dutch designers magazine autumn 2019 WIM CROUWEL SATYENDRA PAKHALÉ REITSMA LEX STUDIO RANDOM TESSA OUDIJN BP BP EN 7,25 EURO dude AUTUMN 2019 dude SIMON BUIJS dude is a publication of the bno

‘ I am the eternal student ’ USEUM DEN BOSCH DESIGNERS DUTCH 87 + A FROG AND GRADUATES 30 ‘I don’t want to become a one-trick pony’, says Simon, the ‘eternal student’ who keeps on experimenting and learning. ‘I am not afraid of the unknown. Exposing your- self to new, uncomfortable experiences and jumping in at the deep end are necessary to conquer fears.’

Recent graduates can experience this fear to a some- what larger extent. ‘At the start of your career, a little panic may just be part of the game,’ knows Nicoline. Experienced professionals too know their doubts. Whether it is inspiration running dry or having a hard time with the progression of your enterprise.

Daan struggled with the responsibility that comes with running a growing agency. His insight: responsibility is in fact nothing more than the ability to respond. That means taking action yourself. Because only through trial and error you get ahead. HEYTEXT FREEK KROESBERGEN BNO activates young designers through entrepreneurial programmes such as YA, our free Young Alumni club, the ‘No Panic Class’ or BNO Start. Experienced designers, managers and partners in agencies who wish to grow can enter BNO Next Step, where you work on your ambitions and plans with other creative entrepreneurs, coaches and mentors. At full gallop.

bno.nl/dude dude

CONTENTS

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71

SIMON BUIJS YA SPECIAL!

Strong, smart, surprising or Optimistic, driven, curious, that innovative in concept, execution, is Simon Buijs alias BobbyPola. originality or commercial insight. A creative pioneering spirit, We found thirty fresh young the ‘eternal student’ who views designers, who with their work the world with a childlike sense easily hit these marks. In this of wonder, who wants to go on graduation special you see the experimenting, questioning, ARTICLES chosen projects, the selection stretching boundaries, and trying committee sings some praises out new techniques in collabora­ CONTINUED 32 and you can read how five of tion with his clients. Animated Stay fresh last year’s graduates have fared. illustrations and illustrated

animations still have his heart. CAREER 38 Design power

CHEMISTRY 44 25 Gesamtfamily

BARRIERS 48 36 Creative with language LEGACIES 52 Disrupter meets straightener

ESSAY 58 BYE Inclusive design VERSUS 62 SECTIONS Designed evil SHARES & LIKES 6 INTERNATIONAL 66 COLUMNS DUDELICIOUS 25 Tech theatre SHOP & SALES 98 FREEK KROESBERGEN 36 BUSINESS 96 PARTNERS 100 NICOLINE DORSMAN 72 Check! COLOPHON 103

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UNDER UNDER PAPER

PRESSURE CONSTRUCTION Using paper as medium the exhibition ‘Paper City’ questions Recently graduated, but that is of course only the start for the systems, architecture and infra­ latest class of Dutch designers – the Young Alumni or YA’s – structure of the urban landscape. Parallel to the exhibition there who present themselves at YAPresent! during Dutch Design are workshops and lectures that Week. Portfolio? Under construction. Website? Likewise. invite visitors to experiment and Career? Own business? It is all still under construction. explore the boundaries of paper. And yes, so is this exhibition. ZeroDotZero, the department Still life Roosendaal, Studio Rocco Verdult YA Present! UNDER CONSTRUCTION is a dynamic, living of Graphic Design’s lab at ArtEZ exhibition. With on-going, performance-like changeovers of Arnhem, has an extensive collab­ the presented works – walled in by all projects on show at the oration with the print, paper and depot – 65 young talents show that they are still in the early cardboard industry, as well as stages of their career, after first having carefully constructed the sustainable non-profit Papier MIND BLOWING their creative self. Plus, the YA Present! EVENING SESSIONS, Recycling Nederland (PRN) and Papierenkarton.nl. PRN also hosts

Agri meets Design. Photo: Willem de Kam an inspiring series of events including the festive launch of the seminar ‘Design for Recycling’. this Dude YA Special! MIND BLOWING 19 – 27 OCTOBER 2019 19 – 27 October 2019

www.bno.nl/ya Still life Uden, Studio Rocco Verdult MIND BLOWING STILLLEVEN

MIND BLOWING As it is 75 years ago that Brabant was liberated, Brabant Remem­ bers wanted to do something with 75 remarkable, inspiring and SUPERFAST personal stories of people whose lives were irrevocably altered Manifestations, collection Teddy Kamper Teddy collection Manifestations, by the Second World War. Social SUPERFAST is an annual event designer Rocco Verdult was asked in the area of design, innovation, We are in a rush. Innovations are coming at us from all to shape these stories. He came marketing and packaging. Through directions, and the possibilities science and design have to up with STILLLEVEN, 3D still lives enticing 10-minute talks the offer are seemingly endless. Still the climate crisis is getting to visualise moments missing from audience is inundated with inspi­ DRIVER history and to open up these completely out of hand and the anxiety in society is tangible. ration and insight at high speed, stories for a broad audience. Themed ‘If not now, then when?’ Dutch Design Week is with ‘Challengers’ as this year’s Verdult delivered 75 little master Designers are idiosyncratic kicking it up a notch and showing not just what designers theme. What are the challenges pieces: a collection of 75 models people working from their passion. could contribute, but what they are already putting into prac- currently facing the industry on a scale of 1:87 that are on Entrepreneurship does not often tice to solve complex global and social issues. No pressure, and world of design, and above show together for the first time. run through their veins. Driving by the way. The nine-day event – bigger than ever with 2.600 all: who are the challengers? The white models contain daytime Dutch Design – the catalyst designers, 120 locations, 450 events and around 350.000 Including all the provocative scenes, the night-time scenes program by ABN AMRO, the BNO visitors – provides substantial proof. This spread features work by future gamechangers are black. Only the leading char­ and Dutch Design Foundation – 1 who are in the race for the BNO acters are in full colour. This is a small selection. Book your tickets , because if not now, helps driven designers to take Packaging Talent Award 2019. how the human side of each story then when? the next step in their creative is told in an extraordinary way. entrepreneurship. Every year 25 OCTOBER 2019 19 – 27 October 2019 during Dutch Design Week parti­ 19 – 27 OCTOBER 2019 www.ddw.nl cipants present themselves with an exhibition, a pitch event and

1 Receive a €2.50 discount with our special code BNODDW2019 via ddw.nl/tickets. a publication, this time based on the concept ‘The Driver’.

19 – 27 OCTOBER 2019 6 shares & likes

DEMO KABOOM!

With an original big bang Kaboom Festival Amsterdam was created, a nuclear fusion between KLIK Amsterdam Animation Festival and the Holland Animation Film festival. With 185 films and 324 programs in two cities we are in for a treat with a stunning, ever expanding universe of animation films: From colourful stories for the whole family to astonishing experimental art house for the professional connoisseur. In Utrecht ‘Shaun the Sheep’ and ‘Wallace and Gromit’ will appear on screen and there will be an exclusive screening of ‘The Satellite Girl and Milk Cow’ by Hyeong-yoon Chang. There are also workshops and young Dutch animation talent is given a stage. In Amsterdam there is a marathon show of the Amazons series ‘Undone’ by Hisko Hulsing and an interna- tional and Dutch competition, entered by Job, Joris & Marieke with their animation video for the Childrens’ Book Week. For a shameless laugh at someone else’s expense there is ‘Night of Shame’, fully dedicated to disastrous animation projects.

9 – 17 November 2019

The Rodina The www.kaboomfestival.nl

The new Design in Motion Festival (DEMO) shows the best READ IT YOURSELF motion design by studios, designers and rising stars from all around the globe. Watch it around the clock for 24hrs at Amsterdam Central Station on 80 digital screens seen by Dutch Design has gone down a whole new road. The genera- everyone from animation lovers to accidental commuters, tion of designers who was trained and shaped by the crisis tourists, curious and night owls. years strives for social relevance and, if possible, impact. This DEMO is an initiative by Studio Dumbar (part of Dept) and ‘post-crisis generation’ is inquisitive, engaged and optimistic, Exertion Media NL, who with the festival aim to bring together but also pragmatic and equipped with an eye for beauty. and show the best work from all over the world and at the Humour and the almost inevitable concept have been traded same time stimulate graphic designers to get involved in this for engagement, and free research and contemplative criticism particular digital area. for open mindedness and the will to act. In his book ‘Do it The organisation received over 2.700 entries from home and Ourselves. A New Mentality in Dutch Design’ design journalist abroad, brought down to a final selection of 400 by curators Jeroen Junte describes this new phase of the much-revered Liza Enebeis (creative director of Studio Dumbar), Koos Dutch Design using 199 crisis proof cases. Breen (interdisciplinary designer) and Xavier Monney (motion designer). The works will be broadcasted on all screens in www.nai010.com a continuously changing schedule. Offering visitors – 185.00 people travel through the station daily – some guidance through the enormous amount of motion design there are special theme routes and tours by graphic and motion designers. So, hope for severe delays of your train, as waiting at the platform has never been so much fun.

7 November 2019 www.demofestival.com

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CHEWING ON HABITAT LET’S CLASH LET’S DANCE DESIGN ROTTERDAM It is already the eleventh edition of the international and interdisciplinary FASHIONCLASH Festival, with this year Time to chew on three full design days in TENT Rotterdam. emphasis on the themes: ‘Clash’ (Avant-Garde, the art of Design platform Rotterdam by initiators Willem Kars, design fashion, and crossovers) and ‘Fashion Makes Sense’ (awareness critic Lucas Verweij and organisation consultant Jeroen through innovation, sustainability and politics). In November Deckers organises the first edition of the international Design over one hundred promising designers and performing artists Chewing Festival with debates, workshops, lectures, local from Europe to South-Korea and Peru will present their and internationally renowned designers and young talents. work in Maastricht. Every day there are tours with exhibitions, Expect a design pub quiz, portfolio coaching, ‘Creative theatre and dance performances and ‘Fashion Talks’. Fashion Mornings’ and ‘FuckUp Nights’ with a line-up of four speakers shows are on Friday and Saturday night, where talents of the who will treat the audience to their best fuckups, worst deci- future are given a stage at SAM decor factory – including sions, awful luck and fatal judgement calls. BNO IMG LAB presentations with the graduate collections of fashion students presents ‘Pioneers’, with the work by ten young alumni from from the Maastricht Academy of Fine Arts & Design. various Dutch academies. And BlueCity Lab is hosting a round table discussion on bio-design in circular example city 1 – 3 November 2019 Rotterdam and lets visitors join in. Not with their mouths www.fashionclash.nl full, hopefully.

15 – 17 November 2019 www.designchewing.nl www.designplatformrotterdam.nl www.tentrotterdam.nl Dance costumes Vivienne Westwood for the New Year’s Concert Pichlkostner Günther Photo: and 2014. Ballet Orchestra, Philharmonic Vienna the of

A dancefloor as catwalk with models and professional dancers: Many fashion designers saw and see the dance world as a great source of inspiration. They choose dancers as models

Did you know that Susan Bijl really doesn’t like stuff? That Smits Michaël Photo: Lamberechts. Marie and let influences from the dance world come back in Joline Jolink was one of the first in the fashion world to turn fashion, like clouds of tulle and modern tutus. Madonna’s her back on sales? That Kamiel Verschuren fought for years and John Travolta’s style in dance films in the eighties’, like to save the little ferry between Old Charlois and Katendrecht? ‘Desperately Seeking Susan’ and ‘Saturday Night Fever’ Or that Richard Hutten chose to live without gas already MAKE SENSE respectively, Michael Jackson’s leather jacket from ‘Thriller’ over ten years ago and today might not have made his or the styling of Beyoncé have influenced our style of ‘Dombo’ mug. Sustainability is not only an item clothing and hip hop has even changed the face of fashion Priscilla de Putter and photographer Nicoline Rodenburg on the political agenda but also forever. The exhibition covers everything from dance portrayed Rotterdam based makers like Davod Derksen, on that of FASHIONCLASH. With costumes and influential outfits from dance films to clothing CHEWING ON TEXT the Fashion Makes Sense Award Conny Janssen, Iwan Smit and ROTGANZEN. This resulted made to dance. From the seventeenth century until now. the organization wishes to in personal tales that implicitly tell a lot about a changing Designs are on show from fashion designers like Coco Archined and Design Platform contribute to talent development city. The book ‘Habitat Rotterdam – Shaping a City’ tells Chanel for Ballets Russes, Viktor & Rolf, Jan Taminiau and Rotterdam organize a new and to raising awareness on edition of the Pruys-Bekaert these stories. The makers of the book each have their own sustainable fashion. Ten finalists Iris van Herpen for the National Ballet, Christian Lacroix, Award for design and architec­ motives. They are idealists, dreamers and entrepreneurs who each present two outfits: one at Yves Saint Laurent, Jean paul Gaultier, Vivienne Westwood ture review. Authors have sent often can’t do anything but to follow their hearts. It kept the SAM decor factory and one and Rodarte for various ballet companies, and by designers in written essays in the area them or led them to Rotterdam, their ideal creative habitat. at Cube design museum, where who were inspired by dance such as Dior and David Laport. of design and architecture with The book is available at better bookshops and online. visitors can vote for the public themes as ‘World Images’. During award. The winner of the jury until 12 January 2020 the Design Chewing festival award will present a sustainable www.habitat-magazine.nl Kokoroko Francis Photo: Valkeman. Linda www.gemeentemuseum.nl on November 16th the winners collection during FASHIONCLASH will be announced. Festival 2020. ARCHINED.NL CUBEDESIGNMUSEUM.NL 10 dude shares & likes

DESIGN MILK t @DESIGNMILK

JOOST SWARTE TALK ABOUT 226X POSTERS LEGO Launches Braille Bricks for Children to Learn Braille bit.ly/ EVERYWHERE EVERYTHING 2W5Vo0m The Stedelijk Museum honours posthumously the Japanese graphic designer Sigeru Watano (1937-2012) with the This year he celebrates his fiftieth jubilee as illustrator, designer exhibition ‘Colorful Japan’, covering the Honour Hall from and architect with an exhibition at the Kunsthal Rotterdam. floor to ceiling with Japanese posters. Watano, who lived The ode to Swarte’s oeuvre is called ‘Joost Swarte Everywhere’. in the Netherlands, was an inextricable link between the An apt title, as his clear work full of humour can literally Stedelijk and many Japanese designers. With his help the be found everywhere; sometimes physically in the shape museum was able to acquire a great number of posters and of a building (Swarte designed the Toneelschuur in Haarlem Japanese designers have donated generously to the museum. together with Mecanoo), stain glass windows, furniture, The Stedelijk-collection of 800 Japanese posters is leading DUTCH DESIGN AWARDS a stamp or a pair of spectacles, but he also created logos, in Europe. t @DESIGNAWARDS posters, signage, album covers and of course his illustrations Japanese poster art wasn’t applied as advertising until the in magazines and for novels. Swarte started out in the seven- beginning of the twentieth century. The style varies from In her jury column, DDA’s Young ties as underground cartoonist for ‘Modern Paper’ and ‘Tante colourful and expressive to still and minimalist. The Japanese Designer judge @SaskiavanStein sheds Leny presents!’, had his breakthrough in 1974 when he was visual culture differs from Europe in being more direct and a hopeful light on the next generation drawing for the comic ‘Charlie Mensuel’ and is still illustrating subtle, often poetic. The exhibition shows at least 226 of designers in these seemingly dark for foreign magazines like the influential The New Yorker, posters that form a cross section of the rich graphic design in times. Read it on t.co/dbVAw6zVkm and for the novels by Nescio. Japan by designers such as Hiroshi Ochi, Kazumasa Nagai and Ikko Tanaka. One wall is exclusively for the internation- VOX until 19 January 2020 ally renowned graphic designer and artist Tadanori Yokoo. t @VOXDOTCOM www.kunsthal.nl

until 2 February 2020 Before memes were memes, there www.stedelijk.nl was Kilroy – a WWII icon that traveled the world. youtu.be/AFw8MSF7yE4

WAAG t @WAAG It was a challenge for graphic designer Dennis Koot to visualise a heavy topic like suicide prevention in a way that ‘No future without creativity’ says is attractive to youngsters/young people. Research shows @marleenstikker @georgebrugmans in @nrc t.co/O82gQnH2zP that increasingly more young people are dealing with sadness, depression and even suicidal thoughts. This resulted in five powerful and colourful faces that visualise five themes: bullying,

Kiyoshi Awazu, Collection Stedelijk Museum Amsterdam GERBRAND BAS taboos, sexual preference, gender issues, and problems of t @GERBRANDBAS young people from an immigration background. ‘Images need to be nice and cool, liked and shared, but also offer Economic relevance cultural and support to the young people who need it, and as encourage- 3X GRAPHIC creative industry similar to construc­ ment to talk about it with social workers,’ says Koot. The tion t.co/6YCxqc4mS0 faces are used on social media, Boomerang cards, banners ‘Colorful Japan’ is accompanied Kazumasa Nagai, Collection Nagai, Amsterdam StedelijkKazumasa Museum by the exhibition ‘Wim Crouwel: and posters, and have been made commissioned by GGD Mr. Gridnik’ (until 22 March 2020) Haaglanden (Mental Health Services), 113 The Netherlands, DEZEEN

Cover of the summer issue of Walrus magazine (2009), © Joost Swarte and the presentation ‘The Best t @DEZEEN PsyO, COC Haaglanden and Street Consulate The Hague. Dutch Book Designs’ 2018 (until

30 October 2019). Jessica Walsh splits from Stefan www.koot.nu Sagmeister to launch creative agency &Walsh: at.dezeen.com/2K3ZQ8Z

12 13 ‘ fall on your face, there is nothing wrong with that ’

TEXT VIVEKA VAN DE VLIET × PORTRAIT VALENTINA VOS dude simon buijs

In The Hague Simon Buijs works in a back- He discovered his joy in drawing while hammer.’ Tools in his world are called Illus- Optimistic, driven, curious, this yard studio with a gushing fountain in the in India, when he was given a pencil with trator, Photoshop or Aftereffects. ‘Many of garden – a place he shares with other creatives Mickey Mouse on it and decided to draw these programs are alike. I master maybe is Simon Buijs, stage name: and where he creates his narrated worlds. a copy of it. ‘It awakened something in me; ten percent of each, the rest I find out when The nickname he was once given by friends I wanted to become a cartoonist.’ Later on, I need to,’ he says. When you look closely BobbyPola. A creative, pioneering stuck as his stage name. ‘It goes well with he was given wax crayons by his father, you see BobbyPola’s signature in his work: ’ the fantasy worlds and the characters I create which he and his brother used to decorate things are just a little lopsided and when he spirit, the for clients. It is more of a Rockstar name that entire walls. ‘We thought that was pretty has to draw two of the same things, they are ‘ eter st works well internationally and sounds so cool. My father didn’t even get mad, but he never exactly identical. ‘Having your own na ud much more mysterious than Simon Buijs.’ did ask us if we could limit ourselves to signature makes your work unique; it gives who wants to keep onl experi-e Simon has clocked tens of thousands of maybe just one small wall.’ it charm and something vivacious. This is n hours and worked for many different clients. how I bring back humanity to the ultra- menting, questioning, stretching t And yet information on him remains scarce. STREET ART slick, sterile digital work. That is where the The explanation: ‘I don’t have much time to Simon’s parents encouraged his creativity, tension lies and how you can keep creating work on self-promotion. Simultaneously this which extended from that one small wall something new. boundaries and trying new means I have so many commissions, that to the public domain as exhibition space. I don’t actually need the promotion.’ His love for graffiti, street art and hip-hop REFLECTION techniques, in collaboration From an early age he discovered that he was culture was born. Local street artists in His form language is colourful, depictive drawn to the cutting edge of animation and Suriname and India made murals for Coca- and cheerful. He looks at the world with with his clients. Print, graffiti, illustration; Simon creates animated illustra- Cola and all kinds of haircare products a childlike sense of wonder and you see this tions and illustrated animations. He switches amongst many other things. ‘In the Nether- reflected in his work. The style is character- from one to the other; doing both is all- lands it was considered more of a free form ised by clear lines. It communicates, is street art: he has done it all. His encompassing. Continuously changing input, art’, he observed. Simon was included in the versatile and narrative. He has started to a different way of looking and thinking is entourage of party organisers Zender in work in increasingly more minimalist ways. t belongs to animated part of the game. ‘I always want to know Amsterdam and Leip in Rotterdam. Everything else is just a cry for attention, ar what the next step is. Print is super nice, but The hard romance with the paint roller and he calls it now. ‘I am no longer haunted by heillustrations and illustrated it often lands in the bin so fast. When some- spray can however didn’t last long. ‘The form horror vacui – the fear of emptiness.’ thing is static, you want to make it move. language, the colour palette, and the social Like any other creative, Simon does some- And when it is already moving then you aspect of creating something together times lack a challenge. It was in 2013 when animations. ‘I have this strong want it to engage in interaction. It is the appealed to me, but I saw the graffiti at he realised his work had taken over his life. natural evolution of my work and the things Lowlands and Mysteryland for example more He came close to a burnout, at a time when urge to create something that I like,’ he says. as something temporary.’ What is the added he had just become a father. That was what value, what story are you telling, was his made him decide to manage his time differ- serves, something that lasts.’ MOVEMENT critical contemplation. ‘I think it is great ently, opting for long-term projects with Simon has a rich interior world full of when artists can keep developing themselves more financial security, while guarding his images, also as a result of his experiences in this, but my interest lies with bringing boundaries more firmly. during many travels. His family frequently together the craft and the digital, by drawing Finding the balance still remains difficult, travelled because of his father’s work as a everything first and then animating it. in his opinion. To divide his time between hydrologist – a tropical agriculture scientist. Movement brings so much extra. It can be family, commercial clients and free work, Simon was born in Suriname. They moved applied to TV, in apps, on the Internet, I can Simon has chosen to dedicate four days to to the Netherlands where they lived amongst use it to tell a story and it has a sustainable work and three to family and other things. the apple trees of Dreumel in the Betuwe, user life cycle.’ On working days, time before noon is followed by four years surrounded by reserved for creative thinking and the after- elephants and snakes in India, before they He has never stopped using his pencil. ‘Interns noon is for production. This proves the moved back to Delft. Simon is a child of the immediately turn to their iPads. For me that most efficient. There is time for reflection, eighties, nineties, the golden age of comic just doesn’t work. I need the analogue, the to pose the question: ‘Do I still want to go books and cartoons on TV. ‘Wild horses connection between my hand and my brain. down this path?’ That is a question he asks couldn’t drag me away from the TV.’ he says. I see the computer more as a stunning himself even on a daily basis, he says. This is

16 17 dude simon buijs

FAMOUS FACES FISHTALE

Portrait of Rick Ross from a Illustration for Fishtale surf­ series of one hundred animated boards. One minute you are King portraits of celebrities like Neptune on the back of a big Kanye West, The Beatles, Prince fish, the next you and your board and Beyoncé. are like fish dead in the water.

