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.
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.
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.
What the hack
Urban hacking mentality from an intersectional feminist perspective
My project brings together the methods of hacking and an intersectional feminist perspective on the city. Hacking is a term that originally emerged from a subculture who shared to enjoy the intellectual challenge to overcome the limitations of software computer systems. It is a process of problem solving which is characterised by experimentation, creativity and openness. For my research I traced well known hacks from the digital world and translated these into similar spatial tactics for an urban method by mapping out what they have in common. With this approach, I propose four different methods for urban hacking: spreading, camouflage, interception and overload. I introduce these methods as tools for spatial emancipation to work towards a more inclusive city.
An Intersectional feminist perspective on the city is the understanding of how overlapping identities, including race, class, ethnicity, religion and sexual orientation, impact the way people experience the city. First and foremost, it must be recognized that all genders should feel at home in the public realm. Therefore, in urban design, inclusive choices have to be made and I am interested in how these choices contribute to more inclusive cities. Our urban surroundings are not neutral; cities and neighbourhoods have been shaped by patriarchal values and contribute with their physical form to perpetuate and reproduce these values. This is exactly the issue which ‘feminist hacking’ tackles.
My project focuses on the use of public space between genders in the age from 12-18. Multiple studies have shown that non-male children aged nine and above, play less in public spaces than their male peers. Through a workshop toolkit I try to empower young citizens that are discriminated based on gender to co-create their built environment. Rather than just accepting public space as it is, they challenge it and become aware that they can influence their surroundings themselves. The feminist part is not about the object that will be created, but the action of coming together as a group and about creating awareness of claiming space in public.
A spatial experiment on a fictional communal space based on collective nostalgia
How can a sense of nostalgia be used as a spatial design strategy and an encounter for value exchange? My research started off with talks with my Chinese friends studying and living in the Netherlands, and in other European countries. We shared and discussed our experiences and expectations on the concept of ‘community’: a place where people live who are considered a unit because of their common interests. Collecting our nostalgia from the community life at the university dormitories of our previous education in China, became my research tool in order to peek in their urgent desire to seek for their ideal community.
Through these talks, I propose my method of working: regarding our nostalgia as a design resource to sketch out new community scenarios. To further experiment on this idea, I introduced a fictional community as a participatory game for my friends, allowing them, although with different desires for an ideal community, to participate in my imagination for a collective community scenario. I imagine and invent seven roles, respectively representing seven different desires exposed in the talks with my friends. These seven roles would continuously shape this community according to their desires. In my role as an observer, under the pseudonym ‘Observo’, I consider it is my task distilling others’ desires into values that present potential for the development of the community and creating encounters for the value exchange.
Through the practice of this working method, I attempt to present the continuous development of a community in a conceived realm. I consider this project as a conjunction of reality and imagination, absorbing thoughts on the sense of community and hopefully offering a manual on how to contribute to your ideal community.
A Nonlinear Rite of Interventions
It has no colour, shape, smell, taste nor form -- it's practically imperceivable. Still, it's everywhere around us ‑- electricity. Is it possible to unreveal the process behind the electricity switch for the user, by making the user witness the electricity production? How to make the phenomena of electricity more sensible?
The goal of my project is to narrate the hidden layers behind the history of electricity. Electricity went through a lot of development in the past 150 years. I want to pinpoint some key inventions in the history of electricity to highlight their experimental character and impact on society.
Through my research, I recognized four key categories in the history of electricity: Nature|Movement|Communication|Torture. Some experiments from these categories I scale up and transform these into spatial designs with the aim to reach a heightened state of energy awareness. These designs are interrelated and together they form a "Passage of Electricity." The location of this passage is at Maasvlakte in Rotterdam, since this is the largest centre of power production and innovation in the Netherlands.
I want the visitor of the Maasvlakte to be able to have a sensory experience of electricity in an immersive and meditative setting.
No Purpose City
sketching the affordances of informality
In investigating the tasks and opportunities of the public space, I find special interest in their meaning to display a city's plurality to offer us a chance for the encounter of otherness.
Public spaces contribute to the tolerance and solidarity of their users, they enable integration and strengthen our society, if they are provided in an accessible and safe way — if they are usable by everybody.
Most of the public spaces in Northern European cities are dedicated to transit. But in their midst, we can find spaces whose lack of infrastructure makes moments of encounter or dwelling difficult — if not impossible. These places I call the No Purpose Cities within our city.
I want to introduce you to my method of working, the discipline of the modelling architect, who works right on site, in one-to-one, testing their work in its immediate effect. A discipline to appreciate these spaces and to turn them into stages of experience and encounter. By experimenting with the affordances of the city, I collect the ingredients to sketch out the different realities of the No Purpose City.
I claim continuous change as a necessity for a successful public sphere. I argue that statically designed spaces cannot live up to the needs of a constantly changing, fluid society. Through collaborations, I introduce a variety of activities, cultural experiences, and spatial change.
What I offer authorities in their aim for successful public spaces is not one single solution.
It's a continuous exploration process, in which some modelled spaces might stay for an hour while others prove to last for years. The variety of activities is key. The choice for the activities is site specific and follows what's present or missing in each location individually.
The modelling architect offers spatial context, taking an agile role in the fabric of urban development processes.
Borders of Encounter
In search for points of belonging
‘Borders of Encounter’ is a quest for belonging in the city I live, and to understand how public spaces can act as social spaces for the habitants of a neighbourhood. For me, they should be the first focus when we aim at ‘belonging’: by being open and accessible to all, they become places where we are exposed to ‘others’, allowing us to see and hear from different positions, revealing our differences.
In my research I explored the reality of The Hague. Since its very foundation the city has been marked by segregation. Within this urban fragmentation, I explored the concept of ‘border’ as the area where the interaction within different communities increases. I identified the neighbourhood - Regentessekwartier - as ‘border’; in its diversity, it is characterised by many local activities ‘for and by local residents'. Yet, they mostly happen in the private rather than in the public space, arousing a sense of unapproachable.
My exploration of Regentesselaan, which crosses the neighbourhood from north to south, where I live exactly in the middle, gave the base for defining the spatial elements that would allow or deny me to encounter with ‘others’. I identified three categories: “points of entry” considers elements that invite or reject someone from entering; “points of moving” describes elements that allow movement, physically or visually, or deny it; “points of staying” relates to elements that allow me to remain.
With this research, which allowed me to become an expert, I set the tools needed for initiating a conversation with the residents of my neighbourhood, in order to turn the public space in the neglected area between the car roads on Regentesselaan, into a border of encounter. By connecting dots between the social layer and the spatial layer, I initiate a series of design proposals of possible local interventions constructed of temporary elements.
To be a host in a hosting country
Hospitality as empowerment in refugee camps
My practice explores new processes towards knowing and calming spaces. It seeks to expand cooperation and introduce different research methods in working with asylum seekers that would bring new contents in their everyday life. It speculates on the domestic environment that may emerge through processes of listening, tracing and drawing together with those living on the front line of precariousness. Within this trajectory, I created a participatory practice through which refugees can have the spatial agency to be host as an empowerment tool while living in temporary structures far from home.
The Art of Invitation is the workshop I designed and introduced in different asylum seeker centres across The Netherlands. The aim is to start a conversation with any medium refugees feel like expressing themselves, to reflect on which space inside the centre they could claim by being a host. There is a moment, during the workshop, when these reflections are transformed into actions and participants are empowered by being hosts.
The vision of Hospitality that my project shows, aims to reconsider the notion of privately owned and publicly owned space. My design continues in that direction developing a proposal for municipalities, recognizing that the current policy regulations lack an understanding from the refugee’s perspective and miss the necessity of creating collective spaces. I propose a new chapter called To be a host in a hosting country constituting new fundamental criteria for the planning of refugee centres.
My proposal comes to life not only with a new wording but also with illustrations that show how the architectural drawing is no longer exclusively about spatial configurations, but includes traces and objects of everyday use and patterns. The hope is that The Art of Invitation will constitute a base for the allocation of refugee centres with the presence of a collective space.
Intervening in the process of a transitioning landscape
This project follows on my research titled ‘’Earth-Bound’’ that started from investigating vernacular architecture of the past and their building methods. Specific to vernacular architecture is the strong relationship with the ground and the use of traditional materials and resources from the area. This analysis led me to the remarkable landscape close to Maastricht, the ENCI- Quarry where for years the excavation of marl took place to produce cement. Now the mining has stopped, the factory has closed its doors and left a unique, powerful but unusual landscape with remains that tell a story of manipulation.
