dutch design fashion architecture 2011 Year Report Jaarbericht
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Contents 4 Foreword 6 Activity Report 2011
Towards the Final Push
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Inhoud 4 Voorwoord 14 Activiteitenverslag 2011
Aanzet tot het slotakkoord
22 Programme 2011
22 Programma 2011
48 Dutch Profiles 54 Reflections 54 Housing With a Mission
48 Dutch Profiles 54 Reflecties 54 Housing With a Mission
56 Dutch Denim Diner
56 Dutch Denim Diner
58 Delhi 2050
58 Delhi 2050
60 Smart Strategies
60 Smart Strategies
62 The Incubator Has Landed
62 The Incubator Has Landed
64 A Collaborative Idiom
64 A Collaborative Idiom
66 Laboratory of the World
66 Laboratory of the World
68 Designing in Excellent Coalitions
68 Designing in Excellent Coalitions
70 Professional Self-analysis
70 Professional Self-analysis
72 Connecting Cultures
72 Connecting Cultures
74 Dutch Design College
74 Dutch Design College
76 Thank You 78 Financial Report 2011 80 Credits
76 Thank You 78 Jaarcijfers 2011 80 Credits
Germany China Turkey India The Netherlands
Ole Bouman
James Veenhoff Ton Venhoeven
Machtelt Schelling Jeroen Junte
Janak Mistry
Robert Jan Marringa
Henk Ovink
Helma Weijnand-Schut and Jaap van der Grinten Dipannita Ghosh Biswas Michel de Boer
Duitsland China Turkije India Nederland
Ole Bouman
James Veenhoff Ton Venhoeven
Machtelt Schelling Jeroen Junte
Janak Mistry
Robert Jan Marringa Henk Ovink
Helma Weijnand-Schut en Jaap van der Grinten Dipannita Ghosh Biswas Michel de Boer
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Foreword It’s something that everyone who’s ever taken the bullet train between Pudong International Airport and Shanghai will recognise. The train gets off to a gentle start, just like a normal modern train. Then it starts to pick up speed, reaching a top speed of over 300kph at around two-thirds of the trajectory. And then the train driver throttles down, letting the train roll its course until it reaches its destination, as calmly as its departure. This is an apt metaphor for the trajectory that Dutch Design Fashion Architecture is on. After an initial year of searching and feeling its way forward, two years followed in which initiatives were launched and developed extremely quickly. That took a lot of energy, but all that effort has proved very fruitful. Networks have been established, joint projects carried out, and the sought-after profile fleshed out. Dutch design, fashion and architecture are on the map, in all the focus countries. This is not only the result of the efforts by DutchDFA, but also of the autonomous development of globalisation and the increasing interdependence. In this playing field, DutchDFA is a targeted intervention of limited duration. It is an accelerator of developments and an instigator of collaboration in and with a field that the Scheepbouwer committee described as fragmented. In my view, DutchDFA is first and foremost a collection of learning experiences. The programme forges new routines and creates new combinations, and its unique set-up will continue to be a source of inspiration for the future. DutchDFA is not a fund. In a field so thoroughly familiar with dealing with funds, this took some time to get used to. DutchDFA is a venture undertaken by the field itself, requiring all parties to work together and to jointly bear responsibility. It is a construction with extremely little overhead and an equally extreme purposefulness (if I may disregard the start-up phase of figuring out how to play this new game). We have succeeded over time in establishing new routines for collaboration. This has boosted trust and confidence and has created the cohesion so lacking before. Furthermore, methods have been developed and procedures found and tested. By selecting different focus countries, sensitivity was fostered for the role of varying contexts and
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phases. And last but not least, we engaged in marketing and created a climate that made it possible to build an infrastructure. Without contacts, no contracts! The yield of DutchDFA will emerge over the course of many years to come. Not all the seeds sown will germinate. But much of what was cultivated will bear fruit, which is already becoming apparent in various ways. It will require follow-up efforts to further stimulate the results, and that is a task for the field at large, as well as for the government. This not only calls for a critical attitude, but also and particularly, an appreciative approach. As chairman of the steering group, I not only observe a satisfying collaboration between the partners, but I also see a dedicated programme office. Much has been achieved under the leadership of Christine de Baan. Together we now face a new challenge: in the concluding phase it’s no longer about setting up new initiatives, but about the consolidation and transfer of activities. Fortunately, that’s not the end of it. The recent addition of Turkey as focus country provides an opportunity to test all we learnt before and elsewhere. It means that even in this concluding phase, there’s still scope for new discoveries. Finally, we now see many policy documents quoting the approach of Dutch Design Fashion Architecture. In these, DutchDFA is sometimes held up as an inspiring example, with calls for it to continue. But DutchDFA is a temporary programme, devised as a deliberate intervention. An intervention in which the government and the field together take bold steps and shatter conventions. It is this boldness that calls for a continuation. Harry Starren Chair Steering Group DutchDFA
Voorwoord Wie wel eens in de bullet trein tussen Pudong International Airport en Shanghai heeft gezeten, herkent het. De trein vertrekt rustig, als een gewone sneltrein. Dan maakt ie vaart om op tweederde van het traject een topsnelheid van boven de 300 kilometer te bereiken. Zodra dat gebeurt laat de machinist het gas los en mindert de trein vaart om op de bestemming aan te komen zoals zij is vertrokken. Het is een metafoor voor het traject dat Dutch Design Fashion Architecture aflegt. Na een eerste jaar van zoeken en tasten volgden er twee jaren waarin op hoge snelheid initiatieven zijn ontplooid. Dat heeft veel energie gekost. Maar de inspanning heeft vruchten afgeworpen. Netwerken zijn opgezet, gezamenlijke projecten zijn uitgevoerd en de profilering die gezocht werd is gevonden. Design, fashion en architecture uit Nederland staan in de focuslanden op de kaart. Dat is niet alleen de vrucht van de inspanningen van DutchDFA maar ook de vrucht van een autonome ontwikkeling van globalisering en groeiende interdependentie. DutchDFA is hierin een gerichte interventie met een beperkte duur. Een versneller van ontwikkelingen en een uitlokking tot samenwerking in en met een veld dat door de commissie Scheepbouwer als gefragmenteerd werd betiteld. In mijn ogen is DutchDFA eerst en vooral een verzameling leerervaringen. Het programma bouwt nieuwe routines op en vindt nieuwe combinaties. Het kent een unieke opzet en is daarin ook voor de toekomst inspirerend. DutchDFA is geen fonds. Dat was wennen voor een veld dat de omgang met fondsen al te goed kende. Het is een onderneming van het veld zelf, dat langs die weg genoopt is samen te werken en verantwoordelijkheid te dragen. Een constructie met een uitzonderlijk lage overhead en een even uitzonderlijke doelgerichtheid (als ik daarbij even voorbij mag gaan aan de eerste periode van zoeken naar de regels van het nieuwe spel). Er zijn in de afgelopen tijd samenwerkingsroutines opgebouwd. Die hebben het vertrouwen versterkt en een tot dan toe ontbrekende samenhang gecreëerd. Bovendien zijn methodes ontwikkeld en aanpakken beproefd. Door verschillende focuslanden te kiezen is er gevoeligheid ontwikkeld voor
de invloed van verschillende contexten en fases. Last but not least is er marketing gedaan en een klimaat geschapen waarin het mogelijk was om infrastructuur ‘aan te leggen’. Zonder contacten geen contracten. De opbrengst van DutchDFA is in een lange reeks van jaren te verwachten. Niet alles wat gezaaid is komt op. Maar veel van wat is opgezet zal vrucht dragen en dat is hier en daar al goed zichtbaar geworden. Het verder stimuleren van de effecten vergt follow-up. Dat is een taak van het veld. En van de overheid. Dat vergt niet alleen een kritische houding, maar vooral een waarderende blik. Als voorzitter van de regiegroep constateer ik niet alleen bevredigende samenwerking tussen de partners, maar ik zie ook een toegewijd werkapparaat. Onder leiding van Christine de Baan is veel bereikt. Gezamenlijk staan we voor een nieuwe uitdaging: het gaat in de afrondingsfase niet langer om de opzet van nieuwe initiatieven, maar om het bestendigen en overdragen van activiteiten. Gelukkig is dat niet alles. De recente toevoeging van Turkije als focusland biedt kansen om te toetsen wat elders is geleerd. En het geeft ook in deze fase nog ruimte aan het nieuwe, aan de ontdekking. Ten slotte. In veel beleidsstukken wordt gewag gemaakt van de aanpak van Dutch Design Fashion Architecture. DutchDFA wordt daarin soms als voorbeeld gesteld. Er wordt dan gepleit voor voortzetting. DutchDFA is een tijdelijk programma, een gerichte interventie. Een interventie waarin overheid en veld durf tonen en conventies doorbreken. Het zou mooi zijn als aan die durf geen einde kwam. Harry Starren voorzitter Regiegroep DutchDFA
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DutchDFA Activity Report 2011
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Towards the Final Push
Opportunities in Times of Crisis
Nurturing collaborations
2011 was a pivotal year for DutchDFA: just past the halfway mark of the four-year programme, and the overture to the final quarter. It marked a moment for evaluation: what had we learnt, how had we succeeded, what could be improved? But it was also the time to pluck the first fruits of the expertise, relationships and visibility that have been amassed, of new infrastructure and partnerships, both within the Netherlands and beyond. With the solid foundations of positioning, networking and cooperating established in the programme’s first two years, the emphasis could shift towards business ventures and reaping the returns. But this shift was not only a result of the programme’s intrinsic dynamics. There were other, external reasons to take a more enterprising approach. In Europe, the international economic crisis that had made its consequences felt in the Netherlands simultaneously with the launch of the programme, reached a new low. Creative entrepreneurs are increasingly finding new opportunities in distant emerging economies, but lack the power to tap into them. In this climate, it is all the more important to join forces in order to bolster their international position.
A distinctive feature of the DutchDFA programme is the combination of disciplines – fashion, design and architecture – and policy domains – culture, economy and diplomacy. The first combination has proven to be particularly effective in strengthening the international reputation of Dutch design. But recent experience has shown that the greatest challenge lies in the second combination, policy domains. It is almost certainly here that the greatest profit is to be gained in the fields of innovation and international ventures as well as in addressing social issues that are locally defined but international in character. As of 2013, both the new Fund and the new Institute for the creative industries will interconnect several design disciplines. The same applies for the Dutch Creative Industries Council, which represents the creative business community. But the actual ‘continuation of DutchDFA’ as a programme and modus operandi calls for a coordinated policy from the Council, Fund and Institute, as well as a ring-fenced, joint budget for internationalisation with combined cultural, social and economic objectives. It should be funded by at least the three ‘founding’ ministries of Education, Culture and Science (OCW), Economic Affairs, Agriculture and Innovation (ELI) and Foreign Affairs (BZ), which have been working in concert within the DutchDFA framework in recent years. They have done this both through close consultation in the Netherlands and by fostering cooperation between the trade, science & technology and cultural sections at Dutch diplomatic posts abroad. The continuation of such collaboration is essential for helping DutchDFA’s achievements to take root, as well as for the success of subsequent internationalisation programmes.
In 2011 a sharp reformulation of Dutch cultural policy brought about new combinations between organisations and a review of government budgets that support the cultural sector. The Netherlands Architecture Institute, Premsela and the Virtueel Platform began working towards a merger into an Institute for the Creative Industries as of 1 January 2013. At the end of 2011 the Mondrian Foundation transferred its budgets for design, fashion and architecture to the Netherlands Architecture Fund, which in 2013 will become a fund for the creative industries. In the same year, the Federation for Creative Industries became an active representative of professional and sectoral organisations. In March 2011, Maxime Verhagen, Minister for Economic Affairs, Agriculture and Innovation, designated the creative industries as one of the Dutch economy’s nine ‘top sectors’ and appointed a team of consultants for each sector. In June this ‘Top Team for the Creative Industries’ published a preliminary advisory report, arguing for, among other things, continued ‘support for the internationalisation activities of the creative industries’; combining the budgets of the ministries of Education, Culture and Science (OCW), Economic Affairs, Agriculture and Innovation (ELI) and Foreign Affairs (BZ) for this sector; and establishing a Creative Industries Council. As this annual report is being written, the economic outlook for the Netherlands has deteriorated further. An unluckier star for ‘reaping rewards’ in the DutchDFA programme’s final year would be hard to imagine. Nevertheless, there is reason for optimism. Within three years, DutchDFA has yielded visible and appreciable results that can permanently contribute to reinforcing the international position of Dutch design, despite – or even because of – the crisis.
Results 1: Midterm Review In early 2011, the ministries of OCW, ELI and BZ commissioned the Berenschot consultancy firm to conduct a midterm review of the DutchDFA programme. The most important findings were: Positioning: the programme’s multidisciplinary approach is starting to bear fruit. The disciplines of design, fashion, and architecture (DFA) are being distinctively positioned in the focus countries by means of a linking narrative. Thanks to the subject-specific expertise and concentration of forces of DutchDFA disciplines, the international promotion of the Dutch design sector is of a higher quality and is being achieved more expertly than in the past. Demand-driven: the programme is demand-driven and acts upon urgent issues in the selected focus countries. DutchDFA is thereby contributing to long-term cooperation among stakeholders from the DFA disciplines and the countries in question. Cooperation: sectoral institutions, trade associations and government ministries are working together on the programme’s implementation. The projects satisfy the cross-sectoral objectives (idea-network-enterprise) and the internal objective of cooperation. The cultural, economic and diplomatic agendas are converging.
Regimentation: the programme compels parties within the cultural sector to think about cooperation, both abroad and within the Netherlands. This ensures a concentration of strength, even for the ministries. In conclusion: DutchDFA’s drive and motivational role have swiftly resulted in robust network development and an international profile that this fragmented realm would have been unable to achieve otherwise. In 2009 and 2010 Dutch design was put firmly on the map, in a manner that reflected quality. The following aspects require attention during the second half of the programme: • Transfer of knowledge and networks: the DutchDFA programme’s results must be firmly and sustainably embedded after 2012. To achieve this, the transfer of networks and expertise among all parties concerned – programme bureau, partners and designers – is necessary. • Monitoring: there is room for improvement in the measurement of effects and results, both in the evaluation instruments and in the reporting. This demands extra (administrative) attention from the programme bureau and from programme participants who are receiving support from the DutchDFA budget. • Enterprise: during the second half of the programme the emphasis must shift from positioning and establishing networks in the focus countries to enterprise-driven activities. • Key themes: the basic principle for the programme development is that social themes are the bridge between culture and enterprise, between local demand and Dutch supply in the long term. This thematic approach could be stepped up. Results 2: Programme as Laboratory and Source of Knowledge In 2011 the DutchDFA Steering Group and partner organisations reflected on the programme, its achievements, and their future ambitions. These evaluations present a picture of the programme as an experimental garden, a pivotal link, and a booster for effective international entrepreneurship in the design sectors. Laboratory The DutchDFA programme functions as a laboratory for exemplary projects that would be difficult to establish otherwise, if at all. It enables the development of activities that match the design sector’s character and its specific mix of cultural ambitions, social engagement and economic relevance over a longer period and from a single budget. New cross-sectoral models and instruments are being developed, such as the Dutch Design Workspaces and Matchmaking projects. The Workspaces underpin the individual entrepreneurship of designers; at the same time, they serve as platforms for dialogue among the design disciplines, and for contact with the outside world (governments, businesses, clients, press and public). The Matchmaking projects combine discipline-specific ambitions, knowledge sharing and economic returns around carefully chosen social themes.
The programme budget and its attendant criteria bring together partners from different backgrounds within the sector and encourage teamwork. A central coordinating body supports the concentration of forces, monitors the budgetary objectives, and enhances the exchange of information between partners. These factors drive a programmatic approach that encourages parties to undertake joint activities, such as the collaboration between MODINT and Premsela for a fashion project in Berlin or between Premsela, Brainport and the NAI for the ‘Connecting Concepts’ exhibition. Such co-productions are characteristic of the programme’s laboratory function. Cooperation Within the Sector The programme strengthens the cohesion among the Dutch parties involved – the professional and trade organisations, the sectoral institutions, the three ministries and six Dutch ‘creative cities’. Together, these cities coordinate the scheduling of major events that involve the creative industries and strive to present a united front abroad. Four of the five founding organisations of the Federation of Dutch Creative Industries are DutchDFA partners: BNA, BNO, BNI and MODINT. Thanks in part to their contacts within DutchDFA, the way for collaboration had already been paved and parties connected swiftly. In their preparations for the Institute for the Creative Industries, Premsela and the NAI are building on the cooperation established within the programme. As of 2012, the Netherlands Architecture Fund – the DutchDFA programme’s formal and physical ‘home base’ – will become a fund for architecture, design and e-culture. These new organisations validate the collaborations that have taken shape within the DutchDFA programme, and constitute a strong foundation for pursuing the DutchDFA approach after 2012. All parties recognise that crosssectoral and interdisciplinary cooperation in the creative industries is possible and fruitful. Let us not forget, with all present governmental interest in the combined cultural and economic potential of the creative industries, that the programme was originally initiated by the design sector itself. Boosting Individual Entrepreneurship Success in international ventures primarily depends on the personal drive, vision, preparation and stamina of individual designers and firms. Nevertheless, conversations with designers from the three sectors prove that international ventures are more enjoyable and effective when experiences are shared. Support – both in ‘high-end’ profiling and with practical matters – can enhance one’s entrepreneurship. The ‘highend’ level matches the objectives of the sectoral institutions; it is about setting the agenda, positioning, reputation-building, and encouraging dialogue and knowledge sharing. At the level of everyday entrepreneurship, the focus is on practical support and information services, cooperation and – once again – knowledge sharing, but in this case, among colleagues. This is the sphere of activity of professional and trade organisations, and where the Design Desks and Workspaces come into play. The individual entrepreneurship
DutchDFA Activity Report 2011
Towards the Final Push
of designers operates somewhere between the agendasetting and supportive levels. Projects and programmes that conjoin the two levels are essential to reinforcing such enterprises. These are often projects that intersect with other ‘top sectors’, such as water management, life sciences, agrifood or high-tech. ‘High-end’, Positioning, Agenda-setting, Thematic Travelling exhibitions and design-led research are important instruments for linking culture and commerce, various design disciplines, and different sectors. Both types of activity call for preparation and implementation over several years, so a programmatic approach proves useful. This approach involves several partners, and has necessitated long-term funding by DutchDFA to achieve the combined culturaleconomic-social objectives. In 2011 the ‘Connecting Concepts’ travelling exhibition, a co-production by Premsela, Brainport and the NAI, toured to various venues in India and China. It concentrates on the mentality, thinking and expertise behind selected Dutch designs, rather than on the objects themselves. The narrative threads in ‘Connecting Concepts’ interlink basic principles in fashion with concepts in water management and, for example, high-tech materials with traditional craft methods. This set-up makes it possible to forge links with other sectors in external communications and fringe programming. ‘Connecting Concepts’ links design cultures, too: in each country the curators invite a few local designers to contribute work. In 2012 the exhibition will travel to Eindhoven, Berlin and Istanbul, respectively. Design-led research has proven an effective instrument for placing topics on the agenda and bringing parties together, thus far mainly in the domain of architecture. The NAI’s Matchmaking project, active in China and India, is a fine example. Focusing on a theme that relates to a pressing local issue, local designers and their Dutch counterparts develop joint studies and designs. Such projects take much time and patience, because of the requisite preparatory research into suitable themes and the need for a commercial enterprise willing to commit to its actual realisation. In China that process went relatively smoothly in 2011. The Delhi 2050 project in India is another example of a designled research initiative that places topics on the agenda and forges links. Providing Support: Workspaces and Desks The Dutch Design Workspaces and Design Desks were created to support entrepreneurship. The pioneering example was the Workspace in Shanghai that opened in 2010, followed by the Design Desk in Guangzhou/Hong Kong. During 2011, preparations were made for the Workspace in Mumbai (set to open in spring 2012), and a study was conducted into the feasibility of a branch in Istanbul. The Design Desk Europe in Maastricht, which will initially focus on the German market, is set to open in spring 2012.
The Workspaces offer designers from various disciplines shared office and studio spaces in foreign countries. A team of staff members – the design desk – supports and advises designers (whether or not they make use of the workspace) when venturing into the local market. The Workspaces contribute to the positioning of Dutch design with events, lectures and small-scale presentations. Based on a pump-priming investment model that decreases annually, they must be financially self-sufficient after 2012. Establishing the Desks has involved entering into partnerships with consulates and/ or local governments. Both facilities maintain close contacts with the local networks of diplomatic posts and increasingly exchange experiences and contacts among themselves. Conversations with designers confirm that the Workspaces and Design Desks meet an obvious need for ‘ports of call’ abroad. Via the Design Desk in Southern China, several designers gained swift access to useful contacts; others used the Workspace to gain access to trade missions and fairs, and to hitch a ride on the spot’s growing reputation. The Workspaces and Desks offer tailor-made support for the individual entrepreneurship of designers, and these users are prepared to pay for these services. Professional and trade organisations, as well as the diplomatic posts, regard them as important products of the programme. Without the DutchDFA programme these facilities would not have been established, given that they do not fit into existing pigeon-holes and the initial investments could not have been sourced from any other scheme. The four-year programme is itself an ‘incubator’ for testing and fine-tuning the model for the Workspaces and Desks. Their initiators have an entrepreneurial spirit, and nearly all are willing to take a personal business risk. The DutchDFA programme bureau will continue to advise (accountancy, financing models), support (communications, networks, expertise) and coordinate from the Netherlands, at least until the end of 2012. Hereafter these functions must be fulfilled elsewhere. Providing Support: Knowledge Sharing The international entrepreneurship of designers and businesses is stimulated and underpinned by sharing knowledge. The Creative Amsterdam conference in 2010 – co-organised by the BNO, Pakhuis de Zwijger and DutchDFA – offered a seminal platform for interchange. Designers talked about their experiences in China and Germany, shedding light on business methodologies. The Creative Dutch workshop series followed in 2011. Geared toward the advancement of professionalism in international ventures, it was organised by the BNO with financial backing from DutchDFA. These workshops focused on specific cities and regions, with the participants forming a professional ‘knowledge circle’. The BNA has introduced a similar initiative for the architecture sector with its two-year ‘BNA International’ programme, launched in November 2011. Several prominent, internationally active Dutch firms are contributing to this platform.
Objectives and Phasing The ‘Four-Year Plan 2009–2012’ sets the DutchDFA programme’s objectives: After four years, the international position of Dutch design, fashion and architecture will have demonstrably improved, especially in the focus countries. • Idea: the specific qualities of Dutch design are known, and are recognised as valuable for local issues and attractive to local markets; • Network: permanent networks have been developed between the Netherlands and each of the focus countries in professional, educational, journalistic and governmental realms; • Enterprise: barriers to entering local markets have been overcome and offices and companies have established enduring contacts, won commissions, and/or expanded their market territory; • Cooperation: new collaborative ventures have been formed by Dutch organisations in the design sector, between government departments, and between the public and private sectors, while communication among them has improved considerably. The annual plan for 2011 described DutchDFA as a ‘multispeed programme’, with the degree of programme development varying per country. It distinguishes three phases: 1) amassing knowledge, building networks, increasing visibility, developing the programme; 2) implementing the programme, as well as utilising and reinforcing the network and public profile; 3) consolidating the outcomes, transferring the instruments (or rendering them self-sufficient). The goal is to reach the final phase in each country. This multi-stage programme development runs broadly in parallel with the idea, network and enterprise objectives, which in practice often occur consecutively: strengthening the international position proceeds from positioning through visibility and image-building (reputation), via network-building (relations) to enduring effects for enterprise (results). At the start of 2012 the programme in China is in phase 3, India is between phases 2 and 3, and Turkey (designated as the fourth focus country in 2011) must swiftly progress through the phases. Given that Germany was hardly terra incognita at the outset, the phasing does not apply. Activities in the Netherlands – effectively the ‘fifth focus country’ since 2011 – belong to the third phase of transfer and consolidation, as the basis for the programme’s continuation by the field and the partners. India The 2011 annual plan for India has been almost entirely achieved. India nevertheless remains unpredictable in its responses to activities. The NAI Matchmaking project proceeded less smoothly in India than in China, in part because of the initial difficulties in finding a business partner who
was prepared to commit. The ‘Connecting Concepts’ exhibition started out in Ahmedabad, the cradle of Indian design education, continued to Mumbai, and ended in Bangalore. The tour generated positive media attention and new contacts were established (e.g. between educational institutions from the two countries), but the effect could hardly be compared with the reception of ‘Connecting Concepts’ in China later in the year. Enterprise Time and patience are indispensable in India, which is why the BNO has, for example, maintained close ties with the organiser of the Kyoorius Designyatra conference and its network for the past five years. Giving a lecture at an Indian design conference can suddenly lead to a major commission, as Paul Mijksenaar found out: he is now designing the signage for Delhi Airport. But most new opportunities result from good contacts and a visible presence. In India, unlike in China, the networks between the different urban nodes are not very strong. Therefore reputations have to be built from scratch in every city. Relatively speaking, Mumbai is the most ‘connected’ city and is most open to international influences, which is one reason Workspace India was established there. DutchDFA prepared the branch in 2011, and received the first applications by Indian and Dutch designers. With only a handful of Dutch designers currently working in India, the Mumbai Workspace expects less interest in long-term establishment than there is in China. This Workspace offers a temporary ‘port of call’ for designers who want to explore business opportunities in India, have won a one-off commission or are seeking manufacturers. The Design Desk has an Indian director with many years of experience working both in the Netherlands and as a commercial intermediary between the Netherlands and India. She is a key contact for network building, matchmaking and advice. In addition, the Workspace functions as a high-profile ‘outpost’ for Dutch design (e.g. because of its Dutch-designed interior). It is first and foremost a place for dialogue, an important precondition for gaining trust and building relations in India. Key Themes The Delhi 2050 project got underway in mid-2011. Supported by DutchDFA, Delhi 2050 facilitated a series of multidisciplinary workshops with Dutch and Indian architects, urban planners and product designers. A successful media offensive put the necessity of a long-term vision for Delhi’s development on the local agenda. The follow-up in 2011 and 2012 involves many social partners, both in India and the Netherlands: besides designers from both countries, government bodies, educational institutions and major consultants and engineering firms are taking part. Delhi 2050 is not associated with a commissioner, but through its alliance with top sectors, such as water management and logistics, the project shows great promise. In the Netherlands, the Ministry of Infrastructure and the Environment has embraced Delhi 2050 and is substantially supplementing DutchDFA’s financial support. The results of the following phase of ‘design-led research’ will be
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Towards the Final Push
presented at the 5th International Architecture Biennale Rotterdam from April 2012, and will travel to Delhi in the autumn. Both the NAI Matchmaking project and Delhi 2050 fit with DutchDFA’s theme for India, ‘Design for Basic Need’, defined in 2011. The explosive growth of India’s economy goes hand in hand with major environmental problems and poor living conditions for the vast majority of the population. With their knowledge, analytical and conceptual capacity, sensitivity to context, and pragmatism, Dutch designers are wellequipped to help improve the quality of daily life in India, whether that concerns water, housing, infrastructure, health, or new uses for old traditions. It could be worthwhile to involve Dutch businesses with a ‘Base of the Pyramid’ policy in India, in model projects with Dutch and Indian designers or design colleges, especially projects that involve finding solutions for such concrete, existential issues. These projects can tap into existing contacts between leading design courses in India (Srishti, NID and MIT Pune) and the Netherlands (Design Academy Eindhoven, TU Delft and the Sandberg Institute). Another potential partner project is INDEED (INdian DEsign EDucation): in late 2011, Dutch and Indian design professionals collaborated on the proposal for INDEED at the request of India’s National Innovation Council. Developed under the guidance of TU Delft, the project explores ways to strengthen Indian design training. In late 2011 a mission from the fashion sector – Premsela, HTNK, and Fronteer Strategy on behalf of MODINT – investigated collaborative possibilities with respect to market positioning and business ventures in India’s fashion domain. For 2012 the team is preparing a roll-out that combines Dutch fashion presentations with a collaborative fashion education project, and a project that connects crafts with contemporary techniques and concepts in fashion and design. Design for Basic Need Themes: Sustainable urban development, long-term planning, affordable housing, better infrastructure (water, transport); connect traditional crafts with modern-day concepts, technologies and markets; design management/thinking; better products for daily use (health, water, transport, etc.); a new ‘glocal’ identity in fashion. Turkey The programme development for Turkey got off to a slow start in 2011. As DutchDFA’s launch in 2009 has shown, a new programme needs a preliminary build-up. The field needs to become acquainted with the new focus country, and the partners and programme bureau have to readjust their visions. Even if 2011 was primarily intended as a year of preparation, in the autumn the Dutch Design Awards presentation was exhibited at Istanbul Design Week and the Dutch Profiles videos were screened at the Istanbul Book Fair. DutchDFA partners travelled to Istanbul for consultation with their counterparts and visitors from Istanbul came to the
Netherlands; there were deliberations with the Dutch Centre for International Cultural Activities (SICA) and with several intended partners about the celebration of 400 years of diplomatic ties between Turkey and the Netherlands; and an expert undertook a feasibility study into a Workspace or Design Desk for Istanbul. The programme for 2012 was prepared and partially funded. In Turkey there is a conjunction of DutchDFA programme lines that have proven their value in other contexts: travelling exhibitions (‘Connecting Concepts’), design-led research and a Workspace/Desk. In the programme for 2012 these activities are mutually reinforcing and synergistic with the programme for the celebration of 400 years of TurkishDutch relations: NLTR400. Both programmes focus on the long-term effects of their activities after 2012, while combining economic, diplomatic and cultural agendas. The first year’s experiences in Turkey have taught us that cooperation is the most important denominator: from a business perspective, in cultural dialogue, in design-led research and in personal contacts. To engage their Turkish collaborators, Dutch protagonists will have to articulate why they are suitable partners and how they respond to local Turkish demands. Themes: Affordable housing, repurposing and conservation, long-term planning and urban development, water management, from ‘made in Turkey’ to ‘designed in Turkey’, crafts and innovation, new ‘glocal’ identities in fashion. China The DutchDFA programme had a head start in China thanks to the reputation that a select group of Dutch designers, with OMA in the lead, had previously established there. The programme’s task was to add depth and breadth to this reputation by positioning themes that are relevant to China. These position-defining projects were to be combined with enterprise-focused and network-building activities. Key Themes The NAI Matchmaking project for China focused on developing ‘affordable housing’ – starter homes for young Chinese professionals – in a small-scale residential development. Five Dutch and five Chinese architecture firms developed plans for these homes during two inspiring workshops in 2011, with the Chinese project developer VANKE as the commissioning party. In September the NAI and VANKE signed an agreement in the presence of Halbe Zijlstra, the Dutch State Secretary for Education, Culture and Science. The project was featured at the Shenzhen international architecture biennale in December, where it was awarded the submission ‘most meaningful to Chinese architectural practice’. This residential block is set for construction in 2012, when the Matchmaking programme will embark on a new project concerning housing for seniors in Shenzhen. The ‘Connecting Concepts’ exhibition (Premsela with the NAI and Brainport) travelled to China in the autumn, where it formed the core of two larger presentations. During Beijing
DutchDFA Activity
Design Week ‘Connecting Concepts’ anchored the ‘Smart Cities, Healthy Cities’ exhibition, and during Shanghai Creative Industry Week it appeared alongside a presentation by the Dutch Design Workspace, together entitled ‘Dutch Design Thinking’. The ‘Liberation of Light’ exhibit (about smart applications of LED lighting, an initiative of Yksi and Brainport) was also on display at Beijing Design Week and continued to Guangzhou Design Week with the Dutch Design Desk’s support. The presentations tied in with trade missions by Dutch designers, as well as an accompanying series of lectures by Dutch and Chinese designers that addressed themes such as food security, the improvement of public space and innovative forms of communication. This raft of activities resulted in considerable publicity, assignments for delegates, and numerous new contacts and partnerships (several Memoranda of Understanding) with local organisations. This combination of projects, and especially the quick ‘clicks’ – between the organising partners, with the local network of diplomatic posts, and with the Workspace and Desk – is a typical and important result of the DutchDFA programme. In Beijing, Shanghai and Guangzhou the lines that have been developed over recent years converged: there was teamwork among partners who have become acquainted in the meantime, and the ‘high-end’ (i.e. positioning and agenda-setting) linked with the ‘low-end’ (i.e. practical support) in an organic way. Smaller-scale projects can also be effective, as the Dutch contribution to 100% Design in Shanghai demonstrated. A shrewdly planned day began with the screening of several Dutch Profiles, was followed by short presentations by Workspace participants, and concluded with a lecture by a Dutch designer. The event attracted a large audience and generated plenty of publicity. The mini-cinema screening Dutch Profiles and the Book Lounge with approximately 80 books about Dutch architecture, fashion and design were crowd-pullers in both Beijing and Shanghai. In 2011 DutchDFA supported a study into the possibilities for a Dutch Design College in China, a four-year design course that involves two years of study in China followed by two years of study in the Netherlands, and leads to a Dutch diploma. The lecturers for the course in China are alumni of Dutch academies who will gain the opportunity to explore the country’s potentials; the Chinese graduates become ambassadors and potential partners for designers from the Netherlands. The Central Academy of Fine Arts in Beijing and Design Academy Eindhoven have made a commitment to this project. The partners also took part in the ‘Next City’ multidisciplinary masterclass that was held in 2010, resulting in a publication and adjoining conference during Beijing Design Week in 2011. Both parties are interested in a follow-up.
