INSIDE Magazine #12:
Social Re–approaching
Master Interior Architecture
Royal Academy of Art, The Hague

Studio Inter project by Chen Liu, 2021


In recent years, I have written in this place: " In your hand you have the xxth issue of the INSIDE magazine, the works and thoughts of the Master Interior Architecture of the Dutch Royal Academy of Art". This time you probably have your smartphone in your hands on which you are looking at our magazine. This year, due to corona restrictions, there were no good opportunities to distribute our printed material, so we decided to make a digital version of our 12th magazine. Thanks to the exceptional skill and inventiveness of Jonas Paberžis and Paolo Vigliotti, graphic design students at the KABK, this switch did not lead to a reduction in quality but rather to an innovative reinforcement of it. It even opened up the possibility of giving a series of podcasts by Ieva Gailiušaitė a place in the magazine. Ieva succeeded in making more sides of INSIDE visible through the students she interviewed.

The past year and a half has been completely dominated by the covid-19 pandemic, which brought physical public life to a standstill and consequently also posed great challenges to our education. At the start of this pandemic, in the spring of 2020, the KABK education buildings were also locked down and education temporarily moved to online environments. The purely digital communication made the meetings between people actually too efficient, there were no spontaneous meetings, there was no time left to procrastinate, to consider, to look each other in the eye, to leave something in a conversation for a while, or to speak to someone in the margins of a meeting. When our school buildings reopened for the academic year 20-21 because of a recognition of our academy as practical education, we experienced it as an absolute blessing that we could work in our studio space again. Even during the deepest lockdown, our students, within the constraints, made eager use of those opportunities. To rediscover each other's proximity we have chosen social re-approaching as our theme of the 20-21 academic year. Many of the corona-limitations still played a role in the way we had to organise our education and working in the INSIDE studio.

But it was important that we were able to maximise our resilience and flexibility within these constraints. How can we reinvent the encounter? how does social re-approaching take place? was the main question this year. The theme was a starting point for research, as we, at that moment, did not know exactly what possibilities would be on offer this academic year. In this magazine you will find the results of that search. The 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. First of all, we present this year's 11 graduates. Furthermore, it includes the first year studios with Studio Makkink & Bey, Ira Koers and Gerjan Streng in collaboration with Klodiana Millona and Axel Timm of raumlaborberlin. 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 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, alumni Mary Farwy and Jack Bardwell were willing to contribute with their sharp thoughts to this publication.

As INSIDE we are grateful that even in this particularly challenging context such good 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 students a bright and healthy future within the world of interior architecture. Meanwhile, we are already looking forward to our next academic year in which we will look forward to a wonderful future. We have chosen the year theme 'The moment of Utopia' to accompany our search for it.

Hans Venhuizen
Head of INSIDE
Master Interior Architecture


The Master Interior Architecture at the KABK is a master's programme for designers of spatial change who start each assignment with a broad exploration of the context. At the heart of 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, equality, experience and the concept of inclusiveness have become more and more central. These values have a direct relationship with the urgent social and cultural tasks in the built environment and thus with the social relevance of its design. As a result of these developments, we are slowly but surely seeing the role of the interior architect grow out of the physical interior and prove to be relevant in the most diverse places where people come together and communities are created. Whether those places are actually interior or even purely physical is much less important than the way in which the designers position themselves within these places as curators of spatial change. The students we invite to take part in our programme have a background in spatial design, but also come from the visual arts or sometimes even from the social sciences. What unites them is their curiosity about the living environment, their interest in the urgent social and cultural challenges within it and their aspiration to design spatial improvements for it.


This year we proudly present 11 graduating students. They have researched a rich variety of social and cultural challenges in various contexts and developed them into proposals for spatial change. Surprising again are the variation in positions and approaches that the graduating students developed during the year, next to their ability to mediate, moderate and even curate spatial change processes.

We witnessed the development by Natalia Pośnik of her project connecting the movie identity of the city of Łódź in Poland to how urban space is experienced. (City Metamorphosis) Also in Poland, in Poznań, Alicja Będkowska completely restructured a local market to make it more responsive to current wishes and to give it resilience at the same time. (Market Stage) Tereza Chroñáková thoroughly analysed the small village in Czech Republic she bought a house in, to carefully design a community reactivation. (Sušírna) With her ENOLA project (Alone written backwards) Junyao Yi designs places in Guangzhou, China, where you can be alone in a positive way. Florian Bart analysed and used principles from the generally disliked 1970s Dutch so called cauliflower neighbourhoods to make surprising interventions in other parts of the city. (Where Public and Private Meet) Jeanne Rousselot developed extremely serious but at the same time with humour a research method for social-spatial research in areas of change. The main purpose for Julia Holmgren's project is to provide anonymous space with a lived individuality. Where Aaron Kopps project (Threshold to the magical Cosmos) aims at enriching the built environment with magic. Martyna Kildaitė's project (Hibernating Matter) explores distinctive yet vacant buildings in the Lithuanian urban landscape. In his graduation project (Primordi) Johannes Equizi, creates a wonderful amazing world, with peculiar yet recognizable characters that dwell in the niches of the built environment. Finally Elisa Piazzi presents in (Human and More-Than-Human Rights) the beauty in the relationships of humans with the dirty reality of stuff and space that surrounds them, and shows her ability to use that for the creation of collective responsibility and to raise awareness.

Studio Inter

The New

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

“What do we need to be able to work?” On the invitation of Michou - Nanon De Bruijn the students were challenged to design a workspace, either in domestic or in public space, without using traditional furniture. 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 like wood, plastics, stone, rope etc, found at the academy or elsewhere.

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 notions on new developments on workspaces. These shifts and implications on what is work for instance, 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 even 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 themselves on their ideal future work environment.

The rise of undefined workspaces where the need for furniture is disappearing, is questioned by Georgina Pantazopoulou. Her project DOMA, a reference to the earth space of traditional Japanese farmhouses, is meant to bring comfort to a workspace being situated randomly in public space as long as it is close as possible to the earth. The ‘furniture’ of her workspace consists of a self-woven tatami, made of a rope, with which the ends people can be kept on a 1.5 metres distance. Having fun and joy during a collaborative work, are the key characteristics of The Human Tank by Tjitske Hartstra and Ariana Amirhosseini. Their intervention at the sandy and windy beach rolling out a heavy wooden rug, tested out working together and as such challenged team spirit as an incentive to allow for failures and to learn to disagree. The question on the new physical and atmospheric demands of a domesticated workspace is tackled in Field of Walls by Eda Karaböcek. Driven by the pandemic situation, the project sparks the idea of rethinking and rescaling existing barriers, in this case the existing walls at Eda’s living/workspace at home. Can the walls turn into a more friendly object by the use of translucent material? Can they move and be sized down to become a trusting and reliable element in the workspace?.