How can the spatial damage to the old quarry be reduced and reused for new values that will introduce a unique response to environmental metamorphoses? This question led me to the narrative on the relationship with the extracted territory and the leftover industrial spaces. Mining is an ongoing process; it shifts the meaning of the ground from time to time and challenges the fact that industries are created in a fixed moment while the ground is constantly undergoing transformations. Besides, these former industry landscapes often end up in the cycle of transitioning into a cultural and touristic landscape. How can I as a designer intervene in this process of transition?
My spatial interventions aim to represent the idea of this healing process of the landscape towards the scarred mining geography. A series of interventions highlight the ground that was taken away in order to spark the visitor’s imagination and invite them to explore their immediate surroundings. This path and journey intend to give time to reflect on how we interact with the ground, its form, and resources.
This project disputes the idea of time and temporality in a transitioning industry landscape and longs to form an example and inspiration to address on how we can build more adaptable spaces with a strong relationship with the ground.
The Forgotten Sense
How materials evoke tactility
Aesthetic experiences, designed for the eye of the beholder, are still the most appreciated value of architecture. This situation reinforces our dependency and dominance on the visual sense while the other senses like touch, tend to get a backseat. As the use of digital experiences in the built and domestic environment increases, we are becoming progressively unfamiliar with materiality. This trend, amplified by the current COVID pandemic, has intensified these shortcomings, and has resulted in an architectural design practice in which the influence of tactility is at risk.
This "Sensory Deprivation" became the driving force in my research: how can this forgotten materiality within architecture regain ground and be given renewed attention through tactile stimulation? During my research I analyzed my material collection to orientate myself on the tactile qualities of materials. This collection contributed to my research methodology to explore ‘tactility by encounter’ whereby touch can generate detailed and durable memories. These so-called tactile memories of materials and textures ensure that each time a person enters a space containing certain materials, it is easier to orientate themselves and feel comfortable because the excited sensation is already familiar.
As a spatial designer, I feel the urge to encourage the emphasis on a conscious material selection in architecture. In this way extra sensory layers like comfort, support, caring, intimacy can be provoked as well as contrary sensations causing for instance discomfort, repulsion and cautiousness. Through this exploration of materials and textures, I aim to contribute to a stronger sensorially fulfilling experience by the user and to bring back “sense enhancing moments” in our built environment.
Biases, Glitches and Oppresive Values or a Happy Domesticity
‘Her Practice’ is an interdisciplinary design project aiming to tell her story; to bring things to the front; to establish a new design practice following an intersectional feminist approach. This practice focuses on the “dialogue” that should be carefully cultivated when the designer and user come together, before and during the design process. This practice simultaneously aims to create future domesticities which not only satisfy and facilitate the user but that also shape social behavioral patterns.
The proposal takes the public through an interactive route which tells this story, my quest, and finally empowers other individuals leading them to read, to listen, to understand, to experience, even to identify themselves with my autobiographical story. Through my grandmother’s kitchen I question the gender performativity and patriarchal structures working as common ground which allows the users to embrace their own truths as they compare facts, objects, spatial paths or behaviors with their own domestic environments.
‘Her Practice’ is telling her story also in order to encourage other individuals to tell their own. When the designers know, understand and consider the real needs of the users, listening and accepting their own “truths”, then they can achieve a resilient design that respects the users, meets their needs and finally inspires them.
Through this practice I see myself as a critical practitioner rather than an expert, believing that everyone can be potential expert based on their own lived experience. Thus, I invite other users to explore, discuss and develop together this practice exercising on my grandmother’s house through the alternation of scale, spatial qualities and domestic rituals. This collective process drives us to exchange thoughts and common visions for a new design paradigm which reflect more equal and inclusive worlds using a feminist approach.
Ariana Amir Hosseini
Dining with Interdependency
A new dining scenario
My project questions the normative aesthetics and standardisation of our built environment. Nowadays, this is still dictated by the Vitruvian scale on ideal measures and proportions for the human body. This culture of standardisation intensified by the introduction of the first Modernist architecture manuals such as 'Neufert - Architect's Data' (1936), with the objective of enabling a rapid and systematic design of spaces. As such, these manuals solely promote a norm of standard living and efficiency of everyday activities, neglecting the intrinsic values that spatial design can offer like bringing people together and to build social bonds with others.
While organizing, experimenting and analysing multiple dining workshops, I traced several of these values I would like to embrace that foster emotional connections and relationships between the meal participants. Of these, the greatest one I found was in actions of interdependency: situations where two or more people are dependent on each other. During these hilarious moments of shared discomfort, to my surprise new ways of communication, interaction, imagination, playfulness and care for each other occurred. I meticulously described these experiments for my research as a basis for my proposal for a new dining scenario, with the ultimate goal to connect people through design.
‘Dining with Interdependency’ is therefore a new dining scenario. By focusing on the ritual of food, with a system of tubes and suspended objects, I aim to disrupt everyday rituals and ingrained habits while preparing food, cooking, sharing and eating, promoting connection among people through the act of interdependency.
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).
Ubiquitous Modularity reconsiders conditioned working spaces by rethinking existing resources and concepts. Instead of renting an office or studio and having office furniture, my project approaches a dematerialization of the workspace.
UM is appreciating the sustainable use of materials and tools suggesting a synergy approach for a better environmental and economical solution.
In the past few years, a significant amount of FabLabs and public workshops emerged, offering, guided instructions, tools and, devices if needed both for professionals and DIY bastler hobbyists. One just needs to pay a membership fee each month.
In this particular way, I started to investigate fluidity and flexibility as an important aspect of the creative process by traveling as an inspirational source. The radically of being constantly on move, cutting and assembling in a public workshop
in Berlin, looking after new interesting materials at the supplier store in Eindhoven, and working on your idea in landmark square fronting the Vatican. Transportation becomes more dominant as an office. Everything will be short term additionally,
Interactions increase. Dynamism, the functionality of structures within urbanites resulting eliminate possession of stable premises shaping a new form of nomadicity, designing a modular network between locations, expertises and designers.
journey of feeling
čičak is a metaphor about a journey of immersing yourself fully in sensorial realm.
It’s an invitation to awaken what is already within ourselves and dive inward to explore the hidden treasures. Senses are our way to connect, communicate, discover. The only thing left to do is to start walking. After that everything unfolds
Through questioning existing conventions and listening to our inner voice we can realize what we really desire - to feel alive and balanced.
What if the new public workspace isn’t a workspace at all? What if it’s a journey of feelings?
čičak is calling you to be curious, to move in different ways, to experiment, to feel with your full existence, to share it with the world, to listen to your intuition, to be sensitive. Embrace change and the inputs from outside as a motivation.
The design comes from inspiration experienced through travel and natural discoveries. The textile structure symbolizes a second skin with more functions and purposes. Archive, performative tool, shelter, layer for interactions,reminder for balance.
The aim is to experiment with the shape and find possible interactions and their meanings. Notebook “map of senses” is the moment of awareness in a creative form. Through the design of elements, the traveler is encouraged to freely move through
space, time and feelings. To just flow, be present, interact with others,collect experiences and archive haptic memories. It is a performative act through which we start a dialog and discover new connections.
The journey never ends. We carry ourselves and leave traces.
Public Paper Only
Paper is an inexpensive and simple material to try out new techniques, experiment, make mistakes and let your imagination run wild. Behind every finished project are ideas on paper. You can play without the pressure of achieving a perfect result and
with the freedom to build something at a different pace, shaping and applying new ideas, decisions and considerations.
My approach was to reduce my public workspace to a pack of 500 sheets of white paper and using it in several public interventions. Within the confines of my paper-based public workshop, I have gained freedom; I could take the paper wherever I wanted
in any situation and at any time. I had the freedom to choose the size of my public workshop; depending on the day, I took at least one sheet of paper or more. The purity of white sheets in a public setting creates a contrast that immediately draws
my attention to the space surrounding me and the people and actions that inhabit it. The blank sheets drive the process of understanding my surroundings and gathering these impressions.
I decided to present it as a useful product that promises a solution for an alternative outdoor work experience. My manifesto also promotes the product, which contains 500x blank sheets of paper. The documentation of my public interventions is
projected onto a single sheet of A4 paper.
My treasure of a safe workplace.
I want to work in a public space, but I get distracted. I see a lot of movement and I feel like I’m being watched. Especially the movements I can hardly perceive, from the corners of my eyes and behind my back, distract me. It makes me nervous. I
My workspace surrounds me, covering my back and sides. It is open to the top and front, so sunlight can enter, and I can orient myself while observing the environment. Even encounters from the front are possible. I feel sheltered by the shape of my
Being in the public means to be seen by people. I design my appearance, which I can use to my advantage. I can hide myself by being super visual. My workspace attracts attention by its material. It looks beautiful and interacts with its surroundings.
