution emitted by data centers.

Each bot has a uniquely sculpted personality and takes different sides on these issues. The setting resembles a parliament, but is open for the public to engage in the conversation led by the bots. www.parliamentofbots.org

PROJECT

From Text to Process In ‘From Text to Process’ I write about ways in which software changes the way we perceive, think and argue about the world. As the age of movable type and printing fostered a certain kind of thinking ― mechanical, linear, object-centered ― so does the age of the software facilitate its own specific mentalities ― evolutionary, interconnected, system-oriented.

These changes exert a gravitational pull on the field of design, whereby the role of designers is being re-casted into that of initiators and facilitators of dynamic systems and platforms, rather than producers of physical artefacts. http://kabk.github.io/govt-theses-16-gaborkerekes/

THESIS

KEREKES, GÁBOR www.krks.info

7 7

Hungary

krks.gbr@gmail.com 0031 (0)6 4038 8991

Internship at: LustLab

(BA) GRAPHIC DESIGN ― FT Stille getuigen Sanne Kloppenburg is fascinated by the possibility of multiple interpretations of one location. The moment when something happens, the location switches in meaning.

A container is created, which embodies a certain load. In her work she is showing different windows on reality. Kloppenburg plays with the relations between sound, image and language. She deconstructs and reconstructs narratives. Her final exam work is separated into fragments, where different media play a role as a storyteller. They can be experienced separately, but when it is perceived in its totality, a different narrative becomes visible.

She asks the question how a location can be a silent witness of a dramatic event. The location looks the same, but is it?

PROJECT

Reframing A frame, or frame of reference is a complex schema of unquestioned beliefs, values etc. that we use when creating meaning and get a grip on how we perceive reality. If any part of that frame is changed, the meaning that is created may change as well. This is called Reframing. This technique originates from the psychiatric field. Designers can adopt a strong position to control the perception or to raise questions. This thesis is a research on how image makers (with a focus on graphic design) challenge the viewer to look in a different way than usual, by making use of the technique Reframing. The thesis also investigates what we can learn from exchanging information of this technique between psychiatry and design.

THESIS

KLOPPENBURG, SANNE www.sannekloppenburg.nl sannekloppenburg@gmail.com 0031 (0)6 5109 7221

The Netherlands Internship at: Burobraak, Amsterdam

7 7

(BA) GRAPHIC DESIGN ― FT When you are forced to move “When you are forced to move”, is an interactive storytelling about three Syrians that had to flee their country because of the civil war. The project is the answer to questions that I asked Syrian refugees that were located in Holland. The stories in the project are told by them as a narrative. The narrative combines pictures and music from their mobile phone, together with data analyses and social media content to get a clear view. The viewer is guided through the steps the refugees had to make from Syria to Holland. With this project I would like to give more understanding and information about Syrian refugees as a person.

PROJECT

Kunstzinnige vertaling van de betekenis

van voedsel A thesis that researches the changing and importance of the representation of food in the image. Beginning from the first pre-historic cave paintings, till the contemporary digital image of food.

THESIS

KOMEN, TOMAS 8 8

cargocollective.com/tomaskomen

The Netherlands

tomaskomen@hotmail.com

Internship at: Studio Anne Marie Geurink & Annelou van Grinsven

0031 (0)6 46528637

(BA) GRAPHIC DESIGN ― FT Onland Joëlle Erkamp en Caroline Langendoen Human behavior. What we regard as ‘normal’ ― because we where raised that way ― may not always be completely ‘normal’. Humanity and our planet are facing big challenges and we want people to start thinking about the consequences of our behavior on the level of environmental changes.

PROJECT

You, me and everything in between How can we use the space between a work and the viewer when we regard it as a interpersonal relation.

THESIS

LANGENDOEN, CAROLINE www.carolinelangendoen.nl caroline.langendoen@gmail.com 0031 (0)6 51242177

The Netherlands Internship at: Studio Renate Boere

8 8

(BA) GRAPHIC DESIGN ― FT The Real Little Big Fat Super and Sweet Like millions of other people all over the world, I cannot look away when I see reality shows like “Keeping up with the Kardashians” or “Here comes Honey Boo Boo”. Weekly millions of viewers are attracted to the last escapades of chefs, dancers, singers, toddlers and housewives. Even if you don’t watch reality shows, it’s becoming increasingly hard to avoid. Last year a staggering 750 original reality shows aired just in America, which is why in the last decade it has become a multimillion dollar industry. While on the surface they seem to be promoting true love, survival skills or the perfect cupcake, the shows are actually a big reality check.

PROJECT

I am a God Celebrities are perhaps the most talked about, but the less understood element of modern society. The media focus on celebrities has significantly increased in the past few decades. Many will say, that celebrity culture has developed into a virus that infects our society. Even though we must not ignore that we live in a world where the last exploits of the Kardashian family are preferred over other news stories. Some celebrities have achieved a status that goes beyond the human status.

Could it be that celebrities are becoming a new source of myths and mythical icons in our modern society?

THESIS

MORET, LISA www.lisamoret.nl

8 8

The Netherlands

Lisamoret@hotmail.com 0031 (0)6 2908 7329

Internship at: No Office

(BA) GRAPHIC DESIGN ― FT The Anthropocene Who owns this planet? Since the human species has spread across planet Earth, we have consistently (ab)used animals, nature, air, water and the Earth’s resources for our own prosperity.

But what kind of world has that greed created?

The consequences of our actions are already wildly visible. If we don’t change our role right now, this reckless behaviour could be the end of literally all life as we know it. This project critiques the negative effects of mankind’s dominant presence on the world around us.

Are we really going to keep consuming until we choke?

PROJECT

You can’t be, what you can’t see Women contribute to half of the world’s population, yet still they are somehow invisible at some levels of society. In this thesis I research the feminine identity and the way it’s been crafted by media and psychology. Where does the subordinate position of women as housewives or part-time employees come from, and are we used to the way women are being represented in the media? By representing subgroups, or rather, pigeonholing types of people on television and in magazines, large corporations can flourish, but do we just accept that?

By changing our subconsciousness and way of portraying women in mass-media, it can be argued that a woman’s role in society could drastically change/improve.

THESIS

MULDER, ALICE www.alicemulder.nl

The Netherlands

hallo@alicemulder.nl

Internship at: Werkplaats Amsterdam/MOTI/ De Kijm & Zonen

0031 (0)6 4961 8313

8 8

(BA) GRAPHIC DESIGN ― FT Designation We look around and are realizing we are living in revolutionary times, it’s the branding of this generation. It’s a mode, it’s an attitude.

Individuality seems to be the way to lead life on your own terms. But the terms keep getting more specific, making us even more isolated and lonely. The power and intelligence of the collective are systematically underestimated in our individualistic culture. I believe we should capitalize on the possibility of collaboration as an opportunity for connection, not necessarily as a threat to authenticity.

PROJECT

In Search of Significance There is a crisis of value. Future graphic design graduates struggle with finding, or even better, creating our own path to embark on in the field of graphic design. It is as equally difficult for a company to find the right person for the open vacancy. The labour prospects clash with the expectations and wishes of the graduates and vice versa. This research is a critical manifestation of the designer as author, attempting to give context into the possibilities of graphic design as a tool in a new era, where perspective and positioning is so necessary.

THESIS

NAUS, NAOMI www.naominaus.nl

8 8

The Netherlands

naominaus@gmail.com 0031 (0)6 4824 7497

Internship at: Zinnebeeld

(BA) GRAPHIC DESIGN ― FT More reason to live I am tall and always have considered this a disadvantage. Being insecure about my length is my personal story, but figures are telling something else. Apparently I should be very happy with it! There are large differences in body-lengths. You may not find that a big issue, but do you realize the influence on various other differences between people? Tall men should be happier, earn more money and be more likely to become a leader. Tall women should have more friendships. And so on! What remains of the hierarchy when you change body lengths? What happens in the perception and interaction when people experience a different length or are all put on the same level?

This project offers participants an experience of a different body-length.

PROJECT

Van top tot teen In the perception of the human figure various factors play a role: space, human figures and other objects. This thesis is about how they affect each other and how they are applied in visual arts. The research question is: What happens to the perception of the human figure as it is portrayed in a certain relation to space and other objects? The space in which figures are depicted affects perception. Perspective, large and small objects, light and dark are ways of manipulation. Open or closed spaces differently affect perception. Three-dimensional works show a real space, but two-dimensional art offers an illusion of space.

THESIS

NEPPELENBROEK, SOPHIE www.sophieneppelenbroek.nl

The Netherlands

sophieneppelenbroek@gmail.com 0031 (0)6 1714 7808

Internship at: Overburen

8 8

(BA) GRAPHIC DESIGN ― FT Welcome to the Desert of the Real Do we perceive reality as it is? In our everyday life we are constantly dealing with different representations of reality, where it becomes impossible to distinguish what is real, and what is not. “Welcome to the Desert of the Real” is a metaphorical virtual reality interpretation of Baudrillard’s concept of hyperreality, which suggests that the world we live in has been replaced by a copy world, where we seek simulated stimuli and nothing more. The Desert represents the Real, and mirages represent various kinds of so-called “simulacrums”, such as physical and psychological perceptions, media reality construct, technology and physical world, and societal conventions; and are visualised as a journey in a virtual metaphorical landscape.

PROJECT

Believe it or Not ― how can credibility

be achieved visually?

Loch-Ness Monster, Bigfoot, Human Birdwings, The War of the Worlds radio-drama, Sokal Affair fake scientific article, ― what do they have in common? Known for now, all of those are hoaxes. But at some point, all of them possessed a certain quality that made people believe in it ― credibility; which is the main focus of my text. In my thesis I’m investigating various components of credibility (such as psychology, semiotics, historical context, mythology, culture and etc.) that make people believe in certain things without having any factual proofs about them, taking hoaxes as an illustrative example. Which is a core knowledge in graphic design practice, as we have the visual power of manipulating people’s perceptions of the world around us.

THESIS

PRITYCHENKO, ELIZAVETA www.leeeeza.com

8 8

Russia

isabel.izobel@gmail.com 0031 (0)6 1608 7275

Internship at: Lava Design

(BA) GRAPHIC DESIGN ― PT The new New Divinity Is Elon Bell charlatan or savior? Can technology the new divinity create or inspire a new political landscape? Is his vision of a morally exciting global enterprise for the few or for the many?

Or does this provocative thinking lull society into a sense of etherial utopia that has always been beyond the reach of the masses?

PROJECT

Open Design as a platform

for social innovation Open-design is a global social movement and paradigm shift that has mainly been driven by Internet culture and open-source, but there are misconceptions about the open-design movement. My main focus is about developing human aspect of Open Design and instead of Technology aspects.

THESIS

RAESIDE, JORDAN www.u23.com.au jordan@u23.com.au 0031 (0)6 4534 0401

Australia

8 8

(BA) GRAPHIC DESIGN ― FT The grey area of social behavior In our daily life, we all have to deal with contacting others. Each person has his own way of social expressions, but also his or her boundaries. What some persons perceive as a greeting could be interpreted as harassing by others. The outer acts of harassment such as the use of explicit sexual language are clearly recognizable as sexual harassment, less visible is the very subtle way of intimidation. The border between acceptable social behavior and harassment is in some cases very thin, within my project I zoom in on this gray area. One of the elements of my project consists of a suit which is a data visualization of al the touches you receive on a certain day. Hereby the touches become visible and can be rated to a specific kind of touch.

PROJECT

Untitled Within my thesis I made a research about the use of titles in contemporary art. A selection of various artists from different time periods.

In the research the artists give their own visions on the use of titles. What happened with the development of titles within art that the title: ‘Untitled’ is commonly used nowadays? When was the origin of ‘Untitled’?

THESIS

SCHEEVE, JOANY www.joanyscheeve.com

8 8

joany99@msn.com 0031 (0)6 4210 4011

The Netherlands Internship at: Mooijman en Mittelberg

(BA) GRAPHIC DESIGN ― FT We will never be brothers ever Propaganda has two sides: a romantic one and a cynical one. A romantic one is a direct appeal to feelings of people, operating them into thinking something, such as poetry. And there’s a cynical one, that lies in the news, and though it appeals to emotions as well, it does so under a mask of intelligence. The project uncovers both sides of lexical manipulations in the context of the ongoing Ukraine-Russia conflict and broader.

PROJECT

Everything is text Exploration on how hypertextual reality causes merge of disciplines, demanding a new approach to create and analyse art.

THESIS

SHKARUPA, OLENA www. elenashkarupa.com

Ukraine

lenashkarupa@gmail.com 0031 (0)6 2717 7644

Internship at: Marcel Wanders

8 8

(BA) GRAPHIC DESIGN ― FT The essence of the beholder’s share The creative practice implies a creative process of its perception. Art and design audiences are primary figures of such activity. The beholder’s share is one of the main matter in the understanding what is the essence of the art experience. This matter is becoming evident in the dialogue between the work of art and the artist himself, the viewer and the object of observation or an experience, and finally the artist and the beholder’s share.

PROJECT

The essence of the beholder’s share There is something inside each of us that secretly drives us, keeps us going in a certain direction or makes us stay still in the middle of nowhere; lighting the way in our imagination or blurring the imaginary road out. There is something that has hidden access to our emotions, senses and feelings; some under-mind processes that correspond with our free will, pleasure and desires. Something in our mind that gets our trust, without asking for permission, and influences thought processes, memory, affect and motivation. These processes of the mind occur automatically and are not available for introspection. The question is: To what extent can the knowledge about unconscious mind influences the design practice?

THESIS

SHYDLOUSKAYA, VIKTORYIA www.viktoryiart.com

9 9

Belarus

V.Shydlouskaya@student.kabk.nl 0031 (0)6 2310 1573

Internship at: Kok Pistolet

(BA) GRAPHIC DESIGN ― FT

TAN-A-KIAM, ORPHE www.tovs.nl

Suriname

orphe@tovs.nl 0031 (0)6 1895 8096

Internship at: KOENGEURTS.NL

9 9

(BA) GRAPHIC DESIGN ― FT Archive of the Question Questions are instruments. They help us to open our mind and detect hidden information.

Questions allow us to escape from standard thought patterns, what we think we know, our daily routines, our prejudices and assumptions.

Questioning as a method is based on the understanding of a topic but then doubting the norm. “The Archive of the Question” is a collection of the existence of questions. The archive focuses on the question and not on the answer. It suggests that you should never stop asking questions and resembles the purpose and value of questioning as an attitude towards life in general.

PROJECT

Why do you ask questions?

What is a thesis? Why do you write a thesis?

Does a thesis have established rules? Does a thesis have a standard design? Is the shape that we know as a thesis well designed?

Does a thesis consist out of research? Does a research exist out of questions? Or does a research exist out of answers? What is a good question? Why do you ask questions? How do you formulate a good question? What does a question mark do with a sentence? What does a question mark do with a word? May a thesis consist out of questions? Or should I give answers with a thesis?

THESIS

VAN BEMMELEN, EVA www.evavanbemmelen.nl

9 9

The Netherlands

evavanbemmelen@gmail.com 0031 (0)6 375 49 785

Internship at: Irma Boom

(BA) GRAPHIC DESIGN ― FT Platform as Habitat Choose anything. Your fridge. Your bed.

Your egg tray. Your toilet seat. Your washing machine, car, socks, or toothbrush. In 2016, versions of all those products are connected to the internet. Analyzing these objects, it seems that many embody a crave for technology and gadgets in a society that reaches a point of absurdity. Often game-design principles transform their function into a game. Where lies the border of absurdity of connected objects and how they are perceived? How can the interaction with an everyday product be illogical because of its internet abilities? In “Platform as Habitat”, Vera van de Seyp explores these questions through interactive and printed media.

PROJECT

A New Kind of Print Why is it important or useful for designers to exceed the limitations of available design tools by learning how to program? “A New Kind of Print” examines the possibilities of code as a design tool by analyzing arguments from both proponents and opponents of programming in the design field. The possibilities for the design methodology are examined from the perspective of the social responsibility of the discipline, and thereby the role that design can play.

THESIS

VAN DE SEYP, VERA www.veravandeseyp.com

The Netherlands

vera.van.de.seyp@gmail.com 0031 (0)6 2446 3500

Internship at: LUST, The Hague

9 9

(BA) GRAPHIC DESIGN ― FT The curtains are closing We live in a world filled with borders and walls.

During the last couple of years the amount of border walls has risen dramatically, but what is the physical appearance of these border walls? Can our generation feel the tension that these border walls carry with them? In this project I show what kind of influence these walls can have on the people who have to live besides them. And simulate the tension that is normally felt around these walls and raise our awareness for the people who are held outside or kept within them. To create a feeling of inand exclusion.

PROJECT

Graphic visions on the border wall In this thesis, I explored what kind of border walls are evident in society, how they are represented in graphics and if such representations fit reality. If it is possible to capture the complexity of border walls within the graphical world. Apparently a vast majority of the analyzed border walls juxtapose with how they are presented graphically. Perhaps more dimensions could be added to the border walls and their graphical existence. Although there seems to be a major problem and that is presenting details on a small scale that is mostly the case when one tries to design border walls graphically.

THESIS

VAN DEN BERG, MARLOES www.supermarloes.com

9 9

marlousevdberg@hotmail.com 0031 (0)6 2261 7026

The Netherlands Internship at: Eddie The Eagle Museum

(BA) GRAPHIC DESIGN ― FT Een Geraffineerd Proces We live in a fast moving society. Everybody is busy with being successful, having a great social life, looking good and capturing every single moment on social media, so everyone can see what a brilliant life you have. In the meantime, your body is giving lots of signs, but you’re not listening. You just go on with rushing through life like everybody else is doing. Your mood, energy, appetite, ability to think, sex drive, sleep habits, or actually your overall health is influenced by nutrition, by the things you eat. But we have no clue of what we’re eating anymore. With “Een Geraffineerd Proces” I would like to slow you down, and let you search for the details of our food production, marketing and consumption.

PROJECT

Bewust (W)eten Instead of searching and hunting for food, like we used to, it became difficult to avoid food.

Everywhere you look you see food, or advertising that will try to tempt you to buy food.

An immense choice in food products overwhelms us in our supermarkets, leaving us not knowing which choice of products is healthy. We know so little about nutrition and health, that we just rely on the authorities that inform us; our government, producers of food products and our supermarkets. But can we rely on these authorities in informing us appropriately or are we being misled to consume as much as possible? What role does the government play in educating consumers as to what is in the food products that we can find in our supermarkets?

THESIS

VAN DER GRAGT, RENI www.renivandergragt.nl

The Netherlands

renivandergragt@gmail.com

Internship at: VTH&V Merel van ‘t Hullenaar & Niels Vis

0031 (0)6 33 95 39 71

9 9

(BA) GRAPHIC DESIGN ― FT Social Fit Our daily lives are becoming more digital than ever before and we don’t even notice it. All social applications on our devices are getting integrated in our daily tasks. We communicate through apps like Facebook, WhatsApp and Skype. But, how can we deal with all those apps in a more efficient way? How can we get to the ultimate browser experience? We need to train our hands. Train our fingers for finger isolation; get more strength and stretch them more then we do now. With several video instructions and a set of diverse tools I provide a training module to get to the ultimate browser experience.

PROJECT

Een Nieuw Verhaal The way artists and graphic designers treat and re-use existing images can mean a lot. The combining of images can tell a new story and give a new context to the visuals. Appropriation has been used a lot in different aspects in art and design. For example; Dadaism and Pop-Art but still today we see a lot examples. Everyone is capable of remixing footage found on the internet. In my thesis I examine the added value of todays (2016) (over)used imagery in the field of graphic design.

THESIS

VAN DER MEULE, JOHN www.johnvandermeule.com

9 9

john@vandermeule.nl 0031 (0)6 14605528

The Netherlands Internship at: Pot & van der Velden

(BA) GRAPHIC DESIGN ― FT Can a robot have a mental disorder?

