Design Academy Eindhoven Jaar Verslag 2014
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Design Academy Eindhoven jaar verslag 2014 1 2 Design Academy Eindhoven jaar verslag 2014 3 Event: Self Unself tentoonstelling, New York Jaar: 2014, Mei Collective 2 Design Fair May 8 – 11, 2014, New York City After the Graduation Show and the Van Abbe Museum, Self Unself went to Shenzhen (China) and Milan, Salone del Mobile. In New York, Self Unself will be presented by making pairs. Self Unself as a theme is a pair of concepts itself, and it creates room for thought and discussion. In the exhibition space in New York, 2 projects that relate to one another are placed next to each other. They are not necessarily opposing or two sides of the medal, but they’re connecting in meaning, material or medium. They give the visitor an idea of how designers have different approaches to the same topic. Sometimes the pairs are clear examples of the ‘self’ and ‘unself’ approach. Inge Kuipers has designed a tea pot that introduces a new pouring ritual that requires use of both hands. It makes pouring Lisa Klappe Rijerman Femke easier, especially for people with arthritis. In this sense, Inge has Ma’ayan Pesach Inge Kuipers created a design for a group that is not often heard and even less Food for Thought – The smell or taste of food Tea Set Touch – Sitting down with a friend catered for. She creates for the other, the unself. Ma’ayan Pesach’s can bring back old memories. Ma’ayan Pesach and a nice cup of tea: time to unwind. But for work, on the other hand, is close to the personality and identity researched the link between nostalgia and food people with arthritis, pouring tea is not always by interviewing people of different ages, back- so straightforward. The tools available to help of this designer. An example would be her work Food for Thought. grounds and beliefs. The most inspiring stories them often have a clinical look, stressing the Ma’ayan has fused common household items, wigs and cloth to form she heard are in this book. ‘Food for Thought’ user’s disability and reducing their enjoyment. shows a culinary collection of nostalgic personal ‘Touch’ was developed not to look like a tool a series of highly idiosyncratic totems. They hint at a functional experiences, fantasies, rituals and recipes. Fol- while offering all the advantages of one. An past but have transcended it through Ma’ayan’s specific handwriting. lowing the leads from one of the stories, Ma’ayan innovative design that caters to all users and In other cases, the two projects placed alongside each other share started to examine the modern meat industry. makes lifting, holding and pouring considerably Based on her findings, she designed a dinner easier. Because the entire set is made without the same design method, but come from a different starting point set that makes us wonder about the origins handles every action becomes two-handed, and naturally present a different outcome. François Duquesnoy of the meat we eat: waste items such as bones, which helps distribute the weight, avoid spilling and duo Dienke Dekker and Daniel Costa both assembled materials hair, and skin are intuitively integrated into and relieve any discomfort. archetypal tableware. in their work. François collects materials to combine them into a www.ingekuipers.nl furniture set. He reacts to his personal situation where he moves maayanpesach.tumblr.com [email protected] [email protected] houses a lot. Daniel and Dienke have assembled porcelain and clay in once piece and have researched how these materials behave in the oven and how they turn out in one ceramic object. Femke Rijerman Femke Lisa Klappe Lisa Klappe Dienke Dekker & Daniel Costa François Duquesnoy Gerard Jasperse Studio FormaFantasma The Symbiosis of stoneware & Porcelain – In Collectables – François Duquesnoy’s ongoing On Sea & Land – The Province of Zeeland Moulding Tradition – In the 17th century Arab- a search for complementary working methods, project explores an inexpensive, sustain able boasts a rich history in terms of trade and African people conquered Sicily and inspired Dienke Dekker and Daniel Costa researched way of moving house. Sur veying his new agriculture. This wealth has traditionally been the ‘Teste di Moro’ vases, which are considered stoneware and porcelain, two materials which environment one time after moving, he noticed reflected in the local population’s clothes typical representations of the Italian cultural also complement each other. The project inves- the amount of discarded material everywhere. and jewellery. While it is interesting to research heritage. While craftsmen still create vases with tigates the behavioural and aesthetic qualities He decided to set himself a limit of one the aesthetics of these objects, such wealth African features for the tourist market, people of two distinct types of ceramics. Mixing, layer- week to gather