Last Saturday at the ‘For Love of the World’ Festival
, hosted by TU Delft’s Studium Generale, Caradt’s Situated Art and Design researcher Simone van den Broek, presented several innovative Mycelium jewellery pieces. These Mycelium jewellery pieces are part of the ‘Living Gold‘ research project, aiming to redefine the boundaries of jewellery creation through the sustainable and innovative use of mycelium.
In this research project, Simone explores the fusion of nature and craftsmanship by incorporating mycelium (a material known for its versatility and environmental benefits) into goldsmithing. This initiative showcases the potential of bio-based design whilst also promoting sustainable practices within the art, design, and technology sectors.
The ‘For Love of the World’ Studium Generale of TU Delft is an unique event to explore different perspectives on our world, from quantum mechanics and bio-poetics to post-humanism and design, through a diverse program of keynotes, workshops, and interactive art. Simone’s presentation highlighted the festival’s theme of re-imagining our connection with the natural world, emphasizing jewellery’s deep-rooted anthropological significance and its potential for environmental consciousness.
Our research project Living Gold explored the application of mycelium material in goldsmithing, igniting inspiration and promoting new possibilities for bio-based design. Mycelium, nature’s hidden architect, holds immense potential for creativity and environmental consciousness. By tapping into this abundant resource, we aimed to reshape the boundaries of jewellery creation.
‘The ultimate goal is to provide people with the information, skills and tools that enable them to improve the quality of their daily lives.’
Simone van den Broek is a researcher within the Situated Art, Design and Technology research group, and a tutor for the Communication & Multimedia Design programme at Avans University of Applied Sciences in Den Bosch.
The research group Situated Art, Design and Technology (SADT) focuses on the societal embedding and embodiment of knowledge production that art and design research enables. The conducted research contributes to a deeper understanding of technological developments and their impact on people, society, and the environment, and to the development of situated approaches in the creative sector and beyond. In doing so, it advances a wider acknowledgement of artistic and design research as a mode of knowledge production, one that is grounded in creativity and critical imagination as a way of generating insight into, and intervening in, societal transitions driven by technology.
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