INSIDE Magazine #13: The Moment of Utopia
Master Interior Architecture
Royal Academy of Art, The Hague


We proudly present the thirteenth magazine of INSIDE, the master programme for interior architecture of the Royal Academy of Art The Hague. This thirteenth issue is also the second to appear entirely online. Forced by the lack of distribution possibilities of our printed magazine during the pandemic, we decided to publish online last year. Because of the distribution possibilities and the options to include material generously also including moving images, we have continued the online presentation this year.

We began this academic year at the Floating University in Berlin as the first in a series of research projects by design schools across Europe. At 'Floating', a project by raumlaborberlin, the students investigated autonomously, with the year's theme 'The Moment of Utopia' in the back of their minds, how they as a community in the here and now, at that specific place in Berlin, could help the future on its way. Every year at INSIDE we choose a year theme as an impulse to the curriculum to explore a specific phenomenon in the built environment. The theme does not represent a programme that dominates all the studios but is a starting point for research in a parallel programme of lectures, travels and workshops. This year's theme was partly inspired by the past 2 years in which the covid-19 pandemic had imposed many restrictions on movement and social interaction on all of us. In the media and in everyone's immediate surroundings, you could hear the signs of people who were tired of the restrictions and longed for freedom without limitations. For the opportunity to move freely and to immerse oneself in events with many people and physical contact as if there were no danger of infection. The assumption behind the year's theme is that the utopias that are being defined during the pandemic, in the ideal future societies that are being imagined within restrictions, it is precisely this freedom of movement and unlimited interpersonal interaction that plays a major role. When conceiving the as yet unimaginable societies of the future, the dominant solution to today's conceivable problems serves by definition as an important check on the utopian content of these ideal plans. Thus, the situation in which the utopia arises, the problems of that moment, but also the way in which the ideal future is 'negotiated', or 'The Moment of Utopia', plays a major role in shaping that ideal future. Utopia thus primarily reflects the conditions of the time in which it was created.

The year theme functions as an opening statement of an academic year at INSIDE. There is no finished concept of it, no programme and no set approach with a reading list. In addition to the themes that play a leading role in the shape of assignments in the studios, 'The Moment of Utopia' served as an underlying question in a series of lectures and various workshops that culminated in an article in magazine written by last years alumna Elisa Piazzi who took the role as alumna assistent in the INSIDE studio this year. This magazine contains a selection of the results of this year's INSIDE programme. Thanks to the digital format of this magazine, this year's selection can be somewhat wider. It includes the first year studios with Studio Makkink & Bey, Ira Koers and Gerjan Streng in collaboration with Michou de Bruijn, Claudio Saccucci and raumlaborberlin among many others. It shows the results of the Flows Program of Superuse, the Theory program of Anne Hoogewoning, The results of the Skills workshop by Mauricio Freyre and Tjyying Liu and the Travel program that I'm privileged to assemble every year. Moreover, I am very pleased with the fact that besides the editorial team consisting of myself, Anne Hoogewoning and Lotte van den Berg, INSIDE students were willing to contribute to this publication.

As INSIDE we are grateful that even in this particularly challenging context such inspiring projects have come about. We hope you will also enjoy this wealth of student proposals for spatial change. I am especially grateful to everyone who supported its creation. We wish all our graduated students a bright path towards their roles as agents of spatial change.

Hans Venhuizen
Head of INSIDE
Master Interior Architecture


INSIDE is a two-year master's programme for designers of spatial change who start each assignment with a broad exploration of the context. Central to our education is the notion that the intrinsic expertise of the interior architect lies in the relationship that people, as users, have with their immediate living environment. In this relationship, a number of values, such as sustainability and the concept of inclusiveness, have become more prominent. These values have a direct relationship with the urgent social and cultural tasks in the built environment. As a result we see that the role of the interior architect is slowly growing out of the physical interior and is becoming relevant in the most diverse places where people come together and communities arise.

The Master of Interior Architecture at the Royal Academy of Art, The Hague offers a two-year professional education that strives to explore the field of spatial design in its broadest sense anticipating radical experimentations and speculations for possible futures.

In this exploration, the conventions and strict definition of the profession of interior architecture are not abandoned, nor do we educate students accordingly. The fact that the study programme is offered in the context of an art academy has an undeniable influence on the structure of the curriculum. This artistic rather than polytechnical context contributes to emphasizing in our education not so much on training technical skills, but rather on enhancing the students’ personal and artistic abilities and to encourage them to think openly.

Collaborative Learning
The programme has both linear and non-linear characteristics; not as a route from A to B but as a 'varied landscape' with undefined paths formed by an underlying structure of design studios with thematic assignments in the first year. In the graduation year, the students choose their own topics for their final project and, above all, contributing on the composition of their educational programme. Within these paths, many non-linear encounters occur with professionals crossing the disciplinary boundaries, in different frequencies, durations, intensities and speeds.

What we strive for is an inspiring and mutual learning environment for people who wish to explore the world of spatial design both from the perspective of the designer and the user. This learning environment is not only a setting to learn in, but also to learn from. Students not only learn from their tutors, but also from each other, and vice versa; tutors also pick up lessons from the future designer generation.

To make this mutual learning viable, the 8 – 16 weeks studios in the first year are not set up with fixed assignments drawn up by a client with a concrete expectation of an end result. Each studio assignment offers a spatial context within which the students orient themselves and come up with relevant proposals leaving behind preconceived concepts. As a result, current social and spatial issues are not explicitly the subject of the programme, but are an implicit part of it.

Research Based and Exploratory Approach
Central to the programme is the students’ ability to position themselves to their own insights within the future field of their study, and to strengthen their skills as resilient visual makers and thinkers. A questioning and investigating attitude is an integral part of the curriculum and is expressed in critical reflections in writing and presentations throughout the two-years.

How is this design-focused research reflected in the programme? Although the orientation towards written sources is of paramount importance, research is never a purely theoretical exercise. It simultaneously consists of fieldwork, systemic analysis, case studies, material experiments and design research, to name but a few approaches. Additionally, by travelling far away but also close by, analysing and observing the built environment is part of the education embracing a range of complex phenomena: not only the spatial, but also the social, historical, political and economic features of a site.

The programme contains several Flows studies in which students participate in a research track involving tangible and intangible ‘commons’ to be systematically detected and valued like materials, energy, food and resources. By mapping the dynamic and complex relationships of the designated flows, students are capable to maneuver and dismantle the numerous sources as a design strategy and tool for a continuous and circular cycle of creation.

The exploratory and holistic approach of the programme enables students to be confronted with their own prejudices and biases, to reason on the impact design has on the built environment and to identify their own preferences and values in the world around them.

Bandwith of Positions
In the length of this ‘diverse landscape' and the openness towards the students' interpretation of the future professional field, we envisioned in the past years a so called ‘bandwith of positions’, unfolding a field of possibilities for the students’ future spatial practice. We embrace this variety of future positions and how they can mutually reinforce each other. The diverse backgrounds and positions of the tutors reflect the broad spectrum of the discipline and throughout the programme the students are challenged to take position in this bandwidth.

The bandwidth of positions ranges from projects aiming for a concrete spatial realisability to projects that strive to process new insights, speculations and experimentations in the built environment. All positions are best illustrated by projects of recently graduated students; from the position in which the functioning of the architectural space through all scales - from the smallest individual space to the urban scale – is questioned, into collaborative and participatory design processes and finally spatial interventions advocating a more artistic approach as a way to engage with the public and to provoke alternative uses of space.

A graduation project valued within the ‘architecture based approach’ is ‘This Shophouse is not for Sale’ (2020) by Devina Amelia. Her family's shophouse in Sukaboemi, West Java (Indonesia) is the central setting of her project. This shophouse was founded 80 years ago and has been expanded in a remarkable informal way by her grandparents who were courageous and resilient in the opposition they endured as Chinese immigrants in their new country of residence. Based on the insights Devina gathered through her research into the past and the present, she succeeds to amplify new forms of co-living, co-working and to create adaptive typologies for the transformation of a micro economy at the shophouse. On a larger scale, the project reveals a bottom-up strategy to enhance a sense of community in the city.

The second approach is centered around the processes of change of the space itself identified as ‘design challenges’ in which changes will be generated as a strategy based on a spatial design approach. Participative processes play a key role involving underrepresented groups in urban design with the designer acting as the curator and moderator. A vibrant example is I-Chieh Liu’s graduation project titled ‘Homelessness and the Inclusive City’ (2019). He started his graduation by mapping, doing fieldwork and interviews in his hometown Taipei, focusing on the vulnerable life of homeless people in and around a public park. The result is a game and strategy that aims for a dialogue to establish empathy and equality from the municipal stakeholders for the marginalized groups in their city. In this way he subtly pinpointed to acknowledge the 'Right to the City' by all individuals inhabiting public space.

The third approach at the other spectrum of the bandwidth, entails spatial interventions in the broadest sense of the word; temporary interventions that do not necessarily focus on the design of space but proclaim physical installations that challenges new uses, new insights and foster social relationships. With ‘The School within the School’ (2019) Jack Bardwell imagined an alternative art school within the walls of the Royal Academy of Art. Aiming at reactivating an art school as the sanctuary for both artistic and social experimentation that art education used to be, as Jack argues, these got threatened in the past years due to corporisation and bureaucratisation. A series of programmed and in-situ interventions were organized to empower the student’s autonomy and community and to install the everyday mechanisms of the school with renewed possibilities beyond its current functioning.