18 19 simon buijs

SIMON BUYS AKA BOBBYPOLA

— SINCE 1982 — also a recurring theme inside the studio where Because he is social by nature and also can’t because of the process. I don’t believe you the creatives initiate a monthly intervention and doesn’t want to do everything by himself, get everything right the first time. It is a Born in Paramaribo, Surinam. to ask themselves, and each other, where in his work he actively seeks out collabora- process of sharpening, shaving, polishing, At the age of three he moved to they stand and where they want to go. tions and this way gets to know new people. learning and doing it all over again, making the Netherlands with his family, aged six to India, and later back Privately he discusses a lot with his creative it better all the time. Eventually I want to the Netherlands again. He has VARIETY friends, some of whom are good at making my work to achieve the same (sentimental) been living in The Hague since he That this will all come to a standstill and dry games, others excel at story telling using value as comic books have throughout was 22, studied at the Willem de up is not something the curious and studious analogue techniques. the generations.’ Koning Academy in Rotterdam Simon has to fear. He attempts to reinvent His clients include many commercial stake- (2000-2005), and has an MA himself by learning new things. ‘I don’t want COLLABORATION holders, but also advertising agencies and from AKV|St. Joost (2010-2011). to become a one-trick pony. New thresholds Simon enjoys the boundaries of working cultural clients. You hardly ever spot one He was a lecturer at both acade­ keep me sharp. I am not afraid of the with a client, but does love to test those of BobbyPola’s illustrations in a newspaper mies. He interned at Jeroen unknown. It is adventure that propels you boundaries by asking critical questions: or magazine. ‘Because I don’t find it inter- Klaver aka Shamrock, the famous forward,’ he says. That is why he chooses to Is this really your self-imposed limit or can esting’, he says resolutely and with a smile. typographer and illustrator, with alternate between illustration and anima- we stretch it a little? What you think you ‘I love print, children’s books, I enjoy looking whom he worked for TV show ‘Spuiten & Slikken’, ‘Tijdwijzer’ and tion, and why he has learnt to draw (comics), want, is that really what you want? This is at illustrations immensely, but it just isn’t the Albert Heijn ‘Superdieren’. paint, cook and illustrate. When he falls in an option, but are you aware this can be done where my preferences lie. I become interested Commercial clients are Squla, the love, he goes head over heels. ‘That’s how too? Clients who put digital media at the as soon as it goes onto a device and you can Bijenkorf and Malmberg. He also I have worn out many a creative love,’ forefront, even if this territory is still a bit tell a story. When the viewer can discover made 2D-illustrations for the he says smilingly. like the Wild West, know that this is what something, contribute or interact.’ The Hague Philharmonic. Clients Taking up new things is pretty much the pushes their project further; programmers International clients also approach the illus- include Vodafone, BNN, Dutch nature of the beast. This actually applies to who see the challenge in something they also trator/animator. For the Finnish running Heart Foundation, Adformatie, his entirely family. ‘I am the eternal student,’ don’t know, these trigger Simon. ‘Together shoe brand Karhu, that has been working TNT, ING Bank, Heineken, says Simon, who studied at the Willem you enter this research trajectory. You never on a comeback for several years and is sold PostNL, Ahold, Marktplaats, de Koning Academy (WdKA) in Rotterdam, know where you will end up; you invest in globally, Simon is their head illustrator. advertising agencies like Young followed by a MA at AKV|St. Joost. His the relationship, motivate and question each A more recent great commission was for & Rubicam and TBWA\Neboko. Since 2007 Simon has been mother started studying at a later age. After other. In this process illustration is actually Spotify, which he got via the production signed by the agency Shop his retirement, his father went to study Health the solo game and animation the team work: house The Ambassadors in Amsterdam. He is Around, but these days he Sciences and his brother is currently also you gather input from your client, another the only art director on the project, where the generates most of his business back to studying at the Rotterdam Academy designer or animator, there is a voice-over and podcast section of Spotify and its benefits through his own network. Inter­ of Architecture and Urban Design. a programmer, and you try to pull together have to be explained illustration style. national clients include Karhu, ‘I want to explore things with the uninhib- illustration, animation, data and code and Simon creates the storyboard together with and more recently Spotify. ited eye of a child. I love playful discovery; pull the project further,’ he says. the creative director, conceives of the char- that pleasure for me is the way to be Some of these clients know Simon so well acters that fit within this style and world, nurtured creatively,’ he says. In his commis- that he is given carte blanche. And since and together with a team – including some sions he also tries to create worlds where he has profiled himself more often as art of his former students – he takes care of the he needs to find solutions, is allowed to director, he notices this job title carries more animations. ‘It is super cool and so exciting make mistakes and where he can experi- weight, giving him more space to explore to see how my knowledge and work relate to ment. Then he seeks the excitement of something and make crazier suggestions, a different culture and are applied on a larger knowing this is going to be a really great than when he profiles himself as an illus- scale. It is literally rolled out to an audience job, without knowing where it will lead; trator. The illustrator/animator also actively of millions,’ he knows. only trusting that everything will turn out seeks out clients he can work with on bigger just fine. ‘You transcend yourself, eliminate projects with a long-term perspective. Like VICTORY another limitation.’ the Bijenkorf, who he has been working At the academy Simon taught himself many Even though during an education you are with on their internal app for five years, things during time when almost no other handed a lot by your teachers, Simon is of or the educational website and app Squla, fellow student did so. The head of his depart- the opinion that you learn more from your and schoolbooks publisher Malmberg. ment didn’t understand what he was doing classmates and through collaborations. Simon: ‘Long-term collaborations matter, or was trying to say until graduation. ‘I was

21 dude simon buijs ‘ I don’t believe you get everything the first time ’

sketching the bigger picture, not merely mation to your audience, and how to make who guides someone on their journey. I have making something one dimensional.’ His learning and discovering fun. Since then aimed to teach students with positivity, fun interests and curiosity turned Simon into I have focused even more on how I do that; and attention. I let them go and say: ‘Go do a pioneer in a time when the first computers through animation, gaming or a movie.’ it, fall on your face, there is nothing wrong made their entrance into the academies, and This is how he returned to the nest: From with that.’ That is how I gave them the confi- the animation department at the WdKA 2012 Simon taught the first- and second- dence to find out where their strengths lie. wasn’t set up until a year after his graduation. year students of Visual Design & Media at I think the students appreciated that.’ He was also one of the first who showcased the WdKA for seven years. He taught the He experienced how the profession changed, his work on Instagram. animators how to draw, because it is visually how the boundaries got blurred. That’s the The WdKA is very much applied, which practical to have this skill, and of illustrators reason why at St. Joost illustration and Simon enjoyed, and the MA at AKV|St. Joost he asked: what more can we do with this animation were merged into one depart- offered him a different world with new static image? Make patterns? 3D-printing? ment. ‘If you look at illustration there now,’ people. ‘They greatly value the artistic there Execute it in ceramics? This is how he Simon says, ‘the subject has broadened in and I learned what animation production emphasised that illustration can be so much scope immensely since then. You see a mixed entails from beginning to end; not just TV, more, that there is so much more to discover. bunch of illustrators from all corners of the but also VJ and 3D motion capture among world, as many women as men, who end up other things. As well as all these different CHANGE in animation. You see animators who call techniques, I also learned the various roles The departure of the head of the department themselves illustrators and work 2D. Some of director, art director or a role in service caused Simon to decide to quit teaching. design patterns and fabrics, others tattoo or of someone else’s project. Exposing yourself It was time to either choose to be a teacher go towards street art and art. These are new to new, uncomfortable experiences and full time or do something else. ‘I enjoyed worlds that still hold so much to explore.’ jumping in at the deep end are necessary to teaching together with a young team of conquer fears. It results in a firm foundation’, teachers. As a teacher I have contributed STORY he states. ‘The funny thing was that after what I myself have missed, for instance a He knows that the subject has not just this degree I still have this predilection for relationship with my teachers. Students are broadened in scope, it has also grown illustration and animation.’ in a stage of their lives that is messy, tumul- considerably. Internationally, people who In addition, Simon developed a need to tuous and full of self-discovery. It is nice are hardly known in their own country have convey information. A friend stated a year when there are young or young-thinking made waves fast, like Xaviera Altena who or seven ago that Simon works a lot in the area teachers, who make contact, inspire, under- works for The Guardian and the Glastonbury of education, as a teacher as well as where stand the students and who motivate them Festival, Seb Agresti for The New Yorker, initiated work) his clients are concerned. ‘Well spotted. With to explain what they don’t understand. and Rick Berkelmans aka Hedof for The - me it is always about how you convey infor- A teacher often also acts as a psychologist New York Times.

22 23 Ecoline Drawings (self dude dudelicious

BIJENKORF

Illustrations and animations for the Bijenkorf app. The sense of the rich advertising and print from the fifties and sixties trans­ lated to a new digital learning environment.

Former students sometimes ask Simon environment, surrounded by dancing, a big Brits and so on. Now, five hundred years for a job. He is very generous; he will help band and music. The warm, heartfelt brunch later, we want to define this. To have an them get a job or enlists them when he has after the funeral of his grandmother from opinion on this feels a little bit like flogging a project as an art director. ‘I have a big Brabant showed similarities to the funeral in a dead horse. And the more I look at it from network by now. I know many students very Suriname. There, a person’s life is celebrated a normal perspective, the less need I feel to well and there are good people who create in a beautiful, warm manner. ‘The entourage take a position on this.’ great things. I genuinely hope everybody is is different, the feeling is the same,’ Simon ‘My group of friends consist of people from accommodated.’ says. ‘I want to show that there are also a lot all corners of the world. My illustrations BobbyPola has also broadened his scope. of things in common, like family, good times, for the books for Malmberg contain the The vast digital workload for clients has bad times, love, grief, life and death.’ full colour spectrum. In many of the illus- created a need to draw extensively. In recent Simon feels the need to tell the story now trations you see someone with a head full years there was hardly any time for this. But when, as a father of two children, he has or curly hair: that’s me. I create my own now Simon is back to analogue techniques started to look at life differently. It is much world of experience. And I hope that others, like pencil and ink with great joy. He creates more about sharing a personal story together too, will continue to look at someone and layered abstract drawing that might result with his children, who are growing up in the see the person, not the man or woman, in a ceramic vase or toys, he believes. Netherlands, than it is about making a social black or white.’ Another one of his own projects is a story statement at a time when polarization of that he hopes will be turned into an animated cultures is a regular news topic in society BOBBYPOLA.COM children’s series about cultural differences and politics. Eternal student Simon is not limited to one world or single truth. and commonalities between Suriname and ‘What am I supposed to say about this, as the Netherlands. Simon tells the story from a child of a Dutch father and a Suriname He searches, explores and plays – and in doing so learns to deal with the perspective of both his grandmothers. mother, who actually stands in between two his creative self and the world around him. To subsequently visualise it. The funeral of his Dutch grandmother took worlds?’ asks Simon. ‘Whole generations of Looking for boundaries, taking away the hurdles, humour and the place in Brabant and was churchly, sober, people who are half of something are growing and she was laid to rest in silence. His Suri- up now. This is a reality. In the Golden Age ability to put things into perspective matter to him, as he shows in name grandmother was buried in a tropical Amsterdam was also full of Portuguese, these six examples.

24 25 MERIJN & JURRIAAN HOS

Simon: ‘Independently they are both talented, but in their collabo­ rations, they bring out the best in each other. I see this mostly in the visual style they have been creating for festival “Down The Rabbit Hole” for a number of years now. Each year it changes, but still it feels like it all belongs to the same world.’

JURRIAANHOS.COM MERIJNHOS.COM dude dudelicious

STEVEN CAITLIN PRESS- DOUGHTY FIELD

Simon: ‘“From here to Eternity” Simon: ‘“The War of Art” is a must- is a great book on how in different read for every creative who is cultures we deal with death, told looking for clarity in the creative and illustrated by an undertaker – process. It is about fear, self- the author of the book. It is amazing sabotage, perseverance, growth, how she keeps it light and full of wit trial and focus. This book has while talking about this topic, and enlightened me and helped me yet it remains very informative.’ to put my work into perspective.’

CAITLINDOUGHTY.COM STEVENPRESSFIELD.COM

28 29 dude

JONATHAN DJOB NKONDO SANJAY PATEL Simon: ‘This quirky French animator and illustrator switches from large Simon: ‘When as a child I was living international animation projects to in India I read the comic books indie comics, from abstract graffiti about the “Ramayana”, the Hindu to editorial animated illustrations god epic. A few years ago, I came for The New Yorker. He never gets across this version by Sajay Patel. stuck on one thing; he keeps on He works for Pixar as an animator. searching and developing himself. It’s an ancient tale, but its style A real talent.’ is clearly modern and digital; this is where two worlds meet.’ ABSENTEISM.TUMBLR.COM GHEEHAPPY.COM

FX GOBY

Simon: ‘An incredible storyteller; he can turn small stories into grand tales of epic proportions like no one else. The animations and instal­ lations he directed for Google are gems, all of them. Each time he approaches the assignment from a different angle, also in terms of technique. It is as if he keeps playing and discovering constantly in all his projects. He creates surprises every single time. Nothing is out of bounds, not even a Google 1

theme park.’ Interactive Google Doodle in honour of Georges Méliès. The accompanying ‘Back to the Moon’ is a film by directors FX Goby and Hélène Leroux, produced by Nexus Studios, Google Spotlight Stories, Google Doodles and Google Arts & Culture.

FXGOBY.COM

1 The making of ‘The Ride’ can be found at 30 nexusstudios.com/work/the-ride. 31 v

dude continued

‘ I came to the conclusion that form is much more important than substance ’

you work with and have to relate to crea- MATURING PROCESS Contrasting Bückmann’s ‘holding onto tively as a designer, changes. You also age. ‘Hold onto this’, a former employer once spontaneity’, Herman van Borstelen’s ‘Everybody prefers to work with peers. told Kyanne Bückmann. The co-owner and ‘getting rid of dogmatism’ might be consid- But inevitably, everyone around you will be creative director of Bowler & Kimchi labels ered. The graphic designer was trained in younger. I invest a lot of time in managing herself as an intuitive designer, as opposed the late eighties by strict, modernist lecturers contacts and accompanying international to the more cerebral types she encounters and he spent his internship with Reynoud trade missions to meet new people. But the in packaging design. ‘Packaging has to seduce Homan. ‘After my studies, it all became looser Wisdom comes with age, according to the adage. But apart network of clients is drying up. Young people you and that is something which involves and less theoretic again. Halfway through prefer to work with young people. The 27- the heart more than the head.’ the nineties, many people returned to the from knowledge and experience, age also comes with year-old Hans and the 64-year-old Hans are She tumbled into the business. After the rules. I did too, initially, but I managed to a tendency towards routine, mannerisms and repetition. intrinsically the same, but the refashioned Rietveld Academy in the late nineties, she release myself from them later on. Stylisti- As a designer, how can you maintain some of the carefree outlook does really make a difference.’ was introduced to a packaging design agency cally I still have a strong preference for a ‘It is for the better.’ Boot rushes to add. Now, by a headhunter. She had a limited ‘card- certain severity, but a dogmatic workstyle abandon from the early days of your career? There seem to he is offered projects for which previously board-box knowledge’ but fell head-over- doesn’t suit me. I began by creating work be more ways than one to reinvent yourself. his inexperience would have disqualified heels in love with the business while standing for theatres, publishers and newspapers, him. ‘I focus on offering advice and strategy in front of a cupboard full of colourful and then started a collective named Gorilla and leave the manual tasks to the young ones. packaging. She was hired as a DTP and was with visual columns. It wasn’t until 2005 TEXT EDO DIJKSTERHUIS Experience and knowledge have become killing time during the first month of her that I really found my groove and I have more important during the course of my training period carrying out an assignment been working more freely ever since. It really career.’ And these he keeps developing for Albert Heijn – which turned out to be was a matter of maturing.’ through courses and workshops. ‘I am like a master stroke. She was moved into the The most important conclusion Van Borstelen Most artists and writers create their best Hans Boot recognises this in his photogra- designer in journalism and 45 years later, a sponge in a bucket of water. I love to learn, design department immediately. drew from this, is diametrically opposed to work between the ages of 25 and 40. That pher friends. ‘They talk about ‘the trick’. with his studio ideas he covers a broad scope, and the curiosity has always remained.’ Bückmann’s attitude and method have not the modernist form-follows-function adage. is when they are bursting with ideas and ‘But it is not a trick.’ I reply. ‘It is craftsman- varying from editorial design to packaging That is why he also acts as a career coach changed substantially since then. ‘I do back ‘When you are young you often start with energy, matching eagerness with an unin- ship. You have stopped recognising it as design and TV formats. these days. He teaches others to look at their up projects with strategy, because I can the substance, but at a later age I came to the hibited urge to create. After this flying start, such. It is something you have developed But Boot is also a realist. ‘Reinventing profession and discover why they might no longer get away with just ‘This feels conclusion that form is much more impor- it often becomes complex. That second over the years and if it is right, just keep on yourself can be a disappointing experience. have lost their fascination and are stuck. right’, she admits. ‘But I do often intention- tant. You can’t differentiate based on content. novel, exhibition or album rarely meets developing it.’ With the digitisation of graphic design, a ‘Sometimes, people have forgotten why ally pass the strategic elements onto my That is why it is smart to let it play a less- expectation. Many never succeed in All-round ideas man Boot is an optimist in lot of expertise was lost. The specialist work they do what they do. Or maybe they need partner, Kevin Davis, so that I can keep an determining role and, for example, find an emulating that pinnacle. It is not to imply that regard. ‘If you continue to enjoy your job, that used to require typographers and to do something else. That is often a pitfall uninhibited perspective. Going back-and- individual language in a series and, within that they don’t create anything decent, solid the energy stays and you keep reinventing lithographers is now done by computers. for creative professionals. Their talent can forth can be very fruitful, but only with that, sub-languages and sub-forms again. or significant. But that initial blooming is yourself.’ He is living proof of this. As a It does make the job less interesting.’ be a lifesaver, but it can also be to their colleagues who have a similar style and As I am not a specialist, and have a broad hard to reproduce. nineteen-year-old he started as a graphic With the passage of time, the technology own detriment.’ way of working.’ range of commissions, it is relatively easy

