Turn The Page #73 Treehouse by ID study association

COVER STORY About Illustrating IDEXPO YKMA INTERVIEW Buried in Mycelium 73 | July 2020

In times of social distancing, we all find ourselves making video calls much more often. I am doing a videocall right now, while writing this. It is funny to see how the panic around failing connections, not working webcams and funny stuff happening in the background has turned into an era where ever ybody is an exper t on videocalling. Because having a good videocall is the new normal, I find myself tr ying to make things more creative. The way I chose: Zoom Vir tual Backgrounds. Last week I spent more than 3 hours finding and making Z VB’s (I can call them Z VB’s) for ever y possible situation. There are memes, the Windows XP wallpaper, I have one that makes me look like I’m piloting a spaceship, you can see me sitting on the Iron Throne and did I mention memes? A ver y special videocall has lead us as an association to a new board for next year. Eight ver y enthusiastic individuals are going to do ever y thing to make next year as memorable as can be. This also means it’s the last time I’ll be writing this Turn The Page introduction for you, since the next time you’ll be greeted by a new Chairman of ID. It has been a pleasure!

Martijn Nieuwenhuijse Chairman of ID

TA B L E O F C O N T E N T S 06

RECURRING BABE+

FEATURE ART THERAPY

COVERSTORY ABOUT ILLUSTRATING

IDEXPO FUC

STORY BEHIND THE BIG LEAP

INTERVIEW BURIED IN MYCELIUM

TABOO CECI N’EST PAS UNE OEUVRE D’ART

IDEXPO YKMA

ID PAGES POEM

ADVERTORIAL KOOS SERVICE DESIGN

FEATURE THE REUSE CIT Y

EXPLODED DESIGN DYSLEXIC HANDEATER

ADVERTORIAL VAN BERLO

IDEXPO STRANGERS OF THE STREET

FEATURE PEOPLE, STUFF & INTUITION

FEATURE WHO SHAPES A CHILD’S WORLD?

ID PAGES COLOUR ID

FEATURE TWO EX TRA ONLINE-ONLY ARTICLES

ID PAGES UPCOMING EVENTS

RECURRING HUTSPOT

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EDITORIAL

Jorn Rigter Treasurer

Imara Stemvers Publicity

Maartje Roggeveen External Affairs

G�s Rempt Layout

Susanna Osinga Secretary

Stein van Veggel Chairman Renee Brants Acquisition

Juwe van Vliet Qualitate Qua

Zach Cobut Editor in Chief

EDITORIAL I often write down my dreams immediately after waking up. So my first thought for introducing this edition of the Turn The Page was that I should discuss one of my dreams here. It turned out this would take up at least twice the space provided for this editorial. I figured that the message could also be made clear by a few keywords, put in the dream’s chronological order. It’s up to you to guess what happened: ‘Sweden, elevator, painting, sunset, wedding anniversar y, wrong color, flowers, metal, seven years, children’s book, explosion.’ We obviously tend to become more associative in our dreams, almost as if we think like children again. At times, this can be beneficial, boosting creativity and helping to arrive at out-of-the-box solutions. In the ar ticle ‘Who shapes a child’s world? ’, about co-designing with kids, exactly this is discussed. It makes me realize we don’t have to be old and experienced to produce good ideas. Young designers can be surprisingly successful for their age. This is shown in, among other things, our three IDEXPO’s,

turn the page | July 2020

the Stor y Behind Komovo and the Cover Stor y, in which we inter viewed 24-year-old children’s book illustrator Maureen Wattenbergh. Perhaps you can learn from this and go back to being a child once in a while. This is one of the reasons why this edition’s theme is ‘Tree House’ (and why there’s a colouring picture on page 29, have fun!). Since our previous edition was online-only, we’re excited to announce that this summer edition comes with two extra pages and a postcard! If you’re still hungr y for more, we published two more ar ticles in the online version of this edition. Make sure to check them out too!

BABE+

by Susanna Osinga

BOOBIE BILLIE Do you want to question your own style by comparing yourself to a tiny dog? Look no fur ther, Boobie Billie’s Instagram account is filled with sassy pictures of the chihuahua rocking designer outfits. People are spending exceedingly more money on their dogs. I f you’re interested in designing for loyal fourlegged friends this might be your time to shine. www.instagram.com/boobie_billie

14,000 THINGS TO BE HAPPY ABOUT Falling on grass; a successful first attempt; the exciting moment when you first look out the window to see what the snow has done; rain ponchos; when you pour soda and the fizz shoots right to the brim, you expect it to over flow, but it slowly drops down... This book doesn’t have a thrilling plot or realistic characters or even chapters. It’s a quirky list of all the tiny things in life that can and should put a smile on your face.

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BABE+

Google Ar ts and Culture allows you to stroll around the MoMA and look at the expositions in Villa Belvedere while you lay slumped on your couch eating potato crisps. You can zoom in on paintings so closely you will be able to see the texture of the canvas, without getting angr y glares from security. Go fancy yourself an ar t connoisseur. www.ar tsandculture.google.com

ONLINE MUSEUM

Sending a book to a loved one using only two postage stamps, Kakkerlakjes (cockroaches) make it possible. Kakkerlakjes are books tiny enough to fit through the mailbox, but just large enough to tell a tale. With stories ranging from “Ulysees in shor t” to “poems about sex” you will be able to find a Kakkerlakje for your grandmother and your little nephew. www.kakkerlakjes.nl

Opposing the mindset that ‘busy is better’, Hurr y Slowly is a podcast created by writer and editor Jocelyn K. Glei. She hosts inter views with scientists, entrepreneurs and ar tists to explore how we can be more productive and creative by making smar ter decisions, feeling more comfor table taking risks and managing our time and attention. www.hurr yslowly.com

HURRY S L O W LY

K AKKERLAK turn the page | July 2020

BABE+

CHASING COR A L “Most people stare up into space with wonder. Yet we have this almost alien world on our own planet, just teeming with life. It’s a world completely out of sight and out of mind.” Coral reefs are dying at an alarming rate and the Netflix documentar y Chasing Coral shows this ver y clearly. A saddening but inspiring mustwatch that has now been shared on YouTube. www.netflix.com/chasingcoral

Works That Work is a magazine filled with original essays and in-depth stories about the impact of creative ideas in ever yday life. There are no new publications, but there are ten editions about unexpected creativity to be read. The magazine showed examples from bustling cities in Africa to towns nor th of the Arctic Circle, as well as metropolises all over the world. www.worksthatwork.com

WO RK S T H AT W O R K UNSPL ASH If watermarks and hazy pictures are ruining your projects, Unsplash might be your new best friend. The website offers free use of stock photos. Good quality stock photos (you don’t even need to credit the photographer). No pictures of businessmen vacantly smiling, giving a thumbs up in front of a staged office. www.unsplash.com

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BABE+

CODE AC A DE M Y Whether you just want to play around with coding or you are a budding web designer who wants to build a side project, Code Academy is the place to be. It offers quite a few free, easy to follow and enjoyable programs and courses. Before you know it, you will be cursing syntax errors and laughing about <poor> geek jokes. .yomama { width: 9999999999px } www.codeacademy.com

S TAY S A N E , S TAY S A F E “We’ve heard that you’re a more than decent designer. And we’re in dire need of your aid to help save people from themselves in these crazy times.” Stay Sane, Stay Safe calls out to graphic designers around the globe to create posters that spread some love and inspire to stay at bay. The Dutch initiative has more than 1500 contributions from more than eighty countries and is currently ver y busy to print and send the original posters to hospitals. www.stay-sane-stay-safe.com

Hanno Delft offers a carefree evening, an evening where you do not have to be in the kitchen. The restaurant has adapted to the current situation and offers a surprising evening in your own house. “We deliver more than food, we deliver an evening out, at home. How? That is a bit different for ever y regularly changing countr y theme and, above all, a big surprise. We long for food of the world, glasses full of happiness, and boundless hospitality.” www.hannodelft.nl

HANNO turn the page | July 2020

COVERSTORY

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COVERSTORY

Pages-long, handwritten letters have been replaced with text messages consisting of two words and emojis. People can send each other moving pictures to make clear how funny or sarcastic they intend to be. Our growing lack of attention and our craving for stimuli and exploration show a strong similarity with children scanning through books, lingering on colours and patterns whilst ignoring paragraphs, words and letters. We, virtually, sat down with Maureen Wattenbergh, illustrator of (mostly) childrenâ&#x20AC;&#x2122;s books, to talk about her way of shaping imaginary worlds. by Maartje Roggeveen and Juwe van Vliet illustrations by Maureen Wattenbergh

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COVERSTORY

Wablief? The kind and modest word travelled from Antwerp, Belgium to our laptops speakers in Delft. Our heads moved closer to the laptop, tr ying to find the optimal location for Maureen to hear our questions more clearly, causing Maureen to laugh at our now enormous foreheads filling up her screen. Do you think of yourself as a designer? AN ILLUSTR ATORS APPROACH I suppose so. I go through an iterative cycle of doing research, making sketches, checking with my client, combining manual techniques, failing, detailing, checking again and then, eventually, I finetune ever y thing digitally. I officially graduated as a graphic designer, but I guess I like to see myself more as an illustrator. Although I also work on more graphic projects, like posters for cer tain events, I always tr y to approach ever y thing as an illustrator. What does that mean, approaching things as an illustrator? Well, for instance, I create the typography for a poster from scratch instead of selecting a suitable, already existing font. I work ver y figuratively and with imagination. Indeed, when you browse through Maureen’s website, you can see that she literally builds up her work. Both her illustrative and her graphic projects consist of layers and combinations of different techniques, resulting in a collage-like effect. There’s a cat fishing for mermaids, an old lady grooving to some tunes and a couple of mice drinking tea, accompanied by a dragon. RECOGNISING PERSONAL ST Y LE Why do you enjoy illustrating for children? Is this something that happened coincidentally or did you purposely shape your style to fit within their preferences? I just find them interesting. I’m studying to be an ar t teacher now as well. Children are unintendedly open for fantasy and weirdness, boldness and colours. And mistakes, haha. Adults often lose this feeling or love for exploration. Children are always curious about surreality and don’t bother tr ying to be vague or mysterious or broadly interested, like some ‘ar t lovers’ do.