Although the bandwidth outlined above reveals a wealth of possibilities for a future spatial practice, there is one characteristic that distinguishes these positions from a purely artistic practice. Although there are many similarities between these practices in the gathering of knowledge, insights and proposals for change, the spatial practice for which INSIDE is preparing does not stop at the autonomous expression of the designer's own concepts, but translates the developed proposals back into the spatial contexts where they are to be applied. There the proposals are confronted with all the special and also ordinary preconditions within which the change of the built environment actually takes place.


INSIDE presents 10 students who graduated in 2022. Students who, throughout their studies, have been extra challenged by the constraints of the pandemic. Their start was between two lockdowns and even much of the travel and location exploration ended up taking place online. They turned out to be a group that could cope with the constraints and still manage to manifest themselves. The awareness of the great importance of the human encounter in the built environment was reflected in almost all the graduation projects.

Ilaria Palmieri researched and designed ways of giving refugees more agency in their precarious living situations by enabling them to become hosts. Malte Sonneschein and Caterina Tioli worked on the re-activation of public spaces in The Hague. While Chen Liu's project consists of observing and influencing peoples behaviour in communal space. Tjitske Hartstra presents proposals for girls to 'hack' the built environment and Ariana Amir Hosseini activates a sense of belonging through dining. Georgina Pantazopoulou designs dialogues to create future domesticities which respects the users. But not all graduates work directly with the people who use the space. Eda Karaböcek repairs traces of a damaged landscape. Mae Alderliesten shows how materials evoke tactility. And finally Tom Šebestíková makes invisible forces like electricity, perceivable.

Studio Inter

The New

by Michou-Nanon de Bruijn (Studio Makkink&Bey)

“What do we need to be able to work?” On the invitation of Michou - Nanon De Bruijn (Studio Makkink&Bey) the students were challenged to design a workspace in public space without using traditional furniture and embracing unconventional concepts. The INSIDE students succeed to extend the definition of the traditional workspace and went through experimental hands-on experiences by implementing re-used materials for their ideal space to work. The empty INSIDE workspace served as a material library for the collected material found at the academy and its surroundings.

Theory & Writing

The INSIDE programme explicitly connects theory & writing to each Studio. As a critical medium for exploring the topic of the new workspace, the students were asked to write a manifesto. Firstly, texts chosen by the students themselves were discussed with new notions on workspace typologies. These shifts and implications on what work is, varied on new uses and new spaces where work can take place. Especially in the midst of the pandemic, the mentality of using spaces solely for work shifted to multifunctional spaces in domestic environments, and more profoundly in the public realm. By studying a variety of manifestos to find out their potentials to speculate on a call for change, the students wrote a manifesto, which you can find here on their personal and ideal future work environment.

The design proposal My Treasure of a Safe Workspace by Lina Hülsmann deals with the longing of being covered and protected in public space. The idea of being watched while working and distracted by movements of others, are the incentives to design a workspace that give shelter and protection. The workspace is made of rescue blankets with the advantage that the shelter is light weight, flexible and warm and their distinctive amber-gold colour has a signalling function of Lisa’s presence in the public realm. An investigation of fluidity and flexibility as an important incentive for creative work processes result in the project Ubiquitous Modularity by Pharaz Azimi. By making a plea for a radicality of the workspace as a Public Workshop which functions as a supplier store for material in a modular network of cities, a new form of nomadicity is created. This network aims for a synergy approach on supporting designers being on the move and to contribute to environmental and economical issues. After months of isolation due to the COVID-19 pandemic, Juli Gräf wonders how to be productive and to focus on work in public space. In The New Column the premise that the human proportions of the classical architectural module of the column gives comfort is investigated. By reusing these design principles and turning the column upside-down, the built element transforms into a functional object made of plaster embracing and protecting the imprint of the human body.

The ever-changing conditions of workspaces are dealt with in the project Changeable skin by Nuri Kim. Inspired by animals who change their colours to protect themselves from predators and to communicate with other species, the surface of the workspace is adjustable and flexible. Responding on external stimuli and sensorial moods, the workspaces can be altered and modified. According to Nuri’s needs to open up and to invite others, the inside of the space is revealed while in case of an opposite mental and secluded state, the space can be closed off and turned inwards. The Urban Observatory by Njål Granhus is a plea to observe the city from the heights while working and to see how people interact in public space. This height is not gained from an inside workspace in a high-rise building, but from a front seat of a bike being hooked to fences. Normally these fences surround offices to create distance but in this case they are turned into structures for a public workspace offering shelter.

The prerequisites by Charlotte Savine for a defined workplace as a personal territory are manifold. It should have space for all her personal belongings and it should be safe, comfortable and discomfortable at the same time. The discomfort comes with the fully exposure in open space being observed by others. In her project Ephemeral Territory, a temporary boundary of foam bubbles on arm length visually creates a distance between Charlotte and the outer world, slowly disappearing and tracing the passage of time. Anđela Brnas questions the existing conventions of the workspace using her senses as a way to connect, communicate and discover her surroundings. The project, entitled cicak, invites people to listen to their inner voice and intuition and move freely through space, time and feelings. By walking journeys in public space, Anđela immersed herself fully in a sensoric realm, fading away the limitations of a workplace in time and space. What kind of workspaces are needed in public space in the future? Although it is difficult to sketch out future scenarios, this question is investigated by Sharon Li in The Future Scope arguing that geographically facilities will be eliminated and technology will boost work efficiency. In a series of illustrations, the challenges of the impact of technology interwoven on our daily lives are addressed to take a glimpse of the commodities of our future work life.

In the project The Archetype of Writing Margherita Issori investigates how to define her workspace through writing. The medium of writing as a research tool enables her to create a mental space where different ‘rooms’ can become real, like physical spaces. By organizing collective writing sessions with texts that are made in public and by printing these on textiles, the first step is taken to transform these into ‘wearable texts’ when applied to clothing. When being worn, the texts get their public performance. In an attempt to offer solutions for alternative out-door work experiences, Anneliese Greve challenged the conventional characteristics and commodities of both a workspace and a white sheet of A4 paper. In her project Public Paper Only different settings and sizes are tested to experiment and reduce Anneliese’s workspace by reusing just a pack of 500 sheets of white paper. The purity of the white sheets in a public setting creates a contrast that immediately draws attention to the space and contribute to understanding the surrounded space.

A Studio with Michou Nanon-de Bruijn (Studio Makkink & Bey) and Anne Hoogewoning (Theory & Writing).

Studio Space

Space for Species

by Ira Koers

The Zoos we know, are strongly shaped by underscoring the differences between species and the imbalance in power relations between humans and non-humans, between culture and nature. The scripting of these encounters - the gazer and the one being gazed of - determine traditionally the spatial set-up of a Zoo. Considering the implications of a new geological epoch, now is the time to restore this balance and bridge between species by focusing on similarities. In this studio we care for and represent a Zoo animal to examine how we can offer them a voluntary stay, share their daily live and maybe even cohabit together in the city.

The Studio ‘Space for Species’ comprises several components like model making (skills), theory, travel and Flows. The Studio kicked off with a model workshop with the assignment to build an animal habitat in small groups and portray the representation of nature in a setup through the eyes of a photographer. In the Flows programme each student selected an animal in order to understand the life of a Zoo animal in its natural habitat, from head to tail, from birth to burial, from hunting to being eaten and from sunset to sunrise. For Travel some human-nature and man-made habitats for animal (and plants) in Zoos in the Netherlands were visited, among others Artis Naturalis in Amsterdam.

Theory & Writing

The INSIDE programme explicitly connects theory & writing to each Studio. In this case the theoretical framework was build up by a collective reading of the text ‘Zoöpolis’ by Jennifer Wolch (Professor and Dean of the College of Environmental Design at the University of California, Berkeley). In the text Wolch takes a strong critical position towards her own discipline and argues that urban theories and practices have contributed to disastrous ecological effects paralleling a disregard for nonhuman life. She foregrounds an urban theory that takes non-humans seriously, culminating in the non-anthropocentric city; a city expanding care to other species than the human - a Zoöpolis – a place for the emergence of new functions and new urban forms. How can a greater coexistence with many types of animals that live in Zoos and cities be achieved? Around this research question the students centered their writings in an essay which can be read here.

In the design proposals a great diversity of animal and plant species and their relationship with humans are featured, addressing their captive and sometimes endangered spatial living conditions in an often hostile environment.

New Perspectives on Penguins by Nuri Kim challenges the boundaries between humans and animals, in particular penguins. Being popular actors in advertisements because they look cute and behave funny, the relationship with penguins from childhood on is often dominated by their commercial appearance. The design proposal is an effort to restore this unnatural relationship and to encounter penguins in their own habitat and to meet and see them swim and hunt to experience their natural behaviour. ‘Pouched’. Deconstructing the Kangaroo Pouch into a Spatial Experience for Humans by Charlotte Savine is an invitation for humans to experience what it is like inside a kangaroo pouch. Inspired by the organic, flexible and moldable qualities of the spouch a diversity of soft materials shaped like organs with sensory abilities are adapted for a once in a life time experience. Situating the pouch in the ‘in-between position’ between birth and new life, the installation will be located in public space at the intersection of the inside and outside of space, between structural elements like columns and facades.

The project Disconnect to Reconnect by Sharon Li tackles the unnatural spacing mechanisms in Zoos between humans and sloths. Sloths are solitary creatures rarely interacting with one another and mainly being active in the night they sleep all day hanging upside down. To comfort this behavior of sloths, the design consists of an organic climbing structure in their natural habitat, a rainforest. For the visitors sloths can still be viewed from a distance by car on the highway on their overpass in the forest by a connecting urban eco-bridge made from rope with simple knot techniques. A City for Humans and Raccoons by Lina Hülsmann draws on the notion that cities are not only destined for the habitation of humans but also for a rising number of other species, like raccoons. As this seems rare, some cities in Germany cope with an increasing population of raccoons and a lot of energy is put by the authorities into keeping them out. What if this energy is routed to embrace their presence and ultimately a coexistence with raccoons is deliberately designed? Herewith an urban nature-inclusive city allowing non-humans to thrive, will arise! Redo(o) the Zoo. Exploring the World through the Eyes of the Meerkat is a project by Njål Granhus raising the question what spatial designers can learn from the meerkat; an extremely social animal living together as communities in burrows underground digged with their long, sharp claws.