32 33 dude continued ‘ limitations only make you That, too, is the work ethic of Jonathan Ho. same direction. Eventually, Jorn and I left To this end he created the world’s longest He didn’t take the path of a single passion as and started Attach Studio. To get off the colouring page for the Biological Self- did Elzinga who, at age four, already knew ground, we will have to do more commis- harvest Garden in Haarlem. In 2013 he more she wanted to become a fashion designer. sioned work. Ideally we will arrive at seventy adopted the string orchestra Ardesko and Originally Malaysian, Ho was pre-selected percent commissions and thirty percent catapulted them to national fame within for a career as a classical musician at the independent work.’ six months. And last year he used his same age. When he failed his entrance expertise to shine a light on the Comic exam for the Conservatory, he decided to DAILY REFRESHENER Days. He conceived of a competition and to keep reinventing myself. But you have to produced powerful products that people in a slightly different way to create some- study Industrial Design. Via Australia and For Koos Breen it’s a different ballgame an exhibition, produced it, wrote the copy, keep looking at yourself critically and testing wanted to have immediately. Nowadays I am thing different, become something truly Finland, he ended up at the Design Academy altogether, but then his practice is also took care of the graphic design and organ- things. Does what I am doing here it make more interested in establishing a brand or new and original.’ Eindhoven, where he graduated in fetish completely different. He started out as an ized the Facebook campaign. sense? I am not easily pleased, and my bin identity. That is something that encompasses It is true that with fledgling designers, eager clothing and sex furniture. The collection optician, was accepted into the Academy Staying fresh, according to Boot, is a matter is always stuffed to the brim. But in recent the entirety and surpasses a single season. to make their mark, ‘doing’ is what matters was sold at the Belgian Fetish Trade Fair of Art based on his glasses design but of acting fresh. ‘In short, stay busy, practise years, things are being created that still In the personal domain this means broad- most. Those who isolate themselves from and Ho decided to continue down this road, continues to spend two days a week fitting happy, push boundaries, first in myself, surprise me. It is a cyclical process. Some- ening and deepening your scope.’ the outside world, even reject an education but with a broader focus. Consequently, clients for appropriate spectacles. ‘It is then in others – finding challenges; over- times it is a struggle for a few months, a year, In 2009 Oberon left for China to spend a year because instruction and information would he was recently commissioned to restyle because of my work as an optician that I can coming resistance. And you learn so much maybe two. But then it becomes easy again teaching at the Design Academy Eindhoven. only dilute their raw urge to create, is negli- a dark room for the Amsterdam sex club, afford to pursue independent projects,’ Breen more about life along the way. Giggle a lot – when I find my consistency.’ ‘That takes you away, into a completely gible. ‘I think it is actually because of your Church, while simultaneously working on states. ‘My free space is sacred. Without it, and cycle through sadness to overcome different world. When I came back I was education that you are better-able to rein- a bio-art installation – to be shown in late I would be deeply unhappy. I need to have disappointments. Stop for a cup of coffee FUCK-YOU ATTITUDE buzzing with energy. That comes from spen- vent yourself.’ states recently graduated November, at Mu in Eindhoven. The instal- time to experiment. Luckily, I have clients now and then and watch a lot of films, During his internship at the German ding every day with 150 students. It makes fashion designer Lieselot Elzinga. ‘I used lation raises questions about evolutionary who understand this, such as Het Nieuwe mostly documentaries. To get that this is agency Hort van Eike König who, at the time, you much more self-aware. Also, after a my four years to try and to test all machines biology and gender. Instituut, who asked me to design a stage a luxury we all share.’ mostly designed album covers for LPs and year of facilitating other people’s thought and techniques, but also to doubt everything ‘I can pursue this project for at least another set without having any previous experience CDs, Oberon Kok – better known as simply processes and containing my own creativity, and take weird detours. It has broadened five to ten years before it starts wearing in that area.’ Oberon – learned an essential lesson con- it really had to come out.’ my horizon. I have loosened up and my thin.’ Ho states confidently. ‘I am challenged Even when you have all the freedom in the cerning how to keep your creative primal It won’t happen the same way it did when aesthetic has become more refined.’ constantly, learning about photography, world, and inspiring clients, you can still source unpolluted. ‘He said: we prefer he was still studying, when he would easily marketing and branding. In this profession get stuck sometimes. Breen’s recipe in such to spend two weeks experimenting than sit in front of his computer until one in the OCTOPUS IN THE DARKROOM you really need to be an octopus.’ He actually cases is: ‘Go to the beach to walk or swim.’ following a brief to the letter. That also morning or worked with friends on self- For a year now, Elzinga engages in commis- enjoys the limitations that are inherent in Each of the other designers applies similar benefits the client, but should they dislike imposed assignments. The results from those sioned work. But she doesn’t consider the commissions. ‘It only makes you more distractions to clear their minds. In addition the result, at least we had fourteen days of sessions are still a valuable resource, as is briefings and design framework as inhibiting. creative. You have to graft. And whenever to the remarkable, often mentioned, ‘sports’, fun. And we still have two days left to come the inspiration drawn from TED-talks and ‘Only in terms of materials, do I occasionally it gets too chaotic and I need to organize my they recommend reading books, going to up with a run-of-the mill solution.’ podcasts. It is this hunger for knowledge have to make concessions. So, if I really thoughts, I lock myself into my studio for the cinema or visiting museums – or, as Oberon returned to the academy after his that Oberon sees lacking in the younger want to do something with expensive silk, a weekend to mess around a little.’ Van Borstelen puts it: ‘Entering a different internship with what he refers to as a ‘fuck- generation. ‘They are scrolling on Pinterest I will make a one-off piece, just to get it out Unlike Ho, Bernd van Riel prefers to work creative dimension.’ you’ attitude. He used to give his lecturers all day and don’t really know where things of my system. I have rails full of experiments independently. ‘First I studied interior design ‘When you are in the mire up to your exactly what they asked but went about his originate from or why they look the way like that.’ in Boxtel. But there, you mostly learn how eyeballs, it is not a bad thing to go and do own way in the meantime. Subsequently, they do. Due to this lack of understanding As well as the experiments, Elzinga is to execute step by step. It wasn’t until my nothing for a while.’ Boot believes. ‘But, of he gave precedence to his intuition. He kept and historical awareness they often create currently designing a new collection, pro- studies in Product Design at the HKU that course, there are more pro-active ways to this up until he joined the fashion industry. something resembling an earlier design, ducing an old one, planning a presentation it really began for me. vent your frustrations. I give myself a special His first big client, Nike, gave him ample space endlessly copying. Compare this with in Paris and is working on a film project. During his studies Van Driel formed the assignment every year. I chose a matching to roam freely, and intuitively. Still some- high-end fashion. So much research goes ‘Maybe it is a bit much, but I push myself collective with kindred spirits which they happy-cause – not a good cause, because thing has changed over the years, he believes. into that, delving deep into history in order and, creatively, that works well.’ named ZwartFrame. This became restrictive. ‘good’ is subjective. Then I make something ‘I was very strongly focused visually and to use all this knowledge, all these bricks, Simply open the floodgates and work on. ‘It is not easy to keep five heads turned in the for it – something that makes me happy too.’

34 35 dude changes

At the beginning of this year we queried our members and readers extensively about their opinion of Dude. In addition to straight-shooting eye openers we also received compliments, constructive criticism and bucketloads of inspiration. We promised to keep you posted on the outcome, and that’s what we do now. Without further ado: Dude is done.

TEXT FREEK KROESBERGEN

Or rather, Dude in its current form is exiting, making the one The content we will develop in a different way. We start you are holding right now a collector’s item. thinking from the stories we want to tell, the knowledge and experience we want to share with you. Only then we With five years of editions, including five graduation specials, look at how we can get this content to both channels – we have largely reached what we set out to achieve. The digitally and in print. Another crucial difference is that we magazine showed us from our less ‘serious’ side. Thanks to will reduce the frequency. The new magazine will appear the characteristic design by Dietwee, who came up with the three times a year: in spring, summer and fall. And each of wayward name Dude, and their trailblazing idea to not turn these issues will have a different focus, based on the pillars it onto a design magazine, but a designers’ magazine with of business, people and work. one of you on the cover and as inspirational guest editor. We succeeded in changing how to communicate with and about We will work with Studio de Ronners and with that will part designers. This gave us all a face, and a platform to share ways with Dietwee, who in almost 15 years signed for the knowledge and experience, to take a look behind the design amazing and resourceful design of our magazine: Together BYE and the façade of design studios. It turned BNO into a more we made 22 Dudes, and with that already around 75 of the visible and more open community. And it made us – especially preceding magazine Vormberichten. Countless hours of in combination with the graduation specials and YA, our work, meetings, calls, emails, drinking coffee and celebrating Young Alumni club – a younger community. results. Words can’t express our gratitude to Dietwee.

But times change, and they change faster. There is a new And we want to work with you: our readers, the members. policy in the making. We have thought about our communica- Because our plans also depend on your input. We strive to tion mix as it is called, about the balance in what we do online become the channel for designers, both online as in the print and offline. We believe it is time to do things differently. edition. It can be done, providing enough designers can help with producing and publishing content. You agreed, offering us plenty of suggestions. ‘I expect more experiment’, was an often-heard comment. You also deemed We are now diving into our new magazine format and working Dude to be not sufficiently focused, not always relevant on our online editorial format at the same time. Both are exactly for designers. It can dig deeper, with less “human open to your immediate contribution. Do you want to share, interest”. ‘Dude could be a movement, with more online describe, record or film, visualise or design your knowledge, moments and on locations around the country’, someone case studies and experience? Send us a message and we even said. We have considered and weighed it all. will contact you.

We have raised our ambitions: More variation, more visuals ‘Make sure it continues. This is the only existing Dutch maga- and more surprises. It can be “more journalistic” and sharper, zine for designers. It would be a shame to see it go’, we read with more debate. Less attention on the outside of design, in response to our query. And we wholeheartedly agree! and more on the process behind a design and the entrepre- neurship that comes along with it. More focus and more [email protected] relevance for designers. And more collaboration with those designers in creating content.

36 37 dude career Inge Keizer

‘ in my research PHILIPS: SERVICE it is actually DESIGN CHALLENGE the non-users Together with Philips Experience Three grand dames of design talk about career choices, valuable lessons, I look at too ’ Design, Inge collaborates in convictions and eye openers. Inge Keizer (Yabber, Service Design Days), a ‘Service Design Challenge’, towards which the first step is Tessa Oudijn (Brum Design) and Corien Pompe (ex-Volvo and -Philips, Donna taken at a one-day workshop e Mobile and Move) seem to take on entirely different roles in the design during Dutch Design Week 2019. why I always lean towards working with design a service,’ she says. ‘My ideal client Inge: ‘We are not looking for industry, but they do have a few characteristics and convictions in common. inter-disciplinary teams. We need to get rid knows what their added value is, is intrin­ short-term solutions, but long- They are building bridges, value collaboration and connection, put users at of the old boxed-in way of thinking.’ Inge sically motivated to contribute to a better term impact.’ Any designer can puts people at centre stage: What do they world, works with teams as diversely as enter. Participants of this ’chal­ centre stage and take important decisions based on emotion. Is this the secret need and which solutions match? That is the possible and offers room and trust for exten- lenge for social impact’ are given of their success? reason why she actively involves her target sive research with users. Some are scared a pack of methodologies that can audience in her projects. ‘Research isn’t that users will pass the information on to help them to develop their task. SERVICEDESIGNDAYS.COM TEXT PRISCILLA DE PUTTER complete if you don’t involve the people for competitors. That is a fear they need to get whom it is actually about.’ over. An important part of my job is to convince organisations what the added Inge considers the research stage to be the value of that is.’ subject is alive and that is truly valuable.’ best part of her job. This is time and energy From the need to draw more attention to the Inge dreams of building bridges. She wants consuming, but it merits attention. ‘It is importance of cross-disciplinary thinking, to provoke thought enabling designers to crucial for a project. Without knowing who Inge launched the ‘Service Design Days’. create a considered and valuable product. Driven by the desire to discover To categorise her activities is difficult for customers became data. But if you need to exactly your user is, you can’t design well. Here human-centric thinkers from the ‘If the whole process at an online store is and to develop, Inge Keizer, at an Inge. It constantly depends on the issue she think of a solution to offer to your potential Unfortunately, the time required isn’t always industry come together to exchange thoughts designed for speed, what implications are early age, had already opted for a happens to be dealing with. ‘What I do and client, you can’t reduce it to numbers. It lacks allowed for, but I think it is incredibly impor- and discuss the latest developments. She is there for the workers on the same production freelance existence. She didn’t plan what I strive for is easier for me to describe, all context, when this is actually crucial!’ tant to get inside people’s heads. In doing proud to see it slowly transform into a plat- line? What does it mean for the materials, her route but followed her instinct namely ‘driving positive change by design’.’ She told her clients what she thought about this I actually broaden my focus, and specif- form where designers and non-designers labour conditions and the transport? It may instead. It led to a specialism in Inge studied commercial economics and, as this and wanted to substantiate it. ‘At the ically looks at the non-users. I once worked learn from each other. ‘In my work I can not seem immediately relevant, but everyone’s service design and an international a child of entrepreneurs, always took a keen HKU I studied Spatial Design, a discipline for a contact lens manufacturer, where I do something for individual organisations. job has implications. I hope I can provide career, working and living in both interest in business management and business that not only looks at architecture, but also started talking to people who didn’t want But what is even better is to create a platform people with the ammunition to make the Netherlands and Spain. ‘My processes. After graduation she observed at services. Business and design come together to wear contact lenses, because of the fear for activities where experts – by now from different choices and think for themselves.’ longing for freedom has brought how the companies, she worked for became here.’ It brought her the insights she had of inserting them. over forty countries – reinforce each other. me a great deal.’ increasingly more impersonal in their been looking for. ‘Service design is a strategic, It is interesting to learn comprehend this We have visitors from over thirty countries. WWW.YABBER.NL approach. ‘With the arrival of big data all holistic operating design discipline. That is fear, because from there you can better We appeal to a certain sense of urgency; the

38 39 dude career Tessa Oudijn

Straight out of the art academy in Not everything went this smoothly, because and qualities and want to stimulate develop- 2008, Tessa started at Brum as junior Tessa – being the optimist that she is – ment. I try to create optimal working designer. She had no experience figured she could stay on as a designer full conditions for my creative team and love to in packaging design but did have time, while managing a creative team and see how people grow into their roles. It gives a very useful conversation with the maintaining all client relations. This auda- me so much energy.’ former owners. She went in a novice cious attitude almost became her downfall. but turned out to be perfectly at However, it turned out to be a valuable home there. It’s not without reason lesson. ‘It’s ok to spend more time on your ‘ not new business, she took over the reins of the agency own business, but you simply can’t do it a few years later. ‘Of packaging all by yourself. That has become very clear but client relations design, I knew very little, but it fits to me now.’ should get me like a glove.’ She learnt a lot – not just about herself, but more attention ’ also about the importance of client relations. Packaging a message well and reaching the ‘Just before the take-over, we lost one of our right audience is the part of her profession largest clients to another agency. They had Administration, on the other hand, is not as a designer that Tessa likes the most. ‘You been with Brum for twenty years and at that her favourite thing. ‘Of course, it is nice to AUTODROP: aim to influence people and need to get moment I realised you need to keep challen- hear how we are doing. But even though it before and after the takeover from various CRAZY RESTYLE into their heads during the design process. ging existing clients. Nothing can be taken matters, I don’t get much out of organising people around her. ‘Would they ask a man In my choice of studies, I was torn between for granted, and you should never assume everybody’s pension plans.’ No: she remains the same thing, I wondered? My son was six ‘Crazy at first glance’ is what guided the restyling of the candy the art academy and a degree in psychology. everything is fine. Not new business, but a creative – a collaborative director with her months old at the time. Of course, it was a brand Autodrop. It wasn’t really Now, as a designer, I am often engaged in client relations should get more attention. feet firmly on the ground, who has learned challenge, but it certainly wasn’t impossible.’ allowed but Brum did it anyway: the psychological impact of a design on its And that is what happens now.’ This also by now that to relax and take a step back Tessa does it, with dedication and great joy. change the logo and give every potential user.’ As co-owner today, she is applies to external communication, which actually contributes to productivity. ‘I still One of her favourite projects was the one liquorice variety its own illus­ also partially responsible for management. has been given a new impulse in recent years. don’t do it enough for my liking, but I do for Autodrop. ‘The brand manager showed trated world. With great attention The transition from designer to owner ‘Brum has not been visible enough to the relax and find inspiration from taking a city wisdom and gave us space. ‘The logo wasn’t to detail little jokes and small developed gradually – which made sense outside world. Luckily we are now back on trip or visit a museum. allowed to change’, we were told during the smart comments were incorpo­ to Tessa. ‘The thing I dreaded most was to track and the increased visibility generates briefing. It happened anyway. Often clients rated into the packaging. It took be a director in the classic sense of the word. a lot of attention.’ That as a young woman she is often under- come to us with a wish or a question, but it the brand back to its origins in Hierarchical, rigid, authoritarian – that Just as she handles every client and each estimated in conversations, especially next turns out they need something else. It is one fell swoop: fun, happiness doesn’t suit me. Fortunately, this turned out project individually and with care, she does to older colleagues, doesn’t bother her as your function as an agency to make them and a big fat wink. Tessa: it became even more Autodrop to be unnecessary. I never followed manage- the same with her employees. ‘There is no much as it amuses her. ‘I love proving people acknowledge this.’ than it already was.’ ment training and often my actions are point in measuring everybody the same way wrong and enjoy it all the more when I tell BRUMDESIGN.NL/WERK based on my intuition. I didn’t want to during evaluations, because everyone has them I am co-owner of the agency, if asked.’ WWW.BRUMDESIGN.NL become someone who relies on a manual a different task and a different value in the She did mind the questions about combining full of tricks.’ agency. We evaluate people on their tasks work with family life that she was asked

40 41 dude career

For over 37 years Corien Pompe As a child Corien found fertile ground at projects here linked me to my job at Philips: fertile ground for innovation. My woman- explores opportunities, visions, home to develop both knowledge and vision that was the ‘Well Being’-project of the Volvo hood is subservient to my expertise, but strategies, processes, new materials on culture and technique. ‘New technologies Innovation Centre, where we were working diversity and contemplation from different and concepts for various interna- offer us the opportunity to contribute to on an interactive car with attention to opti- perspectives is of significant importance tional businesses. It was always humanity in a meaningful way and build mizing energy and the driver’s senses. The to developing new concepts, products and cross-functional and based on bridges that help us gain new insights. I strive next step to Philips Health was a logical one services. Diversity broadens and deepens.’ global trends, with regard for for designs that put people at the heart of it, after that and it offered me the opportunity differences in disciplines, cultures and this way contribute to something that to contribute to a healthier world.’ WWW.DONNA-E-MOBILE.COM and technologies. ‘But real inspi- actually matters.’ When asked which choices WWW.MOVEAWARD.COM ration I find in life, young talent of projects played a crucial role in her career, the unknown and the necessity it quickly becomes clear that to Corien it is ‘ investing in to secure meaningful solutions.’ the synergy between circumstance, deci- young talent to sions and events. From education to career Corien path, various collaborations and her network: me is not an eye everything has played its part in her current opener, it’s position. ‘Good education is essential’. Opting for the Design Academy Eindhoven, common sense ’ which was then called the Academy for Industrial Design, was a master stroke. Corien started her career in 1982 at Volvo Pompe Lectures by Ulf Moritz, Joke van der Heyden in a man’s world. Having been raised in and Diek Zweegman had a huge impact on a family with three brothers this wasn’t my personal and creative development.’ unusual to her. ‘There was a need for a female designer, because research showed that women were gaining influence over BNO: MENTORING product purchasing. At the time there were a handful of female designers globally. ‘Real inspiration I find in life, With ‘Donna e Mobile’ in 1991 I founded coaching young talent, the a network for female designers in the car unknown and the necessity to industry. We meet once a year in Milan and secure meaningful solutions.’ men are welcome by invitation only. From Corien Pompe recently became this network we created Move, an interna- one of the mentors available on tional platform for students who want to the BMO mentoring programme. get connected to the industry.’ Are you walking around with ideas At the moment Corien dedicates herself to develop yourself or grow your business? During a mentor ses- to creating international opportunities for sion you can spar with someone young creative talent, because innovation who understands you and who needs young talent. ‘Designing is more offers guidance from their own than finding a solution to a single problem experience. It is free and available or situation. Being proactive is essential to to BNO-members only. the design process, just as with long term BNO.NL/MENTORING thinking and the ability to distinguish, so you can separate ‘important’ from ‘urgent’. Identify with the problem, the client, the Her decision to join a big international firm material and the concept. Become part of after graduation ensured swift professional the change yourself!’ growth. ‘The investments and expectations Who really wants to cause change invests are high, which makes you learn quickly in the future and in young talent, according how to get to the core and to be at the to Corien. ‘For me that is not an eye-opener, service of the client and his environment. it is common sense.’ Not only young talent You also learn that collaboration is the only but also diversity in a team is essential to way to strongly market a product. My work Corien. ‘As soon as people understand and for Volvo has shaped me. One of my final bridge each other’s differences you have a

42 43 chemistry

Both Ruud-Jan Kokke and Petra Hartman of Petra’s paintings and saw their house he have been running their own business for said: ‘This is what a school should look like.’ over thirty years, but they also collaborate They won a pitch to build a new school and regularly. Ruud-Jan is an a-typical designer: decided to tackle that project – a mix of he studied free and architectonic design architecture, interior design and art. Today at ArtEZ University of the Arts in Arnhem. this is their specialty and they have designed He didn’t finish it, started a handyman at least twenty schools. business to earn a living and alongside that ‘The advantage of our collaboration is that designed chairs. He has been a self-proclaimed we can always ask questions openly and GESAMT honestly and can reflect on each other’s builder ever since and an expert in construc- tion and materials who operates on a broad projects critically. We are sparring partners scale. In his own words: ‘I am nothing but and understand each other’s work,’ says do everything.’ It hits the nail on Ruud-Jan. ‘Often a single word suffices,’ the head. Ruud-Jan makes unique Petra adds. When they begin a joint project, FAMILY products such as wood benches, it is Petra who has a ready-made image in ‘ often a chairs and the iconic TC-stool. her head of the concept. She is more intuitive, Simultaneously, he successfully Ruud-Jan is more rational. He is one who single w tackles the interior design of will focus on drawing up contracts and map- ord businesses, private residencies, ping all parameters. Premise and image are governmental buildings, schools consolidated and formed into the visualised suffices ’ and public spaces for which, as design concept by Petra. In the design stage an example, he creates iron fences, they subsequently work both individually balconies and bridges. and together on various elements. Visual artist Petra Hartman also attended the Academy of Arts in Arnhem and success- The Kokke family consists of active, quick fully creates paintings, sculptures, jewellery, thinkers and creatives who work hard, art bags and interiors. organise well, network and enjoy the process.