Teasing out sensory prerequisites for a workspace, Chen Liu experiments in the interdisciplinary installation Undiscovered Quilt on how objects in the domestic space interfere in the humans’ state of mind. To accommodate controversial emotions and thoughts, some extreme embodied physical experiences like being wrapped in bedlinen, will bring discoveries on possible prototypes for the human desire in the built environment. Driven by the need of music in her workspace, Ilaria Palmieri argues with On Possibilities of Sound as a Connection that sound can create space for sociality and can become a connector for encounter and engagement.

Tubes attached to the façade of the Royal Conservatory in Den Haag, from inside out, allows to hear life music while being outside provoking the necessity to design a workspace based on that of the musicians. By collecting small objects like stones, shells and caps Mae Alderliesten shapes her Nomadic Workspace into a foldable display of her collection. Herewith creating a miniature space that captures unforgettable personal memories on people, places and moments, simultaneously composing sensory memories as a set for conversation. Heteroplaces by Tom Sebestik encourages self-sufficient living- and workspaces in temporary inflatables expressing dissatisfaction with established cultural norms about life and work. As a disrupted space in the public realm the inflatable with a couple of ‘rooms’ aims to influence the behaviour of people and enhance balance and harmony.

The loss of public space as an urban place for gathering and encounters is the topic of Caterina Tioli’s project IN USE: SCAFFOLDINGS. The temporary structural elements placed at construction sites, so called ‘scaffoldings’, can function as a transformative medium for communication between the worker, the owner of the building, the tenant and the pedestrian. When not in use the scaffoldings form an unusual setting for messages and letters to enhance unexpected interactions in public space. The Flexibility of Urban Structures invites citizens of urban environments to use self-made structures like corner stones for flexible objects to build temporarily and alternative public seating. To provoke a change of perception on the traditional furniture in public space, Malte Sonnenschein created a truly relaxing hammock between two drop off signs. His sudden and spontaneous acts raised questions by passers-by resulting in dialogues on the immutability of public space.

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

Studio Space

House Dedel

by Ira Koers

House Dedel is a mid-17th century monumental patrician house located right at the city centre of Den Haag. With a dazzling rococo decorated staircase and an 18th century interior with historic wallpapers, the former family home has endless layers of history, stories and rituals featuring what Dutch life was like in the Golden Age and thereafter. Missing and hidden architectural elements like ceiling paintings, fireplaces, secret doors and passages left their traces and are yet not fully discovered and explored.

Recently the mansion is partly renovated and in use as a design museum displaying a graphic collection of advertising and commercials. Obviously, this transformation is unexpected and a misfit, but therefore also challenging; how to transform a domestic interior into a public space? How to disclose House Dedel’s histories and treasures without losing its intimacy as a family home? How to reveal new stories of spatial experiences and what could be added to represent current times?. The students were asked to carefully observe and immerse themselves into House Dedel, looking beyond nostalgia for the past, to address a topic for its new identity and to come up with a design proposal for a new layer and intervention in one of the rooms. All design proposals by the students can be viewed in the short videos with presentations here.

Theory & Writing

The INSIDE programme explicitly connects theory & writing to each Studio. In this case the theory course started off with a main research question to be further explored individually by the students to finally culminate in an essay: ‘How can House Dedel be unlocked for its new role as a museum – a key public space with an abundance of tangible and intangible traces of everyday life, memories, rituals, decay and preservation’. As one of the approaches and research methods the narrative tool of a MacGuffin is introduced; a term coined by Alfred Hitchcock to identify a mysterious, and at first sight, insignificant object in a spy thriller that sets the whole chain of events in motion. Site observations in search for a MacGuffin could result in an object, trace, personage, symbol, material, colour, ritual etc. as a ‘device’ to research and reflect on its meaning to unlock the house and write an essay as a research tool to support the design process.

The essays by the INSIDE students vary from pure analytical research to more intuitive processes, but a common denominator is the ‘re-discovery’ of the many layers of the patrician house. Doing research through different readings on the representational character of the history of the house also reveals its downside with the inhabitation of generations of a noble family and its domestic social hierarchy. Three investigated research topics can be traced centred around the following questions: how to recycle memories? How to dispose one particular architectural feature of the house? What rituals and systems, inherent to its past, can be reimagined for the future?

With a reference to the servant’s inequal reality in House Dedel creating strict divided and hidden spaces, Caterina Tioli recorded the personal story of her mother’s experiences on reproductive labour in the domestic sphere in her essay “Hi Mom, I want to talk with you about reproductive labour”. In this essay the issue on gender divide is tackled where men are likely to been seen as the breadwinner, while women take care of the household, even if they have equal work. Due to the disused fireplace with its impressive marble front in the living room of the house, Tom Sebestik in his essay ‘Beyond withdrawal: A new space of togetherness’ researched the enforcing qualities of fireplaces and how they serve as an integral part of monumental mansions amongst others as gathering places. In his future plan, Tom aims to bring back the community-enforcing qualities of the fireplace into the house. Being fascinated by an almost hidden roof rain collector on the attic of House Dedel, Ariana Amir Hosseini dives into early laundry methods of the 17th century. In her essay “Realise and know in order to wonder again” a fictional story with memories on a workday that could have taken place in the house, is told from the viewpoint of two young female servants. Through this narrative, their labour-intensive laundry on the attic with the use of an ingenuous rain water collecting system on the roof, is revealed.

How to dispose the smallest architectural feature as a tool for a sensory research of the house is the central question posed by Mae Anderliesten. In her essay The Handshake of House Dedel the many doorknobs in the house are described and their ability to open up history and narratives. The text is meant to raise awareness for the pivotal role of the doorknobs as a haptic bridge between the visitor and the house in within a museum atmosphere. Quello che resta (what is left behind) is, with a reference to the well-known ‘stucchi’ in Palermo (Sicily), the title of an essay by Ilaria Palmieri in which the story of intimacy behind the craft of stucco is revealed. The fifteen meters high void in House Dedel, with its heavy stucco decorated staircases of human reliefs, immortalize the family Dedel’s history. The void constitutes, as Ilaria argues, an interesting starting point to look in the future for new interpretations, appropriations and valorization.