These living habits make the meerkat an interesting species to study and to copy by humans visiting the Zoo and to experience the meerkats’ daily life from an animal perspective. In the speculative project Encountering change. Landscape of Multispecies Expression Anđela Brnas faces one of the urgent issues in cities – deforestation and urbanization – causing loss of suitable habitats for animals. On her balcony she created a shared habitat for birds by clay, sand and straw and, like an open-source design, allowing birds to adapt the shape to their needs. Growing plants and natural materials like moss and lichen create an urban jungle habitat, inviting a variety of species underlining its multifunctional use. With Talking Trees Juli Gräf proposes a spatial concept in which humans in cities - instead of trees - are limited in public space by the interactions and dynamics of trees, necessary for their growth and nutrients. Through a speculative mapping of the trees and their root system in a street in The Hague, small floating islands and paths are envisioned for the citizens as a grid for a new environment to support the trees’ root growth. An ingenious fountain system at the site will learn the residents where and when trees need water.

In the last 40 years about 800 extinctions have been documented including not only exotic species but also birds, mammals, reptiles, amphibians and plants. Ex is a virtual, mobile library by Anneliese Greve for experiencing and archiving extinction stories on endangered species. To anchor these in our collective memory, QR codes on colourful cobblestones in the streets can be scanned in order to enter the Ex-library. The library reveals a map of the city stories on threatened species in the past at that particular site. A City Adaptor is a project by Pharaz Azimi providing space for the migration of fishes through urban settings. The design consists of a corridor with curvy paths in existing straight city canals in order for salmon species to swim upstream as they preferably face turbulent water while breeding. The system comprises some stations where the fish can have a rest before continuing their journey. Before implementing the City Adaptor, the river needs to be cleaned and as such will turn into an ecosystem not only meant for salmon but also other species and humans.

A Studio with Ira Koers (design), Anne Hoogewoning (Theory & Writing), Hans Venhuizen (Travel), Vincent de Rijk (model making) and Jillian Chen (Flows). With the following guests: landscape architect and zoo-designer Thijs de Zeeuw, researcher and landscape architect David Habets and industrial designer Job Oort.

Studio Urban

Voor Pampus

Dutch house builders are currently eyeing Almere Pampus with excitement. On the north-western side of Newtown Almere, only 20 kilometers east of Amsterdam, lies one of the largest suitable areas for housing in the Netherlands. Studio Voor Pampus did not wait for the decision-making process and the design of the 'ideal' overall plan for the future suburban Pampus. The participants in the studio, students of the Rotterdam Academy of Architecture and of the Interior Architecture Master programme of the KABK in The Hague, made plans to start pioneering in the area tomorrow. Together, this group of young pioneers has designed the first self-sufficient pioneer settlement for this last undeveloped area of Almere.

In their design, they made use of the materials, energy, cultural history, geology, landscape and other characteristics of the area that are now often invisible but give the area an unseen rich history. The pioneers first chose a location in the area, then divided the necessary functions among themselves and drew up a development plan. In the joint planning process, all decisions were taken democratically in the pioneers' council. In the end, all participants worked out their own design for their own plot in the jointly determined development plan.

With the design of the pioneer village and their designs in the village, the pioneers are updating the unseen histories of Pampus and adding their own. These histories will prevent Pampus from ever being seen as a tabula rasa, as nothing more than available hectares of building land by developers and designers. Just as a large part of Almere can only be seen. With its realisation, this pioneering village can, when the city grows around it, quite naturally, develop into a golden cherry in the future suburban porridge.

Involved Tutors

Hans Venhuizen - head of department, travel tutor, pioneer council moderator, connection with RAVB
Gerjan Streng - Design research tutor
Anne Hoogewoning - Theory and writing tutor
Jillian Chen - Flows tutor
Claudio Saccucci - Design tutor
Michou Nanon de Bruijn - Design tutor
Benjamin Foerster-Baldenius - Expert in architecture and performance
Erik Jutten - Studio practice tutor
Neeltje ten Westenend - Exploration tutor
Mauricio Freyre - Film narratives tutor
Klodiana Millona - Visiting critic
Jord den Hollander - Architectural film expert
Tjyying Liu - Presentation tutor
Esther de Vries - Graphic Design tutor
Mark Wiechmann - Advisor Almere spatial practice
Elisa Piazzi - Studio practice assistant
Lotte van den Berg - Department coordinator

Special thanks to:

Muriël van der Wal - Circuloco Paviljoen Floriade Almere
Henk Jan Imhoff - tutor RAVB
Students RAVB
Local guides Almere
Architectuurcentrum Casla

& Writing

by Anne Hoogewoning and Gerjan Streng

The theory & writing programme at INSIDE aims at enhancing the student’s capacity to link theory, critical reflection and analysis to the design process. Research and critical reflection are key words. Research means the student is able to reach a deeper understanding of a topic, both through and by way of a systematic and theoretical research and by way of an intensive design process. Through critical reflection students are stimulated to postulate theory, to analyse concepts and to evaluate experiences. It involves observations, asking relevant questions and putting facts, ideas and experiences together to derive new meaning and to implement these to the design process. Critical reflection thus forms the link between thinking and doing.

The programme further provokes to develop the students’ individual approach to and awareness of the topics he/she researches; the topics are either formulated by a tutor (1st year) or chosen by the student (2nd year). To this end, various forms of learning are employed: reading and analysing key texts that encourage debate and active participation in discussions. Besides, the students are encouraged to develop various research methods to investigate their topic by conducting interviews, critically observe a specific context and write a systematic report of the observations, assemble valid data, doing fieldwork and analyse (representations of) projects and sites. If relevant, the students finally explore developments in other professional fields that might offer fresh insights on their own field. When working on a specific assignment, the students learn how to link the theoretical research methods to their individual design processes.

From a Master student we expect an investigative attitude and an aptitude for critical reflection and autonomous analytical thinking. During the research of a concrete question or topic the student takes into account the questions that are raised through identifying the topic, and the answers that others (designers, anthropologists, critics, philosophers, etc) have already provided on the same questions. This means we expect students to get acquainted with both scientific and non-scientific sources, and to be aware of opinions within this field of expertise.

In the course of the research the student will gradually build up a personal and well-reasoned take on a topic, in such a way that the research conclusions – both the design intervention and the theoretical conclusions - contribute to the field of expertise in a meaningful way. Writing a thesis is a means to create a report of the research, as well as a means to structure and organise the culminating knowledge, arguments for taking a specific position, and critically reflect on the findings in each phase of the research. Thinking in a well-structured way about the thesis’ content will help the student to define the aimed-for design results and offer insight into the distinct role he/she would like to play in a specific field of expertise. All in all the course implicitly aims at exploring the possibilities of finding pleasure in writing as a process of discovery and engaging with a topic by the use of carefully chosen words.

The tutors of the Theory & Writing programme are Anne Hoogewoning (1st and 2nd year) and Gerjan Streng (2nd year).


by Junyuan Chen (superusechina)

The INSIDE programme contains several Flows studies in which students participate in a research track involving flows on a certain locality. In the Flows module the world is regarded as a collection of tangible and intangible flows to be systematically detected and valued such as materials, energy, food, people and resources. Localities can vary from a six square meter kitchen in an apartment in Beijing to a flower auction at Aalsmeer.

The aim of the Flows program is to sustain an understanding of a specific situation not by simplification and isolation, but through establishing a systemic view on the built environment. Without imposing preconceptions on how we should live, a systematic Flows approach provides a conceptual framework to understand the complexity of society, ecology and economy of today. Spatial design increasingly depends on a complex of connecting flows which have the capacity to transform existing situations into sustainable and resilient solutions. By mapping the dynamic and complex relationships of the designated flows, students are capable to maneuver and dismantle the numerous layers of available flows to be adapted as a tool for a circular design strategy. The Flows program supports to bring these layers, and how they are intertwined, together to the core of the student’s design process.

Flows is a crucial tool for engineering the ambitions of sustainability and circularity, which are indispensable for the future of our built environment. One flow can easily be both a residue of one system and a resource for another, like demolition materials can become construction materials and waste heat can function as a source of energy. An early example of a Flows design can still be found in the Dutch landscape: thanks to its combination of energy harvesting, crop storage, food processing, worker inhabitation and retail the windmill is an icon of integration of multiple flows in one physical space.

Flows-based design positions itself as a holistic approach which embraces both ecological and social design methods. With the growing awareness of the limits to the world’s natural resources, the Flows approach supports students to reason with this reality and to understand the impact design has on our built environment. Through a Flows analysis, students map and analyze different Flows layers and search for possible interconnections. Flows thus not only manifest itself in the research phase of a project but also steers the design process itself, be it in domestic/private spheres, urban or rural public places.

Flows was originally developed for INSIDE by Jan Jongert of the Rotterdam based architecture office Superuse Studios. Since 2017 the Flows program is further developed by the alumna INSIDE student Junyuan Chen, who graduated in 2015 with a Flows approach for the future ruralization of a small village in Southwest China.