So this all happened quite intuitively, finding what fits your style? Yes and no. I had to work and search for it, but at the same time, while being over thrown with ever y possible manual and digital technique during my bachelor’s and master’s, I didn’t have any

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COVERSTORY

difficulties discovering what suited me and what didn’t. Though, I must say, in my second and third year I struggled with teachers who were pushing me in directions I didn’t wish to go in. But in the end these conflicts with teachers - and yourself - help to define and shape your preferences. They shed light on challenges you can either take on or choose not to be confronted with. In other words: in order to know what you like, it might be easier to figure out what you dislike? Not necessarily. Well, yes, maybe in the beginning. Typography for example, I really used to hate it. Today, I enjoy it. I think the trick is to experiment with the stuff you dislike, bend it to your own liking. DE VELOPMENT BY E XPERIMENTATION What do you think is the essence of experimentation? And how can you link this with your work? It helps that I’m still being ‘ forced’ to develop my style, because I’m still studying and therefore also constantly in contact with my target group- children. But as I said before: when I dislike something I need to experiment with it in order for it to be fun. I dislike stagnation, so experimenting might even be the most impor tant thing. I’m twenty-four. I can’t imagine that the style I have now will remain exactly the same. It makes me sad even thinking about it. Is there any thing constant about your work? Something you think will stay the same throughout ever y slight change or development? Its funny, at first I didn’t even know I had a style, or a signature way of working. I jumped from one technique to the other. But my friends could tell whether or not I had made something. I think this constant, recognisable factor is more theme dependent than material or technique dependent. There’s always something childish about it. Or maybe enthusiastically innocent is a better way to put it. My work doesn’t really agree with reality. DE ALING WITH CRITICISM The outcome of design is rather concrete and visual. Even the problems that are defined are often visualized and made presentable, which makes it an easy target for criticism. This must also be the case with working as an illustrator, maybe even more so. How do you deal with criticism? At school they often tried to comfor t us by saying: ‘when we criticize your work, we are not 1

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COVERSTORY

criticizing you.’ I found this a bit of bullshit. I mean, in a way they were criticizing me, I put my hear t and soul in this! I was insecure about it at first, but since I shaped my style at school I really had to put a lot of effor t into it. I worked ver y hard for many years. I guess this gives me a legitimate reason to be proud. Also, look around, there are so many talented people! If I’m not given a project, this is not because I’m not good at what I do, but because there are thousands of people and styles to choose from. START FROM SK ETCH Having come back to the topic of conducting research, Maureen tells us she often educates herself while relaxing at the same time: I make myself a cup of tea, grab my sketchbook and watch nature documentaries to study the anatomy of animals.

Photography of illustrations by Maureen Wattenbergh

And then? I thoroughly read the stor y for which I need to make the illustrations, and create a visual summar y and personas of the main characters. When I’m satisfied I usually make a monotype, which is a pressure technique, you roll ink over a plate after which you fabricate the sur face with any thing that suits the illustration (brushes, sticks, sponges, etc.). After having your illustrations go through the press and dr y, I make scans and then edit and combine ever y thing in Photoshop. This fine-tuning par t, I have to look out for. I tend to lose myself and my time in this endphase. Which, by the way, is stupid because I know it’s a waste of energy to spend half of the the total time on a project, on details that people won’t even notice. FINE-TUNING AND PERFECTIONISM Do you ask for feedback throughout the whole process? The correct answer should be yes, right? Well, no. Haha. I find it extremely frustrating when something might look finished to the client, but actually isn’t. I know I should ask clients for feedback in the beginning of the process but I can’t help but fear they might misunderstand my ideas. Having learnt from past mistakes though, I force myself to contact the client earlier on to prevent having to star t from scratch. This overspending your time on fine-tuning you mentioned earlier and your per fectionism, is this due to enthusiasm? Yes, most of the time. Stress is a factor too though, which is strongly dependent on the deadline. But I like my work, it’s ver y likely

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COVERSTORY

I’ll be working till ten p.m. without getting tense or extremely tired. I even think that if my days would be balanced out with teaching in the morning and illustrating until the late afternoon/early evening, I wouldn’t mind at all to work during the weekends as well.

BRE AK DOWN TO BUILD UP After having adjusted our audio settings for the third time, we fur ther talked about both business and pleasure and the sometimes difficult distinction between the two. We discussed the tough role of teachers, especially in the creative field and our concerns about originality. In the end though, when talking about this common interest (and obligation) between designers and illustrators- embodying imagination- we came to the realization that it all comes down to breaking things down and building them up again. As a child I would listen to my grandma telling stories for hours and then rebuild a visual world that could, or rather should, describe the stor y without the words. It’s all about listening to - and then retelling a stor y that you can either personalize or adapt to cer tain expectations of a new audience, preferably maybe both. Interrupted, though positively surprised by someone bringing us cookies, we were confronted with our own inner child, which we then tried to compromise by taking a sip of our grown-up coffee and asking a serious question to end the inter view with. What’s your favorite colour? Green. 3

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STORY BEHIND

leap How can I possibly transition from studying at the faculty of Industrial Design Engineering to working as a designer in the field? This question has probably crossed the mind of every single design student at least once. We sat down with Ties Schotel and Jesse Geurtsen to talk about how they took this leap of faith when they started Komovo, their own design agency. We talked about how they took what they learned from their mistakes and implemented this in the real world. by Gijs Rempt | special thanks to Ties Schotel and Jesse Geurtsen

“We first star ted Komovo two years ago while finishing up our Bachelor’s degree. We had three main ideas: we can’t do the cool stuff on our own, we want to learn by working in the field and we don’t have any thing to lose. We quickly grew to include five others, amongst whom Sanne Keizer and Quinten van Eijs, as well as a large network of freelancers. We formed a ‘dream team’ so to speak, consisting of motivated and talented people. We like to think of ourselves as the Jong Oranje of design agencies: we’re not at the top yet, we’ve got a lot left to learn. But the talent’s there, the motivation’s there.” “What I really struggled with at the beginning is that it’s impor tant to be bold. You’ve got to be confident in your own abilities. That’s how you get your clients to trust you.” Jesse begins. “What also helps is a diverse por tfolio. At first we did a few projects for free, to gain experience and build our por tfolio. We don’t necessarily recommend doing this by the way.” The two erupt in jovial laughter. “After this we could afford to do a few smaller projects,” Ties continues. “As our por tfolio grew, so did our confidence.” “At some point we did a project where we had to design the client’s website as well as their branding. We had to draft an invoice, write down what work we would be doing and for what financial compensation. We had the mentality of ‘I’m the one responsible, I’ll fix it’. That was our first big mistake, I think.”

“We didn’t communicate adequately with our developer,” Jesse adds. “Things ended up being way more complicated than we thought they would be, it took a lot more time than we originally agreed upon.” “Par t of that was because of our second big mistake. As students at IDE, we’re taught to look for the problem behind the problem and that’s what we ended up doing. We widened the scope of the project way fur ther than necessar y, par tly because we loved working on it. Eventually we all ended up working for peanuts when compared to the original agreement.”

“We like to think of ourselves as the Jong Oranje of design agencies.” The two don’t seem too fazed by it. “Of course, it sucked. Big time! We were like Icarus, we were too confident we could do all this work, and ended up crashing. But we learned a lot from that experience. We became better at managing our projects and our time. You need to take responsibility for your mistakes, because those mistakes have real-life consequences. They carr y real risks. We said: ‘All right, we can’t have a single person being the only one responsible for a solution, because you can’t do all of it by yourself.’”

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STORY BEHIND

“And your ego gets in the way,” Jesse chimes in. “If people don’t like your solution, you get the feeling that people don’t like you. That’s why we now work with ‘problem-owners’. One person is responsible for the problem, but we’re all owners of the solution.” During our conversation, Ties gets pulled away to give some feedback on a project the agency is currently working on. Jesse continues without him. “It’s impor tant to know what you like doing, to ask yourself ‘What gives me energy? ’. For me, that trigger was a lecture during the first year course Business, Cultuur en Technologie, about different innovation strategies and Design-Driven Innovation in par ticular. That lecture motivated me a lot. From that moment on I knew that I wanted to do something with that subject.”  “I ended up using the Design-Driven Innovation method for my Bachelor Final Project. Well, abusing might be the more appropriate term here.” He laughs and then continues. “That method was all about working together with a client to create a new vision for their products through an inside-out push and to develop a vision about what could be meaningful to a cer tain target group. At the end of the project I had created a vision for a new product, but this vision was mine, not the client’s. Even though the client didn’t suppor t the project, it gave me the oppor tunity to fail and learn.”

project, we like to sit down with a client and figure out what it is they really want. Only then can we tr y to find the best way to approach the problem, what tool to use.”

