gerrit rietveld academie

Note to our visitors

Welcome to our archives. This website functions as the archive of designLAB, featuring an overview of pro jects, documented and described by students. You can also find our assignments here. For a look at recent video work during our workweeks in Warsaw and Istanbul, and for works in progress, please visit the links below. http://www.vimeo.com/2453345 http://www.projectliefdeindestad.blogspot.com/ Full Essays of designLAB graduates 2009 To be found here soon!! About designLAB designLAB is an experimental design research course at the Gerrit Rietveld Academie, Amsterdam. Over the past years, designLAB has been praised for its innovative teaching practices, its focus on new and collaborative design processes and its process oriented, experimental output - all working scales, fields, and media are possible. Three examples of innovative educational practices, which designLAB was closely involved in, include the annual Winter garden Recess, a series of Travelling Academy pilots (Nepal, Istanbul, Warsaw) and the Pitch Projects (student-driven, cultural entrepreneurship pilots with local partners). designLAB is a strong advocate of collaboration, and regularly initiates projects with fellow departments (Visual Arts, Textile, Fashion, Ceramics, Jewellery, Architectonic Design, Graphic Design), with the Rietveld Studium Generale, with international art academies (Ecole Boulle, Paris, ITU, Istanbul, KUarts, Nepal) and with external partners (Nokia, Paradiso, Pantar). designLAB strives to shape tomorrow’s reflective practices. To achieve this, the program encourages self-learning and facilitates critical reflection. Each student is encouraged to develop his or her own methodology, in line with his or her interests and abilities. Self-resourcefulness, boundless curiosity, and a critical mind, are therefore crucial attitudes for designLAB candidates. The duration of the course is 3 years after having concluded the propaedeutic course successfully. The department currently counts 25 students of various age, nationality and background. The program is conducted in English. Affinity with the Dutch language is highly recommended.

gerrit rietveld academie

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content

2009 | Term 2 Polski Biznez / Warsaw

Sophie Krier, Bas van Beek

Traces of Transition / Warsaw

Krijn Christiaansen, Cathelijne Montens

3D for REAL

Michiel Meurs, Christiaan Thiel

Liefde in de Stad

Lena Shafir, Instituut Liefde in de Stad

Materials

Simone de Waart, materialsense.com

ICON Pitch Project BLACK PUDDING Pitch Project Upcoming ! Graduation 2009 2008 - 2009 | Term 1 (Public) Manifest

Sophie Krier, Lena Shafir

Toolbox

Michiel Meurs, Krijn Christiaansen, Cathelijne Montens

Pitch Projects

Peik Suyling, Dennis Lohuis

Exploring 3D

Michiel van der Kley

Passages

Ilse van Rijn

Around Situationism

Riek Sijbring

Guild

Sophie Krier, Cathelijne Montens, Teike Asselbergs, Asli Kyak

Non Detail

Bas van Beek, Mental Clinic


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project: tutor(s): date: lab:

LAB Sessions all September 2008 1&2

The LAB sessions 2008/2009 Design in dialogue Design Lab is a unique design department: it’s a small network of very different personalities, some in the process of learning and some in the process of coaching. This process of continuous exchange and dialogue takes place in an art academy context, in a (small) country known for its pioneer mentality. The LAB sessions will address the identity of our LAB through a series of discussions and hands-on exercices. The aim is to formulate and envision this year’s issues and workformats at designLAB - using the manifold personal goals and ambitions of its members as input. It’s a personal and collective process in one. We will be asking ourselves questions like: What is our role within designLAB? What should our LAB look like and how should it function? What should our LAB explore first and foremost? Where do we want to present the results from all our research? Agenda The four LAB Sessions will have a hands-on session in the morning, a debate session in the afternoon and a related excursion on the wednesday afternoon. For example: During the first LAB session on Sept 9, students will be asked to write their own manifest during the morning session. Writing a manifest is a way to go to the core of what you want to find out. These will be discussed in groups the same afternoon. At 13.00 designLAB tutors will present themselves in a series of short talks. Introducing their questions within designLAB is a way to fuel design education with personal ambitions, and a way to start a discussion around the relevance of deign education today. The second session on Sept 16 will start with exercises around the making of one’s toolbox: your toolbox should represent what you need to be able to achieve what you want, your social / technical / conceptual tools. The third session wil focus on how to perform / communicate / share your Manifest, in short: how to make it public to the academy community. The last and fourth session will explore your ideas for LAB projects, ie projects that could benefit the whole of designlAB and/or the academy community and/or


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LAB Sessions Sophie Krier, Lena Shafir September 2008 1&2

the the professional design field. We call these LAB Initiatives - Pitch Projects. About trust - By Lena Shafir & Sophie Krier Education at designLAB is a fluid, discursive process. Sustained dialogue is its core value. To grow and enrich yourself in such an environment, the first thing to do is to take responsibility over your studies. Each project at designLAB comes with a brief, which can be considered as a contract. Contracts are meant to guide a process of change with clear goals in mind. A contract in the professional world allows for clear agreements, a planned timeline and well understood expectations. Stimuli-structure. At designLAB our brief-contracts give a structure to the work and help to anticipate on possible misundertandings and misconceptions. Contract = action + reaction = Transition Transitions will regularly come about between the student-searcher and the tutorguide, forming explicit agreements related to the why & how’s of your steps in the design process. This is opens the way to understanding and managing your own design process. Which in turns allows you to navigate consciously between different possiblities of realisation.


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project: tutor: date: lab:

Manifest Sophie Krier, Lena Shafir Sept 8- Sept 9, 2008 1&2

Report by Sophie Krier. In the morning Session 2 questions were answered, in twenty minutes time, in writing: 1. where do you see your own development going? what do you want to focus on this year? 2. where do you think design should go to? Everyone then shared their thoughts; below is a summary of the individual ambitions that were voiced: Eleni / be more in the world, serve society; build – test – post modem, update my manifest from last year Tom / focus on translation, how to get my thoughts accross Fleur / allow failures, work hands-on Amanda / work on my communication, planning and especially discipline. Discipline with myself and with others works differently. why wait till the last minute “ shit now I have to do something” Karlien / find a personal drive per project, can be a different one each time, bring together what I’m interested in and what I’m good at, make intentions visually clear Rianne / See other works, push myself further in things, look better at things Jette / Experiment, avoid safe ways, improve connections between humans Casper / Confront my difficulty with making choices, being present, committing myself Rosa / Focus on how to maintain constant energy in process, be playful & critical, make space for extremes Josha / Look, listen, work together, make intentions clear, communicate David / Slow down, undersdand before I create, not force my ideas on others, listen, learn to tackle the battle for ideas in my head, create poetry, save us from industrial mess... Melina / understand what happened last year, process of embodiement, be present, embody time Jolan / Find what is interesting for me, not act-react and skip to the next thing but reflect on what I make Merel / I cannot be stubborn, want to be open, talk about my plans before they are finished, allow mistakes Melle / integrate form and concept, be aware of the real world


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Everyone also stated developments that they find relevant in the design field today: a selection: Can design go beyond trends, fullfill needs, not just follow (eleni) Influence of technology, importance of network as new parameters of design (tom) Create awareness & simple beauty, designer = pioneer (fleur) Can design become a language (rianne?) Design should interact eg in public space the encounter is in passing by, no forced meeting / consuming (karline) Design should be about being used, caring for needs (jette) Should communicate, act as mediator, autonomous quality is important (rianne?) Custom to people’s needs, forget west axioma, empathize with local culture (casper) How can we form our own opinion, beyond what we read about design (rosa) fine arts & design, where is the border, is it use? (rosa) Commucation what we do is most important (josha) Education is about dealing with information, self studying (josha) Cross disciplines (Melina) What is design in a richer world (Jolan) luxury versus first needs, commodification Need to go social (Merel) Broadening design’s workfield, merge into every nerve of society (melle) Design is assimilating into everything & everything is becoming design (melle) We then had a great discussion about everything and nothing, where we mentioned among others: - design as facilitator of processes, bringing people together - need to go out of our bubble but also keep the bubble (designLAB): move in & out - peter sloterdijk: Spheres for Melle http://www.petersloterdijk.net/ - 1 laptop per child project http://laptop.org/ - Gift Economies / LETS currencies >> see gift pdf attached - Co-op Groceries, via David - Richard Florida: the Rise of the Creative Class Studied Manifesto’s 4 groups then studied 4 different manifesto’s in an attempt to analyse what the manifesto’s try to express and how. (See links below for digital manifests)


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about crafts, specific and collective knowledge http://www.bauhaus.de/english/bauhaus1919/manifest1919.htm about imagination, role play, avoid the normal http://www.activeresistance.co.uk/Manifesto_Reading.html about rules to forget rules http://www.brucemaudesign.com/incomplete_manifesto.html about awareness, ethics & practice http://www.xs4all.nl/~maxb/ftf2000.htm We agreed that a manifest should express the writer’s ideas / position / personality in a clear way. Title and form are important tools to express your message strongly. A manifest should not be about fingerpointing but be the start of a discussion. Next week, sept 16: LAB Session # 2: Toolbox with Michiel Meurs Bring your manifest + a ‘tool’ (material or immaterial) that you couldn’t have done without in a previous project Sept 9 Excursion to Deep Screen – Art in Digital Culture Proposal for Municipal Art Acquisitions 2008 | 30.05.08 - 30.09.08 Deep Screen – Art in Digital Culture presents contemporary works of art which are all in some way marked by today’s digital culture. The jury, chaired by guest curator Andreas Broeckmann, has selected 18 artists out of the 200-plus submissions. The increasing digitalisation of our culture has consequences for the arts. We take instant photos with our cell phones, pick out the shots we want in the blink of an eye on the computer screen, and create our own version of reality using Photoshop and iPhoto. The influence on the visual art world is apparent in the temporary nature of the images used and the centrality of process, repetition and change. www.smcs.nl


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project: teacher: date: lab:

Toolbox Michiel Meurs Sept 16 2008 1&2

Toolbox What do you need to make a design? Pencil & paper, an Apple computer, sand & shovel or … To do the things you want to do, to do them well, you will not only need materials but also skills and knowledge. All these together form your personal “toolbox”. You could say that your goal as a student at design.lab is to get your personal toolbox in working order. When you graduate it should be filled with everything you need. But what is it that you want to have in it? Try to list what you need, what you need to learn. Be precise! Then visualise your personal design toolbox with a model, a booklet or an animation. These visualisations will be presented to the group on september 25th, and will become part of your manifest. Discussed toolboxes on Sept 16, in the morning session: -

Eleni: FormZ (geroemd met een gedichtje) Jette: music at work Rianne: compas, to keep direction Tom: joystick / gamecontroller Melle: book Understanding Design van Kees Dorst Amanda: two pens, a normal one and a digitiser pen Fleur: fineliner Rosa: crepe tape (because of the temporariness) Karlien: sketchbook of friends / family / strangers (to speak about work) Kasper: concentration and resistance to distraction Jolan: paletmes as creative tool during ‘boring’ business study period David: New York City, because everything changed for me there Merel: distance, to see the work better Melina: told about last year’s toolbox


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Toolbox Krijn Christiaansen, Cathelijne Montens Sept 17 2008 1&2