We treat the electronic systems we invent as our slaves. However, with the increasing complexity of their sensoria and information processing abilities, they are becoming more like us. Are we supposed to treat them differently now? Are we able to understand the way a machine experiences its surroundings?

Does your laptop feel your fingers on its trackpad? Did we program Furby to be plagued by separation anxiety? Are our modems tormented with the afterimages of our YouTube binging? What would it be like for our vacuum cleaner robots if they were afraid of dirt? What would the internet be dreaming of? <[o_o]>

PROJECT

Shaking Future Snow Globes Speculative design is a design genre that uses imaginary future scenarios to explore the possible worlds of tomorrow. What can speculative design learn from the history of future speculation?

Read more: erikvanderveen.com/thesis

THESIS

VAN DER VEEN, ERIK www.erikvanderveen.com erikpetervanderveen@hotmail.com 0031 (0)6 1537 1131

The Netherlands Internship at: Next Nature Network

9 9

(BA) GRAPHIC DESIGN ― FT Password Rituals Every day we use passwords to access our bank accounts, email, social media and much more”¦ Our world grows more and more interconnected and consequently we have to be more secure about our passwords. These passwords are all that stand between our personal information and criminals who try to access this data for their own benefit. But how secure are your passwords? How should you save your passwords? And how many passwords can you remember? “Password Rituals” aims to help people suffering from password fatigue. Rituals will be performed in order to create, save and remember highly secure passwords.

PROJECT

Creativity as Discovery My thesis aims to investigate the role of creativity within the creative process and research; the role it plays in relation to the unexpected outcome. Chance, the spontaneous, the happy accident. Random events have played a vital role in the creative process. How can the creative process be design in order to construct an unexpected outcome?

THESIS

VAN HORIK, OCTAVIA www.octaviavanhorik.com

9 9

France/The Netherlands

octaviavanhorik@hotmail.fr 0031 (0)6 1807 9553

Internship at: 75B

(BA) GRAPHIC DESIGN ― PT Future: Story/Code Technology plays a major role in our lives and will most likely continue to do so in the future.

However, technology becomes smarter at much faster rate than we humans do. At a certain point in the future we will most likely be outsmarted by ruthlessly efficient technology. In this future world our genuine human characteristics are needed to balance the technological powers that have emerged. Technology works by strict and rigid code while human words create stories and leave room for interpretation. These storyscapes composed of moving visuals supported by spoken words allow us to form our own conclusions based on subtleties and intonations. It is a call to embrace the traits unique only to humans that technology can’t comprehend.

PROJECT

Hush... or the outside-world...

The connection to the computing machines

and the democracy of the synthetic world Everything and everyone is connected to the I-N. Global tech-companies have provided the world with an irresistible alternative to liberal democracy. Lured by the benefits of digital techniques people are always connected, never leaving home. Humanity has preferred a life in a synthetic world where laws are dictated by the computing machines. For as long as she can remember Maria de la Niña designs experiences, commodities of the synthetic world, for a living.

When she is routinely working on an experience involving the discovery of new lands, her own world opens up. Together with her partner; interface designer Victor Stark, they reluctantly choose to leave behind their familiarities and set out to find their reality. ASIN: B01AB7PEIE THESIS

VEENSTRA, EELKE www.eelketm.com hello@eelketm.com 0031 (0)6 2187 8966

The Netherlands

9 9

(BA) GRAPHIC DESIGN ― FT Are apples ____ for you?

A quest in understanding the mechanisms of information overload through one single topic.

When questioning how to deal with the overload, the project inevitably deals with the question of how this overload is constructed, and why it is there. Using the apple as a means to express the complexities of our relationship with information, the project attempts ― in a broader sense ― to understand how we produce and gather knowledge and try to make sense of the mess.

PROJECT

Everything is Made Why is there a connection between artist and genius? Can the creative process be used to decrease the gap between people and works of art? What are the correlations between Punk Rock and the Internet? The answers to these questions belong to each of the three chapters of this thesis, that work as autonomous parts yet are structured having in account three main technological developments: printing, industrial and digital technology. These developments work as a backdrop in an attempt to articulate a series of concerns that touch upon notions of authorship, myth, technology as well as society’s relationship with a culture where the visual is progressively more dominant.

THESIS

VELOSO, YARA yara.ismaybe.online

1 1 1

velosoyara@gmail.com 0031 (0)6 1604 7236

Portugal Internship at: Baster.nl

(BA) GRAPHIC DESIGN ― FT Visual Plasticity ― Rewiring the Brain This project is a machinery designed to make you aware of our eye-mind-connection; how we give meaning to what we see. For many visuals we have automated thought processes; how we interpret a symbol or how we value a certain appearance. Many times, linking a connotation to a visual happens so fast, it becomes unconscious. This projects attempts to make this a conscious process by guiding you through different stages of visual perception. In each of the steps you are confronted with one of the brains mechanisms to process visuals. Designed as a machinery to participate in “Visual Plasticity” influences your perception and gives you the opportunity to train your brain in a ‘visual training lab’ to give a new meaning to a known visual.

PROJECT

Cognitive Conceptual Approach

to Information Design With the starting point of the challenges of knowledge acquisition in our current age this thesis introduces an approach for information design based on neuroscientific research. The value of individual knowledge is questioned due to the mega-abundance of information and to its accessibility. With the believe of an still existing value of an amount of individual knowledge we are looking at visual knowledge transmission to aid knowledge creation.

Neuroscientific research can provide insight into internal mechanisms of knowledge creation and the cognitive process. Knowledge has to be encoded in order to be transmitted and reconstructing the cognitive structures is an attempt to use compatible encoding schemes for sender and receiver.

THESIS

WEISE, MARLEN www.marlenweise.de

Germany

hello@marlenweise.de 0031 (0)6 4495 5410

Internship at: TwoPoints.Net

1 1 1

(BA) GRAPHIC DESIGN ― FT Tuning A Crashed Car The musician’s physical space or ‘the club’ as we know it has become a musical white cube.

To achieve minimal visual input all clubs use the same equipment to decorate the musical environment. The club, however is visually not a neutral space. A certain club aesthetic has manifested from this ideology, completely decontextualized from the music performed in the space. Music is not a visual discipline, and should not be removed from its visual component. Woudstra’s new record references the vernacular subculture of car tuning and its musical context. What would the separate elements from the club look like if they were contextualized to music that references car tuning compilation albums? How do we tune the crashed car that is the club?

PROJECT

Your Screen As My Album Cover The visual side of music has always maintained a conventional character. Why doesn’t it’s shape adjust itself to the music? Ever since the beginning of the digital age a shift has taken place within the way we consume music. Vinyl records and cassette tapes are turned into zeros and ones; music literally has no physical shape anymore, still digital artworks remain square. The platforms on which music is being delivered to its audience have massively multiplied and even more important: renewed.

With every musician in 2016 visually mimicking the next, the only way of keeping the users attention is to break through the generic standards. The musician should understand the context in which its music operates.

THESIS

WOUDSTRA, JOERI www.joeriwoudstra.nl

1 1 1

joeri.woudstra@gmail.com 0031 (0)6 2426 3657

The Netherlands Internship at: Metahaven, Amsterdam

(BA) GRAPHIC DESIGN â&#x20AC;&#x2022; FT Presence in absence Nowadays, the sphere of human communication, for the most part, is transferred to the digital environment. Technologies provide a scene for an interaction and seemingly eliminate the distance between people. Especially with the help of face-to-face technologies it is easy to be trapped in the illusion of permanent presence. However, within the digital scene behavior and experience are limited by the mediating technology. Delays, lags, distortions become integral components of a digital dialogue. It changes drastically the quality of relationships and influences an emotional state of interlocutors. Just because you can contact each other more easy through time and space, it does not mean that there is no barrier between you and the other.

PROJECT

Place talks There is an important relationship between man and his visual surrounding. The thesis investigates the impact of built environment on humans and what role graphic design plays in it. Typography in the architectural environment in this case is studied as part of an identity of a place. The thesis introduces the research question: How does typography influence the spatial experience of people in a public space?

The research demonstrates the relationship between human state, behavior and their physical environment and covers the field of typography, architecture and environmental psychology. This thesis is meant to explain and illustrate the importance of a typography in creation of suitable living conditions for people.

THESIS

YARASHEVICH, CHRISTINA www.christinayarashevich.nl chrisyarosh21@gmail.com 0031 (0)6 2792 5500

Belarus Internship at: KOSSMANN.DEJONG

1 1 1

(BA) GRAPHIC DESIGN ― FT There is no app for that 1. This project tells a story of a graphic designer, who uses her body and mind as a medium and exercises to become an ultimate mediator with the help of technology and the tools for self-control. A tool herself, she combines the directness of a machine with sensibility of a human. 2. I am fascinated with the trust in digital technology’s step-by-step problem solving approach. Design, as a human activity which relies on technology and societal processes, is influenced by this excitement, and therefore required to have a problem-solving component.

3. Problems without solutions have gone extinct, like dinosaurs. And paradoxes are next in line.

Problem solving or contemplation? Or both?

PROJECT

Artificial intelligence

never has a headache Following all the developments in technology I often feel overwhelmed and start to compare myself to an AI implementation. Also, the data-driven lifestyle emerges, and a human body is viewed as a set of parameters not only by scientists, but also by us, ordinary individuals.

The fear of AI comes from a concept that AI is comparable to human intelligence, and therefore superior. We are afraid that we will be run over by another species. Why the perspective of coexisting with Artificial Intelligence creates an environment where living within the physical body is a disadvantage?

THESIS

ZAVIDOVA, KARINA Russia

1 1 1

zavidova@gmail.com 0031 (0)6 4361 4653

Internship at: Institute of Network Cultures ― PublishingLab

(BA) GRAPHIC DESIGN

(BA) BACHELORS Interactive/ Media/Design Bogรกdi, Csaba Gluschitz, Sarah Hes, Nikki Kleerebezem, Sascha Panchu, Awinash Pangamiany Yena, Maya Saad, Hany

1 1 1 1 1

107 108 109 110 111 112 113

8 106

Shahin, Fahmy Sudetic, Azra Teo Michele, Micca Tjitrodipo, Luciano Valls, Ana Wong Huen, Sayo

114 115 116 117 118 119

(BA) INTERACTIVE/MEDIA/DESIGN Lonely Film There is magic in the darkness of the cinema.

The consumption of moving images profoundly changed in the last few years meanwhile movie theatres hardly transformed. These changes partially happened because of the escalation of smartphones. I am embracing the feeling that the viewers constantly want to use their phone. Even if they are sitting in front of another screen. With the project titled “Lonely Film” I encourage the viewers to do that in order to feed their information hunger about the story they are just watching. “Lonely Film” is using transmedia to create a special experience for its audience. I am presenting short film(s) about a human who lives in his Digital Cave.

PROJECT

We Are Living in a Digital Cave At the beginning of the 21st century humans started to transform the words back into images, and using images as the main form of communication instead of written words. All this transformation happened due the evolving social media platforms. One could say that since people get their information from social media it is not hard to mistake the virtual world with the real one. With the invention of the computer science and Internet humans created a Digital Cave around themselves. In my thesis I am analyzing how this historical moment could have happened, and how humans altered themselves from a physical cave into a digital one.

THESIS

BOGÁDI, CSABA www.lonelyfilm.nl bogadicsabi@gmail.com 0031 (0)6 3076 9880

Hungary Internship at: Stay/Leave documentary film

1 1 1

(BA) INTERACTIVE/MEDIA/DESIGN Between the Words Power is in the words and language functions as a carrier for that power. “Between the Words” is a sound-piece which disenfranchises language. I am dismantling the vernacular by removing its subjective content ― words. How influential can a speech by a politician be, when the balance of power shifts from words to breath? Challenging the confining conditions of language, I’m giving breath the leeway to speak for itself. I am creating a space for a new dialogue as breath, the reason for punctuation, changes the physicality of language.

PROJECT

When I Run “When I Run” explores physical activity as a tool to conquer creative blocks. The bachelor thesis consults artists, writers and medical research as well as takes a leap into history to fathom and connect our urge to move and create. Concluding that physical activity should be taken into consideration, when encountering a creative block. “When I run, I often run outside.

Sometimes I run in my mind. When I run, it doesn’t matter that my mind is stuck, because my body isn’t. Body and mind thrive together.

So when I run and my mind is stuck, I drag it along until it follows willingly. When I run, I’m not using a tool, but embracing what has always been part of me. When I run there is no creative block. “When I run: I just run”.

THESIS

GLUSCHITZ, SARAH sarahgluschitz.myportfolio.com

1 1 1

Sarah@Gluschitz.de 0031 (0)6 8540 7885

Germany Internship at: BriljantNet - Digital Content

(BA) INTERACTIVE/MEDIA/DESIGN Unity â&#x20AC;&#x153;Unityâ&#x20AC;? is a cooperative two player meta video game. On the surface, its aesthetics and controls are familiar, although players quickly realise it challenges the linear structure of video games by breaking patterns and expectations of the medium. On a social level, it is an experiment which, through humour and satire, aims to highlight how much trust and power we give to this highly lucrative industry.

PROJECT

Olympic eGames Currently the Olympic Games include very long established sports, yet when we look at the development of eSport, it will soon deserve a place in the Olympic Games. If eSport continues to grow at the current rate, they could even bypass traditional sport. The enormous growth of the industry in North America and Europe shows that we will overcome a similar process as Korea, where eSport is part of the culture and professional video gamers are unquestioned athletes.

THESIS

HES, NIKKI www.nikkihes.com nikki_bhd@hotmail.com 0031 (0)6 1970 3460

The Netherlands Internship at: Joris Laarman Lab

1 1 1

(BA) INTERACTIVE/MEDIA/DESIGN A Lived Fiction A self-portrait of oneâ&#x20AC;&#x2122;s social and professional masks being forcefully destroyed. As an artist and a person exposed to the public eye, one of the biggest contributors to my self-doubt and procrastination is my public image. One that has been shaped through years of exposure to western values, art and the media. A lived fiction is an attempt to have this social shield destroyed by force, to the point that only the vulnerable, the authentic self is seen bare.

PROJECT

Safely Exposed My thesis looks at vulnerability as a social virtue in western society, and questions whether social and public vulnerability are actually states of being vulnerable and dangerously exposed in the truest sense of the word. It also looks at our desire to think up myths and stories of the supernatural hero archetype and its history.

Characters who are void of our early vulnerabilities and how they relate to them. Can we truly be vulnerable, or does that go the very core of our human nature?

THESIS

KLEEREBEZEM, SASCHA www.soklear.com

1 1 1

saschakleerebezem@gmail.com 0031 (0)6 4108 2374

The Netherlands Internship at: GRNDPA â&#x20AC;&#x2022; Video production

(BA) INTERACTIVE/MEDIA/DESIGN Collide Sound System The â&#x20AC;&#x153;Collide Sound Systemâ&#x20AC;? are four rotating cilinders that the audience can control.

The soundscape that each sound system will produce will be sound engineered with Binaural beats to emphasise the different dimensions of the soundwaves. The sound cilinder rotate the sound waves will collide in several spots in the space, this will create an extra musical layer that our brain will try to fill this gap. The audience have the abillity to explore the space and experience how the soundwaves will travel in the space. They become more aware of the space and the many possibilities how sound waves can create different acoustic atmospheres as well as experiences.

PROJECT

Sonitus Today many designers, architects, sound artists and politicians are working on how to create a better acoustic environment and soundscape atmosphere in the urban landscape. The relation between surroundings, sight specific objects and sonic artworks have the ability to engage with the aural environments in public spaces, creating areas for people to enjoy these acoustically engineered harmonic spaces. These spaces could add to a better social connection between the people and the surroundings, which in turn might increase the liveability in cities and their urban environments.

THESIS

PANCHU, AWINASH www.awinashpanchu.nl

Suriname

a.panchu124@gmail.com 0031 (0)6 4152 0233

Internship at: Tijmenrockt

1 1 1

(BA) INTERACTIVE/MEDIA/DESIGN

iNarcissus - The detachment of one’s

true ‘face’ from one’s virtual ‘face’ “iNarcissus ― The detachment of one’s true ‘face’ from one’s virtual ‘face’ ” is about the development of technology and its relationship to cultural milieu, the selfie phenomenon.

THESIS

PANGAMIANY YENA, MAYA mayayena.com/graduationproject.html

1 1 1

maya_yena@yahoo.com 0031 (0)6 2788 5434

Indonesia

Internship at: http://studiospomenik.com

(BA) INTERACTIVE/MEDIA/DESIGN Innerspace With my work, I explore the human brain and its complex physical and chemical processes.

A couple of years ago, I had a life changing experience with Vipassana meditation.

“Innerspace” is my way of bringing this experience home. It dissects the processes involved with Vipasanna meditation reducing it to its core idea: self transformation through self observation. I connect the audience with their own physiology creating real-time video- and soundscapes based on their own brainwaves and breathing. These visuals and sound are presented to them in a small, pod that creates a secluded space for them to meditate in.

PROJECT

Better Living Through Chemistry Not only has the use of psychedelic substances formed us to the modern society we are today, there is also no denying their impact on all aspects of our society, such as art, religion and well being. Especially in the medical field, these substances show promising results in the treatment of schizophrenia, depression, PTSD, cluster headaches, addiction and many other illnesses. After banning the substances for more than 50 years, we are finding ourselves in a resurgence of research on the subject. In my thesis, I plead for an open discussion, not only about the many benefits of psychedelic substances, but also about the risks, so our decisions can be lead by facts instead of fear and misinformation.

THESIS

SAAD, HANY www.hanysaad.com hsaadkabk@gmail.com 0031 (0)6 1563 4213

The Netherlands Internship at: De Waag ― Amsterdam

1 1 1

(BA) INTERACTIVE/MEDIA/DESIGN Plastic/Ocean/Desert/Sky “Plastic/Ocean/Desert/Sky” features identity as a battlefield, where unspoken narratives of selffulfilling prophecies fight to win a place in the material world. Using maps as bridges between consciousness and communication, and as vehicles for greater narratives, while employing 3D additive technology as a translation machine between the immaterial and the material world.

The goal of this project is to initiate a series of questions around the Islamic narrative of the apocalypse, and the parallels that are being actively drawn everyday between this prophecy and the ongoing war in the Middle East.

The potential of using 3D additive technology to materialise major figures of this narrative would ultimately undermine the whole narrative.

PROJECT

The Neural World: Body, Culture

and Change “The Neural World: Body, Culture and Change” is an attempt to understand the relationship between the body and the cultural system, aiming to find a new dynamic and create a multi-dimensional cultural grid on which mobility and changing position is a constant process and an individual decision; a grid that is always happening. The body’s capacity to affect and to be affected is mostly determined by a fixed position on a cultural grid of predefined concepts of identity, leaving little space for the body to manoeuvre, let alone change its position on the cultural grid.

Migration as an event can be seen as a radical attempt to change conditions on both the physical and abstract levels.

THESIS

SHAHIN, FAHMY 1 1 1

www.fahmyshahin.net

Egypt

f.shahin@student.kabk.nl

Internship at: Exchange at Minneapolis College of Art and Design (USA)

0031 (0)6 2302 6372

(BA) INTERACTIVE/MEDIA/DESIGN Domus Obscura I see poetry in the loss of a home, and beauty in transience. Having migrated eight times in twenty-two years, I have created the pieces in “Domus Obscura” as relics of my current, though transitory home. Clothing, like photographs, are a part of our mobile home.

By turning my home into a camera, I have created a lasting imprint on myself of the view from the window, using my clothes as the canvas. Light, a fundamental element, captures and communicates information that evokes emotion. Here, a familiar light created an organic memento of a flicker of time in a place radiating sentiment.