“You wouldn’t use a screwdriver to hammer in a nail” “We’ve been hired by a company to use the method Jesse used for his Bachelor Final Project. Because of his earlier learning experience, we can now do the project right. And from this experience we will learn again and do it even better next time. Our advice: are you thinking of star ting a design agency, or any other company for that matter? Just star t, make mistakes and most impor tantly: learn and implement them in future projects.”

Ties returns from his intermezzo and adds to the conversation. “It’s all about gathering tools, be it from a lecture, an internship or any other way. As you get more experienced, you gather more and more tools. And the key is to shape these tools so they fit you and your way of working. We created a database of methods we like using and how we use them, as a kind of reference.” “And it’s impor tant to pick the right tool for the right job,” Jesse adds. “ You wouldn’t use a screwdriver to hammer in a nail. Before we star t a

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TABOO

C ECI N’E ST PA S UNE OEUVRE D ’A R T Poop plated in gold sold for 500.000 dollars, a vacuum cleaner sold for 100.000 dollars, a banana duct-taped to a wall sold for 120.000 dollars. All of the works mentioned above are called art. It’s what the creators say, the dealers say and the buyers of these pieces say. It may make you think of the wisdom of P.T. Barnum that “there’s a sucker born every minute.” by Susanna Osinga

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TABOO

“Why is this ar t again? ” That’s something many people wonder when they wander through a museum. They look at simple lines a toddler could put on paper, shrug and walk on. In 2015, ar t piece “Where Are We Going To Dance Tonight? ” was cleaned up by janitors who thought it was a just a mess. If any thing could be considered ar t, doesn’t ar t itself lose its meaning? And if not: when does something become ar t? We spoke with Maze de Boer, a visual ar tist who creates huge, site-specific ar t pieces. His most famous work was a complete, ‘temporar y’ metro station in Amsterdam. Some travellers spent thir ty minutes to an hour waiting at the “station”. “I regularly talk about the boundar y of ar t, because there are definitely people who wonder when something is ar t. A definite answer can actually be given; if the ar tist calls it ar t, it is ar t. Then you only have to wonder when an ar tist is a real ar tist.”

environment. Works that immediately appeal to the imagination and on closer inspection represent something completely different appeal to me.”

“Skill isn’t the defining factor of good work anymore.” I’ll give you some tips for your next museum visit so you might gain a better understanding of contemporar y pieces. Because at this point, you might think: “All good and well, contemporar y ar t is great, definitely real ar t. I still don’t get it, though.” Let’s look at Night Fishing at Antibes by Picasso and the ducttaped banana by Maurizio Cattelan. 1

For a ver y long time, this distinction was ver y clear. Painters and sculptors were craftsmen and were trained to create the most aesthetically pleasing works. It took Da Vinci around seven years to paint the Mona Lisa. However, skill isn’t the defining factor of good work anymore. Mondriaan was one of the first ar tists to strip paintings of all figurative shapes and to only use primar y colours. You might reason “I could have made that with Microsoft Paint!”, but you would be missing the point. The reason Mondriaan, Picasso and Matisse are considered legendar y ar tists is because they captured the Zeitgeist in an innovative way.

“The first person that presents a white canvas as an art piece makes a statement, the twenty-seventh is just lazy.” However, the boundaries of “ar t” have been stretched so far that making something just based on the idea “what is ar t? ” isn’t inventive any more. The first person that presents a white canvas as an ar t piece makes a statement, the twenty-seventh is just lazy. “Good” contemporar y ar t stretches other boundaries. The boundaries of reality, the boundaries of culture. In Maze’s work, he shows a fascination for illusion. He makes the viewer subject of his work. “It makes you think and sometimes become aware of your

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TABOO 1 . LOOK AND DESCRIBE TO YOURSELF E VERY THING THAT YOU SEE Two fisherman hunting with a spear on a small boat, lit by a mesmerizing light. One leans out of the boat, waiting before catching the fish. On the right, women want to catch their attention, on the left insects fly. The scene is almost violent; the focus is on the spear and the fish. A banana, duct-taped to a blank wall. The duct tape isn’t straight or neat. It looks hastily done, wirhout consideration. The banana is real and will be rotten in two weeks. It is slowly becoming older and less appealing, the ar twork shows temporality. 2. LOOK INTO THE ACTUAL CONTENT The light at the top could be the moon or an acatalyne gas light that fishers used to lure fish. The location is the Antibes, where Picasso was vacationing. The visual of the duct-taped banana is amusing, funny, almost satirical. It looks like modern-day memes: completely random in its form. What’s also wor th noting is that it cost less than ten dollars to make. 3. RESE ARCH THE HISTORICAL AND PERSONAL CONTE X T It was just a couple of weeks before the beginning of World War II. Picasso’s painting shows a moment of hesitation before violence, a moment of choice. This can be seen in the foreboding of the strike, to the bright light also resembling a comet, to the hand gripping the spear being the most realistic par t of the painting. The banana is called ‘The Comedian’. It has become apparent that the modern-day ar t world can be ridiculous and this fruit is associated with clowns slipping. Cattelan is explicitly making fun of how arbitrar y contemporar y ar t can be. The Comedian is a commentar y on the absurdities of ar t and of capitalism, mostly by becoming par t of the problem. So is the banana really ar t or just really high in potassium? In the end, it is up to you. Maze concluded by saying: “When I walk through a museum I am often surprised that I find many works not interesting, exciting or attractive at all. Then I think it’s a good thing that ar t, just like music or literature, can touch you or do nothing for you.” Some works will change the way you think and speak to you, while others might remain gold-plated turds presented on a pedestal. Or does the shape of the poo mean something...? 3

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ID PAGES

golden caterpillars filled up the naked skies green feet flew within a flock of birds and the birds were people and the people weâ&#x20AC;&#x2122;re not here flowers grew as tall as you and so the bees grew fat and lazy but honey yes honey was sweet and sweat was the sea white Tshir ts ser ved as crispy clouds and I bathed in tears of imaginative doubts 3

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FEATURE

You probably already know that the world is running out of raw materials. What you might not know is that the building industry is estimated to account for the use of fifty percent of these raw materials within the Netherlands. This seems especially wasteful when you consider that these materials are often used to replace buildings. Can’t we be doing something less wasteful with these older buildings, other than demolishing them? This is the question Dominik Lukkes tried to answer with his graduation thesis ‘Amstel III - The Reuse City’ at the Faculty of Architecture and the Built Environment here in Delft. by Gijs Rempt | special thanks to Dominik Lukkes

“ You’re demolishing buildings that were built twenty or thir ty years ago just to replace them with buildings that are going to be demolished in twenty or thir ty years. Older, vacant buildings are seen as broken products, without value. But this way of thinking isn’t sustainable. So many of these buildings still have value, there’s so much more we could be doing with them.” One of the ways to do this is through urban mining. The concept of urban mining is mostly known to product designers as the practice of har vesting metals from products at the end of life stage, to be used in new products. But in the world of architecture that view is a

bit limiting. You could not just reuse the material of which a facade or column is made, but also reuse the component as a whole.

“The only way to shape a sustainable future is by fundamentally changing the way we shape our present.” “The project brief stated that we had to design residential dwellings within an area we could pick ourselves. One interesting area to look at was Amsterdam. Our capital city houses a little over

800.000 citizens, but this number is likely to go up to a million in 2040. This means a lot more houses need to be built, which is difficult in an area as cramped as Amsterdam. Par t of the solution lies in the transformation of vacant office buildings to residential dwellings. Amstel III is a neighborhood in the south-east of Amsterdam, mostly consisting of office buildings. A lot of these buildings have an energy label of C or lower, which means they’ll have to close down by 2023. These buildings will then sit empty until they’ve either been upgraded or demolished.”

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FEATURE

TALLY ING UP “If you want to build with reused materials, your design is dependent on what type of materials are available to you in such an area. That’s why it was critical to do an inventor y of what buildings were going to be demolished in the near future. Based on this information you can then extrapolate what materials are available for your design.” Unfor tunately, this process is easier said than done. Buildings have never before been designed and built to be taken apar t and reused. Information about what materials are used and in what quantities is therefore hard to come by. “Of all the buildings in the area that were going to be demolished, I chose three to har vest from. In order to do an inventor y of the available materials, I had to visit the buildings and study the original drawings intensely. As you can probably imagine, this was a lot of work. That’s why it’s so impor tant we build new buildings with the intention to take them apar t again. This saves time and money during the har vesting stage.” FLE XIBILIT Y The inventor y of reusable components and materials was critical to the design of the building. “I originally planned on designing a building completely made out of reused materials har vested from the Amstel III area. This proved to be too difficult,