Na een gesprek met Michiel Meurs over de vorderingen van de toolbox van de dag ervoor besluiten we als excursie de toolbox te gaan testen middels een gerichte ontwerpopgave als case studie. Deze opgave luidt: inventariseer alle grenzen / afscheidingen van de gebruikers van het gebied rondom de Rietveldacademie met behulp van je toolbox(gebied dat is begrenst door de gracht, de Amstelveenseweg, de snelweg en gebruikers van het gebied kunnen ontstaan. Bij deze opgave wordt onderzocht of de toolbox genoeg tools bevat om een ontwerpproces mee aan te gaan. Voorbeelden van onderzoeken JOSHA ROYMANS (LAB 1) Inventarisatie: Grens tussen bedrijf en vrije school. Groene hek van de vrije school is veel hoger dan het blauwe hek van het bedrijf. Hierdoor dwingt de vrije school als het ware om het bedrijf zijn hek op te laten hogen (het laagste hek is immers een makkelijker te bedwingen barrière voor degene die men buiten wil sluiten). Conclusie: de afscheiding wordt enkel vanuit de kant benaderd van degene die het hek plaatst. Dit levert een rare verhouding met de buurman op (bedrijf ten opzichte van de vrije school) maar ook met het aangrenzende park. Interventievoorstel: ontwerp van afscheidingen met alle aangrenzende partijen zodat de binnenkant net zo mooi wordt als de buitenkant. Gebruik toolbox:communication/collaboration, ten volle benut Inventarisatie tools: vertellen ROSA SIJBEN (LAB 2) Inventarisatie: afscheiding van gebieden die niet in gebruik zijn maar een aantrekkingskracht hebben om te gaan verkennen. Een zware heg bij de begraafplaats die een klein watertje omsluit, een sloot die een soort van boothuis (genaamd: ruimte 3) omsluit. Interventievoorstel: het boothuis per kano gaan verkennen Gebruik toolbox: reading, writing, playing, managing. Rosa heeft nu de plekken gelezen. Het zou goed zijn als ze er nu nog gaat spelen. Dus de kanotocht echt gaan ondernemen naar het meertje en ruimte 3. Inventarisatie tools: tekenen en schrijven

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Pitch Projects Peik Suyling, Dennis Lohuis, Lena Shafir Sept 30-Oct 1 2008 1&2

will be updated soon!


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Exploring 3D Michiel van der Kley Sept 2008-Dec 2008 1&2

will be updated soon!


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Istanbul Workweek Sophie Krier, Cathelijne Montens Oct 2- Oct 10 2008 1

About how to not be a tourist in a strange city “ City life, urban life, living in big cities, in fact, is living in a galaxy of unimportant, random, stupid, absurd images. But your look gives a strange, mysterious meaning to these little details of streets, asphalt or cobblestone roads, advertisements, letters, all the little details of bus stops, or chimneys, windows. All these things constitute a texture of a city, and each city in that fashion is very different. So many people came, but some of them missed the whole point. Some of them got some of it, but most of the foreigners saw and paid attention to the exotic rather than the random. They missed the texture. They paid attention to monuments and, in fact, added a colour of their own, which sometimes is not there.” - Orhan Pamuk What we want to find out Mapping the different companies per block How do they use each other’s qualities What are their respective borders Is there one main tenant or do they all have separate contracts What is the mechanism behind the big system What goes in and what goes out? [place] Which transactions take place? What’s the rythm of this system, when is it in use and when is it switched off? [time] Tentative week program Friday Oct 3 09.45 Meeting at Galata Tower. In turkish: “gaalaataa koelessi » take the tram to Karakoy (Kaaraakeuj) then the subway to (Tuunel) then walk down the music street till you see the square with the tower on your right hand side Morning presentation at Galata Perform, a small theatre. Full-day excursion through the district of Shishane with Teike and Asli as guides, giving us insight in the historical development and actual state of the area. Focus of the day: under-


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standing how the Shishane guild system works and how it came to be that way. « In Shishane more than 10,000 workshops for lighting elements and electricity function according to very specific organizational principles. More than 100 years ago, the area of Shishane and the Galata harbour was the first one to have electrical lighting and streetlanterns were first installed in Shishane as well. » - Teike Asselbergs & Asli Kiyak Saturday Oct 4 09.30 Re-visiting Shishane but this time focussing on one specific street / area. Defining positions inside and outside, from which to observe the dynamics of the area. Saturday Oct 4 13.00 Visiting Bas’ favourite shoppingmall(s) Kanyon en Cevahir Sunday Oct 5 Early morning boat trip down the river, lunch at fish restaurant, cross over by Ferry to the Asian Side Monday Oct 6 09.00-12.00 Preparing presentation of Monday (location to be defined) 12.00 Departure to ITU (tram + subway) 13.00-14.00 Mental Clinic Lecture 14.00-15.00 15 min project presentations by the 4 groups 20.00 Bedtime for morning shift group ( !!! ) Tuesday Oct 7 24 hour Shishane Observation in shifts 05.00-12.00 12.00-13.00 13.00-20.00 20.00-21.00 21.00-05.00 05.00

group 1 (in/out & on/off logistics) passing on the findings to group 2 group 2 (in/out & on/off logistics) passing on the findings to group 3 group 3 (in/out & on/off logistics) Taxi back to Cordial House


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Wednesday Oct 8 09.00 group 1 & 2 prepare the workspace at Galata Perform 12.00 group 3 joins ; matching the findings and making proposals for interventions in the rythm, logistics, functions etc Thursday Oct 9 09.30-19.00 Working further in our temporary studio on the interventions in the rythm, logistics, functions ; optional meetings with artists in the area. Thursday Oct 9 20.00 Collective dinner at REFIK It’s one of the few Meyhanes (taverns) around that does not drown out the intense political conversation of journalists and intellectuals with loud Fasil (traditional Turkish) music. Hidden away in the backstreets of bohemian Tünel, it’s an excellent place to get an introduction to Istanbul’s boisterous Meze and Raki culture. Contact Details Refik Address: 10 Sofyali Sokak, Asmalimescit, Beyoğlu, Tünel Phone: +90 212 243 2834 Friday Oct 10 Check Out of Cordial House, bags can stay here. Free morning program 13.00 Final presentation to Teike, Asli, Sophie, Cathelijne at Cordial House 16.00 Transfer back to airport


designLAB

Project: Tutor(s): Lab:

LAB Tools Michiel Meurs LAB 1& 2

M i j n g er e ed s c h apk i s t / M y t o o l b o x . What do you need to make a design? Pencil & paper, an Apple computer, sand & shovel or … To do the things you want to do, to do them well, you will not only need materials but also skills and knowledge. All these together form your personal "toolbox". You could say that your goal as a student at design.lab is to get your personal toolbox in working order. When you graduate it should be filled with everything you need. But what is it that you want to have in it? Try to list what you need, what you need to learn. Be precise! Then visualise your personal design toolbox with a model, a booklet or an animation. These visualisations will be presented to the group on september 18th, and will become part of your manifest. Your toolbox will help us define the design.lab study programme!


Connections Karel de Boer, Wouter Niewendijk Autumn 2007 1, 2

Amanda van Sloten

This project started with an excursion to Neef Louis where vintage furniture were used as a medium to explore the different ways things are connected. Sketching and drawing as well as trying to define in words what a connection is, was part of the process of exploring existing connections and their possibilities and limitations. The next step was to translate the observed connections into something new. After sketching and making models we tried to recreate our translated version of the connections. Finally, we used the translated connections to assemble forms or create systems, objects etc.


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Fleur Thio

Eleni Katsali

Eleni Katsali


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Amanda van Sloten

Niels Kamp

Eleni Katsali

Jeroen Timmer


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Design Survival Isabelle Scholtemeijer, Irma van Weeren October 2007 1, 2

Design Survival; a week of workshop in the North of Amsterdam, two projects, quick desicions. We started the first project on board of the Sirius, a former protest boat of Greenpeace. We were introduced the Greepeace way of working and explaned how they prepare their activities. Later we welcomed Krista Rozema of the advertisement agency Kessels Kramer. She introduced to us three ways of surviving when you have no budget, no nice assignments and not all the sources you need. This resulted in three really good designs The campaign for the Hans Brinker Budget Hotel, The Other Final and Diesel Dream. We then set out to make our own “guerilla” designs in promotion (or the oppposite) of Greenpeace.


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eat them all - group of David, Eleni, Eva, Johanna and Rana


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Are YOU: flexible, silent, patient, pref. tall and weatherresistant? Then we want YOU! THE FAKE-A-TREE COMPANY www.fakeatree.com

fake a tree advertisement

Group of Robbert, Fleur, Rosa and Amanda


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holy bean - Group of Sjoerd, Stefi, Myrthe, Niels en Marjan


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stop greenpeace - start thinking - Group of Alex, Melina, Jeroen and Lauriane


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The second project was introduced by Bas Janssen of Red Concepts in front of the Aardinghal. He explained us the history of the post-war wharf, the structure of the hall as a monument. Due to this alterations to the structure of the warf are not allowed, only restoration. Our task relating to Aardinghal was to design a programme (function, possible parties, etc) and an actual form for this (places, image, volumes, etc) and present this in an appealing way. So it had to be temporary, has to be open for the public, cultural minded and being connected to the atmosphere ( which is an international spot for media and creative industry) of the rest of the wharf. After that we had a fast look around the NDSM wharf with Adri Doorneveld of Stadsdeel Amsterdam Noord.


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new dutch ship maze - Group of Sjoerd, Stefi, Myrthe, Marjan en Niels


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rent a restaurant - Group of Robbert, Rosa, Fleur and Amanda


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colloseum - Group of Alexander, Melina, Lauriane and Jeroen onderschrift


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3d for real Michiel Meurs January 2008 1, 2

Elena Katsali

Rosa te Velde

The main aim of this course was to master the 3d modelling program Form-Z. The assignment was to draw a body protector.


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3d for real Michiel Meurs January 2008 1, 2

Robbert van Strien

Elena Katsali


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Wintergarden 2008 various January 2008 1, 2

Where does rain start and where does rain end? Is a cloud already a form of rain? Is rain still rain once collected and turned into an amount of liquid? What makes rain rain? Its movement? Its wetness? Its sound? Its direction? How does our inner space relate to the space outside us? Each of us is made up of 90% water... Can it rain inside us? Making Rain was the theme of the Wintergarden, 2008. The wintergarden is an experimental project together with the TXT textile and Fashion department. In four weeks 55 students worked together on various subjects: Space, Material, Body and Media. The Wintergarden course ‘Space’ will explore the relation between urban / rural spaces, their specific users and rain as a ‘stemming maker’ (an atmosphere maker) herein. In February we exhibited all together in the Asscherbuilding, Amsterdam.


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Amanda van Sloten- LAB 1

Sjoerd Jonkers - LAB 2


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Melina Pyykkonen - LAB 1

Fleur Thio - LAB 1


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Marjan van Aubel - LAB 2

Sergio Davila and Tom Tjon A Loi - LAB 2 and LAB 1


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Nepal Sophie Krier april 2008 2

onderschrift

onderschrift


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Hema Ontwerpwedstrijd Michiel Meurs Spring 2008 1,2

BoeCO - Amanda van Sloten.

In spring 2008, all designLAB students took part in the HEMA Ontwerpwedstrijd (design contest). The subject was sustainable design that fits HEMA. Lisette Haasnoot got an honourable mention in the category fashion, with her Hoody.


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Honourable mention Lisette Haasnoot in the category fashion.


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Open up to Rietveld Sophie Krier, Lena Shafir March - June 2008 1, 2

Rosa te Velde made an imaginary portrait of real-life architectural design student Matej.

One part of the pitch-project assignment was for the designLAB-students to open up to the Rietveld Academy. In order for the students to get to know other departments and vice versa they had to design a portrait of an endexam student of a department of their choice. The portrait had to communicate both the portayed and the portrayer.