People become curios about the golden object, not about me and my work. The whole workspace is made of only one material: rescue blankets. Heating and deformation have given them their shape and stability. Thanks to the flexibility and light weight
of the blankets I can role it up and leave for a new place, whenever I want to.
My workspace keeps me warm and safe. It reflects its surroundings in a beautiful, golden way. I benefit from the inspiration of the public space and can fully focus on the work I do.
The Future Scope
Everyone can be their own future inventor
A work space without traditional furniture sounds futuristic. It raises questions of what users really need for their work, especially in public space. Possibilities come out as technology boosts working efficiency, eliminating geographical and
facilities limitations. The following series of illustrations contains the questions and challenges of how technologies enter our lives in future. In order to determine the future scenarios, it is essential to look at both past and present issues. By
interweaving the daily problems and future inventions, the stories arouse readers’ ecos and invite them to take a glimpse of the future work life.
Thinking about the long term futures is no longer the patent of futurologists. As there is a saying from William Gibson, “The future is already here – it’s just not very evenly distributed.” Starting from our daily work life, we predict the weather,
the schedule, the dating partner, the holiday destination, etc. These are all tangible and accessible futures. I believe everyone can be their own future inventor, classifying their own perspective and value judgement.
the new column
After months of isolation, try to create your safe space in public. What do you need to be able to be productive? How are you able to focus on your work? What is needed to make you feel safe and comfortable?
Columns provide a certain kind of shelter and support, mentally and physically. Their base provides support for your back when you lean against them and offers you shade and protection. Like the eye of a storm, the column provides a safe anchor for
you to focus on your work and the world around you fades away. Around that anchor, the biggest work desk evolves around you: the floor.
Roman and greek columns were divided and built on the base of human proportions. Nevertheless, the focus stayed on the capital, leaving function behind and simply focussing on the aesthetics. Turning the column upside-down, one is able to use the
stylistic extension and expand it to an object with a function: supporting your back while sitting on the floor.
Combining the task of the base - connecting floor and wall/column - with an ergonomic, dynamic and abstract approach evolves into a family of new column bases, giving a social and inviting dimension to the architectural element you usually just pass
by. Plaster imprints of the spine in different positions were taken onto a variety of materials in order to create different sitting opportunities, enabling you to work more comfortable, embraced and protected by the imprint of your own body.
The Urban Observatory
We see the urban cities. Experience them and interact with them in different ways depending on the space and how we see the world. A public space with benches can become a skatepark for skateboarders. A fountain can become a pool for kids. Colored
tiles on the ground can become small islands you can stand or jump on because the rest of the world is experienced as lava. Our imagination creates our worlds. It makes us able to use the public spaces differently than how developers of public spaces
intended it to be used.
Nevertheless public spaces are crowded with people. People walking, talking, biking and driving distract you from actually seeing how public spaces can be used. It can feel overwhelming and make it challenging to stay focused and getting inspired
while working in a public space because of all the movement you are surrounded by.
The Urban Observatory
is an object that can inspire your work. By sitting and working high up you are able to observe how people interact differently in different spaces. It’s a flexible chair that can be attached to your bike, as well as to spaces you feel inspired by.
Easily attachable hooks make it possible to use fences, normally used to gain distance horizontally as a workspace base. Placing
The Urban Observatory
in the heights creates a vertical distance from the overwhelming movement that is happening on the ground level and allows you to get a calmer and more controlled overview of your surroundings.
The Archetype of Writing
I investigated the subject of writing as a medium to define my working space. I went back to the roots of my working method, where everything begins. It is the way I build my personal space, the way I process myself. My emotions, my memories. It is my method to visualize, to process different events and my way of communicating with others.
I write to organize my thoughts and to process my research and my intentions. Isn’t the mental space as valuable as a physical space, or even more?
Isn’t it the space where everything comes from and without which nothing would exist?
I create different rooms that are not physical, but as real as concrete spaces. From an intimate process, a text that stays on a piece of paper, I investigated how to make it public. By involving other people in my process, I organized collective writings that can be read publicly. I have used textiles as a tool for the beginning of a research that aims to create a wearable text. A wearable piece, so that once worn, everyone can access it.
Ephemeral Territory deals with the act of claiming and marking personal territory within public space and how the passage of time influences my work(-space).
I have this natural desire for territory.
To claim a space as my own and to create a space, specifically for me and all my belongings. While this provides me with a certain amount of comfort and safety, I simultaneously seek discomfort. This I experience by working under time pressure in open spaces, fully exposed to being observed by others. Here, in this balancing act of comfort and discomfort, I thrive.
I discovered that the ideal size for this personal territory is based on the length of my arm span. To mark this space and to keep others from stepping on and into it, I need to create a visual boundary line between the public and myself. I decided to work with foam bubbles.
Due to their fragility, once they’re stepped on, they break. I can also constantly modify the consistency and appearance of these bubbles, remaining free to adapt the exact shape of my space. Bubbles are ephemeral: slowly popping until they completely dissolve. I make use of this impermanence to visualise and track the passage of time.
The moment I begin the meditative act of spreading the foam around myself, I tip off the hourglass. As the foam disappears, so does the time I get to call this piece of public space my own: Ephemeral territory.
When working in public areas, the needs for a proper working place always change. In an unfamiliar place, feeling safe becomes the main point. However, in a quiet and blocked place, the feeling of isolation becomes a new matter. On the other hand, in a crowded place, the feeling of being observed becomes a disturbing point.
Depending on the feeling to the external stimulus, we change the level of our sensitivity and perspective. In this project, this changeable attitude to different circumstances was reflected as a changeable working place.
Inspired by animals who can change their skin for being hidden or noticeable, the surface of the space becomes adjustable and flexible. These color-changing animals basically adjust the density of skin cells to change the color. Chameleon has nano scaled crystals on the skin. Arranging crystals differently, they adjust the reflection of light and make different colors.
The interactions between the external circumstance and our sensual reaction are translated into the reaction of the changeable surface of the workplace. When more connection is needed, a working place can be open to reveal inside. In the opposite status, it becomes shrank and close to hide inside.
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.
A City Adaptor
A City Adaptor is a project providing space for migration fishes to path through the urban settings. Although Salmon is the main fish for this project, other fishes can also benefit from it. By providing a curvy path inside the straight canals, there is a suitable corridor for fish to travel up or downstream beside ships and boats on the canal. There are also different stations among the canal designated and designed for fishes to have a bigger space for resting and continuing the journey.
The idea is to improve existing structures by adding the adaptor in order to minimize the costs and quick realization of adjusting plus sharing the river for both human activities and fish.
By locating some of the stations inside cities on the riverside we adopt our urban setting for fishes and supporting wildlife inside humans horizon. There are a few other steps that need to be done before implementing a City Adaptor such as, cleaning the River or Canal, preventing urban and industrial sewage and contamination from being released into the water, implanting more trees on the river/canal side, and controlling strictly sport fishing.
City Adaptor will also provide space for other non-humans and each will be a small ecosystem for itself.
landscape of multispecies expression
Birds are one of the most common animals we see every day and also extremely important for the whole ecosystem. Humans mostly love them, but we don't see them as equal inhabitants of the city which results in deprivation of their needs and many survival issues. In this project I wanted to face one of their biggest problems - deforestation and urbanisation - which causes loss of suitable habitat. Connected with that, noise pollution is one huge problem that is mostly not known and it impacts their communication, which is important for everyday life and survival.
“Encountering change“ is a speculative project that proposes an inclusive holistic landscape for multispecies expression. The inspiration for the design came from how birds build their nests, change their natural environment and interact in the space as well as how their habitat is designed by nature itself - fractals units. The project is an open source design where humans are encouraged to make the units by themselves and create a shared habitat. Units - which are made out of loam “clay, sand & straw” - you can stack and create variety of shapes and usage scenarios - everyday activities, shelter, food, water and nesting habitat. Loam consists out of local natural materials that are available for birds as well as humans and it's a great sound absorbing material that can help to reduce noise in their habitat. With time the habitat changes - birds can adapt the shape to their needs as well as natural conditions will bring moss and lichen which are bird nesting materials. Growing plants together with other elements are creating an urban jungle habitat and inviting a variety of species - birds, bees, insects and more. For experimentation, the chosen location was my balcony with a view on gardens of neighbours with a lot of bird species who I could encounter every day.
ex-Ex is a virtual, mobile library for experiencing and archiving extinction stories. Have you heard about the dissapearence of the Lake Pedder earthworm or the last member of the unique 'Bo tribe on India's Andaman Islands?
If not yet, look out for colourful cobblestones on the streets. Behind each colour and stone is a story to collect. Open your phone's camera, scan, and save it to your library. In the ex-Ex app, you'll also find a map of your city that shows you where to find extinction stories and gives an if you happen to be near an extinction story.