Flows thinking by a taxi driver in Beijing during the COVID-19 pandemic: a tube is installed to direct cold air to the back seat to avoid the risk of infection.
Photograph by Junyuan Chen


by Hans Venhuizen

TRAVEL, is the programme in which students travel, obviously. Far away, but certainly also close by. TRAVEL is about analysing the environment in a personal way based on observation, with the emphasis less on the highlights and more on the space in between. The programme was developed and is supervised by Head of Department Hans Venhuizen. TRAVEL provides the students with instruments with which they can make those observations a concrete part of their designs.

The TRAVEL method originated from turning a personal approach for this into a method that can also be applicable to others. By doing that it quickly became clear that the participants to the programme needed much more than a mental introduction and an invitation to join the travels. This was caused by previous experiences participants had with excursions. These were generally more knowledge based and focused on specific visits of highlights, and paid no attention to the qualities of the inbetween. From this observation clear instructions and a framework was developed within which a broader intuitive spatial analysis could lead to design results. A 4-stage approach arose where each phase has its own name and character.

• The first phase is called ENDEM that represents the Albanian concept for feeling happily lost and invites participants to gather all sorts of impressions without actually knowing for what reason.

• HÀOQÍ is the Mandarin word for curious, and challenges participants to reflect on what they actually saw

• PADIDEH, the Persian word for phenomenon, invites participants to filter out crucial observations

• and finally STOFFWECHSEL the German word for metamorphism, transforming the personal observations into spatial designs

"In the nineteenth century, skilled anatomists insisted that they could recognize an animal and even reconstruct it on the basis of a single bone. But the 'animal that is the city' can be traced in the same way by means of small pieces of evidence. One aspect of perceiving all that is on a simple block of streets, is the realisation that everything that is visible has a history. At some point it ended up in the place where you found it, at some point it was put together, cut out or forged, and it has fulfilled a certain role or existed for a certain function... It is evidence."

(Alexandra Horowitz, 2013, conclusion)

In her book 'On Looking', Alexandra Horowitz claims that you can read the whole from a detail.
The INSIDE TRAVEL programme is based on the notion that participants not only recognise the whole in the details but that by observing in this way, by critically analysing your own observations, you also learn more about your own perspective, your opinions and your prejudices. Horowitz calls this 'evidence'. By collecting and interpreting their evidence, future designers can build their personal catalogue. They can use this catalogue to be aware of their own perspective on the world around them and act as a designer in that world accordingly. Horowitz ends her book with a quote in that Sherlock Holmes says to Watson: "You know my approach. It is based on the observation of trivialities". This observation of trivialities is the core of every enlightening TRAVEL.

[The images in the presentations are from the 2020-2021 program]


Every year INSIDE organises a SKILLS programme consisting of workshops on general skills such as presenting and modelling, but also including, for example, a workshop on 'film narratives'.

Within Skills, which is carried out by guest lecturers, we programme relevant skills each year and connect these, where possible, as research tools to the specific tasks of the studios. In the 2021 academic year, despite corona restrictions, we were able to organize these workshops:

• Introduction Workshop Berlin – Second year students
• Translating Methods – Jana Romanova
• Modelmaking workshop - Vincent de Rijk
• Film Narratives workshop - Mauricio Freyre
• Presentation workshop - Tjy Liu
• Panic week - Benjamin Foerster-Baldenius
• Socratic organisation workshop - Erik Jutten
• Graphic Design workshop - Esther de Vries
• Research Methods – David Habets
• Panic Week workshop – Erik Jutten and Benjamin Foerster-Baldenius
• Spatial research by observation workshop - Neeltje ten Westenend
• Drawing workshop Dutch House – Laura van Santen & Diederik de Koning / Ladida
• Second years Workshops – 2nd year students

Graphic techniques Workshops (Workshops KABK):
• Silk Screen Printing – Dodog Soeseno
• Hack Lab – Jaap Meijers
• Bookbinding and Letterpress – Sanne Beeren
• Ceramics – Charlotte Christense

Introduction Workshop Berlin

During our first week in Berlin, we were right away introduced to the schools SKILL promgramme at the Floating University, arranged by the second years students and Hans. The goal for this week was to develope a concept through collaborative work together with the second year masters students. We were introduced to a process called the circle practice which was a practice that divided all of us into smaller groups with different tasks. Each group had different responsibilities and challengeses that needed to be achieved for completing the project together.
ISLAND OF SOLITUDE AND ENCOUNTER was the result of our project. Our project invited 25 groups of creative people that were going to make their own project at the Floating University to share their experiences with us in an experience library. The experiences can be anything the participating group choose to share and putted in the jars that can be found on the construction we buildt.
On the final day, we opened the exhibition for the public.

Research Methods

The research workshop was held by David Habets. He was firstly introducing us with his own practice, meth- odologies through project and also some examples he thinks are worth showing. It was very interesting to hear the point of view from someone who has such a diverse background. We were then encouraged to continue our own research through experimentation with illustra-
tion techniques by imagining “cloud as home”. I like this workshop because it opened our eyes in terms of which are the possibilities of research a topic, and diverse approaches that can give you deeper understanding. Despite everything i liked, i have to admit that it would be nice that we were able to maybe learn in general more skills how to make a good research and organize it also, because this project and topic with animals were pretty demanding in this terms.

Graphic Design workshop - Esther de vries

Esther showed us the power of graphic design and her method of working very close with the content rather than only deciding for a shape and font because you think its pretty. I was amazed in how much stronger text can appear with this method, I am really exited to try this for my thesis. Throughout the workshop we had several sessions. One to show us a lot of different examples, explain about binding techniques and the power of fonts. Then we were asked to print our text and start puzzling. I really appreciate this analogue way of working, somehow it is much less intimidating and also much faster. I found the base for my layout on the first afternoon, whereas normally it takes me much longer to take decisions I am happy with in the end. The feedback sessions in between were also really helpful. Esther stayed realistic when our ideas got too big, but I think in the end we were all really happy with our research papers.

Bookbinding and Letterpress/Sanne Beeren

The bookbinding workshop was the only one with a result that we could actually take home. After we got introduced to a lot of different book binding techniques and the tools needed for it, we started to make our own little booklet. We decided to to a section binding technique, where you fold different sections together, stitch them and then glue them with their cover. I was very impressed by the whole process and even though it took much longer, the results where very impressive! You couldn’t tell that we only learned how to do book-binding. Its a great option to make your own books, since you can decide for size, paper and amount of pages. I hope I get to do this again soon.

Translating Methods - Jana Romanova

This was about performance art which was totally unfamiliar to me. But I can say I enjoyed whole processes and was impressed by all trials. This program was for all day and divided into two parts.
First, we all walk in different ways like in different speeds, directions, positions, and rhythms. And then we were asked to do more in our own ways like walking with chairs, laying on the floor and make some sound with claps. And when each movement are collaborated, sometimes there were some moments when some rhythms resonated or synchronized. Also, there was time for group movement like following some students, mimicking the position of others. During this time, I could understand the energy and feel the communication through movements/ rhythms.

After the part of making each movement, we were asked to make pairs and walk in the school together. One condition is, one of each pair should be blinded and linguistic communication is forbidden.
In my case, Ari was my pair, and she was a blind student role. We made body signals and communicated such as claps and stamping. After all the process, we made short performance as well, to express what we felt during pairing programs. Each pairs show different styles and expressions with various media like lighting, dancing, voice. All the programs were impressive.

Modelmaking workshop - Vincent de Rijk

This project was all about ‘making’ things and images. I made ‘forest’ with real natural mate- rials like moss and soil. Before this workshop, for me, only paper, wood, and acrylics were materials for making models. However, through this workshop, my sight for making things be widened horizontally, and the skills from this workshop were quite useful for my next project as well. During the process, we could practice thinking with scales, materials, making skills with small things, details.

Ceramics workshop

The ceramics workshop started with an introduction about cleaning. Not very encouraging, but necessary, since a clean workstation is very important in order to do good ceramics. Because I want to do vases and cups at some point, I did an extra workshop for a wheel throwing class. Over there, we learned how to throw the clay in order to prepare it and get rid of all remaining air inside it, since that could destroy a whole piece. Afterwards, we did our first experiments on the wheel. First, you have to center the clay by bringing it up and down several times. Then you can start your final shape by making a whole in the middle. Repeating the process of going up and down, making your piece wider and thinner. Everything was much harder than I expected it to be in the first place. Nevertheless, I learned a lot and will definitely continue throwing as much as possible.

Spatial research by observation workshop by Neeltje ten Westenend

This first days of the Almere-Pampus-Studio gave us a chance to get to know the city and observe Almere in different ways.
We explored the city ourselves. We went around with different local people and we had gatherings where we, together with Neeltje discussed our impressions and findings. We also created a Map with interesting places. Especially the „local“ tours where super interesting and
a great chance to get to know the place from different perspectives.
Unfortunately especially the last day was extremely bad weather which made the task of sitting outside and map- ping moving patterns difficult. Also this last day was never discussed.
I think it would have bin good to see Pampus as well in this first days to understand the contrast and find connections.

Film narratives workshop - Mauricio Freyre

Under the theme of ‘Utopia,’ we all were talking about our own utopia through filming. I had no experience with making some films through the premier program and it was a totally interesting workshop. I was talking about the changeableness and liquidity of the society with the image of fluid (juice, olive oils, etc) Not only regarding making a nice image, but I could also think about ‘how I can translate some invisible thinking/notions/ideas into some visible and audible thing in films.’ Mauricio told ‘making a film’ also can be one of the processes of research and I could also agree during making the film. Like drawing some mind maps or descrip- tions of thinking ways, arranging relevant short videos only can be done with some logic or messages. But making narratives in filming is for me can express more potential ideas and convey more messages by making some rooms to think/imagine in some conflicts between different images. I think for later works, I will enjoy quite much these ways of researching and showing the ideas.