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Open up to Rietveld Sophie Krier, Lena Shafir March - June 2008 1, 2

Ucja Pindor portrayed a graphic design-student, combining his interests with her own.

Fleur Thio adopted fine arts-student Saskia van Imhoff’s interest for archiving and rearranging and designed a range of associating tools


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Drawing journals Sophie Krier & Lena Shafir April - June 1,2

In april the students were asked to start a drawing journal. The idea was that for a period of two months everyone would make a drawing a day...


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drawing journals sophie krier & lena shafir april-june 1&2

Elena Katsali

Sjoerd Jonkers


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drawing journals sophie krier & lena shafir april-june 1&2

Marjan van Aubel

Rana Ghavami


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Comfort/discomfort in public space Sophie Krier, Lena Shafir Spring 2008 1, 2

Sit with me, by Sjoerd Jonkers. To sit you need two people, trusting each other and sitting simultaneously

Having picknick at the Dam, by Marjan van Aubel. Exploring the borders of what is allowed in public space.


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Interactive toys for autistic children to be used as comfort in busy public space, by Eleni Katsali Saying hello to the neighbourhood, by shaping the bush, by Marjan van Aubel

Swing with me and write the word, by Marjan van Aubel.


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Experimenting Anke Weiss Spring 2008 1, 2

Ucja Pindor Try outs with the teddybear as a basic element

Eleni Katsali combinations of pigmants


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Ucja Pindor teddybear

Rosa te Velde Everyone is a winner!


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Amanda van Sloten Change the form, stuceloper carpet.

Exploration material, spy on other designers working in a virtual environment and Second life. Play with things and combine with paper or used material. Merging collection, structuring research and revising initial thoughts and establishing a form.


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Light building Loop (Rachel Wingfield& Mathias Gmachl) & Ed van Hinte May 2008 1, 2

popcorn is light

The workshop by Loop-ph, a design duo from London, was about designing from structures, for an imaginary and paradoxical user: the social hermit. It’s also about translating a narrative into systems and constructions. And it’s about dealing with some requirements: group housing, shared (public) facilities, mobile community, adaptable to acute needs. criteria: daily attendance individual and team work, group spirit hands-on sketching approach respond to brief DesignLAB have been working for one week under the guidance of Loop-ph (www.loop.ph) in the Asscher-building in Amsterdam on designing and building the structures. At the end of the week there was a presentation in the Sarphatipark.

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Herman the hermit crab Herman is not at all nervous. In a few minutes he will be on stage to address his fellow hermit crabs. For some reason they have chosen him to be their leader and he knows what he’ll be saying to them. It won’t be difficult. Herman allows his mind to wander back to the series of events that put him in this weird position: the boss of an entire species that hates to be bossed. It began just a few months ago. He was just comfortably sitting in his newly acquired shell peacefully eating a few bites from the fresh remains of the previous owner of his home, when three sharks approached. Usually sharks ignored crabs, because they don’t have much to discuss, being total aliens in each other’s worlds, but this was different, particularly because the law sharks were dressed in black, wearing togas and wigs. Just behind them was a bulky bouncer type killer whale with tattoos on his chest and forefins. He looked rather violent and was dragging a big old net filled with empty shells. The three officials lined up right in front of Herman and the one in the middle unrolled a green scroll made of seaweed. He started to read out an announcement that was not very pleasant if you happened to be a hermit crab: Sir, as representatives of Emperor Piranha Pedro the Petrifyer we have come to summon you to leave your shell immediately. The Emperor has developed an economic value exchange system for his Nation and he has decided that all shells without natural inhabitants shall become the currency for fish to pay and be paid. Hermit crabs by law are not considered natural shell inhabitants and ugly too. Therefore they are expelled from the sea as of today. They shall all go North untill they are on dry land and take it from there. Sir, if you as a hermit crab refuse to comply, you shall be tastefully prepared with tomato sauce and eaten by us, Yours sincerley, the Piranha Inquisition. But you are sharks, not piranhas, Herman had felt himself forced to reply. You must be imposters, piranha impersonators, and not very good ones. The middle shark had just frowned and remained aloof: What’s in a name? We’re dangerous, particularly the killer whale muscle here, and you’d better split. There was nothing Herman could do. As the killer whale took position to grab his shell and the three lawyer sharks threw angry glances at Herman, he crept out of his house, feeling rather vulnerable because of his soft and crooked body.

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From that awful instant Herman had travelled North, across the bottom of the sea. It had not been an easy trip. He was of course accustomed to being lonely, and food was no problem, but he was not used to walk for days on end. Mentally it was difficult as well, having to crawl by empty shells that looked quite comfortable (often better than the one he had had to leave), but they were all garded by uniformed tuna fish and it was simply impossible to even take a short nap in one of those. The most difficult part was that he had to be cautious all the time because of his weak body, and often take refuge behind a rock or in a sunken ship. On several occasions, when no hideout was available, he had had to dig himself in under the sand and more than once this had resulted in a fight with some hunting fish that had already been hiding there and was disturbed by the pricks of Herman’s sharp scissors. But as time passed, Herman moving on and on, circumstances gradually improved. The reason was simple enough: Herman was not the only hermit crab moving to the North. After three weeks he met the first two fellow-victims of Pedro Piranha’s verdict: Amanda and Herman, which was not that much of a coincidence. Many hermit crabs are named Herman, to keep things simple in a lonely life. After that meeting others joined them.Within a week there were over fifty, and one week later the group consisted of several hundred crabs. The group was attacked once, by a strange being with a cylinder on its back, but Herman, our Herman, happened to be nearby and cut it with his scissors. Blood poured out and three sharks without wigs finished the job. Herman never thought much of his deed. To him it was almost an accident, but now he realised that this simple cut had caused the others to choose him to be their leader. The others now formed a population of tens of thousands of hermit crabs. They had strruck land almost three months after they were evicted. After crawling out of the cold but familiar water it had taken them another ten days to arrive at a site that they agreed would support them, at least for a while. There were insects and lizzards they could eat and - this was important - there was an ample supply of materials they could use to build their own homes. The crabs realised that from now on they would have to resort to building their own shelters, because on land there just weren’t enough shells. Herman, said a soft voice, it is me, Herman. The stage is yours. Break a leg. Herman retreated from his thoughts and smiled. We’ll break things Herman, but not legs.He said enigmatically. He walked on stage, took a stand behind the lectern, put his scissors on top, cleared his throat and started speaking: Dear fellow hermits, I feel deeply honoured that you have bestowed on me the authority to lead you in our new common future. It is good to see that you, representing almost all the

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500 species of hermit crabs, have gathered in this place with so many thousands and that you are all confident and unbroken by Pedro Piranha’s nasty act of aggression. I am proud to belong to such a fantastic group of modest crawlers. I have given your confidence in me many hours of consideration and I have come to an important decision, which in the end turns out not to be all that difficult. For as of today we will start to build a brand new mobile colony, a city that will move and change according to its needs. We shall be the first group of social hermits on this planet. We will not build houses for individual crabs, but for groups with a minimum size of four. In that way we will be able to protect both ourselves and eachother. We will no longer need shells from other animals. We will depend less on them and more on each other. It will be a new step in hermit crab evolution, and a drastic step too, for we will no longer lead the life of hermits. Future generations will remember their heritage and our instant of change only because of their surname, which will remain Hermit Crab. Because we will be social beings we will change the function of our antennae, a somewhat distant communication device. We will be closer and no longer need them to feel. Instead we will all break them off and add them to our newly found warehouse of building materials. This has been the only decision I make as your leader. You don’t need one, because in your hearts you will all remain hermits. All you have to do is break of your feelers like I do and continue your lives as social beings. Don’t be afraid. It doesn’t hurt. There is a loud snapping sound a cheers and all the crabs get to work.

39

project: date: lab:

Urban Green by Marina van Goor and Kanika Frings graduation project spring 2008 3

The Osdorp area in Amsterdam was once an attractive area because it was known for the large amounts of green. A lot of new buildings are being planned into this area, and therefore the green is in danger, together with Osdorp’s image. The government wants to bring more green back into the city to ensure this marketing tool as well as creating a means of social cohesion. Outcome of interviews with local citizens were that they didn’t perceive the green in Osdorp to be real nature. They did connect nature as a social meeting point, but not in Osdorp, because the green was not appealing to them (not feeling safe), and they were also very negative on the maintenance of the existing green. This perception could be changed by creating awareness, involving people, inviting people and emphasizing on the green. By researching the history of Osdorp it was clear that the public space was designed for a homogenous group of people in the 1950’s and 1960’s. But in 1980’s a lot of immigrants moved into this area, and therefore the group of people became hetereogeneous. It is time to redefine public, semi-public and private spaces in order to provide a feeling of ownership, responsibility and maintenance. People do feel comfortable in public spaces such as train stations, airports and shopping malls. On one hand they want to be controlled by boarders and restrictions of a certain place, providing safety and space to move freely within these confinements. On the other hand they don’t want to be forced to ‘hang out’ somewhere. They need to have a so called alibi to be in public space. This can be reached from two directions - by moving public space towards private ownership. The owner establishes rules and therefore the space will be controlled and attractive for the visitor or user. - by making the public space ‘safe’, by providing a certain extend of control, or creating an atmosphere of safety by other means.


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onderschrift

possible elements for interventions to research a system to create a personal domain in public space: screen, ropes, poles and blankets, rolling screens, free standing chairs


designLAB 41

project: date: lab:


The final design for this project was the ‘Green Event’. By using blankets, poles (imitations of branches) and rolling screens a flexibel system was created. Inhabitants of Osdorp were invited to use the space.


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project: date: lab:

My cubic meter Graduation project by Kanika Frings june 2008 3

The cubic meter is a multifunctional piece of furniture that caters to the changes of a glabalized world, in which mobility and flexibility is essential to many.


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project: date: lab:

Space for criticism Graduation project by Marina van Goor june 2008 3

Is there any space for a critical approach on contemporary design in context to globalization? A movie with Bowie Verschuren, Joris Laarman, Peter van Kester, Frederike Huygen and Ingeborg de Roode.


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Symposium all june 2008 1+2

Primus Pilus was a symposium on design and actuality initiated by students of designLAB. The symposium took place on the 12th of june in the Asscherbuilding in Amsterdam. By throwing a ‘first spear’, the aim of Primus Pilus was to generate discussions on the field of design. The theme of this year was ‘Is it now? Is it you?’ and concentrated on the responsibility and the roles of designers. A few designers and theoreticists were invited to give a short introduction about their visions on actuality in design. After these lectures a series of informal discussions took place. Moderators of the afternoon were Kees Dorst and Peik Suyling. Afterwards the bar opened.


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Symposium all june 2008 1+2

Kees dorst being interviewed

Sergio Davilla

bar

Kees Dorst


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content project

teacher

2006/2007 Ornament& Design Sophie Krier, Vincent Rossin, Guillaume Martin, Patrick Jouin Rietveld naar de Beurs 2007/ Cradle to Cralde Krijn Christiaansen & Cathelijne Montens HEMA-contest 2007: a new HEMA-hero Marjet Wessels Boer, Michiel Meurs Masterclass ‘auto-responsible objects’ Mathieu Lehanneur, Sophie Krier Wintergarden Journals Lena Shafir Ontwerpmethodiek Bas van Beek In search of the the Other Sophie Krier Get it done! Michiel Meurs Analysing Badguy design Bas van Beek New classics Joris Laarman fluid shape design Michiel Meurs Toegevoegde waarde Peter van der Jagt Eenzaamheid Peik Suyling Manifesto Joris Laarman Olympic design Business Plan Krijn Christiaansen & Cathelijne Montens Europe 2020 Lena Shafir 2005 Zuinigheid

Sophie Krier


Ornament& Design Sophie Krier, Vincent Rossin, Guillaume Martin, Patrick Jouin Second Term ‘06-’07 Lab 1, TXT

to download a PDF-file with all the ornamentprojects, click

here

Lab 1 went to Paris this winter, to tackle the (very) French theme of ‘ornaments.’ In collaboration with l’Ecole Boulle, and under the supervision of ‘ornamentalist’ Patrick Jouin, they worked in small groups, in close contact with the French students. Each group, consisting of two Boullistes and two Rietveld students, covered a question orbiting the main theme, such as ‘can an ornament be hidden?’ or ‘what future function can ornaments have?’ The end results were expositioned in Maison Descartes in Amsterdam, followed by a forum discussion with both French and Dutch designers about ornaments.