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unfor tunately. The design would become too expensive to be a realistic project, defeating the original purpose of proving the feasibility of the circular design process. It would’ve become more of an ar t project, which is what I wanted to avoid. I did end up reusing the office building I chose to redevelop, from the concrete walls and insulation material to the wooden panels and aluminium window frames. You can’t always

use these har vested materials one to one though. Har vesting one component of a building often damages another. You have to be flexible in your design, because you can’t always accurately predict the availability or quality of materials.” SETTING AN E X AMPLE “The building I chose to redevelop lies centrally in the Amstel III area. This central location was impor tant, as it could help the building ser ve as an example of what sustainable redevelopment

can be. I wanted it to be obvious that the building was built using reused materials, to showcase that refurbishment doesn’t necessarily mean a degradation in quality. I wanted to challenge people to see the old as new.” OLD VS NEW “One way I did this was by reincorporating the original structural concrete columns and beams in the facade. They ser ve as a clear separation of space, dividing the dwellings visually. They allow for a more transparent exterior, which allows you to see the brick facade of the original office building. I also reused components from other buildings in the Amstel III neighborhood, such as glass panels from the facade of one building or the interior doors of another.” “One thing I learned during this process is that it’s impor tant to be creative during your design process. You can’t accurately predict ever y thing, you have to make some assumptions. It’s a skill you can hone; with experience you’ll be able to recognize reusable components faster. The impor tance of designing for disassembly cannot be understated though. The only way to shape a sustainable future is by fundamentally changing the way we shape our present.” 3

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FEATURE

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FEATURE

“It’s all about stuff. Stuff and people. Or perhaps the other way around.” I sat down with Michel van Tongeren, managing director of branding and design group SVT, hoping for him to give me a direction for my article about retail design. I struggled with the extent of the subject. Retail design concerns interior, graphic and product design, branding, physical stores but online ones as well. It covers innovation and identity, convenience and experience, business and pleasure. Or, as Michel put it, retail is about people and stuff, and everything in between. by Maartje Roggeveen | special thanks to Michel van Tongeren

SV T has done cases for brands like Dille & Kamille, Kruidvat, IKEA, Philips, Gamma, Intratuin, Coop, HEMA and many more. Since these brands attract different kinds of people, SV T’s main focus is obser ving the clients of their clients: the consumer. When obser ving, analysing and designing for this variety of brands, SV T keeps questioning itself and the worlds in which it is situated: in what way can we contribute to an ever-evolving way of life? Which social, environmental and political changes influence what kind of people at what time of day? What brings the designer closer to the consumer and how can this relationship be kept strong enough to allow managing of the rapid changing of interests and focus? According to Michel, the answer is simple: “Stay interested.” THE CRYSTAL BALL OF RETAIL Michel tells me about the ‘platform development model’. A model that describes the many factors that influence a brand and vice versa. The model can be kept in mind when (re)designing a store and is described as a circle. It consists of the brand which has power over a cer tain amount of ingredients, such as employees, the exterior and interior of a physical store and the design of an app or website, communication (signs, adds, shop windows), price,

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etc. However, the circle contains more layers: the changing world (growing population, globalisation, climate crisis and so on) which influences the consumer who has control over cer tain situations (e.g. choosing to take the time or shop in a hurr y). These layers then, in turn, have impact on the brand and all it has to encounter with. “ Yes, retail is a broad subject. The circle might even be incomplete. I guess it’s more of a sphere than it is a circle.” CONSUMERS INTUITION The magic lies within the intuition of the consumer. It is said that people can tell whether they are attracted to someone in the first ninety seconds after they meet. The same goes for people looking for a new place; they enter a house and simply know ‘this is (not) it.’ Consumers can figure out their distaste in a split-second. They feel whether or not the sphere is complete, after which they decide to swipe either right or left. They know whether or not a brand has filled the gaps of the platform development model, mentioned earlier. Michel: “Consumers put on their black belt when they go shopping.” As a (retail) designer it is thus necessar y to be able to affect the intuition of the consumer. A designer must be capable of reading minds, predicting the future and mastering judo in order for the model to succeed. Easy peasy. 1

FEATURE

DESIGNING WITH YOUR GUT? This sixth sense or ‘gut feeling’ seems irrational and therefore unreliable. It seems an appropriate approach for an ar tist but seems foolish when it comes to taking bigger design decisions. However, according to Michel, it can be substantiated as well as trained. Since design itself initially takes over the verbal argumentation when making a decision (you take the left aisle instead of the right, end up buying items you didn’t need, only later to find out that the same items would be fifty percent off the next day), it might be necessar y to also make a decision about design without needing to consider ever y aspect of the context straight away. The intuition of the consumer must be met by trusting the intuition of the designer. CONSUMERS ARE DESIGNERS “It’s funny, people often complain about small shops being taken over by ‘over-commercialised’ stores, but in the end, the biggest disrupter is the consumer himself. We as designers ser ve the consumers’ (unwitting) expectations of the future world.” It looks like there is a thin line between those who buy and those who sell. The designer needs to merge with the consumer in order to design appropriately and the

consumer isn’t only the designers biggest muse, but might as well be his boss, colleague and friend. INTEREST = ATTR ACTION = GOOD DESIGN So, how to make sure that those first ninety seconds count? How to know what dress to wear, what cologne to put on or how to introduce yourself? Or actually: how to know what clothes to sell, what air freshener to use and what signs to put up? Michel’s main advice is to never stop developing yourself: “I worr y about designers who eventually lead a traditional way of life. As soon as they reach their thir ties, buy a house and change a few diapers, I see their curiosity gradually decrease. They arrive at their desk, star t up their laptop and consider whether to work with Illustrator or Photoshop that day. This alone restricts their imagination. Often, when I’ve visited a museum, I print some photos of the exhibition and put these on the desks of my colleagues. I feel the need to provoke and stimulate them to look beyond their screens. Read the paper, talk with strangers, see a show.” I told him my projects turned out the best when the subject intrigued me, and my motivation was lower when the subject didn’t. “That’s exactly my point. A designer must be interested in (almost) ever y thing.” 3

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UPCOMING EVENTS The planning of ID study association depends on the decisions of the government and our faculty. What will the year 2020|2021 bring us? ID will give you interesting oppor tunities and surprising activities for sure. Stay tuned about ever y thing ID is doing by keeping an eye on | | | | | |

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FEATURE

Vincent van Gogh, Ludwig van Beethoven, Frida Kahlo, Louise Bourgeois, Yayoi Kusama... It’s no secret that numerous past and present great artists deal(t ) with mental illness. Are creative people truly more prone to depression, being suicidal or other difficulties, or does it only appear so, since their art expresses their psychological difficulties? Is mental illness a driver for creativity or is creativity a trigger for mental disorder? There are abundant opinions about it, but it’s not always clear which ones are true. What is true, is that art therapy is getting more and more popular by the day. We reached out to Jolijn Schalkwijk, a student of Expressive Therapy at the University of Applied Sciences Leiden, to dive into the connection between art and psychological disorders. by Imara Stemvers and Renee Brants | special thanks to Jolijn Schalkrijk

ART THER APY VERSUS CRE ATIVE THER APY First of all, there is a distinction between creative therapy and ar t therapy. Ar t therapy is based on anthroposophy, which concerns someone’s personal development through sensor y experience. During a session, the focus lies not only on creating, yet also on discussing the ar twork and the underlying emotions. Creative therapy has no anthroposophic foundation. This ar ticle concerns ar t therapy only. SCULPTING In ar t therapy, three major ar t forms are used: sculpting, drawing and painting. “Sculpting works well with, for example, children with Attention Deficit Hyperactivity Disorder (ADHD), who only run and tumble around and have loads of clogged energy inside them, which has to get out,” Jolijn says. In a sculpting session, they can freely exhaust their energy by creating something, or even just throwing clay around the room. Sculpting straight shapes will provoke other thoughts than shaping organic formations, Jolijn adds. The shape of an egg, for example, is associated with protective feelings.

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FEATURE

DR AWING Drawing is a broad medium as well, and ranges from using coloured pencils to crayons. Obser vational drawing, looking at an object in front of you and exactly copying it, helps with diagnoses such as a psychosis or schizophrenia. It gets clients back in touch with reality. “This leaves no headspace to think about any thing else,” Jolijn explains. “Clients have to concentrate on where they actually are, the here and now.”

WHAT ABOUT ME? But can people without a diagnosis also benefit from ar t therapy? And what about the ones for whom ar t is already a significant par t of their lives? Even those can profit from the merits of ar t therapy, Jolijn explains. “A simple exercise that almost always helps is drawing a lemniscate, also known as an eight-on-its-side, on at least size A4 paper. You follow it with a crayon or a pencil. The shape has no beginning nor end, thus you follow the line as long as feels right.” Another exercise is scribbling, either with eyes open or closed. You search for patterns and shapes within your ar twork and accentuate those. When drawing on the rhy thm of your breath, these kind of exercises can reap the positive effects of ar t therapy: calmness and balance, or even just moving around. Jolijn does add that it’s crucial to be aware of whether an exercise feels right. If not, don’t force yourself.