PROJECT

Neither Here Nor There: The Husserlian

Homeworld for this Global Nomad

and How It Informs Her Creative Vision My thesis examines how young people who have lived transient lives define their “homeworld,” which is a term, coined by philosopher Husserl, describing a collection of norms, rules, and traditions shared by members of a particular social group.

Being uprooted during childhood can cause pain, mood shifts, and feelings of isolation.

Constructive marginality, however, can make individuals uprooted as children more curious and understanding and give them a broad perspective on the world and themselves.

I undertook an examination of homeworld to better understand the factors that informed my creative vision, which centers on minimalism.

THESIS

SUDETIC, AZRA azrasudetic.com sudeticazra@gmail.com 0031 (0)6 3403 1221

United States of America/ Serbia/Ireland Internship at: 3.1 Phillip Lim

1 1 1

(BA) INTERACTIVE/MEDIA/DESIGN Sēn “Sēn” is a reinterpretation of the experiences I gained through observing nature and I want to recreate that experience through playing with space, lighting and plastic. The materials used resemble nature; when light shines past the artwork, it appears like sunshine filtering through the leaves of a tree. I want to bring reconciliation between the natural and the artificial through regurgitating the experience in the form of manmade stimuli to trigger the origin of that memory.

This also serves to remind us of the importance of nature preservation or without which, we can only depend on our distant memory of what it used to be like through man-made installations like Sēn.

PROJECT

Move Away From Nature Humanity is the only species that has been able to document information into physical materials. Facts and numbers are generated, with theories formed through years of this documentation. Henceforth one of the biggest threat to humanity develops ― the rapid depletion of Earth’s natural supplies. Science and technology have created a fundamental impact on the way humans live, making it more sustainable and healthy. The idea of living in a world where humanity no longer depends on nature for supplies may seem absurd, but this may soon be justifiable. With the application of science and technology in all areas of life, humanity can depend on artificial alternatives when natural supplies run out. The future may not be as bleak as it seems.

THESIS

TEO MICHELE, MICCA www.navelle.com

1 1 1

micca@navelle.com 0031 (0)6 3982 1858

Singapore Internship at: Jólan van der Wiel

(BA) INTERACTIVE/MEDIA/DESIGN Loktu Fensre “Loktu Fensre” is the longing I have for my country of birth, Suriname. The title translates to Sky Window. My homeland where I’m most at place stands at the heart of the work. During my visits to Suriname and returning back to the Netherlands, I want to hold a connection with my country. For me the gorgeous golden hour, in Surinamese time, connects to the feeling of home. The native wood Purple Heart, in which the ellipse object emits its light from strengthens this connection, needing light to turn into its stunning purple color. The material and light are the focal points in my work. There is a five hour time difference between the Netherlands and Suriname, heightening the longing and desire to experience the golden hour in real time.

PROJECT

Power of the interface The bright illuminated frictionless glass screen, its body and voice, contains a frightening dark truth. Although the common assumption is that assisting interfaces are safe and free of harm to its users, the opposite is true. The way interfaces are designed now, are not human factored enough, it results in the endangering of the human species and the numbing of its capabilities and senses. This brings the human further from the world they are living in; it transports one far from nature and the beauty of being a human. My thesis is about the effects the glass interface has on us. How the interface, its automation and assistance, creates major trade-offs that subtracts human senses, skill and thinking.

THESIS

TJITRODIPO, LUCIANO oncreation.nl

Suriname

hello@oncreation.nl Internship at: Lab1111

1 1 1

(BA) INTERACTIVE/MEDIA/DESIGN People’s Plants “People’s Plants” is an experimental space for my cuture coaching practice, based on creative communication exercises using plants as entry points to conversations. Coaching aims for self acceptance and growth. Plants and people not only share a life cycle but also physical and behavioural traits. Due to their quiet nature, both plants and acceptance produce similar effects when present: calm and peacefulness.

All these elements together lead to a fascinating unction where I am the facilitator between people’s, plants’s identity and acceptance.

My work is a blur between psychology, performance and social art. I introduce people to communication exercises where they share something of themselves and become main contributors of the work.

PROJECT

Loss, Nostalgia and Objects.

An Artistic Approach to Grief My thesis is a research regarding the use of nostalgia objects in order to materialise and express grief. I present an overview of theory as well as an analysis of the variety of intentions and meanings that can be inferred through the act of choosing a nostalgia object. Nostalgia objects can help individuals to crystallise different stages of grief until it’s necessary for them. By granting nostalgia meaning to objects, individuals give themselves some assistance and extra space to get through grief stages, until reaching acceptance, according to the Kuebler ― Ross model (1970). In addition to that, I present the parallelism between art and nostalgia objects where intention plays a significant role.

THESIS

VALLS, ANA www.ananavalls.com

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anavallsr@gmail.com 0031 (0)6 4858 0444

Spain Internship at: Mediamatic, Amsterdam

(BA) INTERACTIVE/MEDIA/DESIGN Before Anyone Fell Trauma is a void I carry inside me. Our tendency is to avoid the chasms left by trauma. We leave the invisible invisible. “Before Anyone Fell” emerged from my first attempt to write about my trauma in 2014. It engages visitors with intimate details of my life, and connects them to the universal human experience of pain. My personal story reverberates in a space through an audio performance that reveals painful memories with brutal honesty. My work transcends suffering and adversity. It not only exposes the darkness in humanity, but also brings out values such as resilience and hope. Through writing, editing, performing, and recording, I took ownership of my story and made the invisible visible.

PROJECT

The Full Void In this thesis, I investigate the connection between trauma and creativity. From a scientific perspective, trauma victims can develop mental illnesses which actually inspire creativity.

In the art world, traumatic experiences are transformed into creative force by many artists.

Art is practiced as a nonverbal communication tool to help people to communicate what cannot be expressed in words. Trauma can strengthen the artist’s ability to create, but it is not a requirement to be traumatized in order to be creative. Although art has the ability to lessen the impact of trauma, it is not a cure. Art magnifies and materializes the void in life which is created by trauma, and presents a platform for the traumatized to process pain and to heal.

THESIS

WONG HUEN, SAYO www.sayowong.com

Hong Kong

sayowong@gmail.com 0031 (0)6 3349 1223

Internship at: Blom & Blom

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(BA) BACHELORS Interior Architecture & Furniture Design Bouwman, Albert Kavaliauskaitė, Une Klaver, Ivo Koe, Vyasa Koski, Sallamaaria Nieuwenhuizen, Lisa Rademaker, Cindy Ramaekers, Chrissy Rietvink, Louise Simons, Milou

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121 122 123 124 125 126 127 128 129 130

Tkaczeń, Mateusz Tyakina, Maria Van Bekkum, Margot Van Dieken, Sven Van Sandick, Inès Van Wees, Robin Verberne, Eva Vergeer, Danitsja Wetters, Judy Zoon, Sophia

8 120 131 132 133 134 135 136 137 138 139 140

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Outside-in The immaterial world is gaining ground; people attach themselves to screens and interfaces.

Our virtual identity can seriously compromise the connection to our physical environment and its properties. How can we reconnect?

Looking at nature, I found concepts of motion and repetition within the elements earth, air, and water. The point of departure for my research to implement the experience of the natural elements and their inevitable manifestations; you cannot escape changes in light and temperature even if you are spellbound by your screen.

PROJECT

Google before you tweet,

is the new think before you speak What is the effect of our technological developments? My thesis focuses on the effects that the development of digital technology have on our perception, the structure of our brain and our experience of time. Apart from consulting literature and other sources I experimented on myself by keeping a diary of living with and without the internet. In the same vein I analyzed how the differences between reading text in a book or computer changed our lives. I came to the conclusion­­that the effects of our technological developments disconnect us from our ‘natural’ environment and its sensual stimulation.

THESIS

BOUWMAN, ALBERT www.albertlieuwe.com

The Netherlands

Albertlieuwe@gmail.com 0031 (0)6 5221 3974

Internship at: Wandschappen

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN The Monument for The Lost Meaning For the final graduation project, I chose to create a monument that would represent the lost meaning of universal communication.

The multi-layered structure contains the blocks that are dedicated to the biggest steps in the history of human thought. The connections and positioning of the blocks symbolize the interactions of events and ideas e.g. the electricians’ experiments with ‘rising’ the dead body inspired Mary Shelley to write her novel Frankenstein. The 3D structure uses Earth as a platform to evolve. It grows and diminishes echoing men’s achievements, literally stabbing our world and venturing into space. On it’s way “The Monument for The Lost Meaning” pierces everything, penetrating and confronting men with his thoughts and believes.

PROJECT

Universal Language

and The Lost Meanings My thesis explores monumental architecture as a visible mediator that leads the dialog between the generations. Monumental structures provide information and provoke questions. Monuments that were built to be eternal are universal transmitters of ‘long term’ messages. ‘Long term’ monuments make us see that certain values, needs are continuously cultivated throughout history remaining crucial to our days. Partly with lost meanings, they stand as a symbol of human attempt to reach the universal language. The ‘short term’ monuments serve as tools of political propaganda, e.g. communist monument Buzludzha in a decade was abandoned.

Depending on their own short or long term influence monuments shape and reflect human actions and thoughts.

THESIS

KAVALIAUSKAITĖ, UNE www.behance.net/uco

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unekava@gmail.com 0031 (0)6 8257 3609

Lithuania Internship at: Jongma Ontwerpers studio

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Pressed Landscape By this project I want to reintroduce the dune landscape, which formed the early creation of the city of The Hague. By the act of pressure in specific parts of the city, the idea of landscape and new behavioral experience is formed.

In this absurd landscape the notion and use of our surrounding is reshaped. By doing that it reenergizes the meeting of landscape within the city, its program and buildings.

PROJECT

The distinction between interior

architecture and styling What is the distinction between interior architecture and styling? Is it only the space we can call interior architecture and is everything that is in it called styling? The loose against the solid elements. This unclear relation between space and setting is researched. It shows how these two worlds affect or take over each other.

Whoâ&#x20AC;&#x2122;s the leader of which role in the spatial environment?

THESIS

KLAVER, IVO The Netherlands Ivo_klaver@hotmail.com 0031 (0)6 1251 3988

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Salt Lab “Salt lab” is there to perceive materials differently and explore the usability of materials to the use of architecture. It is a project focused on the growth of salt into crystals. As salt is abundantly present on earth it can be harvested almost everywhere. The crystallization of salt can be directed to a building component, which could be the answer to the exhaustion of other materials. However salt isn’t only interesting for their abundant presence, the growth of crystals with their geometric shapes and transparency have a majestic appearance when exposed to light. As the crystals are grown into the building it carries both the randomness of nature and the preciseness of architecture.

PROJECT

The Shelter The development of the shelter is in need of attention. Many people such as refugees live in horrible conditions. Millions of people are without a shelter or have one that barely protects them against the weather or other intrusion. Architects and designers could play a crucial role when developing shelters that offers better living conditions on all levels.

Key to this is substitution of classic building components, that are often too expensive for governments or humanitarian organizations, with new materials or and constructive solutions. Material innovation is the best way to develop a better and cheaper shelter.

THESIS

KOE, VYASA The Netherlands

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vyasakoe@hotmail.com 0031 (0)6 4023 8103

Internship at: Rivets+Rockets Cape Town, South-Africa

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Fire Without Flames My aim is to spark the fire within a person ― to warm up his mind ― by bringing in the sensory and atmospheric qualities of fire.

My project is a design proposal for Viðborð’s abandoned farm house in rural Iceland. The design introduces new fire-related elements to the deserted house ruins, transforming its presence and role from a mistreated pile of bones into an inviting and lively gathering place.

The house functions as a basecamp for hikers, offering shelter from the natural elements.

PROJECT

Fire Without Flames “Fire Without Flames” is an essay based on a private reverie of living inside fire. Starting out as early man’s crucial companion, fire has been demoted to a design fireplace. This reduced its holistic effect on everyday life. Aiming to reestablish fire’s original status, this research first explores the phenomenon. Since open fire is no longer viable within our homes, I’m looking for other connections than its physical flames.

The foundation for flameless fire consists of atmospheric and sensory qualities. The essay resulted in a program of demands derived from interpretations of these qualities. It is a toolbox for constructing a space that feels like fire instead of merely containing it.

THESIS

KOSKI, SALLAMAARIA Finland

0031 (0)6 3345 6159

Internship at: OOPEAA office for peripheral architecture

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Euphoria Not too long ago, while cycling through the polder, I experienced a euphoric moment. All of a sudden I saw brighter colours; I was aware of every detail; it felt like everything around me came alive. It lifted me from the daily rush into the moment itself. This experience had such a great impact on me that I became determined to recreate it; to share it with lots of people.

The perfect spot for this is The Hague’s city hall. The size is overwhelming and makes you disappear in the big, white nothing. Inside, time seems to run slower, making you more aware of the moment. The immaterial, temporary installation is surrounding you in magic. You can’t grasp it; you can’t take it home, only the euphoric sensation itself counts.

PROJECT

Tasty Kitsch has to do with what you consider beautiful or not and why, in general, you purchase things.

To a certain point kitsch is related to taste.

Taste wasn’t diffuse at first but smashed apart by the industrial revolution. This is also around the moment that the concepts of kitsch and camp surfaced. The most interesting property of kitsch is that of being ripped out of context.

This has inspired artists who seem to be understanding the role of the media in the matter of taste, context and therefore right and wrong.

Their work is controversial. They are playing the ‘authority’ ― the media. They are the avantgarde of what the avant-garde repulses.

THESIS

NIEUWENHUIZEN, LISA cargocollective.com/Lisacatharina

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lisanieuwenhuizen@hotmail.com 0031 (0)6 2077 3876

The Netherlands Internship at: Dutch National Opera & Ballet

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN (puin)hoop ― heap up the past The city of Heerlen has a long tradition of radical change, erasing the past through demolition.

For this project, demolition, again is the tool to change but this time to create something new out of the architectural residue. Transforming the virtually abandoned city center into a mountain of rubble that deals with the past, organizes new connections and thus reinforces Heerlen’s identity.

PROJECT

Who doesn’t want to be an architect?!

Research into to the role of the architect in context of society and used by other the inherent power of architecture and other build structures.

THESIS

RADEMAKER, CINDY www.cindyrademaker.com cindyrademaker@gmail.com 0031 (0)6 2867 5260

The Netherlands Internship at: Junya Ishigami + Akihisa Hirata

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN House in Reflection The “House in Reflection”, a theater of light, encourages the intertwining between landscape, daylight and human. Located in Heempark H.J. Bos, the house aims at new family relationships and facilitating its breathing, spreading and gathering following the rhythm of the day.

Various agendas are left in the city and the family meets in the park. Instead of conventional partition, like doors, multiple light characters are inserted in layers that indicate the degrees of privacy within the house. Boundaries fade and unlimited places are created.

PROJECT

Oh, what a beautiful light!

May I see it in the daylight? An often asked question in stores. We prefer to check outside to make sure the garment’s color is right.

Apparently, and unconsciously, we consider daylight as the ‘right’ light, light as we want it to be. Nevertheless many of us notice the particularity of daylight only while within buildings.

When people enter a beautiful space, like the Pantheon in Rome, they often exclaim: “Oh, what a beautiful light!” What they won’t say, strangely enough, is: “Oh, what an extraordinary space!” This leads to the question: What kind of filter is architecture for daylight?

THESIS

RAMAEKERS, CHRISSY cargocollective.com/chrissyramaekers

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chrissyramaekers@gmail.com 0031 (0)6 4983 4183

The Netherlands

Internship at: Open Architecture Office, Eindhoven

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Sharing comfort We have based most of our products and environment on the standard measurements of the human body. But what if your body differs from the standard sizes and shape? There is still a big difference between the look of the ‘regular’ products and products meant for people with a physical handicap. There is a limited choice in esthetics and tactility of these products.

It distinguishes an individual from the ‘standard’ in our society. The design of the tableware collection, aimed at people with rheumatism, helps reducing the amount of force needed during use. The small adjustments in the tableware are implemented in a way that the collection is attractive for people with and without rheumatism.

PROJECT

Onopvallend Opvallend An inquiry of the impact that a distinguishing (stigmatizing) design of utensils has on the self-esteem of an individual in interaction with society. Which properties are important in order to improve product design for a physical handicap? What is the role of and need for aesthetics within this design question?

THESIS

RIETVINK, LOUISE www.louiserietvink.com

The Netherlands

l.rietvink@student.kabk.nl 0031 (0)6 1363 6824

Internship at: Studio Zangana

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Water tower The water tower in Hillegom is transformed into a public viewpoint focusing on the surrounding landscapes. This experience should provoke an interaction with the specifics of these landscapes that are often taken for granted.

Build on the division of the Haarlemermeerpolder and the famous bulb fields with the dunes beyond; a visit to the robust tower highlights and celebrates this diversity with locals and visitors.

PROJECT

Spaces initiate meetings Architecture is â&#x20AC;&#x2DC;alwaysâ&#x20AC;&#x2122; surrounding us, twenty-four hours a day. The spaces where we live, work and that we move through provoke unconscious decisions, effecting these activities.

What is that makes you feel comfortable a curtain space? Do you really make your own choices or is it al premeditated within the design of this space. My paper is a research into perception and experience of space.

THESIS

SIMONS, MILOU cargocollective.com/milousimons

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milou_simons@hotmail.com 0031 (0)6 2021 4122

The Netherlands Internship at: SKETS Amsterdam

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Anti-shop “Anti-shop” is a critique on the unthoughtful process of hyper-consumerism and is opposed to the noise, chaos and plethora of a junskpace jungle. “Anti-shop” is a vulnerable shelter of intimacy and silence. Its solemn isolated space is interpenetrated by disembodied clothes and gestures. “Anti-shop” gives visitors an opportunity to stop, to breathe. It allows to focus on the present moment and detach from the dogma generated by the hyper-consumerism. “Antishop” promotes the escape towards the world of simplicity. It cherishes the human body through the ritual of putting clothes in plaster. Captured in time and space, taken out from their original context, they enhance this fundamental unit of life.

PROJECT

Escape to Simplicity The purpose of this essay is to examine the relation between people, space and objects in view of hyper-consumerism. This essay investigates the reasons for the overabundance of objects in the everyday life environment and analyzes how minimalist spaces influence human well-being. What follows is a collection of vignettes and narratives which expose distinct occurrences within a variety of contexts and serve as a tool for speculation whether today’s society could escape from hyperconsumerism towards the world of simplicity.

The selection of examined buildings, places and artifacts is nonlinear and based on intuitive associations. Presented references do not have a particular arrangement, or a hierarchy.

THESIS

TKACZEŃ, MATEUSZ Poland mtdom2@hotmail.com 0031 (0)6 5552 9231

Internship at: Tetsuo Kondo Architects & Schemata Architects/Jo Nagasaka

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Sensorial Bath “Sensorial bath” is a collection of objects which explore a relation between human and an object within the subject of human regeneration.

Chosen subject addresses changing times and attitudes towards our perception of bathing culture. Alterations in a position towards body, physical and psychological well-being influence our perception of purifying. We need to examine our regeneration surroundings in an order to grasp the sense of well-being, expend to a sensorial clensing area, which doesn’t involve literal clensing, but works with our primary sensorial reactions and responses and aims to revoke the olfactory, visual and tactile senses from numbness of fast speed daily life and fulfill the growing needs for regeneration in present times.

PROJECT

Dear Things “Dear thing” is an object that can refer to the past and bring with it a sense of genuineness and conduct a special relationship between human and an object. Souvenir, memento, heirloom, talisman, personal artifacts can become a “dear thing”.The modern world is the main reason why we are in such a need to cherish, collect and keep objects that embody sentimental values. In current ever more digital age, the attachment to things could be automatically recognized as something nostalgic and sentimental.The materials, forms, textures, and colors all evoke in us well-known narratives of a fictional era, during which everything that surrounded us was more simple and home-like.

Dear things propose us coming back towards the shelter/home/sanctuary.