Ornament& Design Sophie Krier, Vincent Rossin, Guillaume Martin, Patrick Jouin Second Term ‘06-’07 Lab 1, TXT


Rietveld naar de Beurs 2007/ Cradle to Cralde Krijn Christiaansen & Cathelijne Montens Second term ‘06-’07 Lab 1 & 2

Under the guidance of guest teachers Krijn Christiaansen and Cathelijne Montens, DesignLab faced on of the biggest problems of modern times -polution- head-on. Working from an all new theory on recycling -Cralde to Cradle, as developed by american architect William McDonaugh and German scientist Michael Braungart- they developed a series of products for Rietveld naar de Beurs, a manifestation held every year in the Beurs van Berlage by a number of different design-departements. In short, Cradle to Cradle states that recycling in the old-fashioned way doesn’t work, and that architects, designers, producers et cetera should think of recycling before they make a product, in stead of afterwards. This should make recycling easier and cheaper. Designlab worked hard (and even went on two excursions, one to the beach, and another one to the garbage-disposal plant of Ickova, the main garbage collectors of Amsterdam) and eventually came up with a variety of products, all in the field of tableware: after all, the slogan for Cradle to Cradle is ‘waste equals food,’ so why not do the obvious? For more information on Cralde to Cradle, check out their WikiPedia-site at In Dutch: http://nl.wikipedia.org/wiki/Cradle_to_cradle Or English: Orhttp://en.wikipedia.org/wiki/Cradle_to_Cradle:_Remaking_the_ Way_We_Make_Things And for more details on Rietveld naar de Beurs, goto http://www.gerritrietveldacademie.nl/beurs/index.html



Excursion to the Beach Forcing the elements of nature, DesignLab went to the beach to find dead fish and other cool stuff that could be used as visual elements for their yet-to-develope new collection of environnement-friendly products.



Kanika Frings Serving Spoons “Inspired by a big dinner with many empty wine bottles, I decided to take waste from the table and bring it back to the table. These spoons are made from bottles and driftwood.”

Sjoerd Jonkers Blikfruit

Jeroen Timmer VasteVorm “Deze kaarsen zijn gemaakt van restmateriaal van een kaarsfabriek in Amsterdam. Tijdens de strandexcursie werd ik geraakt door het groene glas en de parafine. Mijn verzameling mooie flessen heb ik verzaagd, waarna ik de onderdelen naar hartelust heb gecombineerd en afgegoten met kaarsvet.”



Lisette Haasnoot Broody “Geinspireerd op de romeinse tijd waarin borden van brood werden gemaakt. De rijkere romeinen aten alleen het beleg op het brood en de armere romeinen aten het geheel op. Broody is een eetbare vervanging van het wegwerp servies, een toevoegende smaak aan het gerecht en (wat er van over is) een lekkernij voor de vogels.”

Robbert van Strien Tableware Subscription “Cutlery is one of the most static designgroups there is. What happens if we try to change this, by melting the metal each year and pouring it in a new, actual form, just like fashion is organized?” Rana Ghavami and Marjan van Aubel Le pickinick fleurir “This picknickset is made out of biodegradable plastic, which means that it’s compostable. After use you can give it back to nature and it will disapear. But! it contains flowerseeds so the waste of this set will turn into flowers!”


HEMA-contest 2007: a new HEMA-hero Marjet Wessels Boer, Michiel Meurs Second Term ‘06-’07 Lab 1 & 2

Since Hema has postponed the announcement of the winners of this year’s contest till september, we’re keeping this publication classified... While we are left waiting impatiently to hear if DesignLab has won this year, we’re keeping you in the dark, too!


Masterclass ‘auto-responsible objects’ Mathieu Lehanneur, Sophie Krier March 26th, 2007 Lab 1 & 2

“On a mission to save the world” Het begint zo langzamerhand tot de massa door te dringen dat de wereld in gevaar is. Cfk’s, broeikasgassen en CO2 zijn allang geen termen meer die alleen in vage linkse clubjes worden gebezigd, en naast ex-presidentskandidaten storten ook serieuze designers zich vol overgave op de milieuproblematiek. Zo ook Mathieu Lehanneur, de Franse ontwerper die in het kader van L’académie nomade1 een gastles verzorgde op Designlab (Gerrit Rietveld Academie Amsterdam). In één van de objecten uit de serie Eléments, ‘O,’ draait alles om zuurstof. Bij onvoldoende zuurstof, gemeten door een ‘oxygomator,’ gaat een lichtkrans branden waardoor Spirulina algen instant tot zuurstof productie overgaan. ‘O’ oogt als een goedaardig laboratorium aquarium. Elk van de aanwezige studenten kreeg een persoonlijke missie toegewezen: een combinatie van een product en een merk. Jeans van Levi’s bijvoorbeeld, sigaretten van Marlboro, of een creditcard van Visa. Het doel was om van deze producten zelf-verantwoordelijke objecten te maken: producten die hun eigen (onzichtbare) vervuiling opvangen en neutraliseren door de toepassing van plantaardig materiaal zoals de Chlorophytum plant (die door fotosynthese gifgassen zoals als Formaldehyde omzet in zuurstof ) of Cactus vezels (die elektromagnetische golven neutraliseren). De missie was lastig, maar de voorstellen van de studenten bleken divers én inventief: een laag algencellen die geactiveerd wordt door de magneetstrip van een creditcard (‘green gold card’) of die afgedrukt is in de plastic weggooi verpakking van een sigarettenpakje (rook en schep frisse lucht..); plantmateriaal in het dopje van een bic-pen (‘responsibic’) dat wordt gevoed door speeksel als je op je pen knaagt; Nokia shampoo ‘for positive attitude’ (maakt het haar positief geladen en beschermt tegen negatieve elektronen afkomstig van mobiele telefoons); Miss Potato Head -vrolijk opgetooid met plantaardig haar-, het nieuwe, gezonde, familielid van de beroemde Mr Potato head (Playskool Toys). “It’s difficult,” gaf Lehanneur na afloop van de eindbespreking (die onder de neutrale supervisie van zijn partner en vrouw Cécile plaatsvond) toe. “But it’s a game. Thank you for playing it.” 1

L’académie nomade is een initiatief van Maison Descartes en het Frans-Nederlands Netwerk voor hoger onderwijs en onderzoek, in samenwerking met drie Nederlandse kunstacademies in het kader van het Franse seizoen voor Mode & Design.

Zuurstofgenerator ‘O,’ een van de ontwerpen uit de serie ‘elements’ van Mathieu Lehanneur.


Wintergarden Journals Lena Shafir Wintergarden 2007 LAb 1 & 2

Rana Ghavami Robbert van Strien

Wintergarden 2007 Robbert van Strien

During Wintergarden, the small term in the middle of main terms, filled with short and intense workshops, students of Designlab were asked to keep a journal, covering their thoughts, findings and developements on design, DesignLab and themselves. From Packaging to Carnival, their wide-spread feelings were covered.

Rosa te Velde


Ontwerpmethodiek Bas van Beek Wintergarden Lab 2 &1

Design is a peculiar working field, and to truely develop one’s potential one needs to be able to think about his or her work in different ways. Theory teacher Bas van Beek gave a one-week workshop on Design Methods (the first time for Lab 2, during wintergarden, and another one for Lab 1, a few weeks later.) such as lateral thinking and Dali’s paranoid-critical method. This was combined with different visualising techniques, such as collages, sketches or clay.

Characteristics

Product

Target Group

Client


In search of the the Other Sophie Krier 1st term 2006-2007 Lab1

In search of the Other is a 6 week project about curiosity and empathy as driving forces behind good design (thinking). It is also about the importance of physical and mental encounters for designers: it deals with ‘the permanent presence of the other’ in design processes. How can one design for another, anticipate another’s needs while staying in contact with one’s personal values? In search of the Other is a journey to the unknown – which is nearer than we think. The skills playing a role in this project are: formulating personal goals, gathering, organising and processing information, translating findings into challenges, detecting opportunities for design within new situations, presenting a process and a conclusion. What/who is very close to you but also totally strange to you? It can be a specific sport, a person, a particular talent or handicap, a news item, an artist or art movement, a technology, a street, a language, a belief… The only criteria is that you can meet the object of your fascination physically in the week of September 18th. Classes will take place each Thursday morning from 09.30 to 12.30. The first class will exceptionally take place on Monday 18th of September at 09.30. The first hour of each class will be spent discussing various aspects of ‘the other’ (Clash of civilizations, dialogisten) based on articles and exhibitions. We will also view and analyse ’The New World’ by Malick and ‘First Contact’. 1.Doing research (Week 1 to 3, September 18, September 25, October 2nd) - Why and how to do design research: how to move from an interest to a topic, from a topic to a claim, from a claim to questions, from small-scale questions to questions of larger significance for the design profession. -The importance of dialogue in a research process: how to deal with information sources and how to deal with the recurring ‘So what?’ question. How to stay focussed. -Processing information, selecting, visualising Bring answers to the following questions and present them to the group -(in image, moving or still, 2D or 3D) What or who is ‘the other’ to you? (What/Who are you curious about? What/Who do you know little or nothing about, but feel you could like very much?) -(in words on paper) : (Topic) I want to learn about (Question) because I want to find out who/what/where/whether/why/how (Significance) in order to offer others* * be as specific as possible, try to think why your quest could be interesting to others.


In search of the the Other Sophie Krier 1st term 2006-2007 Lab1

The search of the other is about making a design that allows an interaction between the viewer and the reseach. So that is why we made a conversationpiece which made this interaction possible.