According to the International Union for Conservation of Nature (IUCN), about 800 extinctions have been documented in the last 400 years. By knowing about the species that have disappeared (or miracolously rediscovered), they can be anchored in our collective memory and become substantial again.
A City For Humans And Raccoons
Imagine you live in a city and wake up in the middle of the night. You get up and take a look out of the window. You see busy streets, but there are no humans. The mammals you are watching are raccoons, running and climbing around on their search for food. In the evening they come out of their shelter which are spread in the city, on big trees, on top of roofs, and inside the facades. They check the organic trash cans which have small openings for them to enter and cross streets using bridges that are installed for them to avoid accidents. When the morning rises they go back into their shelter to sleep, leaving the city to the humans.
The city for human and raccoon is a design proposal that is based on the fact that cities are not only a habitat for human but also for a rising number of other species, who adapted to the new environment. In many cases, such as the raccoon, humans spend a lot of energy and money to keep them away. But these animals and evolution keep on adapting to the new challenges. Therefore I propose to rather use this energy to create a city where we can coexist with the raccoon in an accepting manner. When we include the needs of the animals from the first moment, a new way of inclusive city design evolves. Out of this a more healthy and sustainable, nature and human based city, results.
Disconnect to Reconnect
Sloths, the animals which smile constantly on their face, are most commonly used for selfies or direct contact activities with visitors in zoos. The heartbreaking truth is - they keep smiling even when they are experiencing pain, stress, or anxiety. This project aims to address the spacing mechanism between humans and sloths, by creating a new encounter in both forest and urban. As sloths usually hang upside down in the canopy part of the rainforest, I designed an organic climbing structure which intersects with the trees. By exploring the rainforest with a sloth perspective, directly having contact with the sloth no longer matters. Visitors can enjoy the connection with sloths in the same enclosure.
On the other hand, sloths often attempt to navigate the disturbed areas in urban areas since deforestation nibbles their habitat away. It takes sloths an extremely long time to cross the highway with climbing power lines and half of them died because of electrocution. This is obviously our responsibility to reconnect their scattered habitats. With research of sloth’s habit and materials, the urban eco-bridge is made from rope. Structure is formed by simple knot techniques which allows sloths crossing the bridge with their long arms. By connecting the design concept with local villagers, bridges can be produced by their own craftsmanship. After the implementation of eco-bridges on highways, I believe both drivers and tourists’ awareness of how to handle sloth encounters can be improved. Let’s rebuild our relationship with sloths.
Talking trees//Torenstraat is a speculative approach on imagi- ning a tree centered city in which humans and trees can co-exist equally.
Like at most other places in urban environments, trees at Torens- traat are forced in our environment and don’t get provided the space they need. Meanwhile there is a huge network of inter- vening roots and mycelium working underground, expanding much further and being more alive than we would have ever thought. Within our covered and compacted ground though, it doesn’t function properly anymore. The roots have a hard time to find nutrients, water or each other.
Talking trees//Torenstraat proposes a spatial concept in which humans - not trees limit their spatial usage. Though speculative mapping of the root systems, evolving water intake and commu- nication areas, a new distribution of space evolved.
Small floating Islands and paths on stilts made from permeable grid shape the new human environment. Paths and platforms are only existing where they are necessary, turning the currently existing pattern of spatial usage around down.
Without asphalt covering the square, nature can expand free- ly. New, nutritious layers of humus can evolve, offspring can finally sprout next to their mother-trees and water can reach the roots tips - at the right places. Implemented mycelium and indigenous plants enrich the ground with nutrients, making the whole community stronger. A watering system for dry seasons gets implemented, saving accumulating water from the roofs in a cistern and guiding it to the right places when needed. The fountain system educates people on where the trees need water the most and can be transferred onto other locations.To make the trees complex communication system tangible for humans, two islands of communication are positioned right on top of the hidden ones underground.
The Zoolitude Park
The zoo is a capitalistic concept we humans attend to for seeing wild animals. It is a park displaying wild animals in enclosures or cages. The concept allowes humans to be educated about the animals by seeing how they act and behave inside their habitats. Looking at wild animals can be pleasing and fun for the visitors but its capitalistic approach can be challenging for the well-being of the animal.
An example is the Meerkat. A popular zoo animal, taken out of its original environment from the Kalahari desert, to be displayed in a recreated enclosure. Research has proven that meerkats are vulnerable to stress. Placing them in a to small enclosure, in small groups, being exposed in front of a high amount of visitors results in high level of stress. Which makes the captivation of the meerkat in the zoo challenging. The more visitors, the better it is for the zoo, but the worse it is for the meerkat. Which is why we need to rethink the zoo. Animals who suffers from the zoo’ capitalistic approach should not be taken out of their environment for the purpose of being displayed in front of humans. How can a zoo without animals still educate visitors?
The Zoolitude park aims to solve this. Combining the words Zoo with solitude. Solitude is defined as «uninhabitated place», in this case, uninhabited by animals. The concept aims to put its visitors into the mind of another species to emphasize how animals lives and what their needs are to survive in the wild. Through these experiences, the visitors can develop an empathic connection and an educational understanding of the animal without them being harmed. A healthy environment for both human and animal.
HOW CAN A ZOOLITUDE PARK EDUCATE ITS VISITORS ABOUT MEERKAT?
I believe us humans long for touch - to find the comfort, warmth and safety of a loving embrace.
The kangaroo pouch is a space that offers this to the joey.
What if we as humans could experience such a pouch ourselves?
„Pouched“ seeks to be an answer to this question.
Inspired by qualities of the kangaroo pouch and based on shared needs between joey and human, the pouch was deconstructed and now comes together in a new, human-scale shape. The space was created by abstracting and translating, what I found to be core characteristics of the pouch into a new spatial form.
The shape is organic, flexible and moldable, allowing for the pouch to grow and shrink again. When it’s empty it blends in with the surrounding, when it’s filled, it is in constant movement, clearly indicating its occupation to the outside.
On the inside, feelings of warmth and embrace are achieved through soft materials with diverse sensory qualities. Various filling materials, shaped like organs, add depth and make the space come alive. This in-between stage, this place of growth, is a bridge into the outside world. Which is why „Pouched“ is positioned at the intersection of in-, and out- side, between structural elements, such as columns or facades.
Through the deconstruction and recontextualisation, the pouch becomes more than just a space to experience warmth and comfort. It opens up new conversations and becomes a tool for many different purposes and contexts.
how to see the animals
"reconsidering our attitudes and perspectives to see animals"
Animals in the city
Over the past hundreds of years, humans have been constantly estranged from wild animals.
When we think about primitive ages, humans were a part of the middle of the food chain.
With the development of science and society, however, now humans become at the top of the food chain and rarely encounter alive animals in the cities.
Excepting some domesticated animals, there is no chance to encounter wild animals in daily life, and between human and wild animals, borderline is becoming more and more clear.
Current relationship between humans and animals.
Although humans don’t encounter wild animals in real life, they are still curious about those unfamiliar creatures.
To get acquainted with wild animals, as Jennifer Wolch mentioned in her article titled ‘Zoopolis’, humans try searching on the internet, reading books, or visiting the ‘zoo’.
In the digital area, specifically, numerous images and videos of animals are easily accessed with just a few clicks.
Films, animations, documentaries deliver the information about animals. In this current urban society, people usually meet animals through 'media' or some other interpreted contents by humans.
On media, the information is usually translated in human's logic, language and morals. With humans' standpoints,
animals sometimes are judged as wrong or more worthy.
This prejudice and favoritism show the humans' attitude to animals: anthropocentricism.
On this context, the concept of zoo is extended from physical captivity to the concept as consumed images of animals in human-centric media. This filtered information and prejudiced perspectives on the nature distort humans' angles about whole nature
including human itself.
From this viewpoint, this project will reconsider the angle that humans see wild animals through. Inviting ‘penguins’ as the main topic, which is popular in media but live most far away from human’s daily life, this project will re-diagnose the relationship
between humans and animals formed by ‘media. In this process, a new attitudes to animals for ‘renatured cities,’ insisted by Jennifer Wolch, will be proposed.
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.
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
Local guides Almere
Energy on Board
Energy is a complex and abstract topic not only for designers but almost for everyone else except for those who deal with energy on different levels. For our pioneer community village at Pampus, providing energy is necessary. Key facts such as sustainability and site-specific energy harnessing stations took main roles in creating initial ideas.
The energy on board is divided into two parts, the first one is a personal waist energy gear with a wind turbine helmet and, the second part includes various modular energy harvesting stations. Primary depicts the intentions of having awareness towards the possible energy around us and made by our body movements. Harnessing wind and solar energy besides magnetic and mechanical stress is made by our body's movements and heat. How much energy do we produce by ourselves meanwhile walking, working, or doing sport? this waist jacket describes the possibility of being energy independent or a utopian human power plant idea.