The hallway in House Dedel with its many doors is the subject of the essay by Eda Karaböcek titled MY DOOR IS ALWAYS OPEN. In the past being the heart of the daily life at the house, the hallway has currently been locked out of the interior of the building, as Eda argues, and as a consequence the doors are undervalued for their encountering character. Based on her personal daily life experiences and rituals by passing doors, Eda exposes in her essay the full splendor of this ordinary object. What rituals and systems, inherent to its past, can be reimagined for the future of the museum? This question is addressed in the essay Ritual Traces on Architectural Elements by Chen Liu. In order to create a splendid collage of the past, the domestic rituals and their left traces in the house, are the topic of Chen’s research. Based on the TV series ‘Downtown Abbey’ and the estate’s floorplan, daily life scenes by different classes are unravelled.

In an attempt to contribute to the discussion on adaptive re-use from a phenomenological point of view, Georgina Pantazopoulou describes in her essay Between Imagination and Reality an imaginary event in the dining room of House Dedel. To reinforce the sensory experiences, and inspired by Plato’s Symposium, some possible scenarios are explored to spark various possibilities to reimagine the glorious past of the house’s dining room with food, drink and encountering. Spatial Segregation of Reproductive Labour in Residential Buildings is the title of the essay by Malte Sonnenschein. Following on a study on the floorplan of House Dedel, the essay is a critical reflection on socio-spatial inequalities constituting a clear social divide between the bourgeois family Dedel and their servants. One of the conclusions is that spatial segregation was a deliberate design incentive meant to make the daily life of the servants as much as possible invisible. How can routing support the story of a museum? is the question posed by Tjitske Hartstra. In her essay she explores possible ways of storytelling in House Dedel due to her dissatisfaction with the (non-)existing routing system. The labyrinth, the linear and the successive routing are explored in order to find out a vivid encountering between the exhibition of advertising and commercials and the intimate domestic atmosphere of the house.

A Studio with Ira Koers (Studio Ira Koers) and Anne Hoogewoning (Theory & Writing).

Studio Urban


by Gerjan Streng, Klodiana Millona and raumlaborberlin

Not so long ago, if searching on google earth for Marineterrein, you would only be able to find a defocused satellite image. Located just east of the historic centre of Amsterdam, the fourteen hectares walled-off enclave has been a secret for centuries. Since 2015, after more than 350 years, the gate is open. Through 8 approaches, students of INSIDE, question the past of the site and problematize its current conflictual heritage, in an attempt to look at the site Otherwise; creating space in time that allows for multiple voices in re-imagining bridges of connection and dialogue for a de-militarized present and future.

Starting with the most dominantly present and simultaneously contested architecture, — symbol of the confinement of the site for centuries —, Dear Wall (Eda Karaböcek) draws on a series of fictional conversations in the form of diary entries, impersonating different bodies dialoguing with the wall. The project opens up various implications of such a architectural element in shaping subjectivities on the two sides of the wall which defines who is in- or excluded. Rituals to Claim (Caterina Tioli & Malte Sonnenschein) poses this question further by interrogating the lack of diversity of users of the site and investigating on what is needed to claim a space of your own. Experimenting with domestic rituals in public space they use spatial tools in rethinking ways to shift from an extremely exclusive site to a site of commons.

Archaeology on The Move (Ilaria Palmieri & Mae Alderliesten) looks at the site as an open and ongoing archive in the making, expanding on the notion of archaeology, and bringing to light tools of reading through the site’s materiality and re-enacting invisibilized architectures through storytelling of different multi-temporalities of human and non-human perspectives. Drawing on a counter map of what is given on the surface of the Marine terrein, it entangles and voices stories of water, bodies, ships, commodities, contamination and soil exhaustion. In an attempt to address ecological complexities, Machines of Awareness (Tom Sebestik) is an invitation to engage in embodied knowledge using one’s own body in turning kinetic energy in electricity which serves to accelerate the process of composting. Put intentionally alongside an open air gym, surrounded by ever claimed space craved by commercial purposes, this machine aims at reflecting on the knotty relationship of capital and ecology and addresses possible collective based infrastructures and the efforts behind it. On another note to ecological intricacy, “The Other Perspective” (Ariana Amirhosseini), shifts from a human centred approach of the site and its built environment, to other species asking through three on-site objects possibilities of designing through birds’ perspective.

The last three projects are centred on the investigation of the built environment as a technology of control and architecture as a medium of disciplining the body. “Undiscovered Refuges” (Chen Liu) expands further on the anxiety of being observed in a highly controlled public space, reverting this condition in the peculiar space of a helicopter field, by two interventions that give refuge and comfort. Along these lines, “How Not to Be Seen” (Tjitske Hartstra) explores disobedience as an act of space making, provoked and materialized in two objects that critically reflect on different layers of control of the site. “If, Witchcraft Realities: part of “This is White But It Can Also Be Pink” (Georgina Pantazopoulou) looks through feminist lenses at the site — an inherently masculine legacy of the navy — and takes as a starting point 7 existing objects on site, which turn into 7 stations of a new collective cartography, created through a role play situation in which these very objects are re-imagined otherwise.

Theory & Writing

The INSIDE programme explicitly connects theory & writing to each Studio. A further individual exploration on the values and dynamics of the geographical territories of Marinterrein Amsterdam forms the basis of a research trajectory that finally culminates in a research paper. How to formulate and conceptualize a complex research question and contextualize it both within the collective, physical mapping and the research paper? Through critical reflection students are stimulated to postulate theory, to analyse inspiring case studies and to evaluate experiences and observations. Critical reflection thus forms the link between thinking and doing. A collective reading and presentation of the publication Facing Value. Radical perspectives from the arts (2017) by Maaike Lauwaert & Francien van Westrenen is part of the programme. The authors of the book aim to start a new vocabulary to think and talk about value with the conviction ‘that there is a growing need for alternatives to how we perceive and understand value, what is considered valuable and how and by whom it can be created’. In the course of the programme the student will gradually build up a personal and well-reasoned take on a topic, in such a way that the theoretical conclusions contribute to valorise the potentials of the site.