The couple have been working together ever Daughter Fee studied graphic design and is since they met at the academy. ‘I was in love now a director’s assistant for feature films. and, as an excuse to spend time with him, She also made her own film for which Petra I helped Ruud-Jan with his chairs. Already painted the poster. The parents acted as back then we would discuss the conse- extras and took care of the catering on set. Jan kokke, Fee, Romy, - quences of decisions in the design process Son Johannes studied finance in Utrecht – together. I learned a lot from that,’ she says. something completely different. Daughter Because of their mutual candour a lot is Romy runs her own business: EN atelier, a shared, together with the children who, studio for concept, design and development. at a young age, spent time at their parents’ She designed the shop interiors for the From left to right: Ruud Daan, Johannes and Petra Hartman with grandson grandson with Hartman Petra and Johannes Daan, ateliers. They tagged along to openings. European branches of ‘Love Stories’. She Petra and Ruud-Jan often asked them for frequently consults Petra. their opinions on their designs. ‘They were One example of one of these cross-fertilised The Kokke family is a creative family that works together like a well-oiled the reflection on our work,’ says Petra, ‘and family projects is Slot Zeist. Ruud-Jan was at the same time they playfully absorbed commissioned to remodel the side-wing and machine to manifest a kind of Gesamtkunstwerk. Designer Ruud-Jan Kokke much, including organisation and learning to realise the interior. Petra took care of the and visual artist Petra Hartman collaborate on a regular basis, where daughters to look closely, giving them a head start for concept design, Romy was responsible for Romy and Fee and son Johannes, each with their own expertise, offer valuable when they started studying themselves.’ the interior, and even the designer, coached and counselled by Ruud-Jan in the BNO contributions to various commissions. ‘Successful – but achieved through hard Petra and Ruud-Jan are adept. Together they mentor programme, was given the oppor­ work,’ says Ruud-Jan Kokke. remodelled their student room, painted their tunity by his mentor to design a coat rack house, built a house boat, and renovated for this project. an idyllic former farmhouse in Oosterbeek And when Petra has a show, such as the TEXT VIVEKA VAN DE VLIET to be their house and workspace. When the fashion show ‘Lick My Wounds’, where director of a group of schools bought one people with a physical disability are dressed

44 45 dude BAZAR. Photo: Iris Duvekot - BIZAR

by well-known fashion designers, the architecture, the interior design and décor ‘This is what makes our projects exceptional, entire family is at the service of her project. of this former Lutheran church and pastor’s and individual. We fight for the best results Romy’s husband Daan, who is not only house. Petra won the commission and achievable within budget,’ Ruud-Jan says, the co-owner of EN atelier but also a DJ, conceived the concept. Ruud-Jan handled ‘and our clients know we do, too.’ composed the music. the negotiations, developed the financial and construction plan and became project WWW.KOKKE.COM The Middle-Eastern themed hotel-restaurant leader on the execution. Romy formulated WWW.PETRAHARTMAN.NL ‘BIZAR-BAZAR’, with ‘floating’ hotel rooms the styling and consults on the furniture, WWW.EN-ATELIER.COM and re-used historical church benches, is from bedspreads to the fittings. This is also a perfect example of a Hartman/Kokke where heads butt in terms of vision, budget collaborative artwork. It was ‘a project that and character in a necessary professional runs like clockwork now’, as Ruud-Jan puts ‘punching match’. ‘For example, I want to it. It doesn’t only show how you can handle make sure that the last details, the accesso- heritage sympathetically. It is also a commis- ries and colours are maintained,’ says Petra, sion where the entire family designed the ‘and I stand my ground to do so.’

46 dude barriers CREATIVE WITH ‘ we hope to LANGUAGE encourage them to come up with A new training and coaching programme initiated by more products, the HEMA Foundation lets design talent ponder the world services and ideas of tomorrow. The aim is to generate smart solutions to that help break improve the language skills of children in the Netherlands. down barriers ’ In this route there is not only room for ideals, the designers also have to make money with their ideas. Anne Kamps, Denny Blokland, Mathijs Valkenburg and Kim Nicolai

TEXT KIM HOEFNAGELS

In the living room of a student house in nine months where under intensive guidance belief and who want to make the difference. capable of. Valkenburg is now in his last Design Academy Eindhoven just as deter- what matters is that in any case it has to be The Hague three laptops are folded open on they learn about design and entrepreneur- We hope to encourage them to come up year of his degree in Industrial Product mined to contribute to a better society. right basis for a concept that will enable them the table. The tight space is full of plants and ship for the world of tomorrow. They are with more products, services and ideas Design and The Hague University of Applied They hit it off right away and decided to to help society forward and earn a living. set up as a temporary workspace, including all given the same assignment: conceive of that help break down barriers so everyone Sciences, the other three are recent graduates become a team. They are not there yet, but as participants a giant whiteboard with scheduled items something suitable to improve the language can fully participate in daily life.’ and have taken their first steps in the job Now, four months later, the two are making of the Accelerator they are on the right and post-its. It is Thursday evening just skills of children aged between zero to four. In the next three years the activities of the market. Their jobs bring fulfilment for the plans for the future to start their own busi- track. During the programme the teams go gone seven and the ‘Beer & Pizza Night’ by They are assisted by a group of experienced foundation focus specifically on reducing moment, but long-term they want work ness. The first product to be sold is the through different stages, developed by the Denny Blokland, Anne Kamps, Kim Nicolai mentors – designers, entrepreneurs and language deficiency. ‘To be able to read and that enables them to help make the world concept they are working on right now: HEMA Foundation and two organisations and Mathijs Valkenburg is in full swing. The a sounding board of experts, including the write properly has an enormous positive a better place. an app to make parents (to be) aware of the with a track record in social entrepreneurship. twenty-somethings gather on a weekly basis BNO advisors – who help the teams from impact on your daily life. It is the basis for Olga van Lingen and Lotte Jonkergouw language development of their child as soon The first part of this step-by-step plan has to work on their idea: a tool to improve the developing a concept to finding investors. self-reliance and autonomy. Besides, people share this motivation. Independently from as possible, even before birth. If this takes largely been developed by Reframing Studio, language skills of children in the Netherlands. The best three ideas will receive a starting associate HEMA with a clear use of language each other they saw the call for the Acceler- off, they want to expand into more products an Amsterdam based design agency that During their first brainstorm session, about capital of five thousand euros. – the term Jip en Janneke speak has stuck. ator on LinkedIn. For Van Linge, who at the and services that can affect positive change specialises in social and innovation design. three months ago, in addition to laptops and By facilitating the Accelerator programme We are now using this as a force to give time was still working for the Amsterdam in people’s behaviour. Founder Matthijs van Dijk is one of the to-do-lists, beer and pizza were put on the the HEMA Foundation wants to stimulate a positive impulse to language proficiency. based architectural agency Space & Matter, creators of a method that helps designer table. Hence the name, which they continue ‘inclusive design’, Marloes Bloemert says. It’s necessary as no less than twenty-five the project came along at just the right FUTURE THINKING get to grips with social issues. This so-called to honour as a reminder that hard work and She is the manager of the foundation that percent of Dutch children start school with moment. ‘As an architect I craved more The other team too dreams of their own Reframing Method works on the basis of having fun can go hand in hand. receives (financial) support from the well- a language deficiency.’ freedom to engage with the social side of enterprise. They are working on a tool that two premises. First and foremost: formu- In April this year the foursome joined the known retailer, but otherwise operates the business. That’s why for a while I had challenges children and adults to engage in lating a future vision is the starting point training and coaching programme initiated independently. ‘We believe that design has DO-GOODERS been toying with the idea to set up shop conversation with each other. What shape of any design process. The though behind by the HEMA foundation. Alongside six other huge potential to offer solutions to social For socially aware designers Blokland, Kamps, on my own. This was exactly the nudge or form this ‘story diary’ will eventually this is that an idea, however brilliant it may selected teams they are the first round of issues. The Accelerator programme has Nicolai and Valkenburg the Accelerator is I needed. At the introduction day in April take on, is not clear yet. It could be an app, be, will fail if the world isn’t ready for it. this Accelerator, a type of start-up school of been conceived for designers who share this an outside chance to show what they are she met Jonkergouw, fresh out of the but also a boardgame or a paper publication; Secondly: the aim of any design – whether

48 49 dude barriers DOUBLE IMPACT

The Accelerator-programme by the HEMA Foundation has been established to offer up-and-coming designers the opportunity to have a positive impact on the world, while simul­ taneously working on their business skills and a market-ready concept or own business. BNO is

Olga van Lingen and Lotte Jonkergouw partner and supports the HEMA Foundation with recruitment and ‘ our network society the execution of the programme. HEMA-FOUNDATION.ORG/ causes more and ACCELERATOR more people to live inside their own bubble ’ Accelerator workshop Accelerator

it concerns a product, service or an entire gogical science, which shows that a child’s it manifests in 2025? Or do you want to interaction with a child,’ says Jonkergouw. testing of the target group to find out if there ‘During validation each time you learn system – is to create a certain experience language development works well when you encourage a certain future behaviour, or ‘Parents are experiencing an overload of actually exists a real need. We try to offer something new. You discover how people or social interaction. talk with them often, are fully present, keep actually discourage? From the position well-intentioned advice and sometimes them the notion that you achieve more by respond to a concept, whether they under- Lotte Jacobse, designer and researcher at asking questions and respond. That fact is each team takes, a mission and design goal almost forget that it can really be that simple.’ thinking about questions like these before- stand it and if what you designed works. Reframing Studio explains: ‘The method not just relevant now, it still will be in 2025’, are derived. Van Lingen adds: ‘The basis of language lies hand, fully experiment and then dive into You also learn that your initial assumptions means that before you start designing a according to Jacobse. For Denny Blokland, Anne Kamps, Kim in an affective relationship, something that the level of detail. This way you discover any often don’t match reality. That is why again product or a service, you first map out its Nicolai and Mathijs Valkenburg these are children can’t develop from a language app. blind spots in your thinking process much and again, after talking to your potential future context. You investigate what will be BEHAVIOURAL CHANGE twofold. They want to cause an interaction With our tool we want to hand educators quicker and you can fine tune faster.’ customers, testing a prototype or analysing meaningful to people in the future and use Based on social characteristics the teams between a parent and child that helps raise the skills that they can use to stimulate their Specialist in this process of fine tuning is data, it is back to the drawing board.’ this to base the desired behaviour of the end structured a vast amount of information the awareness of the parents of their ingrained child during those spontaneous moments.’ Aimforthemoon, a corporate start-up The most important lesson Bukenya wants user on. This behaviour then becomes leading in clusters. They then proceeded to jointly (child-rearing) patterns, and stimulates the studio that builds new start-ups together with to share with designers is dream big, start in the remainder of the design process.’ identify the most important Driving Forces, child to discover the family history. SUCCESS RATE big business. ‘We show where the opportu- small. ‘Absolutely you should keep your eye Jacobse guided the teams in creating a joint Reframing-jargon for the under currents Valkenburg compares it to a photo album. By now the participants have finalised nities are, but also where the cracks appear’, on the final goal, but at least just as important vision for the future for language profi- that will change our world in the next five ‘While flicking through the album personal the creation stage on paper and will soon says Leonard Bukenya, partner in the firm. are the stepping stones on your way there. ciency of children in the Netherlands in 2025. years. In the context of language proficiency stories from the past are triggered. With our start with the final segment: the validation ‘Designers, but this applies to basically all Before making any big investments or taking The first weeks were dedicated to collecting in 2025 the fragmentation of society plays tool we want to provoke a similar interaction stage. In the next few months they will starters, run the risk of falling in love with risks you need to learn how to think from as many ‘factors’ as possible, described by a role, says Jacobse. ‘Our network society that not only benefits the child’s language test the success rate of their idea, through their concept and only want to validate what your customers’ perspective. What added Jacobse as: ‘value free descriptions of pheno- causes more and more people to live inside development, but also leads towards self- prototyping amongst other things and by they already know. This results in a series value are you creating for them?’ Bukenya mena as they present themselves in the their own bubble. This causes increased reflection by the parent.’ scrutinising the business potential of their of assumptions on the added value of their doesn’t intend to hold the teams’ hands. future’. Using research literature and inter- (language) deficiency in vulnerable groups Olga van Lingen and Lotte Jonkergouw idea. Both teams need to get used to occu- idea or product: it remains unclear whether ‘We offer them the opportunities to come views with experts the participants collected compared to the rest. This gap also becomes agree that there is much to gain where pying themselves with issues like business the concept is economically viable and to solutions on their own. As designers they as much information as possible on trend increasingly harder to bridge.’ language development is concerned. They management and financing now, even before whether there exists a need, in other words are of course perfectly equipped to do so.’ and developments, as well as principles In the Reframing Method all these future want to make educators aware that language their concepts have been thought out in whether people are prepared to (continue to) that don’t change in the course of time. perspectives are placed in a chart that visu- proficiency doesn’t grow solely through the detail. Marloes Bloemert sees this as one of pay for it.’ One of these ‘stable factors’ was formulated alizes the coherence between various types organised learning of words. ‘Tidying up, the learnings of the Accelerator. ‘Students To find answers to these crucial questions it for example as ‘Talk more, tune in and take of behaviour. Then the question is raised: cooking or riding a bike are all daily activi- from design degrees are used to completely is a matter of keeping up the experimenting, turns’. ‘This is an observation from peda- do you accept people’s behaviour the way ties where you can casually engage in valuable working out a concept, without frequent observing and analysing, Bukenya knows.

50 51 teaching: designorformcreation? the design sector. What were they actually representatives ofaragingcontroversyin lecturers frombothcampswhowere Rietveld Academy.Reitsmainterviewed vormgeven?’ on his final thesis ‘ for thefirsttime.In1983hewasworking Academy whenhemetWimCrouwel Lex ReitsmaattendedtheGerritRietveld the artisticapproachembodiedby‘ the DelftUniversityofTechnologyand the engineer of design education in the Netherlands: process of product development. way throughoutand the structural entire connect form inamethodical and function of aneutral interpreter who managed to conviction, the designer held the position zeitgeist, or apersonal expression, style the form creatorWhile wasled by the design. mastering Crouwel’sWim opinion they were actually Creation’, in ‘Form their was called course thestudents opposite applied –even though were And to educating creators.’ hisDelft infact while theyeducating designers, academies operate under the pretence of to hisvisitor at state ‘you the that time, can Crouwel sake’, argument’s ‘For propounded 1 ’ , ananalysisoftwotypes s model associated with TEXT dude GERT STAAL 52 Ontwerpen en/of creator also solves problems, but only he says inReitsma’s publication. ‘A form foremost, someone who solves problems.’ believe and first ‘I adesigner is, mies. at of the the design courses acade criticism Technology. There he expounded on his of University at Design the Delft Industrial and wasworking at of the Department when he Total had left just occurred Design Reitsma’s interaction first Crouwel withWim PARTITION doctrine at the Totaldoctrine Agency. Design hadthe time, fashioned into the leading sion which Crouwel, agraphic designer at The latter being the approach to the profes his’ - - 3 2 1 accurate depictionfully of how the museum of the Stedelijk’ Style was apain ‘The film on hisprofession.themes based 2012 His The subjects mostly stem from mentaries. appliedhas himself to the making of docu mous withthe company. Inrecent he years work, Lex Reitsma’s name synony became image-building and other posters graphic the of Dutch his National by virtue Opera, a24-year long collaborationAfter with SOUND work. Hebecomes the artist.’ little resonance withthe substance of the designs the most form abstract which has He interprets the work Then he of the artist. making for posters the Stedelijk Museum. But take acloser look at what he when does receiver to optimally absorb the message.’ shape, which isobjective for and neutral, the good for create aclear people.’ Hesays, ‘I pretends toReitsma: ‘Wim know what is both inconversations and inthe montage. questioning the ideology behind the designs Reitsma, through hischoice of footage, kept Atperson and the the oeuvre. same time showedreflecting, hisfilm for respect the intently, intently, observing reading and making seven ago. years started Listening Crouwel which he tary, Modernist’, ‘Wim tone echoes throughout hislatest documen The same down-to-earth he writes. same.’ to showin thisbooklet, that both the are practised design and form creation ‘I strict. At graduation, Lex Reitsma was already less (‘Vormgeving 1985) –zinen onzin’, embodies the meaning ofbest, the function.’ of the product,integral at where form, part not manifest itself independently, but an as withthosethise who believe that form does isstatingagain: the obvious ‘It that Iempa van Beuningen, he highlighted the disparity position at Boijmans theDirector’s Museum Crouwel swapped tenure hisDelft for the problems.’ afew When, partial later, years

Translated ‘Boom makes Book’. of Technology. University Delft at oration valedictory Crouwel’s Wim Nonsense’, and –Sense Creation ‘Form Translated differ. opinions here, And times different terms are used to apply nuances. conception, drawing and execution – in Dutch some planning, to strategy –from profession or process design the to applicable stages or facets types, various the describe to word common the is ‘design’ English in While Creation’. Form and/or ‘Design Translated 2

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- - - - tion, boek’ he maakt presented ‘Boom four of In2018,after years preprocess. caught upbecame inthe wheels inthe designer, and how candidate the dream nating inthe choice of anew house-style embroiled culmi became inprocedures, Sound has virtually become the carrier of become the carrier Sound virtually has emphasises the physical of the book. aspect the sound Boom, about of leaves Irma moreincreasingly interesting. Inhisfilm plays alarge infilms, and integral part have to findReitsma: sound, which ‘I started withthe medium develops.his affinity of histime to the medium, he notices how professional maker film who dedicates much inhisparents’ garage. film Now,his first a as at high still school,While Reitsma recorded the physical protagonist. book isthe actual legacies 53 3 , where where , ­para - - by an entire new generation of designers. been discovered in2011–has Museum A Graphic at the London Odyssey’ Design thanks to Crouwel. the exhibition ‘Wim a remarkable legacy that hiswork –partly of the profession, adesigner withsuch The eloquent, representative courteous in newspaper and inmagazine interviews. gatherings, incollege indebates, rooms, spoken out publicly on television, at public demonstrated how Crouwel often had monography Crouwel Modernist’, ‘Wim Huygen’s designing 2015 while Frederike Lex Reitsma since studied 2012,and has The amount footage of visual which to playopportunities withthe material.’ to that of graphic offers design, me more opposed The as medium ofthe film. film,

Left: Wim Crouwel, poster Form Creators, Left: Wim Crouwel, poster Visual Communication, Stedelijk Museum Amsterdam (1968) Stedelijk Museum Amsterdam (1969)

Right: Lex Reitsma, poster Capriccio, Right: Lex Reitsma, poster Castor et Pollux, Dutch National Opera (2000) Dutch National Opera (2008) legacies