PAINTING Painting is a third method used in ar t therapy. Jolijn mentions that the wet-onwet painting technique is one of the most frequently used forms, used either to offer relaxation, or as a method to analyse the ar twork for how a person can be helped. “From what someone has made, we can’t say what kind illness or disorder a person has, or how he works, how he feels,” she clarifies. “What we can To really be able to do, is deduce from “Eventually, it’s not benefit from ar t therapy, the work what someone you need to see an ar t might need.” A common solely about the therapist, of course. practice is impressive outcome; sharing They are much more and expressive painting. able to guide you in Impressive means thoughts on the the process of creating form outside-in, such experience itself and and deciphering your as painting a natural twork. But there are scene or a more abstract the personal contact is ar some questions you can colour transition, to equally important.” ask yourself after making evoke calmth or serenity something: how did you for a client. Expressive feel when making it? is working from the What emotions does it represent? How did inside-out, where the person in question you feel using the colours you chose? It’s the releases emotions, feelings and frustration after thought that is one of the most effective into a piece of ar t. Eventually, it’s not solely par ts of ar t therapy. So whether your ar t about the outcome; sharing thoughts on the influences your personal difficulties, or your experience itself and the personal contact is personal difficulties influence your ar t, ar t equally impor tant. A session is an interplay therapy gives you insight into both. 3 of both techniques. “Once you notice that a client arrives at a session being ver y upset, you can say: ‘It pains me to see you like this, shall we get this anger and sadness out? ’”

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IDEXPO

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IDEXPO

There are few designers who can leave their work at work. Creating makes your hands itch and your mind wander. Problems and thus solutions seem to pop up everywhere. Paul de Bruijn, owner of clothing brand FUC, is one of many design/ art students who has found a way to thrive on his creativity, not only in college, but from home as well. by Maartje Roggeveen | in collaboration with Paul de Bruijn

Paul star ted designing and making clothes because he couldn’t afford the brands he liked. “Why not buy a cheaper shir t and redesign

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it to my own liking? ”. People appeared to be intrigued by the subtle yet unique adjustments Paul made and friends star ted asking him to make something for them too. That’s when he saw an oppor tunity to not only save money by making clothes for himself but actually earn some along the way. Fack Up Clothes (FUC) seemed an appropriate name to register at the Kamer van Koophandel as he saw - and still sees- his clothing brand as a hobby that got out of hand. By scribbling, doodling, cutting, sewing, playing he found himself experimenting with fabrics, colours and patterns leading to the creation of FUC. Depending on how well specific items sell, Paul makes an educated guess

on how much to have in stock for his next collection. “I don’t work with a specific structure or goal actually. If an item takes more time to sell, that’s fine. After all, I need the money in order to bring life to the next collection.” Concerning publicity, FUC is promoted mouthto-mouth and via Instagram. “I get a lot of my inspiration from the skating scene, which is why I tr y to approach skaters with a relatively large social media reach, hoping they will wear my clothes and promote them on their Instagram. It works.” Although Paul sometimes finds himself dreaming about bolder and more alternative fashion, he is able to maintain a fine balance between daring and wearable. 3

INTERVIE W

buried in mycelium What happens to our bodies when we die? As designers, we often talk about the end-of-life cycle of products. Circular design has been up-and-coming for years. But how about our own end-of-life cycle? â&#x20AC;&#x153;We either seal ourselves from nature in a coffin that prevents reabsorption into nature or we burn ourselves.â&#x20AC;? Bob Hendrikx, founder of Loop, a mycelium coffin, believes he has found a way to reintegrate our bodies with nature when we pass over. His mycelium coffin quite literally restores the balance underground. by Jorn Rigter | special thanks to Bob Hendrikx

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INTERVIE W

FASCINATION WITH NATURE “It all star ted with my fascination for nature. As human beings, we tend to kill almost ever y thing. You’re working at a desk made from a dead tree. Nature works ver y differently. It works in a living way, where ever y thing comes and goes.” Bob star ted looking for ways in which humans could live in agreement with this concept of nature. He looked into the way corals develop, how algae grow and eventually found his way to mycelium. “What does mycelium want most? It simply wants to eat organic material and build its vast web underground.” That’s how Bob arrived at the idea of using mycelium in our end-of-life cycle, ensuring the cycle of coming and going would become more natural. FROM CEMETERY TO FOREST Graveyards can be pretty grisly

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places. It’s no surprise cemeteries are a popular choice of scener y for horror movies. However, they don’t have to be so horrid. “‘From cemeter y to forest’ is a quote we like to repeat. Graveyards aren’t par ticularly inviting places to visit. I think we can create a lot of positive change in that area.” Churchyards can also be quite polluted places. “This is something not a lot of people are aware of, but we carr y quite some toxic substances in our bodies, cumulated over a lifetime. For example, we have prostheses and eat unnatural substances that are hard to break down.” Subsequently, these materials are all stored underground. Bob mentions mycelium loves to break down all kinds of substances, toxic ones as well. It’s nature’s all-evasive cleaning machine. By bur ying

ourselves in mycelium coffins, we could star t envisioning the places where we bur y our loved ones to become flourishing, lively places. Places where death meets life. A NEW WAY TO LOOK AT DE ATH In the West, we have a relatively grim look on death. Most people prefer not to talk about it, and when we do, it’s often not the most positive of conversations. Different cultures have vastly different perspectives on death. In Mexico, for example, Dia de los Muer tos (Day of the Dead) is a day of celebration. In Mexican culture and in many other countries around the world, death is viewed as a natural par t of the human life cycle. In this sense, composting our bodies, to reintegrate them with nature, would be a ver y natural thing. “I would love it if there 1

INTERVIE W

were to be a transition, in which it would become the new norm to be buried, cremated or composted.” NATURE’S BR AINS In nature, mycelium networks thrive underground. Paul Stamets, a famous mycologist (the study of fungi), also calls it “nature’s neurological network ” and “Ear th’s natural internet”. Recent research shows these might be more than simply nice analogies. Mycelium networks have been shown to facilitate communication between trees and plants, allowing them to transpor t nutrients and exchange information. The underground mycelium networks even facilitate sabotage, by allowing plants to send toxic substances to unwanted neighbours. The research is still in its infancy, but is already transforming the way in which we

view nature. There seems to be more to plants and their underground networks than most people think. COFFIN PRODUCTION Now, how do you make a coffin out of these mycelia? You star t with the mushroom. Mushrooms are the fruiting bodies of the mycelium the par t that’s visible for the world to see. Bob catches the spores of the mushroom and feeds them what they like best. “Ever y spore wants to eat different things.” He shows us a sample. “This one, for example, likes to eat hemp.” After a while, the spores will become solid, forming a sor t of skin. It hardens inside of the shape you want it to become, in this case a coffin. “It’s almost the same process as baking a cake.”

LESSONS FROM M YCELIUM “I often think about the laws of mycelium. They grow exponentially. When I see the mycelium in the small petri dishes grow, that’s ver y special to me. I interpret it as a message: be patient, even such a big organism star ts out fairly small.” Bob also learned about the interconnectedness of all beings from mycelium. “Ever y thing comes and goes. The way your molecules are arranged makes that you are you, however at a cer tain moment in time you stop being you and you will become something else. Ever y thing is connected.” Bob hopes that mycelium can be the star t of a conversation about a more bio-based future. Maybe, one day, we can live side by side - in symbiosis - with living organisms and with nature. 3

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What do we spend an average of two hours per day on and yet know very little about? Exactly. Dreaming. We all know how surreal and seemingly pointless our bedtime hours can be. MIT Media Lab, one of the world’s largest research and academic organizations of today, recently created Dormio the machine to tap into our dreams. How does this machine work? Could it increase our creative abilities? And what could be its impact on our society?

There is a rather high possibility that Pink Floyd’s ‘Another Brick in the Wall’ could appear in one of the playlists of Carlos Rodriguez Pastor and Ricardo Semler. The song protests against rigid schooling systems, imposing that every child should have the same skills and knowledge, resulting in a society or wall of identical, square minded, boring bricks. The two South-American businessmen made the opportunity to redesign the educational system.

by Stein van Veggel and Jorn Rigter

by Renee Brants

CHECKLIST F EAT UR E

FEAT URE

A NOTHER TIL E

REDESIGNING THE The classrooms are d implementation of m wheels. Outside, the fields and round-sha can also ser ve as exp (no laptops allowed) Community spaces, m cafés, all designed w efficiency of space a keep the kids eager t

IN THE

M OSAIC

There is a rather high possibility that Pink Floyd's 'Another Brick in the Wall' could appear in one of the playlists of Carlos Rodriguez Pastor and Ricardo Semler. The song protests against rigid schooling systems, imposing that every child should have the same skills and knowledge, resulting in a society or wall of identical, square minded, boring bricks. The two South-American businessmen made the opportunity to redesign the educational system. by Renee Brants

IDEO In 2011, Carlos Rodriguez Pastor, a Peruvian billionaire businessman, founded Innova Schools, today’s largest network of private schools in Peru. The system had to fulfill many requirements. The level of academics needed to be of international quality, for less than 130 dollars a month, so the emerging middle class could afford it. At the same time, it had to be sufficiently profitable, so the system could expand quickly in Peru and beyond. Mr. Rodriguez entrusted design agency ‘IDEO’ with the challenge to break down traditional education systems and to build ever y thing from the ground up; from the curriculum and the teacher training, to the school building and the cafeteria menu. 1

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REDESIGNING THE WAY OF LE ARNING IDEO created a blended learning model that relies on two different learning methods: technology-driven independent learning and teacher-directed group learning. As a consequence the school days are also split in two. During the group learning par t, only one teacher super vises approximately thir ty students who work in small groups on problem-solving projects. It is the teacher’s task to explain difficult par ts, to super vise and to provide help when needed. Teachers can keep up with today’s fast-moving stream of knowledge by using the schools’ online teacher resource centre network, which includes more than 18.000 custom lesson plans. The other half of the day, the children learn independently, using the power of already existing platforms like Khan Academy and Pearson’s My English Lab. The outcome of this approach to education is a student that gets excited about learning, and is familiar with solving problems using modern technology.

REDESIGNING THE At Lumiar schools, th who teaches one hou hour of English and a by the role of a tutor after the child but do his knowledge is not can provide on those called ‘seniors’ to tea twenty-five percent have had ver y little c they still possess tw and exper tise.