waste materials and use them also raises questions about its origins. The fact with similar features are entering the South ing and combining them they gained a unique to create new furniture. His one-week limit is that wealth comes at a price, as historical of Italy, not as conquerors, but as clandestine insight into both materials. This is reflected in demanded a hands-on approach and a focus research has shown. On Sea & Land provides immigrants. A majority of the Italians consider the objects, in which the two complement, rein- on creating rather than designing. So far he a missing link between historians and the these fugitives a danger for the Italian culture. force or change each other. The result is a has made three series in three cities, painting public. It visualizes the more difficult aspects Andrea Trimarchi and Simone Farresin created three-dimensional ceramic portfolio; a playful each interior in one colour to focus on the result of Zeeland’s history using traditional local a project in which this ironic twist of history system that explores the symbiotic relationship and the potential of the materials rather than crafts, while providing added depth to these is being questioned. The series of vessels and between the two materials and presents pos- the materials themselves. and giving them a new lease of life. vases, which they created with both old and sible uses for products and spaces. new techniques, refer to the changing nature www.francoisduquesnoy.nl www.gerardjasperse.nl of cultural heritage and the need to welcome www.dienkedekker.com [email protected] [email protected] this change. [email protected] www.formafantasma.com [email protected] Self Unself – Design Academy Eindhoven Collective 2 Design Fair 2014, New York City Inhoudsopgave Voorwoord Hoofdstuk 1 INLEIDING 8 Hoofdstuk 7 KWALITEITSZORG 7.1 Visie op kwaliteitszorg 43 Hoofdstuk 2 PROFIEL DESIGN ACADEMY EINDHOVEN 7.2 Prestatieafspraken en Sectorplanafspraken 43 2.1 Redefining Design 13 Kunstonderwijs 2.2 Redefining Design Education 13 7.3 Gesprekscyclus 44 2.3 Redefining Design Academy Eindhoven 14 7.4 Opzet en organisatie van de in 2014 gehouden audits 45 7.5 Nationale Studenten Enquête (NSE) en evaluatie- 46 Hoofdstuk 3 ONDERWIJS gesprekken met studenten A Bachelors 17 7.6 Examencommissie 46 3.1 Waarden en studiesucces 17 7.7 Deskundigheidsbevordering 46 3.2 Toelating 18 3.3 Propedeuse 18 Hoofdstuk 8 ORGANISATIE 3.4 Onderwijsontwikkeling 19 8.1 Inleiding 48 3.5 Nieuwe Ontwerpafdelingen Food/Non Food 21 8.2 Bestuur en toezicht 48 en Public/Private 8.3 Vertrouwenscommissie 48 8.4 Medezeggenschap 48 B Masters 8.5 HR beleid 49 3.6 Algemeen 22 8.6 Faciliteiten 51 3.8 Nieuwe specialisatie Design Curating and Writing 22 8.7 Huisvesting 51 3.7 Ontwikkelplannen 22 3.9 Projecten 22 Hoofdstuk 9 FINANCIËN 53 Hoofdstuk 4 ONDERZOEK 4.1 Externe audit en Validatie 25 BIJLAGEN 4.2 Onderzoeksprofiel Design Academy Eindhoven 25 Bijlage I Stand van zaken Prestatieafspraken met OCW 4.3 Lectoraten 26 Bijlage II Projecten, publicaties en lezingen lectoraten 4.4 Externe evaluatie inhoud en opzet van lectoraten 29 Design Academy Eindhoven en onderzoek Bijlage III Samenstelling en activiteiten van de OR in 2014 Bijlage IV Samenstelling en activiteiten van de Student Hoofdstuk 5 WE COLLABORATE Council in 2014 (inter)actie met de beroepspraktijk en het bedrijfsleven Bijlage V Publicaties 5.1 Intensivering samenwerkingen 33 Bijlage VI Studentenaantallen Ba en Ma 5.2 Vrienden en Fans 33 5.3 Andere samenwerkingsvormen 36 5.4 Funders 36 5.5 Creative Lab Brainport 37 Hoofdstuk 6 GLOBAL LOCAL A Global 39 6.1 Internationaal profiel 39 6.2 Internationale samenwerking 39 6.3 Internationale uitwisseling van studenten 39 6.4 Inter(nationale) presentaties en tentoonstellingen 40 B Local 40 6.5 Project Co-Creatief, Design Leren in het 40 Voortgezet Onderwijs 5 VeronicadeSalvo – A place for Trust Master: Social Design Afstudeer jaar: 2014 6 Voorwoord 2014 was opnieuw een inspirerend jaar voor de Design Academy, met de nodige veranderingen. De discussie over de herpositionering van Design Academy Eindhoven, ingezet in 2013, werd in 2014 nog niet voltooid. Discussie met alle stakeholders vraagt veel tijd. Ook de doorvertaling van de visie en missie naar onderwijsinhoud en onderwijsstructuur vraagt aandacht en inzet van velen. In 2015 zal dit proces worden afgerond. In 2014 werden de aandelen in De Witte Dame Monumenten BV verkocht. Hierdoor is Design Academy Eindhoven niet langer mede-eigenaar van gebouw, maar blijft wel huurder van een deel van het gebouw. De verkoop leidde niet alleen tot een verbetering van de financiële huishouding, maar zorgt er ook voor dat de Academy zich weer volledig op haar kerntaak kan concentreren: het geven van het best mogelijke design-onderwijs. Het behoeft geen betoog dat deze transactie veel tijd en aandacht heeft gevraagd van zowel het College van Bestuur als de Raad van Toezicht.