GS × ‘What did you learn about him during They may have come close to obstructing free He stood for something. When you listen the process of filming and editing?’ passage, but at least the posters were hung carefully, of course his philosophy leaves LR × ‘He was someone who worked contin- on a grid. ‘A straightener’, he called himself.’ room for debate. But he lives by it. He says, uously, and who had an obsessive desire to The film starts with a quote which I recorded ‘You have to believe in the profession the believe that he was right. We know of him myself in 1982 on a cassette tape. He says: way you believe in God.’ At the same time, because of ‘the grid’, and because of his rhet- ‘The strength of your blinkers determines he is a great actor who protects his image as oric on the ‘value-free information transfer’. the distance you will go. You are not looking a functionalist assiduously. Wim does not That grid is, in fact, a kind of straight jacket; over there, or there, but there! That is where I only create identities for companies, he does an obsession. In my film he spoke about the want to go. As long as you persevere, you will the same for himself. He is always looking so-called ‘roof-tile typography’. The charac- get to that image!’ Of course, I now wonder for answers in the form. Consider his poster ters on the roofs of farms were made by what image he was referring to back then. for the 1969 exhibition ‘Visual Communica- using different colours of tiles, to create a Was it the image that you will design or the tion in the Netherlands’ at the Stedelijk sort of grid-layout to communicate the name self-image? I have a feeling that this sentence Museum. Apparently, he could afford to of the company.’ Crouwel became so fasci- contains the kernel of the entire film. He said create an utterly unintelligible design specif- nated that he drove across the country to it in passing, but I have never forgotten it.’ ically for this subject – very peculiar, but photograph these roofs. He made hundreds also very telling.’ of slides from which I made a montage of a GS × ‘Why?’ series of sixty, rapidly, one after the other: LR × ‘I recognise the waywardness of the GS × ‘Do you understand the new genera- click, click, click... to conceptualise his statement ‘Doing exactly as you please’. tion’s fascination for his work?’ compulsion.’ As a designer first and foremost you work LR × ‘For Wim and his present followers, for yourself. I truly believe this. You have to it is the system that matters most. In the GS × ‘Are we offered an insight into the create something you believe in. That is how film, you see how Wim collaborates with reason for this obsession?’ the project gets its signature and reaches an Floor Wesseling, who works for Nike and LR × ‘I think I have been able to see through audience. I have always maintained this atti- designed the 2014 World Cup football shirts him. One the one hand Wim flirts with the tude, thanks to the Rietveld. Early on I was for the Dutch National Team. Crouwel’s need to explain. On the other hand, he has already viewed as a disruptor. You never ‘Gridnik’-type is adapted and narrowed for the confidence to know that his vision for take anything on board lightly, preferring the occasion. It was highlighted on the back the profession is the right one. He says that not to belong’. of Van Persie when he slid and scored the he has mellowed with age. In his heyday, legendary goal against Spain. The neutral, from 1968 to 1972, he produced his most GS × ‘Did his work influence you as a young systematic character of that typeface has emphatic grid posters containing his designer, in the way he has now become become dominant on our computers and constructed typefaces. That was when he was relevant again to a generation raised in an mobile phones. It fits in seamlessly with in his element and, as far as I am concerned, entirely different visual culture?’ Crouwel’s cellular way of thinking. You can at his best. In my film he spoke about the steel LR × ‘I was impressed by Wim Crouwel – put his logos right between the icons on wires he had laced together on a 2.5 x 2.5 especially by the posters he created for the the screen of the iPhone.’ metre grid through the living room of this exhibitions about Léger and Fernhout at the house at the Loman street in Amsterdam, on Van Abbemuseum, for which he created GS × ‘Do you agree that, as a modernist, which he hung his recently finished posters. his own type. These are almost logo-type he has always been looking for the image of designs which are very personal. This the future. He always wanted to convince strictly personal approach dwindles when others?’ DISRUPTER SHOWS he started to work with Total Design for the LR × ‘As early as 1961, he writes that the DOCUMENTARY Stedelijk Museum. In a project of such profession is hidebound; that there are gigantean proportions, a grid comes in factors and facts that establish everything The new documentaries by Lex handy, because it can be filled in by almost and that there is only one possible solution. Reitsma on Wim Crouwel were anyone. He does create sketches. But in spite Wim already knows how to rectify matters commissioned by AVROTROS. of the meticulous detail and the quality of and believes that everyone should follow. The film premiered for a select the outcome, they are almost mechanical, A new typeface was needed because the audience at EYE Film Museum, was even dispassionate. computer demanded it. So, it is on behalf of shown during the TV programme Through his appearance, his clear speech, the machines that we are the ones who need ‘Close up’ on NPO2 and will be and his accessibility, I was moved by his to learn read again. In 1967 he promoted his screened at the exhibition personality. Wim is courteous. He has been ‘New Alphabet’. But within the space of ‘Wim Crouwel: Mr. Gridnik’ at the of great significance to the profession three months, Gerard Unger already showed Stedelijk Museum Amsterdam. It can be viewed via NPO Start. because he was able to tell his story. that technology was much more advanced WWW.NPOSTART.NL Photo: Koos Breukel (2009)

55 dude Dutch Design W e ek 19 - 27 Oct 2019 If not now, then when?

Eindhoven www.ddw.nl Left: Wim Crouwel, poster Shapes of the Colour, Stedelijk Museum Amsterdam (1967) Right: Lex Reitsma, poster Wozzeck, Dutch National Opera (1994)

than Wim had assumed when designing of sketches where he drew the same thing IN MEMORIAM his typeface. This, in turn, later inspired a thousand times. This man had literally WIM CROUWEL Crouwel in his design for the ‘Gridnik’, worked day and night. On the houseboat his typewriter letter.’ on the Schinkel, where the family lived for Wim Crouwel, innovative designer, a while, his son Remco recalled, there was a dedicated ambassador of the GS × ‘You portray a designer who becomes white Formica table which, by the end of the profession and honorary member older and more vulnerable during his years evening, would be covered in sketches by of our association, passed away of filming. Did this alter your view of the Wim. Subsequently, Cif would scrub it clean.’ on September 19th, 2019. protagonist?’ We commemorate Wim lovingly LR × ‘During the making of the film I have GS × ‘What is your protagonist: the man and with the utmost respect and are intensely grateful for his come to appreciate him more. You don’t just or the work?’ enormous engagement and efforts. follow the ‘designer’, but also someone who LR × ‘The phenomenon of Wim Crouwel An obituary by Lex Reitsma can be reflects on what he has instigated. You see interests me. The work is skilful and beau- found on the site, together with his limitations and how he lives with them. tiful. But, for me, it is also completely links to the articles and films on That is possibly the most remarkable thing dressed down. I miss perspective – the the life and works of Wim Crouwel. about this film. You see Wim playing with playful element which I have rediscovered WWW.BNO.NL an app created by Ed Annink and Toon while making films. For me, the personal Lauwen based on the ‘New Alphabet’. It had matters. Call it warmth. That is something been updated by Bram de Leeuw for Wim’s I profoundly miss in the religion that has 90th birthday. You see how he now tries to manifested itself around the work of play the game, with help from his wife Judith. Wim Crouwel in the design world.’ His fragility moved me. I was fascinated by his fanaticism. There were boxes full WWW.LEXREITSMA.NL

56 dude essay

Inclusivity, diversity, representation, gender equality, male gaze, white privilege. These are buzz words but nonetheless they expose a sensitive theme in the design field: the dominance of the white, middle-aged and heterosexual male. A debate that nowadays is being held society-wide, but in the design sector only sparsely.

TEXT JEROEN JUNTE

A tinted skin-colour can be seen in commercials for banking decide. Reading a book and thinking that you can speak on or temping agencies, fashion, desserts and even beer. behalf of another social group is not enough. It is about At last, the stereotypical black woman who promotes equal representation – and not just in terms of background chocolate, coffee or other exotic goods has disappeared. or gender. People from a lower economic class, with a phys- A good thing, you would think. But the way people of colour ical disability, autism or ADD are also under-represented’, are portrayed is ‘immigrant light’, as NRC Handelsblad sharply states Pater. ‘While in these demographic groups people with phrased it. A light skin tone is accompanied by a happy afro a disability or a non-Western origin are over-represented. hairdo for a mild hint of multi-culti – and all styled in a millen- At the same time more students are from the higher social nial look. More cool and urban then, and not so much classes. This results in people from lower income groups culturally diverse. In short, the focus still revolves around feeling less and less addressed by the visual language used the white consumer. in media and by the Government.’ Designer Ruben Pater is not surprised. ‘As long as advertising agencies and classic design studios are still ran by white FREE GAME hetero men, not a lot will change.’ Naturally, conservatism Inclusivity, diversity, representation, gatekeepers – these on the part of the client plays a role too, author of ‘The Politics are buzz words, but nonetheless they expose a sensitive of Design’ Pater acknowledges. His book zooms in on the theme in the design field: the dominance of the white, underlying political or cultural context and interpretation middle-aged and heterosexual man. A debate that can be of image in journalism, advertising and other types of commu- held society-wide but is, in the design sector, only sparsely. nication. ‘But designers need to convince clients of the The half-naked Victoria Secret model with Indian head-piece necessity of inclusivity, so that more than one social group was passed off with a smile: ‘See, just a tacky lingerie brand’. can identify with products and images. That will become more But what about the Italian design label launching a furniture matter-of-fact when design teams are diverse themselves. collection with African patterns? Or Moooi with their hanging This prevents blind spots in their own dominant perspective – lights based on Chinese bird cages. Is that ok? And why read: ‘White and male on society.’ do African designers need to be constantly addressed as The problem according to Pater is that the white design ‘craftsmen’ or ‘woodworkers’ while the Dutch are always dominance puts the breaks on the inclusive design practice. ‘designers’? Modern design seems to have turned into a ‘These gatekeepers really need to step aside and let others minefield of cultural sensitivities.

58 Maher A. Gabriel Bodies*’, ‘Mediated dude essay

The question is not whether, but how a fashion brand can tionality of an iPhone, for example, is comprehensible to any Design Academy Eindhoven, her powerlessness and frustra- use African symbolism. Yassine Salihine, lecturer of Design user, regardless of gender or background. At the same time, tion culminated in tears. Chen armed herself with a ‘Tear Gun’ Research at the MA Industrial Design at the KABK states: design offers ample space to personalise preferences by – a self-designed device that catches her tears and freezes ‘It’s about intention. Did the manufacturer make an effort ordering and downloading apps and photos.’ it into a small ice bullet that she can fire at an adversary. to understand the cultural context of the images they used? Design that is neutral and objective is a notion where Saline ‘As a student I often had the feeling that my Taiwanese Do the historical owners have a say in this? Do they partake has questions. ‘Products aren’t value-free but carriers of education and background were only superficially appreci- in the profit? Or, to put it into contemporary words: Does stories and meaning. Notions of symbolism and aesthetics ated at the Design Academy’, Chen reflects. ‘Students are the fashion label have enough agency to appropriate these such as colour and shape differ from one culture to the pressed into a mould where the Western vision on design images? Mostly it is a question of fundamental-rights next. The design process is too complex to assume you dominates. My experience and knowledge were more-or-less inequality. Western designers have protected their copy- can transcend these.’ Salihine, who was born to a Moroccan wiped off the table. I see this as a missed opportunity for right with a legal system. Why should traditional designs family in West-Brabant, sees his bi-cultural background both the academy and the students.’

from other cultures be free game?’ as an advantage. ‘I can see the cavities between the Dutch Fei Chen - Besides, designers often appropriate this visual language and other cultures.’ EMPATHY without any real interest or in-depth engagement with the Moreover, good intentions can also result in dysfunctional Also, in the professional practice, a lack of role-models

other culture. ‘Often it is made into a caricature of a rich, products. Salihine names the example of the non-profit ‘Tear Gun’, Ji is detrimental. ‘Do they even exist, those black designers? and sometimes centuries-old, culture from which many project ‘One Laptop Per Child’ by Yves Béhar. It was a cheap And if yes, then why don’t I see them anywhere?’ says graphic people derive their sense of identity and pride’, says graphic and user-friendly laptop designed for developing countries. designer Albertoe. What she does see is, ‘Black people designer Lydienne Albertoe, who graduated from ArtEZ ‘The impact of the project was zero – in contrast to the the most obvious choice.’ In 2018 she graduated from the whose skin has been photoshopped into lighter tones. College of Arts in Arnhem in 2018 with work based on the introduction of cheap and cheerful Chinese smartphones Design Academy in Eindhoven with ‘A Basic Instinct’, a series The feeling that you really shouldn’t be there is so unset- theme of black awareness. ‘Because I wasn’t seeing this and laptops to Africa. Africans want the same technology of chairs that allows women to sit with their legs spread tling.’ To address diverse demographic groups, clients such black culture anywhere.’ That her work can be unsettling as people in the West, not a weak knockoff.’ The reason wide, just like men. ‘A body posture that radiates power and as the Amsterdam Council or the Tax Office’ should involve to white people is intentional. ‘Design has to be critical and for this failure: ‘Nobody from the target group was involved confidence is evoked.’ designers from all demographic groups. ‘We are not there put issues up for debate.’ in the design process.’ yet’, Albertoe muses sombrely. ‘Design is not ready to be ROLE MODELS the open discipline it pretends to be. White power structure POWER PLAY ‘The key to inclusive design lies in education. After all, this remains dominant.’ In addition to cultural preconception, the male gaze is also is where new generations are groomed and where change ‘While, eventually, everybody benefits from inclusive design omnipresent in design. Consider a health watch that regis- begins’, say both Salihine and Pater, as do Jensen and Maher. – academy, client, designer and consumer’, says Sahiline ters sleep, perspiration and heartbeat but not the menstrual But design faculties are not an equal representation of (she also works as an independent concept-developer for cycle, or the driver’s seats in cars that are on average ten society by a long shot. Students and lecturers from a Turkish various companies), ‘It stimulates innovation, increases centimetres too long for female legs, which even increases or Moroccan background are still largely underrepresented. productivity and promotes creativity. But more importantly, the risk of fatal injuries. ‘With a woman at the design table A common explanation is that parents will push them towards it contributes to empathy, which in turn results in products these mistakes would never have been made’, is the firm safe professions such as doctor, lawyer or accountant. that don’t exclude, but enable, as many people as possible statement made by the feminist designer Anna Agaard ‘Nonsense!’, says Salihine. ‘In fashion, photography, film to bring out the best in themselves.’ Jensen. ‘Social stereotypes are deeply rooted in the design and music you do see them.’ A valid reason could be the lack industry. Women are often expected to do something with of role models. Young people don’t see design as a career INTERESTING LINKS: ARTOFWORK.CO/DIVERSITY, colour, material or finish.’ option when they can’t identify with it.Maher confirms: ‘When DECOLONISINGDESIGN.COM AND THEPOLITICSOFDESIGN.COM How deeply-rooted these stereotypes are in the design I grew up in Australia, the visibility of homosexual identities industry was documented by designer Gabriel A. Maher in was absolutely minimal – not on TV, nor in magazines. their research project ‘Mediated Bodies*’. After a thorough Internet was yet to exist. I had no prejudices. But when you analysis of the depiction of men and women in a year of see yourself represented it affirms who you are in all your ‘A Basic‘A Instinct’, Anna Agaard Jensen publications of the design magazine ‘Frame’, Maher painfully complexities and your nuances. That is amazing. It reinforces exposed that women were not only depicted less frequently your potential.’ Sahiline dropped out from the Design Academy Emphasis shouldn’t lean too heavily on the cultural context but also in role-affirming poses such as leaning forward Eindhoven in 1995 (then the Academy for Industrial Design). either, according to Satyendra Pakhalé who, after his or squatting. This crooked power-play can only be changed ‘Some lecturers would say, ‘That’s not how we do it.’ It wasn’t degree in industrial design in his motherland India – with through a ‘deconstruction of design’. Maher: ‘The people until fifteen years later – ‘when I was more self-assured – a stopover at Philips Design – settled as an independent in a position of power or privilege have to ask themselves, Sahiline would finish the KABK in The Hague. designer in Amsterdam. He works for global brands such ‘Are there people with an equal level of experience who That cultures still clash in design education is made clear as Renault. His bi-cultural background doesn’t play an active don’t have access to my position? This demands an active by the graduation project of the Taiwanese designer Ji-Fei

role in this, he assures. ‘Eventually it is the individual quali- process of self-reflection and critique.’ Chen. In her motherland it is unusual to have a difference ‘The Feeling of Otherness’, Lydienne Albertoe ties of a designer, such as critical ability, curiosity and a sense Jensen does assign responsibility to women too. ‘We have of opinion openly with someone of a higher authority, espe- of aesthetics that determine quality. A good mass product to become more aware that nowadays we can choose what cially within the male-female relationship. So, when Chen is neutral and transcends cultural sensitivities. The func- kind of designers we become, even though it may not be endured some harsh criticism from her male lecturer at the

60 61 dude versus

In fact they both retrieve the disguised and designed hidden hate and propaganda from the darkest corners, one from the Internet, the other from museum archives. Both make a sensitive subject visible and make it possible to talk about it: the digital evil and the designed Nazi evil. Leendert is the first illustrator in his course to conduct research into the meme culture 1, ‘a culture that was still pretty new for my lecturers’, he says. Timo even sheds light on a period in history that was silenced, and that many don’t want to be burnt by.

i THE ULTIMATE AND THE NEW EVIL ‘The thirties and forties are completely vl absent in the retrospective books on design’, e the museum director knows, ‘while history In Design Museum Den Bosch the exhibi- books are full of the Second World War. tion ‘Design of the Third Reich’ has opened, As an historian I find it strange to jump a sensitive subject. The already controver- from Bauhaus (which had to seize under the influence of the Nazis) straight to post- sial exhibition examines the role design has war movements. The intermittent period played in the rise of Hitler’s horrifying propa- has not been talked about for decades, also ganda and war machine. Today too the role not in museums out of compassion to the Nazis’ victims. Understandable yes, but and influence of design and visual culture 75 years have passed. I want to show that on the Internet is relevant, now populism design is a dangerous instrument in the and propaganda disguising as memes and hands of the ultimate evil; in the exhibition ‘Design of the Third Reich’ design from the fake news are rampant. In conversation with period between 1933 and 1945 has greatly Timo de Rijk, director of Design Museum contributed to the fast dispersion of the Den Bosch and initiator of the exhibition, Nazi-ideology’, he says. and illustrator and graphic designer Leender ‘Strange indeed’, says Leendert, ‘in general history books any attention for propaganda The New Evil, Leendert Jacob van Duijvenbode (2019) Jacob van Duivenbode, who recently gradu- in art and architecture is absent, while only ated with a Declaration Honours Degree ten pages are dedicated to the artists from this era, and there is no attention at all for its daily memes on Jews, Muslims, homo- ‘The Happy Merchant’ is also an example from the Willem de Kooning Academy with who the designers behind the Nazi-propa- sexuals, transgenders and minorities. featuring in Leendert’s research. This meme his research project on meme culture. They ganda machine were. Almost no-one knows Memes overall have a humoristic take on is an anti-Semitic caricature of a Jewish man reflect on past and present, spot silimarities, who designed the most famous logo, the things. Take ‘Pepe the Frog’ by illustrator characterized by the stereotypically large Swastika, and in my generation, few know Matt Furie, one of the most popular memes. nose and is used to start an evil thread. differences and possible solutions. who Goebbels or Himmler were.’ The slightly anthropomorphic frog however ‘Others appropriate something, and then Leendert wrote ‘The New Evil’, a study on was hijacked by the alt right movement and they run with it’, says Leendert. ‘Their objec- digital evil, the role of design and visual the extreme right following of the American tive is hard to pinpoint, but it is negative TEXT VIVEKA VAN DE VLIET culture on the Internet in today’s polarisa- President Donald Trump. This is how the and it has effect. Just look at the countless tion. With his visuals and animations, happy feelgood frog grew into an official of racist and sexist memes that, just like he wants to make people aware of this hate symbol in a Nazi-uniform, SS-cap and in Pepe’s case, reach a large audience and new form of evil, for example the way you Swastika on his arm, or as a white racist this way expose problematic ideas.’ can find this on the website 4chnan, with with racist tattoos.