Presentation workshop - Tjyying Liu

The performative workshops with Tiy are in my opinion among the most useful.
He teaches us to work while having fun, learning to occupy space with our body and our voice in a conscious way. He teaches us to be not only designers but also performers of our project, showing it not only as a mere object or space, but as a real experience that also involves the viewer. With Tiy we have fun, we play, we use new methodologies for us, linked to theater and stage presence, which are rarely thought of in the world of design or architecture, and therefore very stimulating. Also, pay close attention to the way - the curation of the project, as it is physically exposed, to why that way rather than another, paying attention to the communication and reception of the project. Being very different from other teachers, his way of teaching us provides a point of view that until now has always been very useful and constructive.

2nd year student workshops

The workshops organized by the students of the second year stimulated us to unite more and more as a group, but in particular to explore and learn about different methods of work. Each of them approaches architecture and design in a different way and each of them has different interests. Knowing a little about how our classmates work, what they can teach us, and the research topic of their thesis for the final project, guides us consciously towards an awareness of how to approach this program, on what are the possibilities that we will encounter at the outside the assignments given during the various studies and on how to organize a type of work (graduation project) in an autonomous and independent way.

Hacklab workshop

The Hacklab workshop started with a short but inspiring introduction how technology can be used to create art and interactive spaces. It was very interesting to see the examples of different artists such as Daniel Rozin with his interactive mirrors and Niklas Roy who did an interactive curtain. Technologies are evolving very fast, this makes it easier also for non-professionals to use them and control them.

Screenprinting Workshop

The screenprinting workshop was one of my favorite workshops within KABK. We were introduced to the technique by first printing a prepared sheet, to get an idea of how the process works. Before starting, the instructor showed us a variety of prints, to explain what kind of work you can do with screen printing. From textile to paper, from rough art to precise typography, everything is possible. After getting a grip on the technique, we were allowed to design our own print (on paper). The process involves a few steps but is actually quiet easy. You prepare your print on transparent foil, and then transfer it onto a screen printing plate. After preparing the sieve, you can print as often as you want. We also combined our designs to create a collage. Since we only printed on paper this time I am very curious to try out some prints on textile once.

Drawing workshop – Dutch House by Ladida

I usually like to draw houses with every details, However, this workshop gave me the chance to admire Monet painting and I did an experiment with oil pastel. The way how Monet painted light was dramatic and I applied the skill on Dutch house. It was challenging but lots of fun.

Presentation workshop With Erik and Benjamin

This workshop in Rotterdam was very fruitfull to collaborate on one theme together and finding solution as a team for our presentation. benni and Erik moderated and coordinated the process very good and we defined several ideas and tasked together, then we devided into different groups. I’ve choosen the furniture making task and for the amount of time we had the results were interesting. It could be better to not hosting workshops in weekends and also not overload the pro- gram for a better result at the end. anyhow, I liked this part and I could see potential to have such experiences sseparetply and in a wider time frame.

The texts of the workshop experiences were taken from the students' descriptions in their Skills reports.

The Moment of Utopia

The Moment of Hope

Series of Lectures by Elisa Piazzi

Each year, a graduate student from the previous year hosts a series of lectures and talks over lunch. This year the series was organised by Elisa Piazzi who invited eight speakers and asked them to address issues that are of concern to the students today with regard to their future practice.

Reacting to the INSIDE theme of this year ‘The moment of Utopia’, we developed the series of lectures with the students called ‘The moment of Hope’. Utopia is often defined as an ‘imaginary and indefinitely remote place’ or ‘a state of things in which everything is perfect’; hope instead is a concrete force of wanting to build reality with a rational consciousness. Dwelling in between the present, an unfinished past and a possible future, hope can show us the potentialities of the present moment and ensures us to actively develop processes of “becoming-other” (Gilles Deleuze). These processes can allow ideas to shift from the possible to the real. Mexican activist Gustavo Estava argues that “Hope is not a conviction that something will happen in a certain way. We have to nurture it and protect it, but it is not about sitting and waiting for something to happen, it is about a hope that converts into action.”

As designer, architects and artists, we need hope as well as utopian thoughts, to help us envision possible answers to current problems - but we have the possibility and responsibility to go beyond ideals and address world situations.

During the series of lectures we discussed other and more hopeful ways of practicing design. Being aware and embracing the fact that we would not be able to find easy solutions or unambiguous and non-contradictory answers, we invited eight practitioners of the design/art/ architecture field who are playing a more self-aware, inclusive, constructive and/or collective role in the making and unmaking of worlds. Always starting from the question how hope can be a powerful tool in the design and architectural field, each lecture focused on more specific subtopics - that were formed by the suggestions and interests from the students.

As designers, architects and artists, we are embedded in a complex contemporaneity characterized by climate crisis, extractive capitalism, individualism and repressive knowledge. Emerging and unable to separate ourselves from this complexity, we need to avoid continually re-producing the dominant, patriarchal and oppressive social logics that pervade it. We have to unlearn what we make and perceive as the norm, by thinking otherwise together. It is necessary to begin where the world is, and work otherwise. The Italian theorist Franco ‘Bifo’ Berardi remarks about this matter: “A future state of being is possible when it is immanent or inscribed in the present constitution of the world. However, we should not forget that the present constitution of the world contains many different (conflicting) possibilities, not only one.”

As intended, the lectures have not reached a final conclusion but generated different and sometimes contrasting reflections and discussions. By offering different opinions and ideas for a hopeful future, each guest speaker helped us to discover ways of contributing to the understanding, questioning and re-invention of our social environment - showing us once again that “the world contains many different (conflicting) possibilities, not only one”.


Interspecies Hope - Ecological Regeneration and Collective Healing

Klaas Kuitenbrouwer (Zoöp) and Gerjan Streng (BRIGHT)

Both guests were asked to reflect on the following question: how can we - as designers and architects - positively affect the landscape in synchrony with nature?

Klaas Kuitenbrouwer, researcher at Het Nieuwe Instituut in Rotterdam, gave us an example by introducing his project “Zoöp”: a practice-based research into the design and application of a new kind of legal format for collaboration between humans and collective bodies of nonhumans, in order to support ecological regeneration. Showcasing different historical examples, Klaas guided us through situations and places in which rights of nature are applied. Questioning: how can we translate and adapt rights for nature in The Netherlands? A country where the oldest piece of land is 300 years old and there is no culture of personhood for nature? One of the solutions proposed by the Zoöp institution is to embrace the capitalist system. Recognizing that humans cannot step outside nature and that there is no space untouched by humans, we need to start finding commons and build the conditions for everyone to thrive in a “work of repair” (Bruno Lautor). 

The second guest was Gerjan Streng, co-creator of BRIGHT (Amsterdam), a laboratorium for research and development that investigates today’s uncertainties in order to develop perspectives for the future. He navigated us through their practice raising the following question: how can we change our idea that culture is against or opposite to nature? Retracing with us the history and the evolution of the relationship between man and nature, Gerjan guided us through various examples. Starting from a strict separation between human and nature - respectively inside vs outside - ,showcasing the romantic idea of nature as Eden, and ending in our contemporaneity where we are once again reintroducing nature and wilderness inside but in a captivated and very selective way. Together we reflected on how the parts of nature that are less influenced by humans are the most interesting for other species. We also discussed if the solution could be to “design less”.


Intrinsic Hope - Deconstructing Norms and Accommodating Differences

Social designer Shay Raviv (De Voorkamer) and architect Chiara Dorbolò

During the second lecture the guests were asked to reflect on how our designs can not only accommodate differences but promote alternative narratives and social change.

Shay Raviv, working in the intersection of research, design and cultures, guided us through her project De Voorkamer; a cultural meeting space in Utrecht to promote inclusion and integration by stimulating and facilitating the talents of a diverse community living in the area. Founded as a response to the lack of ability to welcome newcomers in The Netherlands, she guided us through the different steps needed to establish such a place, underlining the importance of maintaining a space. Starting from her site-specific knowledge, highlighting the value of collaboration and partnership by giving up our creative egos, she presented some “design attitudes” that could be applied when developing a social design project.

Chiara Dorbolo, conceptual architect and researcher from Italy, elaborated on her practice that focuses on the relationship between architecture and storytelling, especially when telling “other” stories. Questioning: what do we mean when we talk about equal and inclusive? And for whom? Presenting different examples, from the diagrams of nursing theorist Betty Neuman to more contemporary and diverse models, she criticized how we still use the “average” as the norm - having standards as a starting point for building our reality. Reflecting on the fact that “building is not always the best response in a spatial practice”, lead to the questions: “What can be understood as a spatial practice? How can we adapt a variety of spatial practices?” These questions were concluded by the idea that we should embrace diverse practices without escaping from architecture but rather by bringing these new practices into the built space - transforming utopias into reality.


Compostable Hope - Food Culture and Local Knowledge
Nickie Sigurdsson, member of The Soft Protest Digest, and Jago van Bergen (Van Bergen Kolpa Architects)

The third lecture focused on the impact current food systems have on our daily lives and on landscapes near and far. We discovered two (of the many) different realities that are developing in parallel in this field; one using technology to adapt to climate change (often detached from the land) and the other by relearning from the past and local knowledge.

Jago van Bergen’s research based architecture studio (Rotterdam) is oriented towards designing and realizing buildings, developing scenarios combining architecture with agriculture. From historical examples of very diverse forms of agriculture characterized by polyculture, he guided us through the history of agriculture and farming in The Netherlands, which since the Second World War is characterized by a separation of cities from rural areas and a constant raise of monocultures. Van Bergen Kolpa Architects’ projects, using and embracing technology for instance by farming in a complete artificial way indoors, don’t only focus on food production but also on “food dedication” (education, cooking, eating …). Questioning: can we reach a bigger diversity of food products in The Netherlands by using technology and the resources we have here?

