Turn The Page #50 by ID study association

ISSUE 50 photos by Joppe van Dijk

Sophie Holierhoek Qualitate Qua

colophon

In your hands lies the fiftieth edition of Turn The Page magazine. Over the last fifteen years many IDE students have contributed to the making of this inspiring piece of print. Visit our exhibition in the IDE hall between 10 and 14 November for an overview of these years.

Official body of Study association i.d Volume 15 / Issue 50 November 2014 Turn The Page is issued 4 times a year.

With this edition we conclude our year of hard work, creativity and lots of new design inspiration. When talking about design visual aesthetics are an obvious topic, but not just your eyes respond to design. Consider taste for instance, not something you would associate with industrial design. But the food industry has proven to be a very inspiring market for designers. Food Design (page 7) is a hot new topic and has the power to transform what and how people eat.

Study association i.d Landbergstraat 15 2628 CE Delft +31 (0)15 2783012 www.id.tudelft.nl

With so much money being spent on advertising by large corporations the public seems to have become immune to it. This calls for new creative thinkers to come up with innovative branding strategies. IDE alumnus Frank de Ruwe, founder of Natwerk, shows us a variety of inspiring examples (page 20). To celebrate this jubilee edition we’ve designed an extra thick Turn The Page that stimulates all five senses. Dive in and use all your senses in discovering the new Turn The Page, from cover to cover.

Laura van Utenhove Acquisition

Ewoud Komen Acquisition

Jord de Kat Angelino Exhibition

Wouter van Strien Layout

Noëlle Lugtenburg Treasurer

Maya Reus Secretary

Jet Gispen Chairperson

editorial

contact

Comments, questions, compliments and remarks can be sent to: turnthepage-svid@tudelft.nl

issues

6900 copies

press

Members of Study association i.d receive the Turn The Page free of charge. A yearly subscription costs €9,50 (4 issues). Want a subscription or publish an advert? Send an e-mail to turnthepage-svid@tudelft.nl. The committee has strived to own the copyrights of the included texts and images. However, if you believe you own the rights to a piece that has been used, we request you to contact us. Nothing from this issue can be reproduced. The committee claims the right to shorten, alter or refuse submitted pieces.

Quantes - Rijswijk

ttp thanks

Laura van Langen Frank de Ruwe Marise Schot Ruut Veenhoven Nienke van der Straten

The Communication department of the IDE faculty and the Alumni Association have contributed to this Turn The Page.

Jet Gispen Chairperson

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CONTENT

index Editorial Agenda Coverstory Study association i.d Jubilee Jubilee Versus One To Watch Story Behind Feature Alumni Feature Feature Student Feature Interview Jubilee News Company Insight Feature How Itâ&#x20AC;&#x2122;s Made Feature Interview Interview Gadgets Books+Blogs

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04 06 07 12 15 16 17 20 22 24 26 30 32 34 36 39 44 45 46 48 50 52 54 56 58

Food Design Turn The Page Exhibition Free Beer Design for Happiness Natwerk Islamic Geometric Patterns Suslab Adrian van Hooydonk Design for the Blind Design that Rocks the World Melle GrĂśssl Start-up Voucher 50 Editions of TTP Van der Veer Designers Synaesthesia and Design Turn The Page Magazine To Capture a Scent Rinke van Remortel Jan Buijs

AGENDA

AGENDA Exhibitions Meesterlijk Meesterlijk presents designers and craftsmen capable of elevating everyday objects, furniture and accessories with timeless sophistication. An increasing number of designers use the contemporary preference and interest of the audience for authenticity, craft and originality. Meesterlijk connects good design and crafting techniques and shows the latest fashion to a large audience. Meet the designers and their products and let them tell you their story about the latest developments in the world of design. meesterlijk.nu

Amsterdam

28 to 30 November

Lightopia The exhibition is devoted to the development of electric lighting and takes a comprehensive look at the theme of lighting design, with examples from art, design, architecture and other disciplines. The hundreds of exhibits of Lightopia include iconic designs of the Vitra Design Museum and work by contemporary designers and artists, some of which are interactive. Lightopia presents a panorama of lighting design - from the beginnings of industrial development to visions that will determine our future. designmuseumgent.be

Gent

15 November to 1 March

Study association i.d Expo: 15 years Turn The Page

Freshmen Party

To celebrate the fiftieth edition of Turn The Page coming out, all fifty editions will be exhibited in IDE’s main hall.

A party organised by freshmen, for freshmen. This will be a theme party, so don’t forget to dress accordingly

10 to 14 November

Sinterklaas Kafee

Exid X

Every year a wise and generous man visits our rainy country. Of course said man will visit i.d-Kafee. Don’t miss it!

This year’s location has yet to be announced, but like every year, EXid X will be a trip you’ll always remember.

3 December

20 November

12 - 14 December

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COVERSTORY

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COVERSTORY

The future of our food Not only the chair you’re sitting on, the laptop in front of you or the Turn The Page in your hands have been designed, nowadays your food can also be designed. With food design we don’t just mean the beautiful creations of animals, statues and faces made of food, but much more than that. Recently, the food industry has begun to realize that applying design to food is a good strategy for developing new food products. New technologies such as molecular gastronomy and 3D printing encourage designers to experiment with our food and to recalibrate our ideas of taste. text & layout by Noëlle Lugtenburg illustrations by Wouter van Strien

o, if food design isn’t about creating beautiful models, then what is it about? The paradigm of food design is relatively new, which means that there is no clear definition yet. People with distinct background disciplines are dealing with food in different ways, so they have different interpretations of designing with food as well. According to Paolo Barichella, Executive Food Design Advisor: “Food Design is designing a food product in terms of the context and environment in which it will ultimately be consumed. This also involves creating tools for eating food and services related to it, like the design of a dish.” Gionatan Lassandro, president of Fooda – Food Design Association – states that Food Design is tied both to industrial production and packaging design, as well as to the visual and cultural aspect. In contrary to Barichella, Lassandro and many others with him think food design doesn’t include the design of dishes. That might better be called food styling. Even by picking only two of the important persons in the food design world, it becomes clear that there are various opinions about the definition of food design.

Since there is a need for clarification, Francesca Zampollo, founder of the international food design society ifooddesign, decided to categorize food design into six different subdisciplines, each one showing one approach from a different background discipline. The first two subcategories include Food Product Design and Design with Food, which respectively mean the design of food to be mass produced and the design that melts, mixes and reassembles food as a raw material, creating something that didn’t exist before in terms of flavour, colour, temperature and texture. Of course, these two categories overlap sometimes. Products that are part of the preparation, distribution or storage of food, called Design for Food, and products that were only inspired by food, Design about Food, are also part of food design. The last two categories include the design of food spaces and any eating situation where people are interacting with food.

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COVERSTORY

‘‘Food has additional variables and characteristics with respect to other design products: it should be tasty, healthy and culturally relevant.’’

Food as a mass product When you’re walking through a supermarket, it’s easy to forget that there once was a time when all food was locally produced. People baked their own bread, churned their own butter and slaughtered their own chickens, or they bought it from a local supplier. Nowadays, supermarkets are filled with pre-sliced bread, packaged butter, portioned chicken, not to mention potato chips, ice cream, cookies and frozen pizza, all mass produced in factories around the world. Continuing to be innovative while dealing with the competition in the immense food market of today requires an intelligent design strategy for developing food products. Until recently, the development of new products has always been handled by the Marketing or Research & Development departments of the food industry. New food products were developed by following the logic in the product line, actual design was seldom part of the process. Although this is important, it can lead to distraction from the real needs and wants of the consumer. A designer, instead, tries to interpret people’s needs and provides a product or service that is the result of a qualitative design process. But what is their approach?

A well-known example of a mass-produced food product is Pringles. In the mid-1960s, American company Procter & Gamble (P&G) wanted to create a perfect chip to address consumer complaints about broken, greasy and stale chips, as well as the air in the bags of traditional chips. Therefore they created a chip from dough, potatoes and corn with a saddle shape that makes them easily stackable, reducing the chance of breaking significantly. This in combination with the cardboard tube packaging makes Pringles definitely stand out among the traditional chip bags. Another great example are the square watermelons produced in Japan. Originally they were grown for two main reasons; firstly they were easier to ship and secondly, they would be more suitable for the relatively small Japanese refrigerators. Unexpectedly they became very popular as decoration items too. However, the cultivating process takes up to three years, increasing the price significantly. <

Martí Guixé , one of Europe’s pioneer food designers, states that food products must be designed as if food is an object. He mentions: “Food is a mass produced thing, but nobody sees it as an object. People see it as food. As a designer, I design food as if it were a standard design product.” So the rules of designing food are similar to those for an object, nevertheless there are other elements that should also be taken into account. According to Barichella: “Food has additional variables and characteristics with respect to other design products: it should be tasty, healthy and culturally relevant.” So food isn’t just a business, it’s also science you’re dealing with. For instance, ensuring an adequate shelf life is a key issue for guaranteeing a healthy and safe food product. Furthermore, manufacturing new food products on a larger scale may require other sources of ingredients than you need for smaller scale development.

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COVERSTORY

Design with Food: Molecular Gastronomy In molecular gastronomy, it’s usually the chef or food technologist that becomes the designer. molecular gastronomy is a style of cuisine that uses the chemical and physical transformations of ingredients that occur while cooking the ingredients, which creates new tastes and textures of food products. Traditional food products like tagliatelle, fruit and olive oil are transformed into innovative products, creating a multi-sensory dining experience with artistic dish presentations, textures, aromas, flavours and even sound. One well-known example is Fruit Caviar by Ferran Adrià, small spheres that look exactly like caviar but taste like fruit. It’s made by using the spherification technique, where small droplets of flavoured liquid are released into a calcium bath by using a syringe or caviar maker. This results in the formation of a delicate skin around the liquid, containing it in a spherical shape. Not only ‘cooking’ these caviar-sized spheres is a totally new, fascinating experience: when it’s time to eat they will pop in your mouth, releasing an intense burst of flavour. Other exciting recipes of Molecular Gastronomy include olive oil foam, disappearing transparent ravioli, powdered

Nutella, mojito spheres, hot ice cream and chocolate spaghetti. Sounds incredible, doesn’t it? Although molecular gastronomy is still a little-known discipline, it has become an important part of the food industry. In some famous restaurants and home kitchens, it has transformed the dining experience into a surprisingly emotional and sensory experience. Some scientists note: “Our basic premise is that the application of chemical and physical techniques in some restaurant kitchens to produce novel textures and flavour combinations has not only revolutionized the restaurant experience, but also led to new enjoyment and appreciation of food.” What’s even better about this new science is the possibility to address an individual’s enjoyment of food, including flavour levels in a dish and a diner’s ‘frame of mind’ for enjoying a meal. “We may be able to serve different variants of the same fish to our dinner party guests, so that they all have their own uniquely pleasing experience”. The opportunities molecular gastronomy offers open up a new world where even the average citizen can design his own food.