Get it done! Michiel Meurs 1st term 2006-2007 Lab1

Industrial design projects related to physical objects ask for determined choices. Materials and production-techniques have to be defined. In this project some basic information about a number of materials and techniques will be presented. We will also look at techniques to define and present product-designs. After that, in the second half of the trimester, the aim is to design a product, using a given selection of materials. The project should result in a (scale) model and drawings of the product. The year starts with a general introduction and intake on september 11th. The first lesson, on september 19th will be an exercise. For this it is important that every student brings two (or more) small, simple objects from his/her home. These objects will be analysed in the class. All results must be presented in a design-booklet or portfolio by the end of the project. Lab.1 classes are on Tuesday, from 13:30 to 15:00 hrs. Program (first half of the trimester): 11 sept. introduction, intake 19 sept. 1st project meeting: analysis of small objects 26 sept. 2nd project meeting 3 oct. 3rd project meeting 10 oct. no lesson 17 oct. 4th project meeting 24 oct. autumn break 31 oct. general evaluation meeting (all day)


Get it done! Michiel Meurs 1st term 2006-2007 Lab1

plate rack

bookrest

bookrest

bookrest

cd rack


Analysing Badguy design Bas van Beek 1st term 2006-2007 LAB1 + LAB2

Populaire cultuur en met name Hollywood zoals we dat nu kennen heeft ons voor een groot deel opgevoed. Morele vraagstukken worden voor ons opgelost, het verschil tussen goed en kwaad getoond en uitgelegd. Met name de schurk wordt in films op nogal wat manieren geïntroduceerd. Voor Amerika zelf heeft Hollywood een bijzondere functie gehad in het definiëren van de Amerikaanse normen, waarden en moraal. Deze zijn vervolgens ook Europa opgelegd na de 2e Wereldoorlog, de Franse filmindustrie moest in ruil voor de Marshall hulp voor een groot percentage Amerikaanse films tonen waarmee in een klap de Franse filmindustrie op zijn gat lag. De Nieuwe Wereld werd getoond, ook in het naoorlogse Nederland, Sci-Fi films als War of the Worlds diende als propaganda voor het kapitalisme. De Alien ofwel de schurk was veelal een metafoor voor het communisme. Het interieur waarin de slechterik wordt voorgesteld is vaak helder en duidelijk, men weet snel dat we met een psychopaat te maken hebben omdat er duidelijk iets mis is met de omgeving waarin hij leeft. De les die ons hier voorgehouden wordt is dat zolang je leefomgeving geen soortgelijke trekjes vertoond er niets aan de hand is. Toch is deze banale voorstelling aan verandering onderhevig, vaak heeft dit te maken met een bepaald tijdsbeeld maar veelal met de visie van de regisseur dan wel productieontwerper. Het spectrum is vaak minder zwart-wit dan wordt gedacht. Opzettelijk verborgen lagen die pas inzichtelijk worden na grondige bestudering maken veel films de moeite waard om meer dan een keer te zien. Het interieur en de vormgeving rond de schurk is een onderzoek waard. Aan de hand van filmfragmenten proberen we deze verborgen lagen te ontdekken. De banale context zelf kan bijvoorbeeld ook misbruikt en omgedraaid worden om het doel te dienen, soms wordt de context van de slechterik ook gebruikt om ons te verwarren. De productieontwerper heeft geen last van het bouwbesluit zoals we dat kennen, hij kan zich meer vrijheid permitteren waardoor de visie een hardcore vertaling krijgt. Paradoxaal genoeg is het deze vrijheid in vormgeving die wij ons in de hedendaagse beroepspraktijk niet kunnen veroorloven welke ons moet confronteren met de realiteit. De films kunnen op verschillende gecategoriseerd worden. In tijd, visie, doel, regisseur, stijl, genre etc. Dit is dan ook precies wat we gaan doen, het zou prachtig zijn als er een online database komt waarop deze films geselecteerd kunnen worden, waar bijbehorende fragmenten, stills en commentaar beschikbaar worden gemaakt voor de gehele groep. Een verknipt IMDB.com maar dan voor Designlab studenten. Op deze manier kunnen we van elkaar leren, de standpunten en inzichten kunnen voorzien worden van commentaar en kanttekeningen. Mijn functie in dit alles is die van een stoorzender die de opgedane kennis naar de afgrond duwt waarna de volgende verborgen laag kan worden blootgelegd. Daarnaast zal ik zelf ook de nodige fragmenten aandragen die om nadere bestudering vragen. Gaandeweg hoop ik dat er ergens fascinaties losgemaakt worden waarna het onderzoek zich kan verdiepen. Aan de hand van de ‘opgelopen’ bevindingen gaan we een artikel (voor Designlab 1) en essay (voor Designlab 2 waarbij de conclusie minstens 1 pagina in beslag mag nemen) schrijven.



Leerdoel: -Analyseren van de vormgeving en het interieur van de slechterik zoals deze geïntroduceerd wordt in verschillende films. -Categoriseren van informatie in de vorm van een database. -D.m.v verschillende bevindingen uit de database een conclusie te formuleren. Beoordelingscriteria: -Aanwezigheid (te laat komen, niet aanwezig zijn is geen optie) -Analyserend vermogen, aanwijsbare bevindingen in de vorm van: -gevonden verborgen lagen -grote gemeenschappelijke delers -het leggen van verbanden -Mate van kwantitatieve bijdrage aan de database en het structureren daarvan. -Het trekken van conclusies aan de hand van de opgedane bevindingen. Programma: September 11 Presentatie enkele projecten September 18 2 uur, introductie lab1 Paul Verhoeven:Robocop, Showgirls, Tim Burton Batman, Edward Scissorhands, 2 uur lab 1 en 2 : Ken Adam, Powaqatski September 25 2 uur introductie lab2 Paul Verhoeven:Robocop, Showgirls, Tim Burton Batman, Edward Scissorhands 2 uur lab 1 en 2 : Brazil Oktober 2 10.00-12.00 lab 1 en 2 : Rotterdam Boijmans, VIVID, Kunsthal, NAI 12.00-14.00 :lab 1 Rotterdam TENT, Maurice Binder, Blade, Invasion of the Body Snatchers, plus gevonden films Oktober 9 2 uur lab 2, Rotterdam TENT, Maurice Binder, Blade, Invasion of the Body Snatchers, Cronenberg, Scanners, Shivers, Existenz, Deadringers, plus gevonden films 2 uur lab 1 en 2: 2 uur lab 1 en 2, een introductie in visionaire/papieren architectuur (Lijkt mij zo maar eens handig, kan een aardige kapstok zijn voor eigen onderzoek. Er bestaat niet zoiets als papieren vormgeving, dus lijkt mij aardig dit deel van de geschiedenis te bespreken in een college gezien deze utopieën (en de mislukking daarvan) vaak zijdelings zijn aangewend voor de ‘badguy’films.



Oktober 16 2 uur lab 1, Rocky 1-tig, Dawn of the Dead Cronenberg, Scanners, Shivers, Existenz, Deadringers,, gevonden films 2 uur lab 1 en 2, John Waters, Pink Flamingo’s Oktober 25 2 uur lab 2, Rocky 1-tig, Dawn of the Dead, plus gevonden films 2 uur lab 1 en 2 ‘The man who saved the world’ 1 November 2 uur lab 1, Bespreken bevindingen, database, en opzet van artikel/essay 2 uur lab 1 en 2 ‘Funny Games’ 6 November 2 uur lab 2, Bespreken bevindingen, database en opzet van artikel/essay 2 uur lab 1 en 2 ‘Galerie Binnen’ 13 November 4 uur lab 1 en 2, uitwisselen van kennis tussen groepen, voortgang artikelen 20 November 2 uur lab 1, Bespreken bevindingen, database en opzet van artikel 2 uur lab 2, Bespreken bevindingen, database en opzet van essay 27 November 2 uur lab 1 Bespreking 2 uur lab 2 Bespreking 4 December 2 uur lab 2 Bespreking, inleveren essay’s 2 uur lab 1 Bespreking, inleveren artikelen


New classics Joris Laarman 1st term 2006-2007 LAB1 + LAB2

Classics are mostly found lonely at the top, but they are never isolated islands. Rather fire starters, the tip of an iceberg, the beginning of new worlds. The good thing about design classics is that they are often a perfect melting pot of their physical manifestation and the thoughts behind them, like puzzles of which the designer still had to create or find the pieces, or like a plot in a good novel that a writer creates to bring together all story lines. They often differ from the visual language and reigning fashion of their time and therefore most of the time they are the objects of much media attention. But is a much mediated object instantly a classic? And if not, what makes a design a classic? Goals: 1. A Manifesto. Lab 1. Researching, choosing and interpreting classics. Lab 2. To form a grounded manifesto by studying classics and current opinions and writings. 2. We will emphasize on the conversion of theory into products. Midterm (31/ 10) goals: Lab1 -Chosen classic copied 1:1 in a personal way. -First sketches of the design based on the chosen classic converted in the present. -Studies of converting theory into visuals, material, technology and functionality. Lab2 -Manifesto -First sketches of a design or collection based on the manifesto. -Studies of converting theory into visuals, material, technology and functionality.


New classics Joris Laarman 1st term 2006-2007 LAB1 + LAB2

Lucja Pindor

Sjoerd Jonkers

Mitou vollenbrock

David v/d Veldt

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fluid shape design Michiel Meurs 1st term 2006-2007 LAB2

The process of product design usually can be subdivided into a number of phases. In this project we will take a close look at the process, and then go through it in the design of a simple, fluid form – product. The aim is to go from analysis and concept design through to definitive design, (3D) engineering and prototyping. To have enough time for the final stages the definitive design must be ready at the “tussenbeoordeling”, the progress meeting of October 31st. The product to be designed will be discussed in the first lesson, on september 19th. During the project we will study fluid production techniques in general. The year starts with a general introduction and intake on september 11th. In the first lesson, on september 19th, we will discuss the product design – process and the products to be designed. Given the aim of the project you may propose a product you want to design yourself. Results of the project, covering the entire process, must be presented in a design-booklet or portfolio by the end of the project. Lab.2 classes are on Tuesday, starting at 15:00 hrs. Program (first half of the trimester): 11 sept. introduction 19 sept. 1st project meeting: design process, discussion of product proposals 26 sept. 2nd project meeting: analysis (discussion) 3 oct. 3rd project meeting: concept design (discussion) 10 oct. no lesson 17 oct. 4th project meeting: definitive design (discussion) 24 oct. autumn break 31 oct. general evaluation meeting (all day): definitive design (presentation)

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fluid shape design Michiel Meurs 1st term 2006-2007 LAB2

cup and saucer by ellen van den berg

childrens fingercuttlery by eva van aalst

fluid lamp by kanika frings

plug box by lisette haasnoot

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Toegevoegde waarde en de rol van design. Peter van de Jagt 1st term 2006-2007 LAB2

Het is altijd al zo geweest wordt de prijs van een product bepaald door de mate waarin de koper het product waardeert. Zelfs de eeuwenoude wet dat de balans tussen vraag en aanbod de prijs bepaald voldoet hieraan. Immers, hoe groter het aanbod van een bepaald goed, hoe lager de waardering, een al te hoge prijs zal de aantrekkelijkheid van een product doen afnemen, waardoor de vraag zakt. Dit gegeven is vervelend voor de aanbieder. In feite heeft deze niets te vertellen over de prijs die hij voor zijn product kan vragen. Het komt zelfs voor dat de kosten die nodig zijn om een product op de markt aan te beiden, hoger zijn dan de prijs die men bereid is te betalen. Bedrijven zijn daarom naarstig op zoek om, of de kosten zo laag mogelijk te houden, of een grotere invloed te krijgen op de verkoopprijs. Hierin kan een ontwerper een cruciale rol spelen. Laten we het begrip toegevoegde waarde eens nader beschouwen. Hoewel het een begrip is dat vaak verkeerd gebruikt wordt, is toegevoegde waarde is niets meer of minder om de waardering van een product te verhogen. We kunnen dit illustreren door middel van een voorbeeld: een stalen sloep. Als eerste hebben we ijzererts nodig. Deze heeft zolang hij nog niet gedolven is geen enkele toegevoegde waarde en is daarom zonder waarde (waardeloos). Pas op het moment dat deze gedolven en dus verhandelbaar wordt, is waarde toegevoegd. Maar de Erts is nog steeds waardeloos voor degene die een bootje wil kopen, er zal dus nog meer waarde toegevoegd dienen te worden. De erts zal door een hoogoven omgezet worden in staal, de walserij zal platen rollen en deze worden dan uiteindelijk door de botenbouwer tot sloep gelast. Elke stap zal waarde toevoegen en dat is te merken in de kiloprijs. We kunnen aannemen dat de kiloprijs van erts aanmerkelijk lager ligt dan de kiloprijs van een boot. Deze reis van delfstof tot product is op vrijwel ieder product van toepassing. Elk product dat we kennen bestaat in feite uit toegevoegde waarde. Deze kunnen we ruwweg verdelen in 3 verschillende: Arbeid, Energie, Kapitaal. De meest waardevolle toegevoegde waarde: verbeelding of ervaring. Hoewel in het vorige de stappen van waardetoevoeging is getoond, is het probleem van grotere waardering en de invloed daarop niet opgelost. Er is in elke stap waarde toegevoegd, maar het resultaat is nog steeds een commodity Een commodity zou vertaald kunnen worden met het Nederlandse Bulkgoed, maar het woord dekt de lading niet en de negatieve connotatie maakt dat het Angelsaksische commodity de voorkeur geniet. Een commodity is (of eigenlijk was) een niet gedifferentieerd product van gelijke kwaliteit dat ongetest gekocht wordt. Met slechts fysieke of rationele toegevoegde waarde (daarover later meer).