REDESIGNING THE The curriculum consi subjects or ‘life ques can we measure ours covers, for instance, and chemistr y. How includes music, ar t, g questions about thin about arise, for insta here? ’. These kinds o room for thought and some specific topics

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More on page 56!

IDEXPO

YKMA [ eek-ma ] design, is a young startup founded by endof-bachelor students Damiaen Hogervorst and Mark Loopstra. Mark tells us about their first project, OC1: crystal clear sounding speakers, made out of recycled concrete. by Mark Loopstra and Maartje Roggeveen

It star ted when we both returned from our Minor abroad and spoke about our courses. When I told Damiaen I had done some projects with concrete in Paris, he mentioned that he had been having this idea of making a concrete speaker, since the material has ver y good acoustic proper ties. I suggested to do this together and to par ticipate at the Bluedot design competition - and so we made a ver y basic, first prototype, casted in buckets from the local DIY store.”

“After winning the people’s choice award at this competition, we set the project aside for a while until Damiaen came across a Dutch Design Week adver tisement. With only six hours left to apply, we decided it would be a good (and challenging) idea to take par t.” “Two weeks later we were both flabbergasted to hear that we had been accepted! This gave us a strict deadline to finish our next, more advanced prototype.”

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IDEXPO

“When you create something for somebody else, you want to deliver a perfect and professional product.”

“From that moment on, we’ve been working full-time for YKMA. We’ve produced two aluminum casting moulds with Don in the PMB, registered ourselves at the Kamer van Koophandel and went through many iterations to improve both the sound as well as the design of our first product: the OC1.” “At the Dutch Design Week, we received a great amount of positive feedback and sold seven speakers as pre-orders to visitors. In the

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months that followed, we have been finetuning many details of our speakers. When you make something for somebody else, you want to deliver a per fect and professional product. This gave us us quite some struggles; as PMBemployee Wiebe always says: “Striving for per fection leads to imper fection”, which we cer tainly can’t deny.” “Never theless, we have successfully handed over the seven

ver y first speakers to our lovely customers, personally delivered in our ver y own Toyota Starlet.” “Right now, we’re focusing on outsourcing the concrete casting. We are in contact with a company that makes molds for concrete castings and with a Greek sculpture foundr y that is willing to produce our concrete cabinets. This would give us more time to focus on finding retailers and fur ther developing YKMA.” 3

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Using cultural differences to the advantage of your design project. Considering diversity as an opportunity rather than experiencing it as a restriction can lead to interesting results. This became clearly visible in the collaboration between Koos Service Design and OLX (OnLine eXchange). OLX is a matchmaker focused on the global B2B, B2c and C2C marketplace, leading the market in 35 countries and having multiple platforms aiming for real estate, products and the job market. In this collaboration, a cutting edge Service Design approach was piloted for the job market in Poland. by Stein van Veggel | illustration by Astrid Ten Bosch and Rosa Hendrikx | special thanks to Jorge Carlos, Noortje Hartman and Oda Landsman

An exciting combination. Koos being a Dutch ser vice design agency, having considerable exper tise in doing qualitative research and facilitating a customer centered design process. OL X, on the other hand, is a highly international tech company, mostly driven by quantitative business metrics. In this project, they mixed these seemingly contrasting research approaches, as well as the different cultural viewpoints of the countries where the platform has been created. Initiated by OL X, the goal of the project was to create a strategy for the new job seeking platform, initially focused on the Polish market. The novel approach here was to research and include both the job seeker and the employer perspective. Identifying the personas for such a project can be a complex process. Various profiles already existed within the organisations, but there was a lot of uncer tainty to which extent the relevant needs would differ between cultures. It therefore required viewpoints from multiple cultures and a flexible, customerdriven approach. That’s when OL X decided to reach out to Koos. “We wanted to ring someone from outside, that could help us to

approach the topic in a different way. In the sense that we would not only be doing the day to day research that we normally do,” Jorge Carlos, R&D director Europe at OL X group, explains. COMBINING TWO RESE ARCH APPROACHES The collaboration between Koos and OL X involved a combination of the qualitative approach that is used at Koos, and the more quantitative, data driven approach at OL X Group. Noor tje Har tman, Ser vice Design Consultant at Koos, explains that joining the two could have potential “I believe in a combination of both, there is no such thing as one being better than the other, they can strengthen each other.” The fact that they strengthen each other, shows from the design research approach developed for this project. The framework used for combining the quantitative and qualitative approach is the so-called ‘Tension Model’. At Koos, they are used to working with this model in order to structure different customer needs. Now, they introduced it to OL X too. Noor tje explains how it works. “We use the the Tension Model to define the different user segments or personas. It is based on the fact that ever y decision to be made is based on a tension. For example, if you have to choose between eating an apple or cookie, it is never always one or the other, it depends on several factors. In this case, it is about a ‘tension’ between for example ‘health’ and ‘immediate pleasure’. We capture this tension as an axis in the model.” She continues explaining how to use the model to create customer profiles. “To plot a cer tain ‘need’ in the model, we look at the decisions to be made and where the gravity point is situated. The question here is where the variables link in their most natural state. We plot all the relevant needs to identify the profiles. We then define a customer profile by strategically clustering the needs plotted in the Tension Model.“ She points out that this is not the only use of the model. “We can also plot the por tfolio and competitors of OL X. This way, strategic decisions such as changing focus or expanding the por tfolio can be made.” Jorge expresses his enthusiasm about the Tension Model too. “We can use this to see where people are and what their main needs are at ever y possible moment. Often, we only use static models, where people always behave in a cer tain way. One of the things that I love

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about this one is the flexibility. But, more than that, it can explain the complexity of the human mind in such a simple slide. You consider all the needs, tensions and drivers that people use to make a choice.” However, to plot the abovementioned needs in the Tension Model, a ‘wild guess’ won’t suffice. This is where the quantitative approach comes into play. Jorge explains that data teams need unambiguous numbers to base the development of the platforms on. ”If you have a nicelooking persona, great. But you need quantified variables that distinguish this persona from the other one. If you don’t have the quantitative approach you cannot do any thing. Also in terms of the relationships with the data science teams. In the end they have to link the dots in terms of the quantitative information they get.” Noor tje suppor ts Jorges statement. “We learned that quantitative data can help to strengthen decisions. Normally, in research that is qualitative, it is mostly our gut feeling that we base the final decisions on. Numbers make sure we’re actually making the right decision. It gives us more clarity and it anchors the research results.”

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COMBINING CULTUR AL DIFFERENCES In addition to bringing the two research approaches together, another challenge was to work remotely with people from all over the world. The project focused on the Polish market, but the people working on the project were from, among others, the Netherlands, Por tugal, Poland, Germany and Ukrain. Noor tje elaborates. “It was interesting to work together with all these different countries. Mind you, this was before covid-19 lockdowns! As Koos, we didn’t have that much experience with that at the time. We’d just go to one countr y and have a conversation with one team in one place. We all did, right? I was fascinated to see how OL X is working together throughout the world on a daily basis so smoothly.” Jorges words also clarify this. “There were many different people. For example, the Polish could be harsh sometimes, the Dutch often wanted to follow the rules and the Por tuguese were more relaxed. But it was amazing to see how all these people could still contribute and align what the key focus areas were.” He enthusiastically continues: “I could especially feel the energy in the workshops, you clearly noticed that people had the freedom to create something new.” Noor tje: “I agree, especially with the workshops. Sometimes when we have one with a client, we have to pull out the information. Now, we really did it together. It did not feel like we were the facilitator and OL X was just there. We were working as one team.” Jorge and Noor tje share the same opinion about considering differences as oppor tunities. Noor tje elaborates: “There was so much diversity, but ever y thing functioned well because ever yone was on the same page after all. Sometimes, in other companies, you notice that some people are mainly focused on their personal goals and have these ‘hidden agendas’, for example, to climb up the ladder within the organization. Then, you feel that there are office politics at play.“ Jorge adds: “In this project, differences did not restrict us. Ever yone had been through the same, and wanted to build the same thing. In the end, we were able to bring all worlds together.” 3 Want to know more about how to work (remotely) with a diverse group of people, or have any questions related to the Tension Model? Go to koosser vicedesign.com or just give us a call at +31 (0) 20 753 0154 !