‘’We may be able to serve different variants of the same fish to our dinner party guests, so that each has their own uniquely pleasing experience.’’ 10

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COVERSTORY

3D printed food Molecular gastronomy is not the only technique that has rapidly evolved in the last couple of years. The 3D printing industry has already come as far as printing plastics, metals, resins and other materials in whatever configurations people can think of, but now it’s even possible to print food. Traditional food products like pasta, pizza, bread or chocolate will take on sculptured forms and can be prepared at the push of a button. Different companies have already been testing how this new technology can transform the way we eat. So how does it work? Actually, there isn’t really a difference between food printers and common 3D printers. Upload your design to the printer, insert the ingredients and your food product will be prepared at once. Although squeezing out food layer by layer may not sound that tasty, there is no reason that it should taste any different from regular food. It is made from the exact same ingredients, so the only difference is how it is put together. The printer doesn’t cook the food, it merely extrudes it into basically any shape that is subsequently cooked. Although 3D food printing is not yet available for the customer, it offers some potential benefits for the near future. The most interesting aspect of 3D food printing is not really the food itself,

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but aesthetics of the meal. The overall goal of 3D food printing is the ability to customize food specifically to our needs and nutritional requirements. 3D printing offers enormous design freedom, not only in terms of shape, but also in texture, structure, composition and taste. This will increase the possibilities of food development significantly. Perhaps the most useful aspect of food printing is the new possibilities it gives for the nutritional value of the food, as every meal can be adjusted to an individual’s dietary needs and preferences. For example, a young athletic needs different proportions of the vital elements in his food than an old lady or a pregnant woman. One printer worth mentioning is the 3D Fruit Printer from design studio Dovetailed that extends the spherification process mentioned before. By combining individual liquid droplets with different flavours into a desired shape, it allows the creation of interesting bespoke fruits in a matter of seconds. Another promising printer is the ChefJet by 3D System’s that prints aesthetically pleasing and futuristic sugar sweets, imagine stunning and tasty decorations, edible sculptures and confections of all shapes and sizes. If this 3D printing trend continues, it may be even possible to print meat, potentially solving world problems. Who knows, maybe you will be printing your Christmas meals next year. -

Study association i.d

Weekend

Every year, in the weekend preceeding the OWee, IDE is filled with new, enthousiastic freshmen out to make new friends and get to know their faculty. This year the new students had to compete with eachother at The Freshmen Games - May IO be ever in your favour. Study association i.dâ&#x20AC;&#x2122;s committee did a very good job at making everyone feel welcome.

A new year means a new i.d-Kafee committee. On wednesday September 17th the new committee officially started their year full of beer and fun, but above all hard work. Maya, Frank, Annabel, Joost and Frans will undoubtedly make it an unforgettable year.

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Study association i.d

On September 30th it was up to the first committees to present themselves before the study association. The freshmen committee, IDE Business Fair, i.d-Kafee, i.d-Education and Actid introduced themselves and gathered input on their plans for the upcoming year. Are you thinking about doing a committee as well? Just come by the i.d-Counter and weâ&#x20AC;&#x2122;ll tell you all about it.

What is a better reason to party than the start of a new college year? On September 15th the Lorre was filled with partying IDE-students. The crowd was excited, the beer was flowing and the party lasted all night long. A promising start of the year!

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Study association i.d

On September 15th this year’s first general member’s assembly took place, where board 42 was officially installed as i.d’s board. As board 41 looked back on their successful year, board 42 presented their plans for the upcoming year. The installation of the board was properly celebrated afterwards with drinks at i.d-Kafee.

This quarter a lot has already happened in education. The new i.d-Education committee has started and we are already collecting as much input from the students as possible. If you have any input you can always send it to onderwijs-svid@tudelft.nl or leave a written note in the postbox on the i.d-Column. Coffeeweek The i.d-Education coffee weeks are back! The i.d-Education committee walks around with free coffee in return for a remark/ suggestion/complaint about education. This first coffee week was a great success, so they will certainly return this quarter! Look out for the posters to see when and where to get your coffee. Input moment The input moments are returning every quarter. They are held during the lunches and participants will get something sweet

i.d -Education

Faculty of Industrial Design Engineering

Clear Cut

onderwijs-svid@tudelft.nl

in return for their input. The moments are course specific and this way we collect a lot of valuable input in order to improve courses. Be sure to look out for the posters, so you can help improve your own education. Updates To make sure you all know what is going on in education we will update you on any important events. We do this not only in the Turn The Page, but also in lectures, at i.d-Presentation moments, during general member assemblies and with posters on the i.d-Column. Gadget This year i.d-Education will hand out free gadgets once again. Come by the i.dCounter and get your own! You might already know what it is when you read our slogan..

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do you want an aluminum dopper?

Love this template? Luckily there’s more to discover. Check out www.mrprintables.com for other awesome food templates.

hat’s better than ice cream? Yes! Beer. If you cut out this template and fold it into your very own ice cream cone you’ll receive a free beer at i.d Kafee on Wednesday November 12th. Come and celebrate 15 years of Turn The Page with us!

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VERSUS

What defines happiness? And more importantly, how can we influence a personâ&#x20AC;&#x2122;s happiness? Dealing with this subject asks for psychological knowledge and an empathic attitude as a designer. Marise Schot strongly believes that designers can influence how happy a person is. Find out if sociologist and world authority on the subject of happiness Ruut Veenhoven agrees. Can we make people happy by means of design? by Jet Gispen and Nienke van der Straten

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VERSUS

After graduating as a DFI student Marise Schot started her own design studio with a focus on improving quality of life. Nowadays she combines working at Waag Society with her own projects and occasional teaching at IDE. With her work she has become a leading expert on Design for Happiness.

“For my graduation project I was asked to research the needs of chronically ill. While doing this I discovered that these needs are a reflection of a person’s level of happiness. The better and the more needs are fulfilled, the happier someone is.” This discovery became the starting point of an inspiring career. “When I was a student, most designers wanted to create beautiful products. Nowadays they want to contribute something. As designers we have qualities that enable us to connect important topics. Imagine contributing to someone’s happiness through your designs. Not just making them happy with your product, but genuinely improving their experienced quality of life.” These methods are being developed in psychology as well. “A psychologist uses therapies as a tool to help his patients. As designers we can translate these

Veenhoven increases our knowledge on conditions for human happiness, which we can use as direct inspiration in applying Design for Happiness.

ociologist Ruut Veenhoven is a pioneer and world authority on the scientific study of happiness. The ‘happiness guru’ has shown that happiness can be used as a reliable measure to assess progress in societies, which inspired the United Nations to adopt happiness measures as an holistic approach to development. The research done by Ruut

“I do believe that inventions have made people happier. A good example of a product that made people happier is definitely the birth control pill. The effect of this invention hugely impacts people’s happiness: it enhances their sex life, something that is in direct correlation with happiness. Not only because of the pleasure sex can give, but also because it strengthens the relationship. More importantly, this new product prevented a lot of unhappy parents and the birth of unwanted children.” “When we talk about happiness in psychology, we mean satisfaction with life as a whole. When people asses their satisfaction with life, they draw on two

‘happiness’ theories into valuable products. To support designers in doing this and prevent them from having to overcome the same obstacles I did, we should develop an overarching design method. An additional advantage of this goal is that we can increasingly validate Design for Happiness. It’s my personal aspiration to not just give designers, but give everyone the opportunity to influence one’s happiness.” Working with happiness is tricky and sensitive because of its scale and emotional depth. When tinkering with a person’s happiness you alter their inner being. “It is very important to be aware of the impact you have on someone’s happiness as a designer. I do think this responsibility is shifting from the designer towards the user. This means that you become fully in service of your users. Especially with Design for Happiness you have to be very humble.”

sources of information, how well they feel most of the time (mood level) and how well their life-as-it-is fits their standards of how-life-should-be (contentment). These sub-appraisals are referred to as ‘components’ of happiness, respectively the affective component called ‘mood level’ and the cognitive component called ‘contentment’. The affective appraisal typically has a greater weight than the cognitive evaluation.” “Design of products and buildings affects the affective component of happiness more than the cognitive component. A well-designed building makes you feel good when you are there and adds to your average mood. Effects on mood can be measured. With modern technology such as smartphones with GPS we are able to determine how happy people feel in different places. People repeatedly receive a message, and report how happy

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VERSUS

“When designing with this goal in mind one has to be able to evaluate the effect of a design, starting with measuring happiness itself. I started by looking into existing applications and tools with some colleagues and quickly discovered they all made us unhappy. However, meeting each other every week to discuss our findings did have a positive effect. This triggered us to design our own tool for measuring happiness, based on social contact.” “As a designer you have to experiment a lot yourself. Use your own experiences to formulate a vision, but also dive into the context to empathise with the user. By experiencing the context yourself it affects you on an emotional level. Designing from the heart, not just approaching something from a theoretical perspective but also from perception is becoming very important in Design for Happiness. This approach

they feel at that moment. This method, called ‘experience sampling’, is very useful for assessing the impact of design on happiness, in particular the effects of architecture. But to my knowledge this technique is hardly applied as yet. One of the reasons seems to be that designers are not too interested in the real effects of their creations. For the time being I believe Design for Happiness is mere rhetoric.” “A suitable e-tool for assessing how happy people feel during different activities is the GeluksWijzer (Happiness Indicator), which I developed together with health insurance company VGZ. The GeluksWijzer is available on internet (at www.gelukswijzer. nl) and involves a ‘Happiness Diary’.” “A special feature is that it allows comparison with other participants, and in particular with others that are in a similar situation. Discovering that your peers are