Sociocratic organisation

The work method of a “Sociocratic Organisation” has been introduced to the INSIDE students in the last phase of this Studio. With the aim of realising and presenting the project on site, at Marineterrein Amsterdam, this method established a collective work organized in circles. The set-up of the organisation is based on trust, tasks, responsibilities and communication between each circle in order to reach the final goal. According to the goal to achieve the realisation of the project, all students have to agree on its needs and to create out of that circles of responsibilities to have the project realised, like: concept/narration, 2D communication, 3D, programme and management. Every student is free to choose the circle he or she prefers to work in, either following what the student knows well and can do, or a topic not very known and for that reason this person would like to practice. Usually each circle names a group leader to deal with the other circles to pass information and to request for material. This way of working provides interaction between students and helps in understanding the importance of collective work with distinct responsibilities.

A Studio with Gerjan Streng (research & design), Klodiana Millona (research & design), Erik Jutten (socratic organisation & realisation), Axel Timm/raumlaborberlin (design) and Anne Hoogewoning (theory & writing).

& Writing

by Anne Hoogewoning and Gerjan Streng

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

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

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

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

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


by Junyuan Chen (superusechina)

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

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

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

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

This year the assignment of the Flows program was titled ‘The Connected Isolation’. How to reimagine the post pandemic world from a systematic approach? Students observed the social and environmental changes caused by the coronavirus. A taxi driver in Beijing adapt to the pandemic situation through Flows thinking: he designed a tube to direct the cold air to the sealed space behind him to avoid the risk of infection. After rethinking the Flows of food, of information and of users in public space, the student’s design analysis support the society to adapt or recover from the current COVID-19 situation.

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.


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 Arnhem - Marcel Smink
• Artscience workshop - Renske Maria van Dam - Tiny Perceptions; Walking Through Doorways is Causing Forgetting.
• Modelmaking workshop - Vincent de Rijk
• Film narratives workshop - Mauricio Freyre
• Utopia or bust workshop - Ana Moreno
• Presentation workshop - Tjyying Liu
• Panic week - Jan Körbes
• Socratic organisation workshop - Erik Jutten
• Graphic Design workshop - Esther de Vries

Graphic techniques Workshops (Workshops KABK):
• Silk Screen Printing – Poedijo Widodo -
• Bookbinding and Letterpress – Sanne Beeren

Second years Workshops:
• The scenography workshop

Introduction Workshop Arnhem - Marcel Smink

During the project week in Arnhem we were asked to design something for the Design Chewing festival in Rotterdam. Preferably related to fire and it had to be possible with the then current corona measures, so the 1.5 metres distance. We were challenged to use a limited number of materials to build something on a location with a rich history that we also had a tour of. The project was led by Marcel Smink. First we started to come up with our own ideas, so that you don’t get carried away by the other ideas but can really tell your own story. Then we did speed dates and talked to everyone about your idea. Groups were made based on everyone’s preferences. After this, I joined Caterina and Chen in talking about fire and getting together in a homely setting. We worked with the existing beams without cutting them so that they could be used again afterwards. It was really nice that we were able to connect the different projects and make a whole show of it. With the whole group. Eventually, the residents of the area were also invited and they took part in the walk.

Panic week - Jan Körbes

The aim of the panic week was to gently shit from our Studio III research into a more practical design phase. I would say the whole workshop never had “tasks”, we created, together with Jan Koerbes activities to do day by day, without any plan but to keep an open mind on what we were doing. We had 4 days to dig into our researches regarding the Marine Terrein in Amsterdam and transform them into a design question. We started with day one by finding and sharing our own personal values which we later applied on the site of our research. To feel more what we were doing, Jan brought us to a location in the Hague, which has similar features and history as the Marine Terrein. Creating a parallel between these two sites, allowed us to narrow down our interests and showed us new connections and possibilities we could have worked on with.

Graphic Design workshop - Esther de vries

The graphic workshop with Esther was really helpful and inspiring. For me it came a bit in a chaotic time and also it was a really short workshop, what maybe deserved more time, also for Esther. But in the end, I really liked how we discussed in small groups and how Esther made suggestions and put effort in reading our research papers and trying to understand which graphic would best suit this. It helped me to try out new ways of designing. Out of my comfort zone I guess. Not my normal very clean and tidy graphic design, but a bit more playful and suiting to the text I wrote. Really looking forward to have her back next year!

Bookbinding and Letterpress/Sanne Beeren

Graphic techniques workshop - Workshops kabk

Bookbinding workshop offered to us a unique experience on how to create our personal notebooks and booklets using our skills with a very simple way. We experimented with the traditional way of section sewn binding. This type of binding is sewn in sections along the spine and glued together for a sturdy finish. Ideal for small and large documents, section sewing enables to lay your book out flat regardless of its page count.

Modelmaking workshop - Vincent de Rijk

During the project week in Arnhem we were asked to design something for the Design Chewing festival in Rotterdam. Preferably related to fire and it had to be possible with the then current corona measures, so the 1.5 metres distance. We were challenged to use a limited number of materials to build something on a location with a rich history that we also had a tour of. The project was led by Marcel Smink. First we started to come up with our own ideas, so that you don’t get carried away by the other ideas but can really tell your own story. Then we did speed dates and talked to everyone about your idea. Groups were made based on everyone’s preferences. After this, I joined Caterina and Chen in talking about fire and getting together in a homely setting. We worked with the existing beams without cutting them so that they could be used again afterwards. It was really nice that we were able to connect the different projects and make a whole show of it. With the whole group. Eventually, the residents of the area were also invited and they took part in the walk.

The scenography workshop

Second years workshops

The scenography workshop was my favourite of the second-year workshops. We had to walk through this part of the city and take pictures of certain settings. Once at school, we looked at the photos and sorted them according to different film genres, such as romantic or horror. It was very nice to see that with the same location we all made very different kind of atmospheric pictures. They all seemed to be completely different locations. It did make me more aware of how you can use the framing of your surroundings. The discussions at school afterwards were also very enjoyable. The only downside was that the workshop was on a Saturday, otherwise they would have had to cancel. Because of this, few people were willing to go and after some messages I cancelled my plans to go anyway. So I think it is better to plan it during the week so that everyone has a weekend.