Latter, depending on the potential of each area, in this case, Pampus, different smaller-scale power plants are designed to produce energy by Solar Panels, wind turbines, and geothermal power plants for domestic or small-scale usage besides, energy transforming stations. A key element of these objects is their movability of them. They can be moved to different areas during different times of the year.
The main goal of Energy on board shares the idea of modularity and accessibility for everyone by increasing our awareness of our energy consumption. It also presents the idea of decentralization of energy suppliers and removing go-betweens, supporting more direct usage of energy, cutting unnecessary transforming costs, and debarring extra consuming and wasting of energy.
The sound installation offers a place to listen to the acoustics of soil ecosystems. The intensity of the acoustics is directly related to the biodiversity of the soil and the composition of the living organisms in the soil. The processes that create fertile soils can take centuries. But the world is ploughing up this resource at an alarming rate. Erosion, compaction, nutrient imbalance, pollution, acidification, waterlogging, loss of soil biodiversity and increasing salinisation have adversely affected soil worldwide and its soil's ability to nourish plants and thus grow crops. The soil is falling silent and we have not even begun to listen. What does the soil sound like on Almere Pampus? The pioneers take on the role of composers and use various soil microphones to compose a piece of music that can be heard in the sound hall. Depending on how the pioneers sound the floor the ground in Almere Pampus, this will also be reflected in the acoustics.
The Seasonal House
The Seasonal house adapts to our specific seasonal needs. The change of temperature, daylight and weather conditions effect plants, wildlife and also us humans in behaviour and activeness. Most houses are fixed in structure, shape and function as they are optimized for winter. But what about the other seasons we experience in the Northern Hampshire?
The seasonal house with its flexible structure is inspired by half-timbered houses. The movable functions enable to adaption to the different climatical situations we experience. While everything comes together under the roof in winter, in the warmer month of the year it opens up and the objects of our daily routines, like kitchen, bed and shower can flexibly be moved into the different areas of the garden. Our radius of activity grows naturally and so the whole garden becomes the house.
Reusing, recycling and learning from nature are the core ideas of permaculture. The elements of the house melt into the gardens circular systems. One example are the straw walls which keep the house warm in winter, turn into flower beds in summer and become nitrous soil for the field after composting. With the seasonal house the borders between inside and outside vanish. Thereby we are more aware of seasons and our dependency on climate and nature, again. Moreover we can follow our intuitive behaviours as the house adapts to our personal seasonal needs.
GROWING MATERIALS, GROWING FUTURES
As a local material supplier in our pioneer village, I felt the scarcity of resources in Almere Pampus during my site visit. It is an undeveloped area with lots of potential if we get prepared to set up our living. Thus, a scheduled timeline is designed - starting with building live-work warehouse, growing and harvesting, communal life and open to public in the final stage. During the research stage of the project, I started to investigare the raw materials and manufacturing process of the daily products, such as cutlery, trousers, bricks, etc. By understanding the types of raw materials, a growing plan is suggested according to the four seasons. Growing local materials can create a sense of belonging to our villagers. The collective planting and constructing works could bring villagers closer.
The live-work warehouse will be the place that villagers meet together before they start building their own plot. There will be communal space and temporary living space. A small mushroom farm is included because the warehouse will mainly produce and promote using mycelium as building materials. Mycelium is a a biodegradable fungal material, which can applied on a wide variety of aspect likes products, building, or clothing. It is light, fire-resistant, and keeps growing. Though the model testings with mycelium, I discovered the beauty and possibilities of mycelium in different form. To provoke the attention on this biodegradable material in the village, a mycelium facade panel with Almere Pampus pattern is designed. It is time to strat applying sustainable materials together for our next genertation.
Handle with care
to us, you are endless
we are so wrong
we take you for granted
and after being with you, we sometimes forget that we interacted with each other
our relationship is difficult
we need you, but you don’t need us
yet, we force you to be there for us all the time
without paying attention
to you when you are there running, seemingly endlessly
we push you in shape
tell you where and when to flow for us
we want absolute control and endless amounts but we don’t want to spend time with you
the cycle we created for you takes place without us while we are the ones benefitting from it
what if we disrupt the cycle we created?
what if we fill the evolving gap with ourselves?
what are the consequences of replacing object through subject?
we walk with each other we walk with the water
handle with care
on the value of water
Handle with care brings you closer to the element keeping you alive. It is a mixture of garment, accessory and object, enabling you to carry your daily amount of water from a collective source to your home. The structure is portable in endless ways, guaranteeing maximum flexibility. The transparent, flexible material makes you feel the waters movement while you walk, bringing you closer to the element. In this speculative approach, the ancient ritual of fetching water comes back in a contemporary way, making the now anonymous interaction with water intimate and collective again. This way, a subconscious habit changes into a daily ritual.
Together with 15 students, we are going to develop a self-sufficient eco-village in Pampus, Almere. Each and everyone have been provided a role that serves a function for the development of the new land. I was chosen as the physical healthcarer in the village.
As a physical healthcare I value the physical and psychological health of the habitants and I believe their well-being is important for growing a community. My motivation for my role as sa physical healthcare derived from how children are able to grow a healthy community through play inside the playgroound. Their motivation to play is how they are able to be establish new friendships and from there grow a physical and socially healthy community inside the playground. Normally a playground is designed for children but seeing the social and physical benefits they extract from play made me curious to how we can establish a play- culture inside the village for the development of a healthy community.
Which is what my project is about. Playfulnest is the infrastructure surrounding the local source of water in Pampus. The concept aims to challenge visitors creative mindsets on how to use our infrastructure in a playful way, alone or together. Using the infrastructural inspiration from a maze and adding a landscape of basic geometric shapes both encourage and challenge the way we can take advantage of the affordances elements provides in our immediate surroundings in order to reach the water supplier in the center . The infrastructure can create an enjoyable and unexpected journey for the visitors and encourage them to play. Not knowing where you are, how long it will take you from A to B and with who you will meet. This can help fostering unexpected meeting points for the habitants in which they can develop friendships deriving from a physical active play culture. Meaning that the friendships one can develop through play, can create a socially and physically healthy community for all the people living inside the village. Resulting in a healthy environment for the individual and the community.
a project on the space of the table to eliminate the division between those who cook and those who eat
Food and the environment are to be considered in reciprocal relation. Designing the space of the food, the plate, the table, the room where you eat, and the gestures of eating is relevant to bringing people together. Food ceremonial should be celebrated daily instead of spending one’s meals in front of a telephone or television. Eating is a moment of meeting, and therefore dedicated to the conversation: you get to know others and tell each other. The aspect of communication and gestures linked to food is therefore fundamental for socializing. Cooking and eating are part of entertainment and company dynamics. Therefore how we design the space and the utensils related to food, also determines how we will move around the table, the kitchen counter, and how we interact with diners. Our body and our movements are not separated from food. Comm.on tabel aims to become a daily ritual, a common language within a shared kitchen. With comm.ontable, I aim to offer a way of bringing all the functions related to food preparation together in a single building system such as the table, eliminating spatially the division between who is cooking and who is eating. The aim of bringing people together is to generate a relation, if not physical at least social, a common table where to share tools and furnitures, to cook and eat together, to talk and tell a story. A shared spatial experience.
Garden of Tears
Where do you go to cry?
Crying is a release. When you cry, your tears literally release stress hormones.
Therefore crying can be a very healthy processing tool. Unfortunately it still is very stigmatised, something we hide and keep to ourselves, when in fact it should be embraced and used as a counselling tool to connect.
„Garden of Tears“ questions the role of feeling, emotions and vulnerability in urban public spaces and rethinks what it would look like if we carved out real space for them. It aims to change the perception of crying as being something merely negative but encourages people to embrace it and invites to experience the positive effects of it through space.
In the „Garden of tears“ a path leads through three different zones that are based on the three tear types the body produces. Each of their unique functions (nourishing, purifying and releasing) has been translated into a spatial experience and ritual. Creating specific places for the community to go to for reflection, processing and feeling.
In their materiality and shape each of the three zones (tear chapel, tear pool and tear path) take inspiration from elements of sacral and public space architecture, as well as the eye anatomy.
Together they compose a beautiful reflective path in the village that leads right through the heart of the village, highlighting the importance of taking time to feel, while becoming a tool that deeply connects people to each other.
Common Oven as the leaven for better neighboring
People are connected in this common oven area by sharing the warm energy that flows beneath the floor and also from the baking area to the upper parts of the ovens. Each oven has a different multifunction that allows people to share the fire from the oven creating glue moments between people and supporting small bonding moments that can be the foundation for better neighboring.