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can be very confrontational, a bit like psychology students who discover more and more about themselves. To effectively design for happiness, you have to discover your own happiness.” “Currently apps seem the solution to every problem, but they cause people to use only their heads instead of their whole body. In this way we neglect an important aspect in who we are: since nearly all of our experiences are grounded in the body. The notion of embodied cognition, to focus on and make use of the connection between body and mind, is crucial concerning our wellbeing. An example of a project we did is the Mood Room. We were asked to develop something for teenagers to stimulate their socialemotional competences. Our research showed that empathy is the foundation of all social-emotional competences and that

much happier than you might be an eyeopener and encourage you to change. The Gelukswijzer also shows what those people rate as happy moments. An example is that if you see that people with the same background are much happier while working than you are, you might consider finding a job that suits you better.” “With Gelukswijzer we do not provide therapy, we will not force people to change. We simply provide the means to gain insight into your happiness. This appears to work. A recent follow-up study showed that people who kept the happiness diary for some time became significantly happier.” “Happiness is not only desirable in itself, but has also beneficial side effects. One of these is that happiness makes us less susceptible to diseases. If someone is unhappy, a stress mechanism is activated: fight or flight. This has various somatic

the key to empathy is to understand his/ her own feelings first. Through a series of design explorations we developed a large room for these teenagers to visualise their feelings intuitively, by means of an interface in which they saw themselves and could modulate different colours and visual patterns. When we asked the teenagers to visualise how they felt in certain situations, similarities in feelings and patterns emerged. Recognising other people’s feeling enabled them to empathise. To validate our outcomes a psychology student tested the teenagers’ empathy level before and after the experiment. A large majority of the 84 participants showed an increase in empathy, but striking was that teenagers with a troubled childhood showed a significantly bigger increase.” 3

What determines our happiness? milieu genetics

social skills

dumb luck network life choices

effects, such as on your digestive system causing your lunch to be less well digested, which in turn causes a low immune system. As a result happy people live longer”. 3

ONE TO WATCH

NATWERK CREATIVE AGENCY Natwerk is an Amsterdam-based creative studio, known for its clever and surprising branding ideas for clients like Diesel, Grolsch and BNN. Frank de Ruwe founded Natwerk after graduating as an industrial designer at the TU Delft. In addition to marketing campaigns that really stand out, Natwerk also launches its own products that attract worldwide attention. by Wouter van Strien

t all started when Frank de Ruwe went to the famous furniture fair ‘Salone del Mobile’ in Milan to present his graduation products including an automatic coffee steering machine and other ‘useless’ products. “I parked my open SRV-car with my graduation products, while playing loud music, next to famous designers like Philippe Starck and I said: ‘Hey! These are my products!’ This was very well-received because no one had ever presented work in such a guerrilla way, certainly not in

the world of design. The way I presented my work attracted more publicity than the products in my car. Being in the news makes parties want to work with you. Et voila, suddenly you have your own company,” De Ruwe says.

SEALANT SAUCES Frank de Ruwe now leads Natwerk, a team of ten creative people and an immense network of specialists. Together they create innovative and memorable campaigns for brands, products and people. For the launch of Sourcy Vitamin Water in the Netherlands for example, they came up with the idea to release an amphibious vehicle from the sea that subsequently transformed into a bar with a DJ on the beach. According to Natwerk you can reach your target by adapting your behaviour: “We believe that brands can win the hearts and minds of their clients, fans and customers with their behaviour or

actions.” While working in teams for major brands Natwerk is always on the lookout for inspiration for its own products. De Ruwe: “An in-house developed product is a great way to impress a client. With our ‘Sealant Sauces’ (sauces that can be sprayed on

ET VOILA, SUDDENLY YOU HAVE YOUR OWN COMPANY. your burger with a sealant gun) Remia and Calvé invited us right away, without a formal business presentation.”

NEIGHBOURBQ Natwerk’s most notable product ideas emerge during the Friday afternoon

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ONE TO WATCH

the Dutchies immediately release a new variant of their traditional Dutch chocolate sprinkles.”

THERE IS NO ALTERNATIVE. PRESENTATION

drinks. To illustrate this, they once asked themselves: “What would we do if we were a brand in barbecuing utilities?” And so the idea for the ‘NeighBourBQ’ came about. It is a fence-straddling grill that promotes neighbourly interaction. It brings neighbours together while enjoying the most popular outdoor activity. De Ruwe smiles: “It was actually a joke.”

at the liquor store and you think: those bottles are all basically the same. There is no alternative.” And so the idea for ‘Bello Limoncello’ was born: the first liqueur for machos. It’s a big bulky bottle with more

During his study in Delft, Frank de Ruwe learned to work on projects in a structured way. “That helps when you are working on several big projects at the same time.” What is his advise to Industrial Design students in Delft? “IDE students should pay the utmost attention to the way they present their ideas. Ultimately, you should always make someone excited about your idea. Your presentation is just as important as a good idea,” he concludes. 3 Interested? Go to natwerk.nl

IT WAS ACTUALLY A JOKE.

BELLO LIMONCELLO Natwerk launches its own brands as well. One day on a summer afternoon, some members of the Natwerk-team were sitting at a terrace while enjoying an Italian lemon drink, known as ‘Limoncello’. De Ruwe: “Many Limoncello bottles are elegant and feminine looking; tall bottles with gold letters on it. Then you see all those bottles

alcohol, less sugar and therefore really marketed to men. The logo reflects this as well: a moustache, consisting of two lemon leaves. A lot of cafes and restaurants have already shown interest in this macho drink.

BACON HAGELSLAG Recently Natwerk funded their new product idea ‘Bacon Hagelslag’ (bacon sprinkles) with the help of Kickstarter. It is a meaty version of the most famous Dutch sandwich topping ‘Hagelslag’ (chocolate sprinkles). De Ruwe: “Kickstarter is great to see if there is demand for your product, but there are of course many more ways. With our submission of Bacon Hagelslag we were the first Dutch entry during the introduction of Kickstarter in the Netherlands. That is of course a beautiful message for the press: Kickstarter comes to the Netherlands and

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THE STORY BEHIND

ISLAMIC GEOMETRIC PATTERNS Of all attractive arts and stunning splendour that culturally rich Persia has to offer, geometric patterns are perhaps one of the most intriguing for designers. Such patterns can be found all over the Islamic world, from Alhambra in Spain to Mughal decorations in India. It still has a significant influence on modern design. The origin of this art form can be traced back to Persia, where today, it still prevails. by Maya Reus

Geometric patterns in Islamic art Historically, patterns have been quite aesthetically significant in the Islamic world. Islamic belief prohibits any form of idolatry, which means displaying images of people or animals is not allowed. This avoidance of figural imagery made room for calligraphy, vegetal patterns and geometric patterns to develop greatly. These three abstract designs can be found in a range of arts, including architecture and design. In geometric patterns, basic shapes like squares and circles are creatively combined into complex patterns. The patterns that go beyond the visible eye exemplify the infinity of the universe, while their consistency exudes harmony. A sense of mathematics is always present, and without the contributions of mathematicians and astronomers the establishment of these patterns would not have been possible. Simply consider the elaborate range of symmetries found in these patterns: vertical or rotational symmetry, combined with 5, 7 or 11 fold symmetries. Moreover, distances between

objects are often in accordance to the golden section. All are held together by rules. But how in the world can this seemingly inexhaustible range of patterns have been made possible, how much energy would go into creating them? It is a bit simpler than you would imagine. Inventive manipulations of the same patterns form new ones; with the diversion of the eye it becomes a new pattern. However, we should not underestimate the accomplishments of these craftsmen who didnâ&#x20AC;&#x2122;t have Adobe Illustrator to help them, just their protractors and compasses.

A sense of mathematics is always present, and without the contributions of mathematicians and astronomers the establishment of these patterns would not have been possible. Even though Islam dates back to 600 A.D., the source of these patterns can be traced back to ancient civilisations

november 2014 | turn the page

THE STORY BEHIND

such as the Greeks and the Romans, and more importantly, the Sasanians in Persia. However, their zenith came with the rise of the Islam. Its applications can be seen all over the Islamic world, from exquisite Jali screens in Mughal tombs in India to the terrific tiles of the Alhambra in Spain. However nowhere other than in Persia, modern day Iran, its presence is more prevalent, where they can be found everywhere, from the window screens of Shah Abbas Ali Quapi palace in Esfahan to the façade of a simple grocery shop in the desert town of Kashan.

Its appliances can be seen all over the Islamic world, from exquisite Jali screens of Mughal tombs in India to the terrific tiles of the Alhambra in Spain Influence outside the Islamic world

sleek and trendy designs. The Zelli has the shape of geometric flowers represented on Zellige, mosaic Moroccan tiles, yet with a modern twist to fit the aesthetic needs of the present-day user.

The influence of these patterns stretches farther than just the Islamic world. They are applied to a great deal of modern furniture and product design, for instance. Younes Duret, himself a blend of cultures with a Moroccan mother and French father, incorporates Islamic patterns into many of his designs. He is praised for his ability to innovate whilst maintaining his Moroccan identity. His Zelli bookcases, as seen above, are an example of his

However the influence is mostly seen in graphic design. An interesting thing to note is that graphic artist Escher, who is still a great inspiration among graphic designers, was greatly influenced by Islamic art after some thorough visits to the Alhambra in Spain. As Escher is mostly known for his ‘impossible’ designs, few people know that his patterns and tessellations are based on the rich mathematical structures of Islamic

patterns. His visits influenced him to believe that the infinity of the patterns signifies the existence of a higher power, a belief he shared with many Islamic artists. The parallels between Islamic patterns and his work can be observed in his tessellation art. The similarities are further elaborated on in the book ‘Escher meets Islamic art’.

His visits influenced Escher to believe that the infinity of the patterns signifies the existence of a higher power, like many Islamic artist. The influence of the Islamic patterns can be subtle as well. Simply contemplate the current geometric trend in contemporary graphic design. Is this indirectly influenced by Islamic geometric art? Perhaps. The patterns have a similar mathematical essence with their infinite repetition. Furthermore, they hark back to the same bold simplicity. This simplicity is linked to the minimalistic trend in graphic design, currently preferred over skeuomorphism, which manifests itself in many designs. For example, in Apple’s new iPhone interface, or the layout of turn the page for that matter. 3

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FEATURE

From sustainable idea to reality

As a designer, you can make a big difference in working on a better future. A lot of products that we use in our daily life can be improved in their design, but also in the way people use them and how the benefits are perceived. This is precisely what SusLab focuses on. With their Living Labs, user centred design and integrated approach; theyâ&#x20AC;&#x2122;ve found a way to successfully place new products, services and system solutions in the market. text by Emma Schalkers | layout by NoĂŤlle Lugtenburg

he goal of SusLab is for sustainable and innovative solutions to succeed on the market, but experience has taught us all that a great product on paper does not necessarily work out in real life. This is primarily because the traditional research methods are currently focused on capturing objective data or subjective data, but not on integrating both.

Living Labs To have a real-life testing environment, SusLab develops its integrated methodology around Living Labs facilities. These labs provide an ideal environment for testing new products and services. SusLab works with four different Living Labs in four different countries: the United Kingdom, Sweden, Germany and one just around the corner, in Rotterdam. All of the Living Labs have their own focus but each of the living labs

can be used by academia and industries as a realistic test environment. In order to accomplish this goal, there are three steps in the design process. First they collect objective and subjective data about practices related to energy use from existing households and their experience around this. Then they design new practices in the Living Labs involving experimentation of prototypes with and by users based on the data collected earlier. Finally they evaluate the fully functioning prototypes in existing homes to measure the impact on sustainability.