Second years workshops

This workshop for me was about imagination. We started with a place and had to try to find/guess the right story about the place, that we never visited before. Where was it? What qualities reminded you of a place you already know? Creating stories. Finding the right narritive. Through the speculation of the story, you will come up with new answers. Finding possibilities for the places. The were already kind of guidinglines, like photos we could use for our collages. This was actually a way to get your imagination going. Otherwise it would be to hard to come up with a story I think and I think they did it with a purpose, to push us in a direction.

Film narratives workshop - Mauricio Freyre

This workshop with Mauricio was a great success for our whole group. It was an intensive but instructive workshop. Through the medium of film, we explored how we could make our story clear. We started from our own intuition and after an introduction and examples by Mauricio, we went to work on creating our own image. We had to make strict selections and see what told our story the strongest. Something that is valuable for everyone. By creating a video, you tell your story in a very common and visual way. You can choose to keep it more poetic or get straight to the point, but everyone ended up creating something that totally fit their style and communicated their story clearly. Because of covid, the workshop was online, but this was not an obstacle at all. Mauricio gave a presentation at the beginning of the day and during the day we had a schedule, where he talked to everyone one on one and provided us with helpful sources.
Click here to watch the videos

Presentation workshop - Tjyying Liu

I really enjoyed the presentation workshops. I love improvisational theatre and I think this can also help during the presentation itself. The teacher is very positive and enthusiastic. We did small exercises on how to use your voice and how to use your posture. The lessons were very instructive and I was also glad that he came back for the last presentation. I myself had chosen a film and less an oral presentation but for others it was even more relevant that he came back again. The workshop day also influenced the group dynamics in a positive way.
When I saw that we were going to have a workshop about presenting, I was already afraid about the outcome. I have often had this kind of workshop, which often resulted in an uncomfortable feeling. Presenting is not my favorite thing to do. The workshop started with performances. What is a performance etc.? When I think of performances, I immediately feel uncomfortable and not at ease. Do I have to do all kinds of crazy things in front of a (large) group? But the way the workshop was given by Tjyying Liu was different than expected. Of course I felt uncomfortable in the beginning, but we all did. And we are a close-knit group, where we respect and value each other. Through different exercises we looked at what is important during presentation; volume, speed, articulation etc. With different strategies we learned what we could do better and what tricks you can use to come across clearly and well. I think such a workshop also works well if we really have something to practice with, like in a project etc.
The Presentation workshop with Tjyying Liu was an incredible and unique experience. The workshop from the beginning until the end was well done designed and it had impact also to our personal view and experience because most of us enjoyed it a lot. We started with simple warm-up exercises in order to activate not only our bodies but also our voice. The most important part was that we created invisible spaces around the space using our imagination and our body skills. The playful character of the workshop intensified our willingness to participate and we had an excellent collaboration between each other. The final task that we had to do during the workshop was to present a short performance of the description of our house experiencing it through our daily routine with our bodies. Finally, was created a choreography in duos which represented our collaborations and skills that we developed during the workshop. The workshop offered to us possibilites to think out of the box, to be more creative, to understand better our body movements and our personal sound of voice and its alternatives. All these elements are extremely useful not only for the presentations side but also for our general communication with the others.

Socratic organisation workshop - Erik Jutten

Aim of the workshop was to divide us into circles of responsibilities according to what each of us is capable of doing or what we are interested in doing. Goal of this work was to develop organization and strategy for the presentation of our projects on site in Amsterdam. As part of the concept and communication circle with the others belonging to the same ones, we decided a narrative for the event, considering all the projects as part of a bigger one. On top of that we took care of the promotion of that event designing flyers, posters, maps to spread physically on site and also via social media. I knew about the Sociocatic organization from before but never applied or used it myself. I learnt how to take responsibilities mainly for what I was concerned to do, trusting the other circles for the rest of the work. With Caterina and Georgina we worked fast and good starting from the creation of the narrative of the event to the graphic design of it. We finished by the time we set up a deadline to be able to spread things around. I am very happy about that.

Artscience workshop - Renske Maria van Dam Tiny Perceptions; Walking Through Doorways is Causing Forgetting.

The workshop was combined with the art and science group opposite us in the school. It was nice to get to know people from the school outside their own classroom and get a different view on projects. The workshop called Tiny Perceptions; Walking Through Doorways is Causing Forgetting. was a three day workshop led by Renske van Dam. The project was about living in the moment and focusing on the little things around you. We started the workshop with a dance given by Kenzo. The dance of about an hour and a half was not forced choreography but a free way of dancing that could help you to exprience the space in a different way. After the dance we got a lecture and a short introduction to the subject: Walking Through Doorways is Causing Forgetting. a subject I already knew things about and what I also find interesting. We were asked to choose a place in the school together with our mixed team of art science and inside students. Performing spatial research is in my opinion very relevant to our profession and I learned from the assignment.

Utopia or bust workshop - Ana Moreno

With the idea of experimenting possible future scenarios in urban environments and social interactios, we have been asked to imagine a utopian time in our life and to play with fiction to test spatial design outcomes. Imagining to leave behind us the cubicular shelters where we, as the whole human kind, were living, we encountered a big empty space. How to deal with it? What connections could this space set up? Discussing as a group, still in the fictional part of the workshop, we started to share ideas and needs and we built up a space able to respond to them. Our actions, decisions, talks, movements have been recorded by ourselves to create materials for a video Anna Moreno put together as a research tool.

Silk Screen Printing/Poedijo Widodo

Graphic techniques workshop - Workshops kabk

This workshop, where I did Riso printing and silk screen printing, for me was like a refresher for techniques that I have tried before. I saw it as an opportunity for me to get acquainted with the workshops and how things work in the academy. After all, it’s different at every academy. Of course, I also saw the opportunity to work with analog images I had just created. That was a nice bonus.

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


Series of Lectures by Mary Farwy

Naked or dressed they crawl like a liquid. They are tiny building masters. They have no brains yet no nerves but they manage to build livable environments. Not only, we are surrounded by them, they prevent the lucky healthy ones among us from getting sick, and still they do at this very moment. Those guys that I am talking about are: the Amoebas. Amoebas accompanied me while reacting to the INSIDE 2020/2021 theme: ‘social re-approaching’. As an INSIDE alumna, organizing and designing the ‘social re-approaching’ lectures, I gravitated to the Amoebas as a visual inspiration and starting research point.