Enterprise Since opening in September 2010, the Dutch Design Workspace developed into the home base of Dutch designers in China. Its impact is evident in the Dutch Design in China Yearbook, presented to Maxime Verhagen, Minister for Economic Affairs, Agriculture and Innovation, during his visit to Shanghai in May. The Workspace has become a point of contact and an information desk for the local business community, as demonstrated by the Memorandum of Understanding that was signed in October with the Kunshan Design Center, which aims to link Chinese clients with Dutch designers. With several designers, the Workspace has become increasingly active in local fairs and conferences. Events like Pecha Kucha evenings and lectures by Dutch designers have given it an important niche on Shanghai’s cultural agenda. As State Secretary Halbe Zijlstra witnessed during his visit to China in September, Dutch design has established a solid reputation and built a strong local network. The Dutch Design Desk for the Greater Pearl River Delta fulfils the supportive and matchmaking functions of a workspace without the physical workspace facilities. The Desk was closely involved in the two trade missions of Dutch designers to the biannual Canton Fair, Asia’s biggest import/ export event, in the spring and autumn of 2011. The missions, organised by the BNO with Syntens and the Desk, were an unexpected success. The small delegation left in April with five new assignments, three of which were completed in time for a return visit to the Canton Fair in October. One factor in the Dutch success was the fair’s new ‘Product Design Center’, which is devoted to pairing foreign designers with local industry. This initiative follows China’s formal commitment to transforming ‘Made in China’ into ‘Designed in China’. The Desk is building a robust network with the directors of local businesses and organisations. Both the Desk and the Workspace maintain close contacts with the Dutch embassy and consulates, as well as with the Netherlands Business Support Offices (NBSOs). Scaling Back in 2012 To maintain interest, it is important that Dutch design remains visible in China. After making intensive investments to establish this visibility, DutchDFA’s budget for China in 2012 is limited. Strategic combinations of people and resources – like films and books – will help sustain the programme’s energy. Dutch fashion will play a special role, since it holds a less prominent position in China than do Dutch design and architecture. A sequel to the successful ‘Dutch Fashion Here & Now’ presentation (initially staged in 2010) is planned for 2012. Design for Daily Life Themes: affordable housing, sustainable urban development, quality of public space, care for the elderly and health, design thinking for more sustainable and better products, linking craft and innovation, a new ‘glocal’ identity in fashion.
Report 2011 Germany 2011 saw the publication of the market research report ‘Opportunities in the German Market: Myths and Possibilities for Dutch design, fashion and architecture in Germany’, which DutchDFA commissioned to the INHolland University of Applied Science’s Centre for Applied Research in Crossmedia, Brand, Reputation and Design Management (CBRD). As the title indicates, the report debunks some stubborn myths about the ease with which Dutch designers can conduct business in Germany. Germany may well be the most important trading partner of the Netherlands, but for Dutch designers the German market is extraordinarily tight. Dutch design lacks a strong image in the German business community. Despite their geographical proximity, the two countries tend to exhibit tremendous cultural differences. And lastly, a good command of the German language is a precondition for establishing long-term professional relationships. Nevertheless there are certainly opportunities for Dutch designers in Germany. The report points out German appreciation for the Dutch mercantile spirit. Germans also mention skill at interdisciplinary collaboration, strong price/ quality ratio and excellence in design management as strong characteristics of Dutch design. Germany presents specific opportunities in the realm of sustainability and in the sectors of urban development, affordable fashion and public information design. Firms that manage to link the conceptual qualities of Dutch design with the technological ingenuity of German construction and manufacturing have a strong point of departure. The choice of Germany as a focus country in 2008 was chiefly based on an appraisal by professional and sectoral organisations. At that time it was presumed that their members would find it difficult to make the leap into China or India. In part as a consequence of the economic crisis in Europe, the current outlook has altered drastically: the markets of China and India are more favourable, though the barriers are also higher. The DutchDFA programme can be instrumental for designers who would not take the plunge on their own. There has been great eagerness to participate in missions to and presentations in China in recent years. In addition, the BNO is focusing much of its energy on the programme in India and China. In response to these shifts, there was a nomination in 2011 to drop Germany as a DutchDFA focus country. Key Themes There are sound reasons to defend Germany’s position in the programme: there has been a profound congeniality between Dutch and German design cultures since the early 20th century, and German and Dutch designers have often progressed together in the development of education, the formulation of theory and practice. Almost all Dutch design courses continue to work with German counterparts, so at an intellectual level there are continued opportunities for interchange and dialogue. Premsela has been especially focused on these relationships in recent years, by co-organising the Copy/Culture symposium in Berlin with DMY, for instance, and by curating the
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Towards the Final Push
magnificent but complex ‘Basic Instincts’ exhibition (Berlin, summer 2011), which received reviews in German newspapers of a more serious tone than would be conceivable in the Netherlands. Enterprise MODINT, a trade association that represents Dutch fashion and textile industries (with turnover of more than €2 billion), recently compiled data that points to Germany as the most important export country. Dutch denim and casual fashion brands are particularly successful, as is evident every year at the Bread&Butter tradeshow in Berlin. In 2011 the ‘Dutch Denim Diner’ staged by MODINT successfully forged a link between this fair and the ‘Basic Instincts’ exhibition curated by Premsela. The teamwork was the upshot of many hours of coordination and harmonisation within the DutchDFA framework. MODINT is planning a reprise of this event in 2012 in association with various Dutch fashion representatives. In late 2011 the BNA launched the two-year ‘BNA International’ programme, this time focusing exclusively on Europe. After carrying out probing research into the German market in 2011, the BNA will organise activities in 2012 that dovetail with themes such as building with water, urban planning, repurposing industrial heritage and the organisation of care, all domains where the Dutch approach shows promise. Preparations for a Dutch Design Desk Europe (DDD Europe), to be established in Maastricht in 2012, took shape over 2011. The Desk will offer connections with professional networks; will collect, interpret and unlock relevant expertise about German organisations; and will enhance the visibility of Dutch design in Germany. This initiative was driven by Maurer United Architects, an office that has been operating successfully in the German market for years. The Province of Limburg will contribute to DDD Europe through the end of 2013, which implies its continuation after 2012. In the longer term, DDD Europe intends to extend its sphere of activity to Belgium and other European countries. The Netherlands Since 2011, DutchDFA’s programme has been reinforced in the Netherlands with the motto ‘internationalisation begins at home’. The aim is to render the amassed knowledge and networks visible and accessible, while bolstering the international character of the Netherlands. Exhibitions produced within the DutchDFA context are returning to the Netherlands. After touring three venues in China under the title ‘Taking a Stance’, the renewed ‘daringdesign’ exhibition with the work of eight Chinese and Dutch designers was one of the inaugural presentations at the renovated NAI in 2011. ‘Connecting Concepts’ and ‘Basic Instincts’ will appear in the Netherlands in 2012. Two new international conferences made their debuts in May 2011 with DutchDFA support. At Creative Amsterdam, Dutch designers shared their experiences abroad and participated in strategic workshops about international ventures. The What Design Can Do!
symposium brought inspirational designers from Europe, Asia, and North and South America to Amsterdam to talk about the social impact of their work. Journalists and important relations from focus countries were invited to this conference, as well as to Amsterdam International Fashion Week and Dutch Design Week Eindhoven. The 2012 programme in the Netherlands is dominated by the transfer of knowledge and networks, embedding achievements, and securing new programmes and organisations, irrespective of budgets. These goals can be achieved by ‘bringing the world to the Netherlands’, whether that means bringing foreign speakers to conferences; organising programmes for special guests to important Dutch events; or sharing knowledge, networks and experiences in workshops for designers about international business ventures. Preparing for the period after 2012, is also a priority: compiling, evaluating, communicating and passing on the results, know-how and achievements, in association with the DutchDFA partners, the ministries, the Netherlands Architecture Fund and the designers in the field. The planning of this process began in 2011. 2012 and beyond By the time this report is presented in April 2012, the DutchDFA programme will have hit its stride in its final year. Initial follow-up scenarios will have been written, and new variants for organisation and financing proposed. The programme will move ahead at full speed during this last phase. Work with the new focus country, Turkey, will generate a huge accumulation of projects in the latter half of the year. The new Workspaces and Desks must rapidly gain sufficient momentum to safeguard their survival after 2012. The collaborations set up for the international presentation of Dutch fashion in Berlin in 2011 should spawn similar projects in Delhi and Istanbul in 2012. The major ‘design-led research’ projects, such as NAI Matchmaking and Delhi 2050, will undergo their reality checks this year. And finally, exhibitions are set to continue their travels; the new invitation lists have already been compiled. With the finish line in view, the paths in the landscape beyond are actively being scouted out. Nobody is putting on the brakes – the DutchDFA programme is too brief to slow down; its temporary nature, with the end date in view from the start, has lent it a useful urgency throughout. There’s still time to reap maximum benefits from the current constellation, even if that is only to ascertain what needs to be retained intact in the future. These decisions are already under way; in 2012 we will plot out the ‘road map’ for passing on the baton. Christine de Baan Programme Director On behalf of the Steering Group, Programme Group and Programme Office of Dutch Design Fashion Architecture
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Aanzet tot het slotakkoord
Kansen in Crisistijd 2011 was voor DutchDFA het jaar van de omslag: net voorbij halverwege, de opmaat naar het laatste jaar. Tijd voor evaluatie: wat hebben we geleerd, wat ging goed, wat kan beter? Maar ook tijd om de eerste vruchten te plukken van inmiddels opgebouwde kennis, relaties en zichtbaarheid, van nieuwe infrastructuur en partnerships, zowel binnen als buiten Nederland. Op dat fundament van positioneren, netwerken en samenwerken kon de nadruk in 2011 verschuiven naar ondernemen en rendement. Buiten de eigen dynamiek van het programma waren daar nog andere aanleidingen voor. De internationale economische crisis, waarvan de gevolgen zich vrijwel gelijktijdig met de start van het programma in Nederland aandienden, bereikte vorig jaar in Europa een nieuw dieptepunt. De kansen voor creatieve ondernemers liggen steeds meer in verre opkomende economieën, maar ze hebben steeds minder slagkracht om hiervan gebruik te maken. Dat maakt krachtenbundeling ter versterking van hun internationale positie alleen maar belangrijker. In 2011 zorgde een scherpe herformulering van het nationale cultuurbeleid voor nieuwe verbindingen tussen organisaties en een heroverweging van overheidsbudgetten die de cultuursector ondersteunen. Het Nederlands Architectuurinstituut, Premsela en Virtueel Platform werkten aan een fusie per 1 januari 2013 tot Instituut voor de Creatieve Industrie. De Federatie voor de Creatieve Industrie acteerde als vertegenwoordiger van de beroeps- en brancheorganisaties. Het Mondriaan Fonds droeg zijn budgetten voor vormgeving, mode en architectuur eind 2011 over aan het Stimuleringsfonds voor Architectuur, dat vanaf 2013 een fonds voor de creatieve industrie zal zijn. In maart riep minister Verhagen van ELI de creatieve industrie uit tot een van de negen topsectoren van de Nederlandse economie en benoemde per sector een team van adviseurs. Het Topteam voor de Creatieve Industrie bracht in juni een vooradvies uit, dat onder meer pleit voor voorzetting van het ‘ondersteunen van internationaliseringsactiviteiten van de creatieve industrie’, voor samenvoeging van budgetten van OCW, ELI en BZ voor deze sector en voor een Creative Industries Council. Bij het schrijven van dit jaarverslag is het economisch toekomstbeeld van Nederland opnieuw verslechterd. Een ongunstiger gesternte om in het laatste programmajaar te ‘oogsten’ is nauwelijks denkbaar. Toch is er reden voor optimisme. Na drie jaar heeft DutchDFA zichtbare en merkbare resultaten opgeleverd, die blijvend kunnen bijdragen aan de versterking van de internationale positie van Nederlands ontwerp. Ook, of eigenlijk juist, in tijden van crisis. Verbindingen in stand houden Kenmerkend voor het DutchDFA programma is de combinatie van disciplines – mode, design, architectuur – en beleidsvelden – cultuur, economie, diplomatie. De eerste combinatie blijkt vooral effectief voor versterking van de
DutchDFA Activiteitenverslag 2011
internationale reputatie van Nederlands ontwerp. De afgelopen jaren hebben aangetoond dat de grootste uitdaging ligt in de tweede combinatie. Daar is ook vrijwel zeker de meeste winst te behalen. Op het gebied van innovatie en internationaal ondernemen, maar ook bij het adresseren van maatschappelijke vraagstukken die lokaal gedefinieerd zijn maar ook een internationaal karakter hebben. Vanaf 2013 verbinden het nieuwe Fonds en het nieuwe Sectorinstituut voor de Creatieve Industrie meerdere ontwerpdisciplines. Hetzelfde geldt voor de Creative Industries Council die het creatieve bedrijfsleven vertegenwoordigt. Maar werkelijke ‘voortzetting van DutchDFA’ als programma en werkwijze vraagt om een gecoördineerd beleid van Council, Fonds en Sectorinstituut. En om een afgescheiden, gemeenschappelijk budget voor internationalisering met gecombineerde culturele, maatschappelijke en economische doelstellingen. Gefinancierd door tenminste de drie ‘founding’ ministeries van OCW, ELI en BZ, die de afgelopen jaren in het kader van DutchDFA samenwerkten. Dat gebeurde op basis van goed onderling overleg in Nederland, en door het bevorderen van de samenwerking tussen de afdelingen economie, techniek/wetenschap en cultuur op de buitenlandse diplomatieke posten. Voortzetting van deze samenwerking is essentieel voor het beklijven van de resultaten van DutchDFA, maar ook voor het succes van volgende internationaliseringsprogramma’s.
niet gerealiseerd zou hebben. Nederlands ontwerp is in 2009 en 2010 op de kaart gezet, en dat is bovendien gebeurd op een kwalitatief goede manier.
Resultaten 1: Midterm Review
Resultaten 2: programma als laboratorium en bron van kennis over ‘wat werkt’
In de eerste maanden van 2011 voerde onderzoeksbureau Berenschot in opdracht van de ministeries van OCW, ELI en BZ een midterm review uit van het DutchDFA programma. Hun belangrijkste bevindingen: Positionering: de multidisciplinaire aanpak van het programma begint vruchten af te werpen. De DFA disciplines worden met een verbindend verhaal onderscheidend gepositioneerd in de focuslanden. Dankzij de inhoudelijke kennis en krachtenbundeling van disciplines binnen DutchDFA vindt de internationale promotie van de Nederlandse ontwerpsector plaats met hogere kwaliteit en meer kennis van zaken dan voorheen. Vraaggestuurd: het programma werkt vraaggestuurd en speelt in op urgenties in de gekozen focuslanden. Hiermee draagt DutchDFA bij aan een duurzame samenwerking tussen betrokken partijen uit de DFA disciplines en de betreffende landen. Samenwerking: voor de realisatie van het programma werken sectorinstellingen, brancheverenigingen en ministeries samen. De projecten voldoen aan de crosssectorale doelstellingen (idee-netwerk-onderneming) en de interne doelstelling samenwerking. De culturele, economische en diplomatieke agenda’s groeien naar elkaar toe. Disciplinering: het programma dwingt partijen binnen de culturele sector na te denken over samenwerking, zowel in het buitenland als in Nederland. Van buiten naar binnen zorgt het voor krachtenbundeling, ook bij de ministeries. Concluderend: de inzet en aanjagende rol van DutchDFA leidden in korte tijd tot sterke netwerkontwikkeling en een internationale positionering die het versnipperde veld zelf
De volgende onderwerpen vragen aandacht in de tweede helft van het programma: • Overdracht van kennis en netwerken: de resultaten van het DutchDFA programma moeten na 2012 duurzaam beklijven. Overdracht van netwerken en kennis tussen alle betrokkenen – programmabureau, partners en ontwerpers – is daarvoor essentieel. • Meten: zowel in de meetinstrumenten als in de verslagleg ging is verbetering mogelijk voor de meting van effecten en resultaten. Dat vraagt extra (administratieve) aandacht van zowel het programmabureau als van deelnemers aan het programma die bijdragen uit het DutchDFA budget ontvangen. • Ondernemen: in de tweede helft van het programma moet het accent verschuiven van positionering en opbouw van netwerken in de focuslanden naar ondernemings-gerichte activiteiten. • Thematiseren: uitgangspunt voor de programmaontwikkeling is dat maatschappelijke thema’s de verbinding vormen tussen cultuur en ondernemen, tussen lokale vraag en Nederlands aanbod op lange termijn; die thematische benadering kan worden aangescherpt.
Zowel de Regiegroep als de partners van DutchDFA reflecteerden in 2011 op hun ervaringen met het programma, de verworvenheden en hun ambities voor het vervolg. Deze evaluaties geven een duidelijk beeld van het programma als proeftuin, als verbindende schakel en als aanjager van een effectief internationaal ondernemerschap in de ontwerpsectoren. Laboratorium Het DutchDFA programma fungeert als een laboratorium voor voorbeeldprojecten die anders moeilijk of niet tot stand zouden komen. Het programma maakt het mogelijk om over een langere periode en vanuit één budget, activiteiten te ontplooien die aansluiten op het karakter van de ontwerpsector met zijn specifieke mix van culturele ambities, maatschappelijke betrokkenheid én economische relevantie. Nieuwe crosssectorale modellen en instrumenten worden ontwikkeld, zoals de Dutch Design Workspaces en de Matchmaking projecten. De Workspaces ondersteunen het individueel ondernemerschap van ontwerpers, ze dienen ook als platform voor dialoog tussen de verschillende ontwerpdisciplines en de contacten met de buitenwereld (overheden, bedrijven, opdrachtgevers, pers en publiek). De Matchmaking projecten verbinden vakinhoudelijke ambities, kennisuitwisseling en economisch rendement rond zorgvuldig gekozen maatschappelijke thema’s. Het budget brengt partners met verschillende achtergronden in de sector regelmatig bij elkaar aan tafel en stimuleert tot samenwerking. Centrale coördinatie door een
bureau ondersteunt de krachtenbundeling, het bewaakt de doelstellingen van het budget en versterkt de wederzijdse informatievoorziening. Al deze factoren samen vormen het fundament voor een programmatische werkwijze die partijen tot gezamenlijke activiteiten beweegt, zoals de samenwerking tussen MODINT en Premsela voor een modeproject in Berlijn, of tussen Premsela, Brainport en NAi bij de Connecting Concepts tentoonstelling. Ook dergelijke coproducties zijn kenmerkend voor de laboratoriumfunctie van het programma. Samenwerking in de sector De samenhang tussen de Nederlandse betrokkenen is via het programma versterkt: dat geldt voor de beroeps- en brancheorganisaties, de sectorinstituten, de drie betrokken ministeries en de zes ‘creatieve steden’. De steden stemmen hun agenda’s voor evenementen in de creatieve industrie met elkaar af en proberen in het buitenland samen op te trekken. Vier van de vijf oprichters van de Federatie Creatieve Industrie zijn DutchDFA partners: BNA, BNO, BNI en MODINT. Mede dankzij hun contacten binnen DutchDFA was de weg al geëffend en vonden partijen elkaar snel. Bij de voorbereiding van het sectorinstituut voor de Creatieve Industrie bouwen Premsela en NAi voort op de samenwerking binnen het programma. En met ingang van 2012 is het Stimuleringsfonds voor Architectuur – de formele en fysieke ‘thuisbasis’ van het DutchDFA programma – een fonds voor architectuur, vormgeving en e-cultuur (vanaf 2013 voor de creatieve industrie). Al deze nieuwe organisaties bekrachtigen de ‘losse’ samenwerking die rond het DutchDFA programma gestalte heeft gekregen. Ze vormen een sterk fundament voor continuering van de DutchDFA aanpak na 2012. Alle partijen onderkennen dat crosssectorale en interdisciplinaire samenwerking in de creatieve industrie mogelijk en vruchtbaar is. Belangrijk om hierbij te memoreren is dat het programma ooit op initiatief van de sector zelf tot stand is gekomen. Kennis over ‘wat werkt’: versterken van individueel ondernemen Succes in internationaal ondernemen is primair afhankelijk van de eigen drive, visie, voorbereiding en het uithoudingsvermogen van individuele ontwerpers en bureaus. Niettemin bewijzen gesprekken met ontwerpers uit de drie sectoren ook dat internationaal ondernemen plezieriger en effectiever wordt wanneer ervaringen worden uitgewisseld. Zowel ‘high end’ profilering als ondersteuning in de ‘snelle praktische alledaagsheid’ kunnen het eigen ondernemerschap versterken. Het ‘high end’ niveau is agenderend, positionerend, versterkt de reputatie, bevordert dialoog en kennisuitwisseling. Dit niveau past bij de taakstelling van de sectorinstituten. Op het niveau van dagelijks ondernemerschap gaat het om praktische ondersteuning en informatievoorziening, samenwerking en opnieuw kennisuitwisseling, maar dan onderling. Daar ligt het werkveld van de beroeps- en brancheorganisaties, en komen ook bij de Design Desks en Workspaces in beeld. Tussen het agenderende en ondersteunende niveau beweegt zich het individueel ondernemerschap van ontwerpers. Projecten en
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programma’s die de beide niveaus verbinden, zijn essentieel voor versterking van dat ondernemerschap. Vaak zijn dat projecten die raken aan andere topsectoren als water, life sciences, agrofood of high tech. ‘High end’, positionerend, agenderend, thematisch Om cultuur en economie, verschillende ontwerpdisciplines, en de ontwerpsector en andere topsectoren met elkaar te verbinden, zijn reizende tentoonstellingen en ontwerpend onderzoek belangrijke instrumenten. Beide typen activiteiten vragen voorbereiding en uitvoering over meerdere jaren en zijn daarom gebaat bij een programmatische benadering. Meerdere partners binnen het programma zijn erbij betrokken en langjarige financiering vanuit het DutchDFA budget is noodzakelijk gebleken om de gecombineerde cultureeleconomisch-maatschappelijke doelstelling te realiseren. De reizende tentoonstelling Connecting Concepts, een coproductie van Premsela, Brainport en NAi, deed in 2011 diverse locaties aan in India en China. De tentoonstelling richt zich op de mentaliteit, het denken en de kennis achter de ontwerpen, niet op de objecten zelf. De verhaallijnen in Connecting Concepts verbinden uitgangspunten in de mode met concepten in de waterbouw, en bijvoorbeeld high tech materialen met ambachtelijke werkwijzen. Deze opzet maakt het mogelijk om in communicatie en randprogrammering een koppeling te maken met andere sectoren. Connecting Concepts verbindt ook ontwerpculturen: in elk land vragen de curatoren enkele lokale ontwerpers om werken toe te voegen. In 2012 is de presentatie achtereenvolgens te zien in Eindhoven, Berlijn en Istanbul. Het ontwerpend onderzoek blijkt tot dusver vooral in de architectuur een goed instrument om onderwerpen te agenderen en partijen samen te brengen. Het Matchmaking project van het NAi (in China en India) is een goed voorbeeld. Er wordt een thema gekozen dat aansluit op een urgent lokaal vraagstuk en vervolgens ontwikkelen lokale ontwerpers en Nederlandse collega’s gezamenlijk studies en ontwerpen rond deze thematiek. Een dergelijk project vraagt een lange adem, door het benodigd vooronderzoek naar geschikte thema’s en naar een marktpartij die zich committeert aan daadwerkelijke realisatie. In China is dat in 2011 goed gelukt. In India is het Delhi2050 project een ander voorbeeld van agenderend en verbindend ontwerpend onderzoek. Ondersteunend: workspaces en desks Ter ondersteuning van het ondernemerschap zijn er de Dutch Design Workspaces en Design Desks. Voorloper en eerste voorbeeld was de Workspace Shanghai die in 2010 openging, kort daarna gevolgd door de Design Desk in Guangzhou / Hong Kong. In 2011 is de opening van Workspace Mumbai voorbereid (opening voorjaar 2012) en de haalbaarheid van een vestiging in Istanbul onderzocht. Voorjaar 2012 opent in Maastricht de Design Desk Europa die zich vooral op de Duitse markt richt.