SusLab Kits To support this integrated vision, SusLab developed three kits that help researchers to collect, integrate, analyse and validate objective and subjective data: the Sensor Kit, the Self report Kit and the Co-create Kit.

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FEATURE

The Sensor Kit has been developed to take a wide variety of objective measurements in homes and gives insights in the ‘what’ and the ‘how’ of users behaviour. This kit contains a smart plug; this product is placed between the plug and your electrical appliance, to measure the energy consumption of different appliances. The Sensor Kit also provides you with a sensor box, to provide information about the levels of CO2, humidity, air temperature, sound level, light and movement in the home. All this information is wirelessly transmitted to the Central SusLab Database and it can be very valuable for both industries as well as academia. The Self-Report kit has been developed to explore opportunities for behavioural change by collecting subjective data and providing first insights into ‘why’ people behave in certain ways. With the comfort

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dial, people can indicate how they feel, too warm, too cold or comfortable with just the movement of a physical dial. And with a digital timeline, people provide the researcher with a little deeper insight on their thermal control activities. Furthermore this kit offers a tool that is developed by our own faculty. This application enables researchers to develop different scenarios to show how the occupants are doing in relation to their energy consumption in the house. The application makes visible in real time the indoor climate state of a room plus the comfort perception of its occupants, using the metaphor of an aquarium. Last but not least, there is the Co-create Kit. This kit redesigns user qualitative research methods by actively integrating data into participatory sessions; from contextual

interviews that use the data collected as probes to trigger richer insights of occupants’ attitudes, preferences and practices around energy, to user re-enactment that uncovers deeper details of the reasons behind certain practices, to self-experimenting activities that aim to guide occupants into experience “what-if scenarios”. A nice example of the latter is the SusLab hackathon held at our faculty last February. During this hackathon, participants actively experimented with different concepts and technologies to generate innovative prototypes of future scenarios for their own homes. All together, SusLab provides in a good way to connect ideas born in the minds of designers with the needs and behaviour of consumers. This leads to more efficient ways to actually bring sustainability into practice and allows designers to test their product’s functionality with a lot more accuracy. -

ALUMNI

Alumnus of the Year

Adrian van Hooydonk

2014

Delft University Fund has elected Adrian van Hooydonk, director of BMW Group design, as Alumnus of the Year during the Alumni Event on Friday 6 June. Van Hooydonk also had a meeting with students at IDE, gave a lecture in a packed Van der Grinten Hall and promoted the new plug-in hybrid BMW i8, which he drove from Munich to Delft himself. Hereâ&#x20AC;&#x2122;s Van Hooydonk reflecting on Delft, his sketching and the future of automotive design. by Steven Burger | text by Michel Heessen | layout by Jord de Kat Angelino photo of Adrian by Hans Stakelbeek | car pictures by BMW

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ALUMNI

Delft

“When I started at TU Delft, in the nineteen eighties, one could not graduate in automotive design and the Netherlands was a country without a significant automotive industry. During my first day at IDE, all first year students were told that anyone who had any ambition in automotive design, should immediately forget about it. I am glad that has changed. I have to admit that I wasn’t particularly interested in automobiles, I was interested in product design in general, in how products are made, not just cars, but any product. I am interested in what is under the skin. I think this interest really helps me in my professional life today. I still like to visit a BMW factory and watch the whole manufactory process. Probably the most important aspect of my time here at IDE is that I learned methods

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of solving design problems in a structured way. A good structure is really important in a design process, especially when many different products are being designed simultaneously and at different locations. BMW Group has studios in Munich, Los Angeles and Shanghai and we not only design automobiles and motor cycles for BMW and automobiles for Mini and Rolls Royce. We also design products for other brands such as an espresso machine for Saeco, a soft drink machine for CocaCola and lots of other designs, such as shovels and dumpers, bicycles, a sailing vessel and aircraft interiors. Everything that leaves our studios has to have my approval and designing all that simultaneously, is quite a challenging process. I now have a part of my team in Munich focused on just logistics, not only ensuring that our designs are finished in time, but also that I comment on them at the right moment.

Industrial design is a combination of art and engineering. Art has the capability of inspiring people, giving them something unexpected. Engineering is another field, a matter of problem solving. Industrial engineering is about combining those two aspects, as Richard Buckminster Fuller once said: ‘When I am working on a problem, I never think about beauty - but when I have finished, if the solution is not beautiful, I know it is wrong.’ After my graduation in Delft, I have had my own firm in Amsterdam, I worked at GE Plastics Europe, and then I started studying again, at an American college where I focused on automotive design. Automobiles attracted me as a special kind of product, because they are capable of moving themself. Sure, a washing machine is also capable of moving itself, but that movement is not intended.”

ALUMNI

“ I am more interested in what a design would mean for the brand, than in expressing my ego. ” Sketching

“When I studied, I spent my time sketching, sketching and sketching, 24 hours a day. It is a skill that is still very helpful, a powerful way of communication with both designers and engineers. It is relatively cheap too: everything after the sketch is much more expensive. What I have learned at BMW, is translating the two dimensions of a sketch into three dimensions. We use the computer a lot for this, but we also keep working with clay. The clay model is one of my favourite parts of the design process, because it embodies the moment when other aspects start influencing the sketch design, such as the wind tunnel and ways of manufacturing.

I am more interested in what a design would mean for the brand, than in expressing my ego. I am proud of the fact that we have designed cars for a whole new segment, like the BMW 5-series GT and X4. The design of a new car takes about three years. During the first year, our designers work in competition. They make sketches by hand and with their tablets and laptops. My function is to be a kind of art director, selecting the best ideas and the best sketches. We upgrade four or five sketch designs to an actual mock-up and then gradually decide which one is taken into production.

In the past years, we have worked on a couple of concept cars too, such as the BMW Z9. When BMW Group took over Mini as a brand, we made a Mini concept car, which is a whole different brand. The variety in brands and products makes it very interesting to work for BMW Group. Our team is now about 600 people in five design studios in Los Angeles, Munich and Shanghai. People find it very rewarding to work on the BMW Group brands. I never have to give a motivational speech. The only thing with design is that you’re never finished with it. It is more like a five-to-nine job than a nine-to-five job. In fact, it can literally be a 24 hour job since our new studio has opened in Shanghai.”

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ALUMNI

Future

“The new BMW i8 is a luxury plug-in hybrid sports car. Below 70 km/h this car is powered by electricity, above 70 km/h, the combustion engine kicks in. I drove it from Munich to Delft myself. I kind of hesitated to take this car to Delft, fearing that people would accuse me of showing off. However, I am proud of the design and decided to drive it to Delft anyway. It was fast and it was fun, with many people surprised by the looks of the car and by the fact that I was adding fuel. People probably thought that it was an all-electric car. The future of mobility raises questions. First of all, the relevance of individual mobility, which is about freedom and fun. Secondly, we have a few problems to solve such as emission, energy, sustainability, ownership versus rent, connectivity and how to still keep it fun. As a prime brand, BMW has to be pioneering in this. We

started thinking on recycling, sustainable production methods, electric power and how these aspects should be integrated into a comprehensive design. It was very inspiring to start from scratch. Where to locate the engine? Where to locate the battery pack, in-between the passengers, or beneath them? It also raised questions in terms of look and feel. How to ensure that new technology does not only look complicated, but also attractive? Should the car look familiar or different? We decided that a design based on new technology should have a brand new look and feel. We first made a concept car, later developed into the BMW i3. The BMW i8 design again raised interesting questions: how to design a super sports car without the super sports car vocabulary, such as fat tires? Our car shows a new vocabulary in which the aerodynamics, the

air flow, is shown in the exterior. The wing doors are another example of this. After all, in the end, despite all our technology, people will keep buying cars for emotional reasons. Generally speaking, I question the current focus on exhaust. I mean, the exhaust could gradually become zero, but how will the electricity be made? By opening new brown coal plants in Poland or nuclear energy plants in France? And how much energy does it take to produce that car, and get rid of it? It is an interesting time in society, especially if you are an industrial design engineer. Let me quote Alice Rawsthorn in the New York Times: ‘The most thrilling periods in design history are the ones of greatest change, when designers interpreted shifts in science, technology, behaviour and politics for the rest of us’.”

“I kind of hesitated to take this car to Delft, fearing that people would accuse me of showing off.” turn the page | november 2014

FEATURE

design for the blind Nearly 30 million people in Europe are visually impaired, of which 3 million are blind. Being blind does not necessarily impair people greatly in their lives. Yet a significant portion of the population requires alternate considerations. Design is a way that can solve problems blind people run into. It is a view that can be in line with design for all, depending on the choices the designer has to make: just for the blind or for everyone? And there are other interesting dilemma’s, like deciding whether to include iconography or not. by Maya Reus

e have all heard of the design for all principle. ‘It is design for human diversity, social inclusion and equality. It aims to enable all people to have equal opportunities to participate in every aspect of society. To achieve this, design must be accessible and convenient for everyone to use and responsive to evolving human diversity’. For everyone, this not only means older people and people with disabilities, but also people without them. Of course there are things like braille and tactile paving, which both are great, yet the equality can be brought to different levels as well. Think about something as simple as telling time. The downside of a watch is that you have to actually be able to watch

it. In order to solve this problem, designers at Eone Timepiece have developed the Bradley. It is a so called timepiece; a watch you have to feel to tell time. It can be used by the blind but not the blind only. By just using your fingers to feel where the magnetic ball is situated, it’s a very subtle way to tell time.

Iconography has little meaning to blind players, therefore the chess pieces should communicate their purpose. Some designs are not for everyone, but just aimed at the blind only. One example

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FEATURE

is a braille chess set designed by Deborah Tan for a design contest sponsored by the Noguchi Museum in New York. The designer argues: ‘Iconography has little meaning to blind players, therefore the chess pieces should communicate their purpose.’ Have a look at the shape of pieces: they indicate the direction in which they can move. The rook has the form of the cross, meaning it can move horizontally or vertically, while the queen is star shaped, meaning it can move horizontally, vertically and diagonally. This also makes the chessboard aesthetically pleasing in a nonvisual way; in a tactile way.

The shapes that refer to the colours help children create a certain synaesthesia – they will associate colours with shapes and therefore ‘sense’ a colour instead of seeing it.

