Dutch Design Week 2015

The Future of Making

2015/10/17 - 2015/10/25

Dutch Design Week
Klokgebouw, Hall 4, Eindhoven

Participants Dutch Design Week 2015

Svenja Bernhold

Knitting. A study in biodiversity

Conceptual Textile Design

The project “Knitting. A study in biodiversity” explores the creative potential of machine-knitted fabrics. It looks for ways to use the qualities of such fabrics for functional and aesthetic purposes and examines the role materials and bindings can play here. At the end there are no finished products but insights – inspiring ones, but also ones which are rather disillusioning. These insights manifest themselves in a number of shapes, which are so different from each other that one easily overlooks the feature they all have in common, that is, the fact that they are all knitted. The shapes sometimes remind us of something organic, so it is tempting to draw parallels to biology in terms of language and notion: The technique of knitting equals the genus, the samples are the species and the design process turns out to be an evolution.

photo creditsArmen Asratyan
Anna Schröder

exploring the invisible

Conceptual Textile Design

Innovative textiles created by living mushrooms – a symbiosis.

Experiment Series 1: Can lower fungi grow patterns on fabric? Or dye fabric permanently? An experiment in cooperation with the Helmholtz Centre for Environmental Research Halle turns imaginations into vivid patterns and helps new fabrics evolve.
Experiment Series 2: Can new features such as water resistance, thermal insulation and fire resistance be achieved by the growth of mycelium? Various experiments and materials display mycelium growth on textiles and visualize the modulation of their properties. First results open up completely new pathways in textile finishing through natural growth.

materialwoven and knitted cotton, paper, wool, hemp, polyester,
viscose, polyurethane, linen and mycelium, differt mould spores
photo creditsAnna Schröder, Franka Skabak
Carmen Wanja


Conceptual Textile Design

My theme is about changes brought by climatic influences such as air, light, humidity, temperature and water. The indoor climate is paramount. Sometimes changes to my materials occur over a longer period, like the oxidation of metals, for example, but sometimes there are just regular interactions with light and water. Some surfaces are even developed by climate constituents, as for example cyanotype by UV light. On the other hand there is an influence on the indoor climate, such as the smell of the metallic patina, or for example reflecting surfaces can protect from heat, or the climate can be affected just by changing the lighting conditions in the room.

size40 × 50 cm
materialmetal, copper, iron, reflection fabric, reflector yarn, glass pearls
photo creditsArmen Asratyan

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Esther Suáres Ruiz


Plastic Arts / Jewellery

My work is about beads. I made a group of shapes, such as a cylinder, a sphere, a cone, a disk. Each of the volumes has a hole through it, so that it can be put on a string and worn as jewelry. Around that hole I build each piece, I add colored yarn in different ways and then dip it in resin. The resin helps to fix the textile. The mixture turns into a hard and stable material that I can file and polish. On the smooth surface of the objects, you can read how they were made. It invites the viewers to take the pieces in their hands, to touch it and to discover details about their construction. Through working with materials of no particular value, I attempt to change them into something precious.

sizeh 140–52 mm, w 70–27 mm, d 70–27 mm
materialcotton thread and resin
Leonarda Spassova

Die Visuelle Identität

Industrial Design

Our viewing habits are the theme of the work. We identify an archetype, although there are contradictions in its illustration. This contradiction interests me. A painting of Nathalie Du Pasquier is the inspiration. I produce three ceramic interpretations of the cup in the image. I generate an irritation by distorting of the proportion and shape of these cups, which offer a view behind the illustration and show unknown objects. They invite you to interpret – Are we free in our seeing?

sizeh 100 mm, w 80 mm, d various 50–160 mm
photo creditsLeonarda Spassova


Industrial Design

Plastics made of natural sources seem like a new type of material, a “supernatural” material, a “Hyperwood”. Bioplastics are in application and appearance as diverse as their raw materials, whether lactic acid, cellulose or wood. Can the image of plastics be rehabilitated by the use of bioplastics? Should conventional plastics be replaced by bioplastics? We examined new areas of application, processing, surfaces and aesthetics.

Students: Clemens Schebiella, Moritz Wussow, Schneider, Li Yin, Leni Binder, Thieme, Tobias Rell, Vladislav Pasthukov, Marie-Luise Mönnich, Linn Pulsack, Davina Plätzer, Wen Wen Liu, Alisa Viinikainen

photo creditsTobias Rell
Judith Faßbender, Hannes Fromm & Nikolai Schilasky

Gravity – about the attraction between masse

Industrial Design

Three objects that are focused on time, rotation and the influence of gravity.
Our gravity ensemble consists of three kinetic installations – a combination of a calendar and a clock, a lamp and an abstract timepiece. The interaction of bodies caused by gravity, the movement of planets in space, and the time units which evolved from that movement were inspirational for the three objects. With their function and design, the objects induce the user and observer to reflect, and potentially understand, the correlations in our planetary system.

sizecalendar 80 × 80 × 12 cm, lamp 250 × 80 × 25 cm, installation 72 × 13 × 111 cm
materialaluminium, wire rope, rubber, acrylic, glass,motors, electronic components
photo creditsJudith Faßbender, Hannes Fromm, Nikolai Schilasky
Marcel Krummenacher

Rapid Ceramic

Product Design & Applied Art (Porcelain, Ceramics, Glass)

The outset of this project was the question of how an analog product can benefit from digital tools such as 3D printing. Following this question, the vase “Choice” was created. An analog contorted body forms the base of the vase, to which a digitally generated attachment is added. Through the option to change the diameter of the vase’s mouth, the vase’s spectrum of application is extended – be it to hold an opulent bunch of tulips or some field flowers. Additionally, the grid form of the attachment provides the basis for various flower compositions. Choice will suit every occasion.

size300 × 150 × 150 mm
materialPorcelain, printed ceramic, PLA filament
photo creditsMarcel Krummenacher
Miriam Treml


Industrial Design

Firing porcelain causes it to shrink by about 15 percent. To get the desired size in the end, you have to bear in mind the characteristics of the material. With “Impair” I tried to take advantage of exactly that. It is possible to fire various components “into one another” due to their reduction in size. By this procedure, I was able to produce a ball joint. To get the accurate size, section and shape, I designed and built each of the cores digitally and then 3D-printed them. First, the inner parts of the cores are fired, which then fit into the casing of the outer parts as a result of their shrinkage. Afterwards, everything is fired together so that the outer parts shrink, enclosing the inner ones. Thus, the chain links which were formed by this process are connected inseparably in and with each other, but they are flexible nevertheless.

sizelengths 200–300 mm, diameter of one chain link 30 m
materialsoft porcelain, stainless steel
photo creditsMiriam Treml