EXPLODED DESIGN

With its strange use of ‘de’ and ‘het’ and various other rules, the Dutch language is’nt that easy. For dyslexics, it’s a big task to explain the problems they face. ‘The Dyslexia Book’ is a book designed to explain the way their thinking works. by Juwe van Vliet | special thanks to Anne Ligtenberg

Anne and Mats, editors of ‘The Dyslexia Book ’, changed the language of the non-dyslexics, words and sentences, into images. One can now see language as form and content together. “People are not used to informative things being beautiful as well.” The choice to visualise the different obstacles of dyslexics emphasises the contrast between form and content. It leads to a more accessible way of creating a broader understanding by others. The choice to write all text by hand creates a human touch. It emphasizes the irregularities between the letters that dyslexics experience. “The ‘d’ and ‘e’

come across so often, but each letter differs from the other,” tells Anne. This human touch is recognisable in all of her work. Anne has a tendency to inter view the clients she works with or the target group of her project. “Projects get a less scientific approach but at the same time a view from exper ts.” But how do you approach such an inter view? “Prepare no more than two or three questions, otherwise you’ll end up running through the list question by question instead of talking about what the inter viewee really wants to talk about, providing you with more insights. “ You want to create techniques that help dyslexics reach a similar linguistic level as non-dyslexics. We strive for a solution that fits all. Not ever y dyslexic is the same. When you know what obstacles different users face, it’s easier to find the solution that will fit them. By carefully designing the questions you ask, you can find the specific problems that person has to deal with. You can then find the specific solution to that problem.” This might for example help clear up that the anteater eats ants instead of hands. 3

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EXPLODED DESIGN

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IDEXPO AUNTIE POSH LONDON

S T R A N G ER S OF T H E S T R EE T PHOTOâ&#x20AC;&#x2122;s BY TEUN VAN WAKEREN 46

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IDEXPO

CAREGIVERS LONDON

A MASTER OF CHICANERY Walking around aimlessly is great, but it’s even better when you’ve got some purpose. Teun van Wakeren (goes by @died_prjct on Instagram), for example, strolls around with his camera. In his search for unusual (street)scenes he creates worlds by imagining what people might be thinking and what their lives must be like. “It feels good to actually, truly look. You can find fascinating, abnormal and beautiful situations in your ver y own street. You just have to take the time.” “Although I enjoy taking pictures of complete strangers, I never ask them for permission. A posed photograph, for me, ruins the moment entirely.” Besides his photography skills, Teun has had to become a master of nonchalance and chicaner y, since he often has to mislead his ‘characters’ into believing he is capturing something else. “Sometimes, I dont even look through the lens, but casually hold my camera against my hip, tr y to aim from an awkard angle and then shoot the picture multiple times. This often results in lower sharpness, but in the end my goal is to capture the ‘ feel’ of the person or scene. Auntie Posh for example looks even more elegantly oldschool because of the vagueness of the photo.” 3

WORK BREAK(DOWN) LONDON

by Maartje Roggeveen | in collaboration with Teun van Wakeren

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FEATURE

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FEATURE

Why do we have to go there? Why do I have to wear this? Parents of young children will recognise these questions all too well. But can you blame children for asking them? When you are young, you have little influence on the world around you. Parents, teachers and doctors decide almost everything – albeit with your best interests at heart. What you must wear, when you will go to the hospital for surgery, how many books you may borrow from the library; It is out of your control. How do we know the decisions we as adults make for children are right for them? Mathieu Gielen, design researcher at Delft University of Technology, is looking to use design methods to engage children as designers of their own world. Providing the right environment for children is a big responsibility for elementary teachers and designers alike. Mathieu is on a mission to help them. With the ‘Co-Design with Kids’ project team, he created a coherent and scientifically tested set of tools that can teach children to harness their creativity and design for themselves, while also aiding designers to facilitate children’s own worlds. text by Marc De Kool | layout by Gijs Rempt

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FEATURE TE AMING UP Designing for children comes with responsibilities and unforeseen consequences. For instance, children who undergo surger y have to wear cer tain gowns that we as adults have decided are best for them from a medical point of view. But hospitals and operating rooms can be scar y, especially for children. In these overwhelming situations, it could help children if they felt a little more in control - star ting with the question of what they wear. If you are a designer that works on these kinds of projects for kids, how do you know whether what you’ve designed is any good? As a Delft Designer, Mathieu is trained in various design methods, such as co-design. With this method, designers involve the end-user from the earliest possible stage in the process. They go through multiple iterations of the concept together in order to come to an effective end-product or ser vice. So, when designing a gymnastic hall or activities to make physical education class more attractive for children, why not use the unbridled creativity of children in the design process? Because, in Mathieu’s words, “if you want to design for children, you have to design with children.” Co-design as a method has proven to be ver y effective in several other European projects, from developing new cash-machines together with customers, to redesigning entire streets in Bratislava together with local entrepreneurs. But Mathieu wanted to push the boundaries of co-design. He wanted to find out if children could design for real-life clients. The ultimate goal was to create a research tested toolbox for teachers and designers to co-design with kids.

METHODS FOR CRE ATIVIT Y Harnessing children’s creativity by letting them design themselves is easier said than done. “Children fall in love with their first idea and often find it difficult to engage in rounds of elaboration.”, Mathieu explains. “For kids to contribute in a design process, they need to learn skills we designers take for granted, like associative thinking or techniques for comparing ideas.” Coincidentally, these types of skills have been dubbed essential for the future by the Organisation for Economic Cooperation and Development (OECD), as increasingly connected technologies add complexity to our society. Mathieu explains: “A few decades ago the role of the designer was to create individual products, but now we are also designing ser vices, systems, and applications to improve the quality of life, or tackle major problems in society. Our field of work has become broader and more complex as well. We need to engage in a dialogue with society at large to figure out what the real underlying problems are, to be able to do our work as designers.” THE PROOF OF THE PUDDING Together with a team of specialists in industrial design and the colleagues from the Science Education and Communication depar tment of TU Delft, Mathieu set out to adapt methods and principles from the field of design into a Co-Design with Kids toolbox to suit eight- to twelve-year-old children. Their aim was to suppor t children through a full design cycle.

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FEATURE

Mathieu’s team worked the developed tools into several lesson plans that would involve children carr ying out design projects for actual clients. It was put to the test in primar y school classes with The Hague Academy of Physical Education (par t of The Hague University of Applied Sciences) as the first client. Believing that not all children like cer tain activities offered in physical education (PE) classes, they wanted to find ways to make these classes more attractive. Under the guidance of their teachers and the designers involved in the project, primar y school classes set out to find solutions for this design problem, using the new tools and teaching plan. In the first session, focused on defining the design problem, it quickly became apparent that the assumption of the client was flawed: children actually liked PE! What they didn’t like was the way these activities were structured: queuing up for your turn, the unfair way teams are chosen, the way cheating is dealt with. By using the co-design with kids tools, the children redefined the problem. That process provided valuable insights for their client, so much so that “after one session, the Hague Academy of Physical Education already deemed that co-design project a great success.” With their unforeseen questions, alternative perspectives and relevant solutions, the children proved their contribution not just in rethinking PE lessons, but in multiple subsequent test cases. Clients’ reactions not only showed the effectiveness of the developed toolbox and co-design with kids lessons, but also the value of co-design methods for

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designers to engage in the dialogue with our society. But as Mathieu argues, these methods demand a lot. RECIPROCIT Y “With co-design, we ask people to invest their time,” Mathieu explains. “In our case, we take up precious school time. Our teaching plan takes up twelve hours in class. So the question is, what is in it for them? ” In the long term, Mathieu explains that : “if we do our jobs well as designers, we will come up with a solution together that improves their lives somewhere in the future.” But more concretely, the Co-Design with Kids toolbox was developed specifically to teach skills such as creativity, empathy and communication. “We are talking about design skills and methods as a means to teach general skills that are necessar y to cope and be successful in a rapidly changing and increasingly complex society.” As such, the toolbox for designers and the teaching plan for primar y school teachers provide a method for designers to engage in dialogue and involve endusers in the design process. It provides a projectbased teaching method for primar y education to integrate teaching and training 21st centur y skills in their curriculum, and an immediate and invaluable reward to the kids as co-designers. In Mathieu’s words: “The beauty of our toolbox is that, besides being meant for facilitating co-design, these tools are aimed at teaching and training valuable skills. As such it is a more reciprocal system. In exchange for twelve hours of their school time, our tools provide the children fun, a sense of accomplishment, and valuable 21st centur y skills that are useful for the rest of their lives.” 3

CHECKLIST FEATURE

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CHECKLIST FEATURE

What do we spend an average of two hours per day on and yet know very little about? Exactly. Dreaming. We all know how surreal and seemingly pointless our bedtime hours can be. And for a long time, everybody was satisfied that dreams prophesied the future, telling us stories of what’s to come. MIT Media Lab, one of the world’s largest research and academic organizations of today, recently created Dormio - the machine to tap into our dreams. How does this machine work? Could it increase our creative abilities? And what could be its impact on society? The article of your dreams might be right in front of you. by Stein van Veggel and Jorn Rigter | special thanks to Margreet Beets

HISTORY OF DRE AMS To really understand this innovation well, it’s relevant to star t with a little bit of context about dreaming. In ancient Egypt, dreams represented the twilight zone between the world of the Gods and the mor tal world . Dreams, as the Egyptians believed, were a por tal into the future, that sprawled prophecies about what was to come. This same belief was held by people in the Middle Ages. It was only around the time of Freud and Jung (both famous psychoanalysts), at the end of the nineteenth centur y,

a way for us to get a deeper understanding of our own psyche, allowing us to peek into the depths of our unconscious mind.

that the Western view on dreams was star ting to change. Sigmund Freud hypothesized that dreams are the road into the unconscious mind, with the ego’s default defense mechanism weakened. Carl Jung accredited the same kind of meaning to dreams, believing it was

ourselves to be creative because so much of our creative idea association and creative incubation happens in the absence of executive control and directed attention.” To be able to achieve this ‘randomness’ needed for creativity and make room for ideas to emerge, they built a device called

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MIT Media lab are now speculating that dreams could potentially augment human creativity. As stated in their project description: “It is currently impossible to force

CHECKLIST FEATURE

‘Dormio’. With Dormio, people can use their dreams as an inter face to get to the bottom of their creative thoughts. BETWEEN SLEEP AND AWAK ENESS The research subjects using Dormio would be brought into hypnagogia, a transitional state between awakeness and sleep. As stated on the MIT website: “Hypnagogia is characterized by phenomenological unpredictability, distor ted perception of space and time, and spontaneous, fluid idea association.“ In other words, it is a state in which our mind becomes extremely associative and in which dreaming begins. However, as hypnagogia is a state still closely related to being awake, sounds and other stimuli that happen in ‘the real world’ can often still be perceived. It can be compared to when the sound of your alarm-clock is merged into a dream. The researchers at MIT Media Lab made use of this phenomenon in the creation of Dormio. Using a glove-like device that measures parameters like muscle tone and hear t rate, they could accurately tell when a subject had reached the hypnagogic state. If they did, a robot would then star t speaking random words to them, such as ‘tiger’, ‘rabbit’ and ‘ fork ’. When a subjects star ted falling into a deeper sleeping stage they were woken up. The robot would then immediately initiate a conversation with the research subjects about their dream, to make sure the researchers could capture ever y detail of it. INJECTING RE AL WORLD CONTENT The researchers found that this experiment caused the subjects to merge the robot’s words into actual dream content. One of the subjects who was given the word ‘rabbit’ said the following after being woken up: “I would be reminded to think of a rabbit and each time was like the new beginning of a stor y with ver y different rabbit characters. For example, my childhood pet rabbit, an aluminum rabbit head, a dissected rabbit, a warren of rabbits thumping the ground rhy thmically, a rabbit floating in the water on macaroni cheese which I was craving.” This showed that Dormio could be used to acquire all kinds of random ideas related to a cer tain topic. They were on to something.