Other designers that design for just the blind have a slightly different perspective. They wish to include iconography into the language of the blind. An example is the Feelor Touch the Color pencil set. The pens come with a special character form on the head that indicates the colour of the pen. It’s aimed at blind, preschool children to learn to get a better grasp on colours and things that are associated with a certain colour. The shapes that refer to the colours help children create a certain synaesthesia – they will associate colours with shapes and therefore ‘sense’ a colour instead of seeing it. Smart designs like these help blind kids feel less different and therefore it bridges the gap between the blind and the non-blind. With technology evolving at a high rate, gadgets for visually impaired are naturally wanted. One of coolest examples is the braille Polaroid camera by Son Seunghee, Lee Sukyung and Kim Lhyunsoo. The main difference between a normal camera is that this camera prints a series of bumps

instead of colours. You can actually feel the picture, how amazing is that? No wonder this design won the Red Dot design award in 2008.

Most people that are blind live in developing countries and most are over 50. There is still so much that can be designed for the blind. Most people that are blind live in developing countries and most are over 50. Especially solutions for the blind in developing countries aren’t quite abundant, as products for the blind are mostly a bit on the dear side. What’s more, most blindness can be prevented. The best move to solve these problems would obviously be preventing blindness. In the meanwhile, and for special cases, design can be a solution. 3

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FEATURE

design that rocks the world Empty Jack Daniels bottles scattered backstage. Along with the odd stray panty, these are the remnants of last nightâ&#x20AC;&#x2122;s party. Cigarette loosely placed between the lips, fingers running one last time through long, unruly hair. The roar of the crowd as the fingers hit the strings. The life of a rockstar is iconic, heavily romanticised, and aspired to by young and old. What stands at the center of the gritty glamour? The electric guitar. by Ewoud Komen

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FEATURE

he electric guitar’s history mirrors cultural values and trends. So does the guitar’s design, especially since the development of solid-body guitar construction in the 1950’s. Because the sound produced by solid-body electrics does not depend on their shape, it meant that the makers could experiment with a wider range of guitar designs. This era’s seemingly radical instruments echoed the popular cultural focus on space-age modernity. The Fender Stratocaster recalled the modern tail fins and imaginative colors of Detroit’s cars, whilst the Gibson Flying V literally appeared ready for takeoff.

the fender In 1950, electronics and instrument amplifier maker Leo Fender designed the first commercially successful solid-body electric guitar with a single magnetic pickup. He initially names it the Esquire. The two-pickup version of the Esquire was named the Broadcaster. The bolt-on neck was consistent with Leo Fender’s belief that the instrument design should be modular to allow cost-effective and consistent manufacturing and assembly, as well as simple repair and replacement. Its simple yet effective design and revolutionary sound started to take off and set many trends in electric guitar manufacturing and popular music. Introduced for national distribution in the autumn of 1950, the Broadcaster was the first guitar of its kind produced on a substantial scale. In 1954, Fender introduced the Fender Stratocaster, or ‘Strat’. It was positioned as a deluxe model and offered various product improvements and innovations over the Telecaster. These innovations included an ash or alder double-cutaway body design for badge assembly with an integrated vibrato mechanism, three single-coil pickups, and body comfort contours.

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the gibson Eric Clapton, Dave Grohl, Kirk Hammett. These famous artists have one thing in common: their favourite choice of guitars, designed by Gibson. Started in 1902, American guitar manufacturer Orville Gibson first produced mandolin-family instruments. In response to Fenders Telecaster, Gibson brought in Les Paul in the final stages of the design process for expert fine-tuning of the nearly complete design. By 1957, Gibson had made the final major change to the Les Paul as we know it today - the humbucking pickup, or humbucker. The humbucker, invented by Seth Lover, was a dual-coil pickup which featured two windings connected out of phase and reverse-wound, in order to cancel the 60-cycle hum associated with singlecoil pickups; as a byproduct, however, it also produces a distinctive, more “mellow” tone which also appeals to many guitarists.

the future Shapes are in one way limited only by your imagination but to endure and be popular they must have some ergonomic features. Because of this manufacturers have many options for materials to make the bodies their guitars different in appearance and tone. Carbon fibre guitars become more and more popular, as the material adds a wider harmonic range and is very slim and lightweight. The Handle, made by XOX Audio Tools and designed by Peter Solomon, is currently the most revolutionary electric guitar of our time; the entire guitar is a single body where extra material is removed. The electric guitar is a symbol of hope, based on the rags-to-riches mythology of the American dream. For years to come, it will still be a rite the passage for teenagers all over the world, hoping to transform his or her life from the ordinary to the extraordinary. The life of a rockstar, made possible by the design that rocked the world. 3

STUDENT FEATURE

HOMEMADE CNC MILLING MACHINE Third-year Industrial Design student Melle Grössl received worldwide attention for his homemade Computer Numerical Control (CNC) milling machine: an automated milling device that makes industrial components without direct human assistance. He shared his design on Instructables: a website about user-created projects. His Instructable shows in detail how he built his CNC milling machine, including all of the technical drawings. As of now it has more than 300 thousand views. by Wouter van Strien

hen Melle Grössl was a kid, he was intrigued by the way products work: “I always found it fascinating to tear products completely apart and then put them back together, to see if they would still work. Later, I found it more interesting to know how products were fabricated. I also tried to make them myself. Back then I considered following a MBO education program, which focuses on using machines in practice. Then I discovered Industrial Design Engineering (IDE) in Delft and I knew it right away; this is the ultimate combination of academic work and making products for others.”

CHALLENGE

At a young age Melle Grössl dreamt about making a machine that would give him the opportunity to create products that could be used in and around the house. When he stumbled upon a CNC milling machine he knew he had to build one himself. Grössl: “It is possible to buy a CNC machine, but they are very expensive. Many people

who dream to own a CNC machine build one themselves. I also thought it was an interesting challenge to design my machine from scratch and ultimately fabricating all the necessary parts myself.” But what is he planning to do with such a machine? “I especially want to use it to mill complex parts for prototypes, or produce small series,” Grössl says.

SKETCHING

After finishing the first year of his bachelor Industrial Design Melle Grössl felt confident enough to start building one himself. He made use of the professional facilities at IDE and learned to work on the manual milling machines to fabricate the necessary parts of his machine. “It all started with a few sketches to get a good feeling of the dimensions and shapes. I created my CAD model in SolidWorks, because it works parametrically. The design consists of a lot of parts that have to fit neatly together. After all the parts were modelled I made the technical drawings. I used these drawings

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STUDENT FEATURE

Some people call his machine typical Dutch design, because of its elegant look. But where did he get inspired for his design? “Actually, most machines are constructed in the same way and look very similar. However, I saw a bottleneck in the position of the mill and maximised the work surface by placing the sides at an angle. Of course, I got help from the professionals in the PMB (the workshop at IDE) to manufacture some pieces. The sides of the CNC milling machine are, for example, made by them and I got help to make the bearings fit properly.”

this he was able to build his machine for less than €1000. His Instructable about his homemade CNC milling machine received very positive responses: “I know a lot of CNC dreamers who do not have the knowledge to build a full metal machine. I hope my Instructable inspires people to make their own machine. I included all of the necessary steps I went through in designing and building my CNC milling machine. A lot of people stated they want to re-create my design themselves and others just asked for help. The intended goal of my Instructable, to inspire people, has been reached. In addition, more than 50 people asked for a do-it-yourself kit. I am now considering putting a complete kit together.”

POSITIVE RESPONSES

TIPS

to machine all of the custom parts on the manual lathe and milling machine,” Grössl says.

THE DESIGN

Building the machine took Grössl almost half a year, simply because he had to search for cheap parts on Ebay, such as the guiderails and stepper motors. By doing

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‘real’ prototypes in the PMB as possible. You learn the most by milling or lathing a part yourself. It also increases your knowledge of dimensions, tolerances and fittings.” 3 Interested? Go to trochilidesign.com to find a link to his Instructable.

Does Melle Grössl have any tips for fellow students? “In my opinion you learn the most about a production process when you do it yourself. Try to build as many

INTERVIEW

How did they kick-start their business? iggi is a low-end bicycle light designed by IDE students Telmen Dzjind and Manuel Oostveen, licensed to AXA Stenman and sold by Albert Heijn (AH). The most innovative functionality of Liggi is the zip-tie strap that makes it impossible to steal after mounting, relieving the consumer of most existing annoyances with present low-end bicycle lighting. “Liggi started with our annoyance that most shops are closed or out of reach when you notice that your light isn’t functioning”,

says Dzjind. “Selling the product in a supermarket, a place that is part of your daily routine, is part of the design concept. Another innovation is the zip-tie strap: existing low-end lights are easily stolen.” How did they manage to arrange a business meeting at AH? “We had won 1,500 euros in a design competition, which we used to make prototypes with a laser printer and send AH a pitch on pdf”, says Oostveen. “When we walked in, it became clear that AH had expected us to be a real business. They basically told us to first

IDE has introduced the ‘Start-up Voucher’, a new fund, which supports the development of tangible prototypes in entrepreneurial graduation projects. This article focuses on four businesses that were started by students while studying at IDE. How did they kick-start their business? text by Michel Heesen | photos by Hans Stakelbeek | layout by Jet Gispen

become a company.“ The students then had to decide what they wanted to be: a design studio or a business producing and distributing actual products. “We decided that, for now, we want to focus on initiating and designing products”, says Dzjind. During the design process, the students received advices, especially on strategic issues, from Bart Ahsmann and his Valorisation team at IDE and from acquaintances in the design and legal industry. “For example, we were advised to first talk with AH and AXA separately, before organising a joint meeting”, says Oostveen. “Although in the end, it is all pretty much a matter of trust.” Recently, HEMA introduced a similar light, but Dzjind and Oostveen are not worried. “This season, our 2.0 version of Liggi is available and it will not be our last product. With Studio Hikari, we aim at a portfolio of self-initiated products, instead of offering design services to clients.” 3 DE alumni Arthur Limpens and Yixia Jiang designed a modular, versatile power outlet including usb-ports: PowerCube eliminates the problem of having to reach underneath your desk in order to charge a laptop or cell phone. “Our cooperation started during our graduation project in 2010”, says Arthur Limpens. “We co-designed a mobile battery

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INTERVIEW

cherish them, as they help us to open up the market.” PowerCube is now available in more than twenty countries worldwide, even in the MoMa museumshop.” 3 e wanted to really improve the functionality of the everyday bicycle, not just aesthetics”, says IDE-alumnus Taco Carlier, who runs Vanmoof with his brother Ties. “Our goal as a company is to become big enough to be able to make a fully integrated bicycle design, of which we produce every single part ourselves and which will enable us to boost innovation. We started our mission by designing custom-made frames, which are made by hand anyway, then we moved on to the saddle, to new LED-lights in cooperation with Philips and so on.”