THESIS

TYAKINA, MARIA www.mariatyakina.com

1 1 1

mariatyakina@gmail.com 0031 (0)6 1920 3359

Russia Internship at: Aldo Bakker Studio

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN White Crane â&#x20AC;&#x153;White Craneâ&#x20AC;? initiates a reconnection of body and mind while exploring the dynamics of an unknown but fluent space. While doing so one connects with the present moment. The interaction with the installation is challenging; for one has to surrender to its movements, seek balance, and focus completely. Seek balance, and focus completely. An intense encounter with the present moment that clears ones mind, ready for reflection on the past and on what is to come.

PROJECT

Beyond Function In philosophy, the human mind has dominated the physical world for over two centuries, believing that objects can only have use because of human thought. However why do we continue to create new versions and varieties of glasses, chairs, cars and houses? If we would use things only for their function we should already be satisfied with what is available. This thesis explores what lies beyond the function of space or object.

THESIS

VAN BEKKUM, MARGOT The Netherlands Mlvanbekkum@icloud.com 0031 (0)6 3492 7515

Internship at: Reframing studio

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Healing Oasis

Architecture as Medicine (proposal) Hospitals are surprisingly neutral machines, dictated to function, organization and efficiency.

However, as a environment, the hospital, could contribute to the healing process or, at least, to the wellbeing of patients, staff and visitors.

Architecture as medicine aims at optimizing the existing hospital buildings, though careful executed spatial interventions. The adjustment is unevenly distributed throughout the entire hospital building, but will be concentrated in certain areas. These spatial â&#x20AC;&#x153;safety netsâ&#x20AC;? offer a series of personal retreats from the daily hospital atmosphere. Characterized by openness and natural elements these capsular spaces encouraged a new mode of contact between patient, staff and visitor.

PROJECT

Architecture as Medicine

(theoretical research) The relationship between man and architecture is fading. Surrounding buildings are getting increasingly bigger and moreover anonymous.

This relational imbalance can provide a negative impact on our wellbeing, with a potential influence on our physical health. Architecture should act as a comporting and stimulating second body, especially for people with health problems. Certainly in hospitals, a stimulating architecture could contribute to the healing process, could make a difference. This thesis retraces the origins of the modern hospital, as a building type, and explores the (spatial) requirements for improvement though interventions aimed at the less measurable aspects of healing.

THESIS

VAN DIEKEN, SVEN The Netherlands

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svenvandieken@hotmail.com 0031 (0)6 4290 1244

Internship at: Prast & Hooft Architects

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN The ultimate ulterior Inside the extreme public environment of the city, the ulterior is designed to bring an intimate moment. It is an experience that encourages a transition or border between two worlds.

The design plays with the elements of nature, creating movement versus standstill and enclosure versus openness. When does a design transcend being a work of art or object?

When does a city space becomes our place?

When one surrenders and becomes curious, he or she will stop. This is the moment the place opens up and a view upon the interior is presented. One feels protected from the outside world, but not separated. The ulterior triggers a new encounter with our trusted and familiar urban landscape.

PROJECT

VAN SANDICK, INĂ&#x2C6;S The Netherlands icjsandick@gmail.com

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Shifting Grounds Through this project I propose a different relationship between architecture and people based on a broader range of sensory, social and temporal qualities. Itâ&#x20AC;&#x2122;s an exploration of the complex relationship between the visual language of a built structure, its psychological effects and the reality in which it functions.

Using the concept of the uncanny to approach architectural spaces of particular significance, the project raises questions about the production of meaning in that place and its surroundings. When no longer merely based on conventions, this becomes dependent on oneâ&#x20AC;&#x2122;s own imagination. In this way, the project aims to be an experience of architectural possibilities; expressing new ways of living.

PROJECT

VAN WEES, ROBIN The Netherlands

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robinvw7192@hotmail.com (0031 (0)6 4318 5450

Internship at: Dries Verhoeven

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Narrators Bay Imagine living in a town called “Narrators Bay” consisting of multiple spatial scenario based dwellings. Envision growing up in ‘Horus House,’ in which there is always the possibility of being spied on from above, invading your private routine. This causes an urge to move to a more secluded, private area of the house. However, the only closed off area will eventually be occupied by all members of the family, searching for comfort ― still no privacy. How would you deal with this situation? Turn into the role of spy and master of control, or aim for the comfort of your family circle? This project is about the creation and representation of my imaginary town, called “Narrators Bay”. Its architecture is used as a catalyst for personal stories.

PROJECT

Wegwijzer Storytelling is an important part of my life as a creator. The desire for endless possibilities is the impulse that feeds me. New dimensions and unexpected moments bring color to my life.

But how to provoke those unpredicted moments and stay in control of the message when telling a story? My thesis explores the grey area between the strategy of a creator and the interpretation of an audience or resident. This in order to create meaning within my concepts.

The research resulted in the definition of a personal tool, called “De Wegwijzer”. Which functions as a personal guideline during the concept phase of a creative project. In other words, it serves as my personal working method and inspiration tool ― not to broaden, but sharpen my vision.

THESIS

VERBERNE, EVA cargocollective.com/evaverberne

The Netherlands

evaverberne@outlook.com

Internship at: Krijn Christiaansen & Cathelijne Montens (KCCM)

0031 (0)6 3158 4671

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Ruimtekabinet Sidewalk, bike paths, roads, tramways, cables chop air into pieces. Signposts screaming, glowing lampposts, bollards choking, flashing traffic lights red orange green. Shark teeth, arrows, lines hop skip and jump across the crosswalk. The buildings, its residents, the past.

Characteristics pushed away disappeared behind laws, rules, infrastructure. Some public spaces no longer always provide us with clues to where we find ourselves. These orphan spots have lost connection with their own context, which makes it impossible for us to establish a relation with these places. I developed a program to reconnect to their lost meaning.

Forgotten, disappeared and underappreciated layers become valuable again showing the hidden identity for a moment.

PROJECT

Ruimtekabinet “Ruimtekabinet” explores the mental and physical connection of man and his environment as far as the message, the narrative and the character of place and space is concerned.

Where places are lost or hidden behind the modern interior of today’s city, representation techniques from arts and culture can be used to reanimate the urban landscape back into a public life.

THESIS

VERGEER, DANITSJA www.danitsjavergeer.com

1 1 1

The Netherlandss

danitsjavergeer@live.nl 0031 (0)6 4523 0837

Internship at: Superuse-Studios

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Niche house/Activating the surface Surface defines space, our experience and our action. A well-designed surface gives a space many functions and characters, it interacts.

The occupants identify the different spaces by specific play of light and surface. The surface only offers privacy when needed. The forms occasionally reveal function. The occupants are tempted to explore their environment again and again, discovering the new possibilities in each space. It is a house where you can improvise.

PROJECT

Activating the surface Activating the Surface The architect designs the structural shell of an empty space that affects the atmosphere. The way the architect shapes the surface determines which character and function the space gets, thus steering the visitorâ&#x20AC;&#x2122;s experience. In a lot of contemporary architecture I miss the art, the art in the surface itself. I get bored by the uniformly illuminated structureless surfaces. Which elements can we use to activate the surface so that the space is fueled with expression again?

THESIS

WETTERS, JUDY cargocollective.com/judywetters

HaĂŻti

judy_wetters@hotmail.com 0031 (0)6 1161 8677

Internship at: Urban Echoes

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(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN Structures for exchange Emergency relief should be more focused on developing aid. Refugees, for example, should be helped out and supported while sorting out a new future in a new environment. Much could be gained by tapping into the knowledge and experience of the refugees themselves by stimulating interaction within shelter and so-called centers â&#x20AC;&#x2022; a possibility now often overlooked. My project aims at unlocking and stimulating just this interaction. The 3 toolkits that I design have each an easy instruction manual, so people can build the designs themselves and they can adjust it to their own needs because it consists of modules. By building this together, the people will get a good energy from this and they are building something everyone can enjoy.

PROJECT

To make the difference Most of the current designs are not made to find a solution to a social problem. In a time where there are a lot of crisis situations, we as designers must contribute in making a change in these situations. We can make the difference by sharing our knowledge and create effective designs. By dividing social designs in different groups, I was able to analyze how these designs could make a change in a needy situation.

As a designer you should find out what requirements the design must have and who will be using the design. In social designs, most important will be the functional possibilities, and second comes the esthetics. These two things must be in a perfect balance to make the difference.

THESIS

ZOON, SOPHIA www.sophiazoon.nl

1 1 1

sophiazoon@gmail.com 0031 (0)6 4668 2884

The Netherlands

(BA) INTERIOR ARCHITECTURE & FURNITURE DESIGN

(BA) BACHELORS Photography Alysha Clemens, Robin Bax, Vivian Daniels, Ellen De Boer, Shari De Morree, Barbara De Vet, Jorieke De Waard, Jorien Former, Rinske Fraikin, Fabian Glasbergen, Sanne Grootendorst, Sabine Karssenberg, Luka Ketamo, Karl Miedema, Annabel Mubarak, Laila Otte, Samuel

FT = Full Time PT = Part Time

143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158

8 142

Poel, Hans Posthumus, Tycho Put, Joppe Steunebrink, Charlotte Szabรณ, Liza Turpin, Olivier Van De Zande, Charlotte Van Der Togt, Renate Van Der Zee, Iris Van Koeverden, Steven Van Swieten, Victor Vera, Nita Verspuij, Merel Virtanen, Kimmo Zwietering, Zindzi

159 160 161 162 163 164 165 166 167 168 169 170 171 172 173

(BA) PHOTOGRAPHY â&#x20AC;&#x2022; FT Owned By No One A story about a subculture that wants to protect their visual identity in a dystopian, post-digital age. They want to rediscover their individuality in anonymity in a world where information has become a commodity and society thrives on the destruction of the id and the ego.

PROJECT

The Future Gaze To what extent did our ways of seeing and the way we communicate change over the years?

And how has that been influenced by our way of thinking (philosophy), new media and technology?

THESIS

ALYSHA CLEMENS, ROBIN www.robinalysha.com

The Netherlands

robinalysha@gmail.com

Internship at: Iain Mckell, Labyrinth Photographic (London), Halal (Amsterdam)

0031 (0)6 39434589

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(BA) PHOTOGRAPHY â&#x20AC;&#x2022; FT Enforced Encounters We live in a time of growing threats. The resistance against immigrants is growing, just like the threat of terrorism. The past few months I photographed during police trainings of the Riot Squad Forces. They train according to precise protocols how to behave in situations of conflict. What fascinated me during these trainings was the contrast between the scripted scenario and primal emotions. It became very clear to me that adrenaline could in fact be evoked and that primal emotions can also occur in a constructed setting. Adrenaline is a hormone and a neurotransmitter that is released during a fight-or-flight situation. It switches on our drive to survive, but what happens when adrenaline occurs when these primal reactions arenâ&#x20AC;&#x2122;t necessary?

PROJECT

The Constructed Reality In my thesis I researched constructed behavior in combination with group behavior.

I researched theories of sociologist Erving Goffman. Goffman plays a large part in my interests. He describes daily life according to the terminology of theatre. This corresponded with my vision; I see the world around me as a script, as a guide we use to structure our lives. In my thesis I researched how to break with these rules and how art has a mirroring function in this change of perspective.

My thesis in combination with my graduation project has lead to new insights. This brought me a stable fundament to build on in the future.

THESIS

BAX, VIVIAN www.vivianbax.com

1 1 1

mail@vivianbax.com 0031 (0)6 1277 7649

The Netherlands Internship at: Petra Stavast, Annaleen Louwes

(BA) PHOTOGRAPHY ― FT Play it cool This project investigates how boys between the age of 12 and 14 present themselves in front of a camera. Puberty is of great influence on one’s self-image. The comparison between ‘this is who I am’ and ‘this is who I want to be’ remains a psychological process that is vividly present in teenagers, but not in primary school children for example. Recent estimations show that 99% of youngsters use some form of social media. They use it to develop their identity in which selfies play an important role. It allows them to direct their image towards the selfimage they have and towards what image they want others to have of them. They gain absolute control over what representation of themselves they broadcast towards the outside world.

PROJECT

I was photographed, therefore I am:

a study on photography’s role in the

perception and presentation of the Self I started my thesis with the question if a photo can play a part in the manifestation of someone’s self-image, especially with those suffering from a negative or constantly fluctuating self-image like someone with an eating-disorder. The discrepancies between image and thoughts made me wonder which part photographs play in the development of our self-image. We cannot imagine today that we would live in a world without mirrors or photos, something that was a reality 150 years ago. We need these in order to develop a current self-image of ourselves.

THESIS

DANIELS, ELLEN www.ellendanielsfotografie.nl ellendanielsfotografie@gmail.com 0031 (0)6 4173 1430

The Netherlands Internship at: Annette Behrens

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(BA) PHOTOGRAPHY ― FT Proving Ground From Indian to Cowboy to Soldier. ‘War playing’ is an ancient concept. It’s a game where power and challenging boundaries are an important part of growing up as a boy. In “Proving Ground” I examine the ‘war game’ in 2016, in which wars of today are used as an inspiration for the videogame and toy industry. Boys know exactly how a soldier moves, behaves and dresses by the stereotypical soldier they know from videogames and TV. This results in a vicious circle of interpreting an image and recreating it while playing. To what extent does the visual culture of war shape our collective memory?

PROJECT

De Gemanipuleerde Onschuld A thesis about the representation of the child in contemporary images. Every day you see children as a subject in any kind of image.

In portrait photography, photojournalism, advertising and contemporary documentary photography and film. But why are children so often used in photography and film? Most importantly, how do we as authors portray a child in an image? And what are the ethical issues that come with it? To find an answer to these questions, I used six diverse photographers as case studies to examine the function of the child in their projects.

THESIS

DE BOER, SHARI www.sharideboer.nl

1 1 1

The Netherlands

sharideboer.93@gmail.com 0031 (0)6 5067 8845

Internship at: Niels Stomps

(BA) PHOTOGRAPHY ― FT Verhalen van meneer Prawar

(Stories of mister Prawar) “Stories of mister Prawar”. An unexpected meeting. I sat at the HEMA restaurant and someone behind me started talking. After one hour I knew about the most beautiful adventures he experienced and his positive way of thinking.

He took me into his world and told me about a backyard full of banana trees, his childhood in the former dutch colony Papua New Guinea and the fled to Holland in 1962. When I came home I stepped into his world via Google and discovered the situations and places he told me about. Our meetings at the HEMA after that first day, learned me more about his life and the way he lives after everything he has been through.

PROJECT

Jij bent, dus ik ben (You are, so I am) Everybody us an expert of his own experiences.

You are able to learn from every person around you, by opening up to them. That’s the starting point for my thesis. I did my thesis research on empathy, placing yourself into the thoughts of another person. I researched how it is used in photography and how you can reach to create empathy with the viewer.

THESIS

DE MORREE, BARBARA www.barbarademorree.nl barbarademorree@hotmail.com 0031 (0)6 2253 5990

The Netherlands Internship at: Maja Daniels, London

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(BA) PHOTOGRAPHY ― FT Dapper land In 1941 when the dikes were finished and the polder was almost completely drained, farmers and workers from all over the country came to Noordoostpolder (Flevoland) to live and work on this newly created land. From every province of the Netherlands and of all kinds of religions, all with the same purpose: building up and working on the new piece of land. It’s a purpose that cannot be achieved by one individual but needs collaboration. Inspired by the history of the reclamation of the Noordoostpolder I want us to recall the feeling of solidarity and to show the importance of the physical power of working together.

PROJECT

Met 500 scheppen,

700 uur en 3 vliegtuigen Why did Sophie Calle take people to the sea in Istanbul to photograph them when they encountered the sea for the very first time?

Why did Gillian Wearing search for the deepest contemplations of passers-by and let them write it on bright paper, with which they were photographed? And why did Francis Alÿs ask five hundred volunteers to belief in his project to move the mountains? In my thesis I researched he strategy of socially involved artists.

THESIS

DE VET, JORIEKE www.joriekedevet.nl

1 1 1

joriekedevet@gmail.com 0031 (0)6 5712 2345

The Netherlands Internship at: Anaïs Lopez & Wytske van Keulen

(BA) PHOTOGRAPHY ― FT Planetary Romance

― How would living on Mars look like?

Ever since I can remember I had a fascination for science fiction. Lose myself in a nice story.

Where we can time travel, can book a return ticket to space and can live on another planet.

When I heard about the Mars missions and their goal ― to send humankind to the red planet ― I was thrilled. A new place to fantasize about, a place where no human has been. I can imagine a place where there are no clouds in the sky, where it is completely dark when the sun doesn’t shine and because of that plants/insects light up.

It’s interesting because Mars has been fantasized about for centuries. And now it is coming closer to reality. Imagine, this place is the ultimate happiness. Because nothing is wrong, nothing is right. No one has been there.

PROJECT

Back to the future and beyond

The world of technique as decor for reality In my thesis I ask myself whether there is still room for fantasy in our digitalized society.

Technology offers us a lot of opportunities.

First we dreamt of discovering new planets and now it is actually possible. There is certainly still room to fantasize in our world full of technology. Now it is even more provoked to use your imagination and the danger of that is that our ideal world gets further and further away. We want more and more. I fear that humans will no longer be needed in the future.

Robots are taking over and only the “smart” people with a technical background will have a place here. So maybe there will be a time that our society is divided by what we can do.

THESIS

DE WAARD, JORIEN www.joriendewaard.com joriendewaard@gmail.com 0031 (0)6 3168 7196

The Neherlands Internship at: Anne Claire de Breij, Amsterdam

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(BA) PHOTOGRAPHY ― FT It’s beautiful when it flies As a child we all dreamt of flying. Some have actually felt the wind against their cheeks. Sadly, aging goes hand in hand with the inability to believe in something so close to carelessness.

My project “It’s beautiful when it flies” is an adults’ attempt to re-find this childlike state of openness and to take the viewer along for the ride. It’s an escape from reality and at the same time a revival of hope; both a failed attempt and a successful journey to the past. But most of all it resembles a persons deepest wishes, dreams and longings and how reality often seems to harshly oppose to these.

PROJECT

Ik zocht naar troost

(I searched for consolation) The writing of my thesis started around the same period my mother became terminally ill. This horrible news not only changed my life, it also changed my view on my profession. I have researched if and how art can provide comfort.

The piece consists of a very personal research, but I’ve also questioned the work of others.

I’ve questioned myself; what is comfort, when do we need it, and how is art or beauty able to make you understand your sorrows?

Art can act as a mirror; we as viewers feel pain; experience grief but only if we recognize it.

As the enigma where we look at, can be deciphered. Art and beauty can let us conduct the conversation in silence. And that is comforting.

THESIS

FORMER, RINSKE www.rinskeformer.nl

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The Netherlands

rinske_former@hotmail.com 0031 (0)6 4406 5674

Internship at: Stefanie Grätz

(BA) PHOTOGRAPHY â&#x20AC;&#x2022; FT In the name of security The Dutch government is concerned by the satellite images from Google about the visibility of these political, economic and military locations. The result was that the supplier of these images was obliged to censor these places. By cloning the area, to fade or bleach.

The way this is done in the Netherlands is quite remarkable compared to other countries.

The result is a landscape that is interrupted occasionally by sharp aesthetic contrasts between secret locations and the rural and urban environments that surround them.

PROJECT

Everything under control?

I have researched what strategies/approaches a photographic documentary photographer might use to visualize difficult subjects. I was hoping, while doing this research, to discover more concrete steps to more efficiently start and form my photographic approach. The aim of this research question, first, was to clarify my fascination with the subjects I photograph. The second aim was to understand the importance of why my work is often related to social and technological affairs. The final aim regarded the implementation of my projects and how I am going to finish the project.