AN E XPERT’S VIEW We talked to Margreet Beets (a lecturer at the depar tment of Product Innovation Management from the Faculty of Industrial Design Engineering) about the possible impact of Dormio on society. She that Dormio could imply that people might star t to enhance their own creativity. “When we’re able to integrate in creativity through dreams, we might be surprised by the solutions we arrive at. It is not unthinkable that this will lead to more creativity and quicker solutions. Worked out in groups, it might even lead to solutions for world problems.” It could also give us insights into our collective subconsciousness. According to Freud, dreams can give us insights into the subconscious mind. If we could gather data on dreams at a large scale, we might be able to create a framework of the collective subconscious mind. This brings us to one of Margreet’s concerns: privacy. She suspects people would not be too fond of having a representation of their deepest fears, desires and drives stored on a ser ver of a big data company. “Also, there is the fact that people want to control ever y aspect of their lives.” She does mention a catch: we have to be careful not to overstimulate the brain. Although we spend an average of around eight hours per day sleeping, we don’t know all that much about the purpose of sleep yet. “Research should show whether or not Dormio might overstimulate the mind. We simply don’t know what inter fering with our sleep will do to us.” She also states her perceived paradox of wanting to enhance creativity by controlling dreams. “There is a contradiction between being open and wanting to control something. The more

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CHECKLIST FEATURE

we want to control dreams, the harder it might be to bring in the random element that is needed to stimulate creativity.” So by influencing dreams with pre-selected words, we might be limiting our creative capabilities while dreaming.

“There is a contradiction between being open and wanting to control something.” THE MARK ET PL AN Could it be possible that one day Dormio becomes a product we use ever y day? We asked Margreet how this product could be brought to market. She explains that the implementation of Dormio as a consumer product should be done carefully. “It depends on how it is communicated. If it’s brought forward as something based around research and technology, it would probably be accepted quite quickly. However, some people tend to associate dreams with spirituality and ‘vagueness’. If positioned incorrectly, Dormio could reach a different public than intended.” She mentions the Philips Wake Up Light as an example. “Because it was brought to the market by Philips, a technology-based company, it was easier to

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make people believe that the product would ‘work ’.” She emphasizes that timing is impor tant too. An ideal way to position the product would be to link it to a cer tain trend. This will make the implementation go smoother. “At the time of the Philips Wake Up Light, the trend linking light to wellbeing already existed. Think of decreasing the amount of blue light in our computer screens in the evening to improve our sleeping.” Lastly, she states that she herself is not entirely sure about whether or not Dormio will last in the long run. “For me personally, Dormio seems to be a product that is mostly for fun. Of course, a ‘ fun’ product can also give people plenty of satisfaction, but it does not seem to fulfill an actual ‘need’. On the other hand, who knows what the future will bring.”

FEATURE

A NOTHER TIL E

IN THE

M OSAIC

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FEATURE

REDESIGNING THE CL ASSROOMS The classrooms are designed for flexible use by the implementation of modular walls and furniture on wheels. Outside, there are square-shaped spor ts fields and round-shaped social sitting areas which can also ser ve as expressive open-air classrooms (no laptops allowed). What’s more to explore? Community spaces, media labs, rooftop study areas, cafés, all designed with flexibility in mind to allow full efficiency of space and to offer the best facilities to keep the kids eager to learn and to experiment. MOSAIC Another case in which the educational system is redesigned, is the one of Ricardo Semler, a Brazilian businessman. He asked himself: how do we design for wisdom and from where do we star t? Kindergar ten seemed an appropriate star ting point that automatically led to the the question: how do we design schools for wisdom? He believes that the traditional education systems are entirely obsolete. That’s why he founded the Lumiar school foundation, to redesign the whole concept of education together with a group of educators, teachers, consultants and designers. REDESIGNING THE TE ACHER’S ROLE At Lumiar schools, the role of the ‘traditional teacher’ who teaches one hour of mathematics between an hour of English and an hour of reading, is replaced by the role of a tutor. A tutor is someone who looks after the child but doesn’t actually ‘teach’, because his knowledge is nothing compared to what Google can provide on those topics. Instead, they bring in so called ‘seniors’ to teach the children. Seniors make up twenty-five percent of the population. Up to now, they have had ver y little contribution to society. However, they still possess two vital proper ties: passion and exper tise. REDESIGNING THE CURRICULUM The curriculum consists of a list of ten general subjects or ‘life questions’ . Some examples are: How can we measure ourselves as a human being? This covers, for instance, mathematics, physics, biology and chemistr y. How can we express ourselves? This includes music, ar t, grammar and literature. Even questions about things we know almost nothing about arise, for instance: ‘What is love? ’, ‘Why are we here? ’. These kinds of questions directly give children room for thought and indirectly excite them to explore some specific topics more profoundly.

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To make this education method compatible with the Brazilian curriculum, a digital mosaic of six-hundred tiles was designed. The school wants to expose the children to all of them by the time they are seventeen. Students do ever y thing at their own pace, in their own order. As a result, there are no age-based classes. The processing of the subject matter is controlled by an ongoing online self-test and grading system that ensures that the kid achieves at least 37% on ever y subject. The subject material is also offered in different settings. Therefore, it is possible to get the value of Pi and the construction of a circle explained in a more practical course like ‘Building a bicycle or ‘World cup soccer’. To Ricardo, this is key to wisdom: ‘Knowing why you want to know something.’ THE TWO SYSTEMS TODAY These two new systems may sound a bit holistic, so let’s take a look at some numbers. In a time span of seven years, Innova scaled up to fifty-four schools and reached a high increase in proficiency ratings. Mexico has recently opened its first Innova school and other countries are in the pipeline to implement this contemporar y education model as well. Also the lumiar schools have expanded their amount of schools to eight and even made it to Utrecht. How would you design for education? And do you think designers are well educated to design for education? 3

HUTSPOT

In the 16th century, people used to carry miniature portraits of their loved ones around who had either gone to war, left for a long time or whom they were about to marry. With the introduction of photography, the practice disappeared. Until now, when more and more artists experiment with downsizing their art to miniscule proportions. by Imara Stemvers

THE POTHOLE GARDENER Among miniature-lovers with a green thumb, a new trend called ‘guerilla gardening’ has emerged. Gardeners set out to spruce up their city by covering abandoned sites with flowers, seeds and shrubs. One is the Pothole Gardener, who fills the gaps between the pavement with tiny gardens and life-like props, for invisible small people. @potholegardener

UN PETIT MONDE Ever wondered what life would be like if you were no bigger than a penny? Kur t Moses travels with tiny people and puts them in big scenes, from running from a bear in an American forest, to astronauts exploring the galactic unknown of Death Valley. The photographs are gathered in the project ‘Un Petit Monde’, which can be found on his website: unpetitmonde.net

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COLOFON

Official body of ID Volume 18 / Issue 73 July 2020 Turn The Page is issued four times a year. Contact ID study association Landbergstraat 15 2628 CE Delft +31 (0)15 2783012 www.studieverenigingid.nl Comments, questions, compliments and remarks can be send to: turnthepage-svid@tudelft.nl Issues

MICROSCOPIC PAINTINGS Imagine a piece of ar t so tiny, it can only be viewed through the lens of a microscope. Hasan Kale makes scenes that small. He creates native vistas of Istanbul on the sur face of an almond, or paintings of famous ar tists on the skin of an onion. One work can take him up to three months, depending on its intricacy. More of his work can be found here: hasankale.com

7500 Copies Press Quantes - Rijswijk TTP Thanks Margreet Beets Bob Hendrikx Marc de Kool Anne Ligtenberg Dominik Lukkes Henk Jan Oudenampsen Jolijn Schalkwijk Michel van Tongeren Maureen Wattenbergh Subscribe/ad Members of ID receive Turn The Page free of charge. A yearly subscription costs â&#x201A;Ź9,50 (4 issues). Want a subscription or publish an advert? Please contact turnthepage-svid@tudelft.nl Copyright 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. The Communication department of the IDE faculty and the Alumni Association have contributed to this Turn The Page.

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We think too much and feel too little, donâ&#x20AC;&#x2122;t you think? Anonymous