Workspaces bieden ontwerpers uit verschillende disciplines een gedeelde werkruimte in het buitenland. Een team van medewerkers – de design desk – ondersteunt en adviseert ontwerpers (van binnen en buiten de workspace) bij het betreden van de lokale markt. De Workspaces dragen met evenementen, lezingen en kleine presentaties bij aan de positionering. Ze zijn opgezet met jaarlijks afnemende investeringen. Na 2012 moeten ze financieel op zichzelf staan. Voor de Desks zijn partnerships aangegaan met consulaten en/of lokale overheden. Beide voorzieningen staan in nauw contact met de lokale netwerken van diplomatieke posten en in toenemende mate wisselen ze onderling ervaringen en contacten uit. Gesprekken met ontwerpers bevestigen dat de Workspaces en Design Desks voorzien in een duidelijke behoefte aan ‘aanleghavens’ in het buitenland. De ene ontwerper kreeg via de Design Desk in Zuid-China snel toegang tot een netwerk van nuttige contacten, de ander vestigt zich in de Workspace vanwege de mogelijkheid kennis en ervaringen te delen, samen op te trekken bij missies en beurzen en mee te liften op de groeiende reputatie van de plek. De Workspaces en Desks ondersteunen het individueel ondernemerschap van ontwerpers op maat en men is bereid voor de diensten te betalen. Zowel de beroeps- en brancheorganisaties als de diplomatieke posten beschouwen ze als belangrijke resultaten van het programma. Zonder het DutchDFA programma zouden deze voorzieningen niet tot stand zijn gekomen; ze pasten immers niet in de bestaande hokjes en de voorinvesteringen konden vanuit geen enkele andere regeling worden gedaan. De programmajaren zijn zelf een soort ‘incubator’ waarin het model voor de Workspaces en Desks wordt getest en verder aangescherpt. De initiatiefnemers gedragen zich als ondernemers en nemen vrijwel allemaal zelf risico. Het programmabureau DutchDFA adviseert (accountancy, financieringsmodellen), ondersteunt (communicatie, netwerken, kennis) en coördineert vanuit Nederland, tenminste tot en met 2012. Hierna moet deze functie elders worden belegd. Ondersteunend: kennis delen Het internationaal ondernemerschap van ontwerpers en bedrijven wordt ook door kennisdeling gestimuleerd en ondersteund. De Creative Amsterdam conferentie – waarbij BNO, Pakhuis de Zwijger en DutchDFA samenwerkten – bood in 2010 een eerste platform voor uitwisseling. Ontwerpers vertelden over hun ervaringen in China en Duitsland, en methodieken van ondernemen werden belicht. In 2011 volgde de serie Creative Dutch workshops ter bevordering van professionalisering in internationaal ondernemen, georganiseerd door de BNO en financieel ondersteund door DutchDFA. De workshops focussen op specifieke steden en regio’s. De deelnemers vormen een professionele ‘kenniskring’. Een soortgelijk initiatief ontplooit de BNA voor de architectuursector met het tweejarige ‘BNA International’ programma, dat in november 2011 van start ging. Enkele prominente, internationaal opererende Nederlandse bureaus participeren in dit platform.
Doelstellingen en fasering Het Vierjarenplan 2009-2012 noemde als beoogde eindresultaten van het DutchDFA programma: Na vier jaar is de internationale positie van Nederlands design, mode en architectuur aanwijsbaar verstevigd, in het bijzonder in de focuslanden. • Idee: de specifieke kenmerken van Nederlands ontwerp zijn bekend en worden (h)erkend als waardevolle inbreng voor lokale vraagstukken en als aantrekkelijk voor de lokale markt; • Netwerk: tussen Nederland en de focuslanden zijn duurzame netwerken ontwikkeld op professioneel, educatief, journalistiek en bestuurlijk terrein; • Onderneming: toetredingsdrempels tot de lokale markt zijn verlaagd, bureaus en bedrijven hebben duurzame contacten gelegd, opdrachten verkregen en/of hun afzetgebied uitgebreid. • Samenwerking: nieuwe samenwerkingsverbanden zijn ontstaan tussen Nederlandse organisaties in de ontwerpsector, tussen de departementen, en tussen sector en overheid, terwijl de onderlinge communicatie sterk is verbeterd. Het jaarplan 2011 beschreef DutchDFA als een ‘programma van verschillende snelheden’ waarbij de mate van programmaontwikkeling per land verschilt. Daarbij werden drie fases onderscheiden: 1) kennis vergaren, netwerk en zichtbaarheid opbouwen, programma ontwikkelen; 2) programma uitvoeren, netwerk en imago benutten en versterken; 3) bereikte effecten consolideren, overdracht/verzelfstandiging van instrumenten; met als uiteindelijk doel om in elk land de laatste fase te bereiken. Deze fasering van programmaontwikkeling loopt in grote lijnen parallel met de doelstellingen idee, netwerk, onderneming, die in de praktijk vaak opeenvolgend zijn: versterking van de internationale positie loopt van positionering door zichtbaarheid en imagovorming (reputatie) via netwerkopbouw (relaties) naar duurzame effecten voor ondernemerschap (resultaten). Begin 2012 bevindt het programma zich in China in fase 3, staat India tussen fase 2 en 3 in en moet Turkije – sinds 2011 het vierde focusland – versneld de fases doorlopen. Duitsland onttrekt zich aan de fasering. Het land was immers vanaf de start geen terra incognita. De activiteiten in Nederland, sinds 2011 eigenlijk het ‘vijfde focusland’, horen bij de derde fase van overdracht en consolidatie, als basis voor continuering van het programma door het veld en de partners. India Het jaarplan 2011 voor India is vrijwel geheel uitgevoerd. Toch blijft India een weerbarstig land waar activiteiten een heel andere weerklank vinden dan in andere regio’s. Het NAi Matchmaking project verliep in India stroever dan
DutchDFA
in China, mede door het aanvankelijk uitblijven van een zakelijke partner die zich wilde committeren. De Connecting Concepts tentoonstelling startte in Ahmedabad, bakermat van Indiaas ontwerponderwijs, reisde door naar Mumbai en eindigde in Bangalore. Hoewel de rondreis goede media-aandacht genereerde en er nieuwe contacten werden gelegd (bijvoorbeeld tussen onderwijspartijen uit beide landen) was het effect onvergelijkbaar met de ontvangst van Connecting Concepts later in het jaar in China. Ondernemen In India is een lange adem onmisbaar. Daarom onderhoudt de BNO bijvoorbeeld al vijf jaar nauwe banden met de organisator van de Kyoorius Designyatra conferentie en zijn netwerk. Soms leidt een lezing op een Indiase designconferentie plotseling tot een grote opdracht, zoals Paul Mijksenaar overkwam die nu de bewegwijzering ontwerpt voor het vliegveld van Delhi. Maar meestal draait het om de opbouw van goede contacten en vooral: zichtbaar aanwezig zijn. Anders dan in China zijn de stedelijke netwerken in India nauwelijks op elkaar aangesloten. Een reputatie moet dus overal opnieuw worden opgebouwd. Mumbai is verhoudingsgewijs de meest ‘verbonden’ stad en bovendien ook bevattelijk voor internationale invloeden. De Workspace India wordt mede om die reden in Mumbai gevestigd. De vestiging is in 2011 voorbereid en de eerste aanmeldingen van Indiase en Nederlandse ontwerpers zijn binnen. Omdat nog maar weinig Nederlandse ontwerpers nu al in India werken is de animo voor langdurige vestiging naar verwachting lager dan in China. De Workspace in Mumbai biedt bij aanvang vooral een tijdelijke ‘aanleghaven’ voor ontwerpers die de mogelijkheden voor ondernemen in India willen onderzoeken, een eenmalige opdracht hebben of producenten zoeken. De Design Desk wordt geleid door een Indiase directeur met jarenlange werkervaring in Nederland en in zakelijke bemiddeling tussen Nederland en India. Zij is een belangrijk aanspreekpunt voor netwerkopbouw, matchmaking en advisering. Daarnaast heeft de Workspace (onder meer door zijn interieur) een functie als zichtbare voorpost van Nederlands ontwerp. De Workspace India is allereerst een plek voor dialoog, een belangrijke voorwaarde om in India vertrouwen te winnen en relaties op te bouwen. Thematiseren Halverwege 2011 ging het Delhi2050 project van start. Gesteund door DutchDFA organiseerde Delhi2050 een reeks multidisciplinaire workshops met Nederlandse en Indiase architecten, stedenbouwers en productontwerpers. Met een succesvol mediaoffensief plaatsten zij de noodzaak van een langetermijnvisie op de ontwikkeling van Delhi op de lokale agenda. Het vervolg in 2011 en 2012 betrekt zowel in India als in Nederland vele maatschappelijke partners: behalve ontwerpers uit beide landen ook overheden, opleidingen en grote advies- en ingenieursbureaus. Aan Delhi2050 is geen concrete opdrachtgever verbonden maar de relaties met andere topsectoren als water en logistiek maken het project kansrijk. In Nederland is Delhi 2050 geadopteerd door het ministerie van Infrastructuur en Milieu, dat naast DutchDFA substantieel bijdraagt. De resul-
Activiteitenverslag 2011 taten van de volgende fase van ‘ontwerpend onderzoek’ zijn in april 2012 te zien op de Internationale Architectuur Biennale Rotterdam en reizen in het najaar naar Delhi. Zowel het NAi Matchmaking project als Delhi2050 sluiten aan op de in 2011 voor India benoemde thematiek van ‘Design for Basic Need’. De explosieve groei van de Indiase economie gaat gepaard met grote milieuproblemen en slechte levensomstandigheden voor het overgrote deel van de bevolking. Met hun kennis, analytisch en conceptueel vermogen, oog voor de context en pragmatisme kunnen Nederlandse ontwerpers bijdragen aan verbetering van de basiskwaliteit van het dagelijks bestaan in India, of het nu gaat om water, huisvesting, infrastructuur, gezondheid, nieuwe bestemmingen voor oude tradities, etc. Het lijkt zinvol om Nederlandse bedrijven met een Base of the Pyramid policy in India te betrekken bij voorbeeldprojecten met Nederlandse en Indiase ontwerpers of designscholen. Juist als het om de oplossing van dergelijke concrete, existentiële vraagstukken gaat. Deze projecten kunnen aansluiten op bestaande contacten tussen vooraanstaande ontwerpopleidingen in India (Srishti, NID, MIT Pune) en Nederland (Design Academy Eindhoven, TU Delft, Sandberg Instituut). En mogelijk bij INDEED (INdian DEsign EDucation), een voorstel voor versterking van het Indiase designonderwijs INDEED werd eind 2011 op verzoek van de Indiase Innovation Council gemaakt door Indiase en Nederlandse designprofessionals onder aanvoering van de TU Delft. Eind 2011 onderzocht een missie van partijen uit de modesector – Premsela, HTNK en Fronteer Strategy namens MODINT – de mogelijkheden van samenwerking bij positioneren en ondernemen op modegebied in India. Voor 2012 bereiden zij een traject voor dat presentaties van Nederlandse mode combineert met een samenwerkingsproject binnen het modeonderwijs en een project dat crafts in mode en design verbindt met hedendaagse technieken en concepten. Design for Basic Need Thema’s: duurzame stedenbouw, lange termijn planning, betaalbare woningen, betere infrastructuur (water, transport); traditioneel ambacht verbinden met hedendaagse concepten, technologieën en markt; design management/thinking; betere producten voor dagelijks gebruik (gezondheid, water, transport, etc); nieuwe ‘glocal’ identiteit in mode. Turkije De programmaontwikkeling voor Turkije kwam in 2011 traag op gang. Net als bij de start van DutchDFA in 2009 blijkt dat een programma een aanloop nodig heeft. Het nieuwe focusland moet bekend worden in het veld, partners en programmabureau moeten omschakelen. Was 2011 vooral bedoeld als voorbereidingsjaar, toch stonden in het najaar de Dutch Design Awards op de Istanbul Design Week en waren de Dutch Profiles te zien op de Istanbul Book Fair. Partners in DutchDFA reisden naar Istanbul voor
overleg met hun counterparts, bezoekers uit Istanbul kwamen naar Nederland, er was overleg met SICA en diverse beoogde partners over het 400 jaar Turkije-Nederland programma en de haalbaarheidsstudie naar een Workspace of Design Desk voor Istanbul ging van start. Het programma voor 2012 werd voorbereid en deels gefinancierd. In Turkije komen programmalijnen van DutchDFA samen die hun waarde in andere contexten bewezen hebben: reizende tentoonstellingen (Connecting Concepts), ontwerpend onderzoek, Workspace/Desk. In het jaarprogramma van 2012 versterken deze activiteiten elkaar en er is een natuurlijke synergie met het programma van de viering van 400 jaar Turkije-Nederland. Beide programma’s richten zich op langdurige doorwerking van hun activiteiten na 2012 en combineren economische, diplomatieke en culturele agenda’s. De ervaringen van het eerste jaar hebben geleerd dat samenwerking de belangrijkste noemer is: in zakelijk opzicht, in culturele dialoog, in ontwerpend onderzoek, in persoonlijk contact. Nederlanders zullen hun counterparts in Turkije duidelijk moeten maken waarom zij geschikte partners zijn en wat zij specifiek te bieden hebben dat beantwoordt aan de lokale Turkse vraag. Thema’s: Betaalbare woningen, herbestemming en behoud, lange termijn planning en stedenbouw, waterbeheer, van ‘made in...’ naar ‘designed in Turkey’, crafts en innovatie, nieuwe ‘glocal’ identiteiten in mode. China In China startte het DutchDFA programma met een voorsprong door de reputatie die een selecte groep Nederlandse ontwerpers, OMA voorop, er al hadden opgebouwd. Opgave voor het programma was om de reputatie te verdiepen en te verbreden, door positionering op grond van thema’s die voor China relevant zijn. Deze positionerende projecten zouden steeds verbonden zijn met ondernemingsgerichte en netwerkversterkende activiteiten. Thematiseren Het NAi Matchmaking project voor China richt zich op ‘affordable housing’, kleinschalige woningbouw voor jonge Chinese professionals die een eerste woning zoeken. Vijf Nederlandse en vijf Chinese architectenbureaus maakten hiervoor in 2011 in twee inspirerende workshops een plan, waarbij de Chinese projectontwikkelaar VANKE als opdrachtgever optreedt. Hiertoe tekenden NAi en VANKE in september een overeenkomst in aanwezigheid van staatssecretaris van OCW Halbe Zijlstra. Een presentatie van het project maakte in december deel uit van de internationale architectuurbiënnale van Shenzhen, waar het de prijs won voor meest waardevolle inzending. Het is de bedoeling dat de woningen in 2012 daadwerkelijk worden gebouwd. Het Matchmaking programma krijgt daarnaast in 2012 een vervolg met een nieuw project in Shenzhen voor ouderenwoningen.
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De tentoonstelling Connecting Concepts (Premsela i.s.m. met NAi en Brainport) reisde in het najaar naar China en vormde daar het hart van twee grotere presentaties. Tijdens de Beijing Design Week was de tentoonstelling te zien als onderdeel van ‘Smart Cities, Healthy Cities’. Tijdens de Shanghai Creative Industry Week werd Connecting Concepts getoond samen met een presentatie van de Dutch Design Workspace, onder de noemer ‘Dutch Design Thinking’. De expositie Liberation of Light (over slimme toepassingen van LED-licht, een initiatief van Yksi en Brainport) was eveneens te zien tijdens de Beijing Design Week en reisde met ondersteuning van de Dutch Design Desk door naar de Guangzhou Design Week. Aan de presentaties waren handelsmissies van Nederlandse ontwerpers verbonden. Flankerende lezingenprogramma’s met Nederlandse en Chinese ontwerpers sneden thema’s aan als duurzame voedselvoorziening, verbetering van publieke ruimten en innovatieve communicatievormen. De gecombineerde activiteiten resulteerden in extreem veel publiciteit, concrete opdrachten voor delegatieleden en talrijke nieuwe contacten en partnerships (MOU’s) met lokale organisaties. Deze combinatie van projecten en vooral de snelle ‘klik’ die de organiserende partners met elkaar, met het lokale postennetwerk en met de Workspace en Desk konden maken is een typerend en belangrijk resultaat van het DutchDFA programma. In Beijing, Shanghai en Guangzhou kwamen lijnen samen die de afgelopen jaren zijn ontwikkeld, werkten partners samen die elkaar inmiddels hebben leren kennen en werd ‘high end’ – positioneren en agenderen – op organische wijze verbonden met ‘low end’ – praktische ondersteuning. Kleinschaliger projecten kunnen ook effectief zijn. Dat bewees de Nederlandse deelname aan 100% Design in Shanghai. Een slim geprogrammeerde dag begon met de vertoning van enkele Dutch Profiles, gevolgd door korte presentaties van deelnemers aan de Workspace, en werd afgesloten met een lezing van een ingevlogen Nederlandse ontwerper. Het evenement trok een groot publiek en leverde veel publiciteit op. Ook de minibioscoop met Dutch Profiles en een Book Lounge met ca. 80 boeken over Nederlandse architectuur, mode en design werden in Beijing en Shanghai intensief bezocht. In 2011 heeft DutchDFA onderzoek ondersteund naar de mogelijkheden voor een Dutch Design College in China, een vierjarige ontwerpopleiding waarvan de eerste twee jaar in China en de laatste twee jaar in Nederland worden gevolgd, afgesloten met een Nederlands diploma. Docenten op de opleiding in China zijn alumni van Nederlandse academies die daarmee ook de mogelijkheden van het land verkennen. Chinese alumni zijn ambassadeurs en potentiële partners voor ontwerpers uit Nederland. In China heeft de Central Academy of Fine Arts in Beijing zich aan dit project gecommitteerd, in Nederlands de Design Academy Eindhoven. Beide partners namen ook deel aan de multidisciplinaire ‘Next City’ masterclass die in 2010 plaatsvond en waarvan in 2011 verslag is gedaan in een publicatie annex conferentie
tijdens de Beijing Design Week; beiden zijn geïnteresseerd in een vervolg. Ondernemen De in september 2010 geopende Dutch Design Workspace in Shanghai heeft zich gedurende 2011 ontwikkeld tot thuishaven van Nederlandse ontwerpers in China. Illustratief is het ‘Dutch Design in China Yearbook’ dat in mei aan minister Verhagen van Economische Zaken Landbouw en Innovatie werd overhandigd tijdens zijn bezoek aan Shanghai. De Workspace is een aanspreekpunt geworden voor het lokaal bedrijfsleven, getuige ook de MOU die in oktober werd getekend met het Kunshan Design Center dat Chinese opdrachtgevers wil verbinden met Nederlandse ontwerpers. Steeds vaker neemt de Workspace met enkele ontwerpers deel aan lokale beurzen en conferenties. Door de Pecha Kucha avonden en lezingen van Nederlandse ontwerpers heeft de Workspace een stevige plek op de culturele agenda’s van Shanghai. Er is een overtuigende reputatie en een sterk lokaal netwerk opgebouwd, zo merkte ook staatsecretaris Zijlstra tijdens zijn bezoek in september. De Dutch Design Desk voor de Greater Pearl River Delta vervult de ondersteunende en matchmakende functies van de Workspace, zonder feitelijke werkruimte te bieden. De Desk was in het voorjaar en het najaar van 2011 nauw betrokken bij twee handelsmissie van Nederlandse ontwerpers naar de Canton Fair, de grootste beurs van Azië. De missies, georganiseerd door BNO samen met Syntens en de Desk, bleken een onverwacht succes. De kleine delegatie van april sleepte vijf opdrachten binnen, waarvan er bij de beurs van november al drie waren uitgevoerd. Een factor in het succes is het nieuwe ‘Product Design Center’ van de beurs, dat zich beijvert om buitenlandse ontwerpers te koppelen aan de lokale industrie. Deze volgt het dictaat van het twaalfde vijfjarenplan dat ‘Made in China’ moet veranderen in ‘Designed in China’. De Desk bouwt een sterk netwerk met CEO’s van lokale bedrijven en organisaties. Zowel de Workspace als de Desk in China onderhouden nauwe contacten met de Nederlandse ambassade, consulaten en NBSO’s in China. Kleinere schaal in 2012 Voor de continuïteit van aandacht is het belangrijk dat Nederlands ontwerp in China zichtbaar blijft. Na intensieve investeringen in de afgelopen jaren is daarvoor in 2012 geen groot budget meer beschikbaar. Slimme combinaties van aanwezige middelen (films, boeken) en mensen moeten voorkomen dat de aandacht verslapt. Een speciale rol is er voor de Nederlandse mode, die in China minder sterk is gepositioneerd dan design en architectuur. De presentatie Dutch Fashion Here & Now (uit 2010) krijgt daarom in 2012 een vervolg. Design for Daily Life Thema’s: goedkope huisvesting, duurzame stedenbouw, kwaliteit van publieke ruimte, zorg voor ouderen en gezondheid, design thinking voor duurzamere en betere producten, verbinden van ambacht en innovatie, nieuwe ‘glocal’ identiteit in mode.
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DutchDFA Activiteitenverslag 2011
Aanzet tot het slotakkoord
Duitsland In 2011 verscheen het door INHolland/CBRD in opdracht van DutchDFA samengestelde onderzoeksrapport ‘Kansen op de Duitse Markt – Mythen en Mogelijkheden voor Nederlands design, mode en architectuur in Duitsland’. Zoals de titel aangeeft rekent het rapport af met enkele hardnekkige mythen over het gemak waarmee Nederlandse ontwerpers in Duitsland kunnen ondernemen. Duitsland mag dan wel Nederlands belangrijkste handelspartner zijn, maar de Duitse markt is voor buitenlandse ontwerpers buitengewoon krap. Het Nederlands ontwerp geniet in het Duitse bedrijfsleven geen sterk imago. Ondanks de fysieke nabijheid zijn de culturele verschillen tussen de twee landen soms buitengewoon groot. En tot slot: een goede beheersing van de Duitse taal is een voorwaarde voor de opbouw van langdurige werkrelaties. Toch zijn er wel degelijk kansen voor Nederlandse ontwerpers. Het rapport signaleert Duitse waardering voor de Nederlandse handelsgeest. Ook de manier waarop ontwerpers interdisciplinair kunnen samenwerken, de goede prijs-kwaliteitverhouding en de kwaliteit van designmanagement worden als sterke kenmerken van Nederlands ontwerp genoemd. Specifieke kansen biedt Duitsland op het gebied van duurzaamheid en in de sectoren stedenbouw, betaalbare mode en public information design. Bureaus die de conceptuele kwaliteiten van Nederlands ontwerp weten te verbinden met het technologisch vernuft van Duitse bouw- en maakindustrie hebben een sterke uitgangspositie. De keuze voor Duitsland als focusland was in 2008 vooral gebaseerd op een inschatting van de beroeps- en brancheorganisaties. Hun leden, zo werd toen verondersteld, zouden moeilijk de sprong naar China of India maken. Mede als gevolg van de economische crisis in Europa is het perspectief inmiddels drastisch veranderd. De markten van China en India zijn kansrijker, hoewel de drempels ook hoger zijn. Het DutchDFA programma kan daar een rol spelen voor ontwerpers die op eigen kracht de stap niet zouden zetten. De animo voor deelname aan missies en presentaties in China bleek de afgelopen jaren groot. Ook de BNO richtte zijn energie vooral op het programma in India en China. Duitsland heeft daarom in 2011 op de nominatie gestaan om als focusland te vervallen. Thematiseren Er zijn goede redenen om het uiteindelijk niet zover te laten komen. Tussen de Nederlandse en Duitse ontwerpculturen bestaat al sinds het begin van 20ste eeuw een diepe geestverwantschap. In de ontwikkeling van onderwijs, theorievorming en praktijk trokken Duitse en Nederlandse ontwerpers vaak samen op. Ook vandaag werken vrijwel alle Nederlandse ontwerpopleidingen samen met Duitse counterparts. Op intellectueel niveau liggen er kansen voor uitwisseling en dialoog. Vooral Premsela heeft zich daar de afgelopen jaren op gericht, onder meer door de Copy Culture conferentie in samenwerking met DMY Berlin, en met de schitterende maar complexe Basic Instincts tentoonstelling (Berlijn, zomer 2011) die in Duitse kranten serieuzere recensies kreeg dan in Nederland denkbaar zou zijn.
Ondernemen Recente cijfers van MODINT laten zien dat Duitsland voor de aangesloten mode- en textielindustrie het belangrijkste exportland is (omzet ruim 2 miljard euro). Vooral Nederlandse merken voor jeansmode en vrijetijdskleding zijn succesvol. Dat is jaarlijks zichtbaar op de Bread&Butter beurs in Berlijn. In 2011 legde de ‘Dutch Denim Diner’ van MODINT succesvol de link tussen deze beurs en de Basic Instincts tentoonstelling van Premsela. De samenwerking is het resultaat van vele uren coördinatie en afstemming in het kader van DutchDFA. Voor 2012 plant MODINT in samenwerking met andere Nederlandse modepartijen een herhaling van dit evenement. BNA startte eind 2011 het tweejarige programma ‘BNA International’ dat zich vooralsnog uitsluitend op Europa richt. In 2011 heeft het de Duitse markt diepgaand verkend en in 2012 worden er activiteiten ontwikkeld die aansluiten op thema’s als bouwen met water, herbestemming, industrieel erfgoed of inrichting van zorg; domeinen waar de Nederlandse aanpak kansrijk is. De voorbereiding van een Dutch Design Desk Europe, in 2012 te vestigen in Maastricht, kreeg het afgelopen jaar gestalte. De Desk gaat aansluiting bieden op professionele netwerken, relevante kennis rond Duitse organisaties verzamelen, duiden en ontsluiten en Nederlands ontwerp in Duitsland zichtbaar maken. Maurer United Architects, een bureau dat al jaren succesvol op de Duitse markt werkt, nam het initiatief. De provincie Limburg draagt in elk geval tot en met 2013 bij aan de Design Desk Europe, waarmee uitzicht is op continuering na 2012. De DDD Europe wil op termijn het werkterrein uitbreiden naar België en andere Europese landen. Nederland Vanaf 2011 is de impact van het DutchDFA programma in Nederland versterkt onder het motto ‘internationalisering begint thuis’, met als doel de opgedane kennis en netwerken zichtbaar en toegankelijk te maken en tegelijkertijd de internationale uitstraling van Nederland te versterken. In DutchDFA verband gemaakte tentoonstellingen keren terug naar Nederland: in de zomer van 2011 was de tentoonstelling ‘daringdesign’ (voorheen Taking a Stance), met acht Chinese en Nederlandse ontwerpers, na drie locaties in China de openingstentoonstelling van het hernieuwde NAi. In 2012 zullen zowel Connecting Concepts als Basic Instincts in Nederland te zien zijn. Twee nieuwe internationale conferenties maakten in mei 2011 met steun van DutchDFA hun debuut: tijdens Creative Amsterdam deelden Nederlandse ontwerpers hun buitenlandse ervaringen met vakgenoten en vinden strategische workshops internationaal ondernemen plaats. What Design Can Do bracht aansprekende ontwerpers uit Europa, Azië, Noord- en Zuid-Amerika naar Amsterdam om te spreken over de maatschappelijke impact van hun werk. Journalisten en belangrijke relaties uit de focuslanden werden uitgenodigd voor deze conferentie, evenals voor Amsterdam Fashion Week en Dutch Design Week Eindhoven.
Het programma in Nederland voor 2012 staat in het teken van overdracht van kennis en netwerken, verankering van de resultaten van DutchDFA en waarborgen van een goede opvolging in nieuwe programma’s en organisaties, onafhankelijk van budgetten. Dit gebeurt door ‘het buitenland naar Nederland te halen’, zoals buitenlandse sprekers voor What Design Can Do! en bezoekersprogramma’s voor personen uit het netwerk van de partners en buitenlandse journalisten bij belangrijke Nederlandse evenementen. Door kennis, netwerken en ervaringen te delen in workshops voor ontwerpers over internationaal ondernemerschap. En door te anticiperen op de periode na 2012, door het verzamelen, evalueren, communiceren en overdragen van resultaten, kennis en verworvenheden, in samenwerking met de DutchDFA partners, de ministeries, het SfA en de ontwerpers in het veld. De voorbereiding voor dit traject is in 2011 gestart. 2012 en verder Bij de presentatie van dit activiteitenverslag in april 2012 zal het DutchDFA programma alweer een flink eind op streek zijn in het laatste jaar. De eerste scenario’s voor het vervolg zijn geschreven en nieuwe varianten voor organisatie en financiering worden benoemd. Tegelijkertijd ontwikkelt het programma zich ook in deze laatste fase nog in volle vaart: in het nieuwe focusland Turkije leidt dat bijvoorbeeld tot een enorme opeenhoping van projecten in de tweede helft van het jaar. De nieuwe Workspaces en Desks moeten in korte tijd voldoende op stoom komen om hun voortbestaan na 2012 te waarborgen. Het voor Berlijn in 2011 opgezette samenwerkingsverband voor internationale presentatie van Nederlandse mode moet dit jaar in Delhi en Istanbul projecten van de grond krijgen. Het realiteitsgehalte van de grote ‘ontwerpend onderzoek’ projecten Matchmaking NAi en Delhi2050 wordt in 2012 sterker beproefd. Tentoonstellingen staan klaar om verder te reizen. Lijsten voor dit jaar uit te nodigen bezoekers en bezoekers liggen klaar. Met andere woorden, in het zicht van de eindstreep worden de wegen in het landschap daar voorbij al verkend, maar wordt geenszins afgeremd. Het DutchDFA programma is daarvoor te kort. Het tijdelijke karakter van het programma, met de einddatum vanaf het begin al in beeld, heeft het steeds een nuttige urgentie verleend. Zo lang het nog kan, moet uit de huidige constellatie het maximale worden gehaald. Al is het maar om zo goed mogelijk te weten wat daarna behouden moet blijven. Het vaststellen daarvan vindt nu plaats. In 2012 maken we de ‘road map’ voor de overdracht. Christine de Baan Programmadirecteur Namens de Regiegroep, Programmagroep en Programmabureau Dutch Design Fashion Architecture
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Programme Germany Market Research ‘Doing Business in Germany’
What: market research Where: downloadable at dutchdfa.nl, presented at Dutch Design Week (NL) and the German-Dutch Business Day in Mönchengladbach (DE) When: September 2011 Who: CBRD INHolland, Lodewijk Reijs To map the concrete opportunities for Dutch designers in the German market, DutchDFA commissioned the Centre of Applied Research in Cross-media, Brand, Reputation and Design Management (CBRD) at the INHolland University of Applied Sciences to undertake in-depth market research into the realms of design, fashion and architecture. The recommendations that emerged from the ‘Doing Business in Germany’ report focus on professionalising designers and/ or entrepreneurs operating in the German market. The report identifies three types of entrepreneur – starters, pioneers and generators – with varying degrees of experience in the German market, that need specific strategies. Besides this, the report highlights several sectors in which Dutch designers will be able to carve out a niche and make their mark. The report also shows that the cultural differences between the Netherlands and Germany are still relatively large. The summary of the report is available for download on the DutchDFA website.