Inspired by the baking process; bubbles and glued textures from the fermentation process, solidified phase (formulation) in the oven, in the common oven design, I interpreted 'the warmth' as the glue to make the forms of the community and tiny links between different individuals. Like how general warmth helps the fermentation process and how enough fire makes the bread structure and stable during the baking process, I expect people to melt into each other and relationships to mature through brewing, baking, cooking, sharing food and recipes, chatting, drying laundries, and steaming together in the common
Food is medicine and medicine can be food.
What is going on?
Knowing one's strengths and weaknesses gives you a better understanding of yourself and how you best operate. This knowledge is widely known and practiced but why does it not apply to our understanding of food and medicine? Why don't we truly start seeing food as medicine, and not just as a derivative? We as a society have relied a lot on what is told to us by professionals. Their knowledge and dedication to their craft are what have given them an understanding of what is good for us as a society. Or is that what we have been told and led to believe? Big pharma and big businesses have twisted the arm of those whose job it was to protect us. And have made it seem like having basic knowledge of our own bodies, food, or medicine seems like a task best left to professionals.
I feel like that should not be the case anymore.
For the past 50 years so much has changed when it comes to food and medicine.
Our knowledge has expanded. Now in the year 2022, we have become even more aware of the importance of nutrient- dense foods, and clean foods (as few pesticides as possible). and less high mono-fat foods (sorry french fries)
But when it comes to grain and medicine things get a little more complicated. With grain or food in general, quick, fast, and cheap have become what we rely on. Loss of quality is a consequence we accept too easily. While for conventional medicine we rely on stores and hospitals, we forget there are also ways to treat simple things like a belly- or headache.
The general decline of knowledge about plants, as well as the disappearance of traditional practices involving these plants, can be blamed on a number of factors. Including the loss of biological resources, and an increasingly globalized society. A lack of cultural support and a desire for modernization in medical practice also have contributed a great deal.
No, it has to stop.
I have seen enough, as the farmer for the new Pampus project for Almere. I am willing to look beyond today to find a solution. Herbal medicinal plants have been used in the past. Some of our most used medicines have roots in these practices, for example, paracetamol and morphine. Or the mixture of honey and lemon. A simple concoction is passed down generations. Can we take back control when it comes to medicine? I want everybody to become more involved with what it means to heal oneself. While also gaining knowledge over herbs and nutrition. So they themselves can start healing small ailments without a doctor's help.
The ever-increasing global demand for food and raw materials requires us to embrace fundamentally new tactics and solutions. As an architect, there is a lot that can be done in that field. My design will incorporate the ability to harvest medicinal plants that make Pampus an additional source in the herbal field. This will be done by
creating a space where we can learn how to grow and harvest special herbs and learn how to make simple medicinal mixtures. A great learning source for adults and especially children. The curiosity of a child would be nurtured, with learning and testing fields in and around the building. Planting, growing harvesting, testing, and creating are all within reach.
The building is knitted into the fabric of the landscape, it makes visitors feel free to challenge themself with various projects within a safe environment. Imagine collecting flowers and small plants that work in turn to make us more healthy. Imagine instead of going to the pharmacy for even the smallest ailments, you enter the Pampus garden to harvest or brew the 'solution'. The building with its ability to interact with nature becomes the perfect place for this experiment.
Having some knowledge in the botanical medical field would mean freedom. Not only for inhabitants of the isolated Pampus project. But it could become the building blocks for creating a stronger society. People are getting more advance in their day-to-day lives. Becoming more self-reliant. Having individual knowledge for healing and repairing our own bodies should be part of that.
Jelle de Rooij
Community aimed farming
How Pampus again revolutionizes farming in our modern day era
BETWEEN FACE AND REFLECTION
Water; transparent, flowing, uncomplicated, life and tranquility. No color, no smell, no taste; neutral. The pure and natural liquid. A lake, in the middle of the forest, the sound of birds and crickets, a slightly undulating movement in the water with the glare of the sun. A moment of joy, of delight and awareness of every natural element around you. In this place there is no noise from the city traffic, no horns and no ticking of a pedestrian traffic light. Here, at the moment of the sunset. The sunset, the moment of the day when you know that your working day is over and that you can relax for a while before the sun rises again the next day. The sunset, the colors in the sky that change every minute, the colors that are different in the east than in the west. The colors that make you realize for a moment that whatever you do, the sun still rises every day and sets at the end. Every day again.
As the waterfarmer in the pioneers village Almere-Pampus, I believe in the importance of a place where you can put your mind to rest for a moment. There are no boundaries between the building and nature while you’re walking through the pavilion. You’re caught up in the moment and forget all your worries for a while. In here, you can experience water on three levels; above, on and under water. You can walk on a platform path on water, you can walk under water through a tunnel, and you can walk up the roof to go fishing.
This is the way to provide an important, inexhaustible food source in the Pampus community. I want to prevent the product from first having to travel to and from the other side of the world to be packaged. The fish remains fresh, remains locally produced and consumed and is not packaged in plastic, but in a piece of recycled paper.
I desire that Pampus will be an example for new places emerging, where there is not only taken from nature, but also given back.
Leon van Lier
Stepping in the circle
De mens ís natuur
De natuur op onze planeet is van zichzelf circulair: zij is een oneindigheid van bouwstoffen, afbreuk en hergebruik. Het ene organisme leeft, gaat dood en is weer voedsel voor het andere. Wij als mens hebben iets te veel zelfgenoegzaamheid ontwikkeld waardoor we zijn gaan denken dat we boven deze cyclus staan. De vele producten en grondstoffen die wij gebruiken in ons dagelijkse leven komen op de afvalberg en worden weggestopt of verbrand. Deze gedachte zorgt voor talloze problemen die nu op aarde ontstaan: te hoge CO2 en daarmee opwarming van de aarde, te veel stikstof in de lucht wat de groei van planten verstoord. Dit resulteert in het uitsterven van ecosystemen, groepen insecten en diersoorten. En dat terwijl we alles aan de natuur te danken hebben. Als mensheid moeten we werken met grondstoffen die we kunnen hergebruiken, want als wij het ecosysteem in de steek laten, laat zij het ons ook.
Onze commune op Almere Pampus dient als doel een voorbeeld te zijn hoe je als groep samen werkt in harmonie met de natuur. We leveren elkaar producten, energie, voedsel, water en bouwmateriaal. En we leveren elkaar afvalstoffen, die weer als bouwstoffen fungeren voor de ander. Zo creëren we samen een circulaire economie. In mijn rol stel ik een houtwerkplaats beschikbaar aan de commune en beheer ik een opslag voor materialen. Mijn focus ligt daarin in het kennisdelen van houtbouw.
Hout is een materiaal dat thuishoort in een circulaire economie: het neemt in het groeiproces meer CO2 op dan dat het kost om te bewerken. Dat komt doordat de opgenomen CO2 opgeslagen blijft in het hout wanneer het voor productie gebruikt wordt. Het benadrukken van hout als hoogwaardig bouwmateriaal moet er voor zorgen dat de boom een belangrijkere positie gaat innemen in ons landschap.
Productiebossen moeten worden opgeschaald om zo een systeem te creëren waarmee we snel en toekomstbestendig kunnen bouwen. Zo nemen we CO2 uit de lucht en slaan we het op in onze woningen. Reden genoeg om over te stappen op hout, alleen lijkt die overstap in Nederland niet heel vlot te gaan.
Als men aan woningbouw denkt, denkt men aan baksteen. Huizen zijn lange tijd vooral in baksteen gebouwd. Echter hebben de meeste huizen tegenwoordig slechts een bakstenen buitengevel maar zijn constructief met beton in elkaar gezet. Beton is standaard geworden om mee te bouwen: het kan prefab aangeleverd worden en er kan dus in hoog tempo mee gebouwd worden. Het is goedkoop en sterk. Helaas is het probleem met beton dat het tijdens het productieproces een hoge CO2 uitstoot heeft, iets waar we gezien de klimaatcrisis vanaf willen.
Een ander nadeel van beton is dat je het niet meer kan recyclen: de chemische reactie die beton als eindproduct heeft, kan niet ontleed worden. Zo kan je het materiaal niet meer hergebruiken voor dezelfde doeleinden. Wel wordt het gebruikt voor versteviging van een ondergrond. Dit noemen we downcycling, omdat de initiële waarde van de grondstoffen meer waard zijn dan wanneer het als betongravel wordt gebruikt. Beton is daarmee een materiaal dat geen plek heeft in een circulaire economie, het is een eindstation.