“

charger that was taken into production. We decided to start our own business, based on improving or twisting existing products. Our company name is also a twist of a well-known product: an anagram of CocaCola. We aimed at our own assembly line. As Yixia has great connections in China, we managed to set up our own assembly line in China.”

copying our first models on the market, we were already working on a version 2.0. As we have our own assembly line, we are able to try new production techniques and tweak the production process where needed, resulting in a product that outclasses the competition in both quality and price. Because of this we are not afraid of any future copycats and even

The Carlier brothers made the initial investments in their bicycle enterprise with the money they had earned with their first company Dutchband, founded in 2001 and now a big supplier of wristbands, seal stations and token machines for events. “Our involvement in the bicycle business started during my internship at Corus (currently Tata Steel). I needed a 1

The experience of their graduation project turned out to be very helpful. “Because of our experience of a full design process, including production, Rabobank was willing to give us a government-backed loan that enabled us to design and develop the first moulds.” Their innovative product idea was soon copied by one of the biggest distributing companies in the Netherlands. “The most important defence against copycats is not to try to fence everything off with patents and copyrights, but to keep on developing and improving your product. As true designers we know the ins and outs of our products, and therefore are always several steps ahead of any copycat. This is the main reason for warding off this copycat: not by legal action, but by just having a superior product. As they were

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INTERVIEW

bicycle for that, browsed the web and bought a Strida, a peculiar, triangular shaped, foldable bicycle. My brother and I talked about distributing these and in the end we decided to fully redesign city bikes. For some reason, city bikes had not been innovated for many years, unlike other types of bicycles.” Vanmoof’s latest design is an electrically powered bicycle, with batteries integrated in the frame and a remote control that lights up the bicycle similar to unlocking a car. The bicycle is equipped with GPS, enabling track and trace, part of the Carlier brothers’ latest mission: reducing bicycle theft. “Because of the high chance of theft, many people ride on run down bicycles. Because of that lack comfort, people use their bicycle less. We intend to integrate five or six different ways of retracing your bicycle. This could also improve bicycle sharing systems, because they could then do without docking stations and the inherent capacity issues.” 3

eleen Willemsen graduated at IDE in 2005 on the design of Babybloom, a child- and parent friendly incubator offering intensive and natural contact between mother and child. “My graduation design was published in Delta university magazine and then got picked up by national newspapers and hospitals called and asked where they could buy Babybloom.” With her brotherin-law, Willemsen decided to explore the possibilities of starting their own business, Babybloom Healthcare. “We had a strong business case since existing manufacturers of incubators did not adjust their products to the changing needs in neonatology.” They decided to base their company in Leiden, home of many companies active in bioscience. Funding the expensive design and certification process however, turned out to be hard. “Investors want to see a functioning prototype. The development of such a proof-of-principle prototype however, takes tons of euros. We

financed our activities with prize money from awards, personal loans at the bank and with a pre-seed funding of Leiden University. In the end, we were able to convince a group of private investors and ABN AMRO Bank, where we applied for a government-backed loan for innovative start-ups. We have also received funding by InnovationQuarter.” After many years of design and development, the Babybloom incubator is now a CE-certified product. “The first ten incubators have been sold and installed and we have had promising conversations with hospitals in foreign countries, especially in the Middle-East.” 3

YES!Delft

YES!Delft, a high tech entrepreneurs centre aimed at inspiring students and professionals to make their first steps on the path to becoming an entrepreneur. YES!Delft offers the necessary support to turn a venture into a success. More than a hundred companies have started under the wings of YES!Delft, including many IDE alumni success stories like Senz Umbrellas, Epyon Power, NightBalance, Calendar 42 and Exo-L. For more info visit: www.yesdelft.nl

Start-up Voucher

Do you need funding to build your prototype in the process of developing your own business? With the goal of stimulating entrepreneurship, TU Delft has a fund that aims to bridge the gap between graduation and incubation. The Start-up Voucher offers 2,500 euros for the development of tangible prototypes of creative and promising ideas in the process of starting your own business. A selection committee decides who will be awarded with the Startup Voucher. For more info visit: www.io.tudelft.nl/startup

november 2014 | turn the page

JUBILEE

f o s n o i 50 edit INE Z A G A M OUR A lot has changed since the first edition, fifteen years ago. Turn The Page started as a coverless student magazine written in Dutch. The name indicated that the reader must turn the page to find out what each edition is about. Every year a new committee took over the editorial and left their mark on the faculty magazine. Over the years Turn The Page has transformed into a well appreciated, professionally printed magazine with a current print run of 6900 copies. All IDE alumni and members of Study association i.d receive an edition every quarter. Both content and design have changed over the years following the students interests and ideas about graphic design. Take a look at the following pages to see this development. text by Jet Gispen | layout by Wouter van Strien scans by Laura van Utenhove

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JUBILEE

FIRST EDITION 2000

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JUBILEE 2007

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JUBILEE 2003 2011

2003 2012

2003 2013

2003 2014

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NEWS

NEWS Prize winners For more information about the prize winners, please visit: io.tudelft.nl/prizewinners

Student project RiziQi in ASN Bank competition

Emilia Pucci received Inspiration Student Award

Dined wins Dutch Data Award

RiziQi is a human powered energy producer, optimally suitable for developing countries. Two IDE master students are competing in the ‘Voor de Wereld van Morgen’ (The World of Tomorrow) competition from the ASN Bank with their product RiziQi.

Emilia Pucci, alumna of our faculty, received TU’s first Inspiration Student Award for bringing a fablab with 3D printing equipment into a deprived neighbourhood in Rotterdam. Emilia thus challenged and stimulated the cleverness of school dropouts.

Data about the human body dimensions (anthropometry) can be a valuable source of information when designing products. These data are freely accessible through DINED: a website developed by the faculty of IDE with Johan Molenbroek.

Odette da Silva wins Robert Francès Award with paper

IDE students’ design agency wins green train competition

Best Paper Runner Award for Lianne Simonse at IPDMC

On the International Association of Empirical Aesthetics Conference in New York, PhD candidate Odette da Silva won the Robert Francès Award. The title of her paper was ‘Intentions and the Aesthetics or Artifacts’. Coauthors were Paul Hekkert and N. Crilly (Cambridge).

It’s been on the tracks since the end of September: the ‘green train’ by design agency Spek. The agency, run by IDE students Steffen de Jonge and Michiel van Sinderen, has won the NS and Eneco competition for the exterior of a ‘green train’.

At the International Conference on Product Development Management Conference (IPDMC) in LimerickIreland, IDE assistant Professor Lianne Simonse received the ‘Best Paper Runner Award’ together with Professor Helen Perks from the Nottingham University.

Design challenges iF Student Design Award

Het Leukste Spel van Nederland

Talented young designers from all over the globe are invited to enter their creative ideas and visionary concepts of the future. You can choose a specific design discipline and a so called trend root: a field of change that indicates a change in society that the entry is most likely to achieve.

Do you like (board)games? One of the biggest Dutch game producers, Identity Games, has launched a design competition in cooperation with Quest magazine. They’re looking for the best new game of the Netherlands and want you to contribute an idea for an innovative game concept.

www.ifdesign.de/student

15 December 2014

www.quest.nl/leukstespel

1 January 2015

november 2014 | turn the page

COMPANY INSIGHT

Who knew one of the most influential industrial design agencies is located in the picturesque town of Geldermalsen. For thirty years now, Van der Veer Designers has created commercially successful products in urban transportation. Their surprising and innovative designs have been awarded with several international design awards. What is the secret to their success? text by Laura van Utenhove layout by Noëlle Lugtenburg an der Veer Designers has long-term relationships with many established companies such as Yepp, Gazelle, DAF Trucks, VDL and Quinny. The agency continuously provides its relations with new product ideas and exciting redesigns. Each project starts with a request from a client. A company approaches Van der Veer Designers because they have heard of the commercial success of previous designs. Van der Veer Designers’ strong team of experts determines the right focus on each project by analysing the client’s vision, needs and goals and creating a clear understanding of the market in which the client operates. Because Van der Veer Designers believe a product is a brand; the client’s brand vision and values form the starting point for each project. Each project is done with a focus on commercial success for the client. The enthusiastic team of creative professionals generate ideas and communicate these to the client through sketches, renderings and physical prototypes.

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The goal is always to delight the client with innovative ideas that go beyond the expected. An example of such a project is the Yepp Maxi children’s bicycle seat. The company’s priority was to make a comfortable seat completely different from the existing injection moulded versions with fabric inlays. Even though using fabric would make the chair more comfortable, the poor resistance of fabric to water and dirt would make it a bad choice. Besides that consumers often lose these inlays. The design team decided to choose a material that is shock absorbing, lightweight, soft and easy to clean: EVA, the plastic used to make Crocs-shoes. The outcome was a real success: The product convinced Yepp as well as its customers. Soon Yepp became market leader in the Netherlands and it is currently conquering the global market. Yepp was created for GMG BV. Their CEO Michel Krechting about Van der Veer Designers: “GMG BV’s choice for a structural and strategic cooperation with Van de Veer Designers since 2008 is based on the broad and large experience of this multidisciplinary agency, particularly in the transport sector. The informal interaction with employees and team members is pleasant and there is a lot of enthusiasm and dedication to the various innovative projects. The team members feel positively challenged by the client and are capable to think out of the box which made the application of EVA possible for the Yepp bicycle seats.” After developing and engineering the Yepp bicycle seat further, Van der Veer Designers also helped with the production start-up to make sure the design would stay intact and be implemented as intended. -

FEATURE

A bitter notebook, pointy perfume and orange Thursdays: For synaesthetes everyday life has a whole new dimension. Small lapses in the development of their brain have prevented certain links between different parts of the brain to be eliminated. This cross-activation of different neural regions triggers multimodal sensations. Synaesthesia is described as a perceptual condition of mixed sensations: a stimulus in one sensory modality (e.g., hearing) involuntarily elicits a sensation in another modality (e.g. vision). Likewise, perception of a form (e.g., a letter) may induce an unusual perception in the same modality (e.g. a colour). by Jet Gispen

his might sound as if synaesthetes suffer severe brain damage, but in reality they have very useful neural abilities that can be used to their advantage. History has shown multiple famous artists who used their synaesthetic abilities for creative inspiration. A wellknown example is Russian painter Vassily Kandinsky, widely credited with making the world’s first truly abstract paintings. Since he was a boy he had been fascinated with colours. He refers to his works as visual symphonies in which all the shapes and colours are in harmony. “Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings,” Kandinsky famously proclaims. “The artist is the hand which plays, touching one key or another, to cause vibrations in the soul.” Synaesthesia has also proven to have advantages in design and business. Ford Motors created a custom position for engineer Michael Haverkamp with the title ‘Specialist in Cross-sensory Harmonization’. He uses his synaesthesia to better streamline collaboration between the company’s sound engineers, visual

designers, and haptics specialists. Other companies seem to have caught on the benefits of cross-sensory design. General Electric spent last year developing twominute musical soundtracks for each of its appliance brands. Toyota Motor has tinkered with its popular Prius, adding a humming sound to warn pedestrians, and other electric car companies are doing the same. Even the scent of brands and products are receiving more attention. Branding agency 12.29 Scent offers clients so called olfactive branding: A unique brand scent that helps trigger consumers to buy your products and strengthens customer relationships. Research shows that all people have a degree of synaesthesia, whether they know or not. Triggering these synaesthetic links in the brain can stimulate creativity: An interesting technique for designers looking for ways to come up with new, creative ideas. The value of synaesthesia for designers – and other creatives – does not necessarily lie in the multisensory experience, but also in the ability to associate freely across the senses.