Koos Staal
graphic designer
“I’ve been targeting the German market for a while now, and I’ve discovered that it costs considerably more time and requires greater persistence than I had thought. I downloaded the summary of ‘Doing Business in Germany’, and besides identifying potential pitfalls it offered great suggestions for entrepreneurs with a focus on Germany. The report gave me the courage to persist and continue seeking out opportunities in Germany.”
60%
supported by DutchDFA
50%
supported by DutchDFA
German-Dutch Business Day What: workshop on doing business in Germany at business event Where: Germany, Mönchengladbach When: 24 November 2011 Who: the Netherlands Embassy in Berlin and Consulates General in Düsseldorf and Munich, the Netherlands Business Support Offices (NBSO) in Frankfurt, Hamburg, Leipzig and Stuttgart, the German Chamber of Commerce, BNO, CBRD INHolland On 24 November a German-Dutch Business Day was organised by the Netherlands Business Support Office (NBSO) network in Germany and the German Chamber of Commerce in Mönchengladbach. The Netherlands Embassy in Berlin and DutchDFA organised a morning programme for Dutch creative entrepreneurs within this event. This involved a workshop by CBRD INHolland about doing business in Germany based on the market research report and dovetailed with the international professionalisation programme that the Federation of Dutch Creative Industries initiated under the auspices of the BNO and with the support of DutchDFA. The workshop was aimed at creative entrepreneurs in the initial stages of undertaking an international strategy, given that the majority of the 50 workshop participants had made limited inroads into Germany. The afternoon programme, which was attended by about 250 people, included an information market and the ‘GermanDutch Roundtable for Design, Fashion and Architecture’, a forum discussion moderated by Dutch Design Desk Europe. See also page 70, article by Helma Weijnand-Schut and Jaap van der Grinten
Setting up a Dutch Design Desk Europe What: business support for Dutch creative industry Where: The Netherlands, Maastricht When: preparatory phase, October 2011 – January 2012; start February 2012; official launch, April 2012. Who: Marc and Nicole Maurer, Peggy Smeets (Maurer United Architects) in collaboration with DutchDFA partners, local partners and government networks in Germany and the Netherlands Maurer United Architects elaborated a business plan for a Dutch Design Desk Europe (DDDE) as a support office for creative industries with a focus on Germany. The ‘Doing Business in Germany’ report underscores the opportunities that exist in the German market, but it requires persistence to establish a serious position. DDDE supports creative entrepreneurs in the German market by offering practical, tailor-made advice. The desk will also be organising matchmaking activities and workshops about specific themes and events in order to bring together Dutch and German counterparts in an interactive way. DDDE actively promotes the Dutch creative sector and serves as a networking hub. It has already hosted events such as the German-Dutch Roundtable for Design, Fashion and Architecture during the German-Dutch Business Day 2011 in Mönchengladbach. DDDE will be up and running from its base in Maastricht from February 2012. The Euroregional approach and the financial backing of the Province of Limburg give DDDE a solid footing, which will help it to continue after the DutchDFA programme has drawn to a close. www.dutchdesigndesk.eu
Basic Instincts What: development and installation of exhibition Where: Germany, Berlin When: 30 June – 31 July 2011 Who: Premsela in collaboration with José Klap and Sandor Lubbe (Zoo Magazine), Luca Marchetti and Emanuele Quinz (Mosign), and Hendrik Vibskov. In exhibition: Oda Pausma, Monique van Heist, Klavers van Engelen, Anne de Grijff, Iris van Herpen, Gionata Gatto, Daphna Laurens, Frederike Top, Anne Holtrop, Pieke Bergmans, Lex Pott, STEALTH.unlimited, LAB van Abbema, Sharon Geschiere, Studio Glithero, Bo Reudler, Pascal Smelik, Powerhouse Company, Scholten & Baijings, WHIM architecture, Paula Arntzen, BCXSY, Georgios Maridakis, Jo Meesters, Siba Sahabi, Doepel Strijkers Architects In July 2011, Premsela presented the multidisciplinary ‘Basic Instincts’ exhibition about the latest visions within Dutch fashion culture. ‘Basic Instincts’ presented ideas in six different modules that have their roots in fashion but also intersect or interact with other disciplines including design, architecture and visual arts. The exhibition opened on 30 June 2011 at Villa Elisabeth in Berlin and was aimed at an audience of professionals and fashion connoisseurs. Thanks to this focus, the exhibition received ample coverage in highquality international media, including Vogue Deutschland. A special iPad Magazine was produced to accompany the exhibition. Besides receiving high praise in the press, ‘Basic Instincts’ generated business for several participating designers, including design commissions, new retail outlets and requests to participate in upcoming exhibitions. Next to ‘Basic Instincts’, two other networking activities took place in during Berlin Fashion Week as part of the DutchDFA programme: Dutch Denim Diner and GermanDutch Fashion Dialogues (by education partner ArtEZ Institute of the Arts and the Netherlands Embassy in Berlin). These two events were joint initiatives by several partners in the Dutch creative industry, complementing each other and connecting culture to doing international business.
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Programme 65%
supported by DutchDFA
Wahlverwandschaft German guests at Dutch Fashion Awards What: Dutch Fashion Awards and Résidence de la Mode Where: The Netherlands, The Hague When: 4 – 5 November 2011 Who: Dutch Fashion Foundation, Sebastian Hennecke (Bread&Butter Berlin), Julia Menthel (Agency V) and Kira Stachowitsch (Plastic Media)
60%
supported by DutchDFA
Dutch Denim Diner Berlin What: matchmaking platform for fashion and design industry Where: Germany, Berlin When: 6 – 8 July 2011 Who: MODINT, James Veenhoff, Café George, …staat creative pr, Bugaboo, AAA Fashion Cluster, Denham, Levi’s The Netherlands, Estral/Fred de la Bretoniere, Work in Progress (Carhartt), Netherlands Embassy Berlin On the initiative of MODINT, several Dutch denim brands joined forces in Berlin from 6 to 8 July to create a fashionable networking event. The Dutch Denim Diner, a.k.a. Der Georg, located at the Alte Münze in Berlin was a central meeting point and hangout for Dutch creative professionals who attended the Bread&Butter tradeshow and/or Berlin Fashion Week. MODINT and partners initiated the Dutch Denim Diner for guests to enjoy the atmosphere, connect with other business associates and gain a better understanding of why the Dutch have become one of the world’s leading brand builders for denim. The Dutch Denim Diner was a restaurant, meeting place, business event space, mobile office, showroom and temporary ‘consulate’ for Dutch fashion, design and denim professionals. The larger fashion labels were enthusiastic about this Dutch pop-up formula, which is set to return to Berlin in July 2012. The Diner quickly rose to the attention of many key players in fashion, wanting to know what the fuss was about. Partly by design and partly by change, a fashion hub formed around the Diner which was looked upon by the tradeshow with mild envy. The Diner also caught on in the Netherlands, with a feature on RTL Boulevard which was seen by over a million people. See also page 56, article by James Veenhoff
On 4 and 5 November, representatives of Bread&Butter Berlin, Agency V and Plastic Media from Germany were invited to the fifth edition of the Dutch Fashion Awards at the Grote Kerk in The Hague. As the organiser, the Dutch Fashion Foundation introduced them to the shortlisted designers and gave them a guided tour of The Hague, taking in the work of Dutch fashion talents along the ‘Résidence de la Mode’ fashion route. The guests from Germany expressed their enthusiasm for Dutch design talent and their willingness to provide with support where possible In particular, Bread&Butter informed MODINT that it is interested in a partnership for a second edition of the Dutch Denim Diner in Berlin in July 2012. The winners of the Dutch Fashion Awards – Conny Groenewegen and Hyun Yeu (Ado Les Scents) – have been granted a slot during the 2012 Mercedes-Benz Fashion Week in Berlin.
What: presentation at design fair Where: Germany, Cologne When: 17 – 23 January 2011 Who: David Derksen, Pepe Heykoop, Klaas Kuiken, Danny Kuo, Amba Molly, Erik Stehmann, Anna ter Haar, Yuya Ushida, Tim Vinke, Sjoerd Vroonland, Barbara Wendling, Joost Bachus, Heimat Design and the Netherlands Consulate General in Düsseldorf Under the title ‘Wahlverwandschaft’, which means ‘elective affinity’, young Dutch designers presented their concepts and projects at the Designers Fair, the platform for young designers at the Internationale Möbel Messe in Cologne. They were invited by Heimat Design, which has been organising the Designers Fair for the last three years. ‘Wahlverwandtschaft’ was visited by 12,000 professionals and showcased the conceptual nature of Dutch design, which Germans perceive as an important distinguishing feature. Moreover, when selecting the participants, special attention was paid to the suitability of their work to industrial manufacture. The eye-catching Dutch presentation generated media coverage in newspapers and magazines, on ARTE television, radio and blogs. Workshops and coaching provided the designers with extra information about doing business in Germany. The Dutch product designers established useful contacts and conducted serious negotiations with manufacturers and retailers. For some of them this led to design commissions and actual orders.
61%
supported by DutchDFA
Norm=Form Leipzig What: symposium Where: Germany, Leipzig When: 2 September 2011 Who: Foundation Design Den Haag, BNO, the Netherlands Business Support Office (NBSO) in Leipzig, and the Royal Academy of Art (KABK), The Hague On 2 September 2011, the ‘Norm=Form’, über Standardisierung und Design’ symposium took place in Leipzig, a collaboration between the Netherlands and the Federal State of Saxony. The symposium was organised by Foundation Design Den Haag and the Verband Deutsche Industrie Designer (VDID) as a follow-up to the initial presentations at the Gemeentemuseum (Municipal Museum) in The Hague in 2010 and during RUHR.2010 in Essen. Dutch and German designers and companies illustrated the influence of normalisation on product design, visual communication, architecture and fashion, and provided a critical commentary. The ‘Norm=Form’ symposium in Leipzig attracted 100 visitors. BNO arranged a coach trip for Dutch designers to attend the symposium. The programme included a scaled-down ‘Norm=Form’ exhibition, six company presentations in Pecha Kucha style, a Dutch-German student workshop and a matchmaking session.
China
27
43%
supported by DutchDFA
NAI Matchmaking China What: collaboration between Dutch and Chinese architects, Chinese project developer VANKE and the NAI Where: China, Hangzhou and Beijing When: December 2010 – December 2011 Who: NAI, KCAP, NL Architects, NEXT architects, Arons en Gelauff architecten, Barcode architecten. From China: VANKE, Urbanus, Standard Architecture, NODE architecture, O-Office architecture, Amateur architecture
Preparing for Dutch Design College China
The Netherlands boasts a long, high-quality tradition, reputation and expertise in the realm of affordable housing. In rapidly growing economies such as China, India and Brazil there is a great need for such social housing. Starting from this theme, the NAI selected five Dutch architects and paired them with five local architects in China for a matchmaking programme. This involved making a well-considered choice based on the capacities of these architecture firms as well as their experience with designing social housing and with operating in China. These Dutch and Chinese architecture firms were paired with wellknown local project VANKE developer for an actual assignment. They investigated the development project as a team and devised a masterplan, in which the identities of various participants would remain intact. The projects are set for construction in 2012. The contract was signed in Beijing in the presence of Halbe Zijlstra, State Secretary for Education, Culture and Science. The design results of Matchmaking China were exhibited at the Shenzhen & Hong Kong Bi-City Biennale of Urbanism/ Architecture in December under the title Housing with a Mission, with special attention to the process of collaboration and the current living conditions of young Chinese urban professionals for which the affordable housing is intended. During the ‘What Design Can Do!’ conference in May 2011, the NAI’s ‘Green From Scratch’ forum discussion in July and the NAI’s ‘Building Together’ debate in October, the NAI drew attention to the Matchmaking project in the Netherlands. Project developer VANKE has approached the NAI for a second project, specifically focussed on housing for senior citizens in Shenzhen. For this project the NAI is intending to undertake the selection of some participants itself, the rest is chosen by means of a competition organised by the BNA. VANKE has already invested a total amount of 325.000 Euro in the Matchmaking project vs a 40.000 Euro contribution from the DutchDFA programme. See also page 54, article by Ole Bouman
What: Bachelor programme and Master workshop in China and the Netherlands with a focus on Dutch design Where: China, Beijing When: in development since January 2011 Who: initiative of Michel de Boer with Design Academy Eindhoven, Ambow Shanghai, and the Central Academy of Fine Arts of China (CAFA) in Beijing Michel de Boer, former Creative Director of Studio Dumbar, developed a plan to set up a new educational programme for design with the aim of strengthening design cooperation between designers in the Netherlands and China. The fouryear educational programme will be based on a two-year programme for Chinese students in China followed by them choosing a suitable academy in the Netherlands to complete their education. CAFA and Design Academy Eindhoven are currently developing the syllabus for this Alongside this initiative, a postgraduate workshop programme of six months will be set up in China, involving Chinese and Dutch postgraduates working together for a Dutch or Chinese company on an actual design assignment. The educational programme hopes to link Dutch and Chinese designers at the very start of their careers and ultimately enhance the design ties between the two countries. DutchDFA has supported the development of the plan in 2011. During Beijing Design Week in September 2011, Michel de Boer and the Ambow educational institution signed a memorandum of understanding to collaborate on the post-graduate workshop programme as a first step towards realising the Dutch Design College, which is set to open in September 2012. Exhibition Housing With a Mission
See also page 74, article by Michel de Boer
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Programme China
Beijing Design Week
100%
supported by DutchDFA
Initial Phase Dutch Design Desk, Greater Pearl River Delta What: setting up a business support unit for the Dutch creative industry Where: China, Guangzhou / Greater Pearl River Delta When: operational since April 2011 Who: initiated and supported by the DutchDFA programme, coordinated by Teun Hompe and Vanessa de Groot in collaboration with the Netherlands Consulate General in Guangzhou The Dutch Design Desk for the Greater Pearl River Delta (DDD GPRD) was established in April 2011 as a regional hub for Dutch designers who are active in the disciplines of design, fashion and architecture and are keen to enter the Chinese market in the GPRD area situated between Hong Kong, Shenzhen and Guangzhou. This area is acclaimed as one of the world’s major industrial powerhouses. There are myriad manufacturing companies located there, and these are increasingly looking for innovative designers who can help them develop their own lines, alongside the products that these factories manufacture to order. The DDD supports designers who are making their initial steps into this challenging environment, with services such as local marketing and promotion, contact management and tailor-made practical advice. DDD GPRD has supported two missions to the Canton Fair, has organised various excursions for Dutch designers to visit Chinese design and fashion players in the region, and has initiated networking events and informative meetings about doing business in China. It has become an important point of contact for Chinese companies that are seeking Dutch design expertise. www.dutchdesigndesk.com
34%
supported by DutchDFA
Hong Kong Business of Design Week What: Dutch design promotion at the IDT Expo Where: China, Hong Kong When: 1 – 3 December 2011 Who: Dutch Design Desk, the Netherlands Consulate General in Hong Kong, Springtime, Ask4Me Group, SST! Design Collective, Ping-pong Design, Studio Mango, Link Design, Manualise, Greyscale Ltd., Studio tanjasoeter During the Hong Kong Business of Design Week, the Dutch Design Desk Greater Pearl River Delta (DDD GPRD) was present on behalf of nine Dutch companies with the ‘Dutch Design Works’ display. Besides its collective promotion of Dutch design, DDD GPRD established at least three contacts with potential partners for specific business leads for the participating companies. With the Design Desk being able to represent these companies during the show, it was unnecessary for them to be present themselves. Costs were reduced but Dutch visibility was increased thanks to the collective representation in a joint display. Additionally Giel Groothuis (Dutch Design Workspace Shanghai) and Vanessa de Groot (DDD GPRD) gave lectures on Return on Investment of Dutch Design on 2 December.
What: Connecting Concepts, Liberation of Light, Next City, Book Lounge, Dutch Profiles videos, trade mission, conference programme Where: China, Beijing When: 25 September – 3 October 2011 Who: Premsela, Capital D/Design Cooperation Brainport, Intelligent Lighting Institute/TU-e, City of Eindhoven, Yksi Design, HHD Fun, BNO, the Netherlands Embassy in Beijing, Netherlands Business Support Office Tianjin. Business delegation: Carmela Bogman, Desso, Dorette Sturm, Except Integrated Sustainability, HOSPER International BV, IAA Architects, Jacob Alkema, Jonas Samson, KCAP, Dutch Design College, MVRDV, Northern Light Plantlab, Rataplan Design, Rethinking Group Design, Sophie Valla Architects, Stefan Al Architects, Studio Roosegaarde, Totems, Trudo, Creative Amsterdam, NwA Architecten, Studio Dumbar, The Shop, Bureau Mijksenaar, Sandberg Institute, BIFT, Hybrid Space Lab The Beijing Design Week (BJDW), China’s most important design event, took place for the first time in 2011. The DutchDFA partner organisations combined their individual ambitions and projects to realise a manifestation with a common theme, connecting an urgent local issue from both a cultural end a business perspective. The theme ‘Smart Cities, Healthy Cities’ focussed on smart design solutions that contribute to the sustainability and liveability of our rapidly urbanising surroundings. With 2,200m2 of exhibition space, the Netherlands the largest national presentation at BJDW. The ‘Dutch Design Generator’ in the former power station at the 751D-Park provided space for two exhibitions: ‘Connecting Concepts’ and ‘Liberation of Light’. There was also a small presentation about ‘The Next City’ student exchange project, which involved eight academies and universities from the Netherlands and China working together on a concept for the city of the future. The results were compiled in a book that was launched during BJDW. The Book Lounge, with a large variety of Dutch design books was hugely popular, as was the mini cinema with Dutch Profiles.
The Dutch Design Generator was also host to an Open Light masterclass of Intelligent Lighting Institute/TU-e and Tsingua University for Dutch and Chinese students in which they created location specific light experiences. A trade mission was organised with a focus on matchmaking between Dutch and Chinese counterparts, supported by the Netherlands Embassy and NBSO Tianjin. The 23 participants in the business delegation established useful contacts with the local business community and some have already received commissions. A partnership agreement for the Dutch Design College in China was officially signed, as well as an agreement between Beijing Design Week and Dutch Design Week. The Dutch Design Generator attracted thousands of Chinese and foreign visitors as well as representatives of 50 local and international media. This led to overwhelmingly positive coverage in the media and via online social networks. Close to 100 articles on the Dutch Design Generator were published in Chinese, Dutch and international media. The total value of which was estimated at well over half a million euros. See also page 60, article by Machtelt Schelling
Aric Chen
Creative Director, Beijing Design Week
“Undoubtedly one of the key, and most exciting, contributions to Beijing Design Week 2011 is the Dutch Design Generator, organised by DutchDFA. This highly ambitious programme of exhibitions, film screenings, talks and other events captures in a snapshot all those qualities that make Dutch design such an international force: conceptual rigour, expansive thinking, a sense of social urgency combined with pitch-perfect wit.”
31
77%
supported by DutchDFA
Connecting Concepts What: travel of exhibition Where: China, Beijing and Shanghai When: Beijing, 25 September – 3 October 2011, and Shanghai, 26 October – 1 November 2011 Who: Premsela, NAI, Capital D/Design Cooperation Brainport. In exhibition: AFIR Architects, Octatube International Industrials BV and Holland Composites BV, Buro Petr van Blokland + Claudia Mens, LettError, Flex/the innovation lab, Hyperbody/Faculty of Architecture, Delft University of Technology, NL Architects, François Geuskens en Zeger van der Voet, Marloes ten Bhömer, G+N, Peter Verheul, Monique van Heist, West8 Urban Design and Landscape Architecture, Fibercore Europe Ltd., Marcel Wanders, Richard Hutten, Joost Grootens, Thonik, Florian Idenburg, Ted Noten, Powerhouse Company, Maria Blaisse, Painted, Mijksenaar, the Dutch province of Zuid-Holland and the Ministry of Infrastructure and Environment, Senz Umbrellas, Tjeerd Veenhoven, Alexander van Slobbe, Roel Wouters, Indian Type Foundry, Plantlab, To Meet You, The Shop, Urbanus Architecture and Design In 2011 the ‘Connecting Concepts’ exhibition was part of the Dutch participation in Beijing Design Week and Shanghai International Creative Industry Week with a lecture programme in both cities. The exhibition uses appealing examples of Dutch design, fashion and architecture to reveal the processes that underpin a Dutch design approach. By showing the modus operandi as well the resulting design, the exhibition establishes a starting point for a dialogue between the Dutch design world on the one hand and foreign designers and potential clients on the other. The solution-driven ties that these sectors are forging between technology, industrial innovation, social issues and economic development form another central idea in this presentation. Local designs are added to the exhibition at each stop, interconnecting the design cultures and prompting dialogue. The exhibition and an accompanying programme foster network development, collaboration in the realm of education, and the opportunity to make the acquaintance of designers, professional and sectoral associations, and prospective clients. Although the exhibition is no product presentation, some items have drawn serious interest of potential clients.
27%
supported by DutchDFA
Liberation of Light What: travel of exhibition and trade mission Where: China, Beijing and Guangzhou When: Beijing, 25 September – 3 October 2011, and Guangzhou, 9 – 11 December 2011 Who: Capital D/Design Cooperation Brainport, the City of Eindhoven, Yksi Design. In exhibition: Arnout Visser, Arup & Rogier van der Heide, Christa van Santen, Cristina Ferraz Rigo, Daan Roosegaarde, Damian O’Sullivan Design, Denovo Design, Dorette Sturm, Eindhoven municipality, The Lux Lab, Eric Klarenbeek, Eric Toering, Frank de Jong, Hans Wolff, Har Hollands Lichtarchitect, Blik-vanger, Henk van der Geest, Holst Centre, Jacob Alkema, Jasper Pieterse, Jonas Samson, Lagusski, LAMA concept, Lijmbach, Leeuw & Vormgeving/Zeno products, Studio Drift, M+R interior architecture & Flos, GLOW festival, NYOYN, OOOMS, Pakwing Man, Philip Ross/Aesthetic Interactions, Philips Lumiblade Creative Lab, PlantLab, Raimond Puts with Ox-ID/Moooi, Philips Lumiblade, Tom Veeger, UNStudio, Van Eijk & Van der Lubbe. Business delegation Guangzhou: Herman Kuijer, Barcode Architects, Dorette Sturm, ELV Architecten, GO West Project, Inbo Adviseurs B.V. Information Based Architecture, KCAP Architecten, Luminoux, MVRDV, NL Architects, Roodbaan Architectuur, Studio Roosegaarde. Business delegation Bejing: see Bejing Design Week. During the Beijing Design Week and Guangzhou Design Week, Capital D/Design Cooperation Brainport initiated a trade mission around the theme of light, technology and design, in conjunction with Yksi Design as well as the Dutch lighting industry and design world. With an exhibition, fringe programme, matchmaking activities and excursions to local industry, the trade mission profiled the Netherlands as a trendsetter in the realm of innovative design and lighting technology. Both missions generated business leads and a growing expertise about doing business in China. The Matchmaking programme in Guangzhou was set up in close collaboration with the Dutch Design Desk and the NAI. A networking event was organised with the Dutch Consulate General in Hong Kong. See also page 66, article by Robert Jan Marringa
Follow-up Next City Masterclass What: educational exchange project, exhibition & conference, publication Where: China, Beijing When: October 2010 – December 2011 Who: The Why Factory (Faculty of Architecture, TU Delft), Schools of Architecture and Design at the Central Academy of Fine Arts of China (CAFA), the Sandberg Institute, ArtEZ Fashion Masters, Beijing Institute of Fashion Technology, Design Academy Eindhoven, Tsinghua University October 2010 saw the launch of ‘The Next City – Living and Lifestyle in Future Cities’ masterclass in the Netherlands, an intercultural and interdisciplinary exchange project involving students and lecturers from eight leading Dutch and Chinese educational institutions. The key question was how and where cities must change in order to achieve sustainable growth in the future. The masterclass fostered the sharing of knowledge about the ‘research by design, design by research’ training methodology. The students initially undertook working visits to China and the Netherlands, then in 2011 continued to work on their design assignments in their home countries. The research results were presented in a small exhibition and a conference during Beijing Design Week and were incorporated into an international publication, NEXT Designing Education Learning from The Next City, edited by Jennifer Sigler. The publication features essays by key leading education figures such as Wang Min (Dean of CAFA Design School) and Winy Maas (Dean of Why Factory/TUD and director of MVRDV). NEXT is distributed in China by FRAME China and is available through DutchDFA.
Book Lounge What: presentation of Dutch design books Where: China, Beijing, Shanghai, Shenzhen When: Beijing, 25 September – 3 October 2011, and Shanghai, 26 October – 1 November 2011, Shenzhen 7 - 11 December 2011 Who: HHD_FUN, Fonds BKVB Every year the Netherlands Foundation for visual arts, design and architecture (known as Fonds BKVB) subsidises about 50 publications on and about artists, designers and architects. The most interesting and surprising Dutch art, design and architecture books have been brought together in the Book Lounge, which in 2011 was part of the Beijing International Book Fair, Beijing Design Week, Shanghai International Creative Industry Week and Shenzhen Biennale. The Book Lounge was designed by the Beijing based architects HHD_ Fun. It presents over 120 books, showing the works of well-known artists, designers and architects from the Netherlands and serving as an illustration of the best in Dutch book design. The books were kindly provided by the Fonds BKVB.
3232
33
Programme China
75%
supported by DutchDFA
Shanghai International Creative Industry Week
58%
supported by DutchDFA
What: Connecting Concepts, Dutch Design Display, Dutch Profiles, Installation by Daan Roosegaarde, Book Lounge, Pecha Kucha presentations from participants of the Dutch Design Workspace & network drink Premsela talk on the changing role of Graphic Design Where: China, Shanghai When: 26 October – 1 November 2011 Who: Dutch Design Workspace, Premsela Consulate General Shanghai; Studio Roosegaarde, lectures by Thomas Widdershoven (Thonik) and Joost Grootens (Studio Joost Grootens); Li Degeng, Zhou Zhengfang (Studio Dumbar China); participants Connecting Concepts
Trade Mission to Canton Fair What: trade mission to and participation in Canton Fair Where: China, Guangzhou / Greater Pearl River Delta When: 23 – 27 April and 15 October – 4 November 2011 Who: Studio Mango, No Office, We Are Perspective / PEZY, Studio CQ, Celia Sluijter, Hektik.cc, 3House Productions, Running Tiger Studios, Ask 4 Me Group, Three Dogs, Fang Studio, BASIX, Esther van Wijck, Studio Stout, Manualise, Springtime, SST! Design Collective, Spizes by Leontine Wagenaar, Ineke Otte, Studio tanjasoeter, Studio Plot, A Fish Named Fred, Sylver, dEEEsign, Ping-pong Design, Link Design, Ytrends In April and October 2011 a delegation of Dutch designers and design bureaus led by BNO and Syntens travelled to China to participate in the Canton Fair. The aim of the missions was to generate commissions from China for Dutch designers. The Canton Fair takes place twice a year and is China’s biggest import/export event and boasts no fewer than 22,000 exhibitors. The Chinese government supports the fair’s Product Design Center (PDC), which was established to stimulate interchange and cooperation between exhibitors and foreign designers in order to develop higher-quality products. The missions’ positive outcomes demonstrate the fertile market opportunities for Dutch designers. Dutch design received attention in various Chinese media, including national television coverage. Five deals were already sealed after the first mission in
April and several designers invested in a follow-up visit, because of the good business prospects that presented themselves. After the mission in October, the deals that were clinched ranged from designing a ceramics line to womenswear and from electronics to branding consultancy. Local support was offered by the Dutch Design Desk in Guangzhou, who maintain personal relations with Chinese market players.
The Dutch design world has been present during the Shanghai International Creative Industry Week (SICIW), an international platform for promotion, networking and the exchanges of ideas for the creative industries, since 2005, initially with the support of the Dutch Consulate General in Shanghai and since 2009 with the backing of the DutchDFA as well. The annual presence is now bearing fruit, and this year the Dutch delegation was allocated space in Red Town, the design hotspot during SICIW. Under the headline theme of ‘Dutch Design Thinking’, the Dutch contribution consisted of the ‘Connecting Concepts’ presentation with appealing examples of the Dutch design approach. The exhibition also served as a visiting card for Dutch enterprises active in China, which were represented in the Dutch Design Workspace’s ‘Dutch Design in China’ display. Dutch Profiles videos and Book Lounge on Dutch Designers were presented and there was a Pecha Kucha evening. The successful Book Lounge was also part of the Dutch presentation in Shanghai. This varied programme about the Dutch design mentality, in which sustainability and innovation are key, won the SICIW Best Innovation and Practice Award.