Een fabel heerst dat hout niet sterk genoeg zou zijn voor hoogbouw. Echter, ten tijde van het VOC tijdperk werden de grote schepen allemaal van hout gemaakt die stuk voor stuk oceanen over staken. De zandvlaktes van de Veluwe waren tot de zeventiende eeuw grote bossen waar gretig gebruik van werd gemaakt. In die tijd was opnieuw aanplanten van bomen nog geen vanzelfsprekendheid. Grondstoffen in die tijd leken nog oneindig. De bossen slonken en door ontwikkelingen tijdens de industriële revolutie werd er steeds vaker voor andere materialen gekozen zoals staal en beton. Door innovaties kon er veel sneller gebouwd worden met deze materialen.
In de afgelopen dertig jaar zijn door robotisering ook innovaties voor houtbouw ontwikkeld waardoor we er de druk- en trekkracht van beton mee kunnen evenaren en we er zelfs nóg sneller mee kunnen bouwen. Hout staat in de startblokken om de wereld te veroveren.
Wanneer ik vertel over bouwen met hout krijg ik vaak een bedenkelijk gezicht; hout lijkt een bouwmateriaal uit het verleden. Het onbegrip voor hout is een hardnekkig verschijnsel. Ontwikkelaars moffelen hun angst om geld te verliezen weg door te zeggen dat het “vast duurder is” en zich er bewust niet over willen informeren. Er heerst angst voor het onbekende omdat er nog maar weinig aannemers zijn met serieuze houtbouw-kennis. Wanneer angst voor het onbekende heerst zal het moeilijk zijn om mensen te overtuigen. Iemand zal de stap moeten nemen en het voorbeeld moeten geven. Wij als pioniers zetten daarom deze moedige stap om te laten zien dat hout bij de toekomst hoort. Circulair is het nieuwe high-tech.
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 theory & writing programme in the 1st year is linked in various ways to the three design studios in which the guiding tutors offer a specific assignment to the students; the assignments may vary from more abstract research topics to concrete design issues. The assignment is always the starting point of the research which consists both of a theoretical research and a design process that are ideally intertwined. You can find the specific theory programmes for the first years at: Studio Inter, Studio Space, Studio Urban.
The first-year programme focuses on stimulating and deepening the student’s research skills. As some students may have limited experience with conducting both a design and a theoretical research, this phase is crucial as it provides the students with a theoretical framework for the studios’ assignments. During the first year the programme will offer different research methodologies: exercises will for instance be given in observing, in reading relevant texts, in posing questions, in debating and performing, in presenting first ideas to the audience of fellow students, and in writing. Depending on the topic, the specific assignment, and the expected outcome of the design research, both the methodology and the presentation format are carefully chosen. These may range from writing a manifest, a review, essay, research paper, organising a debate, preparing an oral presentation, etc.
One of the writings in the first-year programme is a research paper of appr. 2500 words to build up a framework for the intellectual context of the design research. The paper needs to offer insight in the what, why and how of a project. What particular theme within the assignment is explored, why is the student interested in this theme and what is the relevance for today’s society, and how is the theme investigated, in other words: which methodologies did the student use to reach a deeper understanding of the theme?
In the last part of the paper the students are expected to draw valuable conclusions from their research and subsequently give the reader insight how their findings inspire their design process.
The theory & writing programme in the 2nd year is focused on the research of a topic chosen by the students themselves. Apart from further enhancing the research and writing capacities, this year aims for to make students aware of their personal objectives. As this is the final year of their studies, we expect students are able to choose individual research topics that have relevance for today’s society as a whole and the (design)world this moment in time, topics that moreover match the personal interests and talents of the students. We expect students can handle more complex themes (when compared to the first year). And we expect a larger awareness of their own position: which role can spatial design, or can the designer, play within the social and cultural challenges that are at stake within their professional field?
The research leads to a graduation thesis as a written report of the overall research. The format of the thesis may vary, depending on the chosen topic and its requirements, and depending on the student’s personal talents and interests. Some topics and talents ask for a poetic, almost fictional report of the research; some ask for a thorough, (semi-)academic approach. From a (semi) academic text we expect great accuracy in differentiating neutral descriptions and personal opinions. In a more fictional approach, the student relies partly on his or her own intuition and imagination. Although this is partly personal, and therefore subjective, we expect from a Master student a critical and analytical capacity to place personal insights into a larger context and relate them to the insights of others. The graduation thesis consists of appr. 8000 words and can be found here for the year 2021-2022.
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.
Travel phase 1
As you might expect, the TRAVEL consists of a collection of travels. These travels can be short or long and far away or close to home, that doesn't matter. More important than distance or destination is the mindset in that you leave your home.
The instruction participants receive is simple: photograph what you notice and load those photos onto your travel blog. However, the instruction turns out not to be as simple as it seems. Such openness frequently leads to uncertainty and also causes cliche reactions. Participants often start by taking instagrammable pictures.
From the uncertainties came the name and design of this phase. Once, a participant from Albania (Klodiana Millona) came up with the word ENDEM, which in the Albanian language stands for travelling and being on the road, but above all has a meaning of feeling happily lost. In other words, a positive approach to the fact that you don't yet know what you're looking for. The concept of ENDEM turned out to have a strong reassuring effect on the participants who were looking for a precise definition of the desired outcomes of the programme. Reassured that there was no such definition, they felt more free to observe.
Travel phase 2
The name of the second phase resulted from a discussion with a Mandarin speaking participant (Weini Lu), about the question of what to filter out of the observations when there is no concrete design assignment. One of the principles behind this programme is the notion that not a paying client but your own curiosity is always the best client. With the Mandarin word for curious this participant was convinced of that.
HÀOQÍ begins with an exploration of the self-composed travel blog. The instruction is simple: after traveling look back at what you have found. Try to distinguish what you think you saw, and confront that to what you actually saw. Let your intuition guide you through your documentation and see combinations, things that are fascinating, out of the ordinary, or just especially common, and ask yourself "what happened there, how did it come about". In the guidence there is special attention for the presence of prejudices and simple disqualifications revealed by the use of words as • exiting • amazing • disgusting • ugly, etc. Participants are encouraged that with these ratings, observation does not stop, but begins.
Travel phase 3
From the large amount of pictures from the ENDEM phase, the participants in the HÀOQÍ phase identify similarities and striking differences. They combine the observations where possible to create groups. Subsequently, the observations are 'reformulated'; from the description of a situation a rule is drawn up. By separating the perception from the place in which it was found, by defining the core phenomenon behind the situation in a rule, this phenomenon can also become a quality for other situations.
Although these rules are based on the situations on the photos, these examples are let go here. The situations literally fade away and the words of the instruction, the language of the rule take over from here. The openness of the observations resulted in essential limitations for the next phase.
The name PADIDEH for this phase, like the previous names, comes from discussions with participants. Originally the outcome of this phase were called phenomena, an open description for an observable event without the need to categorize it directly. Phenomena can consist of objects, but also colours, sounds, use of space or even laws or traditions. But again it was precisely this openness that blocked the participants who appeared to need a more detailed description of what they had to comply with. Because such a description would undeniably limit the openness, from a participant from Iran (Arvand Pourabbasi), the word PADIDEH, the Farsi word for phenomenon that is also used as a maiden name, was adopted.
Travel phase 4
From phase 3, 5 PADIDEH per participant arise which are applied to a design context in the fourth and final phase. STOFFWECHSEL is inspired by the description of the principles of the german architect gottfried semper by Akos Moravanszky. STOFFWECHSEL is the collective name for all biochemical processes in which raw materials from an environment are absorbed and converted in a body into new relevant substances for that body.
STOFFWECHSEL takes place within TRAVEL by confronting the collected PADIDEH on one side in a matrix with design tasks that have no relationship to the locations in which the PADIDEH were found. With their application the PADIDEH that resulted from an open exploratory process now function as deliberate limitations to the design. The core idea behind this is that the most decisive for the form that the results of a spatial transformation process take are the limitations that the transformation have to deal with. It is precisely the limitations that give creative design processes a creative impulse.
A matrix is applied because its form invites a thorough, systematic exploration of new possibilities. The fields between the entered padideh on the x-axis and the tasks on the y-axis are left empty. Here the possibilities for transformations can be explored. In this way, the personal interpretations contained in language, are brought into relation to design assignments and are explored in order to finally be materialized again, in a different context and in a different form.
Because the TRAVEL program is an exercise, it ends here. TRAVEL gives future designers confidence, curiosity and skills in gathering and interpreting information and developing personal design strategies from that.
[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
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.
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.
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.
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.
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.
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.