THESIS

FRAIKIN, FABIAN www.fabianfraikin.com

The Netherlands

fabian.fraikin@gmail.com 0031 (0)6 1049 0669

Internship at: Niels Stomps

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(BA) PHOTOGRAPHY ― FT The true color of love Have you ever been so in love you had a feeling you ate flowers for breakfast and your life is in full bloom? Have you ever been so in love you cried like a baby in one square meter corner?

Every love story or relationship is unique. Still there are universal elements an individual has to deal with like having feelings and coping with them. This specific story reflects on my own love life over the past two years with its ups and downs, highlights and dark caves. It’s a story to be shared with everyone who has ever dealt with loving someone, longing for love and compromises we have to undertake, to be loved.

PROJECT

Art, my life I’ve done research on the work and motivation of selected autobiographical artist. My focus has been to find out what makes sharing personal stories and experience relevant to the audience.

THESIS

GLASBERGEN, SANNE cargocollective.com/sanneg

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The Netherlands

sanneglasbergen@gmail.com 0031 (0)6 3832 9390

Internship at: Harley Weir

(BA) PHOTOGRAPHY ― FT Parels voor de zwijnen

(Do not throw pearls before swine) “Parels voor de zwijnen/Do not throw pearls before swine”. Items of quality offered to those who aren’t cultured enough to appreciate them.

The current consumer is accustomed to shelves full of food, wherever and whenever they want.

Especially the meat consumption is in great contrast with the past. The present society is accustomed to much and relatively inexpensive meat. But when we analyse our role as a member of our society we see that we also think it is important to have a welfare standard within meat production. Which is a good thing, but what can we expect if we increase the standards within the intensive farming and stay looking for the cheapest package of meat in the supermarket?

PROJECT

Why me, why now, why this & why like

this & why like this ― The central questions

within the documentary proces My thesis is focused upon the ― in my opinion ― most important questions within the process of the ― engaged ― documentary photographer: the ‘Why me’, ‘Why now’, ‘Why this’ & ‘Why like this’. By researching the role of these questions within the work process of ‘successful’ engaged documentary photographers I hope to find out what it takes these days to be successful in spreading a bigger message trough the medium of documentary photography. After the first chapter, ― about documentary photography and its process- that is mainly there to provide the reader with a basis ― I organized a separate chapter for all the ‘Why’ questions. Those chapters deal with the importance of that particular question.

THESIS

GROOTENDORST, SABINE www.sabinegrootendorst.com

The Netherlands

sabinegrootendorst0@gmail.com 0031 (0)6 2820 9557

Internship at: Mike Roelofs

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(BA) PHOTOGRAPHY ― FT Forcing Friendship Now that online platforms make it almost impossible to have unexpected encounters, I want to underline the value of the more physical way of meeting each other. In “Forcing Friendship” I direct an encounter between a total stranger and my father. I only met this unknown man once on a schoolyard. With the thought in the back of my head that told me that these two men could possible be best friends, I started to undertake several attempts to find out more information about this stranger.

This resulted in an exchange of physical letters and a one-time physical encounter.

PROJECT

No one can steal my soul Investigating the different roles we play in our daily lives. Is it naive to think you can capture one’s ‘true inner self’ with photography or film?

THESIS

KARSSENBERG, LUKA lukakarssenberg.tumblr.com

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The Netherlands

luka.karssenberg@gmail.com 0031 (0)6 1796 9614

Internship at: Anders Edström

(BA) PHOTOGRAPHY ― FT Crossing Boundaries Movement is essential to life in all its forms ― by moving we create and rebuild new lives, new structures and new identities. Underpinning the human instinct for survival there is a complex and rich history of people moving around the planet. At one time or another, everyone becomes part of this transformation of imagination, location and self. Migration for its variety of reasons, with its hope for a new and better life, is an elevated expression of a search for safer grounds.

Travelling is one-way and unfamiliar language, culture and social norms become challenges.

The video is based on humanity’s necessity to move. Rhythm becomes essential, the movement sometimes synchronized. Everyone moves yet the landscape seems to stand still.

PROJECT

Regarding the Neo Romantics The Human/Nature cultural relationship has evolved over time. As a subject of photography this relationship has a long history. Does the rising interest in the world of nature and our way of relating to it signal a desire for a break from the pressures of modern living, or can another conclusion be made? How much do history, biology and the global and regional events of our time influence the popularity of the subject? Landscape is never just a view.

The perspectives we give to representations of landscape and nature are always subjective, influenced by motives, history and childhood stories. Objects are what they are but the interpretations we give them come also from our language, culture and personal memory.

THESIS

KETAMO, KARL www.karlketamo.com

Finland

kalleketamo@gmail.com 0031 (0)6 4908 9565

Internship at: Andrew Phelps

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(BA) PHOTOGRAPHY ― FT The Weather is for Free Within my photography I very often want to modernize or gain revaluation for outdated, daily things and moments everyone experience.

I want to show them in a fresh and colorful way, with the goal to make the viewer aware, or maybe even convince them of the beauty of everyday life. In “The Weather is for Free” I focus on outdated ‘typical Dutch’ visual elements.

I show my contemporary view on these elements because in a time in which everyone is searching for excitement and the unknown, I want to show that you can see a lot of beautiful things around you if you view the world and the things you know so well in a different way.

PROJECT

De Familie der Mens Hoe kunstenaars geïnspireerd worden door naasten.

THESIS

MIEDEMA, ANNABEL www.annabelmiedema.com

1 1 1

The Netherlands

info@annabelmiedema.com Internship at: Blommers/Schumm

(BA) PHOTOGRAPHY ― PT When I look at you Laila Mubarak, documentary photographer, has a great interest in psychology and human behaviour. She is inspired by the philosophy of existentialism, how a human gives essence to its being. Her subject is often the young woman and the life-events she experiences.

What fascinates her is the body language, the expression in the face, the hands that unveil the state of presence. When I look at you it is about female awareness. It’s about looking and to be looked at, continuously being self-aware as a woman of the bodily appearance. It’s about the longing to be perceived as beautiful. And about convictions both man and women have around the image of female beauty. Especially women’s own convictions about themselves.

PROJECT

‘Het spel’ of the photographer As a photographer I am aware of my influence on the subject I am working with, the person; I realize how objects such as cameras, spaces as well as silence can influence someone.

I try to understand who the other person is and how they try to communicate with me. I wait for the other person to drop their guard and let a meaningful and revealing situation develop.

I do not have a certain state in mind as a final objective I am working towards, it’s the human contact process that I wish to document with my photography. My main objective is to create images of the essence of the contact between the subject and myself, and the key moments that define this process between us. It’s the essence of the individual that I try to document.

THESIS

MUBARAK, LAILA www.lailamubarak.nl mubaraklaila@hotmail.com 0031 (0)6 5100 0794

The Netherlands

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(BA) PHOTOGRAPHY ― PT The Fall My religious father was dying, but to accept this fact would mean turning his back on his faith.

He left me wondering how I could make a real connection with him. Religion drove a wedge between us. This project investigates the meaning of Dutch Protestantism in relation to who my father was. The research results in a book; a family biography starting with my greatgrandfather, the founding father of the reformed denomination ‘De Gereformeerde Gemeenten’, and leading via my grandpa and my father up to me, the one who cut off the religious genealogy by taking distance from Christian faith. In addition, I have made three films in which I search for ways to connect with my father after his death regardless of our differences in worldview.

PROJECT

An anthropology of the domestic interior An anthropology of Domestic interior is about how human identity and domestic space relate and how domestic interior is used in photography to communicate feelings, cultural practice, gender and daily life. It examines how primary emotions are formed by sensational experiences with domestic objects and how memories and identity are formed by these experiences. Then it treats the historical development of domestic space as a private space. The second half explores the use of domestic space in photography, followed up by a casestudy of the work of Jacqueline Hassink, Tina Barney and Petra Stavast. I found out how they use domestic interior to tell the viewer about power, femininity, social class, personal memory, cultural identity and decay.

THESIS

OTTE, SAMUEL www.samuelotte.nl

1 1 1

The Netherlands

samuelotte@gmail.com 0031 (0)6 2480 1093

Internship at: None

(BA) PHOTOGRAPHY ― FT Petting Politics

And Other Cute Propaganda When Vladimir Putin plays with his dog Buffy we laugh at the ridiculousness of it, but when Barack Obama does the same thing with his dog Bo we find it adorable. “Petting Politics And Other Cute Propaganda” is an analysis in the way innocence and the cute-factor of children and pets are used as tools for propaganda. How the leaders of this world use them as props to make themselves look more human, trustworthy and empathic. I found and collected this adorable propaganda from and all kinds of political leaders, all over the political spectrum. By categorizing and putting these images in a different context I want to show the methods used in the propaganda, and raise questions on how much ‘we’ differ from ‘them’.

PROJECT

The Most Glorious Thesis In The World In “The Most Glorious Thesis In The World” I dive deeper into my fascination for propaganda.

I researched how ideological narratives are created, or taken away from the public eye.

I wrote about the difference between stupid obvious censorship and smart unnoticeable censorship. About why propaganda exists, how it works, and where it could be seen today.

I also raise questions on how our ideological background gives us a biased look at the world, if we can break out of it, and if truth even exists.

This thesis is also a research in my connection with these topics in an art context; why do I always want to find truth through my work, how do other artists use propaganda as a tool for art and how do they address propaganda in their work?

THESIS

POEL, HANS cargocollective.com/hanspoel hanspoel@gmail.com 0031 (0)6 2264 4086

The Netherlands Internship at: Daan Paans, Nadine Stijns

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(BA) PHOTOGRAPHY ― FT HYmN TYpE bEAt My graduation project “HYmN TYpe bEAt” is about the constant transaction between immaterial ideas and how I use photography as a contemporary ritualistic tool that processes my experiences of materialising my thoughts. online imagery I see that inspire me, images I take while living my life, a new ‘work’ that results; they’re all of equal importance and I let them intertwine. By exploring the plastic nature of digital photography I constantly combine and look for new images and narratives that can tell my story.

PROJECT

Redundantem In my thesis I examine the way contemporary photography relates to and deals with the vast amount of visual information coming at us in today’s world. By defining and researching contemporary visual culture and its artists that work with the photographic image, I try to examine how contemporary photography responds to the stereotyped and clichéd landscape of the mass media and culture.

THESIS

POSTHUMUS, TYCHO tcythohpsoptuhsum.tumblr.com

1 1 1

The Netherlands

tycho.tp@gmail.com 0031 (0)6 4145 4338

Internship at: Thomas Mailaender

(BA) PHOTOGRAPHY ― FT Let’s Start Over

― Amsterdams’ Cleaning Department Amsterdam is one of the world’s most prominent cities when it comes to tourism. The ‘tourist pressure’ has increased drastically over the last two years (about 150 tourists per km² every day in 2015 according to CBS).Tourism is concentrated in the so-called ‘red carpet’ area that runs from central station to Museum Square.

The vibrant tourism takes its toll and leaves litter scattered across the streets. For Amsterdams’ cleaning department, clearing the area of garbage is a priority seven days a week.Throughout the day 50 employees are needed to keep the area tidy.Their work is an everlasting effort that fades away as soon as their shifts end. The result is solely temporarily, considering the solution seems to lie elsewhere.

PROJECT

Below the Surface The role of the documentary photographer in the changing face of the metropolitan city. Over the years, housing and business have moved to the periphery of the city, while the city center has become an area for recreation. The urban environment has acquired a different significance.

Documentary photography has always functioned as a medium to reflect on the developments in the city. In my thesis I examine the relationship between the documentary photographer and the contemporary city center. I research to what extent these changes also affect the mission of the documentary photographer.

THESIS

PUT, JOPPE www.joppeput.com

The Netherlands

joppeput@gmail.com 0031 (0)6 5515 0266

Internship at: Raimond Wouda

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(BA) PHOTOGRAPHY ― FT Release (Loslaten) I have never experienced loss in my life. I don’t know what it’s like to loose someone, but I dream about it a lot in surrealistic and abstract forms. It moves me, it makes me vulnerable and it makes me think about finiteness.

My project comes from my fear for loosing loved ones. Fear for something I don’t know, which I have no idea how it will feel and how it will look like. I want to show how close life and death are next to each other.

PROJECT

Driven by emotions:

The communication and interpretation

of emotions within an artwork Life and death are primal themes of the life cycle connected through emotions. Everybody has his or her own interpretation of life, death and emotions. Everybody interprets each others emotions in his or her own way. But how does that relate to an artwork? Who or what decides on what people should read from an artwork? What kind of factors are determinative for reading an image? Social, cultural, intellectual; which aspect is important for reading the image? How do other artists from different art movements translate their emotions into a piece of art? Is the viewer able to read the same emotion as I put into it?

THESIS

STEUNEBRINK, CHARLOTTE www.charlottesteunebrink.nl

1 1 1

charlotte@steunebrink.nl 0031 (0)6 2853 5420

The Netherlands Internship at: Petrovsky & Ramone

(BA) PHOTOGRAPHY ― FT Guide for foreigners “Guide for Foreigners” aims to show how funny and strange national proverbs can be when they are translated to another language and presented in a new context. Because of our cultural background we own traditions, habits and thoughts that do not only affect our life but also the way we perceive the world. When it comes to understanding someone else, we often fall into misconceptions and misunderstandings because of these differences. “Guide for Foreigners” supports proper communication and provides the possibility to learn about each other’s local habits.

PROJECT

Making the particular universal In my thesis I research collective memory and its connection to individuals. As a photographer I often use my own memories and experiences as a starting point, therefore I was looking for an approach to translate my personal experiences into more universal stories and understand the definition of collective memory.

How can we share personal memories?

Do we have memories in common? Can art be a trigger to recall them?

THESIS

SZABÓ, LIZA www.lizaszabo.com

Hungary

info@lizaszabo.com 0031 (0)6 4702 1150

Internship at: Noa Verhofstad

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(BA) PHOTOGRAPHY ― FT Beauty Altered Flowers have been used throughout history, within art and literature ― to symbolize the idea of beauty. In our society, we are often unsatisfied by the natural/unaltered state of things. Often resulting in a lack of appreciation for beauty within imperfections in all its pure nature.

Our image-obsessed society has forced us to constantly replace and correct each element that we deem imperfect.This concept inspired the process of constructing, deconstructing and reconstructing elements of different species of flowers to enhance and modify something which is taken from its natural state. In attempt to mimic today’s generalized attitude towards beauty and perfection, the reconstructed flowers illustrate society’s mutated idea of iconic beauty.

PROJECT

Nor here, nor there Exploration on the construction of cultural and self-identity in the context of global mobility and adaptation and its influence on visual artists.

THESIS

TURPIN, OLIVIER www.olivierturpinstudio.com

1 1 1

oe.turpin@gmail.com 0031 (0)6 2117 3445

France Internship at: Neighbour Collective

(BA) PHOTOGRAPHY â&#x20AC;&#x2022; FT A state of mind Rituals are as old as mankindâ&#x20AC;&#x2122;s existence, but in western society they are not as common as they used to be. How can we outgrow rituals when we live in times we need them the most?

We need rituals that change the state of mind.

Working pressure is high and our lives are extremely busy. We have stress and it makes us exhausted. We need a place to connect again. We need a way to find out who we truly are. We need to find our serenity again. In this project I created new rituals myself. These rituals are based on existing rituals. I asked people to perform these rituals and asked them if they found serenity. I captured the experience of the performer in photography and film.

PROJECT

THESIS

A state of mind

VAN DE ZANDE, CHARLOTTE www.charlottevandezande.com charlottevdzande@gmail.com 0031 (0)6 1564 2154

The Netherlands

1 1 1

(BA) PHOTOGRAPHY ― FT The Unnatural It seems to me that our society is centered around rationality nowadays, and I wonder whether this is a good thing. Our world is changing fast and our people are discarding traditional ways of living for less natural ones.

I cherish being closely in touch with my subconscious. The subconscious is flexible, endlessly creative and most of all unprejudiced.

Characteristics I believe are necessary to adapt to our changing world. My project features a scene drawn from my subconscious. Dreams fascinate me; situations usually seen as weird or taboo feel absurdly ordinary in our subconscious. Within my project I recreate this and in that way I try to confront the viewer with prejudice regarding opportunities and unexpected beauty.

PROJECT

Doll of a woman Japan has a rich doll culture that goes back centuries and stays one of the leading countries in doll figures due to their highly advanced sex dolls and humanoids. The strong connection that the Japanese have with dolls, whether it is in traditional rituals or perhaps sexual relieve, intrigues me and, as many of these dolls show the image of the female, I wonder how this influences women in Japan.

The Japanese woman is stereotypically docile and subservient to men. This stereotype resembles doll figures in many ways, but how much of this stereotype is true today? “Are modern Japanese women influenced by, and compared with, a (traditional) “doll-like” ideal?”

THESIS

VAN DER TOGT, RENATE www.renatevandertogt.com

1 1 1

The Netherlands

renate.vandertogt@live.nl 0031 (0)6 1047 4410

Internship at: Daniel Sannwald

(BA) PHOTOGRAPHY ― FT Statue: A symbol of power,

beauty and historic value. Right?

My graduation project is based on some photos I saw on the internet. Photos which showed Islamic State ruining sculptures in Syria and Iraq.

The images confused me. They ruined those sculptures, and then posed with them as if they were posing with beheaded people. At least, that’s how I interpreted those images. In this project I invite the viewer to reconsider the symbolic value of a sculpture. It was made with the intention to show power, beauty and historic value. But in the end, it seems all a matter of perception. The way the sculpture gets interpreted, depends on a combination between the context of the sculpture and the cultural or emotional background of the viewer.

The sculpture: A symbol of power, beauty and historic value.

PROJECT

Right foot on green, left hand

on yellow. Dynamics of the current

world of photography My thesis is a research on the borders of an art discipline, in this case with a focus on photography. I question the beginning and end of a discipline through personal experiences, art movements and working methods of relatable, current artists and put them in the perspective of today’s society. Through my thesis I discovered how unnecessarily limited artists behave themselves because of unwritten rules regarding the possibilities on their medium. Not only in the art world, but also in a smaller scale on our own art academy.

THESIS

VAN DER ZEE, IRIS www.irisvanderzee.com irisevavanderzee@hotmail.com 0031 (0)6 2319 7153

The Netherlands Internship at: Qiu Yang, Freudenthal/Verhagen

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(BA) PHOTOGRAPHY ― FT Prinsentuin 5 The house I grew up in has a great untold story about the role it played during the Second World War. It was not only a place where people could hide from the enemy, it was also a place where the Dutch resistance was commanded from. My grandfather was an active resistance fighter working with the O.D., K.P. and the R.V.V. My grandmother was a courier for my grandfather and was very important for the Kinder Comité in Utrecht. The way I grew up is in big contrast to the war years. With me being the fifth generation who grew up in this house, it is my responsibility to pass on the history the house has to tell. If I don’t do it a very important story will vanish in time.

PROJECT

Personal stories ― Can personal

photography touch a larger theme?

In my thesis I research if personal photography can touch a bigger theme. I look at the work of J.H. Engstrom and Anders Petersen, Richard Billingham and Machiel Botman to research how they transform a personal story into something more universal. After that I research photographers who work with personal history.

I look at the work of Jan Rosseel, Rinko Kawauchi and Verena Blok. I researched themes, subjects, ways of working, target audience, the roll of text and how they make history visible. I learned that personal photography can touch a larger theme.The maker works from his own experience and doesn’t base facts on other things than that. In this way the story becomes readable for the viewer, because we feel it’s true.

THESIS

VAN KOEVERDEN, STEVEN www.stevenvankoeverden.nl

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stevenvankoeverden@outlook.com 0031 (0)6 1735 1867

The Netherlands Internship at: Jan Dirk van der Burg

(BA) PHOTOGRAPHY â&#x20AC;&#x2022; FT THESIS Terror on your consciousness Destructive beauty As we entered the 21st century, the days of the This thesis is based on my own personal fear bomb throwing anarchist of the early 20th century for terrorist attacks. The 9/11 attack had a deep are long gone. Bombs are the most common impact on me. I wasnâ&#x20AC;&#x2122;t there, but it was all over known weapon of modern terrorism. They not the television and internet. This impact formed only kill and enquire many people all at once: it the base of my research where I asked myself manipulates and it changes our behaviour. what the role is of the media and the terrorist.