62 63 dude versus

MISUSED SYMBOLS resembled Coca-Cola commercials with themselves, became the national typeface for Timo believes that especially a design Leendert asks Timo if he deems it possible their happy, young people, however with the Third Reich, until Hitler prohibited it museum has to be critical in what it shows. to take back such a meme or symbol, by a Swastika in the background. The Nazism again, because it turned out it had been ‘We always see beautiful, aesthetic art and changing or debating the related associa- showed a seductive facade of prosperity designed by a Jewish graphic designer.’ design in museums that has to contribute to tions. ‘I think so’, says Timo, ‘I am in favour and pleasure, while behind it, in 1933 the Post-war design and everything after that is a better world. But design reflects this world, of giving it as much attention as possible. first concentration camps were already impossible to understand without knowing with all its good and its bad sides. It doesn’t Take Alex Jones 2, who has been removed being set up. what preceded this period. This is why it have to be beautiful or good, it has to reflect from all platforms. This is exactly how his The Nazi’s were masters of applying design is so important not to hush the Nazi-era’, on history and show how things from the narrative attracts more attention.’ to achieve their objective; to win over the is Timo’s conviction. pas manifest today’, the museum director masses, and they succeeded. ‘There are Leendert agrees. ‘You can’t swipe this off states. And this is exactly what he has done. countless political, racist and sexist memes, the table. Drawing parallels to today, looking What he has also achieved is that German

also today there are regimes using design at the influence of meme culture, there is museums, like the Münchner Stadtmuseum ‘ I want to show In Asia ‘Pepe the Frog’ luckily Poster Zeppelin is coming (circa 1933), Muenchener Stadtmuseum Muenchener 1933), (circa coming is Zeppelin Poster that design is to make sure the masses side with them, and once again has taken on a posi­ naturally a difference between this and the and the German Historic Museum in Berlin, there are memes which have led to horrific tive role. This summer the frog Hitler-propaganda back then’, he thinks. are pleased with this very first complete a dangerous events beyond the Internet,’ says Leendert. became the symbol of the Hong­ That was after all carefully put into the world retrospective of applied arts in the Third instrument in One such example is the fascist ethno- kong protests. Pepe owes his by the authorities, and memes often by Reich. Timo: ‘They are displaying a high level nationalist Brenton Tarrant in Christchurch, popularity to the WhatsApp- “ordinary” folk. ‘Because memes are often of collegiality and say: “First someone abroad the hands of the New Zealand, who live-streamed his attack stickers showing Pepe dressed used in a comical way, people believe they has to do this, only then can we create an ultimate evil ’ on the Masjid al Noor mosque. That day as an activist, journalist or even are harmless’, he knows. ‘Shows like ‘Family exhibition ourselves. But only with partici- in March this year he posted hints about Carrie Lam, the highest leader Guy’ and ‘South Park’ have been ridiculing pation of foreign museums”.’ of Hongkong, who recently his plans on Twitter and 8chan. He started Hitler and Nazi-ideology for a while now, revoked here controversial legal The appropriation of symbols is as old as his Facebook livestream with the meme and this ridiculing is an often-used excuse ‘Design of the Third Reich’ is on show proposal that would allow extra­ 3 time. Car and fashion brands – think BMW ‘Subscribe to PewDiePie’ and then walked dition of suspects to China. in the meme culture. This makes it even until 19 January 2020. Tickets are available or Lonsdale – aren’t pleased when their into the mosque armed and shot fifty people. trickier to identify whether the people behind online only. brand is associated with a different target ‘He had found al his inspiration on the the memes really adhere to this ideology group than the one, they had in mind. Users Internet and was convinced by the conspiracy LECTURES or are actually trolling. DESIGNMUSEUM.NL give other meaning to brands and symbols, theories on white genocide, that immigra- ‘That one often shares memes and ideas only

misuse them too- the way the Swastika was tion had to stop, and intruders had to be As part of the exhibition there is within their own inner circle, often reinforces confiscated by the Nazis, even though the destroyed. ‘The root of this evil acting comes an extensive program of lectures the notion that memes are harmless. But symbol in Hinduism and Buddhism had from the Internet and is then expressed again in the months of September various attacks have shown us that it only been used centuries ago as the sun symbol, on the Internet’, says Leendert. and October. Leendert Jacob takes a single individual to radicalise this they both know. This makes it difficult On the other hand, the illustrator sees groups van Duijvenbode will present his danger’, tell Leendert. ‘And that is why studies to see the symbol separate from the Nazis like the Neo-Nazis use existing narrative of graduation research ‘The New like yours are so valuable’, says Timo. ‘In your and it is still being used by extreme right anti-Semitism and racism, making evil ideo- Evil’ on Friday 29 November 2019 role as illustrator you can visually create followers. ‘This is also how the Germand logical. For example, they set the objective at 15.00 hrs. insight into the symbols of evil and show appropriated the classicist design as a display to confiscate the ‘hashtag’ and transform DESIGNMUSEUM.NL/AGENDA what it means.’ Poster Olympic Games (1936), Muenchener Stadtmuseum Muenchener Olympic (1936), Games Poster of power and symbol of a new German it into a Nazi-symbol. ‘But they are often culture, while it originates from Southern ignorant of the real history.’ SOLUTIONS Europe’, Timo says about the – seemingly – Finding a solution is not that simple, they randomly selected symbolism. THE PRESENT AND THE PAST both agree. They at least hope for a debate The influence of that past on the present on this subject. Leendert thinks that there 1 The term ‘meme’ was introduced by biologist Richard SEDUCTIVE FACADE seems to be carved into our brains: ‘With ‘ also today there will always be an audience for evil content Dawkins in his book ‘The Selfish Gene’ (1976). This term is derived from the English word ‘memory’ and the The Nazis manipulated the people with cast-iron marketing, the propaganda-design and memes, that it is impossible to convince Ancient Greek word ‘mimema’, which means ‘to imitate’. their propaganda films and billboard adver- has put its mark on our ideas of what consti- are regimes them they’re wrong, to show proof, and the According to Daw kins a meme is a cultural variety of genes. Cultural aspects, ideas and behaviours are passed tising, all the way down to matchboxes, tutes good design after the war. Especially in using design remove sources of this kind of evil from the on from one individual tot he next and this way take on a life of their own. they impressed with their architecture and a negative sense’, says Timo. ‘Dutch designers Internet. That is why he wants to draw more 2 Alex Jones is known for spreading conspiracy theories to make sure on platforms like YouTube, Spotify, Facebook en Twitter. modern highways. Everything was revolving were often accused of being Fascists in the attention to his research and sees that there 3 PewDiePie (Felix Arvid Ulf Kjellberg) is a mega popular around the Nazi-ideology. Hitler had seduc- fifties and sixties, when they created a classi- the masses side is a role for other designers. ‘Memes are Swedish commentator on YouTube who gained notoriety in 2017 by calling his opponent ‘nigger’ during the live- tive family films made, but almost always cist design, and architects when designing with them ’ often made by “ordinary” people. We as streaming a game. Earlier Kjellberg had cracked a joke that was interpreted as anti-Semitic by various media. featuring Jewish people as villains and a classicist building. The typeface ‘Fraktur’, a image makers can handle this much more Due to this, his YouTube-series ‘Scare PewDiePie 2’ was criminals. The posters from this period virtually illegible set of characters still used by professionally, by re-appropriating those cancelled. In March 2019 the gunman of the Christchurch attacks, called viewers to subscribe to the PewDiePie were created by an advertising agency and right-wing radical skinheads to distinguish images again and change their meaning.’ YouTube-channel.

Election poster for the NSDAP (1932), Sammlung Stadtmuseum Reklamekunst Muenchner 64 65 dude Nike InfinityNike Room Daan Lucas Daan

he comes in contact with makers of instal­ lations and this is how gradually the two worlds merge. Lucas: ‘Technology is often associated with something cold. It is intangible, efficient and finished. By connecting it in physically with an animated sky and Vuitton lanterns perceptible installations I hope to alienate scattered everywhere, alternating between in a positive way. And to stimulate finding tech casting an atmospheric light and sending each other in the unknown.’ brand messages. Whereas before everything had to have the In a period of barely twenty years Random wow factor, by now a problem-solving ability has successfully made the move from has become at least as important. The work working for Amsterdam based advertising is a revelation and has to be UX driven at the theatre An orange red cloud just about obscures agencies to fashion houses and labels. same time. Pondering the question who the which skyline is approaching when left Companies like Nike, Apple, Hermès, Chanel, solution is meant for and why they should Like tech theatre, this is how Daan Lucas prefers to describe from the propeller plane suddenly the torso Gucci and Fred Perry look to the agency for be exposed to it, is of great value – he has the work by Random Studio. With digital and interactive of the Statue of Liberty appears. The rustling brand exhibitions, product launches and come to realise. Before something was either installations the agency bridges the gap between the of a strong wind is coming in from all sides, in-store experiences. Paris was top of the instrumental or emotional, he explains. blending in the background with the rattling list for a long time as the destination where Today he wants to see both ingredients. man and his physical surroundings. A way to provoke of the engine. all the business meetings took place, but In London an ‘Infinity Room’ was set up interaction. And – eventually – to bring people together. The Korean visitors of Louis Vuitton’s exhi- now Milan has also joined, and London is for Nike to let runners try the latest shoe ‘Alienation connects.’ bition ‘Volez, Voguez, Voyagez’ earlier this the next priority. line. In case an infinite mirror room with year entered a small brand museum the In Random’s work founder Daan Lucas looks a treadmill aren’t alienating enough, the way only a luxury brand can think of. On a for experiences that combine the physical pulsating audio and kaleidoscopic video TEXT YOSHI TUK ninety-square-metres screen wall using their with the digital. Although the agency in images on the surrounding walls would do own motion through the space, they flew 2000 began with building websites, he quickly the trick. But apart from a brand experience a plane through the brand history and past started to wonder how technology would it is – cut and dry – also a way of letting the metropoles that are part of the story. manifest in our environment. Through is someone experience a product and with Earlier they had walked in through a space expanding network of designers and artists that eventually sell it.

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RANDOM STUDIO

The Amsterdam based Random Studio was founded in 2006 by Daan Lucas. ‘ I much rather The experience design studio now consists of a team with around 35 have a dialogue people: strategists, designers, visual artists and engineers. The studio than check up worked frequently for Amsterdam advertising agencies and made the on people ’ transition to fashion houses and labels. Nike, Apple, Hermès, Chanel, Gucci, Tommy Hilfiger, Raf Simons and Fred Perry engaged the agency for interactive installations, product launches and in-store experiences where the studio brings together design and technology and stimulates the dialogue between brand and user.

check up on people. Forcing it is useless, Short running advertising projects that I have noticed. It is much more exciting to once were Random’s kick-off have now been see how someone’s ideas can work.’ traded. For Tommy Hilfiger the company Because especially on foreign territory you for example worked for three years on the table to discuss the larger issues increas- can end up in unexpected situations and the continuous ‘The Store of the Future’, pursuit of perfection is rendering digital ingly more often. Together with the British you are challenged practically. In that case it finetuning the online platform and future work uninteresting. Whatever happened fashion designer John Galliano Random makes sense to take a step back and observe proofing the stores. ‘I am really curious to ‘the edge’? ‘Selling myself has never been my strongest now works on the communication strategy for a while. ‘You can only learn this if you to see how we can fuse tech and physical For Fred Perry and designer Raf Simons suit, so I simply started on LinkedIn. From each for Maison Margiela. ‘The pieces of the are left to your own devices and aren’t being even better’, Lucas says, looking ahead. recently an alternative for the look-book was of the hundred people I approached I would puzzle gradually make way now for the total micro-managed.’ ‘What does this do, to a visitor? You can’t created, a way of drawing attention to a new on average receive two replies. Networking experience and strategy.’ This is how it can happen that for days a solu- just create something cool and then expect collection. Wandering through a Google- what he wants to create and what new areas unfortunately remains a numbers game.’ tion is being worked on for a problem he it to be of any instrumental value. Do people Street-View-type surroundings with those need to be explored; for the execution In an earlier interview Lucas mentioned doesn’t even knows exists. ‘People taking that know about it? These are important UX typically Amsterdam-North streets, Canta’s process he is better of surrounding himself Now the enterprise has matured and the struggling now and then with the responsi- responsibility and having each other’s backs driven questions that we can no longer on the pavement and the brightly coloured with the right people. That is where his studio can show a string of projects for other bility that comes along with an expanding is probably what makes me proud the most.’ leave on the side.’ houses, along the way the tools users stumble strength lies. Turning it into something luxury brands, the client dynamic is notice- business. His perspective: responsibility is in Random is indirectly aided by many artists on people who – like random passers-by – concrete, he says, has never really been his ably changing. One of the most important fact nothing more than the ability to respond. Still Random is entering a new phase and it from various disciplines to which the agency wear the new garments. No slick images, forte. He is a rough idea, acts, makes mistakes lessons Lucas learned in recent years, is to Taking action yourself, and be accountable. is time to tweak the formula. With in-house actively offers a stage. Both in client’s to get to those you need to click on. The and learns from them. be mindful of a company’s hierarchy. In other Does this lesson still help when projects designers, film makers, technicians and projects and in the Amsterdam based office. project is a tribute to the photography genre This is how one day he happened to be countries that is often stronger than we are become larger and more complex? Yes, in programmers you can easily call this a bit Recentley they were hanging out with Philip of the lucky shots in Google’s street images, travelling on the Thalys for the first time. used to here. Already when writing a the sense that he encourages his 35 of a quirky mixed bunch. He would like to Schuette, Geoffrey Lillemon, Guus Kaandorp sprinkled with some image manipulation to There was no foreign strategy in place, he proposal, it is important to understand who employees to think in a similar way. see more synergy between the disciplines and Mark Prendergast, amongst others. trick the user. Whatever we create, we always remembers. There still isn’t. His personal you are talking to. ‘And to make sure you ‘Years ago when I still did project manage- and that is why the work process has Claiming that his own studio creates art is try to play with technology, substance or interest in fashion and the thought that provide that person with the information ment, we made mistakes more often.’ How recently been adapted. ‘What I value most really not something Lucas does. But he does the concept.’ fashion houses above anyone would be open that takes away doubt, and that they can use different the situation is now. Formally is working with a tight feedback loop. What emphasise, these experiences do help to Even though Lucas is involved in practically to innovation is what brought him to Paris to convince their superiors.’ he may still have final say, everyone has did we take away from previous projects? open up commercial projects. It’s necessary. every project, his part in those is a modest for his first visit, and the beginnings of an This experience pays off: In time individuals their own ideas on how Random operates What can we learn from this? Of course, All around him he sees how the relentless one, he is clear on that. He knows exactly international portfolio. climb the ladder and he now has a seat at best. ‘I much rather have a dialogue then we evaluated, but in the end, we are too nice

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DESIGN ACADEMY EINDHOVEN to each other. The learnings faded into the ARTEZ ZWOLLE background again. I didn’t appreciate this non-committal attitude.’ Part of the standardisation is that on each In the vision he wishes for Random it will job a project lead gathers a team, consisting succeed in adding human characteristics to AMFI AMSTERDAM of designers and programmers. ‘Creatives buildings. That way, a non-pre-programmed can be suspicious about following processes, brand interaction should be able to mani- while I believe it creates new opportunities fest. For example, lacking in direct sunlight, if you involve logical thinkers from the a ball of light floats through the Amsterdam outset.’ When a solution needs to be an office during the winter months. Guided instrument on top of being emotional, you by a feed with the actual co-ordinates of the need someone like a programmer ‘to add sun. By letting spaces communicate with WDKA ROTTERDAM logic and efficiency to all the associative their surroundings a sense of live and change ability; Why are we even doing this? Is the is created. ‘This has to result in some stun- client even asking us the right question? ning experiments: from installations to You see projects grow because of it.’ interactive spaces. Scenography, just like in the theatre.’ In addition to connecting people and their MAFAD MAASTRICHT environment Lucas also hopes to increase the RANDOM.STUDIO social aspect of physical space. Technology holds a world of wealth, he is convinced. ‘And with that I don’t mean all of us staring at our screens like cattle. No, it can bring ARTEZ ARNHEM people together.’ A time machine Random created for Chanel already embodied certain of these elements. Both the female voice addressing the audience and sound and light AKV ST. JOOST BREDA responded differently as more people gath- ered, and the interaction changed. Fred Perry x Raf Simons Digital Map PIET ZWART INSTITUTE 70 dude column

TEXT NICOLINE DORSMAN

Over 50.000 visitors come to check out exhibitors there is now a ‘(No) Panic Room’ your graduation work. Attention from both where they can consult on legal or business the national and international press. What matters and receive support. do you do when, within ten minutes of the exhibition opening, someone wants to buy Participating in a graduation exhibition your entire collection? And what about thus becomes a learning experience; you CLASS all those photos being taken; is that just network, you negotiate, you receive feed-

out of interest or is someone going to steal back. Hopefully this is how you discover In the ‘(No) Panic Class’ a legal ROOM and business expert from BNO, your design? with whom you might eventually collaborate together with alumni of Design or what directions you definitely don’t want Academy Eindhoven offers tips The ‘(No) Panic Room’ is a The ‘Graduation Show’ of the Design to take as a designer. You learn to be flexible and tricks to recent graduates physical space at the Graduation Academy Eindhoven for the exhibitors isn’t and keep doors open. And if a small woman in preparation of their lives as Show 2019. BNO experts and just fun. It is hard work and comes with with giant glasses and an Italian accent professional designers. The infor past alumni are available to advise a lot of insecurities. Of course, you are lingers at your project, you give her some - graduates on critical situations ­ mation varies from giving advice proud of your work and enjoy the attention, extra time; you never know, do you? At least and to answer complex and prac on presentation and how to deal but to prepare yourself properly for this you will not refuse, as one young alumnus with potential clients to offering tical questions. invasion isn’t easy. You have after all been did a few years ago, a request made by a legal advice to protect concepts. trained as a designer and not as an entre- world-renowned trendwatcher. You simply preneur, and then all of a sudden you are assemble your design for her, even though expected to play that role. For many gradu- according to concept, it was only supposed ates the task of determining who or what is to be delivered in parts. On the other hand, important to your future career is onerous. stubbornly sticking to your concept could If a manufacturer shows interest, it is be the best attitude towards profession- hard to determine a price point, because alism. Don’t compromise and stick to your how do you set a price for a prototype if guns. But be prepared and be aware that, the production process still needs to get at the start of your career, a little panic started? Do you want to release your might just be part of the game… design - and in what way? Luckily for the

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Strong, smart or innovative in concept, exe- cution, originality or commercial insight. This is an accurate description of the works by thirty fresh new designers. In this YA Special! you can see the chosen projects, the selection committee will sing some WITH COMPLIMENTS

praises, and you can read how five of last This graduation special wouldn’t have been possible without our year’s graduates have fared. sharp and experienced selection committee. Dude would like to thank Simon Buijs and former ‘dudes’ Odette Ex, Rosa Kool­ hoven, Wieki Somers, Bas Timmer and Marcel Vroom, as well as Tirso Francés from Dietwee.

SIMON BUIJS sanctuaries SELECTION COMMITTEE

‘Well thought-through and executed project. With its minimal DESIGN: ANNA REERDS Whenever Anna Reerds is sitting in a snack a kind of awkwardness, sadness and loneli- design throughout the entire PROJECT: SOLACE bar, looks inside a launderette or walks ness. With her video installation, depicting product line I can see this being EDUCATION: HKU, UTRECHT through a half-empty shopping centre she the atmosphere of places like these, the applied in offices and homes.’ DEPARTMENT: PRODUCT DESIGN feels at ease, comforted. Here we don’t have designer wants to offer us solace. The four WWW.ANNAREERDS.NL to pretend. Pretend we always eat healthily, moving still life pieces show the viewer that as if we are never lonely, as if we are in we aren’t perfect, but that it’s ok. It is part control of our lives. Places like these radiate of being human. ODETTE EX SELECTION COMMITTEE DESIGN: MIREILLE STEINHAGE from the Kyoto Institute of Technology – saline PROJECT: THE HIDDEN QUALITIES OF SALT and the radiator are both based on the ‘Beautiful approach to the beauty EDUCATION: ARTEZ, ARNHEM working of the famous pink Himalayan of imperfection.’ DEPARTMENT: PRODUCT DESIGN salt lamp: the heat helps to absorb toxins, solution INSTAGRAM.COM/MIREILLESTEINHAGE improving the air quality. The salt in the mouth masks is released through the conden- Mireille Steinhage believes in the healing sation of your breath. With this project the properties of salt. The objects she designed, designer wants to show the value of design an air humidifier, lamp, radiator and mouth to the health industry. At the same time, she masks, are all equipped with salt to purify indicates how in-depth research is needed polluted air. The reservoir of the air humidi- first, before we all end up surrounded by fier is filled with a saline solution. The lamp healing salt crystals. – made in collaboration with Mika Tsutai

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HOW’S IT nomad nest arrogant GOING WITH...