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Traditionele commodities zijn producten die gedolven, geoogst of geslacht zijn. Olie is zoń voorbeeld. Dit wordt ongezien gekocht, (er is een kwaliteitsaanduiding waarop vertrouwd kan worden) en de prijs wordt bepaald door vraag en aanbod. Andere voorbeelden zijn kolen, graan, bevroren geconcentreerd sinaasappelsap, vlees, en koffie. Maar het blijft niet bij deze typische bulkgoederen. De vercommoditiesering gaat verder. Economische ontwikkeling kent ruwweg drie fasen: De agrarische (en delvende) De industriële De dienstverlenende We hebben al gezien dat agrarische en gedolven producten het slachtoffer zijn geworden van de commoditiesering. We zien ook dat meer en meer ook industriële producten, maar ook diensten als commodity beschouwd gaan worden. Als de definitie van een commodity gehandhaafd blijft, (niet onderscheidend, keuze gebaseerd op prijs) kunnen we een aantal voorbeelden aanhalen. Denk bijvoorbeeld aan gloeilampen, aanstekers, schuurpapier, geheugenchips, of bleekwater. Maar zelfs complexe producten als consumenten elektronica kunnen als commodity aangemerkt worden. Hetzelfde geld tegenwoordig voor diensten. Telefoonminuten worden voor de laagste prijs gekocht en verzekeringen online aangeschaft. Om te ontsnappen aan de commodity val, is de toevoeging van de laatste waarde (naast arbeid, energie en kapitaal) een noodzakelijkheid. Deze waarde noemen we ervaring. Ervaring of beleving is een niet fysieke eigenschap die door middel van empirische waarneming emoties prikkelt. Denk eens aan een theatervoorstelling. We kunnen stellen dat dit een onderscheidend product is. Zoals ook een film of muziek dat is. Sterker nog, dit zijn voorbeelden waarbij de ervaring het enige is dat het product bestaansrecht geeft. Het is niet voor niets dat bedrijfstakken die zich richten op ervaringen de snelst groeiende zijn. Al snel word gedacht aan de zogenaamde entertainment industry, maar vergeet de thema- en pretparken en de relatief jonge gaming industry niet. Ook deze bedrijfstakken leveren ervaringen. Terug naar beleving als toegevoegde waarde. Laten we nog eens naar het bootje kijken. Er zullen vast meer botenbouwers zijn en bovendien kunnen we in de globale economie boten importeren uit polen of china, waar de arbeid toegevoegd kan worden voor een fractie van de kosten. De botenbouwer kan de ervaring of beleving van esthetiek toevoegen. Hij kan met andere woorden een mooier bootje bouwen. Daar komt de rol van de ontwerper om de hoek kijken. Deze kan voor hem een mooier bootje ontwerpen. Op dat moment wordt de waardering een andere dan een beoordeling op kwaliteit en prijs. Is design dan de toegevoegde waarde waar we naar op zoek zijn? Goed vormgegeven producten kunnen wel degelijk de waardering verhogen. Als voorbeeld kunnen we de Ipod noemen. Een mp3 speler is nu toch bijna een al een commodity te noemen.

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Apple houdt zich daarin dapper staande. Toch zien we dat de grens van design als toegevoegde waarde misschien wel eens bereikt zou kunnen zijn. Ook design is zal steeds vaker een commodity zijn. Vormgeving is altijd nauw verbonden geweest met de industrie. Nu deze industrie verdwijnt naar het verre oosten, is het te verwachten dat de service van vormgeving, ook die richting op zal verschuiven. Philips heeft hier ook al mee te maken. Hoewel Philips Design een van de grootste ontwerpbureaus ter wereld is, besluiten inkopers steeds vaker om het design, aangeboden door de leverancier, te accepteren. Koop een mixer en de vormgeving krijg je er gratis bij. In Canada en de Verenigde Staten is dat nog sterker aan de hand. Grotere bureaus openen kantoren in Sjanghai en Beijing, kleinere verdwijnen gewoon, zeker aan de westkust waar de handel met het verre oosten traditioneel al langer aanwezig is. De reden dat Chinezen voor de westerse markt kunnen ontwerpen is doordat er een globale ontwerptrend aan het ontstaan is. Dit is niet verwonderlijk, omdat wereldwijd opererende bedrijven een identiek product wereldwijd willen verkopen. De swiffer, die IDEO voor Proctor&Gamble ontwierp, word overal verkocht en gebruikt. Er is echter wel een probleem. Hoewel bedoeld voor een globale markt zijn deze producten ontworpen vanuit een Amerikaans oogpunt. Amerikanen willen waar voor hun geld. More bang for your buck! Dit geld ook voor design. Elke centimeter moet ontworpen zijn. En het rare is dat juist Oosterlingen (en Koreanen helemaal) dit heel goed kunnen. Kijk eens naar de auto’s van Ssangyong. Of naar -voorheen toonbeeld van goede smaak- Braun. Sinds de overname door Gillette, zijn er nogal wat Koreanen toegevoegd aan het ontwerp team en nu vraag je je af hoeveel dubbelgekromde oppervlakten er op een staafmixer passen. Op dat moment wordt design een invul stijloefening en voldoet aan de eigenschappen van een commodity. Betekent dit dat er in Nederland geen ruimte meer zou zijn voor design? Integendeel, maar het vak zal wel verschuiven. Ik geloof dat we ons minder bezig zouden moeten houden met de fysieke aspecten van een product. Dit zal vreemd klinken, maar productvormgeven is een –hoewel het resultaat een fysiek product is- toch vooral een mentaal proces. Met andere woorden, het gaat niet over stoffelijkheid maar mentaliteit. De grote vraag zal worden hoe de beschouwer zich zal relateren aan een product. Deze binding kan bewerkstelligd worden door esthetica, maar daar zullen de Chinezen en Koreanen voor zorgen. Ik geloof dat het dieper moet. Ik geloof dat aan de mentale verwachtingen die aan een product gesteld worden ook voldaan moet worden. De Nederlanders noemen het conceptueel design en Amerikanen experience design. Het is hetzelfde. Het is het op ziel trappen van de beschouwer. Leuk voorbeeld: IDEO werd gevraagd om een ziekenhuis opnieuw in te richten. Ze hebben zich daarna niet gericht op kleuren en meubels maar op de vraag: Hoe is het om patiënt te zijn? Je wordt meteen in een rolstoel gezet of op een brancard gelegd (moet van de verzekering) je word gescheiden van je familie, moet door 4 gangen met een liggend uitzicht op een systeemplafond

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met tl balken, om vervolgens een half uur te wachten in een kille behandelkamer voordat de echte opname begint. Zij hebben, tot groot genoegen van patiënten en ziekenhuispersoneel, deze ervaring opnieuw ontworpen. Voor ontwerpers (in spe) zal dit niet wereldschokkend klinken en dat is het ook niet, maar als een opdrachtgever hiervoor een ontwerper nodig heeft, zegt het wel iets. Kennelijk hebben ontwerpers een manier van lateraal denken ontwikkeld die ingezet kan worden om dit soort producten te ontwerpen. We kunnen nog verder gaan. Als het fysieke niet meer van belang is, kunnen we dan ook diensten ontwerpen? Kunnen we waarde toevoegen aan belminuten zodat consumenten niet meer voor de kiloknaller kiezen? Een bankrekening en hypotheek zijn ook producten. Kan daarom “product ontwerpen” ook op deze toegepast worden? Ik denk van wel.

De Oefening Als eerste zullen we als klas ons de begrippen eigen moeten maken. Daarvoor zal ik het volgende willen vragen. -Maak van twee producten een kolom van toegevoegde waarden. Van delfstof tot product. De laatste toegevoegde waarde moet beleving zijn. - Noem 5 producten die voldoen als commodity in de drie sectoren. - Verzamel drie afbeeldingen van producten die weliswaar een zekere mate van design bezitten, maar waarvan dat design toch een commodity is - Geef de definitie van commodity en ervaring, deze mag niet langer dan anderhalve zin zijn. In de eerste les zullen we de gegevens verzamelen en een conclusie trekken. Daarna zal de opdracht verstrekt worden.

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Workshop Eenzaamheid Sophie Krier / Peik Suyling 1st term 2006/2007 lab1

De workshop Eenzaamheid vindt plaats op 2 en 3 november 2006. De workshop is bedoeld om studenten uit het 2e vakjaar van de afdelingen DesignLab, Textiel en Mode van de Rietveld Academie kennis te laten maken met en uit te dagen op het onderwerp. Tijdens de eerste dag van de workshop ligt de nadruk op de individuele ervaring met eenzaamheid en de verbeelding daarvan. Op de tweede dag worden deze ervaringen en verhalen ‘vermaatschappelijkt’; ze worden vertaald naar een maatschappelijk niveau en verbeeld. De perceptie van eenzaamheid In de huidige maatschappij rust een taboe op eenzaamheid. Het wordt gezien als niet meekomen in de moderne maatschappij, als niet succesvol zijn. In een tijd waarin ‘gezellig samenzijn’ en ‘de hechte vriendenkring’ in bijna elke tv-serie of commercial de boventoon voert, wordt eenzaamheid genegeerd of niet geaccepteerd. Visie Eenzaamheid is een onlosmakelijk onderdeel van de maatschappij. Het is menselijk, is van alle tijden en hoort bij het leven. Het is ook een universeel thema in de geschiedenis van de mensheid; in de kunsten, literatuur en in de film. Maar in de huidige samenleving is eenzaamheid onzichtbaar. Hoe kunnen we eenzaamheid weer een ‘behuizing’ geven in onze moderne, individuele maatschappij. Dit is de kernvraag van het project en het uitgangspunt voor de opdracht. From: sophie krier Peeling off your own loneliness before making contact with others (loneliness broche) Loneliness is in the perception of things. How to design a new perception of being single - not necessarily reduced to 1 unit (extra large 1 person bed) Instead of thinking about loneliness, writing about it, doing it -together. Understanding what it means, being lonely. Één + saam = eenzaam

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Workshop Eenzaamheid Sophie Krier / Peik Suyling 1st term 2006/2007 lab1