It creates fear, uncertainty and division in our What are the mechanisms of the news reports society. The meaning of the modern bombs by the media and what kind of strategy is used transcends its own true function of destruction, by terrorists to report their message through instead it communicates specific ideological the media? First, I research the connection messages. The suddeness and unpredictability of terrorists and media where I found out that the of these bombs are my biggest fear and their terrorists are using the media as a manifestation. biggest victory.

A call for attention of different ideological messages. This ideological messages are used in different forms.

PROJECT

VAN SWIETEN, VICTOR www.victorvanswieten.com

The Netherlands

victorvanswieten@hotmail.com 0031 (0)6 8323 0147

Internship at: Rob Hornstra

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(BA) PHOTOGRAPHY ― FT Don’t fall in love with me

or I will make a scene Relationships around me are loose. Everything appears temporal and we are afraid to commit ourselves to each other. The less investment we put in others, the easier it is to stay independent. I researched the disconnection we have with each other by staging imaginary scenes in a strictly framed space visualizing the lines between hiding and showing, real and false, theatre and life. I feel the world around me becomes like a big construction of a theatre play, a stage where we act as mere players in a momentary stage of our lives. Relationships follow similar plot twists as in a theatre play.

The sociologist Zygmunt Bauman suggests: “We take it, we use it and then we throw it away, we change it for a new one. We consume it.

We consume love.”

PROJECT

The Act of Constructing “The Act of Constructing” is a study of the Epic Theatre theories and techniques and their adaption to staged photography. The concept of the theatre theoretic Bertolt Brecht focuses on making the audience think critically on the external social order without falling into a catharsis of emotions. Can these theories be applied to stage photography and through its methods get the spectator to look harder and think more deeply? What kind of techniques can be used to remind the spectator about the constructed nature of a photograph?

THESIS

VERA, NITA www.nitavera.net

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Finland

nita@nitavera.net 0031 (0)6 2320 1724

Internship at: Tereza Vlčková

(BA) PHOTOGRAPHY ― FT Lonely and forgotten Quite regularly one reads messages in the newspaper about someone who passed away and was found death after a couple of days or sometimes even after weeks. How is it possible that no one notices you when you’re alive and no one notices that you have passed away? That there are no family or friends to say farewell, but that the government needs to arrange your funeral. Is there really no one who remembers you? I photographed the homes of people who passed away alone. And with my publication I hope to create awareness about living a lonesome life. That people realise how important it is to give more attention to those who didn’t choose to be alone. Do not forget the lonesome, do not let them pass away in silence.

PROJECT

Dictionary of images We say a lot while we do not speak. There are a lot of ways to communicate; verbal, non-verbal, writing and visual. In this thesis you will find my research towards non-verbal communication.

About the six universal emotions: anger, sadness, disgust/contempt, happiness, fear and surprise. And about the five areas with which your body communicates; self-awareness, refinement, personal style and upbringing, situational awareness, feeling for other persons rights and what is right.

THESIS

VERSPUIJ, MEREL www.lerem.nl

The Netherlands

merelv@live.nl

Internship at: Gerrit Schreurs Photography & Witman Kleipool Agency

0031 (0)6 8141 8548

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(BA) PHOTOGRAPHY ― FT Thirty-Second Love Songs Love is a human condition remarkably well suited for getting people into trouble with one another. “Thirty-Second Love Songs” is an animated short film contemplating the earthly issues of a divided family. The story is seen from the perspective of outer space and narrated in second person using tree pruning instructions as a metaphor for domestic peacekeeping.

PROJECT

Flamebaits Can images change the course of events when pitted against the human ego? ‘Flamebaits’ is a research essay on visual methods of persuasion in the context of ‘the backfire effect’ and human rights campaigns, and their roles in attempting to cause lasting change in the spectators’ minds. Through a semantic and psychological case study of Amnesty International and a visual artist known as JR, the aim was to transform my findings into a method of storytelling that could be used to address difficult topics and human conflicts.

THESIS

VIRTANEN, KIMMO www.vanhavirta.fi

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kimmo@vanhavirta.fi 0031 (0)6 1286 8865

Finland Internship at: Studio Roosegaarde

(BA) PHOTOGRAPHY ― FT PROJECT 160.000m2 A mass of huge grey tower. A mass of people.

Living, working, staying, eating, meeting and sleeping. A vertical city. A machine. People move from A to B. This is the most densely populated land in The Netherlands. Giant elevators, neverending escalators. De Rotterdam. De Rotterdam was finalized in 2013, and is designed by the O.M.A. The design of the building match theories of Rem Koolhaas about the generic city perfectly. He creates spaces where he forces people not to create a connection with their environment. Does Koolhaas discard the physical reality from its value? And if so; what does this say about the time we live in? “The generic city is always founded by people on the move, poised to move on.” ― Rem Koolhaas

City dwellers In my thesis I investigated the influence urban space has on the behavior of city dwellers. It is split up in three pieces. In the first part I write about different theories concerning the public space in western cities. In the second part I write about people; how do we react on the public, and on each other. In the last part I look at different artists who have been dealing with these themes in their work, to end with my own fascination for the theme.

THESIS

ZWIETERING, ZINDZI www.zindzizwietering.com

The Netherlands

zindzi.zwietering@gmail.com 0031 (0)6 2438 3545

Internship at: Sharon Lockhart

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(BA) BACHELORS Textile & Fashion Alekseeva, Elina Borggreve, Nadie Forzani, Yamuna Lauwaert, Sarah

176 177 178 179

8 175

Louwerens, Lot Pous Infante, Berta 'S-Gravemade, Woody Sypkens Smit, Jenske

180 181 181 183

(BA) TEXTILE & FASHION THESIS Wayfaring Landmarks Nowadays people travel a lot and don’t belong The exploration of what is happening to the to one place anymore. Younger generations conception of home and how it will develop in often feel detached from living spaces. Many future. Will it exist at all, and what can replace it. projects are devoted to accessible housing, but the feeling of ‘home’ is always missing.

I consider ‘home’ not as a place but as activities and emotions. Elements of our cultural background and personal feeling of comfort are our “Landmarks”. Memory triggers, environment reminders, ceremonies of calming down and claiming space ― for a while. As little belongings as possible can become a transportable sense of comfort. We only need what has emotional value, to make any space ― a home, and to feel at home ― anywhere. My project is an intercultural collection for contemporary nomads.

PROJECT

ALEKSEEVA, ELINA cargocollective.com/Elinaalekseeva

Russia

elinalen@gmail.com 0031 (0)6 3179 5647

Internship at: buroBelen

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(BA) TEXTILE & FASHION PROJECT

It’s been emotional

It’s been emotional My main question is: What qualifies an emotional Hoarder, which gradations are there to find, and how does that influence identity?

For my research I interviewed hoarders.

I also made conclusions out of a combination of these interviews, philosophers and documentaries.

THESIS

― The emotional Hoarder With my collection “Emotional Hoarder” I want to show how we as human beings collect lifelong memories and emotions. One of my biggest inspirations are people called ‘hoarders’. These people have the urge to collect things, because they cannot let go of the emotional attachment to it. By using the technique moulage I create my language of silhouettes. The pieces of clothing will be used differently than they are supposed to be. All the pieces together become one entity.

BORGGREVE, NADIE www. nadieborggreve.com

1 1 1

The Netherlands

nadieborggreve@gmail.com 0031 (0)6 2083 0271

Internship at: Mary Benson

(BA) TEXTILE & FASHION UTOPIA U4IA NATURE IS FUZZY AND SOCIETY TRIES TO DRAW A LINE ON IT’. I BELIEVE IN COEXISTENCE, COLLABORATION AND COLOUR! I THINK GENDER EVOLUTION IS REALLY IMPORTANT AND SOCIETY NEEDS TO GET RID OF BINARIES AND EMBRACE THE SPECTRUM. I have been influenced a lot by the idea of a queer utopia and I want to embody that and share and celebrate my world. To do so I will present a tableau vivant, which will include a mixture of textile clothing and objects to translate my vision of the future.

My new evolved people will be the main focus of my presentation. For this reason I cast models who personally inspire me. My presentation features the idea of branding. I like to brand my work as it’s slightly taboo but more because I stand for these values.

PROJECT

WHAT IS THE FUTURE OF GENDER? MY NAME IS YAMUNA FORZANI. I AM A BIOLOGICAL FEMALE, I AM HETEROSEXUAL, I AM CIS-GENDERED, I AM FEMININE, I AM QUEER AS FUCK. My thesis is a pocket reference work on gender in a personal way.

With the continuation of challenging gender norms will this lead to their evolution or extinction? In this thesis I define the terminologies and explore gender through mainstream pop culture. I then give my vision of the future of acceptance ― a new outlook called “UTOPIA U4IA” referencing my graduation collection ― my posed utopian view.

THESIS

FORZANI, YAMUNA www.yamunaforzani.com

United Kingdom

yamunaforzani@hotmail.com

Internship at: Sibling London, Faustine Steinmetz, Das Leben am Haverkamp

0031 (0)6 2808 7393

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(BA) TEXTILE & FASHION I need to be protected The collection represents an image of the future world where we have lost the North Pole. My aim is to create garments that protect our bodies and minds from environmental catastrophes and losing a faraway, sublime place. Losing the North Pole will have a tragic effect on the whole of human kind ― all of us will be influenced.

I use slogans like “I need to be protected” and “mind your step” to express how the North Pole has an impact on our psychological mind. I work with protective materials, which I am trying to turn into more human shaped forms and garments.With this collection I hope that people will reconsider the value of the North Pole and create a deeper care for it.

PROJECT

What if the North Pole disappears?

When the world wasn’t fully explored, our values were different. I am exploring the Arctic because I feel strongly connected to it. I feel like it’s my duty to have an impact on saving the Arctic with the benefit of having a voice through fashion design. In my graduation collection I want to translate the image of how our clothing will look like in the nearby future ― if the North Pole disappears. This is also the main question for my thesis; what if the North Pole disappears?

I want to raise a feeling of caring for the Arctic, just like I do.

THESIS

LAUWAERT, SARAH www.sarahlauwaert.com

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Belgium

sarah@sarahlauwaert.com 0031 (0)6 1339 3286

Internship at: Asger Juel Larsen

(BA) TEXTILE & FASHION Catch the Dream “Catch the dream” is about a man who lives his live in the perfect way, following the rules of the American Dream. The most important thing for him is to show the world that he’s doing a great job, he’s showing off like a bird of paradise.

He’s like a dreamcatcher. He catches all the good dreams and never let’s them go. The pressure he lives under is too big, so he gets caught in his own ‘unrealistic’ dream.

PROJECT

Catch The Dream What does manliness mean in the contemporary culture in relation to the American Dream, and how is this reflected in fashion?’ This is the main question in my thesis. I researched the American Dream, different kinds of manliness and how they are related in art, fashion and film.

I combined these elements to form my concept and my collection.

THESIS

LOUWERENS, LOT The Netherlands lotlouwerens@gmail.com 0031 (0)6 4635 2468

Internship at: Sadie Williams, Barbara I Gongini

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(BA) TEXTILE & FASHION Ik wil nog even freaken Our present world is dominated by a sense of always lacking time, of missing out on things.

It is a world where we run rather than walk, talk rather than converse, fight rather than discuss. â&#x20AC;&#x153;Ik wil nog even freakenâ&#x20AC;? is my personal revolution against the world we are up to live in.

With a playful mindset I use reality to recreate my own and shade light on the boundaries between Design and craftsmanship, material and immaterial resources, identity and cultural values.

PROJECT

POUS INFANTE, BERTA www.lapowsky.com

1 1 1

Spain

pousberta@hotmail.com Internship at: Claes Iversen

(BA) TEXTILE & FASHION Dutch culture My graduation collection is about mixing two cultures together; the Western culture and the Middle East culture. Mixing these two worlds in order to make one culture out of it. Show that islamic garments such as the burka and niqab or women who hide their hair are very inspiring and I want to show this in a artistic and fashionable way. Also the Dutch Moroccan youth culture is a big inspiration for this collection, young men wearing these traditional djellaba’s and combining these with very typical European clothings such as shiny wadded jackets and high fashion Italian brands. Next to this I work with a print related to the very cheap plastic bags named ‘Turkentas’ with which I try to make new shapes.

PROJECT

Nederland(se) cultuur In my thesis, I analyse the traditional Islamic garments and also the Moroccan street culture in the Netherlands, because my collection is about mixing cultures. It is about the clothing that they wear not about there religion or political statement. I want to investigate why they wear these garments or high fashion brands and with that I reflect on high fashion labels and give my own interpretation of the whole subject.

THESIS

'S-GRAVEMADE, WOODY Facebook: woodysgravemade

The Netherlands

woodysgravemade@gmail.com 0031 (0)6 2066 5689

Internship at: Agi & Sam

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(BA) TEXTILE & FASHION Keep your mouth closed,

your comments closer I started the collection with a big feeling of fuck off â&#x20AC;&#x2030;towards the many comments online, which have influence on comments offline as well.

The rise of social media has changed the first impression. Whereas offline the first impression is an interaction between two people, online it is only a one-way street presentation. But social media are here to stay a little longer. We better learn to play with it. Nobody should be able to pin you down. If you manage to create a blur in the current online image yourself, you are able to keep control of your image. Creating a blur has become the starting point for the offstanding forms in the silhouettes and with the digital print and colours I emphasise the blur between the online and offline world.

PROJECT

Keep your mouth closed,

your comments closer Deriving from both the frustration and fascination about the numerous comments online, the idea for the research and my thesis came to life. The main question is: What are the consequences of the shift from the large audience as consumer of news and media, to producer of news and media? In this thesis, the influence of this shift on different types of public figures and the fashion industry is looked upon.

THESIS

SYPKENS SMIT, JENSKE Instagram: @jenske.sypkenssmit

1 1 1

The Netherlands

sypkenssmit.jr@gmail.com 0031 (0)6 1948 3733

Internship at: A.F.VANDEVORST

(BA) TEXTILE & FASHION

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(M 1 1 1

) MA 1 1 1

(MA) MASTERS

190

ArtScience

192

Bandalac, Stefan Gentili, Cécile Lee, Ingrid

193 Petrović, Katarina 194 Salurand, Paula 195

196 197

(MA) ARTSCIENCE Conversation piece “Conversation Piece” is an installation exploring the power that radioactivity exerts over the human mind and body, as an invisible and almighty force that is unequaled by any other medium.

Radioactivity has served as an invisible wall dividing the world, cultures and societies, claiming and altering lives. “Conversation piece” puts two Geiger counters built in the Cold War ― one from the East and one from the West ― in a direct dialogue mediated by a piece of radioactive Uranium ore. The sound of the decaying electrons is interpreted in different tones by the two instruments which gives the clicks a distinct voice.

PROJECT

BANDALAC, STEFAN www.stefanbandalac.com stefan.bandalac@gmail.com 0031 (0)6 1892 9048

1 1 1

(MA) ARTSCIENCE Please follow the instructions below 1. Think about what could be this project.

2. If you are curious enough, continue reading.

3. If you arrived until here, read the 65 following words. Interactive work based on movement research. The experience consists out of a series of instructions that create a clash between the brain and the body of the person who is instructed. In this one to one performance, the person instructed becomes in his turn the instructor of the next participant. It’s a collaborative learning process of a choreographic score based on language. 4. Come to experience it.

PROJECT

Walking backwards

can help to think forward How can we use things that we haven’t learned yet? In most cases we can’t. What about trying to answer the questions about a subject, before learning it? What about taking an exam without knowing the subject and fail? This can look pretty absurd. But if you think about the fact that you will know the questions you’re supposed to answer before studying them, it makes sense. While you will study the content, you will remember the questions and as a result, you will remember what to remember.

THESIS

GENTILI, CÉCILE Belgium

1 1 1

c_ssile@hotmail.com 0031 (0)6 4979 8384

(MA) ARTSCIENCE On Legibility A lecture performance addressing identity politics in the development and use of biometric technology. The lecture unpacks the implications of being legible in the eyes of the state and society, and sides with the aesthetics and politics of illegible bodies and faces.

PROJECT

The Poetics and Politics of Erasure This research draws from various disciplines, beginning with archeologies of memory storage technology, navigations of remythologized histories, and investigations in digital forgetting and identity politics. From the written word to web analytics, memory storage technology have set a precedent for archival practices that neither forgive nor forget. Such practices reify hierarchical systems of knowledge production and distribution that simultaneously standardize dominant forms of knowledge, and erase knowledge deemed inferior or irrelevant. Loss, erasure and forgetting for me are generative methodologies; methods to reinvent histories; to mutate ideas and identities to the point that they are untraceable to their origins.

THESIS

LEE, INGRID www.ingrideel.com ingridlee@alum.calarts.edu 0031 (0)6 1879 5971

Hong Kong/ United States of America

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(MA) ARTSCIENCE Cosmologicus “Cosmologicus” is an installation consisting of a Lexicon, Jupiter radio signals, custom made software and a black cube projection. Lexicon is an algorithmically generated book that starts with a verse from J.L.Borge’s Two English Poems. Using a dictionary to explain the words and meta-language of numbers, to order the explanations, the book stands as a causally arranged and self-contained world where every word is intrinsically connected to every other.

Applying Lexicon’s word-number database to the radio signals from Jupiter, a custom software was made to enable the reading of the distant planet’s emissions. An automated poetry run by the Jupiter’s storms is projected onto the black water cube where the words are rendered into light.

PROJECT

On Cosmogony The thesis reflects on the ancient and contemporary understanding of the cosmos and its origin, offering a new rendering of the primal myth. Written in four chapters, representative of the fourfold understanding of the world, it gives way to the perception of cosmos as the agent of totality and the utopian dream. Binding the world together as aether ― the fifth element of classical antiquity and the medium or substance in modern science. Still enchanting the arts and sciences today, cosmos is seen as the alchemical quintessence where carbon, calculus, concept and creation, are making for an occurrence of any artwork. The topic of artistic creation and the primal myth are analysed in conjunction, converging in the formation of a cosmos anew THESIS

PETROVIĆ, KATARINA www.katarinapetrovic.net

1 1 1

katarina.petro@hotmail.com 0031 (0)6 1846 2019

Serbia

(MA) ARTSCIENCE Machine Machine Connection between humans is created through eye contact, smell, temperature, magnetic field, verbal communication, gestures, meaningful smile, etc. Through the evolutionary traits of empathy and anthropomorphism, that we as species have evolved, we are able to connect with other species, but also with inanimate objects, such as man-made machines. We are even capable of creating empathy towards a machine that has no visual nor functional similarities to a human. To connect we need one of forementioned senses, or sensors. A camera lens works technically as a simplified version of an organic eye. Hence, I became curious about the mechanic perception and recording distorted landscapes, where objects blend together as they were never apart.

PROJECT

Connection between

an inanimate object and a human I am interested in prosthetics, robotics, and have been working with depth-camera images.

Something that connects all these topics, is that they relate to inanimate objects. A question that follows is: â&#x20AC;&#x153;How human are they?â&#x20AC;? Each thing listed works towards the same goal, that is simulation. New media technology has opened a door to the artists creativity. It can let the audience experience a more diverse stage of performers at this period of time.