Amoebas are microscopic, they are microbes consisting of one single cell. They are unicellular organisms found in almost every environment, ranging in size between micrometers to several millimeters. It might seem kooky to start with introducing one single cell beings, while investigating ways of socially re-approaching, in times where complex spatial, social and political realities are shaken and in the scope of ‘change’. Though, the theme ‘social re-approaching’ has the word: social; relating to our sociology, and re-approaching has the notion of ‘change’. Thus here, Amoebas; our formless ancestors, popped up for me, as an abstract analogy to take-in. Amoeba is a Greek word meaning ‘to change’ or ‘to alter’. What makes them special is that they are ‘shape shifters’. They can change their cells in any shape they want to be. When it comes to humans, change varies a lot on multiple levels: political, social, cultural, etc. And varies between different groups of people according to their privileges, power, knowledge, class -as they call it-, gender, age, etc.

The current socio-spatial and health crisis revealed how much education, learning and unlearning in regards to change is needed. Curiosity, expansion and questioning in times of change are vital. In times of crisis, what is changing is our sociology, and we are not the only ones. Going back to our friends the Amoebas; Amoebas are masters of vagueness. If life gets bad for them, they come together in a living environment in what is called a ‘slime mold’; a smudged group of cells that are co-operating figuring out where to go, and where is a good place. When separated and during times of stress, some of them in those slime molds develop into spore-generating fruiting bodies. Biologists find this weirdly interesting as a way to re-approach, because of their ability to change their sociology and cooperations.

Font credit: Version by Céline Hurka
Bogomir Doringer photo credit: Nikola Lamburov.

Shirin Mirachor photo credit: Khalid Amakran.
Ana María Gómez López photo credit: Marcus Lieberenz.

As the COVID-19 has its limiting effects on how people can move and operate in the built environment, re-approaching and changing the way ‘we’ live with ourselves, with nature and among cultures, is a responsible act of existence. But first, Who are ‘we’? As Joanna J Bryson defines; ‘We’ persist for a long time, and ‘we’ make changes between generations. ‘We’ use cognition to re-approach new intelligence while ‘we’ persist.

The social re-approaching lectures started as a research point on how architecture can shape new understandings of the self ,culture, and nature. I believe it is important to note that an ‘end point’ of things is a naive approach to conscious-life. Thus, The lectures were not handled to define a solid end point or a ‘conclusion’ on how to re-approach. The goal is to grasp different ‘ongoing approaching mechanisms’. Architecture needs to liberate itself from a merely functionalist approach and to integrate further diverse inputs from various disciplines. On this basis, visual artists, architects, activists, designers, writers and curators joined as speakers, sharing their views and interpretations on the theme: social re-approaching. Three lectures were held focusing on three different phenomenons, while two speakers joined each lecture, to elaborate on the theme through their diverse re-approaching mechanisms.


Re-approaching underrepresented cultures

Bogomir Doringer /dance as a political act/
A-WAKE foundation with Shirin Mirachor / unheard voices/

The artist, researcher and curator Bogomir Doringer, navigated during the lecture through works of his such as ‘I Dance Alone’ and ‘Dance of Urgency’. Introducing dance as a political act in club culture through examples in Georgia, South-Africa, Chile, Germany and the Netherlands. Investigating the relation between: the space, the body, and dance as a political function, from the seventies till now. Showcasing the effect of repetitive beats on uniting people more than spoken or written words. Questioning: how does the dance of people in clubs reflect the socio-political environment and struggles of individuals and groups? How is dance used as a practice of self-organisation? Which spaces allow individuals to be vulnerable, self-empowered and expressive in their bodily movements? Stimulating thoughts on why we dance and the value of dance in times of crisis. Talking about inclusivity, safe spaces in the club-culture, and the body crisis during modern times, especially with surveillance and the corona crisis. How conscious are spatial designers about those matters during their decision making process?

Shirin Mirachor, director of A-WAKE foundation in Rotterdam, introduced the activities of A-WAKE. She expressed that there should be an alternative space for representing the unheard voices in the world as we know it today. Stressing on the importance of having a solid physical space as a base meeting point for A-WAKE, which is MONO; a cafe during the day, transforming into a club on weekends. The program is much focused on artistic-political activism. One of their projects, the ‘New radicalism’ festival, aimed to bring fresh perspectives on the Middle East and Africa.


Re-approaching nature

Sébastien Robert /indigenous rituals in natural areas/

Ana Maria Gomez Lopez / inside/outside architecture of the body/

Sébastien Robert’s research cycle ‘You’re no Bird of Paradise’ as he calls it, started in 2018 in Cambodia, focusing on the disappearance of indigenous music and rituals due to social, technological, political or climatic challenges. The project is not about only recording the Pleng Arak musicians in Cambodia or archiving the disappearing sounds or rituals of their community, but rather trying to preserve it in a tangible way, via a specific way of translation. Translating these sounds and rituals into ways that we can see and sense, respecting the culture of the Pleng Arak musicians. Robert stressed on how important it is as an outsider western artist to gain the trust of the Pleng Arak musicians, since it is very dangerous to fall into the trap of appropriating their musical culture and rituals. The Pleng Arak ancient music is exclusively performed during sacred rituals. Thus, based on their request, Robert worked on a graphic notation for their instruments, resulting in an abstract translation of the sonograms into a coding system, approaching the preservation of music and rituals for this specific culture, in a different way.

The self-experimentation work of the Artist Ana Lopez is centered around the use of needles and parts of the body, shifting the boundaries between the inside and the outside architecture of the body. In her project ‘Inoculate’, she planted a seed in an interior part of her eye; the lacrimal duct. After staying about two weeks inside of her room, the seed produced a small sprout. Another self-experiment tested if a botanical specimen would grow from her hand’s skin moisture. All those experiments rap around the idea of connecting the inside and outside architecture of the body through a hole penetrated by a needle. Which is intriguing to think about the future of the body, boundaries, architecture and nature. Such self-experimentations are re-approaching human and plant relations differently.


Re-approaching the self

Maaike Fransen /ways of living/

Kevin Rogan / public space in times of COVID-19/

During the last social re-approaching lecture, the multidisciplinary artist Maaike Fransen manifested through her work ‘How to make a living’; the paradoxical feeling about alienation and living in a self man-made construct. In this work, presented in six films, she designed her own one-person microcosm that does not fit in the world as it is. This kind of an utopian representation of alienation reality, held many metaphors and meanings on how a ‘space’ can ‘enforce’ such alienated position. The work expressed spatial and mental concepts of security, belonging and individualism.