Danish artist and farmer Nickie Sigurdsson of the research collective The Soft Protest Design uses different narratives to test how food culture, in the context of climate change, is created and altered. She underlined the importance of preserving, developing and conserving local food production by supporting small-scale farmers and citizens over corporate control on food production, resources and territories. With their project called “Make a garden before you build a house” she gave us an example of the importance of understanding the implications in mending with the ecosystem and connecting with the land as a form of homecoming. Nature needs to be seen not as an economic gain that can be appropriated but as a fundamental resource that need to be shared equally. 


Collaborative Hope
Cecilia Hendrikx (The Ponies) and Louisa Vermoere (POOL IS COOL & Collective Disaster) 

In the last lecture we asked our guests: What is our role when authorship is shared? How can we transform competitiveness and individualism in processes of collaboration and contamination?

Louisa Vermoere, strategic & architectural designer of Collective Disaster and since 2017 involved in POOL IS COOL (Bruxelles), gave us an insight into her experiences of being part of these two collectives. The open and multidisciplinary community Collective Disaster was born out of an interest in exploring possibilities of collaboration and coping with disasters. She explained to us how by sharing ideas, visions, interests, experiences and ambitions the members of the collective are “making dreams” with the hope to change reality. ‘If we are just a few we have little influence but when we are with more we can have a bigger run’. Underlining the importance of trust and shared authorship when working with each other, she also introduced POOL IS COOL - an independent platform of international citizen experts that came together to revive public outdoor swimming in Bruxelles. Telling stories of conflict and collaboration, hope and belief in the contribution of outdoor swimming to the living quality of the city, she retraced the collective's steps of POOL IS COOL.

The second guest, Cecilia Hendrikx, is one of the four members of The Ponies, a collective based in Amsterdam working at the crossroads of research, design and society. By making installations in public space, they create a shift in perspective – thus re-evaluating complex social issues. Cecilia walked us though different steps of their deeply inspiring methodology. From reproducing and appropriating elements of their surroundings - as a form of admiration and reflection on more complex social situations - to embodied experiences of the site as a means to connect with the local community. Concluding with their project “De Tijden” she explained how their practice revolves around politics, propaganda, history and culture - often starting from a curiosity that develops into something beautiful that everyone can respond to. 

Outside of INSIDE

Portraits of alumni

After one year since their graduation alumni of the class of 2021 are working in different sectors related to interior architecture in the Netherlands as well as abroad. In a spectrum that varies from working full time for an office or studio to focusing only on their personal practice (with all the different gradients in between) below you can find some of their stories.

Elisa Piazzi

2021 Graduate

UN-ADH&M-T-HR Flags, Group exhibition Class of 2021, DDW 2021

Elisa Piazzi is a research based designer based in The Hague, working for and with other fellow humans; always taking into consideration their relationship with other more-than-humans. Letting go of concepts such as individual authorship and ownership, her research focuses on collaborative processes of analysis, comprehension, translation, re-inscription, and replication. Pre-existing matter (spatial, visual, or written) become mediums to activate dialogues, acts of togetherness, and mutual understanding.

Johannes Equizi

2021 Graduate

AS TANGIBLE HORIZONS, Solo exhibition Third Space, Helsinki 2021

In the summer after graduation Johannes Equizi showed his graduation work as part of the group exhibition 'Nature, Melancholy in the Anthropocene’ in The Hague. He then moved to Helsinki were he interned at the architecture studio Casagrande Laboratory. In Helsinki he also had a solo show called “As Tangible Horizons” at Third Space. In the making of this show he focused on the ways an audience could be involved into spatial narratives and be stimulated to imagine different lifestyle scenarios. He now moved back to The Hague, were he is developing his personal practice and stating with Elisa a collective. Johannes is also involved in the hosting and organization of Liquid Dependencies at Framer Framed and he is collaborating with Jana Romanova in designing a LARP. On the side he is working with REFUNC and doing other crafty works collaborating with different artists and designers.

Florian Bart

2021 Graduate

Bedroom series, Studio Florian Bart, 2022

Florian, after graduating, kept on working part-time at Powerboat in Rotterdam. He also started is own design studio called “Studio Florian Bart” based at de Glasfabriek in Rotterdam. Doing object design, interior design, exhibition design and set & production design Florian is collaborating and working for many different makers, focusing on the interaction between the users and the design. Florian also worked for a couple of months on a renovation project for his parents’ old gypsy car.

Jeanne Rousselout

2021 Graduate

The Sin Eaters through the eyes of Hildergard Von Bingen, by Alice Héron and Martin Butler, Neo Futurist Dinners, Mediamatic 2022

Soon after graduating Jeanne started working as an intern at Mediamatic in Amsterdam, while also working as Bar manager at Mediamatic Eten. She is now hired and working full-time as a manager for the the production of Neo Futurist Dinners. She was part of a residency at “radio stasis” in Rotterdam and she recently exhibited the outcome of this experience at the exhibition “Staging Stasis” in WORM.

Julia Holmgren

2021 Graduate

Hamilton, Strategisk Arkitektur

Julia was selected to exhibit her graduation project at the Dutch Design Week 2021 part of ‘class 2021’. After graduation she moved to Sweden where she is now since then working full-time in interior architecture Strategisk Arkitektur studio in Stockholm.

Tereza Chroňáková

2020 Graduate

Libějovické Svobodné Hory, 2022

Tereza moved back to Czechia during the summer after graduation. There she started working full-time in Flat White, an interior architecture studio in Prague. She kept working on the side on some personal project more connected to the country-side and her personal practice. She is now working only on her own and she is running a small vegetable and flower farm in the Czech countryside ( ) . Tereza showed in February her project Susirna at Archiprix in Delft.

The People

Mae Alderliesten

Graduation student

Born in 1999 in Dordrecht, Mae graduated from the graphic and spatial design department of St. Joost School of Art & Design, in 2020. She did an internship at Studio Nienke Hoogvliet, based on material research and sustainable design and participated twice in the Dutch Design Week in Eindhoven. Recently she started working at Bolia, a sustainable Scandinavian design shop in The Hague. Mae has an eye for detail and material and through her design practice she would like to highlight the importance of our senses (especially touch) in architecture.

Ariana Amir Hosseini

Graduation student

Born in Switzerland in 1994 Ariana is an architect graduated in November 2019 at the University of Applied Sciences and Arts of Southern Switzerland (SUPSI). Ariana considers herself a sensitive and positive person and is always ready to challenge herself and try out the most that she can. Her goal as a designer is to bring magic into people’s life and design an environment capable of both attending people needs and animating their imagination.

Pharaz Azimi

First year student

Pharaz was born in Tehran, studied fine arts with a focus on multimedia and object art at the Berlin University of the Arts and completed a research semester at the Kyoto School of Arts in Kyoto. Pharaz questions social interactions and initiatives in culture and spatial design. He shares his interest in creating space for initiatives and fluid ideas as an important aspect of rethinking space in our urban environments. Art and design have the potential to create space for all groups in our society to merge into a vibrant society that is open to creativity and equality for all. Pharaz travels through different countries and incorporates the respective cultural characteristics into his work. A focus of his artistic work and design approach is also the process of his empirical research.

Lotte van den Berg

Coordinator INSIDE

Lotte van den Berg studied Media & Culture in Amsterdam and graduated with a Master in Film Documentary in 2011. After graduating she worked, among others, at Media festival Cinekid. In February 2016 she started working at INSIDE. In addition to her task as Coordinator, Lotte collaborates with the students on the visibility and public relations of INSIDE. In 2018 Lotte was also appointed a Coordinator at the Master Photography & Society.

Jurgen Bey
Studio Makkink & Bey

Graduation tutor

Studio​ Makkink & Bey works in various domains of applied art including product design, public space projects, architecture and exhibition design. Their office is based in Rotterdam and includes professionals from different fields of knowledge, forming alliances with other designers, architects and experts. Makkink & Bey are known for their critical attitude driven to understand the world and question it. One of their interests is the future of the new working landscape which they introduced at INSIDE in the first year programme.

Anđela Brnas

First year student

Anđela Brnas is a multidisciplinary designer from Zagreb (Croatia) where she got her bachelor degree at the School of Design, Faculty of Architecture. The notion that the world is a mosaic where everything is in constant change, interaction and influence is inspiring her to discover hidden potentials and translate them through design. Her practice explores natural and manmade systems and landscapes of multispecies exchange with an importance on body-space interaction through senses, movement and materials. In her work a a strong emphasis is on research, field and analog exploration. She believes that design is a powerful tool to raise awareness and unite in a more balanced way.

Michou-Nanou de Bruijn
Studio Makkink & Bey

Graduation tutor & Studio tutor

Studio​ Makkink & Bey works in various domains of applied art including product design, public space projects, architecture and exhibition design. Their office is based in Rotterdam and includes professionals from different fields of knowledge, forming alliances with other designers, architects and experts. Makkink & Bey are known for their critical attitude driven to understand the world and question it. One of their interests is the future of the new working landscape which they introduced at INSIDE in the first year programme.

Junyuan Chen – Superuse Studios

Flows tutor

Junyuan Chen graduated from INSIDE at the Royal Academy of Art in 2015. Her design approach is to start an encompassing research based on her own observations and analysis. In her projects Junyuan include both political and environmental issues and integrates technology and social needs. A year after her graduation she was asked to collaborate with the Rotterdam based Superuse Studios to expand their network in China.