35
50%
supported by DutchDFA
Dutch Design Workspace Shanghai What: incubator for the Dutch creative sector Where: China, Shanghai When: Since 30 July 2010, under the direction of Giel Groothuis Who: MVRDV, KCAP, Five Spices, NorthernLight, Totems, Studio Roosegaarde, Los Stadomland, dBOD, UXUS, FroQ, Bloei, Marcin Gajewski, VANMOOF, Ector Hoogstad Architects, Bugaboo, AMOD China, Go West Project, Marco Klein+Partners, Design House, WGSN, Wharton Technologies, H+5, Rosetto Solutions, Amado&Burgess, Carpa Design
74%
supported by DutchDFA
100% Design Shanghai What: Dutch Design Day with Dutch keynote speaker, Pecha Kucha company presentations and Dutch Profiles videos Where: China, Shanghai When: 3 – 5 November 2011 Who: Giel Groothuis (Dutch Design Workspace Shanghai), Richard Hutten, Martine Vledder (MVRDV), Jeroen Jonkers (NorthernLight), Lin An (Totems), Daan Roosegaarde (Studio Roosegaarde), Thomas Widdershoven (Thonik), Huangxun (KCAP), Huub Buise (the Netherlands Consulate General in Shanghai) In the wake of its success in London and Tokyo, an edition of 100% Design has been organised in Shanghai every year since 2008. One of the 2011 highlights was the Dutch Design Day, which was organised on the initiative of the Dutch Design Workspace Shanghai (DDWS) on 4 November and took the theme of ‘Design for Daily Life’. Selected Dutch Profiles videos were screened during the Dutch Design Day, four Dutch design bureaus operating from the DDWS gave a company presentation, and the internationally successful Dutch product designer Richard Hutten gave a keynote lecture. The Dutch Design Day was realised using relatively few resources, yet the event was highlighted in the fair’s catalogue, immediately after the word of welcome by Michael Young, Creative Director of 100% Design. Dutch design received plenty of attention from Chinese professionals as well as in trendsetting media, generating business leads for participating companies.
37%
supported by DutchDFA
Mission to China on behalf of the Dutch interior design sector What: expanding and enhancing the network of the BNI and the World Interiors Event in China, investigating business opportunities for Sino-Dutch collaboration Where: China, Hong Kong, Shenzhen, Guangzhou, Shanghai When: 1 – 17 December 2011 Who: Christine van Gemert and Gerrit Schilder for the BNI and the World Interiors Event In December, two representatives of the Dutch Association of Interior Architects (BNI) visited China to strengthen and consolidate brand awareness and networks for Dutch interior design. In Hong Kong they strengthened ties with various organisations that represent interior designers and with design courses. A network meeting was organised during Guangzhou Design Week, and Gerrit Schilder served as a representative of the Netherlands on the jury of the trendsetting Jintang Prize – Chinese Interior Design Award.
Mapping China What: market research Where: China When: 2011 Who: Bert de Muynck (MovingCities, Hong Kong) In 2011, DutchDFA commissioned Bert de Muynck, a Dutch architect and writer based in Hong Kong, to update an earlier mapping of the Chinese creative industries in the fields of fashion, design and architecture. The mapping provides insight into the current state of affairs in the Chinese design field and thus helps Dutch creative entrepreneurs to find their way in the Chinese design landscape, presenting an overview and description of relevant Chinese designers and design institutions. The mapping is intended to identify the opportunities for Dutch creative industries in China. The mapping will be presented in the spring of 2012.
The Dutch Design Workspace in Shanghai (DDWS) provides a workplace for Dutch designers who cherish ambitions to enter the Chinese market. It provides a workplace in an inspiring environment with colleagues from the field. The DDWS also offers support in the field of contact management and practical matters. External parties have found their way to the DDWS, to hire the event space for seminars, lectures, debates and training sessions about an array of subjects associated with design and business. Besides its specific package of services, the DDWS is devoted to promoting Dutch design in the local market. It regularly invites speakers to share their knowledge and experiences with participants in the Workspace. In May 2011 the DDWS launched the first edition of the Dutch Design in China Yearbook, an overview of more than 40 Dutch design bureaus, either with a permanent basis or with realised projects in China. The yearbook was produced in association with designers Studio Dumbar and Studio DimSum and with the support of the DutchDFA programme, the Dutch Embassy in Beijing and the Dutch Consulates in Shanghai, Hong Kong and Guangzhou. In October 2011, during the Dutch Design Thinking programme the DDWS concluded an agreement with the Kunshan Design Center, which involves both parties endeavouring to pair Chinese companies with Dutch designers; the first successful matches have already been forged. On 4 November, during the ceremony of 2011 China’s Most Successful Design Awards, Studio Roosegaarde won the Gold Award for ‘Dune’, an interactive piece of public art which reacts when people walk past. The other winner was NorthernLight, a specialist in exhibition and museum design. They took home the ‘Successful Design Award’. Lastly, the DDWS represented Dutch design bureaus during the Shanghai International Creative Industry Week and 100% Design Shanghai, and is now an important point of contact in Shanghai for Chinese companies seeking Dutch design expertise. See also page 62, article by Jeroen Junte
36
Programme Turkey Dutch Profiles at Istanbul Book Fair What: video presentation Where: Turkey, Istanbul When: 12 – 15 November 2011 A selection of Dutch Profiles videos was screened during the 30th edition of the Istanbul Book Fair at the TÜYAP Fair and Convention Center, Beylikdüzü. Featured designers included Joost Swarte, Dick Bruna, Joost Grootens, Irma Boom, Wim Crouwel, Thonik, Piet Paris, Rem Koolhaas, Michael van Gessel, Droog Design, Mels Crouwel and Royal Tichelaar Makkum. The Dutch presentation took place in the International Hall, where 30 other countries were represented.
100%
supported by DutchDFA
Setting up a Dutch Design Workspace in Istanbul What: feasibility study Where: Turkey, Istanbul When: 18 October – 22 November 2011 Who: Nurten Meriçer In late 2011 DutchDFA asked Nurten Meriçer (who has been working with Dutch designers in Turkey the past year) to undertake a study into the feasibility of a Dutch Design Workspace in Istanbul. Besides conducting desk research, she spoke with various potential partners in Istanbul and the Netherlands. Her most important conclusion was that in Istanbul a Design Desk, rather than a Workspace, could best function as a hub for Dutch creative entrepreneurs. A Design Desk can provide practical support (e.g. in the legal sphere), serve as a guiding ‘pilot’ for finding appropriate partners, and as a fulcrum for knowledge sharing and networking. In addition, a Design Desk could initiate lectures, workshops or product presentations. In conjunction with Nurten Meriçer, DutchDFA is devising a business model for the Design Desk Istanbul that will allow it to continue operating after 2012, without DutchDFA support, as a first port of call for Dutch creative entrepreneurs who are visiting Istanbul.
37
Programme
26%
supported by DutchDFA
Dutch Design Awards at Istanbul Design Week What: exhibition Where: Turkey, Istanbul When: 29 September – 2 October 2011 Who: Dutch Design Awards, Capital D/Design Cooperation Brainport, City of Eindhoven
Istanbul Design Week was held from 29 September to 2 October 2011, bringing together a diversity of players from the field of design at the inspirational location of the Old Galata Bridge. With the Dutch Design Awards presentation, the Netherlands showcased the best work by 2010’s winners and finalists, including Next Architects, Koen van Velsen, VANMOOF, Philips Design, Jeroen Vinken, Sander Plug, Studio Smack and Studio Dumbar, complemented by the screening of Dutch Profiles videos. Visitors could also visit the ‘Made in Brainport’ exhibition during Istanbul Design Week. These presentations were combined with a trade mission organised by Capital D/Design Cooperation Brainport and the Chamber of Commerce for North Brabant, which focussed on globally topical themes such as energy, water, gaming, health and design.
India
39
33%
supported by DutchDFA
81%
supported by DutchDFA
Connecting Concepts India What: development and travel of exbibition Where: India, Ahmedabad, Mumbai and Bangalore When: Ahmedabad 9 - 27 February, Mumbai 8 – 16 June, Bangalore 19 - 31 July 2011 Who: Premsela, NAI, Capital D/Design Cooperation Brainport, the Netherlands Business Support Office in Ahmedabad, the Netherlands Consulate General in Mumbai, Dutch Ministry of Economic Affairs, Agriculture and Innovation. In exhibition: Bert-Jan Pot, Ed van Hinte, Tjeerd Veenhoven, Painted (Saskia van Drimmelen and Magreet Sweerts), Bleijh Concepts & Design (Ite Kingma), Sandberg Institute, Design Academy Eindhoven, TU Delft, Maarten Regouin, Renate Boere, Dirk Smit, Elene Pereira, Renske Papavoine. Lectures/workshops: Bertjan Pot, Ed van Hinte, Janak Mistry (IN), Tjeerd Veenhoven, Dinesh Korjan (IN), Painted (Saskia van Drimmelen and Margreet Sweerts), Bleijh Concepts &Design (Ite Kingma), Renate Boere, Elene Pereina, Dirk Smit (re-cycling cycling workshop). Expert meeting with Indian design schools on educational training with Sandberg Institute, Design Academy Eindhoven, TU Delft, Maarten Requin
Using appealing examples of Dutch design, fashion and architecture, the ‘Connecting Concepts’ presentation demonstrated the processes that underpin the Dutch design approach. In 2011 the exhibition toured through India and China, and in 2012 it will be presented in the Netherlands, Germany and Turkey. Local designs are added to the exhibition at each staging post, thus interconnecting the respective design cultures and kick-starting a dialogue. ‘Connecting Concepts’ stimulates network development, cooperation in the field of education, and meetings among designers, professional and trade associations and potential clients. ‘Connecting Concepts Ahmedabad’ was exhibited at the National Institute of Design Ahmedabad. Besides the official opening there were several lectures, the Painted agency presented the results of a workshop it had organised with local craftspeople, and DutchDFA organised a meeting on education for Dutch and Indian training institutions. The opening at the Institute of Contemporary Indian Art in Mumbai attracted a relevant professional audience. Tjeerd Veenhoven and Dinesh Korjan staged an interactive symposium about their work. Besides hosting the official opening, the Karnataka Chitrakala Parishath art complex in Bangalore served as the venue for lectures and the ‘Cycling City’ student workshop. The exhibition received laudatory coverage in local and national media at each port of call. See also page 64, article by Janak Mistry See also page 72, article by Gosh Biswas
Fashion India – The Netherlands: Tradition and Innovation What: research and exchange programme Where: India, Delhi and The Netherlands, Amsterdam When: September 2010 – June 2011 Who: Amsterdam Fashion Institute (AMFI) and Pearl Academy of Fashion (PAF) In September 2010, Amsterdam Fashion Institute (AMFI) launched an exchange programme with the Pearl Academy of Fashion (PAF) in Delhi. The first six students from AMFI – from the disciplines design, brand management and fashion management – stayed in Delhi from September 2010 to January 2011. Via AMFI and PAF, as well as on their own initiative, they established contacts with the business community, joining forces to develop two new brand concepts and collections for Banana Republic’s Heritage Collection. These products were presented to contacts in India in January 2011, during a networking event at the Residence of the Netherlands Ambassador in Delhi (at which various Dutch Profiles videos were screened as well) and in Amsterdam during a presentation organised by AMFI in February 2011. From January to June 2011, three PAF students attended courses at AMFI. AMFI and the exchange students learnt how to deal with the many uncertainties and fluid situations that cooperation with Indian parties entails.
Incoming Indian mission What: incoming mission Where: The Netherlands, Amsterdam When: 25 – 27 May 2011 Who: Janak Mistry, Rajesh Dahiya, Anand Patel, Harmeet Bajaj, Divja Thakur, Rajesh Kerjriwal, Ishan Kosla, Dinesh Korjan, Aravamuthan Srivathsan, Kiran Venkatesh and Ila Singh In the context of the What Design Can Do! conference in Amsterdam, a delegation of Indian design professionals visited the Netherlands. They took advantage of the occasion to reinvigorate existing contacts and to discuss possibilities for cooperation with Dutch designers and training institutions. The delegation consisted of 11 people, including graphic designer Rajesh Dahiya (initiator of the Unbox Festival), designer Divya Thakur (Designtemple, Mumbai) and industrial designer Dinesh Korjan (Studio Korjan, Ahmedabad, who’s work was shown in Connecting Concepts). They visited Premsela, BNO, BNA, Thonik, Fronteer Strategy, HTNK, Marije Vogelzang, Design Academy Eindhoven, MVRDV, UNStudio, What Design Can Do!, VenhoevenCS, Knowmads, Droog, VANMOOF, Metahaven, OMA, ABK Maastricht and ARCAM. The Indian delegation’s visit resulted, among other things, in the Designpolitie/What Design Can Do! Foundation becoming a partner of the Unbox Festival and the Srishti School of Art, Design & Technology inviting Premsela to organise a workshop about bicycle culture as part of the fringe programme for ‘Connecting Concepts Bangalore’.
40
Programme India 75%
Dutch Speakers at Designyatra What: international design conference Where: India, Goa When: 9 – 10 September 2011 Who: BNO, Addikt, Irma Boom, RAW Color, Type Radio, Fabrique, Flowerdales, Metroel, Novi Rahman, TU Delft, the Netherlands Consulate General in Mumbai
Design network mission to India What: mission to strengthen existing design networks Where: Goa, Mumbai, Delhi, Pune When: 7 – 22 September 2011BNO In recent years the Association of Dutch Designers (BNO) has developed initiatives to establish and cultivate contacts with Indian counterparts, and to engineer long-term collaborations. The BNO’s visit to India in September 2011 was intended to nurture existing contacts and to explore how the cooperation between Dutch and Indian creatives has been or could be developed in practice. BNO concludes that three intensive DutchDFA years of well-coordinated, demand-driven promotional activities for design seem to have established an excellent reputation for the quality of Dutch Design. High regard has been accrued by returning consistently. Nevertheless, Indian clients are still insufficiently convinced of how design can be employed strategically. Companies such as Bureau Mijksenaar, Addikt, Flex, NPK and Merkx&Girod will attest to the fact that it requires much time and patience to achieve success in India, having undertaken the Indian adventure themselves. The BNO’s network-building mission to India will be followed by a similar mission by the Dutch Association of Interior Architects (BNI) in 2012.
Fashion fact-finding mission to Delhi What: factfinding mission for fashion-related projects Where: India, New Delhi When: 9 – 14 October 2011 Who: MODINT, Premsela, HTNK/NL Fashion Incubator, Fronteer Strategy On 9 October, the Dutch Fashion Here & Now project team (HTNK/NL Fashion Incubator, Premsela, Fronteer Strategy on behalf of both MODINT and DutchDFA, headed for Delhi and Mumbai in order to gain a better impression of opportunities and possibilities for Dutch fashion in India. The mission was meant to explore a fashion strategy based on three mainstays – storytelling, opportunity development and network building – and consisting of an exhibition curated by Premsela, a catwalk presentation with an afterparty, and perhaps also a continuation of the ‘Dutch Denim Diner’, a pop-up restaurant and network platform that was previously staged in Berlin with the DutchDFA’s support. After intensive discussions with various parties, the most important lesson was that the Netherlands should not go and recite its own narrative if it wishes to be successful in India; instead it must kick-start a concerted process on the basis of equal cooperation between parties from the Netherlands and India.
Designyatra is a conference that embraces a broad spectrum of design with particular attention for visual communication. In the wake of earlier successes, a number of Dutch speakers were invited to return in 2011, with the support of DutchDFA. Irma Boom, RAW Color, Fabrique, Novi Rahman and Type Radio were a big hit with the 1,200 conference participants. In addition, Metroel and Flowerdales facilitated workshops about Design Management that were highly popular, attracting 60 professionals and 70 students. TU Delft staged a workshop about opportunities to strengthen design education in India. At the India Innovation Council’s request, TU Delft wrote a proposal under the title ‘INDEED: New Perspectives for INdian DEsign EDucation’, in consultation with Dutch and Indian experts. This report was presented at CII-NID Design Summit in December 2011. BNO gave a presentation during Designyatra, and there were screenings of the Dutch Profiles videos.
supported by DutchDFA
Dutch Design Workspace India What: setting up an incubator programme for Dutch creative industries in India Where: India, Mumbai When: operational from February 2012 Who: Anuradha Gupta (direction), Studio Makkink&Bey (interior design of Workspace Mumbai), Tjeerd Veenhoven, Sudhir Sharma In 2011 DutchDFA laid the groundwork for the Dutch Design Workspace India (DDWI), as first port of call for Dutch creative industries in India. The Workspace also serves as a point of contact for Indian parties that are keen to cooperate with Dutch designers. Besides offering supportive services for entrepreneurs, DDWI is committed to promoting Dutch design in the local market. DDWI’s ultimate goal is to strengthen the ties between the Dutch and Indian design realms and to support business activity between the two cultures. DDWI is based in the Parel creative hotspot in Mumbai, the Indian city that is most open to international cooperation. DDWI offers a temporary workspace in an inspiring setting with design and architecture colleagues and it provides support in the field of relationship management and practicalities: matchmaking activities, introductions to local networks, manufacturers and potential clients, fiscal advice and sharing knowledge about cultural differences. A library and an event space for educational projects, product presentations and lectures are available. For further information (including rental of the venue for events), please contact
[email protected]. See also page 62, article by Jeroen Junte
Anuradha Gupta
Director of Workspace Mumbai
“Without proper design solutions, a country in the midst of a growth spurt like that in India is like a car careening down a highway without a skilled driver behind the wheel. The end result can be disastrous. Interventions are required in the areas of infrastructure, health care, planning, education, product design, etc. to which Dutch designers can contribute.”
42
Programme
91%
supported by DutchDFA
First Phase Delhi 2050 49%
supported by DutchDFA
NAI Matchmaking India Dutch Speakers at CII-NID Design Summit What: design conference Where: India, Delhi When: 8 – 9 December 2011 Who: Prabhu Kandachar, Erik Jan Hultink (TU Delft), Roel Stavorinus (Metroel) The Design Summit is organised by the Confederation of Indian Industry (CII) and the National Institute of Design (NID) on an annual basis. Under the umbrella theme of ‘Design Innovation’ it investigates the chief opportunities and challenges for product & service design and innovation in the Indian context. The CII-NID Design Summit is a conference that is growing in stature and represents an interesting platform for showcasing Dutch design expertise and qualities. DutchDFA therefore supported three keynote speakers who contributed to the elaboration of the theme. While in Delhi, Roel Stavorinus received an invitation from Ishan Koshla to lead a workshop about best commissioning practices.
What: collaboration between Dutch and Indian architects, Indian project developer(s) and the NAI Where: India, Mumbai and Chandigarh When: 2011 – 2012 Who: ANA architecten, KuiperCompagnons, VenhoevenCS, Dick van Gameren Architecten, DUS Architecten, NAi. From India: Design Cell KRVIA, Architecture Brio, MO-OF architects, HCP Design and Project Management, RMA Architects, TATA Housing In rapidly growing economies such as China, India and Brazil there is an urgent need for social housing. The NAI’s Matchmaking India programme therefore pairs Dutch architects with local architects and a local project developer to work on a real assignment. In recent years the opportunities for Dutch architects in India have grown. The NAI reached this conclusion after various Dutch architects participated in the international KRVIA conference in December 2010: the successful opening of the ‘Architecture of Consequence’ exhibition at Studio X Mumbai, the ‘Unsolicited Architecture’ workshop, and the NAI Circle’s visit to Mumbai. In late 2011 TATA Housing confirmed its interest in a matchmaking process for social housing development in Mumbai. Archohm also proposed a pilot project for the development of public space at the Design Campus in Chandigarh, which is still to be realised. In 2012 the NAI is keen to roll out its Matchmaking scheme elsewhere in India.
32%
supported by DutchDFA
Architecture of Consequence What: exhibition Where: India, Mumbai When: 10 February – 31 March 2011 Who: NAI, Gijs van Boomen (Kuiper Compagnons), Leon Ramakers (member of the NAI’s Supervisory Board), Renny Ramakers (DROOG), Ton Venhoeven (VenhoevenCS), Evert Kolpa (VanBergenKolpa Architecten), Ahmed Aboutaleb (Mayor of Rotterdam, who was in Mumbai on a working visit), NAI Circle, the Netherlands Consulate General in Mumbai For the opening of Studio X Mumbai, the NAI was invited to stage its ‘Architecture of Consequence’ touring exhibition. Studio X Mumbai is one branch of a worldwide network of studios connected to Columbia University in New York City and involved in investigating the growth of metropolises. The exhibition, which was previously presented in São Paulo, Moscow, Rotterdam and Nijmegen, shows how architecture can play a part in the resolution of global issues and can help to build a sustainable future. ‘Architecture of Consequence’ was opened by Ahmed Aboutaleb, the Mayor of Rotterdam, who was on a working visit together with delegates from construction companies. The exhibition helped strengthen Dutch networks and contacts with key cultural and economic parties in India and drew drew 600 visitors as well as media coverage.
What: research by design Where: India, Delhi When: 1 January 2011 – 31 May 2011 Who: Arch i-Platform, VenhoevenCS, the Dutch Ministry of Infrastructure and the Environment (I&M). Additional partners 2012: TNO, Faculty of Architecture at TU Delft, Faculty of Geo-Information Science and Earth Observation (ITC) at the University of Twente, Institute for Housing and Urban Development Studies (IHS) at the Erasmus University, Rotterdam, Human Geography, Planning and Development Studies, Faculty of Social and Behavioural Sciences at the University of Amsterdam, Ecorys, Deltares Delhi 2050 is an open-ended process of research into new urban scenarios for India’s capital city, instigated by Arch i-Platform. Delhi’s population is expected to have doubled by 2050. Such rapid growth causes spatial, infrastructural, social and environmental tensions. A long-term strategy is vital to tackling the challenges this presents. In the first half of 2011, by way of public discussions and cooperation with experts from various disciplines, Delhi 2050 developed a trio of models that put Delhi’s future problems and the urgency of finding structural solutions on the agenda. The first studies generated large response in national media and several interviews with Dutch protagonists in architecture magazines. Consequently the Delhi 2050 project was carried forward and developed further in 2012. The ‘Dutch Approach’, which involves cooperation between government bodies, engineers and designers, knowledge institutions and citizens, is a way of working that is rarely seen in India, even though it could be of great value there. In the long term, Delhi 2050 should lead to design assignments for the Netherlands as the key partner in the resolution of urban issues in India. The interim results of the project will be presented at the 5th International Architecture Biennale Rotterdam in 2012. See also page 58, article by Ton Venhoeven See also page 68, article by Henk Ovink
The Netherlands 100%
25%
supported by DutchDFA
supported by DutchDFA
16%
supported by DutchDFA
Creative Amsterdam – Business Without Borders
What: conference Where: The Netherlands, Amsterdam When: 11 – 13 May 2011 Who: Cultuurfabriek/Pakhuis de Zwijger, Creative Cities Amsterdam Area (CCAA), Dutch Centre for International Cultural Activities (SICA), Federation of Dutch Creative Industries (BNO, BNI, Fotografen Federatie, BNA, VEA, PIBN, DGA, BNI and MODINT), CBRD INHolland The premise for this conference was that many Dutch designers are internationally successful, but are rarely seen back in their home country. Creative Amsterdam invited leading Dutch creative talents who are active abroad to return to the Netherlands to reflect on the theme of ‘smart entrepreneurship’. On the basis of inspiring, real-life business cases, more than 50 speakers shared their international experiences with their colleagues, students and policymakers during lectures, workshops, speed dates and country-specific ‘export circles’. The event attracted almost 1,800 participants over three days. Discussions included inventive revenue and funding models, alternative forms of intellectual property and innovative structures for creative organisations. One component of the conference was a pilot workshop about international ventures for the professionalisation scheme that the BNO is supervising on behalf of professional associations and trade organisations. Items magazine produced a special supplement about Creative Amsterdam with the support of DutchDFA.
Professionalising Creative International Entrepreneurship What: workshop programme Where: The Netherlands When: Kick-off on 12 May 2011 at Creative Amsterdam Who: BNO representing the Federation of Dutch Creative Industries, Cultuurfabriek/Pakhuis de Zwijger Supplementary to the training and workshop programmes of the various professional and trade associations, BNO has taken the lead in establishing a multidisciplinary professionalisation programme about doing business internationally. The workshop programme is structured around several specific target groups: from starters who are keen to take their first international steps to so-called generators who already have plenty of experience abroad. The first pilot workshop, about conducting business in China, was held during Creative Amsterdam. The speakers included participants in the trade mission to the Canton Fair in Guangzhou, an entrepreneur operating from the Dutch Design Workspace Shanghai, and representatives of the Dutch Design Desk Guangzhou. The pilot culminated in the launch of the Guangzhou Knowledge Circle. Organiser Patrick Aarts (BNO) was inundated with positive reactions.
Richelle Groen
What Design Can Do! What: international design conference Where: The Netherlands, Amsterdam When: 26 – 27 May 2011 Who: Richard van der Laken, Lisette Schmetz, Premsela, NAI, BNO, Capital D/Design Cooperation Brainport, and many contributors ‘What Design Can Do!’ is a design conference in the Netherlands with an international impact at which professionals from all design disciplines enter into high-level discussions. WDCD! concentrates on the role of design as an alternative strategy for the resolution of social problems around the globe. The theme for the first edition in 2011 was ‘Access’. The conference initiators are firmly rooted in the design profession: Richard van der Laken (designer and founder of Designpolitie) and Lisette Schmetz (producer of the DutchDFA’s ‘Connecting Concepts’ exhibition and the Arnhem Mode Biennale). The DutchDFA partners NAI, BNO, Premsela and Capital D/Design Cooperation Brainport were closely involved with the content and realisation of the event. DutchDFA invited a delegation of stakeholders from the focus countries to attend the conference. The conference drew to a close with the presentation of a book and a website with the most important conclusions and recommendations. This annual conference aims to provide the design profession with a continuous platform for highprofile lectures, break-out sessions and brainstorms.
(Adidas NEO label, Shanghai)
“I met a lot of people, probably 15 people with whom I really connected. I will try to actually do business with probably two or three of those, and I will continue to meet socially with four or five of them in Shanghai. We have so many amazing creative people from the Netherlands and look where we have all ended up!”
Exploding China – China’s New Megacities What: conference with speakers from China Where: The Netherlands, Amsterdam When: 13 September 2011 Who: Go West Project, Jiang Jun (Editor-in-Chief, Urban China), Wang Fei (Architect/Hong Kong University and China Academy of Art, Hangzhou)
Grafik Magazine, UK “WDCD! was a great success – informal enough to be accessible and extensive enough to answer and raise plenty of questions about what design can do.” Aravamuthan Srivathsan, India “The active voice – what design can do – is a great choice.”
On 13 September 2011, the Go West Project and the Stadsschouwburg Amsterdam theatre organised ‘Exploding China’ about less well-known Chinese megacities, such as Wuhan (10 million inhabitants), Shijiazhuang (9 million) and Chongqing (33 million), which are developing at a terrific rate. An evening programme devised and presented by journalist Michiel Hulshof and architect Daan Roggeveen (Go West Project) interwove presentations, interviews, debate, theatre and music. Leading experts from the Netherlands and China turned the spotlight on urban developments in the most rapidly urbanising region on earth. DutchDFA supported the programme because the project involved a public dialogue with Chinese counterparts from the design sector and contributed to the dissemination of knowledge about the social and economic situation in an increasingly urban China.
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Oliver Thill
(Kempe Thill Architects) “The
only way for a medium-sized firm to win a place amidst The Big Bureaus abroad is by entering into subversive collaborations with local partners.” Jos Oberdorf (NPK Design)
“Gatherings like this round table can be an important instrument in the year that the DutchDFA is rounding off, in order to share and pass down knowledge, to devise a shared vision and on that basis to plot out a ‘road map’ for the period after 2012 with the emphasis on entrepreneurship.”
Sector Meetings: Architecture, Design and Fashion Dutch Design Desks and Workspaces at Dutch Design Week Eindhoven Architecture 2.0 What: conference with speakers from China and India Where: The Netherlands, Rotterdam When: 11 November 2011 Who: NAI, Yung Ho Chang (Feichang Jianzhu), Zhang Ke (Standardarchitecture), David Gianotten (OMA), Christopher Benninger (Benninger Architects), Bimal Patel (HCP Design & Project Management), Jacob van Rijs (MVRDV) The third edition of the Architecture 2.0 symposium focussed on China and India. Both countries are experiencing rapid economic growth and are in the process of redefining their architectural traditions. The symposium was divided into two blocks related to the two countries, each block filled by three speakers: an eminence grise, an upcoming talent of some repute, and a Dutch bureau that is working on projects in China or India. DutchDFA supported the project because of its contribution to the dissemination of knowledge about major design tasks for the future in China and India, and because of it shedding light on some of the opportunities for Dutch architects with ambitions in these countries.
What: conference Where: Dutch Design Week, Eindhoven When: 28 October 2011 Who: Vanessa de Groot (Dutch Design Desk Guangzhou), Deborah Meijborg (Five Spices, Dutch Design Workspace Shanghai), Anuradha Gupta (Dutch Design Workspace India), Tjeerd Veenhoven (Studio Tjeerd Veenhoven), Nurten Meriçer (Dutch Design Desk Istanbul, in development), Marcel Vroom (NWXSE), Marc Maurer and Peggy Smeets (Dutch Design Desk Europe), Rob van Gijzel (Mayor of Eindhoven), DutchDFA coordinators for India, Germany and Turkey, and Gert Staal (moderator) During the 2011 Dutch Design Week in Eindhoven, DutchDFA organised an informative conference about international ventures in the programme’s focus countries China, India, Germany and Turkey. The focus of this meeting was on the Workspaces and Desks as instruments for supporting Dutch creative entrepreneurs in their international ventures. It was the first time that representatives of all the Dutch Workspaces and Desks (in development) came together to allow designers with ambitions outside the Netherlands to ask questions. Also in attendance were designers who have already gained business experience in the focus countries – some of them based in one of the Workspaces – to share their expertise. The conference attracted approximately 100 people. Informative conferences of this kind will also be organised in 2012.