The researcher and writer Kevin Rogan, elaborated on notions of surveillance, focusing on the current social-distancing reality. Through three articles he wrote for the architectural firm; Failed Architecture, he presented a couple of alienation examples in the urban context of New York city. Rogan’s work presented new statements and understandings on the self, togetherness and communities post corona times.

The three social re-approaching lectures navigated through different re-approaching mechanisms in relation to underrepresented cultures, nature and the alienated self. At the end, there is much more to explore. What is critical consciousness at bottom, if not an unstoppable predilection for alternatives? quoted Edward Said.

Mary Farwy is an alumna INSIDE student who graduated in 2020

Outside of INSIDE

Portraits of alumni

As part of the six-year accreditation in the autumn of 2021, for which INSIDE is preparing in the academic year 2021, we started a questionnaire among INSIDE alumni of the past 5 years. Complementing the alumni questionnaire, we conducted interviews with 5 alumni who, in one way or another, represented the different positions on the bandwidth and generations of alumni. The interviews were conducted by the head of the department Hans Venhuizen who also wrote their reports. These reports were approved by the interviewees.


by Ieva Gailiušaitė

By interviewing some INSIDE students, graphic design student Ieva Gailiušaitė, gives glimpses on their thoughts, worries and work processes. The interviewees are both first year and graduate students, with Alicja Bedkowska, Johannes Equizi, Chen Liu, Malte Sonnenschein, Tom Sebestik, Tereza Chronakova and Florian Bart. Please download the podcast to your personal device for easy listening!

The People

Mae Alderliesten

First year student

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

Ariana Amir Hosseini

First year student

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

Florian Bart

Graduate student

Florian Bart is a spatial designer based in Rotterdam. He is a charismatic young man with a positive and idealistic view on the way we should be using spaces. He has a fascination for the friction between public and private life that takes shape on various scales in the urban fabric. He mostly works in the field of interior architecture, set design, object design and urban design. He graduated from the master Interior Architecture (INSIDE) at the Royal Academy of Art and the bachelor Spatial Design at the Willem de Kooning Academy.

Alicja Bedkowska

Graduate student

Alicja is an architect from Poland, recently graduated from MA in Interior Architecture at KABK, with earlier accomplished BA in Architecture at Central Saint Martins (University of the Arts) in London. Her interest and experience is concentrated around human scale, sensible solutions which can have a great impact on the users. She believes that the role of an architect is to design with respect to people and their surroundings in order to create designs which connect different types of people and make them part of the change.

Lotte van den Berg

Coordinator INSIDE

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

Jurgen Bey
Studio Makkink & Bey

Graduation tutor

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

Michou-Nanou de Bruijn
Studio Makkink & Bey

Graduation tutor & Studio tutor

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

Junyuan Chen – Superuse Studios

Flows tutor

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

Tereza Chronakova

Graduate student

Tereza is an architect from the Czech Republic. In her previous studies she accomplished BDes at Interior and Environmental Design at the University of Dundee (UK). Prior to that she studied for two years Architecture and Urbanism at the Czech Technical University in Prague. She believes that architecture is a medium to activate socio-political discussions and narratives. The role of an architect is an observer, mediator, activator, and constructor of new relations within the society, culture and built environment.

Johannes Equizi

Graduate student

Johannes Equizi (1996) is a designer and artist graduated from a MA in Interior Architecture at The Royal Academy of Art, The Hague and previously graduated from a BA in Architecture in Italy. Grown up in the countryside, eager traveller, writer and maker, Johannes composes a repertoire of alternative visions, poetic claims and experimental collective actions. Combining cross-disciplinary knowledge and skills and revealing unforeseen potentialities delineate Johannes' practice, on the threshold between tangible and speculative.
Currently based in The Hague.

Benjamin Foerster-Baldenius – Raumlaborberlin

Studio tutor

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

Mauricio Freyre

Skills tutor - film narratives

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

Tjitske Hartstra

First year student

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

Julia Holmgren

Graduate student

Julia Holmgren (1995) was born in the South of Sweden. She works across the disciplines of form, interior design and representation. She has a strong interest in the relation and physical contact between the human body and materials. Prior to her masters, she studied her Bachelors in Interior Architecture and Furniture Design, at Konstfack, University of Arts and Crafts, in Stockholm, Sweden.

Anne Hoogewoning

Theory & Writing Tutor (first year and graduation year)

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

Erik Jutten

Studio tutor - Practice skills

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

Eda Karabocek

First year student

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

Martyna Kildaitė

Graduate student

Martyna is an architect from Lithuania with a BA in Architecture from Vilnius Gediminas Technical University and recently graduated from MA Interior Architecture (INSIDE) at Royal Academy of Art, The Hague. She had worked with different scale architectural-artistic-educational projects. Martyna believes that an architect is not only an objective, but also a sensitive observer and mediator who could offer suitable research methods and design interventions that could stimulate constructive public debates and provoke societal changes.

Ira Koers

Bureau Ira Koers – Studio tutor

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

Aaron Kopp

Graduate student

Through my work I explore the relationship between physical and mental structures – the built environment and social values. Within my exploration, two subjects are particularly fascinating and fruitful to me. First, what I call “other spaces” – places that distinguish themselves from their surrounding by being or encouraging otherness. Second, the political and philosophical dimension of place-making. Throughout the last years I have been working on three distinct scales: individual freedom, community perspectives, and urban policy shaping culture.

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.

Paul Kuipers

Skills tutor – exhibition design

Paul Kuipers is an architect based in Amsterdam. In 2019 he graduated with Achterhuis, an architectural research on spatial encryption, by designing a new public home for Edward Snowden. In 2016 he founded his own studio after working at EventArchitectuur, a design firm for time- and experience-based architecture, for 15 years. Additionally, since 2012 he collaborates with artist Jonas Staal on art-politics related projects like New World Summit and New Unions, based on a joint research into speculative and utopian forms of architecture.

Chen Liu

First year student

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

Tjyying Liu

Skills tutor – presentation

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

Arna Mačkić

Studio L A – Graduation tutor

Architect Arna Mačkić is founder of Studio L A (together with Lorien Beijaert), and writer of the book Mortal Cities & Forgotten Monuments. For L A, the practice of architecture is a device through which to investigate societal issues, and to place them in renewed perspectives. Their projects relate to inclusion and exclusion mechanisms, refugees, collective identity and public domain. Studio L A has won several awards, including the Dutch Design Award (2014) and the Maaskant Prize for young Architects (2017). Currently Arna is member of the supervisory board of Jan van Eyck Academy and part of the editorial board of the Yearbook Architecture in the Netherlands.