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FEATURE

Fortunately for us, this ability can be trained. Because we know how hard it can be to keep coming up with new and inspiring ideas, we present you with 5 tips on how to use synaesthesia to boost your creative thinking:

1. mindmapping  As designers we know mindmapping as a visualization tool to map out our thoughts and ideas. But it can also be used to release our synaesthetic potential and enhance creativity. Always use different colours and let the map form its own shape. Combine this with listening to music or lighting a scented candle to go for a full cross-sensory experience.

4. use a colour sheet

5. trust your instinct

The most common form of synaesthesia links each number or letter with a different colour. It’s possible then that the opposite is true and that colours bring particular numbers and letters to mind. When designing a certain mood or associative word, allow your synaesthetic links to help you choose a fitting colour.

The value of synaesthesia lies in its unusual free associations. So let those associations come. Even if your own level of synaesthesia is very low, it’s possible that much of what we call “instinct” is derived at least in part from the associations we make naturally when we look at a word or hear a tune. Instead of dismissing those associations, try to identify them, trust them… and use them in your creative process. 3

2. mix sounds with icons  If sound and colour can be associated, and we know that people “see” low notes as dark and high notes as light, then designers might want to bear those links in mind when choosing the click sound for a coloured icon. Synaesthesia might help to create designs with less user dissonance and a closer match between what the user sees and hears.

3. match text & shapes In one of the most compelling synaesthesia experiments, test subjects – synaesthetes and non-synaesthetes alike - consistently associated the word “kika” with a sharp-pointed shape and the word “bouba” with a rounded shape. Use this knowledge to ensure that the name for your new design matches its perceived shape.

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HOW IT’S MADE

For fifty editions now, Turn The Page committee members have put effort in making a magazine that is both visually pleasing and intellectually interesting. You, as a reader, have been given the opportunity to enjoy the end result. But what happens before the Turn The Page is delivered on your doormat? by Sophie Holierhoek

Similar to the usual creative process, a new Turn The Page starts with a brainstorm. Every Turn The Page member already has a few ideas ready to pitch in this brainstorm, making it possible to make quick decisions. At the end of this brainstorm the committee has chosen most of the subjects and is ready to start writing.

Finding an interesting subject is one thing; writing an interesting article is another. Before the we start writing, we think about how we want to approach the subject. Whether or not an expert should be asked about his or her opinion on the subject is also decided in this stage. Once the writing approach is ‘finalised’, the writer can start writing. The first draft will be checked by the editor-inchief, after which the writer can adjust his piece and prepare it for the magazine.

For a layout the starting point is to get inspired by the subject. From there you can choose colours, styles and fonts. If the subject itself isn’t inspiring enough, the internet has proved to be a helpful source as well. Every week the committee members show each other what they’re working on and gain new ideas on their layout. After several rounds of trying new things and detailing, the article is ready for the final check.

Before the Turn The Page is sent to the printer, all articles are combined into one consonant whole. Every article is thoroughly scanned on irregularities, complementing styles and colour schemes, small mistakes and detailing. The sequence in which the articles will be featured in the magazine is decided based on the subjects and colour schemes of the articles. Once all these final adjustments are made, the Turn The Page is ready for printing.

november 2014 | turn the page

HOW IT’S MADE

Putting Turn The Page together During the layout phase, every article is formed in a separate InDesign document. In order to have all articles together and to get the page numbering right, the articles are combined in a so called book. The book enables you to easily create a PDFdocument of the complete Turn The Page, which can be send to the printer for a proof print and subsequently the final print.

Printer Printing the Turn The Page is the most complicated part of the process and is off course done at a professional printing company. The printing technique used for the Turn The Page is called offset lithography, which is one of the most common printing techniques. As you probably know, the colours used for printing are CMYK: cyan, magenta, yellow and black. Every existing colour in print is a different combination of those four colours. A lithography press exists of at least four press units: one for each colour. To print whatever you have designed – in this case the Turn The Page – the percentages of C, M, Y and K are isolated and laser-etched on separate press plates that each fit a set of eight to sixteen pages. The press plate is then rolled onto the press plate cylinder in the correct press unit. Once the press plate is rolled on the cylinder, it is subsequently immersed in water and ink. Water only sticks on the non-image parts, whereas ink merely sticks on the image part. On the next cylinder, the blanket cylinder, the water is squeezed off the plate, which leaves only the ink. In the meanwhile, loose sheets of paper are run through the press units past the blanket cylinder, where the ink is pressed on the paper. Once the sheets have been run through all four press units, they are dried with hot and cool air and placed on the delivery pile.

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Once every part is printed, the sheets are cut into separate pages and glued together, with a finished Turn The Page as the end result. Every issue is packaged into its own cellophane bag and sent on its way to their rightful receivers. A small part of the complete batch is delivered at Study association i.d, but you… you receive your TTP directly on your doormat. Seeing that you have it in your hands right now, it paid off. Happy reading! -

FEATURE

To Capture a Scent

â&#x20AC;&#x153;A perfume is a work of art, and the object that contains it must be a masterpieceâ&#x20AC;?, are the eloquent words of Robert Ricci, founder of The House of Nina Ricci. Arguably, there is nothing more transient as perfume -- its volatile traits lasting only for a while once sprayed. It is the container that, as physical resemblance of the perfume is to be remembered. by Ewoud Komen

november 2014 | turn the page

FEATURE

arc Rosen, award-winning cosmetic and luxury packaging designer states that “the bottle should be the physical embodiment of the fragrance”, acting as the silent salesman of the scent. It has been this way since ancient times. Throughout history, perfume containers and vessels have come in variety of materials, shapes and sizes, as these containers were considered as valuable as the perfume itself, transforming the fragrances. Evidence of perfume making began in Egypt and Mesopotamia. The first modern perfumes were created in the 14th century by the Hungarians, for Queen Elizabeth of Hungary. Soon after this, the art of perfumery spread through the rest of Europe, resulting in the Grasse region in France as the center of the European perfume industry. Nowadays, one of the most iconic perfume bottle designs is that of the Chanel No. 5 perfume. Historian Tilar J. Mazzeo writes in her history of the scent: “When we think of Chanel No. 5 today, what comes to mind above all is the bottle. It’s the part of the product for most of us that is immediately iconic. In fact, it’s one of the curiosities of its history that far fewer people are able to identify the perfume by its scent alone - a strange state of things for a legendary fragrance.” The packaging of Chanel No. 5 changed the way perfume bottles were designed. During the late 1800’s the style and art of perfume bottles changed dramatically. The Art Nouveau style

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was all the rage at the time, and designers of the bottles followed art and fashion trends. Coco Chanel broke with this trend of overelaborate, precious fussiness of the crystal fragrance bottles popularised by Lalique and Baccarat. A few myths surround the minimalistic bottle design are that it is claimed that Coco Chanel was inspired by the whiskey decanter of her lover, Arthur “Boy” Chapel. Other stories claim the geometry of Place Vendôme in Paris was the ultimate inspiration. The original container had small, delicate, rounded shoulders and was sold only in Chanel boutiques to select clients. In 1924, when “Parfums Chanel” incorporated, the glass proved too thin to sustain shipping and distribution. The bottle was modified with square, faceted corners. The vessel was described in a marketing campaign: “the perfection of the product forbids dressing it in the customary artifices. Why rely on the art of the glassmaker … Mademoiselle is proud to present simple bottles adorned only by precious teardrops of perfume of incomparable quality, unique in composition, revealing the artistic personality of their creator.” As of now, the Chanel No. 5 bottle sells every thirty seconds, making it one of the most popular perfumes ever produced. Made possible by the design, the art of capturing the scent in an iconic form, that is recognisable to everyone. 3

INTERVIEW

message in a The production of a plastic bottle takes one liter of water and a quarter liter of oil. in the US alone, almost half a million single-use plastic bottles are wasted every minute, of which less than twenty percent is recycled. Many bottles end up in landfills and in the ocean, feeding the increasingly large ‘plastic soup’ of waste particles. IDE alumnus Rinke van Remortel (1978) designed Dopper, a sustainable alternative. text by Michel Heesen | layout by Ewoud Komen | photo by Hans Stakelbeek

he story behind Dopper starts with Merijn Everaarts, organiser of events, who watched a documentary on the plastic soup: a collection of plastic waste particles floating in the five oceans of the world, containing an estimated one hundred billion kilo’s of plastic waste. Everaarts wondered why so many people keep buying single-use plastic bottles filled with mineral water instead of re-filling a multiple use bottle with tap water. He decided to organise a design competition. The main design criteria: a sustainable, easily washable tap water bottle. About a hundred design concepts were handed in. IDE alumnus Rinke van Remortel managed to beat the competition with a design concept based on an elegant carafe with an upside down cup for a cap. “I never felt much for design competitions”, says Rinke van Remortel. “This competition caught my attention because it was all about sustainability and corporate social responsibility: part of the profit is donated to Simavi. Also I believed that my idea could become a winner.”

november 2014 | turn the page

INTERVIEW

Van Remortel noticed that most existing plastic mineral water bottles offer easy drinking, but are hard to clean because of the narrow bottleneck. “My idea was to make a removable bottleneck in the form of an upside down cup. He was closely involved in developing the design concept into an actual product. “We slightly adjusted the proportions of the bottle, making it easier to carry the bottle in a purse and we made the product dishwasher proof. Dopper can now contain about half a liter of water. One of the biggest challenges was how to manufacture the bottle without changing the original design concept. In this struggle, I received a lot of support from companies linked to my employer.” Van Remortel works at Hapro international, a manufacturer of sun beds and roofboxes that is part of VDL Groep. One of the VDL companies, VDL Wientjes, is specialised in plastic products. They have a lot of knowledge on hot pressing, injection moulding, vacuum forming and a variety of processing techniques such as CNC machining, welding, gluing and assembly. “I think many students would be susprised to see how many different techniques are involved in the making of roofboxes and sunbeds. A sunbed, for example, is more than a plastic bed with lights, the design also involves a range of technology on sound, smell, air streams, air conditioning and so on.” With hundreds of thousands of bottles sold annually, Dopper is a successful product. Although Van Remortel was heavily involved in the design, he is not involved financially. “I have got a beautiful job at Hapro. My work for Dopper is on a freelance basis, developing new product concepts and products. After all: one product is no product. We recently developed Dopper Steel, which meets the requirements for the US markets, where customers favour a bigger bottle. And we are about to introduce a new sports cap, a retrofit that turns Dopper Steel into a bicycle bottle and also fits Dopper original.”