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Designlab manifesto 2006 Joris Laarman 1st term 2006-2007 LAB2

assign - redesign design - sign 1 We will free ourselves from the tabu of copying through commenting on one or several existing creations or points. There’s much to learn from what has already been done. Opening the source. 2 Go local. As a reaction on todays mass production, mass consumption and globalism we will work with one specific location in mind and reinvent new materials through reusing old ones. Postrecycling. (we’re allowed to buy new material for details, paint and attaching such as glue or screws) 3 To keep within our limits and to make use of the local knowledge, sources and possibilities we will never let the design leave our hands. Hands on from idea to finished product. 4 We will make the design in full scale to be able to test it in it’s designated location. 5 To counteract todays focus on status, materialism and the individual habitat, we will create only for public access. 6 Virtuality often removes us from the reality around us. Through go analogue we want to bring back the third dimension to our approach. 7 To stimulate awareness in the decisions that we make we will document our design process. This manifesto expires December 31, 2006

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Designlab manifesto 2006 Joris Laarman 1st term 2006-2007 LAB2

Ellen van den Berg

Ellen van den Berg

Kanika Frings

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Olympic design 2006/2007

partnership

estafette

The Olympic Wintergarden workshop took place during one week at Design Lab. Five quests were launched on day one by designers currently working on scenario’s for the Olympic area in Amsterdam South. The five quests were: Partnership > find a partner in the area and design something with/for him/her/it Estafette > use the principle of estafette to produce art in public space Activator > define an activator for the area Social Mapping > map the area and its borders Blokhut > define possible uses for a blokhut placed on the Olympic square 1. activator (mitou, bram, david) build a bridge, open up the stadium, roll out a ‘red carpet’ into the city 2. social map? activator? (dawn) low rider benches / drive out / bumper sitting on Olympic plein 3.

partnership (rana, robbert, eva)

4. social map (marina) anonimity can be a quality how to do something as an artist/designer and stay anonymous / objective

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Olympic design 2006/2007

partnership

activator

5. partnership (lucja, marjan) telling stories of Olympic greatness (gold for tandem), specially made for café traffic cappucino emblem, podium sugars, etc 6. estafette (lisette > myung > Emily) using the floor to stimulate possible uses (a sprint at a tramhalt) staying light, temporary, modest tracing Olympic routes through Amsterdam (red route, green route, yellow route) using the principle of irradiation 7. social map (rosa, sjoerd) bakfiets mapping of the area. bakfiets type A and type B Hoe can empty bakfietsen mean something for public space eg at night? 9.

… (kanika)

10. …. (ellen) putting the area back on the map greetings to peking… making the area visible from the top (via google earth) making the empty square a pleasant place again something to be proud of

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BUSI NESS PLA N Cradle Creations Corporation Frederik Roeskestraat 96 1076 ED Amsterdam The Netherlands Logo: to be developed soon Krijn Christiaansen & Cathelijne Montens, Presidents Nikkelstraat 40 3067 GR Rotterdam The Netherlands Plan prepared 23/01/2007 by Corporate Officers

TABLE O F C O NTE NTS Mission statement The Business - Legal structure - Description of the business - Products or services - Personnel Marketing - Target market - Competition - Methods of distribution - Advertising - Pricing - Product design - Timing of market entry - Location Summary of financial needs

MISSI O N STA TE MEN T (ST ATE MEN T OF PUR PO SE) Cradle Creations Corporation, an S-Corporation to be established on February 19th 2007, is a production company located at 96 Frederik Roeskestraat, Design Lab Department, in Amsterdam. Its aim is to produce products for retail during the weekend of Pentecost (May 27th and 28th) The company’s philosophy is to produce according to the ‘Cradle to Cradle’ principle, developed by William Mc Donough and Michael Braungart. It is seeking personnel willing to follow training in order to develop suitable production methods and new products. Furthermore, the company needs employees to create new production equipment and to start up a material research department. There is a three-month period between the establishment of the company and the delivery date. Funding is needed in time to finance the presentation area where the products will be launched (Beurs van Berlage). THE B USI NESS Legal Structure Cradle Creations Corporation is a for-profit corporation. It is fully owned by its shareholders. Shareholders are invited to assist to the shareholders meeting, to be held every Tuesday starting on Tuesday March 6th. These meetings will be held between 3 and 4 p.m. Description of the Business Cradle Creations Corporation whishes to explore production methods that not only allow series production, but are also in accordance with the ‘Cradle to Cradle’ principle. During a three-day training (February 19th to February 21st ) personnel will be introduced to this principle and will be triggered to start developing ways of working according to this principle. As a test case for such production principles, employees will be asked to complete their own working area with the necessary equipment. Until April 10th, there is time to discover materials and techniques and to develop suitable products. On April 11th, a selection will be made out off all the product propositions. From than on, the company will focus only on production and marketing aspects. Cradle Creations Corporation’s consumer products are aiming to fulfill the Cradle to Cradle Certification Criteria, which means that they are pursuing a broader definition of quality. Products or Services Cradle Creations Corporation’s products will consist of raw materials that easily decompose when thrown away and nourish the biosphere, according to the principle ‘waste equals food’. Research will provide information about the provenance and biodegradability of raw materials. To limit transportation, raw materials will be found in the area of Amsterdam. During working hours, personnel is requested to keep all consumed materials, packaging etc., so these can be integrated in the production process. Personnel Personnel will be recruited from The Gerrit Rietveld Academy students, merely from the Design Lab Department. However, several jobs will be available for students from other departments. Working hours: Mondays all day (research, development designing and production) and Tuesday afternoons (training, shareholders meetings and individual coaching) Employees are entitled to regular rest breaks during the day. Their wages will be based on the final profits made during the selling activities. Job descriptions are depending on the employee’s department and will be communicated during the start-up meeting on February 19th. MA RKET IN G Several employees will be asked to create a good marketing plan, which is essential to the business development and success. As a part of this marketing plan, a logo and brand name will be created. Target Market The marketing plan will include information about the total market with emphasis on the target market (that group of customers with a set of common characteristics that distinguish them from other customers). In order to do so, it is necessary to identify the future customers. What are the

demographics of the target market? Are the customers merely tourists or locals; where do the customers live, work and shop? How much will they spend on consumer products? Will they shop in the morning or all day long? Does the weather/ time of the year affect their shopping behavior? Competition Cradle Creations Corporation will sell its products in the neighborhood of businesses offering the same range of products. How to cope with this direct competition? How to appeal to the same market in a better way? Methods of Distribution The products will be sold directly at the selling point. Clients will buy ‘on the spot’, which makes services like shipping and mail order superfluous. Advertising In order to sell as many products as possible, it’s important to attract as many customers as possible to the selling point. On which locations will advertisement reach the customers? Are their possibilities for free publicity? Pricing Pricing structure is critical to the success of the business and is determined through market research and analysis of financial considerations. All the final products will be priced. This is how pricing works: Basic marketing strategy is to price within the range between the price ceiling and the price floor. The market determines the price ceiling; it is the highest cost a consumer will pay for a product or service and is based on perceived value. What is the competition charging? What is the quality of the product or service you are offering? What is the nature of the demand and what is the image you are projecting? The price floor is the lowest amount at which you can offer a product or service, meet all your costs and still make your desired profit. Profitable business operates between the price ceiling and the price floor. The difference allows for discounts, bad debt and returns. Be specific about how you arrived at your pricing structure and leave room for some flexibility. Product Design Packaging and product design can play a major role in the success of the business. It's what first catches the customer's eye. Decide what will be most appropriate in terms of size and shape (as most customers will have to carry their purchase around). Packaging attracts a great deal of public attention. Use key words to answer questions regarding your product design and packaging. Include sketches or photographs. Also include information on any proprietary rights, such as copyrights, trademarks or patents. Timing of Market Entry The timing of your entry into the marketplace is critical and takes careful planning and research. Having your products and services available at the right time and the right place depends more on understanding consumer readiness than on your organizational schedule. The manner in which a new product is received by the consumer can be affected by the season, the weather and holidays. Location How can the location (Beurs van Berlage) influence the customer’s buying behavior? Is the location easy to reach? What can be done to encourage the customer to buy products? SU MMAR Y O F FI NA N CIAL NEEDS A sum of 120,00 per employee will be needed to finance the first presentation of Cradle Creations

Corporation’s products. By paying this sum, the employee becomes a shareholder of Cradle Creations Corporation and will therefore be allowed to assist to the shareholders meetings. This investment will be earned back with the profits that will be made during the sales event.

For more information: http://www.vpro.nl/programma/tegenlicht/afleveringen/30458986/ http://www.mcdonough.com/ http://www.c2ccertified.com/ ‘Cradle to Cradle: remaking the way we make things’, by William Mc Donough & Michael Braungart, North Point Press http://www.epea.com/ http://www.epea.com/english/materials.html http://www.epea.com/english/products&processes.html Are you an investor and does this business plan appeal to you? For more inquirements please contact our Financial Department: [email protected] Are you interested in a job at Cradle Creations Corporation? Are you in a department other than Design Lab now? To apply please send your motivation to our Human Ressources Department: [email protected]

Articles and quotes from ‘Trespassers, inspirations for eco-efficient design’, by Ed van Hinte and Conny Bakker

Articles and quotes from ‘Trespassers, inspirations for eco-efficient design’, by Ed van Hinte and Conny Bakker

Changing points of view about recycling PET bottles

Eco-Efficiency thinking

Eco-Effectiveness thinking

Quotes from ‘Cradle to Crade. remaking the way we make things’, by William Mc Donough and Michael Braungart Industrial Revolution thinking (1900-1960) Eco-Efficiency thinking (1960-2000)

Eco-Effectiveness thinking (2000-........)

Project NL--EU-2020

Creating new frames of thinking. Design_LAB 2, 3rd quarter, March - May 2007 Teacher: Lena Shafir Phasing Week 1

08/03

Orientation and information Briefing and brainstorming 09:30 – 11:00

Week 2

15/03

Research Individual and visual group discussions. Draw up a staged plan for the follow-up research.

Week 3

22/03

Follow-up research Discuss individual and visual findings in groups. Presentation in groups. Prepare research report.

Week 4

22/03

Creative concept Round off research. Discuss ideas for creative concept.

Week 5

29/03

Green light Lab3

Week 6

12/04

Week 7

26/04

Week 8

10/05

Week 9

24/05

Week 10

31/05

Present creative concept during the lesson (hand in research report). 13:30 – presentation of concept to students and teachers. Design creative concept Individual discussion Elaboration of design/idea Individual discussion Realisation of design Complete design, prepare presentation Presentation of design to the group, discussion

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Assessment criteria The project assessment will be based on the following criteria: • • • • • •

Research, analysis, reflection Creativity, inventiveness, originality Figurative capacity, visualisation, translation Implementation, presentation Effort, attitude, motivation Process

Educational aims •

Learn to reflect on social and spatial aspects of the future. Be capable of analysing future intersections of interests.

•

Develop individual ideas and gain insight into what Europe means for you and what you mean for Europe.

•

Study the significance and importance of infrastructures and offer solutions from a personal point of view.

•

Think up a design and elaborate it for a situation, an intersection of interests, a problem in communications.

•

Learn to use feedback to activate new impulses.

The framework In this Nederland-EU 2020 project, the European, the citizen is the central reference point, no matter what our nationality or national borders within which we live. What does Europe mean for you and what does this refer to? Is it a geographical position determined by the EC or is it an historical fact? Is the European Union a sum of 27 members states or is it more than that? Emergence: why the whole is greater than the sum of the parts. The phenomenon of collective behaviour whereby the collectivity has characteristics that the individual building blocks do not possess. Does Europe have general problems and, if so, what are they? Can you give a description of yourself, the Netherlands and Europe in 2020? What is the mutual interaction, what are the networks and how do we deal with space? What is the significance of an infrastructure as a daily routine? What can the possible consequences be when an infrastructure falls away? Discover and describe your personal infrastructures. Society is changing, and the changes will have an effect on developments. Changes in infrastructure will affect society. Europe wishes to be united but at present is divided up into nation states with their own culture, history and identity. We maintain different standards. Are we capable of seeing something from some one else’s point of view – and who is the other? How can we think up creative solutions for new realities? Scenarios such as power cuts, no trains or an irregular service; the threat of terrorism means that the availability of services cannot be guaranteed... Draw up a list and imagine what you as a designer can do with this fact.