65%
supported by DutchDFA
International scope on DutchDFA partner websites What: optimising international information on Dutch creative industries Where: The Netherlands, DutchDFA partner websites When: 2011 – 2012 Who: Premsela, NAI, BNA, BNO
What: round tables Where: The Netherlands, Rotterdam (Architecture) and Amsterdam (Design and Fashion) When: 3 November and 8 November 2011 Who: Design: Addikt, Arco, BNO, Capital D/Design Cooperation Brainport, Fabrique, Kossmann.dejong, NPK Design, Ontwerpwerk, Pastoe, Premsela, the Dutch Council for Culture, Studio Dumbar, Faculty of Industrial Design Engineering at TU Delft. Fashion: Arnhem Mode Incubator, ArtEZ Fashion Masters, Dutch Fashion Foundation, HTNK, JustB, Liesbeth in ’t Hout (Dutch Fashion Council), Modefabriek, MODINT, Monique Collignon, Out Of Office. Architecture: Barcode Architects, BNA, International Architecture Biennale Rotterdam (IABR), KCAP, Atelier Kempe Thill, Maurer United Architects, MVRDV, NAI, NEXT Architects, UNStudio, VenhoevenCS
Partners in the DutchDFA programme have expressed the ambition to interlink the information they already provide and make it more easily accessible for an international audience. The first step was taken in 2011 and involved a survey of the visions and plans of various partners for the internationalisation of their websites. The next step is to investigate the options for collaboration, such as jointly providing access to information and establishing knowledge platforms. Sectoral institutions are primarily focusing on disseminating knowledge about Dutch design in general, by means of an expansion of international newsletters, conducting studies into knowledge demands, and hosting the Dutch Profiles videos after 2012. The professional and trade associations envisage an interactive knowledge and networking platform about conducting business internationally, with links to the portfolio websites of their members.
In November, DutchDFA organised three separate round table sessions for fashion, design and architecture with designers, offices, companies, educational institutions and municipalities. The object was to talk about the programme’s interim results as well as to look ahead to 2012 and beyond. The discussions highlighted how the DutchDFA programme has led to robust network development and an international positioning that this fragmented realm would have been unable to achieve on its own. Both ‘a high-end’ level of content and visibility and practical support on a daily level can enhance the individual entrepreneurship of designers. The ‘high-end’ level is about putting things on the agenda, positioning in the market, fostering dialogue and sharing knowledge about the quality of Dutch design. This might involve multidisciplinary presentations or research into relevant themes. At the level of day-to-day business operations, the assistance involves practical support, providing information and the sharing of knowledge. The high-end level primarily suits the sectoral institutions, while the second, practical level suits professional associations and trade organisations, as well as the Desks and Workspaces established by DutchDFA as a ‘port of call’ abroad. The importance of the latter initiative was underscored at all three meetings, with the DutchDFA’s projects and activities boosting the position of Dutch design and Dutch designers because of the cross-sectoral link between culture and commerce.
Dutch Profiles What: short documentaries about the work of leading Dutch designers Who: Submarine, commissioned by DutchDFA Dutch Profiles is a ‘digital exhibition’ consisting of short documentaries that together present a diverse but cohesive survey of Dutch fashion, design and architecture. The items focus attention on the qualities that make Dutch design so internationally distinctive and show how Dutch designers can contribute to solving global questions. They showcase icons and talented individuals, corporate designs and research, craftsmanship and innovation, good commissioning practice and entrepreneurial drive. Everyone can view the films online at www.dutchdfa.com/profiles, and on request they can be screened at events. Some 23 videos were produced in 2011 and the Profiles have already been screened at 27 exhibitions, conferences and other events in the Netherlands and abroad. The videos have also been requested by the School of Design at the Central Academy of Fine Arts in Beijing for use as teaching material, and the Stedelijk Museum Amsterdam is including the Dutch Profiles in its library collection. See also page 48 for all Dutch Profiles produced in 2011
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Dutch
Spijkers and Spijkers The identical twins Riet and Truus Spijkers have gained international acclaim with their haute couture label ‘Spijkers and Spijkers’, which stands out for colourful, bold designs that are both sophisticated and functional. All their new collections are inspired by powerful female figures from history. For the new Spijkers and Spijkers collection, presented during London Fashion Week, their muse was Scheherazade, the legendary Persian queen and the narrator of the Arabian Nights. Spijkers and Spijkers is geared towards the self-assured, modern woman, who seeks to challenge the values of her gender. Although the status of women has undergone a radical change in the 20th century, the sisters believe there is still sufficient emancipatory work to be done.
Monique van Heist Dutch Profiles are short documentaries about architects, graphic, product and fashion designers in the Netherlands. Containing interviews with both wellknown and upcoming Dutch designers, Dutch Profiles focus on their conceptual approach, their work process, and the context of their projects. The videos are available online and in high-res versions for use as part of lectures, exhibitions and business presentations. In 2011, the production of 23 new Dutch Profiles added up to a total of 64 videos in the collection.
Fashion designer Monique van Heist started her own label in 2004, after gaining her MA from Fashion Institute Arnhem. She positioned herself on the periphery of the fashion world by creating a sober but extremely delicate unisex wardrobe. Her modern and sophisticated designs embody her intention to break away from the highly commercialised fashion system that dictates new trends every season. Her response to the fast-paced fashion industry was to launch her hellofashion project in 2009.
SeARCH
Piet Hein Eek Making unique products out of nominally worthless materials is the core business of designer Piet Hein Eek. His philosophy is that waste should be treated as gold and that the labour and time it takes to transform it is almost worthless. This reversed approach to the production process turned out to be both feasible and profitable. His furniture and other products sell worldwide and can be seen at the Museum of Modern Art in New York as well as in many other galleries and museums. Piet Hein Eek recently moved into a huge old factory in Eindhoven, where he employs about 50 craftspeople. Upscaling the business was never a goal, but it turned out to be the perfect way to allow ideas to evolve slowly, taking the time to find the best way to produce them. With this approach, good ideas don’t go to waste.
Marcel Wanders Marcel Wanders came of age as a designer in the 1990s, producing conceptual designs for companies and collectives such as DROOG. Since then he has expanded his practice to become a worldwide, commercial success with his design label Moooi, which presents designs by other designers as well as by Wanders himself. Wanders presents the newest designs to an international audience at the annual Furniture Fair in Milan. Moooi has its headquarters in Amsterdam. The product line is highly diverse, ranging from furniture, cosmetics and tableware to complete interiors.
Karel Martens Evoking meaning rather than boldly presenting truth is the essence of typographer Karel Martens’ work. He likes to experiment with numbers, abstract figures and vivid colours. During the 1970s Karel Martens worked for SUN, a socialist publisher led by a group of highly motivated individuals, and he succeeded in giving all their publications a very distinctive appearance. Martens has been teaching throughout most of his career, at the Werkplaats Typografie two-year MA programme in Arnhem and elsewhere.
Architect Bjarne Mastenbroek of SeARCH aims to create sustainable, environmentally friendly architecture, employing innovative techniques and materials to design beautiful buildings that blend naturally into their surroundings. Mastenbroek was pronounced Dutch Architect of the Year in 2009. While most of his work is considered to be contemporary, he does not simply follow the trends, even when asked to do so by the client. The synagogue that SeARCH designed in Amsterdam is a good example. Bjarne Mastenbroek and Dick van Gameren are the masterplanners of the IJDock, a prestigious project right in the centre of Amsterdam. Apartment buildings, government buildings and a marina set on a newly created island will complete the 20-year process of redeveloping the banks of the IJ waterway. The ultimate goal of the masterplan is to create a high-density urban area without dominating or disrupting the surroundings.
Luna Maurer Luna Maurer is a graphic designer, but that description is too narrow for someone who creates using all possible media and works for museums and cultural institutions worldwide. She designs under strict conditions; the process and experiment are as important as the final outcome. Public participation is key in most of Luna Maurer’s exhibitions. She allows the public to co-create, for example by handing out sticker sheets. The public is then invited to create a communal body of work, typically termed a ‘fungus’, because of the way it emerges organically.
Profiles
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Christien Meindertsma Designer Christien Meindertsma rose to fame quickly with her book PIG 05049, developed in 2007. This volume is an extensive collection of photographic images that catalogue an astounding array of products made from the various parts of a pig or otherwise employed in production processes. She aims to revive the understanding of production processes that have often become so remoted from our modern, industrialised world. For her 2003 graduation project at Design Academy Eindhoven, Christien Meinderstma created One-sheep-sweaters with the intention of forging authentic relationships between the product and the consumer. She is currently working on a project with flax, a plant with a long history in the Netherlands. She has followed the process of flax cultivation and bought an entire flax harvest from a Dutch grower in the Flevopolder region.
Koen van Velsen Architect Koen van Velsen, son of a building contractor, investigates the questions posed by his clients in great depth, reformulates them, and responds with unexpected answers. In 1997 he won the Gerrit Rietveld Prize for his Utrecht University Museum, and in 2002 he was awarded the prestigious BNA Kubus for his entire oeuvre. One of his latest projects is the new entrance to Paleis Het Loo National Museum in Apeldoorn. While the original request was simply to re-design the building entrance, he determined that relocating it would be key to an entirely new masterplan. Van Velsen has recently been working on a huge plan for Breda’s Central Station, to better integrate the station into the city. He was commissioned to design every element of the project himself, and was asked to pay special attention to how the buildings blended with their surroundings. This integrated approach can also been seen in Groot Klimmendaal, a medical rehabilitation centre for which he won several prizes.
Piet Oudolf Piet Oudolf is a renowned landscape architect whose designs can be found all over the world. Oudolf’s distinctive style has been described as a thoughtful evocation of nature that emphasises the form, texture and natural harmony of plants, the result of decades of observation and work with plants, especially perennials. Oudolf works with the world’s leading architects to design parks and public spaces. One of his most famous designs is the High Line in New York City, a prestigious project in which an old industrial railway was transformed into a city park.
Gijs Bakker Li Edelkoort
VANMOOF VANMOOF is a new Dutch company born of a passionate love for bicycles and driven by a talented young development team led by industrial designer Sjoerd Smit. Their fresh and ambitious business approach is to design bikes for the Dutch market and to help city-dwellers around the world to get around town by bike, as an alternative means of urban transportation. Their bikes have won numerous design awards and are sold worldwide.
Dutch Profiles
Educated as a fashion designer in the 1970s, Lidewij Edelkoort has become one of the world’s leading trend forecasters, owning two trend studios in Paris and working for major brands like L’Oréal, Philips, and Coca-Cola. Her influence on the Dutch design community could hardly be overrated. As chairwoman of Design Academy Eindhoven, she built an institute with a very strong profile and positioned it as a quality brand of Dutch design. She curated the ‘Talking Textiles’ presentation for the 2011 Salone del Mobile in Milan. She considers textiles to be an endangered species that will become extinct if we don’t act fast. Edelkoort has noticed a paradox between an impending paradigm shift in how we shape our identities and the current economic, environmental and geopolitical developments, before which we stand powerless as individuals. A major global shake-up may be the only solution.
Jewellery and industrial designer Gijs Bakker is considered to be one of the main pioneers of what later became known as ‘Dutch Design’. Together with his wife Emmy van Leersum, Bakker started a revolution in the 1960s. They recast the traditional ways of transforming precious materials into decorative jewellery whilst embracing abstract forms that radically investigate the relationship between body and object. Bakker has always believed in a strictly personal, autonomous approach to design, where the esthetics are far less important than the idea. In the 1990s, Bakker and Renny Ramakers founded a collective of young Dutch designers called DROOG. In its highly praised presentations in Milan, DROOG acted as the aggregator for a highly successful new wave of Dutch design that gathered followers around the world. Recently, Bakker set up a new project called Yii, encouraging a group of Taiwanese designers to translate their unique ideas into designs that communicate to the entire world. Bakker has been teaching at various academies and universities, including Design Academy Eindhoven since the early 1970s.
Scholten & Baijings Designers Scholten & Baijings hold a unique position within the Dutch design community. From the start of their careers they followed their own path, removed from the broader movement of typically conceptual Dutch design. More recently, major design brands such as Hay and Established & Sons have been lining up to work with this talented duo. During the 2011 Milan Furniture Fair, Scholten & Baijings showcased their new furniture designs for the collection of the renowned Japanese brand Karimoku. The designers are equally comfortable working for industry as they are pursuing their own projects. For example, their ‘Textile Vegetables’ research project was a study in colour and form, but it ended up in the art collection of Museum Boijmans Van Beuningen in Rotterdam.
Iris van Herpen In her short career as a fashion designer, Iris van Herpen has already won numerous awards, and her collections are enthusiastically received by the international fashion press. When Van Herpen presents her creations during fashion weeks in New York, Paris and London, her designs stand out for their sculptural allure. She achieves these strong silhouettes by rejuvenating traditional crafts and applying innovative and unusual materials. Van Herpen produces designs that reinvent form. The processes of making, doing research and expanding the professional know-how of the fashion discipline are key for her approach.
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Dutch Profiles Piet Paris Piet Paris started out as a fashion illustrator after graduating from the Arnhem Fashion Academy in 1988. Illustration has been his core business ever since, but he also presents his ideas about fashion in other ways, for instance as the founding Creative Director of the Arnhem Fashion Biennale. While attending the big fashion shows in Paris, he encapsulates the show in a single drawing for major Dutch newspapers and magazines, interpreting the crux of the entire collection rather than merely depicting one of its designs. Besides his fashion illustrations, Piet Paris is acclaimed for his advertisement drawings, whether for Saks Fifth Avenue with its 54 luxury stores worldwide or the French Tourist Office. Nowadays he is expanding into other design realms, including a gigantic decor for a Viktor & Rolf’s fashion show in Paris (2010).
Onix Most Dutch architects are based in the heavily urbanised western part of the country. Onix operates from the sparsely populated north of the Netherlands, an area characterised by its vast, uninterrupted landscape. Architects Alex van de Beld and Berit-Ann Roos are striving for an architecture in harmony with its surroundings and with strong respect for the local vernacular. This has been their strategy ever since Onix’s founding in 1994. Onix recently designed a school for mentally challenged children in Assen, a building that is characterised by a mix of unorthodox and archetypal elements. The wooden bridge designed for the Frisian town city of Sneek brings together many of Onix’s ideas on how architecture should function. Onix is also based in Sweden.
Wim Crouwel HEMA When HEMA – the Amsterdam Unit Price Company – opened its doors in 1926, the only thing that mattered was the price. Numerous articles were priced at just a few cents. Since the 1990s, quality design has become increasingly important for HEMA’s chain of department stores. The company wanted to prove that low prices do not necessarily mean ugly objects. The distinctive designs render the HEMA product range instantly recognisable. Its no-nonsense design can be seen as typically Dutch, but the company has successfully opened stores outside the Netherlands, with branches in Luxembourg, Belgium, Germany and France. In 1983 the company launched the HEMA design competition for students. Its success grows with each passing year, and some award-winning designs are still sold in the stores.
Wim Crouwel is the grand seigneur of the Dutch design world. Now, at the age of 83, he can look back on an extremely productive career as a highly influential graphic designer. Crouwel is especially admired for his systematic approach: the use of grids plays a very important part in his layouts. Crouwel was one of the founders of Total Design, the first truly multidisciplinary design studio in the Netherlands, a company dedicated to develop totally integrated and systematic design solutions. As a professor, Crouwel has taught generations of students at Delft University of Technology, and he served as director of the renowned Museum Boijmans Van Beuningen in Rotterdam. Since the beginning of his career, Wim Crouwel has been strongly influenced by the modernist notion of Functionalism, the principle that ‘form always follows function’. He designed posters, brochures and catalogues for two major art museums, the Van Abbe Museum in Eindhoven and from 1964 to 1985 for the Stedelijk Museum in Amsterdam. In 1967, when Crouwel saw the initial results of phototypesetting, he designed a new geometrical typeface called New Alphabet, which was better suited to the capabilities of this technology. A truly digitised version of the New Alphabet was launched in 1996.
Bruno Ninaber Anything more would be unnecessary, anything less impossible. This is the maxim by which product designer Bruno Ninaber has been working since he started out in the early 1970s. Together with his small but dedicated team he devises smart solutions to create functional objects while preserving the pertinence and poetic quality of the end result. Ninaber looks for a subtle balance between form, function, technique and material, a quality that is most apparent in his design for the original Dutch guilder and the Dutch version of the Euro coin. Ninaber’s diversity of projects has included working on a colour fan for Akzo Nobel’s paint manufacturer Sikkens. Many a prototype was made as part of the design process, which involved probing user research to optimise usability. One of Studio Ninaber’s long-term assignments is the design of the architecture plaques awarded to projects of high architectural value.
DROOG design In the early 1990s a group of young Dutch designers exhibited in Milan under the name of DROOG, a collective founded by Gijs Bakker and Renny Ramakers. Their designs were immediately recognised as something new. Anti-glamour, sober yet funny, and all telling a story or commenting on society. For a while DROOG design even became synonymous with Dutch design. Many of the early DROOG designs found their way to galleries and museums all around the world. They became icons, sometimes blurring the line between art and design. One of the very first to acquire them was the Museum of Modern Art in New York. DROOG continues to evolve. It has become more of a think tank in the guise of its DROOG Lab, which aims to detect global trends in design and then to reflect on those trends from a new perspective.
Studio Wieki Somers In the hands of designer Wieki Somers and her partner Dylan van den Berg, ordinary objects become stimuli for a more poetic take on our daily lives. They explore the hidden qualities of objects that can evoke memories – and stir the imagination. Studio Wieki Somers has won various prestigious prizes and their works are included in the collections of the Museum of Modern Art in New York, the Centre Pompidou in Paris, and the Victoria & Albert Museum in London. One of Studio Wieki Somers’ current projects is Frozen in Time, a series of products inspired by photographs of an ice-storm in the northeastern Netherlands. For one day the whole landscape was covered in a thick of layer ice, a giant still-life in which everything became connected and the passage of time seemed to cease altogether.
Mediamatic Since 1983, designers, artists, academics and programmers have been working together at Mediamatic to develop projects that combine art, culture, society and new media. Projects include open source social networks, exhibitions, and workshops on alternative uses of new technologies. Mediamatic founder Willem Velthoven continues to be one of its leading initiators. Mediamatic became the talk of the town when it curated an exhibition on modern Arabic typefaces. For the presentation of these new typefaces Mediamatic appropriated a typical product of Dutch heritage: the HEMA department store, the Dutch equivalent of Marks & Spencer. One of Mediamatic’s recent projects is the Digital Monument to the Jewish Community in the Netherlands, an online public database in which relatives can search for Dutch victims of the Holocaust and add biographical information about them. Mediamatic’s activities are extremely diverse, but its goals always boil down to a Dutch desire to act as a mediator.
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Reflections
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Housing with a Mission International Architecture Policy in Practice Nevertheless the design was criticized, especially by the Dutch. These views were most visible in a fierce online debate at ArchiNed (www.ArchiNed.nl). At the NAI we are pleased that such opinions are being voiced, while we continue to believe in the merits of this project. Perhaps domestic floor plans of a mere 20 square metres for young, single professionals are not acceptable in the Netherlands, but in China such a format represents a 100% improvement. It is a luxury that we in the Netherlands apply standards for daylight and incorporate preferences for certain views. In China, anyone witnessing the expansion of cities recognizes that compact urban development solutions are a blessing. The project also boasts all kinds of innovative elements at the levels of the ground plan, provision of services, routing, social space and the functional mix – aspects that the Chinese press has covered extensively. The Dutch carry off prizes for such work. The NAI curated an exhibit for the Shenzhen & Hong Kong Bi-City Biennale of Urbanism and Architecture that presented the results of the Matchmaking programme to a broad public. During the closing ceremonies, ‘Housing with a Mission’ was awarded the biennale prize for the best pavilion with the greatest significance for Chinese architectural practice.
Plenary session during NAI’s Matchmaking project on affordable housing
For several years now, The Netherlands Architecture Institute is staging a programme that presents architecture at the interface of issue and design. This position is applied to exhibitions, educational activities, lectures and debates, research, and certainly to international activities. The ‘Debates on Tour’ programme focuses on local issues; national presentations like those at the Venice and Shenzhen biennales provoke artistic attention; and the new Matchmaking programme makes even the cutting edge productive for architectural practice of the future. Director Ole Bouman on how Matchmaking serves many objectives for both the professional community and the public interest. If the Matchmaking programme succeeds, then it will help us gain a better understanding of the issues architecture has to deal with, make us feel more engaged with the subjects, and strengthen our capability of formulating relevant answers. This will lead to actual commissions. A case in point is an assignment from VANKE, one of the largest housing developers in China, whose brilliant motto is ‘Architecture – Our tribute to life’. VANKE commissioned a group of five Dutch and five Chinese architecture firms selected by the Netherlands Architecture Institute (NAI) – all recognized for their contributions to affordable housing. The firms collectively designed a neighbourhood of starter homes in North Beijing for young professionals, a group of vital importance to the city’s future. The neighbourhood, which will probably be built, is a model for an alternative, more sustainable approach to the city.
What exactly makes the project ‘significant’? This is our perspective: • Anyone who probes deeper into the climate issue can hardly ignore the development of Chinese cities. It is an existential necessity to experiment with new densification models in order to curtail further sprawl and automobile use. • Chinese society is subject to extreme demographic developments. Offering a distinctive urban living environment to large groups of starters or first-time buyers (often men) could have a socially pacifying effect. But this new option calls for a new typology. • The Chinese economy is one of the global economy’s most powerful driving forces. Taking advantage of this powerhouse and wanting to play a substantive role within it reconciles the clichéd opposition of merchant and preacher (i.e. capitalism and Calvinism), which divides opinion even in this arena. • The current picture is gloomy for architects in the Netherlands. Work is scarce, and offers few challenging opportunities. Working in a new context on extremely relevant tasks and in collaboration with top-notch Chinese talent provides inspiration and novel insights. This exchange can only benefit Dutch architecture and help hone our national talent. • For a century, the Dutch have invested in social housing as an essential architectural task. This tradition is vulnerable, and under enormous pressure in our country. What could be more positive than to carry forward this tradition elsewhere and employ our insights in a new context? • In the Netherlands, it is sometimes overlooked that an institute like the NAI enjoys international regard as a unique cultural achievement. Imagine a Chinese or Indian property developer searching for design talent and inspiration coming face to face with the Core Dwelling conceived by Gerrit Rietveld or the Amsterdam School architecture of Michel de Klerk’s Spaarndammer neighbourhood at the NAI. Or being given an expert guided tour of the reconstructed Roombeek suburb of Enschede. Or seeing children playing at the NAI’s Hands-on Deck, where they can practise producing the architecture of tomorrow. It will then be an easy step for this developer to ask whether the NAI can help to find fine architects to contribute in China or India. We have recently started to respond to such requests in the affirmative, on the condition that they serve the public interest. The NAI’s Matchmaking programme serves many objectives: from tackling the climate issues at the level of a pilot project to offering work to Dutch architects; from intercultural dialogue between China and the Netherlands to propagating the Dutch tradition of living well on a limited budget; and from nurturing talent to making better use of the fruits of our cultural and architectural policy. Ole Bouman Director of the Netherlands Architecture Institute (NAI)
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The Dutch Denim Diner A Pop-up Consulate for the Dutch Fashion Industry James Veenhoff is a co-founder of the Amsterdam International Fashion Week. Through his company Fronteer Strategy he works on the marketing and development of brands, often in relation to the creative industry. Veenhoff also helped launch the House of Denim, an institute for the promotion of craftsmanship and sustainability in the denim sector. At the request of MODINT and with the support of DutchDFA he developed the concept of the Dutch Denim Diner in Berlin. My background is a commercial world in which the sought-after success is formulated in advance. Why do you want something, what do you hope to achieve, and when can it be considered successful: I see these as the core questions that guide the development of every project. This applied at the time that I founded the Fashion Week in Amsterdam, but also when, during a visit to the Delhi Fashion Week last year, I was suddenly appointed to an international jury. That put me in touch with one of the leading figures in Indian fashion, and we felt some kind of resonance. And this may make it possible to launch some initiative from which, in time, the entire Dutch fashion sector may benefit. It’s very pragmatic, very deliberate. You know ahead of time that that’s what you’re looking for. Cultural institutes in the Netherlands are not accustomed to working that way. You can see that paradigm start to shift, but very slowly. The idea for the Dutch Denim Diner in Berlin last year, during the Bread & Butter fashion fair, illustrates what I mean. People in Berlin are interested in Dutch design, at least among the cultural elite. This group recognises an exhibition of high complexity, like the Basic Instincts exhibition that Premsela presented at that fair. For me, this kind of a ‘content’ module only makes sense if you link it to a context module and a development path. Content, Context and Development: these three should go together, if you want to have an impact on the market. That is why we created a physical environment besides the exhibition, where people from the fashion sector who were in Berlin on account of the trade fair could meet each other in a temporary but supercool ‘diner’. Despite the limited budgets and the challenging location in Berlin’s former State Mint, which also houses a pounding dance club and a greasy snackbar, the designers of Staat managed to create a fabulous interior. We even had our own terrace. With a nod to Café George in Amsterdam where the Dutch fashion scene likes to congregate, the Dutch Denim Diner – “Der Georg” – offered a casual pop-up consulate for the Dutch fashion industry. And it worked. You saw all types of people there, not just the suits and ponytails but each and every type and character from the industry. Companies as well as media agencies bought their own tables in advance, just to be sure of having a place to sit every evening. It was fun, it was a laugh. And that is so important! It may sound trivial, but I am convinced that the cultural sector tends to forget that people should first of all want to come for the fun of it. Everyone wants to join a great party, right? So you need to organise it. With, but if need be even without a cultural programme. Modint was a bit taken aback by the term, but I call it ‘porno’. Nothing wrong with it, as long as the right people show up and come back again next year. If you manage to flesh out the content and context in a clever way, then there’s your foundation for further development. In Berlin, in Beijing or in Delhi: it can be done everywhere, as far as I’m concerned. What matters is that you manage to connect people together, within and outside the fashion sector. In that way you gradually build a platform on which to conduct business. That is what we apparently accomplished so well with the Diner, that the fair organisers have asked us to come back again in 2012. James Veenhoff Director Fronteer Strategy
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Delhi 2050 A Model for Long-term Collaboration Delhi is contending with a serious shortage of basic amenities. The anticipated growth in population and prosperity will only place even greater pressure on the quality of life in the Indian capital. Between 60 and 90 million people will live there by mid-century, within an area the size of the Netherlands. This has prompted the ‘Delhi 2050’ initiative to investigate a sustainable spatio-economic future for the city. Architect Ton Venhoeven describes this bottom-up joint venture between Indian and Dutch parties that is aimed at establishing comprehensive, governmentauthorised cooperation between these stakeholders. The first phase of Delhi 2050 was instigated by the Delhi-based ‘arch i’ platform, led by the Dutch architect Anne Feenstra. This platform for designers from various creative sectors received DutchDFA support to develop the project’s agenda and initiate the Indian/Dutch cooperation. From September 2011 onwards, possible models for the integration of spatial planning, mobility and economic activity in a long-term vision are examined. The following phase involves establishing the organisational set-up of the collaboration, arranging the funding, and determining the long-term agenda. The cooperation within Delhi 2050 is intersectoral and international. The project brings together government bodies, knowledge institutions and businesses from the Netherlands and India. The 5th edition of the International Architecture Biennale Rotterdam in April 2012 offers a useful platform to stimulate the process, as well as to accelerate knowledge and organisational development. The methodology that typifies Delhi 2050 Delhi 2050 started out with a study into the current situation: what data are available and which plans are currently being implemented? Then the agenda for Delhi in 2050 was set: what are the problems that must be resolved before 2050? The next step involves conducting intersectoral investigations, which entails facilitating workshops with specialists from various fields in order to develop spatial models. One of Delhi’s pressing problems is the water supply, in terms of the volume of available water and its quality. There are serious ecological drawbacks to proposals for augmenting the quantity of water by creating reservoirs in the Himalayas and channelling that water to the capital. However, the current practice of pumping up groundwater is anything but sustainable: the water table is dropping by a metre every year and contamination of the water is worsening. Delhi 2050 is investigating the possibility of purifying water at local plants and pumping it back into the ground. The availability of water in rural parts is an added problem: if Delhi offers better water in greater volumes than in the countryside, then it will drive migration to the city. The traffic resulting from such rapid urbanisation is already belching out unacceptably high levels of CO2 emissions. The infrastructure will become increasingly gridlocked if motorised traffic continues to increase at this breakneck pace and if much employment remains concentrated in the centre of Delhi. A combination of public transport and non-motorised traffic is the only means of achieving sustainable urban mobility in the long run. This calls for the development of a strategy, but it also necessitates the city’s reorganisation: this must shift from unipolar to multipolar, creating urban zones where 2 to 3 million people live and work, where distances are limited so that walking and cycling represent a true alternative to the automobile. In terms of prosperity and infrastructure, such urban regions must be brought up to standard step by step. As the coordinating linchpin, the project organisation (VenhoevenCS/arch i) must maintain the project’s focus. All the project partners embrace the combination of Dutch long-term planning strategies with Indian local expertise as the best way to tackle this assignment. The stratified approach (i.e. foundation, networks and buildings) is being used in conjunction with an approach that unravels sustainability into People, Planet and Profit. Besides ensuring flexible teamwork, this embodies what the Dutch learned to do well: working in a coordinated fashion within a long-term
Researching a sustainable, multipolar Delhi perspective of creating security against flooding in a densely populated delta that lies below sea level. The Netherlands is internationally acclaimed for its high-quality planning and the corresponding legislation. Our experience in the fields of urban development, (landscape) architecture, and land, road and water engineering dovetails well with growing needs and the available know-how in emerging economies. Delhi 2050 has so far convinced the various administrative tiers which govern the city that the current short-term ‘masterplans’ are inadequate to address the long-term problems, which presents us with opportunities to apply ourselves at this huge scale. How can you gain some control over the development of such megacities? How can you make them sustainable? This is an awesome challenge for every participant in the project. A model for cooperation Delhi 2050 can serve as a model for the development of other collaborative projects, by using the cultural exchange among designers from various disciplines as an initial introduction and to pinpoint the tasks. This is a means of setting the agenda for subsequent elaboration in an in-depth intersectoral study by government bodies, knowledge institutions and businesses from the Netherlands and abroad. Such a model can be carried forward, even after the DutchDFA programme is concluded at the end of 2012. Delhi 2050 will owe its success to a combination of exemplary governmental knowledge-sharing, academic teamwork, and commercial experience and process management. Linking it with the ‘top sectors policy’ in the Netherlands has rallied broad political and financial support. This backing has made possible the symmetrical Dutch/ Indian set-up that the project requires. We are currently translating such integrated collaboration between two countries into a Memorandum of Understanding, which should clinch the success of Delhi 2050 and the model that is being employed. Ton Venhoeven Project organiser, Delhi 2050
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Smart Strategies To Be Continued Festive opening of the Dutch Design Generator during the Beijing Design Week
Since its inception Machtelt Schelling has watched the development of the DutchDFA programme in China, within which the start-up of the Dutch Design Workspace in Shanghai has been of major importance. The year 2011 was significant for Beijing. The Dutch presence at the 2011 Beijing Design Week brought together all the actors and agents, and strengthened networks that have already been cultivated by the programme in Beijing. The Chinese audience equated the Dutch presence at Beijing Design Week 2011 with that of major partners like Italy and the UK, which the Dutch team feels was a considerable accomplishment. People are still talking about the Dutch contribution. DutchDFA was a driving force behind Dutch participation, actively linking the embassy and its network to the various programme partners, smoothing the way for collaboration. In any endeavour we undertake, diplomatic missions greatly assist the penetration of the Dutch creative industries into foreign markets, particularly in an enormous country like China, a developing heavy-weight economy with a deep-rooted cultural background and turbulent history, where relationships are always important and complex. Moreover, as a major commissioner of projects the Chinese government is always an important player in the fields of design and architecture. Within the Dutch triangular structure of close cooperation between business, government and knowledge-based institutions, which the DutchDFA programme has been trying to implement in Beijing, the embassy coordinates the teamwork of the Dutch departments of culture, science and trade at a deeper level. Each department contributes its expertise to the strengthening of Dutch creative industries in China. Beyond 2012, China offers many opportunities for Dutch design and architecture to meet the needs of a growing, increasingly affluent country in its building of stronger, intelligent and more sustainable urban and rural environments. In line with our advice, the programme has vivaciously presented the Netherlands as a strong potential partner in future Chinese development. This has been a productive strategy and we will therefore need to sustain our positive profiling, while making no claims that merely having potential ensures success. In the evolution of DutchDFA’s approach I have observed increasing cooperation with its local counterparts and offspring, such as the Dutch Design Desk and the Dutch Design Workspace, along with other Dutch individuals and organisations that are already active locally. I find this a positive evolution and a cogent strategy for the continuity of the Dutch presence in China beyond 2012.