DESIGN: DÉSIRÉE MALESSA LOTTE DE HAAN, GRADUATE 2018 alter ego ROSA PROJECT: NEST – NOMADIC ESSENTIALS EDUCATION DESIGN ACADEMY KOOLHOVEN FOR SIMPLER TRANSITIONS EINDHOVEN SELECTION COMMITTEE EDUCATION: MAFAD, MAASTRICHT DEPARTMENT: MAN AND WELL-BEING AFDELING: DESIGN LOTDEHAAN.NL ‘Living with less is becoming WWW.MALESSA.STUDIO more important. The idea to only The social designer and researcher own ten pieces of clothing that When studying or at the start of your career, graduated with two projects. One, the insist you take good care of them, Was-a-machine, has since then resulted pieces that all fit together, are moving is a recurring ritual and the space in various spin-offs. Even though the both stylish and practical, I think you inhabit often quite small. Not bad, academy does not prepare you for the is pretty cool. And beautiful. because you are flexible and living a virtually world outside, practice came easily to I would love to own a collection nomadic existence you don’t want to have to her. ‘I discovered where my interests and like this!’ rely on complex furniture and knickknacks. talent lie and learned to speak the ‘NEST’, the collection by Désirée Malessa is language of parties I collaborate with, everything you need: a minimalist moving like councils and assisted care centres. box that you can use not only to move your At the academy nothing is ever consid­ personal belongings but that you can also ered out of bound, in these collaborations choose to turn into a bed, storage shelf, weird ideas are not appreciated,’ table or bench. Multifunctional, no tools she learned. Lotte is interested in how the Western required and above all great for the environ- and – until now – African World can real clothes, ment and mobility. ROSA exchange knowledge and experience KOOLHOVEN on an equal footing. Doing so she aims not fashion SELECTION COMMITTEE to resolve prejudice and create under­ standing and awareness with her ‘To talk about yourself in a posi­ sustainable, socially innovative projects. tive and self-confident manner Previously she held workshops in Zambia and Cape Town, now she is back to do DESIGN: MEREL VISSER is difficult for many creatives. research on the system of the second PROJECT: THE BEST LANGUAGE CORRECTOR But already from the demo video DESIGN: CHRISTY PATIJN hand clothing trade. Organisation NExAR EDUCATION: AKV ST. JOOST, BREDA on her website you can tell the PROJECT: REAL CLOTHES, NOT FASHION difference in impact between saw what she pulled off before and they DEPARTMENT: GRAPHIC / SPATIAL DESIGN EDUCATION: AMFI, AMSTERDAM words like ‘I think’ or ‘I know’. decided to join forces: workshops in MERELVISSER.NET DEPARTMENT: INTERNATIONAL FASHION Great concept and well executed.’ the Middle East, India and Morocco are on the horizon. And Manon van Hoeckel & DESIGN Because Merel Visser has the habit to discuss asked Lotte to be her first-ever paid INSTAGRAM.COM/CHRISTYCHRISTEL herself and her work in a negative way she employee. ‘A good mix’, Lotte thinks. ODETTE EX has often missed out on opportunities, as ‘I work there two days a week, learn A ten-piece uniform free of gender or SELECTION COMMITTEE opposed to the more ‘arrogant’ people in a lot and earn a living with my passion.’ age. Christy Patijn combined the favourite the design world. She developed ‘The Best pieces from her own wardrobe with classic ‘Current and creative, and strong Language Corrector’, a live autocorrection uniforms, like those August Sander photo- in its simplicity and purity.’ tool for Microsoft Word that teaches you graphed at the beginning of the twentieth how to write assertively by replacing words century while documenting various while writing with superlatives and positive craftsmen in their work clothes. Each item alternatives. The program doesn’t do the from this androgynous collection has a title, whole job for you; you will have to practice. like ‘Painter’s Trousers’ and ‘Bricklayer’s This is how the tool encourages you to think Waistcoat’, as a homage to these crafts. about the way you present yourself, and Each piece of clothing is also given a how you see yourself. ‘contract’, a poetic plea to the purchaser to cherish it for a long time. Stills: Mykolas Brazaitis Mykolas Stills:

76 77 DESIGN: MAUD VAN DER LINDEN PROJECT: VOTE FOR AGAINST EDUCATION: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND LEISURE MAUDVANDERLINDEN.COM

A more balanced election system? Maud van der Linden introduces the counter vote. With this variety of the voting system everyone who has the right to vote can cast one in favour of a political party, and one against another party. The designer aims TIRSO FRANCÉS to motivate parties towards more collabora- tion and discourage polarising behaviour. SELECTION COMMITTEE MARCEL VROOM Watch out, ladies and gentlemen politicians; vote for SELECTION COMMITTEE ‘Intelligent and innovative lies, discrimination and tirades of profanity

consideration of improving our might just earn you a counter vote in the next ‘Clear and realistic proposition electoral system in these times against elections! How it works exactly, is explained on material use, production, is not a luxury.’ at www.stemvoortegen.nl. application and recycling. The design is smart and beautiful.’

BAS TIMMER floral dress SELECTION COMMITTEE

‘An innovative idea to deploy DESIGN: JESSICA RIJKERS DESIGN: FLOOR SKRABANJA Dutch heritage and our culture PROJECT: FLOWER TEXTILE as a resource to reduce waste.’ PROJECT: 3D-KNITTED FURNITURE EDUCATION: WDKA, ROTTERDAM EDUCATION: DESIGN ACADEMY EINDHOVEN DEPARTMENT: FASHION DESIGN DEPARTMENT: MAN AND WELL-BEING JESSICARIJKERS.COM SKRABANJA.COM

The Netherlands are known worldwide for Cutting, stitching, gluing and stapling their floriculture of cut flowers. Most people upholstery around the shape of a piece of however don’t’ consider how many flowers furniture often renders the textile unsuitable end up in the garbage bin without having for recycling. That is why Floor Skrabanja even been put up for sale. More known is used a 3D-knitting technique to construct the fact that the fashion industry is one of a seamless shape from a single yarn. This the most polluting industries in the world. creates recyclable upholstery with minimal Cotton production is a harmful process material waste. The knitwear used to dress

where use of water and CO2 emissions play the furniture forms part of the construction. an important part. Jessica Rijkers combined knitting ‘3D-knitted furniture’ has been developed these two notions and explored how flowers with the TextielLab of the TextielMuseum can become the basic material for a new Tilburg, Fonds Knitting Holland and textile. The result is ‘Flower Textile’, a recov- furniture Knitwear Lab. erable material, entirely from Dutch soil and a hundred percent biologically degradable.

79 dude graduates we amsterdam HOW’S IT DESIGN: GUUSJE THELISSEN PROJECT: SOMEWHERE FAIR FAIR AWAY GOING WITH...

DESIGN: MANON HERMANS EDUCATION: HKU, UTRECHT JORN VAN STEIN, GRADUATE 2018 PROJECT: THE AMSTERDAM PACT somewhere DEPARTMENT: MEDIA EDUCATION: HKU, UTRECHT EDUCATION: WDKA, ROTTERDAM INSTAGRAM.COM/ILLUGUUS DEPARTMENT: PRODUCT DESIGN DEPARTMENT: ILLUSTRATION fair fair WWW.ATTACH.STUDIO VINONINA.COM ‘The Great Feel Of Organic!’ written on the window of a well-known supermarket. Following a successful launch with a five- Out of all Dutch cities Amsterdam is the We all want to do the right thing. But what away headed collective ZwartFrame Jorn van most ‘infected’ with mass tourism. The city is right? Are we trying to make the world Stein and Bernd van Driel separated to is known as a kind of open-air museum, a more beautiful and better place, or are start from scratch with Attach Studio. without qualms or values and riddled with we silencing our guilt? Marketeers need us ‘We got along really well ever since the alcohol, drugs and prostitution. Manon to keep consuming, supermarkets literally HKU, we share the same vision and inter­ Herman interviewed people who live right sell themselves using hollow phrases and ests’, says Jorn. ‘We now mainly focus on in the busy city centre about their experi- ROSA take advantage of our are-we-doing-the- collectibles and exhibitions design.’ ences with tourists and translated those KOOLHOVEN right-thing-dilemma. The colourful mixed Attach Studio is located in a shell-state stories into animations to be shown on SELECTION COMMITTEE media installation by Guusje Thelissen former car factory in Rotterdam, that is being remodelled by the seventeen new billboards throughout the city. She hopes with fictional products, a playful brand residents – interior designers, designers, that this helps both tourists and residents ‘Humorous, colourful and well name and funny advertising is a parody on made! The little videos on Insta­ stage designers, artists. Jorn and Bernd to feel more involved with the city, and even the consumer society that makes you laugh gram are also excellent. It criti- are creating an office space with work­ – albeit voluntarily – make a pact to be more and think. cises the consumer-focused shop for in-house ceramics production, mindful of each other. The animations show society in a non-threatening because they were given the dream how everybody in Amsterdam belongs. way. Fun!’ commission: 240 ceramic cups for Sergio Hermans Michelin star restaurant in Zeeland. Jorn pitched his design and new colours successfully. ‘We still both have a part-time job. It is not easy to combine your own studio, DESIGN: LINDA VIL,UMSONE that job, networking and a private life’, brexitales PROJECT: BREXITALES Jorn thinks. Through their participation EDUCATION: DESIGN ACADEMY EINDHOVEN in BNO Start they benefit greatly from DEPARTMENT: MAN AND COMMUNICATION mentor Jan Belon, strategy director of LINDAVILUMSONE.EU Afdeling Buitengewone Zaken (Depart­ ment of Extraordinary Affairs). ‘Our Three years ago, the United Kingdom cast conversations with him help us to focus its vote on Brexit. Those for and against on three goals: a new studio identity, were divided into two almost equal camps, applying to the Creative Industries Fund, and the differences caused severe polarisa- and in three years an exhibition in Milan tion. The referendum was influenced to with our own work and curated works a high degree by lies and misinformation, by other designers.’ eventually playing a bigger role than the cold ROSA hard facts. Still it is these fabrications that KOOLHOVEN will be remembered. To make a young gene- SELECTION COMMITTEE ration understand Brexit Linda Vil,umsone conceived of the ‘Brexitales’, an illustrated ‘The world has become extremely children’s story that can be read from the polarised and we don’t really perspective of the Leavers or the Remainers, listen to each other anymore. while the kids curl up in the colourful By bringing both sides of the cushions of the reading corner. This way issue together in a children’s children are told both sides of the story. book they learn that each story has two sides, and that you need to step out of your bubble and be aware of fake news. Brilliant!’

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circadian rhythm clock ODETTE EX SELECTION COMMITTEE

‘A great idea that sets itself apart DESIGN: MANDY LIEBREGTS through simplicity, recognisability PROJECT: SCENT IMENT and a beautiful, pure execution.’ EDUCATION: WDKA, ROTTERDAM DEPARTMENT: PRODUCT DESIGN INSTAGRAM.COM/MANDYLIEBREGTS SIMON BUIJS SELECTION COMMITTEE One in five people in the Netherlands will

develop dementia. Symptoms of this destruc- ‘What a beautiful and personal tive disease are increased forgetfulness, project. Here in the West we depression and an altered day rhythm. TIRSO FRANCÉS have a somewhat detached way To increase the self-reliance of people with of dealing with death, and this SELECTION COMMITTEE dementia Mandy Liebrechts explored the is a beautiful and light-hearted

use of scent, a very strong trigger connected way to bring people closer ‘For many people electronic together again.’ waste is still very abstract. to the deepest part of someone’s memory. “E.TOPIA” offers insight into this ‘Scent iment’ is a ‘circadian rhythm clock’ e.topia matter from a human angle, in that spreads pre-programmed scents to a smart and even touching way.’ remind people of their daily activities like getting up, eating, sleeping or going outside. DESIGN: MARION FOULQUIER This renewed sense of the passing of time is PROJECT: E.TOPIA reinforced by the built-in light that radiates EDUCATION: DESIGN ACADEMY EINDHOVEN natural daylight. DEPARTMENT: MAN AND COMMUNICATION WWW.MARIONFOULQUIER.COM

‘E.TOPIA’ is a website that shows everything DESIGN: KELLY WEY assigned a spot on the shelves. Unjustly so, involved in the pre-production of the epony- BAS TIMMER memorial PROJECT: MEMORIAL VASES the designer believes; an urn should actually mous animation film. A behind-the-scenes SELECTION COMMITTEE EDUCATION: HKU, UTRECHT be part of the interior as a memory of the look shows you the set designs, props and DEPARTMENT: PRODUCT DESIGN loved one. That is why she created an esthet- main character puppets, and it provides ‘There still is no cure for vases KELLYWEY.COM ical and functional object consisting of both information on the research surrounding dementia, but this product helps a flower vase as an urn. When you don’t and existing e-dump site in Ghana. The site people in a most natural way.’ One of the subjects we would rather not want to be thinking of your loved one for a and the film – an eight-minute stop-motion think about is the death of a loved one. moment or don’t feel like confronting your animation on a Western Instagram Robot When Kelly Wey’s father passed last year guests with it, you temporarily move the who is found on a dump and repaired by the question of ‘what if’ became a reality, urn to the cupboard and leave the vase out a local girl – Marion Foulquier wants to and she had to consider ‘what now’. The urn on the table. draw attention to the way we deal with containing the ashes of the deceased is often electronic waste.

82 83 graduates

ROSA KOOLHOVEN HOW’S IT SELECTION COMMITTEE GOING WITH...

‘Interesting commentary on STUDIO PMS, GRADUATE 2018 the surveillance culture where EDUCATION: HKU, UTRECHT everything and everyone is being DEPARTMENT: FASHION DESIGN watched. The idea to outsmart the software I think is really STUDIOPMS.NL well thought of. Could we also addictive apply this to face recognition Design it digitally, exhibit digitally and software?’ buy it digitally and only then produce it. That is the motto behind the graduation work project ‘In pursuit of tactility’ by the collective Studio PMS. Puck, Merle and Suzanne designed a lifelike and tactile DESIGN: MAXIME VAN STRIJLAND to do -like making new work. To break the collection by using 3D-photography, ani- PROJECT: I-HABITI habit Maxime van Strijland made a stop- mation, soundscapes and virtual reality. EDUCATION WDKA, ROTTERDAM motion poster every single day for 42 days This remarkable graduation project AFDELING: FINE ART in a row, using the gestures you normally brought them a lot, like an invitation by MXMVS.NL use on your phone. As content for the Modebelofte (Fashion Promise) to exhibit during Dutch Design Week, new commis­ posters she used a quote by Charles Duhigg sions like a campaign animation for both Every app message you see as soon as you – author of the book ‘Force of Habit’ – that Burberry China and Adidas, and various pick up your phone gives you a shot of is 42 words long. After these 42 days not presentations. ‘Every time we roll from dopamine. Through repetition this becomes only the complete quote on the shaping one commission to the next’, says Puck. a habit and before you know it you are caught of habits appeared, she had also turned That this is a rare luxury they are most in the bubble of your smartphone, keeping her smartphone-habit into a making-habit. definitely aware of. ‘But’, she says, ‘they you from the things you actually wanted ask you based on what you have done. Companies generally don’t want anything too outlandish, and that is less exciting. That is why we would love to set up a new creative project to connect fashion to an innovative and sustainable medium TIRSO FRANCÉS as soon as we have the time. This is how SELECTION COMMITTEE we can inspire our industry and push our boundaries.’ ‘Inspiring how a smartphone Entrepreneurship is a process: they learn addiction can lead to a beautiful data to negotiate about fair pay. And about and powerful collection of how they can present their work, which simple posters. How a little does cover unexplored territory, in a way discipline can be disruptive gone mad that is accessible and comprehensible, and transformative...’ without becoming superficial or childish. ‘Apart from that we are using this year to try out anything we think is interesting.’

DESIGN: GILLIAN BALDWIN With ‘3% of Everything’ Gillian Baldwin single category, lowering the confidence PROJECT: 3% OF EVERYTHING responds to the increase in digital surveil- percentage score of the software and EDUCATION: PIET ZWART INSTITUTE, lance of our daily lives, by staging a situation rendering the data worthless. On a screen ROTTERDAM where machines monitor our interior. With next to the turning object you see a livestream DEPARTMENT: MASTER OF INTERIOR a turning object, assembled with bits and with the continuously changing prediction ARCHITECTURE: RESEARCH AND DESIGN pieces in 3D-scanned, digitally enhanced of the software. This is how the installation GILLBALDWIN.COM and re-printed objects from her own apart- identifies the difference between the way ment, she manages to fool the recognition we look at an object, and the way a machine software. The image can’t be caught in a sees an object. Burberry China

84 dude graduates

ODETTE EX stutter font SELECTION COMMITTEE

‘Solid research and a balanced DESIGN: LOT MARS execution, with a strong sense of PROJECT: A WRITTEN FORM OF STUTTERING the social issues involved.’ EDUCATION: WDKA, ROTTERDAM DEPARTMENT: GRAPHIC DESIGN WWW.LOTMARS.COM

For her graduation project former stutterer Lot Mars designed a new type font to poeti- cally reflect how stutterers experience language: a fear of characters and a strong focus on sound. The characters in her writing have various shapes, changing according to the sound combination. The silences, the so-called stutter blocks, have also been

Model: Pauline Esparon. Photo: Angéline Behr designed. This type font offers insight into the entire stutter experience, but also evokes admiration for the riches and beauty of the clothe ‘stutterer’s dialect’. with care

DESIGN: PAULINE AGUSTONI PROJECT: MASTECTOMY CAREGIVER EDUCATION: DESIGN ACADEMY EINDHOVEN I’d like to make an appointment DEPARTMENT: PUBLIC PRIVATE WWW.PAULINEAGUSTONI.COM

Undergoing a mastectomy (breast removal surgery) because you have cancer is a trau- matic experience, the recovery is difficult and painful. Pauline Agustoni’s sweater collection spares vulnerable scars, offers wandering solace and comfort, and is beautiful all at the same time. It required a lot of research and various knitting techniques have been without getting lost applied, but the result is worth it. Tight and loose elements create space around bust ROSA and armpit. Soft materials and minimal KOOLHOVEN DESIGN: YASMIN VAN DEN BRINK How can we still experience the healing physical effort that stimulates the connection seams ensure optimal room for movement PROJECT: NURSING HOME FOR ELDERLY properties of nature in an urban environ- between the brain and the body. Varying SELECTION COMMITTEE WITH DEMENTIA and comfort. If it is up to the designer this ment? By translating a number of parameters widths of the walking paths inside the will not be limited to just sweaters, but the ‘While reading the texts you EDUCATION: ARTEZ, ZWOLLE from nature Yasmin van den Brink came to building offer the possibility of wandering collection will expand into other garments, almost find yourself stutter. DEPARTMENT: INTERIOR ARCHITECTURE the idea of a remarkable nursing home for without getting lost. This way the target for all seasons. The sweaters are made by ODETTE EX The shapes of the characters fit YASMINVDBRINK.WIXSITE.COM/PORTFOLIO elderly with dementia. Textures and colours audience, who spend relatively little time Knitwear Lab in Almere and the projects SELECTION COMMITTEE well, and the added pauses and help the residents to find the right room outdoors, can still experience the healing is supported by the Knitting Holland Fund. breaks make sense. That it stems and mimicked differences in height lead to ways of nature. ‘A remarkable and innovative look from a personal experience is at and draw attention to an beautiful too.’ existing “issue”.’

86 87 dude graduates

semi HOW’S IT cyborg GOING WITH...

ALEX DE RUITER, GRADUATE 2018 EDCUATION: TU/E, EINDHOVEN DEPARTMENT: INDUSTRIAL DESIGN DESIGN: LOAN FAVAN PROJECT: ALLIAGE -CU29ZN30 How valuable it is to find a good business EDUCATION: DESIGN ACADEMY EINDHOVEN for your internship and design something DEPARTMENT: MAN AND IDENTITY that you can show there, Alex is living INSTAGRAM.COM/NAULA_STUDIO proof. For his MA he thought of a gas pedal on a motorbike, which he presented ‘ALLIAGE -Cu29Zn30’ is an ideal projection during Dutch Design Week. Afterwards MARCEL VROOM he got a six-month internship at LightYear of the invincible version of Loan Favan SELECTION COMMITTEE One, founded by former TU/e-students herself, translated into a jewellery collection. who recently presented their first proto­ Based on the concept of trans-humanism ‘Complex issue resolved through type for the partially solar-powered – a philosophy based on the premise that a seemingly simple system, that family car. The gas pedal was not devel­ humans have arrived at the post Darwin era from can be applied in many other oped further, something that would easily and can now take evolution into their own domains where products or parts cost millions. Alex however did get a job hands – she has turned herself into a semi- need to be sorted. The question there as an interaction designer in a team cyborg. Every accessory from the futurist trash is whether the system has not that works on anything to do with the user. collection represents one of her future self’s already been invented and used ‘Super cool to experience the growth of super powers, like an ‘inexhaustible source before. Well executed and this business and create the best possible to of energy‘ or ‘unlimited knowledge’, all of presented.’ experience through cool design, so together with LightYear I can contribute which can be combined with one another. treasure to resolving climate change.’