Interview with Johanna Ekenhorst and Jana Romanova
by 1st year student Anđela Brnas
Movement for Life
The thought that we all live in our bodies that carry us through space and time, seems very familiar and ordinary, but is often taken for granted and not nurtured enough, let alone explored. The importance of our body movements, sensations and interactions with the world around us became more apparent due to the COVID pandemic and the restrictions for the everyday life. It left us completely deprived of basic needs - to feel and be free in our bodily experiences. Reflecting on the topic of this year INSIDE theme “The Moment of Utopia”, I realised that one special programme at the KABK in the midst of the pandemic, made me feel like I had a moment where I could be present, free and curious to discover new encounters with others.
The program “Movement Lab” is a multidisciplinary workshop for open experimentations with physical bodies and spaces, compiled for the Masters students. It is led by Jana Romanova (alumna MA Photography and Society), a cross-disciplinary artist inspired by misunderstandings and through a participatory and performance practice, using photography and video as tools to discover gaps between what we say and what we do. The workshop I participated in was about gestures, guided by movement researcher Johanna Ekenhorst (alumna from the Critical Studies department at Sandberg Instituut, Amsterdam). Johanna’s interest ranges from physicality, desire and identification, masculinities and the body, (re-)productive labour and the politics of capture, the history and function of gestures in art and popular culture as well as creating and holding spaces for tender togetherness.
Interview Hi Jana and Johanna! Welcome :) In your practice, both of you are exploring the topic of movement and bodily experiences in space. What inspired you to go in that direction and how are you approaching this topic in your practice?
Jana: “There are several reasons – first, I felt in my life disconnected from my body and I am still trying to become friends with it. Before I became a photographer, I was involved in designing games for Larp - Live Action Role Playing games. I never thought that I could combine this experience with my art practice because it was somehow a niche thing and people were shy to share their experiences until it became a big scene. And when I started as a photojournalist, I realised that it’s not satisfying for me because I always felt I have too much power over whom I photograph. During my visit to a photography camp in Latvia, I did my first participatory performative project. It appeared that mostly everyone was photographing the same women for their project, so I decided to make a project with all of them with the request to choose a pose that represents them as beautiful women with me standing next to them and trying to copy the pose. I kept doing this for years and now I have a huge archive that became an interesting study why certain bodies and poses are considered beautiful and how this influences our perception of our bodies and understanding of who we are.”
Johanna: “I share the experience of feeling disconnected from my body most of my life. I have done sports but that was more about winning. Studying Art History & English Cultural Studies in my Bachelors, everything was very much focused on the mind. Since 2017, I’ve been working for the queer feminist art space District * School Without Center at Berlin. For a long time, feminist practices have put the body into focus... so we asked ourselves: “How do we feel? What do we need? How do we nourish both our bodies and our minds?” So, we made food for every event or worked together in the garden and get our hands in the dirt – these kind of little actions of engaging our bodies to relate to the space, but also to each other. When I started studying Critical Studies, where the focus is mostly on reading theory and writing, I kept thinking: ‘I’m finally at a practical school, why am I still just in my head?’ The following summer I was able to organise a series of collective woodchopping sessions at the school. This led me to look more broadly at different bodily gestures, their performativity, what they communicate and how they relate to other bodies in different social settings. They are often connected to archetypes, whether powerful or classed etc, where through enacting a certain gesture you can inhabit with your body a certain role for a moment. Whether that works out is of course structured by social norms and expectations, but within that there’s room to play, change and try things out.”
How did the idea for the Movement Lab started and what do you aim for with this workshop?
Jana: “The way I developed my practice as an artist is from learning methods from different artists, so I kind of have a big list of diverse methods of working that are somehow new and interesting to me. I try to experiment as well as merge them and see what kind of outcome it creates. That’s also one of the cores of my teaching methods to inspire people to collect methods and experiment. I was a part of a performance group in St. Petersburg and Moscow and I realised it’s interesting to offer artists all sorts of practises that are mostly related to movement. When I came to the KABK one of the biggest problems for me was that everything was focused on thinking and writing which is so bizarre because thinking is not the only method of research, you can do research with your body as well. I felt that this is so much missing in the entire academy so I just proposed it. It was first a workshop in my master’s and there was this idea of “master collaborative program” where I applied for with my idea of Movement Lab.“
Johanna: “The impulse for me was similar. The programme I have been organising together with Michal Dawid was called “Body Languages 2: of small gestures and group ornaments” looking at performative gestures and actions from different angles to activate our bodies and voices. The idea was to equip the people with different tools and exercises with which they can work and experiment in their own practice. At one workshop by Ira Brand, we approached submission and dominance through fighting with each other. At another, Jana introduced game mechanics and another topic we introduced was embodied practices of writing and speaking. As students, we are often thrown into having to perform to present our work, but we were not taught how to use our voices and bodies in these moments. There are so many ways you can pronounce and guide through a text, bring it to life and give a hand to the listener.
How can artistic projects that question embodied relationships inspire us to challenge our everyday lives and foster this awareness into our daily routines?
Johanna: “I do think learning new methods and skills, whatever they are, changes how we perceive and encounter the world around us. It is important to strengthen the mentioned disconnect of mind and body and take more care of our bodies but also of each other. But for me, that’s also a question of context... When we find other ways of relating as a group in a workshop setting, HOW we translate them to a public, social setting or everyday life becomes paramount. I’m thinking for example of the ethical questions centred on social experiments. With an awareness of that, how do we invite an audience in? How much agency do they have? Can they shape the work also? How is the engagement structured? There is of course no one way of answering these questions.”
Jana: “I agree on the idea of working from the social setting. I think everything depends on the reasons why we do it that way. If we are doing repetitive gestures in the context where they normally not happen, it kind of breaks the reality for the person who will notice and bridge this distance might be very interesting. For example, I like to notice how people cross streets and try not to bump into each other while walking or how people sit and wait for the transport. These are one of my favourites to watch because it’s such a choreography. My interest in working with the body makes me much more attentive on what is going on in the streets but it’s not necessary to bring it the other way around just for the sake of doing something weird. By the movement research during the workshop and working with it to perform, we basically give people back to make them more attentive to movement. It’s kind of a cycle.”
What kind of effect can specific gestures and bodily movements have in our society and environment?
Johanna: “My interest when I started working with these methods was very much on how gestures function in relation to other gestures and how they can be broken, altered, socialized or democratized. In the workshop we addressed the political gesture of the handshake. It’s a power game, which can be very effective, but is also ridiculous to a certain degree. So, if gestures of power are already tragic and ridiculous, how can we play with exactly that ritual? To over-identify or exaggerate and to see whether that changes the dynamics or whether we need different repurposing strategies for a kind of politics that is less connected to domination and oppression. Whether we fail or not, something will come out of it and I hope it will be fun!”
Jana: “Now I am thinking a lot about gestures in relation to protest. Specifically in relation to protests in Russia because suddenly the gesture of coming literally anywhere with a piece of paper in your hand became such a powerful and political gesture, even if the paper is blank. Probably you saw in the news that people got arrested whatever they proclaim against or pro the war. I have been living in Russia for many years also as a journalist, and I covered a lot of protests as well as took part in them. But to be honest, I never thought about this gesture, the act of holding a piece of paper. Now I think it’s a strong act. Gestures really work or not, benefit or lose from the context in which they are performed. So: more movements please everywhere! And more movement into art academies!
Play of dominance in space and Scores for other handshakes, developed by participants of the workshop Gesturing together, failing together: A tragedy held by Johanna Ekenhorst, Movement Lab, KABK, 13 April 2022. Photos: Jana Romanova.
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.
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.
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, 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.
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 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.
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 ( https://svobodnehory.cz/ ) .
Tereza showed in February her project Susirna at Archiprix in Delft.
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
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.
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
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.
Studio Makkink & Bey
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.
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
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
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.
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).
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.
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.
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 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.
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.
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.
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.
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: stadindemaak.nl. Erik collaborates with students on a one to one scale projects in 'a real world' context.
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.
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.
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.
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.
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.
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 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.
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.
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.
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 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 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.
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
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.
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.
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 (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.
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 esther-de-vries.nl.
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
2514 AN The Hague
Hans Venhuizen (Head INSIDE) (HV)
Anne Hoogewoning (Tutor THEORY programme)
Lotte van den Berg (Coordinator INSIDE)
Student Editorial team:
Graphic Design/Web Development:
Graduating students 2021/2022:
Ariana Amir Hosseini
First year students:
INSIDE would like to thank:
Thijs de Zeeuw
Jago van Bergen
Muriël van der Wal
Leonardo Hotel Almere
Henk Jan Imhoff
Floating University / Raumlaborberlin
Saskia van Stein
Chantal Hendriksen & Pjotr de Jong
Carme Noguiera & other guides
Alejandra Morgana Lopez
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.
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.