As I see it, the finite nature of the DutchDFA project means the organisation has been able to do a lot within a very short time and with limited resources, on a wave of sheer enthusiasm. Its entrepreneurial attitude has contributed to getting the programme into shape and placing Dutch representation in China in the spotlight. Now slowly nearing the end of its mandate, what the DutchDFA has built is too valuable to allow it to disintegrate upon the programme’s dissolution. Only by jointly targeting the full scope of the industry can solid cooperation be made to take root, so that we can be key developers in China’s ambition to become a ‘design-powered country’. Machtelt Schelling Head of the Press & Cultural Department Embassy of the Kingdom of the Netherlands, Beijing
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The Incubator Has Landed Workspaces and Design Desks as a Springboard to New Markets To give creative entrepreneurs the opportunity to present themselves on the markets of the various focus countries, DutchDFA supports the development of Workspaces and Design Desks. These are unique locations and information desks for designers wishing to pursue their design activities in Shanghai or Mumbai or, a bit closer to home, in Germany. The latest Design Desk is opening in Istanbul, in 2012. Journalist Jeroen Junte made a round of these ports of call: an experimental model is proving to be a success. Shanghai Set up as an experiment, over the course of 2011 the Dutch Design Workspace China in Shanghai has evolved into a professional hub for the creative sector, where 44 workplaces are used by around 20 companies from both the Netherlands and China. With resounding names such as architectural agency MVRDV, exhibition designers Northern Light and artist/designer Daan Roosegaarde, the Shanghai Workspace is now a calling card for the Dutch creative sector. Precisely this diverse population of tenants is contributing to its success, says Workspace director Giel Groothuis. ‘A Chinese client needs to make just one visit to the Workspace to find a design for a building, the surrounding public place, even the corresponding website.’ Tenant Daan Roosegaarde concurs: ‘People inform each other and inspire each other. I am even exploring concrete collaboration options with MVRDV.’ The impact of the communal workspace is also starting to bear fruit beyond the actual premises. Following mediation by the Workspace, Roosegaarde was invited to give a series of lectures at leading Chinese universities. The Workspace is an independent venture that receives gradually declining financial support through the DutchDFA programme, set to end in 2013. Nevertheless, director Groothuis looks ahead to the future with full confidence. Especially in the past year, the centre’s chosen role as ‘incubator’ is generating increasing success, also because of the growing interest in establishment in China. Start-ups on the Chinese market are assisted by the Design Desk. Every month, the centre and the tenants jointly evaluate what kind of support is required, and in how far a company still needs its desk in the Workspace. For tenants are already moving out and into the open market. ‘Once a company can stand on its own two feet in China, it needs to make way for a new tenant’, explains Groothuis. Mumbai The success of the Chinese workplace for the creative sector inspired the launch of the Dutch Design Workspace in the Indian metropolis of Mumbai in early 2012. The business model for the Workspace in Mumbai is deliberately tailored to the local situation, says director Anuradha Gupta. ‘For many companies, India is still entirely foreign. The Indian facility is considerably smaller with less workplaces – a quarter of the number in Shanghai.’ Yet the centre is no less ambitious for it. The Workspace is located in Lower-Parel, a district that is quickly emerging as Mumbai’s creative hotspot. The work tables were custom-made by Studio Makkink & Bey, locally built using recycled materials. The ceiling fans exude a typically Indian atmosphere. The centre’s own library contains all the important reference books on Dutch architecture and design. Even more than in Shanghai, the Mumbai Workspace fulfils an advisory service role, which is also available to others besides tenants. It is also possible to hire a workplace for a short period of time. Gupta explains: ‘The Workspace should be the first port of call for every designer, architect or other creative entrepreneur wishing to set up shop in India. Here they can test-run their business for a few weeks and pursue potential business leads. The Workspace can provide practical advice and organise matchmaking with Indian business partners.’ The Mumbai Workspace appears to fulfil a need with this service. ‘Just renting some office space wouldn’t pose much of a problem of course’, says product designer Tjeerd Veenhoven, the first Dutch tenant. ‘But I am a stranger to India. So for me, matchmaking and advice on for instance legal matters are indispensable.’ Veenhoven devised a procedure to turn palm leaves into a leather-like material. He now has a business venture in India that turns this ‘palm leather’ into disposable slippers.
Dutch Design Workspace in Mumbai, a gradually growing interior designed by Studio Makkink & Bey
Anuradha Gupta director of the Dutch Design Workspace in Mumbai “No one here is interested in Dutch designers that make the same sort of thing as Indians make, even if they do it better. What’s important is that you, as a designer or architect, have something to offer that people don’t know or cannot do in India.”
Aside from a workplace for individual designers, Workspace Mumbai will also serve as a platform for dialogue and collaboration between the Indian and Dutch creative industries and business sectors. ‘The network in India is not yet as developed as in China. Through activities such as lectures, workshops and network meetings, it’s possible to build a long-term relationship here as well’, says Gupta. ‘If Indians have the feeling that you’re here to make a quick buck, then you’ll never get anything off the ground. That’s why a visible commitment is so important, not just for a Dutch company but for the creative sector as a whole.’ Maastricht To promote the Dutch creative sector in Germany – as DutchDFA’s third focus country – it was opted to establish a Dutch Design Desk that mainly functions as a knowledge resource centre. After all, there seems to be little need to establish physical workplaces in this neighbouring country. ‘The distance between Rotterdam and Cologne is less than that between Cologne and Berlin’, explains initiator Marc Maurer of architectural agency Maurer United. Maurer describes the German market as ‘complex’. ‘Germany is not a growth market, like China or India. And the appreciation for Dutch architecture and design is not as self-evident as many Dutch designers tend to think.’ The service ranges from practical tips like registering with the local Chamber of Commerce to advice about crossing the cultural gap between the two countries. The Dutch Design Desk will also organise lectures, matchmaking and joint presentations by Dutch companies. The choice for Maastricht as Helpdesk location was motivated on the one hand by the attraction that this city has for German visitors, while it also anticipates a possible expansion of the work field into Belgium. Jeroen Junte design writer and journalist
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A Collobarative Idiom Design, the Dutch-Indian Way The genesis of Indian design education was the Charles and Ray Eames ‘India report’ (published in 1958) that explored the problems of design in India and made recommendations for a training programme. It talked about finding an Indian Idiom of design. The search still continues today, but in the meanwhile, technology has penetrated the Indian mind, body and soul. Media, (television), communication (cell phone and internet access), transport (automobile, air and rail travel) and most importantly the retail revolution have made aspiration driven consumption the new ‘religion’ of the masses. This has resulted in an overall increase in design consciousness but there always seems to be a short fall in indigenous design intervention where by local problems are solved with local, sustainable, sensible solutions. In India, design is a relatively new domain, although systems, services and most importantly the concept of sharing have been a way of life in this country for centuries. Today, when we design for a sustainable future we need to draw our inspirations from that rich heritage. Often, as insiders we are unable to appreciate our own strengths until we get a fresh view point from the outside. India used to relish its past fame as a water-prosperous country. Today we are moving towards becoming a water-stressed nation due to rapid upsurges in urban populations and unequal distribution. The demand for water has tripled at a time when the supply of water services is inefficient and beset by socio-economic disparities. The rise in water consumption in urban centres has been compounded by a sharp increase in residential density and the advent of modern independent lifestyles, with every household having multiple washrooms, washing machines, gardens that need manicuring and cars that need washing. The solution to this surely does not lie in merely designing new products that probably consume less water, but also in redefining our lifestyles in order to ensure a sustainable future. The most important skill set a designer needs today is the ability to look at different contexts and to become part of a scenario they are designing for. Design from inside and not from outside. Ironically, globalisation has made us more interdependent than ever, but our new lifestyles have also led to a decline in local community interdependence. There is a dire need for us to understand each other before designing for each other. Our diversity and collective experience can surely enrich our environment, provided we drive the design processes from our respective bases and with mutual respect. There is a call for a need-based approach to design that is robustly anchored in the local. The DutchDFA programme of networking and connecting future designers supported an Indian-Dutch student and faculty collaboration on cycling, a subject that both countries are passionate about. The workshop at the Srishti School of Art, Design and Technology focused on reviving cycling in Bangalore, a city that has seen unprecedented growth of automobile and motorcycle mobility resulting in severe traffic congestion. There is no room left for cyclists.
Student workshop on bicycle mobility at Srishti School of Art Design and Technology
In a country like India, characterized by economic and cultural diversity that spans the entire spectrum, design has little priority in most people’s lives. What should be the role of design in order to have maximum impact on the current living conditions in fast growing Indian cities like Bangalore? This was one of the questions behind the Indian-Dutch student workshop on reintroducing bicycle mobility, organised alongside the Connecting Concepts exhibition. Design educator and workshop host Janak Mistry reports on a project that pushed boundaries.
The interactions and exchange of ideas between Indian and Dutch designers catalysed a broadening of perspectives. A week-long workshop led to original ideas that could only emerge out of a collaborative effort. The ‘bicycle ambulance’ was such an idea. In a city where ambulances can easily get stuck in traffic, a bicycle ambulance inside every ambulance could cover the ‘last mile’ to an accident site and gain precious time. The Dutch designers’ ‘deep dive’ into an unknown environment, as well as their approach of making quick validation models and testing them out, introduced fresh insights into what would otherwise be a routine situation. This deep immersive process also led to the concept of a ‘bicycle bus’, in which a ‘school’ of cyclists would travel as a group in order to reclaim the streets and enhance safety for cyclists. Srishti School of Art, Design and Technology is currently collaborating with Design Academy Eindhoven on a cycle design project that involves an exchange of briefs: the Dutch students will design a cycle rickshaw for use in India and the Indian students will design a ‘bakfiets’ – a carrier cycle – for the Netherlands. We are hoping that this exchange will help designers from both sides to understand and look at fresh perspectives in designing outside of their daily contexts. As individuals we tend to take the familiar for granted. Collaborations like these within the DutchDFA programme can actually push boundaries created by history, social, cultural and even economic parameters. These collaborations help us shift our point of view and lead us to discovery and innovation. Janak Mistry Design Principal, Srishti School of Art, Design and Technology, Bangalore
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Laboratory of the World Integral Design as a Dutch Specialism As the managing director of Capital D / Design Cooperation Brainport, Robert Jan Marringa’s responsibilities include the commercial development of what has now become the largest design event in Northern Europe, the Dutch Design Week in Eindhoven. Capital D brings together the interests of large and small businesses in the design and technology sector with those of educational and knowledge institutes, public authorities and students in the Eindhoven region. The goal is to elevate the region’s leading economic position as the country’s ‘Brainport’ for design and technology to a leading position at the European level. Marringa participates in the DutchDFA programme group on behalf of six creative cities in the Netherlands, also including Amsterdam, Arnhem, Rotterdam, Utrecht and The Hague. If asked to spell out the success of the Dutch Design Week – which is pretty much our flagship event – then I would not immediately quote the number of visitors, even though 180,000 visitors is not bad at all. But for me the real significance of the event lies in the relevant ‘connections’ we establish. Which is precisely what DutchDFA sets out to do. Do we succeed in establishing a dialogue between creative talents and the business sector? Do we generate a lasting interest in the experiments undertaken by a new generation of designers? The Dutch Design Week deliberately opts for an approach that puts talent and experiment at the forefront. We are not a commercial trade fair. And the good thing is that the business sector recognises that ambition. Enterprises also understand that they need to engage in dialogue with a generation that brings fresh ideas to the table, and that chooses unconventional paths. You can see how our approach is increasingly drawing international interest. We present the Dutch design sector from a specific angle, and we use the Dutch Design Week to confront relations from abroad with the added value of our design sector. The DutchDFA programme was initially very much geared to exporting our sector to the focus countries; but events like ours are an opportunity to introduce more reciprocity in the relationships. And in that we are successful. Through the DutchDFA activities, the image of Dutch Design has become stronger and international knowledge networks have evolved. DutchDFA knows very well who’s who in the various countries, and they always manage to get the right people to come to the Netherlands. I hope that there will be even more emphasis on reciprocity in the final programme year. It is my belief that we should profile the Netherlands internationally as a design nation. ‘Nation of Design’ should be the umbrella label for several regions that all have their own character. Unfortunately, so far the dialogue between the six creative cities has not produced such a collective programme; in the end it often comes down to ‘my city first’. In that sense our contribution to the DutchDFA programme does not fully live up to its potential. On the other hand DutchDFA as a programme has also been going through some developments. In the past years, I have frequently argued that we should have more business-driven activities, geared more to achieving results. Which is what we see happening now: the cultural orientation is making way for a more business-oriented approach. But take note: in any other project I would have immediately calculated the return on investment – here it’s all about building and maintaining valuable relationships, which is not something you can easily express in figures. Looking back on the last three years, I must conclude that all the lines that the programme promised to set out have been followed consistently. And I consider that an important achievement. I notice a rapidly growing need abroad for integral design solutions. If you see the ‘city state’ of the Netherlands as a laboratory for the development of for example new food and water systems, and for innovative ideas in the areas of healthcare and sustainable transport, then we can start playing a crucial role in the development of such integral solutions. We can be the laboratory of the world. An exhibition like Connecting Concepts demonstrates this in a very catchy way.
Editorial coverage of the Dutch Design Week 2011 in the Indian edition of Elle Decoration
Dutch Design Week 2011.QXD_decor report 22/12/11 12:39 PM Page 174
DECORATION NEWS One of the Wolwaeren weavers against his creation
Monique Habraken’s ghostly cityscapes and stark silhouettes interplay between the interior and exterior
Judith's charcoal clock displays carbon emissions in various periods of history
Dialogues’ usage of a handle makes for interaction with the user
ELLE DECOR LOVES
"What is a teapot if you don’t know what a teapot is?" – Beautifully captured in Visser's Forgotten Memory
An innovative DDW information mobile assists visitors with maps and leaflets
Visitors were ferried through the city in Minis. Don’t miss the design objects on the roofs!
Green Bench from Organic Factory, Ruben's favourite product it resembles the concept strongly
FOSCARINI Website: www.foscarini.com
Wolwaeren A series of seven blan-
10TH ANNIVERSARY CELEBRATIONS IN EINDHOVEN
DUTCH DESIGN WEEK
A quaint city located in the South of Netherlands, popularly know as the Philips hub, played host to more than 1,800 participating designers over 65 locations and 300 events. Industrial, spatial and graphic design, fashion, textiles, architecture...you name it…we saw it all PRODUCED BY MRUDUL PATHAK KUNDU PHOTOGRAPH COURTESY DUTCH DESIGN WEEK
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e were the lucky ones from India to experience stimulus overload at the Dutch Design Week (DDW) in Eindhoven. “When you want to see the latest products on the market you go to Milano, but when you want to know what will hit the market in two years, you come to Eindhoven,” was Hans Robertus, Director DDW’s opening remark. He added, “DDW is primarily a breeding ground where designers and clients can meet, where potential collaborations are forged.” And what we witnessed was cutting edge – experimental, creative and totally out of the box. Produced by Capital D, the Design Cooperation of the Brainport Eindhoven region, the week spanned nine days and showcased 173 works by gen-next students that claim to “have a firm connection to life and the desire to make sense of it”, at the graduation show in Eindhoven’s Design Academy. Take a sneak peak at what caught our eye – exhibits and unusual products, innovative studios and showrooms.
Light is the only rightful owner of colour in this CMYK lamp
GRADUATE PROJECTS kets woven on Roland Pieter Smit’s specially created loom designed for mentally and physically impaired individuals, that reflects the psychological and physical potential of the users. Working with sheep wool, it revives an age-old Netherlands tradition of quilting.
pretation, that is a “dialogue” starter between creator and user. Website: www.hannadiswhitehead.com
Pinhole Window View Monique
Organic Factory Ruben Thier uses the bright waste material that inadvertently drops to the floor in the manufacturing of products like plastic tubing to fashion seaters, cleaning up factory floors and creating attractive furniture in the process.
Habraken expands the pinhole principle to go back to the origins of image making. She encompassed an entire room and its contents with a tiny hole in the window forming the only source of radiance. Light-sensitive emulsion painted onto a curtain as well as some furniture was then “developed” in the same way as a regular photograph. Captured are ghostly cityscapes and stark silhouettes of tables and chairs in an interplay between interiors and exteriors.
Website: www.rubenthier.nl
Website: www.moniquehabraken.com; Photographs by
Website: www.rolandpietersmit.com
Dialogue A range of ceramics by
Hanna Dis Whitehead, centred around the humble, ubiquitous handle, demonstrating its versatile use and varied inter-
Femke Rijerman
Carbon Age Reacting to the green-
house effect, Judith Zeeman has fabricated three differently sized charcoal clocks
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displaying carbon emissions in various periods in history. The hands point at the speed at which CO2 is expelled every year. The clocks can be buried in the garden at the end of their life. Website www.judithzeeman.nl
Forgotten Memory Jetske Visser’s film draws the viewer into a hazy, disorganised world – that of a person suffering from dementia. She transforms everyday objects to highlight the confusion and fragile state of these individuals who sometimes can’t even recognise an ordinary teapot for what it is. Website: www.jetskevisser.nl
CMYK Lamp Dennis Parren's innovation plays with the mystery of light and colour, projecting an elusive network of cyan, magenta and yellow lines on the ceiling, showing how colour is all about light. Website: www.dennisparren.nl
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With the sector institute and the federation for the creative industry, we need to spend the coming few years consolidating the reputation, the contacts, the collaborations and the projects that have been built up in recent years in cities like Beijing, Istanbul, Berlin. The fact that these two parties have started talking to each other – that is, the cultural institutes with the world of entrepreneurs and the professional organisations – can be considered an added bonus of the programme. I see that as pure profit. Robert Jan Marringa Director Capital D / Design Cooperation Brainport
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Designing in Excellent Coalitions
The Netherlands is known to be conscientiously designed. Design is firmly embedded in the spatial planning process; it is a regular topic at the political table; and it occupies a venerable position in Dutch knowledge development and future scenario-building. How can architects, planners and policy makers put this distinctive legacy to new use in a global environment?
The Netherlands boasts fine designers who render our landscape, our cities and our infrastructure valuable and meaningful – designers who want to make a difference internationally and are keen to establish themselves, permanently or temporarily, with flourishing practices all over the world. With our approach to planning, design and politics, we make a difference in the world. Does that mean we can sit back and relax? That we’ve got everything figured out? Or is our perceived strength in fact underused, even floundering? We live in a topsy-turvy world and the design profession tumbles along with it. Tough economic times have hit the architect and urban planner hard. At the same time, the designer’s tasks are changing rapidly. Demographic developments and the powerful thrust of urbanisation exacerbate today’s challenges. Climate change, water-related issues, energy supplies and mobility vie for attention on the political agenda. In Europe, the current challenges in architecture are completely focused on the city. With major interventions and small-scale transformations we make the city into our construction site. In the meantime, Asia, Africa and South America are witnessing an unprecedented spurt of urban growth, which goes hand in hand with processes of democratisation, economic prosperity and ever-increasing pressures on raw materials, food and space. All these global tasks are marked by local and regional differences. The spatial impact of these tasks is evident everywhere, but each situation demands a different solution. The ways in which Dutch designers, planners and politicians make a difference lies in the process – a process in which planning, design and policy mutually reinforce one another, in which local qualities contribute socially, culturally, economically and physically to the solution’s strength. Investing in these worldwide coalitions makes Dutch design robust. Simultaneously investing in the strengths, skill and excellence of these designers renders their contributions distinctive. The coupling of design excellence with the formation of coalitions is the distinctively Dutch approach of DutchDFA. This Dutch approach is not characterised by ‘knowing better’ or ‘prescribing’, but by listening, analysing and cooperating – by positioning specific local strengths, along with the beauty of places and people. DutchDFA is a champion of cooperation based on these local strengths, enabling effective work on sustainable solutions for the pressing problems of today and tomorrow. DutchDFA is using design coalitions to find stable footing in a topsy-turvy world. Henk Ovink Deputy director of General Spatial Planning, Ministry for Infrastructure and the Environment Co-curator of the 5th International Architecture Biennale Rotterdam: ‘Making City’ (2012)
Presentation by Martine Vledder, representing the China office of MVRDV architects
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Professional Self-analysis Workshops on International Enterprise The survey on ‘Doing Business in Germany’ (2010), conducted by the CBRD research project (Cross-Media, Brand, Reputation & Design Management), helped identify key principles for doing business internationally. As the study shows, self-analysis by the Dutch agency or individual designer is at least as important for a successful enterprise as finding the right opportunities on the German or any other international market. For the designer concerned, this requires insight into one’s own ambitions, motives, competencies, attitude and work style. In the past year, two workshops on International Enterprise were organised for the target group with the purpose of activating the understanding of their own individual positions : the first was geared to the Chinese market, the second to the German market (also see Programme Germany, p 22). The workshops helped designers get a clear grip on their own starting point and to develop an appropriate strategy. To this end the CBRD formulated the ‘Three Track Entry model’, in which the success factors for international enterprise were grouped under three headings: Type, Approach and Profile. Type First, the entrepreneur should determine what type of entrepreneur he or she is: a starter, a pioneer or a generator? The starter has a clear understanding of his or her own identity and has the ambition to be an international entrepreneur but no experience. The decision to make is whether to push on or to give up, given the complexity of doing business in China or Germany. The pioneer is ready to engage in international enterprise, perhaps already has some international experience and contacts, but not yet any real clients or continuity in commissions. For the generator, international enterprise runs in the blood. He works abroad wherever chances arise. These different types of entrepreneur thus face very different questions when it comes to the internationalisation of their activities. Consequently, each group needs to take a different approach. Approach Where does one start in Germany or China, concretely? Do you focus on a region, on an industrial sector, or do you connect to a network? Do you participate in a collective trade fair presentation in China, do you submit entries to a competition, or do you fly over to explore the market first-hand? How can you get to talk to a potential client? Research shows that designers do not necessarily draw up a plan first, but instead go about it rather intuitively. They tend to apply a ‘trial and error’ tactic, whereas trade associations and chambers of commerce generally advocate a rational, linear and well-planned approach to the market. This is a valuable insight, and it’s ultimately up to the individual designer or agency to determine the most suitable approach. Profile Designers are accustomed to profiling themselves by means of a portfolio. However, in international profiling the designer should be alert to how the local way of doing business may require some adaptation. How can a designer connect to foreign clients and at the same remain distinctive vis-à-vis the competition? Adaptation or distinctiveness can pose a tricky dilemma for the designer aspiring to act on the international stage. A pilot workshop on ‘Doing Business in China’ was organised as part of ‘Creative Amsterdam’ (May 2011). Thanks to the right ambiance and a smooth interaction with and among all participants, the workshop was no hallelujah day on doing business in China, but it instead managed to produce a realistic picture, which may be summarised best as ‘look before you leap’. In November 2011 the workshop was repeated, this time in Mönchengladbach during a DutchGerman enterprise day. Attended by representatives of 37 Dutch agencies in the field of fashion, design and architecture, the workshop reinforced the awareness that a strong portfolio is only half the work. The designer must additionally be able to communicate the distinctive quality of his or her work clearly and succinctly, and in a language that appeals to the client.
‘Indemann’ observatory building by Maurer United architects overlooking a former mining area in the German Ruhr region Sharing knowledge and exchanging experiences, stories and anecdotes among starters, pioneers and generators proved an elucidating means of identifying cultural differences. At the same time, the workshop helped individual designers and agencies to formulate a concrete and well-defined positioning statement. The participants had the opportunity to make useful contacts with representatives of the consular network, who attended the workshops in the capacity of country experts. One of the participants, Ginette Blom of Blom&Moors design for public space, described her experience as follows: ‘The workshop made it very clear how important it is to build relationships with partners abroad. As a Dutch company in a foreign market, it is hard to get a foot in the door without collaborating with partners that are familiar with the local situation. Our practical experience bears out that this really helps.’ The workshops have proved relevant for all disciplines served by the DutchDFA programme. Helma Weijnand-Schut and Jaap van der Grinten Research fellows, CBRD Research project, INHolland University of Applied Sciences
72
Reflections
73
Connecting Cultures
The travelling exhibition ‘Connecting Concepts’ demonstrates the process of thought, creation and collaboration behind products that exemplify Dutch Design. ‘Connecting Concepts’ grows as it travels: for each venue local designs that resonate with the Dutch approach are added. A made-to-measure programme of lectures, meetings, workshops and dialogues accompanies the exhibition and actively links Dutch design culture to relevant issues at the host locations. Journalist Dipannita Ghosh Biswas visited the event in Bangalore. You’ve got to see to believe. ‘Connecting Concepts’ has been travelling across the country with positive response and came to Bangalore with exhibits that penetrate the surface of Dutch design with a singular aim – to look at how ideas combine to create not only singular objects but also a singular design culture. After catapulting to fame in the 1990s, Dutch design became a well-known concept worldwide. The design process in Netherlands is typical in its own way of functioning and most of the products provide a deeper cultural understanding of age-old culture. Curator of Connecting Concepts, Ed van Hinte says, ‘To put it simply, it’s actually the thinking process behind the objects you see at a superficial level – how you design work and the consequences behind it. The main focus is to reduce effort and material consumption to as little as possible. The common factor for all the 36 exhibits would be a new way of thinking – first question and then, get critical. I wouldn’t call this an exclusively Dutch way of thinking though, but the range of differences in the exhibition is quite extreme. For instance, since we are now in the Silicon Valley of India, I must mention a computer chip manufacturing company using the same technique to filter milk.’
Connecting Concepts exhibition in Bangalore
Ed van Hinte curator of Connecting Concepts “In the West, labour is expensive and there is a drive to design activity out of existence. In India, designing can be a means of creating jobs for other people and of stimulating social development.”