Benjamin Foerster-Baldenius – Raumlaborberlin

Studio tutor

Benjamin Foerster-Baldenius is an architect based in Berlin. He is partner of raumlaborberlin; a collective of eight trained architects who have come together in a collaborative structure to work at the intersection of architecture, city planning, art and urban intervention. One of their recent projects is Floating University to explore the future of architecture schooling. Located in a rainwater basin the temporary structure was under constant development for which they invited 25 affiliated design schools, one of them being INSIDE.

Mauricio Freyre

Skills tutor - film narratives

Mauricio Freyere is an artist and filmmaker whose practice RIEN is currently based in Madrid. His work spans photography, artistic videos, commercial clips and cultural documentation on design, architecture and urbanism. His personal inquiries revolve around systems and structures of ideas negotiating between the constructed and the projected. Mauricio’s projects and films have been exhibited among others at Rencontres Internationales, Haus der Kulturen and TENT (Rotterdam).

Juli Gräf

First year student

Born in Cologne, Julianna (1997) studied Integrated Design and Furniture and Interior Architecture in Cologne and Stockholm. Her interest lies in making hidden or invisible processes, objects and networks visible, turning perspectives upside down. She believes that through objects or space, knowledge can be transported and awareness raised. Meanwhile, she believes that spatial interventions should be a subtle invitation to the user, transporting its message without forcing it. Her design is strongly research driven, growing through text and image work, questioning routines and behaviour in everyday live. Through her work, she wants to bring back connection and meaning to our often unnoticed surroundings.

Njål Granhus

First year student

Most of my work is inspired by my passion for skateboarding. Skateboarding has taught me to see the world as a big playground that can be hacked and used in different playful ways. This playfulness is something that inspires me and has become a major influencer for most of my work.

Anneliese Greve

First year student

Anneliese was born in Fernando de la Mora (Paraguay) and grew up in Berlin where she graduated in Fine Arts at the Berlin University of Arts. Her artistic work explores the relationship between humans and nature, which she emphasizes in her mixed media installations. Based on her artistic interest, she researches in her Master studies at Inside on spatial friction points between civilaziation and the natural realm, and a possible ways of coexistence between human and non-humans in urban space.

Tjitske Hartstra

Graduation student

Tjitske Hartstra is a student from the Netherlands. In 2020, she graduated from Interior Architecture (BA) at Artez in Zwolle. She likes to build things with her hands and works on many different things at the same time. Her interests lie in architecture, activism and public space. She also finds it interesting to observe people's behaviour and to investigate how design can influence their actions.

Anne Hoogewoning

Theory & Writing Tutor (first year and graduation year)

Anne Hoogewoning is an architectural historian. She holds a BA in Museology and an MA in Architectural History. She is co-founder of AB Cultural Producers, together with Bonnie Dumanaw, working in the field of research, writing, advice, fundraising and teaching in the field of architecture and design. Anne is also coordinator of Van Doesburghuis at Meudon/Paris, a multidisciplinary residency for designers, architects, visual artists, performing artists, filmmakers and writers. Additionally, she is a board member of ArchiNed, the architecture site of the Netherlands.

Lina Hülsmann

First year student

Lina Hülsmann studied Interior Architecture in Mainz at the University Of Applied Sciences (HS Mainz) in Germany. During her studies she quickly found her interest in interactive places as she loves moments of surprise and exploration.
Grown up in Northern Germany, she later lived in India for one year and in Spain for another year. Her interest in learning about different cultures, traditions and knowledge make her search always for new chances to get to know different views on this world and go into exchange and cooperation.
With her design she focusses on interactive spaces that have a playful character and at the same time create an awareness of certain themes. Understanding nature as an equal part of the world and listening carefully in order to learn more about (cultural) backgrounds, are for her the keys to successful design.

Margherita Issori

First year student

Margherita Issori is an Italian multidisciplinary designer. She grew up in Venice, and she developed her studies in The Netherlands, Spain, and France. She graduated in 2021 from Design Academy Eindhoven in the man and Well Being department. In her practice, she has a strong focus on materials, creates sensory experiences related to food, and develops research exploring the relationship between the latter, territories, and the interaction with human beings. With an experimental approach, at Inside her practice focuses on the relationship between food and spaces.

Erik Jutten

Studio tutor - Practice skills

Erik graduated in 2004 at the Visual Arts department at the Royal Academy of Art. He works as initiator and partner of art projects in public space. He is a founding member of City in the Making, an activist organisation reclaiming empty buildings for living-working and communing in Rotterdam, see: Erik collaborates with students on a one to one scale projects in 'a real world' context.

Eda Karabocek

Graduation student

Eda Karaböcek is a spatial designer based in The Hague. In 2020 she graduated from the spatial design department at Willem de Kooning Academy, Rotterdam. Eda strives on creating conscious designs to enhance social awareness and to open up conversations. Her architectural work reflects sensitive and challenging solutions for everyday obstacles. Her work range from models and visualisations to interactive (digital) experiences. Creating a mix of speculation, innovation and criticism. She firmly believes that creativity starts from the idea that nothing is impossible.

Nuri Kim

First year student

Nuri Kim is a multidisciplinary designer with a spatial background. Studying architecture and interior design(BS) with psychology (BA), Nuri has constantly aimed to connect different perspectives in architecture, user experiential designs, anthropology, and psychology. ​After working in the commercial field for brand experiences and exhibitions, Nuri has more interested in diverse perspectives of people and the way to deliver the meanings and narratives through spatial elements and interactions. Now, in INSIDE, Nuri is trying to expand horizons with multidisciplinary aspects.

Ira Koers

Bureau Ira Koers – Studio tutor

Ira Koers studied architecture at the Gerrit Rietveld Academie. In 2003 she set up Bureau Ira Koers in Amsterdam to explore the scope of architecture. A cross-section of this spatial expedition goes from a public stairs at Almere, to the gardenhouse Tumble House and holiday home Merry-Go-Round. A design for the new library of the University of Amsterdam in 2009, in collaboration with artist and graphic designer Roelof Mulder, marks the start of a fruitful collaboration centered around designs for cultural and public projects amongst others in St. Petersburg, Buenos Aires, Milan and Beijing.

Jan Körbes – REFUNC

Graduation and Skills tutor - Hands on Design

Jan Körbes is co-founder of REFUNC; an architecture laboratory and an experimental method that deals with the function, perception and meaning of (unused) components, material and sources. REFUNC questions the standard design approach where form follows function by shifting functionality of existing objects, components or spaces to achieve an endless lifespan. In their approach inspiring and sharing are key words.

Sharon Li

First year student

Sharon LI (1998) is a multidisciplinary designer based in The Hague. She graduated from The Hong Kong Polytechnic University with the BA(Hons) Environment and Interior Design in 2020. She specializes in spatial design and user-centred design. She is fascinated with how humans move through space physically and virtually. She likes pleasurable challenge of problem-solving because this is what design does.

Chen Liu

Graduation student

Born in 1996 in China, Chen Liu finished his BA in Interior Design at Central Academy of Fine Arts at Beijing. In 2020 he joined the MA programme at INSIDE of the Royal Academy of Art, The Hague. Chen Liu started his practice in interior design since 2018, a year later he participated in the Beijing Design Week. At INSIDE Chen focused on the interaction between interior objects and people and on the mental impact this interaction may cause.

Tjyying Liu

Skills tutor – presentation

Tjyying Liu is a theatre maker, scenario writer and performer. He studied sinology at Leiden University, after his graduation he left for Beijing to work as a correspondent. After eight years he returned to the Netherlands to study theatre at Toneelacademie Maastricht. His work focuses on intimate storytelling. Besides teaching performance and presentation since this year at INSIDE, he teaches at Codarts Rotterdam, Design Academy Eindhoven, Sandberg Institute and Radboud University Nijmegen.

Klodiana Millona

Studio tutor

Klodiana Millona is an architect and researcher. She graduated from INSIDE in 2017 and from the Institute of Sonology Conservatoire of The Hague in 2019 and since then she has been working independently within practices of researching, curating, writing and field recording. Recently she has been a contributor at the Oslo Triennale of Architecture, Lisbon Triennale of Architecture and she is currently a recipient of the Talent Development grant 2019-2020 from the Creative Industries Fund NL conducting a research on two cities: Taipei and Tirana, developing a critical cartography of de-centred social welfare domesticities.

Ilaria Palmieri

Graduation student

Born in Rome in 1994. With a degree in Interior Design from Polytechnic of Milano, she started working in architectural practices in Milan, among which Mario Bellini Architects and Andrea Caputo. Her curiosity always drives her to experiment things. She often participates to competitions and extracurricular activities, winning in 2017 the first price for “London Framstore’s contest” and being finalist in an Ikea competition in Sweden. With a passion for writing she is co-founder and editor of an online Italian magazine Tre Sequenze.

Georgina Pantazopoulou

Graduation student

Born in Kalamata Messinia (GR) in 1994. Graduated from Department of Architecture in University of Patras (5-years study Integrated Master Degree) in March 2018. She worked as architect in various architectural offices in Athens and as artist assistant with Alexandros Tzannis for Luleå Biennial 2018-19. She collaborated with ONOffice architecture studio regarding the design competition for the new archaeological museum in Sparta. Her work is characterized by the feminine and queer qualities and she enjoys to explore further narrations on the familiar daily environments. She believes in a world designed for all.

Elisa Piazzi

2021 Graduate

After graduating Elisa was selected, together with Julia Holmgren, to exhibit her graduation project at the Dutch Design Week 2021 part of ‘class 2021’. After that she started focusing on her personal practice while working part-time as a Guide & Guard at Museum Voorlinden. During the year Elisa was also involved in the MA INSIDE organizing the Lunch Lectures and working as an Alumna Assistant. In January she started an Internship as a design researcher at affect lab, a research practice and creative studio based in Amsterdam. She is now working part-time in production at Studio Drift while starting a collective with Johannes, another alumni of the same year. Together they are researching what it means to work as a collective in the design field. In September she will exhibition a continuation of her graduation project as part of the “Matters of life” group exhibition at Metaforte.