THESIS

SALURAND, PAULA Estonia paula.salurand@gmail.com 0031 (0)6 4275 6265

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(MA) MASTERS

190

Artistic Research

198

Guedes, Ana Kim, Fela Lee, Hyuntae

199 Okuno, Mamoru 200 Taylor, Natasha 201 Walhout, Matthijs

202 203 204

(MA) ARTISTIC RESEARCH Threnody “Threnody” (2016) is a performative sound installation. The piece is an exploration of the shape-shifting nature that is the convergence of different points in time and space, a quest to find resolution to its process of coming into existence. The piece is conceived to exist in between a constant cycle of acoustics, layering colliding sound events, movement and matter that seem to find a resolution in ‘attunment’ through juxtaposing its dissonances. The score of the work brings the ensemble together, giving the objects a momentary voice that quantifies them into the pluridimensional realm of thing-beings.

PROJECT

GUEDES, ANA www.ana-guedes.com anaguedes.mail@gmail.com

Portugal

1 1 1

(MA) ARTISTIC RESEARCH Exercises in... (working title) For the graduation exhibition I am developing a series of group exercises. They will take place behind closed doors without an audience, the only way to ‘see’ my work is to participate, which I hope you will, or already have done.

With these group exercises I aim to ground big political concepts within personal lived experience, inspired by the famous feminist slogan ‘the personal is political’. I depart from concepts as equality, freedom and brotherhood and devise simple exercises in which to experience or question these and share the findings with each other. Since I deliberately do not visually document my exercises the pictures you see here are shots from the process of development in my studio.

PROJECT

KIM, FELA www.felakim.nl

2 2 2

felakim@gmail.com

The Netherlands

(MA) ARTISTIC RESEARCH A Stage (2 excerpts from the play ‘A Stage for Acrophobia’ and a part of the piece ‘Two Excerpts’ based on the novel ‘One Might See a Falling Ball That Might Break the Scene’).

Hyuntae Lee (born in Seoul, 1981) is curious about the process of perception, subjectivity and he meaning of understanding. By playing with images and memories of objects as materials, he makes pro–¹ps and builds stages ahead of time ― before the scenario arrives. In the situation of the scenario being absent, he focuses on how to make the stage nondescript and adaptable. Concerned with being tilted towards any direction, he endeavours to make the stage go nowhere until he becomes wholly aware of the scenario for his stage. Composing the stage, he ponders on how to do things with the difference between things ― including me, you and everything we seem to know. One without acrophobia might cause a ball to slip and slide the stage.

PROJECT

Dogged Essays [“¦] the absence of any witness seems to be rather a lucky break. Perhaps my interest is more about those proliferating stories that keep being written and rewritten, and read and reread, through the endless interplay of different views on the event. I admire our–the ignorants or the non ― knowers as well as the knowers ― active endeavours with and within this passive situation ― the well known unknown event.

Rather than lamenting the unknowability, I am practicing being ignorant enough to celebrate what has been shaped through those dogged essays in speculating and speculating or speculating, setting aside its reliability. It is so funny that [...]

THESIS

LEE, HYUNTAE www.opqrstae.com opqrstae@gmail.com 0031 (0)6 1890 3707

South Korea

2 2 2

(MA) ARTISTIC RESEARCH A long listening journey of a Possible

World especially of Japanese & Dutch

& something more My current project is inspired by a geography book published in Amsterdam in 1669, titled “Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ‘t Vereenigde Nederland, aan de Kaisaren van Japan”. This book, 456 pages of text with 71 engraved illustrations and 23 double-paged engravings folded in, comprehensively showcases Japanese people, culture and history to Western society.

The bookmakers who had never been to Japan collected information and images, created a possible world, which was in between imaginary and actual. The project is based on the research around this imaginary world, and realised with a series of works including performance, video, and a publication. A part of the series will be shown for the graduation show.

PROJECT

Generative Listening

& Making Things to be Listened to In this paper, I discuss the extended notion of listening in relation to my past projects and some of the key concepts that I have been working on, such as text-as-score, textual polyphony, and conceptual-sound-localisation. Conceptual listening is an attitude toward the world that approaches it through a sonic sensibility that reaches beyond the heard and engages in the audible or visible and the inaudible and invisible as if hearing it as well. My basic proposition is that listening can be an attentive way of engaging with and knowing the research subject and at the same time it can be a generative practice.

THESIS

OKUNO, MAMORU www.afewnotes.com

2 2 2

afewnotes@gmail.com

Japan

(MA) ARTISTIC RESEARCH 1. Foreign Object 2. Synthesize Me The wrestler and the theremin player seem to have become important figures in my practice during my time at the Master Artistic Research.

Both characters have given me an opportunity to investigate with the subject matter of the material and the immaterial body and our movement between these two.

PROJECT

TAYLOR, NATASHA www.natashataylor.nl mail@natashataylor.nl

United Kingdom

2 2 2

(MA) ARTISTIC RESEARCH / This video work captures two people engaged in an interaction which takes place neither within language, nor completely outside it. Their interaction, which is based on Christian prayer practices, is simultaneously ritualistic and physical. Communications take place between their bodies, the precise content of which is never brought into the sphere of linguistic understanding. This work brings together some of my ongoing investigations into religion, identity, ritual, and language.

PROJECT

WALHOUT, MATTHIJS www.matthijswalhout.com

2 2 2

hello@matthijswalhout.com 0031 (0)6 5212 1683

The Netherlands

(MA) ARTISTIC RESEARCH

(MA) MASTERS

190

Interior Architecture (INSIDE)

206

Benz, David Casiccia, Camilla Conrad, Elena Hutaries Karlina, Hegiasri Kim, Heejung

1 1

207 208 209 210 211

Li, Sisi Miao, Helan Van Helden, Anique Yokota, Yuiko

212 213 214 215

(MA) INTERIOR ARCHITECTURE (INSIDE) Kokumi for Asthma Recently I visited Venice and when I walked on the waterfront I noticed a rectangular island: the cemetery San Michele. My visit to the cemetery attracted me in an equivocal way; I was impressed by the beauty of the fortified island but I also had an ominous feeling because it caused a strong emotional reaction.

This emotional experience was the start of my fascination for spatial atmosphere. I did some field research and travelled to Therme Vals, a spa complex designed by the Swiss architect Peter Zumthor. The scenery of the resort amidst mountains confronted me, suffering from asthma, with a second fascination: clean air.

A symbiosis of two subjects emerged: the development of an asthma friendly space by exploiting the spatial atmosphere.

PROJECT

THESIS

Kokumi: Spatial Atmosphere as an Explosion of Sensory Experiences

BENZ, DAVID www.davidbenz.eu benz.da@gmail.com 0031 (0)6 1900 0977

The Netherlands

2 2 2

(MA) INTERIOR ARCHITECTURE (INSIDE) Ockenburg: a cooperative hostel The Ockenburg youth hostel, designed by the Dutch architect Frank van Klingeren, is a modular, flexible building made of a dark steel structure. The hostel is fallen into abeyance and disassembled for re-use at a new location in The Hague: Morgenstond. For the adaption of Ockenburg to contemporary society, I have created a design strategy and cooperative programme with a focus on social values.

It can be described as an urban alternative for the recent phenomenon of wwoofing; instead of paying money for their stay and make use of hostel services, travellers contribute by working in the hostel and in the area. In this way the hostel becomes a place where cooperation and sharing knowledge are the moving keys for activities.

PROJECT

CASICCIA, CAMILLA www.camillacasiccia.weebly.com

2 2 2

camilla.casiccia@gmail.com 0031 (0)6 1081 9240

Italy

(MA) INTERIOR ARCHITECTURE (INSIDE) Gastspiel My aim as a designer is to appropriate and link urban idle spaces to open up their (hidden) potential to an intense personal experience.

“Gastspiel” is a format for a series of temporary interventions based on the theatrical event.

Six idle venues in The Hague are transformed into spaces of reflection and interaction. Each space reflects one stage of performativity: rehearsal, gather, warm-up, performance, cool down, disperse. This multi-locality approach enhances vitality in the urban realm in engaging different audiences and stimulating interactions on different focal points. From cultural events, physical workshops, public debates, pecha kuchas and personal retreats, “Gastspiel” offers a diversity of experiences in the city.

PROJECT

CONRAD, ELENA cargocollective.com/elenaconrad ele.conrad@gmail.com 0031 (0)6 8797 4101

Germany

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(MA) INTERIOR ARCHITECTURE (INSIDE) Muzenplein, The Hague In Search

of New Life for an Urban Space There is a place that I fear the most in The Hague due to a bad memory of being robbed.

It is called Muzenplein (the square of Muses) in the heart of the prestigious high-rise business district De Resident. Was it by accident that the robbery took place here? What are the factors that contribute to the, in my opinion, uncanniness of the Muzenplein? I decided to take my personal experience as the starting point of my graduation project and to transform Muzenplein from the place that I feared into a place that I would love to go and feel safe. I use the metaphor of â&#x20AC;&#x2DC;open houseâ&#x20AC;&#x2122; as my design concept: a transformation from an unhomely space into a homely place by adapting the different rooms of a home into the context of a public interior.

PROJECT

HUTARIES KARLINA, HEGIASRI Indonesia

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hegiasri@gmail.com 0031 (0)6 5887 1710

(MA) INTERIOR ARCHITECTURE (INSIDE) The final space to stay Have you ever imagined a space where you would like to be in the final moments of your life?

What would you like to see and feel before you close your eyes forever? Without a doubt, the final moment of life is not very pleasant to think about, but if we do not actively engage ourselves with the idea of death, we will probably end our life in an undefined space. Although people’s expectations and wishes regarding death differ from each other, my intention is to design an ‘ideal’ space that bridges the reality and ideality of the last moments of people’s lives. Through the five stages of grief (denial, anger, bargaining, depression and acceptance) I come up with a design to hopefully experience dying as a beautiful final journey of life.

PROJECT

KIM, HEEJUNG South Korea kimmyjjung@gmail.com 0031 (0)6 4515 6433

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(MA) INTERIOR ARCHITECTURE (INSIDE) Reactivate the Hutong

A strategy to save a fragile social

housing typology in Beijing I became interested in the Hutong due to a personal experience of getting lost in a residential Hutong district in Beijing. I did not like the atmosphere with dark alleys and high walls and started to rethink the typology of the Hutong.

I found out that for me the most attractive aspect of the Hutong district is the diversity of its residents who live in social housing, like craftsmen and service personnel. In the past decades they created a strong social network and co- working system in the Hutong area.

By employing their skills and by adding, linking, opening, densifying and maximizing their living spaces, I try to create economic value, offer different strategies, and reactivate the social housing in the Hutong district from the inside.

PROJECT

LI, SISI China

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sisili0409@gmail.com 0031 (0)6 3333 9250

(MA) INTERIOR ARCHITECTURE (INSIDE) Design for left-behind children My graduation is based on a personal interest in a current Chinese social issue. Due to China’s urbanization process a large number of villagers moved from the countryside to the city. This phenomenon created the so-called ‘left- behind children’ who stay in their hometown while one or both of their parents have left to live and work in the city. Through interviews and a research of the daily life in one of these typical left-behind children villages, Yuxian Village, I found out that the relationship between the different generations (children, parents, grandparents) is rather weak. Therefore my aim is to reconnect the three generations, and help enhance the self-esteem of the children.

PROJECT

MIAO, HELAN cargocollective.com/MIAO miaohelan@gmail.com 0031 (0)6 1715 5471

China

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(MA) INTERIOR ARCHITECTURE (INSIDE) Take along In the Netherlands almost 200.000 people suffer from Alzheimer. A disease by which people slowly forget where they are, who they are and what they are doing. At some point living at home will no longer be an option. My grandmother was no exception. She moved to a care facility where she unfortunately never found her peace.

How can I, as a spatial designer, alleviate the stress of people with Alzheimer that is mainly caused by the declining ability to understand their environment? My proposal is to create a sensory guidance for the residents of care facilities in time, activity and place with the use of light, colours, materials, textures, structures, smells and sounds. These sensory elements will guide them through all phases of the day.

PROJECT

VAN HELDEN, ANIQUE The Netherlands

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aniquevanhelden@live.nl 0031 (0)6 2958 6976

(MA) INTERIOR ARCHITECTURE (INSIDE) To Be Continued

Local Indetity in Takasaki Why are old buildings treated so different in The Netherlands in comparison with Japan?

Old Japanese houses are often demolished while the Dutch undertake effort to preserve century-old buildings. I became intrigued about this topic and found out that churches in The Netherlands are considered essential to strengthen local identity. In Japan, in contrast, non-physical elements (like rituals and skills) play a significant role to reinforce local identity.

My design strategy facilitates a (re)generation of the local identity of Takasaki, my hometown, by creating a platform where materials of demolished buildings are stored and displayed to the local people to acquire them for reuse.

With this platform I want to keep the memory of the city alive.

PROJECT

YOKOTA, YUIKO Japan yuikooo@gmail.com 0031 (0)6 2693 0837

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(MA) MASTERS

190

TypeMedia

216

Arista, Roberto Bernet, Selina D'Ellena, Alessio Grumer, Daniel Janečková, Jitka Mascareñas, Bogidar

217 218 219 220 221 222

Petrova, Daria Plönnigs, Inga Rouault, Marc Troppmair, Paul Vollebregt, Bart Weitgruber, Franziska

223 224 225 226 227 228

(MA) TYPEMEDIA Type design for digital manufacturing The project focuses on the production of fonts through digital manufacturing methods, in particular computer numerically controlled milling machines. The goal is to design a typeface which takes into account the geometrical restrictions dictated by the manufacturing process and use it in order to make affordable movable type for educational environments.

PROJECT

ARISTA, ROBERTO www.robertoarista.it arista.rob@gmail.com

Italy

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(MA) TYPEMEDIA Junior A flaring sans serif text typeface including special sets of capitals for typography with ALL CAPS. It is meant to be used in printed matter or to be carved in stone and for everything in between. â&#x20AC;&#x153;Juniorâ&#x20AC;? is an attempt to offer a more refined sans serif, with details only emerging at second glance. In the widest sense inspired by the work of Karel Martens, Jurriaan Schrofer and Pierre di Sciullo, the shapes are designed with much attention for a nice pattern in a paragraph of text. The features are the slightly inverted stress and the delicate flairing which are visible the most in the Extra Light weight.

The family has five weights. Every weight comprises an extra set of capitals, giving the text a unique texture, accessible from Opentype.

PROJECT

BERNET, SELINA @selinabernet

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selinaverabernet@gmail.com

Switzerland

(MA) TYPEMEDIA Laica Typeface Starting from the relation between two common tools used to practice and sketch letterforms ― broad and pointed nib ― I balanced my shapes between these two approaches. A patchwork of shapes, having the tradition of calligraphy as starting point but with a contemporary appeal.

Trying to place the right black spots free from any strict, philological approach, mixing two souls in one unique type family. “Laica Typeface” tries to be fresh yet balanced to cover the purpose of editorial uses.

PROJECT

D’ELLENA, ALESSIO www.alessiodellena.com alessio.dellena@gmail.com

Italy

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(MA) TYPEMEDIA Abraham In August 1922, the British announced ‘The Palestine Order in Council’ ― a legal document outlining the nature of their mandate. According to Clause #82 all official publications had to be in English, Arabic and Hebrew. This law remains valid until today. My final project is “Abraham” ― a typeface that has 3 scripts: Hebrew, Arabic and Latin. Its main usage is public signage in my home country Israel.

PROJECT

GRUMER, DANIEL www.danielgrumer.com

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daniel.grumer@gmail.com 00972 3144478

Israel

(MA) TYPEMEDIA Rododendron “Rododendron” is a typeface created for applications in a context of rock music. It consists of a wide range of display styles in terms of width and weight including stencil. Letters are designed to fill the space in the row as much as possible taking legibility into consideration.

Thanks to a high x-height Rododendron creates the impression of a strong and solid block of text, while still being very lively. Furthermore my project includes designing a text style of two weights. The text style takes over a certain expressivity and a number of specific characteristics from the display styles. They are all meant to work together but might be also used independently.

PROJECT

JANEČKOVÁ, JITKA Czechia jitulica@gmail.com 0031 (0)6 1622 4128

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(MA) TYPEMEDIA Lanka “Lanka” is an exploration of stencil letters.

Stencils are usually associated with industrial and sturdy shapes but what if they are influenced by broadnib calligraphy? Instead of chopping off the thin parts, in “Lanka” the thins do overlap to create unexpected shapes.

Lanka mixes elegance with sturdiness, round with sharp, brush with broad nib: modern but odd. While the stencil styles keep all the attention, the text weights are sober humanistic workhorses suitable for longer pieces of text.

The whole set is completed with a range of flourishes and alternates that gives more liveliness and variety to the design.

PROJECT

MASCAREÑAS, BOGIDAR www.behance.net/Bogidar

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bogidarmascarenas@gmail.com

Spain

(MA) TYPEMEDIA Kopfrkingl, a type for gravestones Each year hundreds of typefaces are designed for editorial, web, and other common uses.

But who stops to consider modern gravestones?

Like many typographers I am fascinated by graveyards and think this area of typography is unfairly neglected. My typeface is designed for sandblasting: the cheapest and most popular way to engrave headstones. Many technical and thematic limitations had to be considered. It has different weights and widths to help set texts in physically limited space, solid shapes, low contrast and loose spacing to make letters survive, and, despite the theme, a cheerful feel.

The experimental display version that explores the countershapes of letters currently consists of 969 glyphs and is still growing.

PROJECT

PETROVA, DARIA Russia petrovada@gmail.com

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(MA) TYPEMEDIA Aperat The choice for this project comes from personal experience when designing posters and magazines. Having this context in mind, some freedom in odd design solutions was taken.

The typeface family consists of an extreme condensed poster style with underlined versions as well as a slanted and a backslanted style.

Two less extreme display styles in thin and bold are intended for smaller sizes. For even smaller applications there is a reasonably heavy text typeface with matching italic. This is to compete with the other family members that are not shy either. Starting off from exploring very condensed letter forms, it was interesting to develop shapes that also work in normal proportions and are recognizable throughout the family.

PROJECT

PLĂ&#x2013;NNIGS, INGA Germany

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inga.ploennigs@googlemail.com

(MA) TYPEMEDIA TroisMille (3000) TroisMille claims its space. Intended for gigantic use, it blends into the available space.

‘Make the logo bigger’ is its credo. “TroisMille” is responsive. All its versions (4 romans, 4 italics) are compatible with each other, offering infinite variability. Its energy creates animation on a webpage, its power is manifest as headlines in a newspaper, painted on a metal sheet of a cabin or carved in stone. TroisMille was inspired by the crème of French design, from Roger Tallon to Roger Excoffon. Sometimes horizontal, sometimes vertical, it is also a tribute to The Netherlands, to its typography and its inhabitants.

PROJECT

ROUAULT, MARC @mrcrlt marc.rouault@yahoo.fr 0033 (0)6 7890 2075

France

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(MA) TYPEMEDIA Smul ― an exquisitely tasty typeface “Smul” is inspired by vintage packaging ― especially the graphic design of American candy bars from the mid-twentieth century.

Smooth, melted shapes and chunky serifs define its structure. The family is suitable for various text purposes ― the delicious heavy weights tend to be used for display. Worthy of special mention are the swashes of the italic styles that add even more flavor to this chocolate-filled typeface.

PROJECT

TROPPMAIR, PAUL Austria

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paul.troppmair@gmail.com

(MA) TYPEMEDIA Vonk For my final project I explored connected and stencilled letterforms. This led to the creation of an unique stencil typeface and five other styles for display and text. Within the family each style has its own distinct voice. The character of this typeface is a balanced mix of friendly, sharp and confident shapes. The regular, bold and cursive styles can handle larger pieces of text while the black feels more comfortable on book covers and posters. â&#x20AC;&#x153;Vonkâ&#x20AC;? lets you build rather than design.