Klodiana Millona


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.

Fokke Moerel - MVRDV

Graduation tutor

Fokke Moerel is trained as an architect at the Technical University Delft. Since 2016 she has been a partner at MVRDV (Rotterdam) which she joined in 1998. She leads projects in, among others, the Netherlands, Eastern Europe, the Americas. One of her well known projects is currently under construction: the public Art Depot of Museum Boijmans van Beuningen in Rotterdam, to be completed in 2020. She lectures internationally in Europe, America and Asia.

Ilaria Palmieri

First year student

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

Georgina Pantazopoulou

First year student

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

Elisa Piazzi

Graduate student

Elisa (1996) is an Italian designer recently graduated from a MA in Interior Architecture at KABK and previouosly graduated from a BA in Industrial Design in Italy. Currently based in The Hague, she had worked in different architecture and design offices in Italy, Germany and The Netherlands. She believes that the purpose of the designer should be to help create a good society. Making sense of the new or already present forms of positive change, letting go of concepts such as authorship and the dominance of the mere aesthetics.

Natalia Pośnik

Graduate student

Natalia Pośnik is an architect, spatial designer, and filmmaker from Warsaw, Poland. She grows out of architecture to a deeper appreciation of spatial experience. In her field research, she investigates visual techniques for a better understanding of urban dynamics and tests new tools in architectural practice. The main topics of her current interest are collective memory and space reconstruction. Privately, she is an archivist of cultural resources and storyteller with a huge sense of nostalgia. Natalia's eternal goal is to remember, appreciate the process and depict reality. Her motto is “form follows performance”.

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.

Jeanne Rousselot

Graduate student

Jeanne Rousselot (1995) is a spatial designer from Lyon, France. She recently graduated from a master in Interior Architecture at KABK- The Royal Academy of Art, after a bachelor in Interior Architecture in Brussel, La Cambre. What is important for her is to create projects that activate interaction between different groups of people, especially between people who do not know each other. She considers that places, situations and objects that enable communication are the key to a tolerant, understanding society and thus to living well together.

Claudio Saccucci

Graduation Tutor

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

Tom Sebestikova

First year student

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

Malte Sonnenschein

First year student

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

Gerjan Streng – The Cloud Collective

Studio tutor and Research Graduation tutor

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

Axel Timm

Studio Tutor

Axel Timm is one of the founders of the Berlin-based office Raumlabor; a collaborative practice of 20-30 practitioners with a core of nine long-term members whose work centers on the intersections of architecture, urbanism, public art, and activism - often proposing playful, temporary, or speculative urban prototypes aimed at transforming the built environment. One of Raumlabor’s recent projects is Floating University at the former Tempelhof Airport, Berlin to explore the future of architecture schooling, on which INSIDE participated in 2019. For this year Biennale Architettura, Raumlabor participates with ‘Instances of urban practice’ which deals with shifting the perspective in architecture.

Caterina Tioli

First year student

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

Hans Venhuizen

Head of INSIDE & Tutor Travel programme

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

Esther de Vries

SKILLS - Tutor Graphic Design

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

Neeltje ten Westenend

Skills Tutor - observation

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

Junyao Yi

Graduate student

Junyao Yi is a spatial designer who finished her BA in Landscape Architecture at South China Agricultural University and graduated from MA Interior Architecture (INSDE) at Royal academy of Art, The Hague in 2021. She started her practice as a landscape designer since 2016, cooperated with landscape architect and interior designer Bill Bensley. She is interested in using different materials - especially natural elements - to create scenarios and narratives in ordert to build emotional connection with visitors and users.


INSIDE Magazine #12
Is the twelfth publication by INSIDE
Master Interior Architecture

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

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

Student Editorial team:
Caterina Tioli
Ilaria Palmieri
Tom Šebestíková
Chen Liu
Malte Sonnenschein

Graphic Design:
Paolo Vigliotti
Jonas Paberžis
Agnar Stefánsson
Design office KABK

Web Development:
Paolo Vigliotti

Podcast by:
Ieva Gailiušaitė
Design office KABK

Graduating students 2020/2021:
Florian Bart
Alicja Będkowska
Tereza Chroňáková
Johannes Equizi
Julia Holmgren
Martyna Kildaitė
Aaron Kopp
Elisa Piazzi
Natalia Pośnik
Jeanne Rousselot
Junyao Yi

First year students:
Mae Alderliesten
Ariana Amir Hosseini
Tjitske Hartstra
Eda Karaböcek
Chen Liu
Ilaria Palmieri
Georgina Pantazopoulou
Tom Šebestíková
Malte Sonnenschein
Caterina Tioli

INSIDE would like to thank:
Design Museum Dedel
M.F. le Coultre
Judith Vermaas
Gert Dumbar
Thijs Meijer
Mark Bakker
Klodiana Millona
Jack Bardwell
Yu-Chin Ku
Ausra Cesnauskyte
Shripal Shah
Camilla Casiccia
All INSIDE alumni
Mary Farwy
Bogomir Doringer
Shirin Mirachor
Sébastien Robert
Ana Maria Gomez Lopez
Maaike Fransen
Kevin Rogan
Peter Zuiderwijk
Buitenplaats Koningsweg
Marco Henssen
Hans Jungerius
Verborgen Landschap
Studio florentijn hofman
Galery Machinery of me - Rieke en Maarten
Maakwerk - Marlies en Rick
Omlab - Huub en Margreet
Jeroen Musch
Park Hoge Veluwe
Kröller Müller Museum
Frank hemeltjen
NL Architects - Kamiel Klaase
Kie Ellens
Astrid Kaag
Joop Mulder
Bram Esser
Marcel Smink
Studio Frank Havermans
Alexandra Landré
Mark Veldman – OMA
Erno Langenberg
Chantal Hendriksen & Nikki Gonnissen
Angelina Tsitoura
Copyright INSIDE, KABK The Hague/The Netherlands, July 2021

Most photos were made by students and staff of INSIDE.
Exceptions are:
Profile picture Fokke Moerel: © Allard van der Hoek
REFUNC images – Ishka Michocka

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