Smart move and he knows it. Some who graduated the same year are still out DESIGN: ALEX KLOOTWIJK metal tongs to automatically sort mixed there looking for a job. ‘It is hard with PROJECT: FROM TRASH TO TREASURE aluminium scrap, as a solution to the current a degree that trains generalists; it is EDUCATION: TU, DELFT manual way of working; labour that is often not easy to sell yourself when you never DEPARTMENT: INDUSTRIAL DESIGN outsourced to low-wage countries like made a physical product’, the designer knows. Alex himself immediately regis­ ENGINEERING China or India. In his thesis he analyses the tered for the international conference ALEXKLOOTWIJK.NL problems that can arise from implementing Automotive User Interfaces 2019 in such a system. He concluded that a robot arm Utrecht. With the aid of a lecturer he Aluminium is one of the most used mate- with robot tongs would be most effective wrote a paper on his gas pedal project; rials worldwide. This makes recycling scrap when the scrap is pushed from a conveyor he presented it late September. metal necessary to keep up with demand. belt. The material is classified using a Reukema, one of the largest non-ferro traders camera and a line scanner, and the scrap is ROSA KOOLHOVEN ALLIAGE –Cu29Zn30’ by Loan Favan. Photo: Angeline Behr, ‘ in the Netherlands, wanted to explore if a temporarily stored in a bunker underneath model: Wendy Owusu, make up: Wella Gibbes SELECTION COMMITTEE robot would be able to sort aluminium based the sorting installation.

on different alloys. Alex Klootwijk designed A truly beautiful design, well executed. I would love to purchase a piece of jewellery.

LightYear One Elegant, futuristic and chic.’

88 89 dude graduates what sedimentary the food? jewellery

DESIGN: JESLER MUNTENDAM thinks Jesler Muntendam. By studying the PROJECT: FUTURE ROCKS components and formation of rock in EDUCATION: WDKA, ROTTERDAM certain areas we can come to an evaluation DEPARTMENT: LIFESTYLE TRANSFORMATION of the history of that specific location. The DESIGN design used plastic waste from the streets to JESLERJESLER.COM create new ‘rocks’ that contain the memory of the places where she was at a specific By now a large proportion of people in the moment. By integrating natural elements world acknowledge the problem of plastic such as sand, shells or twigs from those and acts accordingly. Still we have created places in addition to plastics, the mixed,

enough of a mess to mark human existence melted, formed and polished end product Photo: Lana Prins in future layers of sediment. Rock formations forms a new ‘memory rock’: a rock of the like these can be viewed as memory devices, world to come as futuristic jewellery.

organ

DESIGN: SUZAN HIJINK running PROJECT: WHAT THE FOOD EDUCATION: HKU, UTRECHT DEPARTMENT: MEDIA track WWW.SUZANHIJINK.NL

Biological, vegan, light, artisanal, bonus DESIGN: MARIE DECLERFAYT or sugar free. People are confused by the PROJECT: SYSTEMS TRAIL overwhelming amount of choices and get EDUCATION: DESIGN ACADEMY EINDHOVEN lost in the supermarket. This confusion is DEPARTMENT: FOOD NON-FOOD central to this six-meter-wide work by Suzan WWW.MARIEDECLERFAYT.EU Hijink creating alienating perspectives and all kinds of maze-like loopholes using illus- MARCEL VROOM Most outdoor fitness routes are focused trations and photography. In the apparent SELECTION COMMITTEE on muscle development and cardio training. chaos of the complete image connected With ‘Systems Trail’ designer Marie Declerfayt series of images can be detected: the red ‘Stimulating design to change actually looks at biological systems: the behaviour, aiming more for series that is about ‘food from the wall’, training trail consists of ten different exercise biological stimulation than mere the black that deals with the glorification stations, one for each of the organ systems muscle mass. If well designed, of certain products, or the white one that it is not necessary to add a user such as digestion, the skeleton, nervous focuses on the creation of cultured meat. manual to each station.’ system and urinal track.

90 91 dude graduates kondo-- HOW’S IT kimono GOING WITH...

DIEGO FAIVRE, GRADUATE 2018 EDUCATION: DESIGN ACADEMY DESIGN: LENA WINTERINK EINDHOVEN PROJECT: MEMENTOS DEPARTMENT: MAN AND WELL-BEING EDUCATION: DESIGN ACADEMY EINDHOVEN THEDIEGOSCOPY.COM DEPARTMENT: PUBLIC PRIVATE WWW.LENAWINTERINK.COM Like a clay-Christo Diego creates products from waste materials and then Many objects we only keep around because wraps them in ‘Diego Dough’, a fast-drying they represent special periods or mark colourful clay. More recently he also started to cover existing products with a specific moments in our lives. Our attitude colourful layer of clay - from the smallest towards possessions however is changing; desktop accessory like a pencil sharpener our lives become more mobile and we to a giant fire escape. His first commis­ occupy smaller spaces. With ‘Mementos’ sion was for the New York gallery kinder by Lena Winterink physical objects can MARCEL VROOM MODERN during NYCxDESIGN 2019, the be thrown out -after careful, contractually SELECTION COMMITTEE second a commission by Vienna Design bound documentation- preserving the Week 2019. That last job, he calculated, botox ‘It is an actual question to what memories thanks to prints on multi-purpose took 2.700 minutes. This comes down to extend physical, bodily changes and wearable textile. more or less a weeks’ work and a whole baby! influence our digital represen­ lot of clay in the festival colours, used tation. Good to question the to transform the fire escape of the main urgency of the problem and the building into a visual showstopper. ethical issues involved.’ After graduation the Frenchman didn’t tumble into the proverbial black hole. Being a graduate to him is actually more of a relief. ‘I finally have the freedom to DESIGN: MARSHA WICHERS do everything I want.’ Diego is a guest fake views PROJECT: PROJECT FACE DESIGN lecturer at the Academy of Architecture EDUCATION: KABK, THE HAGUE in Amsterdam, and his graduation project DEPARTMENT: MASTER INDUSTRIAL DESIGN ‘Minute Manufacturing’, determining the DESIGN: KARLIJN DEN HOEDT WWW.MARSHAWICHERS.NL price of an object based on the number PROJECT: REPRESENTING THE NEWS WWW.PROJECTFACEDESIGN.COM of minutes it takes to make it, is receiving so much attention that he barely has any EDUCATION: WDKA, ROTTERDAM time left to work on his other projects. DEPARTMENT: GRAPHIC DESIGN / Our face is one of the most vital instru- This year he was invited to exhibit at four MINOR DIGITAL CRAFT ments in human communication, designer different design weeks: Paris, London, WWW.KARLIJNDENHOEDT.NL and cosmetic doctor Marsha Wichers states. Vienna and Eindhoven. The latter being In the increased and accepted use of Botox a home match. ‘What more do you want? What if we separate news articles from the she sees danger to that what makes us I work with immense joy and make people images we see, or imagine, along with them? human, what determines our personality happy with my work.’ Almost automatically we connect an image ROSA and individuality. To demonstrate how to a text but is this connection always an KOOLHOVEN important our facial muscles are for reading accurate depiction of reality? Karlijn van den SELECTION COMMITTEE emotions, she underwent Botox treatment Hoedt wants to put us on the wrong track herself. She shows how intelligent emotion and designed a plugin for a news site that ‘A strong concept and especially detection software struggles to understand questions our view of the world. By placing in times of fake news a relevant her emotions – and this turns out to be alternative images alongside the text, the statement. As a viewer you are the same for people. news is given a new meaning. forced to take a closer look at the impact of word and image.’

92 93 dude graduates korean clay lacquer

DESIGN: SEOK-HYEON YOON PROJECT: OTT / ANOTHER PARADIGMATIC CERAMIC EDUCATION: DESIGN ACADEMY EINDHOVEN DEPARTMENT: MAN AND WELL-BEING WWW.YOONSEOKHYEON.COM

When ceramics are glazed, you can no longer recycle them. That’s why they globally end up in landfills. It is a shame that clay, one of the most natural materials available, is treated this way, says Seok-hyeon Yoon. Clay in itself is fully recyclable, the glass particles in the TIRSO FRANCÉS glazing is what decreases the purity of the SELECTION COMMITTEE material. The designer found a possible

solution in the old Korean lacquer technique ‘Good thinking. This is the type Ott, that uses the wax from the Chinese wax of solutions that we need to adopt on a large scale without (Ott) tree. At extreme high temperatures this giving it too much extra thought.’ wax evaporates and the ceramics, the clay, can be fully recovered as a basic material.

TIRSO FRANCÉS SELECTION COMMITTEE

wake up ‘New ways to consider packaging - responsibly are mega relevant ROSA and spot on. Beautiful solutions. KOOLHOVEN spice A real new design habit is just what we need.’ call SELECTION COMMITTEE

‘A good story and very much of dust DESIGN: EVELIEN VAN DER PEIJL our time. So cool that she has PROJECT: WET FEET used her family history to make a EDUCATION: AKV ST. JOOST, BREDA personal statement on something that is incredibly important.’ DEPARTMENT: GRAFISCH / RUIMTELIJK ONTWERP WWW.EVELIENVANDERPEIJL.NL DESIGN: CECILIA POLONARA Packaging is responsible for a large part of suitable for mass production and maintain PROJECT: A NEW DESIGN HABIT, DESTROY modern society’s waste problem. With ‘A a recognisable form. The outcome titillates Concerned for the consequences of global THE WAY WE ARE USING OBJECTS FOR New Design Habit’ Cecilia Polonara searches the senses and surprises: pencils are made warming Evelien van der Peijl, born and HUMAN LIFE for sustainable solutions to this problem. from dried spices that you sprinkle over bred in the Dutch province of Zeeland, uses EDUCATION: KABK, THE HAGUE She composed a design manifesto with a set your food using a pencil sharpener, sugar her own family history as a wake-up call for DEPARTMENT: MASTER INDUSTRIAL DESIGN of design rules that can be used to re-design sticks that you twizzle in your coffee until the rising sea level. Through an advertising CECILIAPOLONARA.WIXSITE.COM/PORTFOLIO products and their packaging: materials can they have completely dissolved, or chick pea campaign people are provoked to call a be replaced by natural, simple alternatives, porridge you boil including the packaging. number and listen to how she, her mother, products look as naturally as possible, are On to a sustainable and tasty future. and her grandmother have experienced the great flood of 1953.

94 95 business

Your graduation show is probably the first serious presentation of your own work as a young designer. Chances are that in addition to your family and friends MIND YOUR OWN you will also strike up a conversation with design profes- BUSINESS sionals, press or potential business partners. Moreover, A trade-fair presentation aims your career as a designer has been launched and who directly to generate sales and knows, soon you will be promoting your work again at do business. As a young designer this can also be a suitable step an exhibition, event or trade fair. The chance for success to draw more attention to your lies in your own hands, with good preparation. work. But which trade fair, nationally or internationally, is the best suited and what is the best way to present yourself? TEXT FREEK KROESBERGEN × ILLUSTRATION ROBERT VAN RAFFE Read more from two designers and three trade fair organisers, each with their own golden tip, on our website. WWW.BNO.NL/BEURSTIPS Do you have an exhibition or presentation just around the corner? Don’t panic! We have listed the most important tips CONTACT from the (No) Panic Class. Use this checklist and you’ll be fine: – Send out newsletters and invitations for your exhibi- BUSINESS tion and keep your network up to date with upcoming – Research whether you can protect your design exhibitions, new work, new commissions and plans. or product name (BBIE / EUIPO). – Plan a daily demonstration, presentation, give-away, FOCUS – Check whether your design or product name is an drink or other activity or festivity, and mention this BASICS – Focus: What are your expectations of the exhibitions, infringement on existing rights, and secure permission in your invitation. – Update your website, portfolio sites and social media and how can you achieve your goals? for using third-party materials. – Don’t just invite people you already know but make accounts (continuously). – Create and practise your ten-second-story that – Register your idea, concept or design for future a point of inviting people you wish to get to know or – Use the logos and hashtags of the exhibition or you can use to hook a wide variety of visitors immedi- reference as evidence (CC proof / i-DEPOT). who you should know. presentation where you are presenting. ately. Repeat: What makes you and your work unique – Create an info pack, including a pricelist, to hand out – Gather as many contact details as you can but keep – Create businesses cards with your contact details or and useful? to potential clients. Traders will want to know the the privacy rules 1 in mind. flyers with an image of your work. A small card or hand- – Have your short story ready in order to get to know costs and lead times. – Ensure a quick follow up after your exhibition. Dare out can help visitors remember you and your work. the person you’re talking to and steer the conver­ – When someone shows interest, you don’t have to to send important contacts a direct, personal email. – Use the right photography and good, succinct copy sation in any desired direction. commit immediately or sign documents. Note: verbal This is how you generate business. with your presentation or in the catalogue. What – Have your long, but clear story ready. This is how you agreements are also legally binding! Promise to follow makes you and your work different and relevant? show potential clients and partners your mentality, up after the exhibition.

– Put together an online press folder containing press expertise and motivation as a professional designer. 1 All entrepreneurs who collect or process personal data need to have their – When making a business agreement, selling your photos, press releases and project descriptions. privacy policy in order, as do independent designers and design agencies. design or products, make sure to use (the right) Rules apply as stated in the General Data Protection Regulations (GDPR) valid The press loves background stories, work-in-progress since 2018. An extensive file can be found at www.bno.nl/avg. terms and conditions 2. 2 General Terms & Conditions are practical to organise various issues with your photos and juicy details. clients in one go without having to renegotiate each time. Be aware these should be declared applicable. As a BNO-member you have access to templates, translations, additions and more. A basic version is available in a free download for all via www.bno.nl/faq.

96 97 dude shop & sales

‘To sit is a verb’, the famous architect and furniture designer Gerrit SUM

Rietveld used to say whenever people thought his chair felt too ‘SUM’ has been developed for Spartan. We Dutch know how to sit like no other. Hours on end, at the ‘Transitions IV’ by Baars & Bloemhoff, the new flatpack furniture collection office, in the car and at home. Then you might as well sit well: on a that will be sold online soon. The cheerful collection executed in sweet colourful chair with pleats, coat hanger or wing screws, for example. colours consists of a chair, stool and side table. Designer Jasmijn Muskens chose HPL glued onto beech multi- plex. The parts are held together by D-CHAIR metal pipes and playful wing screws. Simple to assemble yourself at home.

Jochem Leegstra from agency JASMIJNMUSKENS.COM …,staat together with Lensvelt BAARS-BLOEMHOFF.NL developed ‘D-Chair’, a beech wood ZAGENZAGEN.NL chair with dainty legs that are some- what reminiscent of fragile insects’ legs. A timeless model with a twist: in the frame a clever handle and coat hanger have been incorporated.

STAAT.COM LENSVELT.COM prices to be announced online

from 128,- PLEATED SEAT You would never have guessed that the chair was inspired by the production process of air filters that are partially CHAIRWAVE made from Colback, a commonly hidden material. By playing with Mingus Vogel and Justus Bruns from various ways of pleating designer Joris design studio VOUW came up with the de Groot came to this strong, visually chair concept ‘Chairwave’. A series attractive, tactile and pleated chair. of connected folding chairs to ensure people in public spaces engage in JORISDEGROOT.COM conversation with each other. VOUW thus brings technology and people together; as soon as the first person sits down on the only folded out chair, the adjoining seats automatically unfold invitingly. When others sit down too, a wave of light flashes through the chairs.

VOUW.COM

price upon ‘priceless’ request

98 99 partners partners

Each Dude is a joint production of the BNO and its partners. This BOL.COM IS ROUND WITH A BLUE HEART edition of Dude wouldn’t be possible without the support of design DIETWEE agency Dietwee and printing company Aeroprint. On these pages they present themselves, each with a project that illustrates the love with which they practice their profession.

OH OH OH OH AEROPRINT

Re-design the identity of the indisputable market leader in Bol.com historically is round and blue and Dietwee didn’t Dutch online retail. Dietwee was asked to preserve the ‘good’ want to change this. The new colour blue is fresh, modern and and change what was needed to achieve a more human, stands out more. The blue is complemented by a contempo- congenial and contemporary feel, that is better suited to the rary colour palette. This adds more colour to all expressions position amongst other online retailers that Bol.com has and Bol.com now has become a more colourful brand with been occupying for quite a while now. a blue heart. The roundness is already included in the name and in the new style it has become intrinsically part of the Where twenty years ago the brand started as an online new visual identity. The circle is predominantly present in the shop for books and CDs it has grown into a platform where form language we developed, but also in the new typography also electronics, furniture, accessories, clothes and even you can see the roundness in the characters. cosmetics are being sold. Bol.com’s identity has not changed The new photography also adds inspirations and expression or adapted much over the years. This made it harder in of the brand, and flirts with circular shapes wherever possible. Print is pretty. Print is a great way of communicating. In all So, return to print. certain product groups for the brand to connect with the The photos create a better mix between people and product tranquillity, and trustworthy. inspirational shopping experience the modern online and offer a little tongue-in-cheek when they can. This gives Printers like us know that. Not everyone, though, works Come to Aeroprint Printers on the 30th of October and listen shopper is increasingly craving for. It was time to change a slightly different interpretation of the brand’s playfulness with paper and ink on a daily basis. That is why we want to to our speakers, watch our demos on paper, printing, digital Bol.com’s visual style to enable the brand to communicate than was the case previously. show everyone involved in communication what is possible, print, book binding and colour management, and register inspirationally in the various retail worlds it operates in. Dietwee has developed a strong but also playful brand how it can be done and what we do. Maybe the oh, ahhhh, for the ‘Try Out Thursdays’ that will be introduced during A profound brand style evolution, transforming the brand identity for Bol.com, giving the brand a fresh start for the wow, or ooooooohhhh we conjure with this will lead to new the event. into a contemporary retailer. future in a contemporary and effective way. inspiration or creative ideas. Because print has its place, and exceptional print definitely does. Register via www.returntoprint.nl www.dietwee.nl

100 101 colophon

dude is a publication of the BNO and is free for BNO members

EDITORIAL CONTRIBUTORS DESIGN PARTNERS

CHIEF EDITOR Simon Buijs Dietwee Dude was created thanks to Freek Kroesbergen Edo Dijksterhuis www.dietwee.nl these partners: Nicoline Dorsman

EDITOR/MANAGING EDITOR Odette Ex CONCEPT AND DESIGN Viveka van de Vliet Tirso Francés Ulla­Brit Vogt Jean­Louis Goossens Sjors Bazelier Rita van Hattum Joey Schouten TRANSLATION Jeroen Junte Marjolein Spronk Kim Hoefnagels Maureen Rademakers Lee Rammelt Rosa Koolhoven

Freek Kroesbergen ARTWORK AND LAYOUT Madeleine van Lennep Gonda Poelman CONTACT Markus Praat Priscilla de Putter WG­plein 600 Robert van Raffe PRINTING 1054 SK Amsterdam Wieki Somers T 020 624 47 48 Gert Staal Aeroprint F 020 627 85 85 Bas Timmer www.aeroprint.nl E [email protected] Yoshi Tuk www.bno.nl/dude Viveka van de Vliet Valentina Vos BINDING Dude is open to anything! Marcel Vroom Send your press releases by Patist Friday 8 november 2019 www.patist.nl COPYRIGHT BINDING METHOD DISTRIBUTION Dude works hard to credit Genaaid Patabind the copyright holders of Dude is published four times the images. Did we miss a year and is distributed free something? Get in touch! PAPER of charge to BNO members Antalis, in cooperation Individual issues of Dude ADVERTISING with Arctic Paper cost € 7,25 plus shipping. www.antalis.nl Subscriptions are € 25,­ Department C www.arcticpaper.com a year. Prices include VAT. Gerard Otten

Only available in Dutch. PO box 20698 COVER Dude is a fan of design and Learn more at bno.nl/dude 1001 NR Amsterdam Munken Kristall printing, as well as the rain­ The Netherlands 240 g/m2 forest and polar ice caps. On display until ISSN 2352­6521 ©BNO 2014 T +31 (0)6 54 23 76 62 Our partners and the E [email protected] INTERIOR materials they use cause 19 January 2020 Munken Kristall Rough as little harm as possible Dude has a strict deadline: 100 g/m2 to the environment. reserve your ad space before Buy your tickets online: Friday 6 december 2019 designmuseum.nl

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DMDB-adv-DvhDR-210x270_EN.indd 1 24-09-19 08:53 dude AUTUMN 2019 dude is a publication of the bno

and start claiming collective your royalties today! [email protected] 5891840 020 Our administrative fee is 9% the of amounts and you out pay our to we collective rights membership is free! know to visit more? Want www.pictoright.nl/english

These collective royalties are distributed by Pictoright amongst those who are entitled them. All to have you do is registerto in order qualify to for that money. And worry: don’t collect will NOT we these royalties from client. your Are pictures, your illustrations or works art of printed in books, magazines or newspapers? Or broadcasted on television? Did know that you money is collected for lending and copying images and for distributing images cable? via