PROJECT

VOLLEBREGT, BART www.bartvollebregt.com ba.vollebregt@gmail.com 0031 (0)6 143 079 91

The Netherlands

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(MA) TYPEMEDIA Kaligari The typeface â&#x20AC;&#x153;Kaligariâ&#x20AC;? is inspired by expressionist techniques and is intended for museums and publishers. The project includes a serif and sans serif family member for text use. They both share a fairly independent Text Italic and an expressive connected Display Italic to be used in exhibition spaces and in publications. The starting point for the project was my fascination for the naivety of letterforms in expressionist art and the (to me personally often not satisfactory) relation between artwork and typography in museums and their visual communication. My goal was not to quote letter shapes deriving from expressionism but to have, through different analogue techniques, a personal and recognizable approach.

PROJECT

WEITGRUBER, FRANZISKA Italy

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franziska.weitgruber@gmail.com

(MA) TYPEMEDIA

(PG

) GC

(PGC) POST GRADUATE COURSE

234

Industrial Design

236

Allen, Sylwia

237 Cafsia, Lindey

238

(PGC) INDUSTRIAL DESIGN The importance of water My project comes from a fascination with clay and its purifying and cooling properties. It is a ceramic, portable product, that will offer clean water at affordable price to the inhabitants of the underprivileged regions and tourists in isolated areas with no access to sanitation facilities and electricity. The project allowed me to specify my own interest within the Industrial Design under careful supervision of Alfred van Elk and support of a ceramist Margit Seland.

My recent studies came with surprise.

Educated as an architect and urbanist and fully committed to architecture, I suddenly started to appreciate materials and products. Now, I would love to merge both fields as I believe that there is a strong cross over of all design fields.

PROJECT

ALLEN, SYLWIA www.sylwiaallen.com sylwia.allen@gmail.com 0031 (0)6 1842 2580

Poland Internship at: at Margit Seland Studio

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(PGC) INDUSTRIAL DESIGN An innovative façade,

inspired by mother nature Our topic of this semester was HEALTH. Based on this I analysed the risks of insulation on health. I found out that the use of current insulation can be hazardous human health.

With my project I wanted to create a concept for a new product that would be an alternative for what is now on the market. I was inspired by the way the polar bearskin works. I decided to copy that principle and combine it with BioBased materials or materials that can be recycled. This way the impact on humans and environment is minimal. A big difference with current insulation is that the new concept uses sunlight and can be ‘wrapped’ around the building instead of being covered in the cavity wall. The result is a safe product with thermal and aestetic properties PROJECT

CAFSIA, LINDEY Curaçao

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aisfac@yahoo.com 0031 (0)6 1582 9833

(PGC) INDUSTRIAL DESIGN

AWARDS

240

Jan Roëde Award Jan Roëde (1914-2007) studied at the academy in the early 1930s and spent most of his life living and working in The Hague.

The Jan Roëde Foundation, responsible formanaging his legacy, instituted the Jan Roëde Award to commemorate the centenary of his birth. With this annual €2,500 award, the Foundation aims to encourage a Royal Academy of Art graduate to further develop their artistic talent. The jury looks beyond the artistic quality of the work, also examining the extent to which the laureate works in the spirit of Jan Roëde, who believed art had the power to liberate.

Paul Schuitema Award The Paul Schuitema Award sees the Royal Academy of Art honour the photographer, graphic and industrial designer Paul Schuitema, who taught at the academy between 1930 and 1960. The Paul Schuitema Award (€1,000) recognises work reminiscent of Schuitema’s spirit, vision and working method. In their assessment, the jury focuses specifically on individuality, problem solving ability and social relevance.

Overduin Award Subsidised by the Stichting Henk en Ria Overduin Fonds, the Overduin Award (€3,000) is presented to a young designer or artist. Henk Overduin (1943-1988) was an artist and Assistant Director at the Gemeentemuseum Den Haag.

Stroom Encouragement Award Every year, the presentation of the Stroom Den Haag Encouragement Award for Royal Academy of Art graduates is eagerly awaited. Partly due to the substantial prize money involved (€2,500), but naturally also in light of the recognition and incentive this award offers in the further development of the graduate’s artistic practice.

Stroom KABK Invest Stroom KABK Invest is a unique tailor made programme which admits four Royal Academy of Art graduates every year.

Selected by Stroom and KABK, these burgeoning artists receive a year of intensive coaching and dialogue in their artistic practice and development, provided that their studio/workplace is located in The Hague.

Academy Award (BA) & (MA) Each year, the heads of all courses jointly select the best graduation works. The winning works are selected from 21 nominations or the Bachelor’s Academy Award and 12 nominations for the Master’s Academy Award. In addition to the enormous honour, the winners also receive €1,500 each.

Academy Shop Award The Academy Materials Award is presented by the Academy Shop. Located on academy grounds, this shop specialises in paper, drawing and art supplies.

Heden Start Award The winner of this award will benefit from a year of business coaching from gallery Heden. Work by the winner will be purchased for the Heden collection directly following their graduation. Heden also facilitates a presentation at a Dutch art fair and an exhibition at their gallery on the Denneweg in The Hague.

WORKSHOPS

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242

3D LAB Rob van der Burg Hilario Nicolaas Yvo van Os

Typesetting workshop Sanne Beeren

Metal workshop Central lending desk Chris Piepelenbosch Frans de Grood Kees Knijnenburg Abel Wolff

Computer workshop Constant Meeuws George Vincentie Wais Wardak

Fine Arts printing Thomas Ankum Widodo Poedjio

Photography workshop

Richard van den Berg Sabin Garea Eduard Sjoukes

Multimedia workshop Chris Piepelenbosch Kees Knijnenburg

Textile & Fashion workshop Gino Anthonisse Beleke den Hartog Tardia Page

Library Marcel van Bommel Annemarie van den Berg Jolanda van Os

Frans de Grood Andrew Valkenburg

Printmaking workshop Niek Satijn Thomas Ankum Gerard Schoneveld Widodo Poedjio

Wood workshop Johan van der Knaap Mascha van de Kuinder Ronald Scholtens

Ceramics workshop Arjen Bos

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LECTURERS

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244

(BA) ArtScience Heads of Department Taconis Stolk Edwin van der Heide Coordinator Leonie Zweekhorst Lecturers Arthur Elsenaar Cocky Eek Edwin van der Heide Kasper van der Horst Michiel Pijpe

Robert Pravda Taconis Stolk Guest lecturers Áron Birtalan Pieter van Boheemen Lex van den Broek Lucas Evers Zoro Feigl Marcus Graf Charlotte ’t Hart Milica Ilić Gideon Kiers

Eric Kluitenberg Kenzo Kusuda Jan Robert Leegte Natela Lemondzhava Katinka Marac Joost Nieuwenburg Dani Ploeger Boukje Schweigman Frank Theys Maki Ueda Lucas van der Velden Caro Verbeek

(BA) Fine Arts Heads of Department Full-time: Klaus Jung Part-time: Ernst Bergmans Coordinators Full-time: Martijn Verhoeven Part-time: Willem Goedegebuure & Onno Schilstra Lecturers Marijke Appelman Rachel Bacon Maura Biava Channa Boon Dina Danish Engelien van den Dool Irene Droogleever-Fortuyn Marion Duursema Pieter van Evert Andrea Freckmann Willem Goedegebuure Christie van der Haak Cecile van der Heiden Eric Hirdes Anja de Jong Bram de Jonghe Winnie Koekelbergh Ton van Kints Klaas Kloosterboer André Kruysen Frans Lampe Marieke Ladru Alexandra Landre

Jeroen de Leijer Frank Lisser Willem Moeselaar Alexandra Landré Aukje Koks Tatjana Macic Anna Moreno Femmy Otten Reinoud Oudshoorn Maria Pask Hans van der Pennen David Powell Ewoud van Rijn Dyveke Rood Hester Scheurwater Onno Schilstra Els Snijder Elly Strik Martijn Verhoeven Pim Voorneman Liesbeth van Woerden Guest lecturers Coen Brasser Marijn Brussaard Frits de Coninck Thijs Ebbe Fokking Marcel van Eeden Hamid El Kanbouhi Hadassah Emmerich Zsa Zsa Eyck Gaby Felten Kateryna Filyuk Milan Gataric Katinka van Gorkum

Maria Guggenbichler Kaleb de Groot Voebe de Gruyter Yasmijn Jarram Ad de Jong Martine van Kampen Xander Karskens Frank Koolen Jelle Koper Luk Lambrecht Lindsay Lawson Nicolaas Lekkerkerker Eelco van der Lingen Tirzo Martha Adrian Mazzarolo Ilga Minjon Sands Murray Wassink Marc Nagtzaam Jesse van Oosten Jan van de Pavert Philip Peters Antonis Pittas Arno van Roosmalen Domeniek Ruyters Janwillem Schrofer Lieven Segers Tino Sehgal Barbara Seiler Susanne Swarts Ian Svenonius Elise Tak Kamiel Verschuren Richard Waring Hanae Wilke Marieke Zwart

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(BA) Graphic Design Head of Department Roosje Klap Niels Schrader Coordinators Ingrid Grunwald Pauline Schep Lecturers ― Graphic Design Bart de Baets Hannes Bernard Gilles de Brock Susana Carvalho Frits Deys Gijsbert Dijker Richard Niessen Niels Schrader Ewoud Traast ― Image Kévin Bray Willem Goedegebuure Michel Hoogervorst Katrin Korfmann Reinoud Oudshoorn Michiel Schuurman ― Interactive Media Design & Coding Lauren Alexander Frederic Brodbeck Kees van Drongelen Henrik van Leeuwen Jan Robert Leegte Lizzie Malcolm Pascal de Man Olivier Otten Ruben Pater

Eric Schrijver Jochem van der Spek Dirk Vis ― Typography & Letters Erik van Blokland Thomas Buxó Matthias Kreutzer Paul van der Laan Adriaan Mellegers Britt Moricke Rob vd Nieuwenhuizen Diana Ovezea ― Drawing Willem Moeselaar Jordy van den Nieuwendijk ― Letterstudio (elective) Erik van Blokland Frank Blokland Paul van der Laan Diana Ovezea Just van Rossum Peter Verheul ― Design Office (elective) Gijsbert Dijker Pawel Pokutycki Chantal Hendriksen ― PlayLab (elective) Kévin Bray Merel van ’t Hullenaar Roosje Klap Job Wouters ― Theory & Entrepeneurship Marjan Brandsma Maarten Cornel Els Kuijpers Ellen Schindler Dirk Vis

― Coordinators final exam exhibition Roosje Klap Ewoud Traast ― Coordinator internships Gijsbert Dijker ― Coordinator IST/electives Frits Deys ― Reading Group Maarten Cornel Niels Schrader ― LAB/IST Gert Dumbar Jan Robert Leegte Willem Moeselaar Ruurd v d Noord Guest lecturers A Pareda: Pedro Oliveira en Luiza Prado Nick Axel Arthur van Beek Vanessa van Dam Ghalia Elsrakbi Paul Gangloff Tycho Hupperets Michiel van Iersel Sandra Kassenaar Richard Kohl Arna Mackic Noviki: Marcin Nowicki & Katarzyna Nestorowicz Ruine Peitersen Pia Pol Mike Reiniersen Carolyn Strauss

(BA) Interactive/Media/Design Head of Department Shanti Ganesh Coordinator Dave Wille

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Lecturers Anna Arov Coen Brasser

Renske van Dam Wim van Eck Arthur Elsenaar Nick van ‘t End Maartje Fliervoet Johan Gustavsson Anja Hertenberger Jonathan Looman Remus Ockels

Gitta Pardoel Pawel Pokutycki Shayna Schapp Lena Shafir Raymond Taudin Chabot Jan Treffers

(BA) Interior Architecture & Furniture Design Head of Department Full-time: Herman Verkerk Coordinators Mariska Beljon Roosmarijn Hompe Linda Van der Poel Internship coordinator Willem Moeselaar Study advisor Ellen Vos Lecturers ― Design Gert Anninga Gijs Baks Amber Beernink Erik Blits

Samira Boon Jan Harm ter Brugge Krijn Christiaansen Maarten Collignon Lars van Es Arne Hendriks Ingeborg Horst Michiel van der Kley Maarten Kolk Barend Koolhaas Tessa Koot Wendy Legro Jeroen van Mechelen Aura Luz Melis Cathelijne Montens Wim Ros Nienke Sybrandy Christoph Seyferth Mike Thompson Ronald van Tienhoven

Thomas Vailly Ramin Visch Ellen Vos ― Media and Materials Marie Ilse Bourlanges Corine Datema Elena Khurtova Harold Linker Willem Moeselaar Jeroen Musch Jof Neuhaus Sanne Peper Michaël Snitker Frans Willigers ― Theory and Context Mariska Beljon Liesbeth Fit Inger Groeneveld Roosmarijn Hompe Ernie Mellegers

Kim Nuijen Pawel Pokutycki Jan Rosseel Lotte Sprengers Ewoud Traast Vincent van Baar Stije van der Beek Hans van der Meer Krista van der Niet Theo van Dusseldorp Ton van Kints Deen van Meer Loek van Vliet Ari Versluis Simon Wald-Lasowski Donald Weber Raimond Wouda Judith van IJken

Lisa Barnard Adam Broomberg Oliver Chanarin Jörg Colberg Kaj van Ek Frank Evers Ziyah Gafic Hans Gremmen Heike Gulker Laurence Harms Jeroen Hofman Mark Jovanovic Hans Kemna Frances Kleipool Fleurie Kloostra-Enders Kim Knoppers Ilona de Kraker Wim van Krimpen Claudia Kussel Femke Lutgerink Daniel Mayrit Elisa Medde Joachim Naudts Micha Pipercic Nina Pierson Willem Popelier Paul Reas Isabella Roozendaal Clement Saccomani

(BA) Photography Heads of Department Rob Hornstra Lotte Sprengers Coordinators Full-time: Linda Van der Poel Part-time: Raimond Wouda Coordinator Internship Lotte Sprengers External expert Simon Norfolk Lecturers Anna Abrahams Anja de Jong Ellen Dosse Jan Frederik Groot Thijs Groot Wassink Johan Gustavsson Sebastiaan Hanekroot Eddo Hartmann Rein Janssen Ola Lanko Ilse Leenders Annaleen Louwes Corinne Noordenbos

Lecturers in Theory Elke van Eeden Ingrid Grootes Ellie Smolenaars Martijn Verhoeven Henriëtte Waal Guest Lecturers Simon Bainbridge Christoph Bangert

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Jenny Smets Adri Smits Cokkie Snoei Sterre Sprengers Nanda van den Berg Reinout van den Bergh

Perre van den Brink Renda van der Burg Monique van Hooff Wim van Sinderen Narda van ‘t Veer Robert Jan Verhagen

Eric Vroons Munem Wasif Went & Navarro Sandra Witman Donovan Wylie

Anoek van Beek Danielle Bruggeman Hil Driessen Jan Jan van Essche Chris Fransen Hilde Frunt Desiree Hammen Eric Hirdes Mirjam Ingram Nico Laan Natasja Martens Jurgi Persoons

Kristel Peters Joost Post Peter de Potter Wim Ros Laut Rosenbaum Neeltje Schoenmaker Gerrit Uittenbogaard Bob Verhelst Roy Verschuren Robert Volmer Ellen Vos Marina Yee

Robert Pravda Taconis Stolk

Eric Kluitenberg Kenzo Kusuda Jan Robert Leegte Natela Lemondzhava Katinka Marac Joost Nieuwenburg Dani Ploeger Boukje Schweigman Frank Theys Maki Ueda Lucas van der Velden Caro Verbeek

(BA) Textile & Fashion Head of Department Jurgi Persoons Coordinators Gerrit Uittenbogaard Sanne Jansen Coordinator Internship Gerrit Uittenbogaard Lecturers Els de Baan

(MA) ArtScience Heads of Department Taconis Stolk Edwin van der Heide Coordinator Leonie Zweekhorst Lecturers Arthur Elsenaar Cocky Eek Edwin van der Heide Kasper van der Horst Michiel Pijpe

Guest lecturers Áron Birtalan Pieter van Boheemen Lex van den Broek Lucas Evers Zoro Feigl Marcus Graf Charlotte ’t Hart Milica Ilić Gideon Kiers

(MA) Artistic Research Head of Department Janice McNab Coordinator Josje Hattink

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Lecturers Jasper Coppes Yael Davids Sher Doruff Frank Mandersloot

Katarina Zdjelar Guest lecturers 1646 (Nico Feragnoli, Johan Gustavsson, Floris Kruidenberg, Clara Pallí) Laura Ahmann Babak Afrassiabi Andrius Arutiunian Ruth Barker James Beckett

Justin Bennett Francesco Bernardelli Jelle Bouwhuis Clare Butcher Audrey Cottin Kateryna Filyuk Nicoline van Harskamp Moosje Goosen Francesca Grilli Maria Hlavajova Angela Jerardi

Suchan Kinoshita Prof. Frans-Willem Korsten Metahaven Benny Nemerovsky

Pages Maria Pask Steven ten Thije Alessandra Troncone

Thijs Witty Arnisa Zego

(MA) Interior Architecture (INSIDE) Head of Department Hans Venhuizen

Regular teachers Eline Strijkers (DOEPELSTRIJKERS) Fokke Moerel Aser Giménez Ortega (MVRDV) Lizanne Dirkx Jan Jongert (Superuse Studios) Markus Bader (Raumlaborberlin) Jurgen Bey Michou-Nanon de Bruijn (Studio Makkink & Bey) Frans Bevers Mark Veldman (OMA) Anne Hoogewoning & Louise Schouwenberg Erik Jutten

(OBSERVATORIUM) Sjoerd Louwaars Gerjan Streng (Cloud Collective) Gert Dumbar Leeke Reinders Vincent de Rijk Lucas Verweij Mauricio Freyre Invisible Playground Berlin Jan van Grunsven Anne Karin ten Bosch Maarten Luijkx Ruud Reutelingsperger Francien van Westrenen Ester van der Wiel Denis Oudendijk Damiaan van der Velden Bart Groenewegen Jan Körbes (REFUNC) Hagar Zur (COMAS) Olga Russel (NHTV) Bert van Meggelen

Visiting teachers Geert van de Camp & André Dekker

Lecturers Mauricio Freyre Wessel de Jonge

Coordinator Lotte van den Berg

Endry van Velzen Markus Bader Leeke Reinders Jeroen van Mastrigt-Ide Gert Dumbar Dirk van den Heuvel Stephan Petermann Marc Dubois Louise Schouwenberg Eva Stricker Harmen van de Wal Erik Kuiper Rob Aben Titia Frieling Jetse Goris Kie Ellens KITEV Oberhausen Duzan Doepel (DOEPELSTRIJKERS) Jacob Voorthuis Frank Havermans Piet Vollaard Exam 2015-2016 Marthijn Pool (Space and Matter)

(MA) TypeMedia Heads of Department Erik van Blokland Paul van der Laan Peter Verheul

Coordinator Marja van der Burgh Visiting Teachers Françoise Berserik Peter Bil’ak

Frank Blokland Petr van Blokland Just van Rossum Kristyan Sarkis Fred Smeijers Jan Willem Stas Lecturers Paul Barnes Behdad Esfahbod Tobias Frere-Jones

Frank Grießhammer Luc(as) de Groot Mathieu Lommen Michal Sahar Keitaro Sakamoto Rickey Tax Sjouke Veenstra Exam 2015-2016 Sébastien Morlighem

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(PGC) Industrial Design Head of Department Ernst Bergmans Coordinator Jacob de Baan Lecturers Jacob de Baan Erlynne Bakkers Alfred van Elk Jantje Fleischhut Maaike Roozenburg Roselien Steur

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Guest lecturers Erik Tempelman ― IO Mark de Weijer Bas Sanders Heather Leslie Nicole Uniquole Joris Castermans Theo van Dusseldorp Maartje de Haan Sam van Haaster Siem Haffmans Frans de La Haye Ineke Heerkens

Milou Ket Josée Koene Wilfred Löwensteyn Hans Menkveld Bruno Ninaber Ingeborg de Roode Loes Wagemans Jólan van der Wiel Romy Kuhne