Nasim Razavian

Studio tutor

Nasim Razavian is an architect, researcher, architectural educator, and the founder of studio ilinx. Nasim is currently a PhD candidate at the Borders & Territories research group in the Faculty of Architecture at Delft University of Technology. Her ongoing doctorate thesis titled Play of Architectural Construct is situated at the intersection of architectural theory, art philosophy, play studies, art, and architectural design and conceptualizes the time-space of the play-ground. Nasim has received her master’s degree in architecture from Delft University of Technology. She is teaching design studios and theory courses at Delft University of Technology, Fontys School of Fine and Performing Arts, and Rotterdamse Academie van Bouwkunst. She is also a practicing architect with several built projects including houses, villas, public buildings, landscape, furniture, and object design.

Vincent de Rijk

Skills tutor - model making

Vincent de Rijk is trained as a designer at the Academy for Industrial Design in Eindhoven (currently Design Academy). After his graduation he started ‘Werkplaats Vincent de Rijk’ in Rotterdam. Since then he has been working in the wide range of design as an industrial designer, furniture maker and model builder. His most well known product is a series of ceramic bowls with polyester resin. Thereafter Vincent started to make architectural models of resin, primarily for the Dutch architecture office OMA.

Claudio Saccucci

Graduation Tutor

Claudio is an architect, researcher and educator based in Rotterdam. He studied architecture at the Sapienza University of Rome, followed by master studies at the Technical University of Delft and KTH Royal Institute of Technology in Stockholm. Together with Roxane van Hoof he established Studio Verter, a practice at the intersection between architecture, design and research. They work with design institutions such as Collectible and Biennale Interieur, as well as commissioning parties like Gemeente Rotterdam. For Claudio, architecture is a tool for storytelling and exploration, which defines the way we perceive our human condition.

Charlotte Savine

First year student

Charlotte Skye Savine (1996) is a designer of German-British-Hungarian origin. She completed her BA of Interior Architecture at the University of Applied Sciences Stuttgart, Germany and the Holon Institute of Technology in Israel. At INSIDE she is rediscovering what space can be, merging her more architectural background with her strong conceptual approach. Her work is born out of a mix of research, writing and playful experimentation with material and production methods. She is driven by an emotional approach and the desire to use design to tell stories, evoke feelings and explore seemingly ordinary daily moments.

Gerjan Streng – The Cloud Collective

Studio tutor and Research Graduation tutor

Gerjan Streng is an architect/researcher and co-founder of Bright/The Cloud Collective, a collaboration of design companies based in Rotterdam and Amsterdam. Together with a team of 10 partners, Gerjan aim to explore urban challenges caused by changes in climate, mobility, economy and energy. Data analyses, spatial scenarios and prototypes are their methodologies to get a grip on uncertainties. One of their projects is the Ministry of Food; a research into the future of food and its possible outcome for the energy transition.

Laura van Santen

Studio tutor

Laura van Santen is an architect and studio tutor and head for the first year students in Interior Architecture & Furniture Design at KABK. She collaborates with Diederik de Koning as la-di-da, a design firm that seeks to combine craft and industrial building processes in furniture and architecture commissions.

Laura is fascinated by the potential of materials. Her recent research includes: working with bronze surface treatments (resulting in a permanent exhibition at MAKE Eindhoven); iron glaze testing during a residency at the European Ceramic Work Centre, (leading to developing ceramic tiles with Cor Unum for the New Shoe Museum Waalwijk); and developing textiles at the Textiellab Tilburg (for 4000m2 movable walls in the LocHal Library).

Laura has collaborated with Petra Blaisse and Malkit Shoshan on interiors and exhibitions, including the installations in the Dutch Pavilion at the Venice Architecture Biennale in 2012 and 2016. Her work has been published in de Architect, DeMorgenMagazine, Casa Naturale, Architectenpunt, Volume, Domus, Clog and San Rocco.

Tom Sebestikova

Graduation student

I am a two cultural person: born in Enschede, a city in the east of the Netherlands, I grew up in the Czech Republic. As a young boy I started dancing ballet which formed an important part of my youth. After the admission to the ballet conservatory, I knew I wanted to become an architect. After my studies on architecture in Liberec in the Czech Republic, I decided to study sculpture at AKI, Academy for Art & Design in the town of my birth. These studies made me realize I feel most home in interior architecture but I feel there is also a need to combine the different fields.

Malte Sonnenschein

Graduation student

Born in Germany in 1994, Malte finished with a BA in Integrated Design from the University of Arts Bremen in 2019. He worked as a self-employed exhibition designer and scenographer since 2016, until being employed in the fields of office design in 2019. His focus lies on temporary architectures in the public space, aiming at a politically relevant design — a goal for which he started his education at INSIDE. He follows his self-employed activities during his studies.

Gerjan Streng – The Cloud Collective

Studio tutor and Research Graduation tutor

Gerjan Streng is an architect/researcher and co-founder of Bright/The Cloud Collective, a collaboration of design companies based in Rotterdam and Amsterdam. Together with a team of 10 partners, Gerjan aim to explore urban challenges caused by changes in climate, mobility, economy and energy. Data analyses, spatial scenarios and prototypes are their methodologies to get a grip on uncertainties. One of their projects is the Ministry of Food; a research into the future of food and its possible outcome for the energy transition.

Caterina Tioli

Graduation student

Caterina Tioli (1996) is an Italian designer based in The Hague. She graduated from Design Academy Eindhoven in the department Public Private in 2019.
Her social and anthropological approach puts humans at the centre of her design practice.
She is fascinated by the culture, traditions and identities that bind a place together. Research is essential to her process, in particular studying and learning from people and experts.
At INSIDE she is currently focusing into public spaces and how people experience them.

Hans Venhuizen

Head of INSIDE & Tutor Travel programme

Hans Venhuizen deals with the culture of spatial planning. In his search for a more specific identity for cities and areas, Hans links the worlds of culture and space to each other in different ways. In this, his focus is always on the culture of spatial planning itself, and the game is his most important instrument. The relation between playfulness and seriousness is a key feature in all of his projects.

Esther de Vries

SKILLS - Tutor Graphic Design

Esther de Vries lives and works as an independent graphic designer in Amsterdam. She graduated from the Rietveld Academy in 1998, from then on she mainly designed books, ideally in close collaboration with visual artists, designers and institutions like museums. She is asked for assignments in which an editorial approach is desired; especially collaborations which allow for a lot of freedom often resulted in appreciation and prizes. A number of those designs were therefore included in museum collections. For more information see

Neeltje ten Westenend

Skills Tutor - observation

Neeltje ten Westenend is an artist, filmmaker and educator based in Amsterdam. Her works deal with and take place in the public domain. What distinguishes her artistic practice is an anthropological approach evolving in (choreographic) interventions, (video and interior) installations, cartographic works and publications. Like a film director, she develops scripts and studies wherein architecture, urban planning and rural areas form the playing field. In 2003, she graduated cum laude with a BA from the Design Academy Eindhoven, majoring in Man and Public Space. Besides, she holds an MA in Interior Architecture from the Sandberg Institute.


INSIDE Magazine #13
Is the thirteenth publication by INSIDE
Master Interior Architecture

Master Interior Architecture
Royal Academy of Art
Prinsessegracht 4
2514 AN The Hague

Hans Venhuizen (Head INSIDE) (HV)
Anne Hoogewoning (Tutor THEORY programme)
Lotte van den Berg (Coordinator INSIDE)

Student Editorial team:
Juli Gräf
Anđela Brnas
Anneliese Greve
Pharaz Azimi
Nuri Kim
Sharon Li

Graphic Design/Web Development:
Paolo Vigliotti

Graduating students 2021/2022:
Mae Alderliesten
Ariana Amir Hosseini
Tjitske Hartstra
Eda Karaböcek
Chen Liu
Ilaria Palmieri
Georgina Pantazopoulou
Tom Šebestíková
Malte Sonnenschein
Caterina Tioli

First year students:
Pharaz Azimi
Anđela Brnas
Anneliese Greve
Lina Hülsmann
Sharon Li
Juli Gräf
Njål Granhus
Margherita Issori
Charlotte Savine
Nuri Kim

INSIDE would like to thank:
Thijs de Zeeuw
Elisa Piazzi
Klaas Kuitenbrouwer
Gerjan Streng
Shay Raviv
Chiara Dorbolò
Nickie Sigurdsson
Jago van Bergen
Cecilia Hendrikx
Louisa Vermoere
Circuloco Floriade
Muriël van der Wal
Leonardo Hotel Almere
Henk Jan Imhoff
Mark Wiechmann
Peter Zuiderwijk
Floating University / Raumlaborberlin
Marcel Smink
Alexandra Landré
Saskia van Stein
Chantal Hendriksen & Pjotr de Jong
Angelina Tsitoura
Job Oort
David Habets
Besnik Aliaij
Jack Bardwell
Daphna Laurens
Carme Noguiera & other guides
Jana Romanova
Tuana Inhan
Annemarie Wadlow
Alejandra Morgana Lopez
Florian Bart
Artis Zoo
All INSIDE alumni
All INSIDE teachers

Copyright INSIDE, KABK The Hague/The Netherlands, July 2022
Most photos were made by students and staff of INSIDE.
Exceptions are:
REFUNC images – Ishka Michocka
Image Laura van Santen – Marije Kuiper
Picture Floating University – Pierre Adenis

As it was not possible to find all the copyright holders of the photos in this publication, INSIDE invites interested parties to contact INSIDE.