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Map out the disadvantages and advantages and let your imagination roam free on the subject of how a disadvantage can become an advantage. Do concepts such as strategy and structure take on a new meaning? Analysis is insufficient – use your intuition. Influences of national culture and upbringing: do they play a distinguishing role or are they more building blocks for new network interaction? How can we as designers use creativity to develop alternatives? Does internationalisation encourage open identity? Can we facilitate internationalisation – and how? Quotes from a working document: Crossing borders seems a given in tomorrow’s Europe. This evokes new challenges for policy makers and foresight organisations. National foresight organisations are often compelled to focus on national problems and solutions. As a result, national foresight studies yield competing visions of Europe’s infrastructural future, strongly focused on national economies and national welfare. Thinking in lines of competition is only one way to frame the future of infrastructure networks in Europe. It prohibits resolving the tension between what is at stake for the EU as a whole and its Member States. Quote 2: Research about standardisation takes place in different scientific disciplines. Moreover, there is a gap between the academic research and the day-to-day practices of the experts in the field. Often the process is seen as a process dominated by institutional or economic factors. ‘Soft’ factors are a blind spot. What role do soft elements play, such as language, education, social networks, conventions and biographical backgrounds of the negotiators? Definition Infrastructure “The totality of various socio-technical systems (infrasystems) providing a public utility, that is services which are publicly accessible and fulfil a basic, long-lasting function in society, such as transportation, communication, energy supply, water supply and waste handling. These systems include not only physical artefacts, but also the people and organisations that design, build and operate these artefacts, as well as the institutional framework (that is the formal and informal rules) with which they operate. Moreover, infrasystems obtain cultural meaning(s) in society through debates, use and abuse.” (Adapted from Kaijser)

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Key words HOW TO CREATE NEW FRAMES OF THINKING: Competition v. cooperation National v. trans-national process Intersections of interests Revolving door Hub Mainport Mobility Team work Sharing experiences Historical trends Long-term short-term future Infrastructure and networks Expansion-contraction Is a river national or international? Do people innovate – and how? Do general problems exist? Infrastructure as a daily routine Quality – trust Identity- communication-internationalisation Soft factor v. large networks (governance/free market) Public values v. personal values Research into infrastructures water/energy/Digital highway Research into culture/education/social networks/convention/geographical Technological development

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project: teacher: date: year:

Which form of economy is still relevant today, and why? Sophie Krier October 2005 Lab1 + Lab2

The main quest of this researchproject is Which form of economy is still relevant today, and why? Economy is about Carefulness thriftiness / / relationship production

soberness / aesthetics

durability / maintenance

Research steps 1. Students have chosen a classic example of (Dutch) economy – from their own point of view. Eg the Dutch ‘bottle licker’, the Dutch approach to consumption (the cheaper the better), the use of waste containers in different countries, the way in which we deal with time, the phenomenon of soup, the ambitions versus the limits of living units. 2. Students have started a research on these topics, collecting associative, visual, or cultural-historical links. The goal of this phase is to define and name the principles and qualities that are part of specific forms of economy.

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3. Students translate their research question in a performance to be held during the lesson. The goal here is to let students meet their topic in an intuitive, physical way – and ultimately to help them describe their working material in their own words and signs. Control research In parallel to the design assignment the students do a series of tests focused on the meaning and impact of economy in their own lives. Eg What do they economize on, and what not? Some will answer in terms of money, others in terms of care value. Next steps 4. On the 1st of November the students present their research in a personal format: a booklet, a short film, a series of experiments 1:1. They need to answer these questions for themselves; what have they researched, why, how, what have they learnt from the process? The goal of this assignment is to develop a personal workprocess (response) in relation to a given assignment to learn how to back up a personal vision with the use of research

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Rietveld design lab / Sophie Krier / november 2005 / zuinigheid # 3 21st of november: Guestlesson Ed van Hinte Ed van Hinte is the co-founder of the foundation Eternally Yours and (co)author of many books around the topic of sustainability (Lightness, Trespassers, Smart Architecture) The Eternally Yours Foundation The Eternally Yours Foundation has been active in the field of product lifetime extension since 1996. It wants to find ways to help products age with dignity in cases where this is relevant for the environment. The main reason is that current practice leads to slumbering dissatisfaction with our material world. Many people loathe our ‘throw-away society’ in which lack of quality is taken for granted. The result is an enormous waste and needless destruction of value. Time is no consideration Most consumer products are not supposed to have a future, apart from being predecessors to the next in line.

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Time can be incorporated in design of products that have to remain in use for a long time. To keep products useful is subject to value, something that can change and needs to be kept up. Books & Links Time in Design – product value sustenance Eternally Yours – visions on product endurance http://www.eternally-yours.nl/ -Plans for the day 10.15: lecture the lecture will deal with Hinte’s vision of design(research) and with his own work. 11.00-15.00 individual work and discussions around the following questions: “How can you find out what you really want? How can you steer your research? How to think and act “to the point”? What do you wish for the world? How can you give your idea relevance, viability and decisiveness?” 15:00 round of presentations of the day’s progress and try-outs

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-Goals for the day To focus your research, set rules for your next design step and try this out 1:1. Homework (try to) summarize your research in an equation form : 1 + 1 = 2 or 210... bring all your collected images and working material, prototypes etc bring sketching material (2D and 3D), paper, tape, scissors, drawing tools

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Celebrating difference An introspective look at Rietveld Design Lab by Sophie Krier How How How How How How How How How How How How

to to to to to to to to to to to to

be specific? deal with complexity? learn from one’s findings? surpass one’s thinking process? define the necessity of design? put new objects in relation to existing ones? stay close to one’s values without losing sight of others? contextualize one’s personal process? apply storytelling to tangible surroundings? let a form perform in an autonomous manner? design beyond subjective quality? combine playfulness with relevance?

The above questions are extracted from evaluation reports of this year’s Rietveld Design Lab graduates. For the purpose of this publication, they were isolated from their original context and edited as a shortlist of the Rietveld Design Lab’s aspirations. Criticising is easy. It takes a lot more dexterity to discern and assess quality. This text aims to offer the reader an introspective and retrospective look at the work in process of Rietveld Design Lab. The newspaper format was initially chosen because of its link to actuality (hot from the press sensation) and its possibility to communicate information at different levels (through headlines, in-depth interviews, columns, faits divers etc). In order to develop this idea, collaboration with Naama Iron from the graphic design department (Grafisch Ontwerpen) was set up for the duration of the graduation year. The collaboration was characterized by mutual and critical observation. This resulted in a scheme that attempts to frame the individual starting points and methods of the students. It is also a personal interpretation of the spatial dimension of the medium itself. The spirit of Design Lab is presented as it is: trying to think out of the box, again and again, but not without digging deep first. By quickly scanning through the opening questions of this text one immediately gets an idea of the literal brainstorm that is part of any process of applied creativity: where to start, where to find reference points, how to organise one’s research, when to take things further, when to draw back? The main challenge facing any Rietveld Design Lab student is to stay in constant motion - to allow free association of ideas - while bearing a kind of intuitive compass in mind. Then comes a moment where the research elements are feverishly put in relation to each other until the given brief and the personal vision fall into place and seem to correspond. This moment always creates a lot of discussion about how to make choices and how to validate them. The project-based curriculum of Rietveld Design Lab revolves around the development of tools to validate and implement a diversity of design proposals. A few tools: learning how to

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formulate individual criterions of quality in relation to a given assignment; exercising to put these criterions into practice and express them visually; training oneself to put the results in relation to culture in the broadest sense. This selfpropelling and self-evaluating process can be summed up as follows: when does an idea work, how does one know this, can and should it be done again? The recipe below lists top priority principles for the next generation of design students. The list is inspired by the numerous joys and struggles of this year’s graduation process. Wishful thinking with a critical note… More of the same team spirit More attitudes As much commitment Fewer assumptions More argumentation More self-realization Something unexpected More skills Less talking More shaping More decision-making More trying More constructive dialogue More (physical!) exercise Designers can be compared to mental gymnasts as they project ideas in the future and juggle with conflicting interests. They make sudden one-hundredand-eighty-degree-turns, they move along a thin line between the possible and the impossible, and they need to commit themselves everyday to their task in order to retain their agility, dexterity and vivacity. This year’s Design Lab graduates display all features of true-bred athletes: they are committed to their mission and they won’t take less than gold… A radio program once asked to envision the Olympic medal of 2020. Drawing on the fact that victory is but a matter of a split-second, an extremely long podium was proposed, stripped of the three traditional winning positions and instead offering an inclined plane for the first hundred ‘winners’. They would be awarded composite medals ranging from 99% gold + 1% silver to for instance 53% gold + 16% silver + 31% bronze, all constituents being interlaced in glorious patterns. With such an approach, every new world record - now matter how little different from the former - would give birth to an other, highly differentiated design. A visual celebration of difference! Rietveld Design Lab is a workplace where personal dedication to exploring new possibilities makes all the difference.

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Robert van Baarsen for example endeavours to renew consciousness in relation to the routine of knotting. Jenske Dijkhuis builds a closet-habitat as a sculptural-poetic answer to urban life. Mark Illi learns from industrial logic and shapes a heating habitat from iron tubing. Minouk Balster gives shape to our longing for nature. Bernardo Gaeiras tells the story of a table unravelled through time. Siba Sahabi interlaces symbolic and material heritage into an image of contemporary nomadic living. Isabelle Scholtemeijer conveys a still moment in a lampshade. Woes van Haaften undertakes and documents his design-in-action mischiefs. Kevin de Winter translates his vision of human beings as biological machines into a natural-perverse object. Daphna Naparstek transcripts compression elements into a tool for an object. Danah Lamb sets up a continuous, organic working process where forms evolve through play. Rixt Reitsma weaves a deceivingly simple light screen from electrical wire. Lowies van Zanen initiates a personal trial and error process and uses his findings to improve camping items. Irma van Weeren re-evaluates the ageing shift in society by proposing new roles for the elderly. Anke Weiss reflects on the scope of polarity and human scale in carefully crafted objects. Only time can tell about the actual potential of this year’s design quests. For now let us confine ourselves to quote a selection of recent newspaper headings and grasp the urgency of applied design thinking as taught within Rietveld Design Lab… Behoefte aan nieuwe dingen. (The need for new things.) Visuele Madeleines (Visual Madeleines.) Steeds meer ogen op straat. (Ever more eyes on the street.) Zweer het dogma van groei af. Trek ten strijde tegen de nieuwe verzuiling: weg met de scheidslijn tussen jong en oud (Renounce the tenet of growth. Wage war against new sectarianism: down with division between young and old.) De mier past beter in de wereld dan de mens. (Ants better suited to the world than human being.) We zitten vol bestialiteit. (We are full of bestiality.) Alles waar Nederland niet van houdt. (Everything Holland doesn’t like.) De peilloze verveling van een paard. (The fathomless boredom of a horse.) Waarheid is een aantrekkelijke constructie - meer niet. (Truth is an engaging construction - nothing more.) Valse vergelijkingen. (False comparisons.) Van spel tot ernst. (From play to sobriety.) Geef ze geld om te oefenen (Give’em money to practise.)

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gerrit rietveld academie

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