All the exhibits at the show are high on design concepts, processes and disciplinary crosspollination in the Netherlands. The sharing of process – through ideas, technology and materials and subsequently, revealing and analysing what makes them tick – is one of the main motives of Connecting Concepts travelling across the country. Program director for DutchDFA, Christine de Baan explains, ‘India is one of our focus countries and we hope to offer interesting opportunities for cultural dialogue and business exchange. Apart from this, there are also some long-standing social issues that can be addressed. The best bit is that most of the Dutch designers have been working on such designs for the last 15 years now.’ This is product designer Tjeerd Veenhoven’s first visit to Bangalore and he can’t stop gushing about the number of bikes he’s seen on the roads in India, but also wonders why people don’t opt to repair and re-use parts rather than opt for new ones. Talking of the bike he has developed, he says, ‘It’s a simple conceptual model which I developed in my studio in Holland and have re-used every small part. Considering the intense use of raw materials, there’ll come a day when we’ll run out of it all. I have used carbon fibre for the cycle and though it’s not a very new thing, it is perceived as a hi-tech product – a material of the future and it took me all of three hours.’ Quiz him on the functionality of the bike on roads and Tjeerd, a collector of folding bikes, says, ‘I have used it many times on the roads and it’s worked fine for me.’ The only Indian to be a part of Connecting Concepts in Bangalore is Anuj Sharma, a faculty member of National Institute for Design. ‘Connecting Concepts has got some of the finest designs today and it’s all about simplicity. As a designer and teacher, I feel the aim should be – I am as good or as bad as everybody is – this is more of a realisation. I have been working on Button Masala (a collection based on buttons and buttonholes) for two years now, improvising on it as much as I can. Using this, anyone can make a garment in five minutes and it is also one of the cheapest product technique,’ he signs off. Dipannita Ghosh Biswas This article was first published in DNA (ww.dnaindia.com) on 27 July 2011
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Reflections
Dutch Design College A Unique Model for International Design Education
In the early nineties designer Michel de Boer recognised the promise of the Chinese market for his profession. Upon arrival in Shanghai he also saw that design education in China was in urgent need of an update to meet international standards. The Dutch Design College that he envisions should combine the merits of Dutch design education with the specific concerns of Chinese students who seek training in a Western context. They will be educated both in China and in the Netherlands. De Boer sketches the outlines of a college that offers the best of both worlds. I was active in the Dutch design community at the time the orientation of our business shifted from the national to the global. In the early 1990s, when the first Chinese interns started to arrive in our studio, my interest in China quickly grew, both in terms of business opportunities and from an educational point of view. Before long I had co-founded a design agency in Shanghai. While in China I noticed design gradually becoming a ‘hot’ major for Chinese students who were inspired and motivated by the international design scene. Unfortunately, from a Western perspective, the average quality of design education in China lags behind, especially in the field of the creative process and the ability to link design and business. In China it is also widely acknowledged that someone with overseas qualifications has better career prospects than those who completed their studies in China. No wonder that Chinese students are increasingly attracted to Western schools, especially those in the UK and USA. Interest keeps growing, even though a foreign education is extremely expensive for the average Chinese student. On the other hand, I have also seen how many Chinese design students struggle when studying abroad. They first need to overcome the obvious language and cultural barriers, but Chinese students face an even bigger challenge when asked to adapt themselves to the mindset of a Western education system. Specific problems arise in the field of creative conceptual and lateral thinking, and it is not always easy to combine the mentality of an independent individual who takes responsibility for his own training with the ability to participate and contribute to the dynamics of a collective learning environment. The students are not the only people who have trouble adapting to a different mindset. Most design schools and university faculties in the Netherlands have spent several years investigating scenarios for international activities, but only a few have actually managed to put their plans to the test in China, where their first initiatives usually involved organising international workshops or exchange programmes with Chinese universities, establishing partnerships, or sharing educational knowledge and facilities. So far the results are modest. Scale and budgets are limited and competition continues to grow, with many respected Western design schools looking to expand their business in China. Some of them, like the British schools, have adopted an aggressive, highly commercial approach, treating design education as a market proposition. Dutch design education has the potential to deliver a much better package, leveraging the reputation of Dutch design and the quality of design education that helped establish this international awareness of a typical Dutch approach. Design education in the Netherlands skilfully trains the student to connect conceptual ideas to the needs of business as well as society. Students are guided through this process and challenged to develop an investigative design attitude into authentic and professional design careers. This is where the approach of the Dutch Design College (DDC) becomes relevant: it combines the merits of Dutch design education (and its ambitions to operate internationally) with the concerns of Chinese students who seek training in a Western context. The DDC model is therefore beneficial for both parties. It offers a unique 2+2 year Bachelor programme and enhanced workshop programmes. Bachelor students will spend the first two years in their own habitat adapting themselves to Western educational mindsets and approaches. These students are then ready to merge into an international community, prepared to continue their studies at one of the partner academies
in the Netherlands and graduate. The programme thus presents a smooth and effective model for Western education, tailored to the needs of Chinese students. The workshop programme targets young Chinese designers who have already completed their Bachelor course at one of the Chinese universities. This Master programme will be run like an agency, tackling real design cases for public or commercial projects. A strong connection to the business aspect of design will reinforce the career prospects of the individual students and elevate the overall level of design in China. It also helps create an understanding of the importance of design in China. The Dutch design community (companies as well as representatives of the creative sector) will benefit from an active involvement in the DDC programme: they act as creative directors in international teams, as tutors, project leaders or clients, in the process establishing valuable contacts and exploring business opportunities in the region. In the long run, Chinese students who return to China after graduation will almost certainly act as ambassadors for Dutch design, enhancing the internationalisation of education and design practice in the Netherlands. The program raises the quality of Chinese students attending Dutch design academies, preparing them for the challenges they will face, while the influx of Chinese students helps generate a solid financial base for these institutions. The Dutch Design College will amplify the relationship between the Netherlands and China in a sustainable way. It positions the Netherlands as the ‘partnership country’ of China. The programme assists China to realise high-level design education in a way not matched by any other Western country. Michel de Boer Creative Director at MdB Associates and founder of the Dutch Design College
76
Thank You
Marianne Aarnoudse Patrick Aarts Paula Acioli Ellen Adriaanssen Tijl Akkermans Walter Amerika Lin An Vasantha Angamuthu Ed Annink Marcus Appenzeller Ina Arends Daniëlle Arets Floor Arons Teike Asselbergs Floor van Ast Jorre van Ast Maarten Baas Joost Bachus Carole Baijings Anish Bajaj Harmeet Bajaj Gijs Bakker Roelof Balk Pieter Bannenberg Jeroen Bartelse Astrid Becker Donald Beekman René Beerepoot Rudolf Bekink Han Bekke Corien Beks Alex van de Beld Marten van den Berg Joyce ten Berge Emilia Bergmans Isidoor van den Berk Kathryn Best Florine Beukers Steven Beunder Jurgen Bey Rasheeda Bhagat Bhaskar Bhatt Liesbeth Bijvoet Marlies Bloemendaal Wienke Bodewes Michel de Boer Renate Boere Chris van Bokhorst Liesbeth Bonekamp Cees de Bont Inez Boogaarts Irma Boom Gijs van Boomen Astrid Boschker Colonel Bose Jaap Bosman René Bosman Ole Bouman Karlijn Bozon Christoph Brach Renske Brinkman Teresa Brito-Adão Ton Brouwers Max Bruinsma Huub Buise
Mary Cai Ties Carlier Mónica Carriço Vic Cautereels Anya Chan Aric Chen Jiao Jiao Chen Neelkanth Chhaya Choy Chi Chan Victor van der Chijs Mia Chou Jet Christiaanse Sara Cohen Sam Colijn Hans-Jürgen Commerell Rogier Coopmans Annemarie Costeris Matthijs Crietee Wim Crouwel Rajesh Dahiya Robyn Dalziel Kirsten van Dam Renée Dekker Maarten Derksen Merle Deterink Jan Carel Diehl Harmen van Dijk Rick van Doeschate Zehra Dogan Erwin van Donk Tom Dorresteijn Nicoline Dorsman Anouchka van Driel Bart Driessen Saskia van Drimmelen Marijke van Drunen-Littel Sabine Duetz Jannet Duijndam Lidewij Edelkoort Willem van Ee Piet Hein Eek Anne-Mieke Eggenkamp Felix Eich Liza Enebeis Jeroen van Erp Ceren Erten Jaap van Etten Anne Feenstra Bernd Fesel Gabry Foolen Marieke Francke Liselot Francken Egbert Fransen Freek Jan Frerichs Rombout Frieling Zhiyong Fu Flora van Gaalen Maartje Geerts Yuri van Geest
Christine van Gemert Tom van Gemert Mirya Gerardu Elouise van Gestel Willy Geurts Yvette Gieles Rob van Gijzel Martin Glass Jeremy Goldkorn Maud Göttgens Nikki Gonnissen Rita de Graaf Cees de Graaff Hendrik Jan Grievink Jaap van der Grinten Jeroen Groenewegen Maurice Groenteman Gerda van Groesen Vanessa de Groot Joost Grootens Giel Groothuis Theo Groothuizen Igor Guinau Anuradha Gupta Seema Gupta Daniera ter Haar Gert ter Haar Loek ten Hagen Katharina Hagg Ineke Hans Lucy Hao Rita van Hattum Huib Haye van der Werf Zengqiang He Michael He Linda van der Heijden Monique van Heist Aart Helder David Heldt Marly Hendricks Doreen Heng Liu Sebastian Hennecke Cathelijne Hermans Iris van Herpen Bob Hiensch Ed van Hinte Lucel van den Hoeven Bruni Hofman Ariane Hofmeester Bart Hofstede Mariette Hoitink Jan Henny Holvast Teun Hompe Anne Hoogewoning Wouter Hooijmans
77
Cornelia Horsch Liesbeth in ‘t Hout Marije Hovestad Richard Hoving Xun Huang Lucie Huiskens Rob Huisman Marije Hulshof Michiel Hulshof Erik Jan Hultink Richard Hutten Willemien Ippel Wilma Jansen Michiel Janson Patrick Janssen Agata Jaworska Nadia Jellouli-Guachati Charles Jiang Lawrence Jiang Allard Jolles Michael Jones Charles Jongejans Jeroen Jonkers Jiang Jun Bas Kalmeyer Prabhu Kandachar Kenneth Kang Arzu Kaprol Cem Kaprol Arhan Kayar Zhang Ke Rajesh Kejriwal Janneke van de Kerkhof Peter Kersten Onno Kervers Yolande van Kessel Ishan Khosla Sneha Khullar Ite Kingma Roel Klaassen Jose Klap Alexander Klotz Monique Knapen Jan Knikker Dorukcan Koca Sinem Kocayas˛ Marian Koek Ira Koers Evert Kolpa Jorn Konijn Margo Konings Kathrin Konst Barbera van Kooij Eric van Kooij Paul Korff Dinesh Korjan Rashmi Korjan Machteld Kors Vasif Kortun Judith van Kranendonk Mateo Kries Vinca Kruk Reinhild Kuhn Eve-Marie Kuijstermans Dingeman Kuilman Marten Kuipers Mrudul Pathak Kundu Kushal Lachhwani Marielle Lagers
Richard van der Laken Caitlin Lam Robbert Lambriks Marthe Lamers Mi Lan Chris van Langen Hiu Ying Lau Jochem Leegstra Marlies Leegwater Jorn Leeksma Margriet Leemhuis Olivia van Leeuwen Ulrich Lehmann Mathias Lehner Elies Lemkes Bernard Leupen Kelly Li Lei Li Peggy Liebregts Ingeborg van Lieshout Ma Lin Jiayi Lin Fan Ling Tang Lintao Xiaodu Liu Jenny Logjes Monique de Louwere Jini Lu Sandor Lubbe Wang Luming Anneke Luwema Sisi Lv Elva Ma Xiao Ma Winy Maas Anne Magnus Tanvi Maheshwari Rianne Makkink Luca Marchetti Robert Jan Marringa Karel Martens Bjarne Mastenbroek Albert Matthijssen Luna Maurer Marc Maurer Nicole Maurer Andrew May Brendan McGetrick
Thank You
Marian McLaughlin Nathaniel McMahon Gertjan Meeuws Deborah Meijburg Christien Meindertsma Julia Menthel Nurten Meriçer Lucille Merks Wei van der Meulen Paul Mijksenaar Olga Mikhailovskaya Wang Min Bai Ming Melissa Minguez Janak Mistry Skye Mok Anneke Moors Samir More Roel Mostert Jan-Peter Mout Roelof Mulder Irene Muller Maarten Statius Muller Esther Munoz Grootveld Bert de Muynck AGK Nair Xandra Nibbeling Woltera Niemeijer Bruno Ninaber van Eyben Ou Ning Victor le Noble Gerrie van Noord Jos Oberdorf Amelia Oei Eva Olde Monnikhof Hans Oldewarris Meriç Öner Jos Willem van Oorschot Nancy van Oorschot Irma van Oort Janine van Oostrom Piet Oudolf Suzanne Oxenaar Yonca Ozbilge Satyendra Pakhale Leon Paquay Piet Paris Anand Patel Anirudh Paul Ciska Peeren Dirk Peters David Pho Maarten Pieters Zhao Ping Lu Pinjing
Inge Pit Cassandra Pizzey Els van der Plas Alma Ploeger Raghav Podar Sandra Pompe Steven Pooters Eva Postema Bertjan Pot Peter Potman Martijn de Potter Maurice Pourchez Michelle Provoost Ma Qing Liu Quanxi Emanuele Quinz Yvonne Radecker Novi Rahman Boyd Raimond Manjiri Rajopadhyr Leon Ramakers Renny Ramakers MP Ranjan Jacob van Reijs Lodewijk Reijs Maarten Reqouin Bart Reuser Tet Reuver Peter van Rhoon Julian Richardson Wolter te Riele Barteld Riemeijer Alexander Rinnooy Kan Hans Robertus Janny Rodermond Bas Roeterink Daan Roggeveen Lara de Rooij Berit-Ann Roos Daan Roosegaarde Ake Rudolf Esther Ruiten Vincent Rump Laurens Runderkamp Roel Ruyten René de Ruyter Áine Ryan Jarry van Sabben Tihamer Salij Jon Sanders Cora Santjer Frans Schellekens Sander Schellend Machtelt Schelling Renate Schepen Schieblock Werkhotel Gerrit Schilder Ellen Schindler Lisette Schmetz Mariet Schoenmakers Jan Schoentauf Stefan Scholten Bernd Scholtz Laura Schön Jan Schoon Fred Schoorl Robert Schuddeboom Rob Schuring Barry Schwarz
Lena Shafir Pratyush Shankar Sudhir Sharma Rohan Shivkumar Jennifer Sigler Abhineet Singh Ila Singh Annelies Sinke Mara Skujeniece Peggy Smeets Fanny Smelik Moetoesinghi Smidt Dirk Smit Jan Reint Smit Jolanda Smit Marie Smit Sjoerd Smit Jasmijn Snippe-Thissen Wieki Somers Vivian Song Sven Sörensen Marie-Anne Souloumiac Thijs van Spaandonk Henri Spijkerboer Riet Spijkers Truus Spijkers Nithya Srinavasan Aravamuthan Srivathsan Gert Staal Kira Stachowitsch Harry Starren Roel Stavorinus Saskia van Stein Vincent Stokman Nanna Stolze Daniël Stork Gijs Stork Clarisse Stulp Vittorio Sun Eva de Swaan Eduard Sweep Magreet Sweerts Jeanne Tan Skott Taylor Jeroen Teunissen José Teunissen Rajeev Thakker Divya Thakur Marlou Thijssen Oliver Thill Conrad van Tiggelen Carolien van Tilburg Mei-Lan Tjoa Huiming Tong Luisa Tresca Wiecher Troost Recep Tuna Ayse Tüzen Laura van Uitert Nicole Uniquole Ine van Zeeland
Shiny Varghese James Veenhoff Tjeerd Veenhoven Koen van Velsen Endry van Velzen Ton Venhoeven Kiran Venkatesh Maxime Verhagen Meike Verhagen Luuk Verheul Arjan Verhoeven Tim Vermeulen Erik Verwaal Claudia Verweij-Rosier Hendrik Vibskov Bart Vink Linda Vlassenrood Martine Vledder Martien de Vletter Christa van Vlodrop Inge Vlugter Coralie Vogelaar Frans Vogelaar Monique Vogelzang Margriet Vollenberg Remco van der Voort Linda de Vos Christine Vroom Marcel Vroom Gauri Wagenaar Danielle Wanders Marcel Wanders Jan Warndorff Joy Waterval Wang Wei Helma Weijnand-Schut Barbara Wendling Han Wesseling Inge Wesseling Angelique Westerhof Taco Westerhuis Geert van de Wetering Thomas Widdershoven Agnes Wijers Cees van Wijk Carlo Wijnands Friso Wijnen Edwin van Wijngaarden Femke van Woerden Yaniv Wolf Jan Wolleswinkel Shirley Wong Ying Qun Xie
Henry Xu Phoenix Xue Goa Ya Ozlem Yalim Miranda Yan Shaway Yeh Micheal Young Ruohan Yu Deniz Yurdatap Petar Zaklanovic Marijke Zandhuis Ton van Zeeland Ready Zhang Jacky Liu Zhanhui Wang Zhenfei Zou Zhengfang Winky Zhong Cheng Zi Franz Ziegler Halbe Zijlstra Mascha van Zijverden Amelie Znidaric Zomers bloemen Philipp Züllich Tobias Zuser Jos van der Zwaal Paul Zwetsloot
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Financial Report 2011 Explanation Financial Report DutchDFA 2011
The 2011 DutchDFA year plan, with an activities programme in the focus countries Germany, India, China and Turkey, plus a parallel communication programme, has largely been executed. Several activities have furthermore been prepared to start in 2012. The full year contribution of 3 million euros has been spent in 2011. However, the ambition to spend more than the year contribution in anticipation of the programme’s termination in 2012 has not been fulfilled. At the 2011 year end, 3.37 million euros of the total DutchDFA budget remain to be spent. Of this sum, 3 million euros are intended for projects scheduled for 2012, with the remaining 300,000 euros reserved for the winding down of the programme in 2013. The principal components of the DutchDFA programme, typical for the bundled approach, have been implemented effectively in China, India and Germany in 2011, and prepared for Turkey in 2012. These are: a traveling multidisciplinary exhibition with complementary programmes and business delegations to stimulate network-building and commercial enterprise; design-led research that brings together designers, clients and governments from multiple countries on the basis of relevant local themes; and direct and daily local support for the international entrepreneurship of designers in the focus countries through the Dutch Design Workspaces and Desks. For the transfer of international knowledge and networks in the Netherlands, various events, workshops and visitor programmes were organised. In 2011, 23 new Dutch Profiles were constructed and investments made in the internationalisation of websites of DutchDFA partners.
Toelichting Jaarcijfers DutchDFA 2011 Het DutchDFA jaarplan 2011, met een activiteitenprogramma in focuslanden Duitsland, India, China en Turkije, en een flankerend communicatieprogramma, is grotendeels uitgevoerd. Daarnaast zijn meerdere activiteiten voorbereid voor start in 2012. In 2011 is de volledige jaarbijdrage van 3 miljoen euro besteed. De ambitie om in 2011, anticiperend op de afloop van het programma in 2012, meer te besteden dan de jaarbijdrage is echter niet gehaald. Ultimo 2011 is nog 3,37 miljoen euro te besteden van het totale DutchDFA budget. Hiervan is 3 miljoen euro voor in 2012 uit te voeren projecten en 300.000 euro voor de afwikkeling van het programma in 2013. Hoofdlijnen van het DutchDFA programma, typerend voor de gebundelde aanpak, zijn in 2011 in China, India en Duitsland goed neergezet en voorbereid voor Turkije in 2012: de reizende multidisciplinaire tentoonstelling die met aansluitende randprogramma’s en zakendelegaties netwerkopbouw en ondernemerschap stimuleert; ontwerpend onderzoek dat op grond van relevante lokale thema’s ontwerpers, opdrachtgevers en overheden uit meerdere landen verbindt; en de directe, dagelijkse, lokale ondersteuning van het internationaal ondernemerschap van ontwerpers in de focuslanden door Dutch Design Workspaces en Desks. Voor overdracht in Nederland van internationale kennis en netwerken vonden evenementen, workshops en bezoekersprogramma’s plaats. In 2011 zijn 23 nieuwe Dutch Profiles gemaakt en is geïnvesteerd in de internationalisering van de websites van de partners in DutchDFA.
Financial Report 2011 Budget
Expenditure
Difference
e 3.003.947
-e 1.276.053 -1.276.575 1) 0 522
270.250
-39.750 -9.176 2) -30.574 3) -e 1.236.303 -7.278 4)
modified October 2011 Income Funding by Ministries (OCW, EZ, BZ) Contributions Steering Group Members Other Income Expenditure Overhead Overhead staff Overhead material Activity costs General (staff, project management, travel costs)
e 4.280.000 4.230.000 50.000
2.953.425 50.000 522
310.000 140.000 170.000
130.824 139.426 e 3.970.000
205.000
China Idea NAi Matchmaking China – exhibition Shenzen Biennale Connecting Concepts – exhibition Shanghai and Beijing Chinese Designers @ Symposium Architecture 2.0 Network Dutch Design College China – development of project plan NAi Matchmaking China (partly) The Next City Masterclass – publication, exhibition and conference Visitors Programme China-Netherlands and vv Enterprise Beijing Design Week – project management, local staff, location, exhibition, conference, PR and business delegation Liberation of Light – exhibition Beijing and Guangzhou NAi Matchmaking China (partly) Dutch Design Desk, Greater Pearl River Delta Trade mission to Canton Fair in April and October 2011 Shanghai International Creative Industry Week and 100% Design Shanghai – designers display, symposium and Dutch Profiles Project management, travel costs Other activities (research, smaller projects) India Idea Dutch Designers Speaking @ DesignYatra Mumbai, CII-NID Design Summit, Indian Designers @ Symposium Architecture 2.0 Connecting Concepts Bangalore Unbox Festival India (partly, for 2012) Network Delhi 2050 Unbox Festival India (partly, for 2012) Visitors Programme India-Netherlands and vv Enterprise Delhi 2050 Fashion fact-finding mission to Delhi (consultancy and factfinding) NAi Matchmaking India Dutch Design Workspace India Project management, travel costs Other activities (research, smaller projects) Germany Idea Exhibition Vitra Design Museum (partly, for 2012) Norm=Form Leipzig (workshops) Network Factfinding and development of project plan Leipziger Neuseeland (partly) Visitors Programme Germany-Netherlands and vv Enterprise Dutch Design Design Desk Europe – Development business plan Exhibition Vitra Design Museum (partly, for 2012) Dutch Denim Diner Berlin Factfinding and development of project plan Leipziger Neuseeland (partly) Market Research ‘Doing Business in Germany’ Project management, travel costs Other activities (research, smaller projects) Turkey Idea Dutch Design Awards exhibition Istanbul Design Week SALON/ Istanbul (for 2012) Network Crafts Research Design Academy Forum Istanbul Visitors Programme Istanbul-Netherlands and vv Enterprise
955.000
Total expenditure Income through interest Result
808.476 165.960
-146.524
75.000 84.960 6.000 126.034 5.000 36.140 80.366 4.528 395.790 148.496 95.200 56.140 32.094 49.075 14.785 89.024 31.668 500.362 75.401
875.000
-374.638
14.079 53.822 7.500 91.803 47.500 7.500 36.803 161.184 13.156 17.460 30.830 99.738 127.456 44.518 229.687 59.871
435.000
-205.313
50.000 9.871 7.121 1.609 5.512 111.254 17.500 21.500 63.925 1.609 6.720 41.452 9.989 165.954 111.258
550.000
-384.046
27.958 83.300 3.958 1.356 2.602 2.250
Setting up a Dutch Design Desk Istanbul – feasibility study Project management, travel costs Other activities (research, preparation, smaller projects) Netherlands Idea Conference What Design Can Do! 2011 & 2012 Network Public DutchDFA Days International scope on DutchDFA partner websites Enterprise Factfinding mission in preparation of Inamsterdam World Interiors Event Conference Exploding China – China’s New Megacities Conference Creative Amsterdam Business without Borders Professionalising Dutch Creative International Entrepreneurship Other activities (research, smaller projects) Parallel programme General (project management communication/PR) Dutch Profiles PR costs and Communication costs
e 2.733.697 197.722
2.250 41.646 6.842 301.016 150.000
415.000
-113.984
150.000 77.669 15.646 62.023 52.645 10.500 5.000 29.145 8.000 20.702 530.480
535.000 70.000 260.000 205.000
67.615 271.557 191.308 e 4.280.000 e0
e 3.003.947 15.673 e 15.673
1) Residual funding reserved for 2012 2) Costs office personnel lower than budgeted 3) Costs for research project postponed to 2012 4) Costs staff for projects lower than budgeted
4.520 -2.385 11.557 -13.692 -e 1.276.053 15.673 e 15.673
80
Credits Organisation Publication 3/4 is the third annual report of the four-year Dutch Design Fashion Architecture programme. National and international partners of the programme share their experiences in China, India, Germany and Turkey of 2011. Just past the halfway mark, this was a year of reflection and evaluation; time to reap the returns of what was planted in the first two years. Within three years, DutchDFA has yielded visible and appreciable results that can permanently contribute to reinforcing the international position of Dutch design. While preparing the road map for safeguarding the legacy of DutchDFA after 2012, the programme will still move ahead at full speed during its last year. Editing Gert Staal, Sender/editors, editor-in-chief | Jolanda Strien, DutchDFA | Christine de Baan, DutchDFA | Jennifer Sigler, Jennifer Sigler Projects| Nancy van Oorschot, Virgo PR Coordination Nancy van Oorschot, Virgo PR Translations Andrew May, 4site | Jan Warndorff, Beter Engels Contributions Christine de Baan | Michel de Boer | Ole Bouman | Jaap van der Grinten | Dipannita Ghosh Biswas | Jeroen Junte | Robert Jan Marringa | Janak Mistry | Henk Ovink | Machtelt Schelling | Harry Starren | James Veenhoff | Ton Venhoeven | Helma Weijnand-Schut Photography Chris van Bokhorst (Connecting Concepts) | Mónica Carriço (NAI Matchmaking, Hangzhou China) | Trevor Good (Basic Instincts) | Vanessa de Groot (Dutch Design Desk GPRD) | Ingeborg van Lieshout (incoming Indian Mission) | Anja Ligtenberg (Dutch Design Week) | Nathaniel McMahon (Beijing Design Week) | Maurer United (Indemann) | Daan Roosegaarde (Liberation of Light) Graphic Design Thonik Typeface Futura, DIN Schrift, DIN Paper Cover: Munken Polar, 240g | Inside: Munken Polar, 120g Printing and Binding Lenoirschuring, Amsterdam Dutch Design Fashion Architecture 2012 All rights reserved
Steering Group Harry Starren, Independent Chairman | Ole Bouman, Director of the Netherlands Architecture Institute (NAI) | Els van der Plas, Director of the Dutch platform for Design and Fashion (Premsela) | Rob Huisman, Director of the Association of Dutch Designers (BNO) | Matthijs Crietee, Deputy director of the Trade Association for fashion, interior design, carpets and textiles (MODINT) | Christine van Gemert, Chairman of the Association of Dutch Interior Architects (BNI), founding director of Van Gemert Interior Architects | Fred Schoorl, Director of the Royal Institute of Dutch Architects (BNA)| Allard Jolles, Senior Advisor at Atelier Rijksbouwmeester | Albert Matthijssen, Director City Development at Arnhem Municipality (representative Amsterdam, Utrecht, Den Haag, Arnhem, Eindhoven, Rotterdam) Programme Group Christine de Baan, Programme Director DutchDFA, chair | Fanny Smelik, Coordinator International Projects, Netherlands Architecture Institute (NAI) (until July 2011) | Alma Ploeger, Coordinator International Projects, Netherlands Architecture Institute (NAI) | Tim Vermeulen, Programme Manager (Premsela) | Rita van Hattum, Deputy Director, Association of Dutch Designers (BNO) | Corien Beks, Policy Advisor Fashion, trade association for fashion, interior design, carpets and textiles (MODINT) | Gabry Foolen, Office Manager of the Association of Dutch Interior Architects (BNI) | Inge Pit, Head of Communications, Royal Institute of Dutch Architects (BNA) (until July 2011) / Mathias Lehner, Programme manager BNA International, Royal Institute of Dutch Architects (BNA) | Robert Jan Marringa, Project leader, Capital D Eindhoven (representative Amsterdam, Utrecht, Den Haag, Arnhem, Eindhoven, Rotterdam) Government Representatives Jannet Duijndam, Ministry of Education, Culture and Science | Margriet Leemhuis, Ministry of Foreign Affairs| Jasmijn Snippe-Thissen, NL EVD International | Marlou Thijssen, Ministry of Education, Culture and Science | Taco Westerhuis, Ministry of Economic Affairs, Agriculture and Innovation | Friso Wijnen, Ministry of Foreign Affairs | Paul Zwetsloot, Ministry of Economic Affairs, Agriculture and Innovation Programme Office Christine de Baan, Programme Director | Hester Swaving, Business Manager | Jolanda Strien, Project Manager | Elyne van Rijn, Office Manager Freelance Coordinators Marian Koek, Financial consultant | Marie-Anne Souloumiac, Project coordinator China | Jeanne Tan, Project coordinator India | Mei-Lan Tjoa, Project Coordinator India (until June 2011) | Lodewijk Reijs, Project coordinator Germany | Yonca Özbilge, Project coordinator Turkey | Rogier Coopmans, Project coordinator The Netherlands | Carolien van Tilburg, Marketing & Communications | Nancy van Oorschot, Communications Coordinator | Ingeborg van Lieshout, News Editor