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In what way has graduating at IDE helped in his career? “At IDE you learn powerful ways of analysing problems. The only thing I probably missed at IDE, in retrospect, was learning more about acquiring design concepts. How to present the business case? At IDE, presentations are focused on the designW process towards a concept, whereas in real life, a presentation is mainly about product costs, materials used and how soon it can be ready for production.” Van Remortel graduated at IDE in Design for Sustainability, on a design for bicycle wear. “Cycling is one of the most efficient ways of transport, especially in the city. However, cycling as a means of transport for commuting occasionally means getting a wet suit. I wanted to design something that would eliminate that factor. Existing rain suits take too much time when the rain strikes and they are not very comfortable. I decided to focus on something that would protect your trousers. A wet coat is not a big issue: you take off your coat and wait for it to dry. Wet jeans however, are very annoying. I designed a kind of rain cover that could be unfolded from underneath the bike handlebars. The design was not taken into production, but I recently received a phone call from the company. They had recovered the idea and were interested again.” 3 www.dopper.com www.vanremortel.nl

Always wanted to have your very own Dopper? Come to the Turn The Page exhibition in the IDE hall between November 10th and 14th to win one for free!

INTERVIEW

On Friday October 24th, honarary i.d-Member and chair Professor Management of Innovation Jan Buijs (1948) gave his farewell speech and opened an exhibition at the faculty of IDE. Buijs was one of the first graduates at IDE and received the very first PhD. In the Biergarten behind Schieblock in Rotterdam, Buijs reflects on some keywords. text by Michel Heesen | photo by Hans Stakelbeek | layout by Maya Reus

november 2014 | turn the page

INTERVIEW

Management and innovation “If you ask me ‘management’ and ‘innovation’ are words that make no sense. It should actually be managing and innovating, they are activities, part of a process. My job has been to show students that managing and innovating are activities that you can learn, an activity that requires certain steps. I never felt the urge to make a consultancy business out of my knowledge and methods, except for occasional advice on boardroom level. In fact, I think it would be very wrong to run a business next to my academic work: I would become a competitor to my own alumni, many of whom make a living by running a consultancy in this field.” ‘Valorisation’ “A buzz-word if you ask me. University’s core businesses are research and education. If I share my enthusiasm about the faculty of Industrial Design Engineering with a high school class and one of those kids decides to go to Delft, isn’t there value in that as well? What about my lectures or the books that I have written? Isn’t that my core business as a professor? Besides, that is already a full-time job. Who is going to do my job if I have to divide my time in order to bring in extra money? That would require a second Jan Buijs. First of all, I am convinced that people prefer the original. Secondly, that extra Jan Buijs will also cost extra money. What is the win-win in all this?” Farewell speech and exhibition “It is a tradition in the academic world to ask your ‘amici’ to write friendly things in a book. I wanted my amici to contribute to an exhibition and asked: What product has had a major effect on your personal life? I mean life-changing, tangible products, not ‘the internet’. I want to show that innovation is a relative thing. I have no idea what people will come up with, but I am hoping for an answer like: ‘my first beer’. A product with a big impact on my personal life was my parents’ first car, a DAF 750. My father was employed as a teacher in Rotterdam. All of a sudden we had a car and were able to explore the country and visit people in ways that we never could before. Another life-changing product was my Apple Macintosh computer.” Adrian, Fedde, Wouter, Doeke, Sarkis and so on “Ten top designers in the automotive industry have studied here at IDE. If you read an interview with Adrian van

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Hooydonk, you will always hear him talk about his education at IDE, about our integrated approach. It makes me proud. I consider them to be my intellectual children. At IDE, they have learned that innovating is not a one men’s job and not only about new technology. Instead, it is about teamwork and integrating and balancing the whole product service system: technology, service, marketing, strategy and so on. We are on the brink of disruptive innovations in the automotive industry. For example: the self-driving vehicle. Can I drive one without a licence? Another example: electrically powered vehicles. They are based on technology that has been around for more than a hundred years. Yet, the industry has not solved the issue of ‘range anxiety’, the fear of an empty battery. Superfast chargers? They require a new infrastructure. Interchangeable batteries? Requires standardisation. The first generation of gasoline cars had the same issue: they all had differently sized gas fill openings.” International students “The growing number of foreign students has raised the bar, it has led to an upward drive in quality. Students from foreign countries are often extremely motivated and specifically choose IDE. I recently overheard a conversation during a flight from Denmark. A foreign US student was telling his neighbour why he had chosen IDE: because of our integrated approach. In many countries, students first seek a job after getting their Bachelor and then work for a couple of years, saving money for a Master. They leave their home country for two years and really want to make use of their time at IDE. If I ask a group of students if anyone is willing to help me out with something, it is usually a foreign student who does. Most Dutch students prefer their weekly Thursday night in the bar. In recent years, we have even experienced foreign students who asked not to be scheduled in a group with Dutch students. They considered them to be less motivated. The good news is that Dutch students are catching up.” After October 24th? “No idea. I haven’t made any travel plans and I don’t like playing golf. Another book maybe?” 3 ‘The Innovating Experience’ exhibition, Friday October 24th till Friday November 7th, IDE Main hall.

GADGETS

Kohler Moxie Similar to many objects in our daily life music is one of those things that we want to carry with us everywhere. Even in the shower. The Moxie gives you just that: the portable speaker works anywhere but is especially made to fit in the Moxie showerhead. Finally, a chance to sing in the shower with perfect background acoustics! ¤ 100,-

kohler.com

Cardboard projector There is no such thing as watching a movie at a cinema. Or is there? The cardboard smartphone projector makes it very easy to create your own home-cinema. Whether you have a date, a lazy movie night, or you’re just bored in say, the subway, with this projector you can watch a movie in style everywhere. ¤ 20,-

firebox.com

bottle chandelier As a student you’ve probably known it for a long time: old wine bottles function perfectly fine as chandeliers. Now you can make your dinner even more romantic by making actual chandeliers of your bottles and being able to open them at the same time. Just make sure your candles aren’t lit while you pop the bottle… ¤ 21,-

atypyk.com

november 2014 | turn the page

GADGETS G by Sophie Holierhoek

Temporary tattoo pen kit Always wanted a tattoo but never had the balls to get one? Just draw your design directly on your arm and you can decide whether this is a look you want till death thou do part or just for one night only. It’s all up to you! ¤ 17,-

bewild.com

Kudamemo notepads Are you tired of the same old Post-its we’ve all been using for years now? Kudamemo brings you notepads that cheer up your desk and your fruit bowl. Whether you prefer apple, peach or pomegranate, you can now write down your notes in style. starting at ¤ 0.58 a piece

aliexpress.com

Coffee mak ing alarm clock Do you know that feeling? Being woken up by your alarm clock just a tad bit too early, making you crave for a decent cup of coffee? Barisieur is to your rescue. The alarm clock starts preparing your coffee mere moments before you are to wake up so you’ll wake up with the smell of fresh coffee and a cup of coffee to match. This product isn’t available to purchase yet, so keep an eye on the website. joshrenoufdesign.com turn the page | november 2014

BOOKS + BLOGS

BOOKS by Maya Reus

; Chineasy

So she created her own method to learn how to read Chinese characters. Together with renowned illustrator Noma Bar, they transformed Chinese characters into the Chinese is regarded as one of the delightful pictograms that are not only most difficult languages to learn in the easy to remember but also fun to learn. world. But the hardship has come to an After you learn a few key base characters, end thanks to Chineasy. It’s a method like fire and tree, you can start combining that transforms key Chinese characters them to create more complex words into pictograms for easy recall and and eventually phrases. The ultimate comprehension. Behind the concept is Shaolan, a Taiwanese born entrepreneur, ambition is to bring down ‘the great wall of Chinese language’ and allow Eastern who got the idea when she started to and Western cultures to communicate teach her British born children Chinese freely, thus bridging the gap between the and realised how difficult Chinese characters are for native English speakers East and the West.. to learn. None of the methods she has ISBN: 9789077438022 found were efficient or engaging enough. by Shaolan Hsueh & Noma Bar

: Color your own modern

art masterpieces by Muncie Hendler

Unquestionably one of the most fun things to do whilst waiting at the dentist. Colouring books are the ideal activity for when you are bored and want to do something relaxing. With this modern art colouring book you will also get to pretend you are a famous artist and get to learn about all must-know paintings. If you are afraid it is socially unacceptable to colour, then you’re just not cool enough. . ISBN: 9780486293288

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BOOKS + BLOGS

BLOGS = Rorschmap This website gives you a different view of the world, literally. The essence is simple: google maps through a kaleidoscope. It is not for searching the route but for people who are bored with squares and want new shapes and dimensions. Just go to the site, type in your hometown and get hypnotized. Or click the random button (which will most likely show you a lot of sea, since the earthâ&#x20AC;&#x2122;s surface is 71 percent sea). www.rorschmap.com

;Design For Good Form follows social function. That is the noble motto of design for good. They cover everything about design that is socially beneficial. Think industrial design that addresses problems in the developing world and guerrilla design interventions that make urban life more appealing. As more people become

aware of social, ethical, health and environmental issues, the demand for blogs like these is rapidly growing. The blog excites you to contribute to the world, your country and your community. www.bigthink.com/designforgood

: Laughing Squid Laughing squid covers the new and the cool on art, culture and technology. There arenâ&#x20AC;&#x2122;t really limitations as to what you can expect. Sometimes music, sometimes 8 bit cinema, interesting TED talks and even illustrations. However please be warned, you might also stumble upon Random Gifs or dog videos. www.laughingsquid.com

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50 turn the page | november 2014

Lose your mind and come to your

SCRA TCH & SNIF F

Fritz Perls

jubilee edition

50 | November 2014