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Projects

InnoCell Bioreactor

Playful Interaction

Design protest and politicizing design critique

Co-designing sensory augmentation with both deaf and hearing people

Charging the Commons

A learning ecosystem for creation and innovation: exercises in ecosystem contamination, assembly and collectivity.

Flavobacteria

Performing Working

From Award to Impact

Bridging Perspectives

Implementing Biophilic Design in Semi-public Spaces

The Garden that Sees, Smells, and Hears

New Media & Performance Workshop

Coloured by Flavo

Situated Design Methods

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‘Without collaboration, impact is impossible. So… let's connect, and make a sustainable impact on society.’

Wouter Meys arrow

‘People are the product of their relationships with their environment. It’s important to understand how technological developments influence these relationships.’

Michel van Dartel arrow

‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’

Sebastian Olma arrow

‘The dynamic relationship between humans and living artefacts will continue to evolve reciprocally with mutual care.’

Elvin Karana arrow

‘My practice is situated in between different actors, in this shape-shifting middle many things can happen.’

Tara Karpinski arrow

‘Imagination is the key to a strong inclusive society. Artistic work and situated design can contribute to a better understanding of the other.’

Jenny van den Broeke arrow

‘As a result of my current research, I ask the students the questions “what is your work” and “what works for you.’

Rob Leijdekkers arrow

‘It is through the “not-knowing” that a stimulating and caring environment can be created to confidently share vulnerability.’

Risk Hazekamp arrow

‘‘Understanding how creativity and imagination emerge from interactions with our environment will lead to improved innovation processes, tools and technologies.’’

Alwin de Rooij arrow

‘Performance is about engaging with versions of the self, stretching the gaze to see what others see when they look at you.’

Philippine Hoegen arrow

‘Through an interplay of design and research, the apt questions and necessary tools can be discovered and applied to each research project.’

Antal Ruhl arrow

‘Consumers are creatures of habit. If we want them to break routine and live sustainably, we have to do more than just offer sustainable alternatives. ’

Estelle Nieuwenkamp arrow

‘Bacteria, Fungi, Humans, all part of the same experiment.’

Ward Groutars arrow

‘How can we disrupt the notion of being human while staying true to being humane?’

Wander Eikelboom arrow

‘The essence of the situated, cinematic experience of dance lies in the mental interaction where the public becomes co-author.’

Noud Heerkens arrow

‘To be able to research something thoroughly, you have to deeply engage, not just look at it from the outside.’

Bart Stuart arrow

‘Humans are atmospheric beings, particles, dust, in intimate cycles of exchange, actors with an incredible force.’

Annemarie Piscaer arrow

‘How do we live together, how do we work together? How do we give shape and form to ‘being together’ in the broadest sense?’

Bas van den Hurk arrow

‘Could experimental sensory translation of art works improve their accessibility for sensory diverse exhibition audiences?’

Eva Fotiadi arrow

‘Interested in human behaviour as the basics underlying the way we design and innovate our society and economy.’

Marianne van Bommel arrow

‘I’m interested in how we can implement situated learning within design education.’

Sarah Lugthart arrow

‘Doing research connects my practice with teaching; it strengthens and brings them closer together.’

Martine Stig arrow

‘How can the notion of the ‘script’ be used in a situated design practice? ’

Ollie Palmer arrow

‘The ultimate goal is to enable people to improve their lives, making them more enjoyable and comfortable.’

Simone van den Broek arrow

‘Attention during interaction is personal, not a given fact.’

Misha Croes arrow

‘My background in visual art makes me very involved in the content of the expertise centre.’

Wilma Diepens arrow

‘Investigating the potential of sensory augmentation to bridge the sensory gap between deaf and hearing.’

Michel Witter arrow

‘I believe a collaborative and efficient lab can address both educational and research demands.’

Serena Buscone arrow

‘Getting comfortable with ambiguity enables designers to absorb feedback and use it to make better design choices.’

Gabri Heinrichs arrow

‘Caradt’s practice-led research aims to empower artists and designers to make a meaningful contribution to society through their projects.’

Rens Holslag arrow

‘Exploring and integrating novel perspectives to our everyday through the eyes of fungi.’

Wasabii Ng arrow

‘I look at the ways in which citizens can play an active role in shaping their cities, and how new media and technology can contribute to this.’

Barbara Asselbergs arrow

‘I am eager to explore how unique qualities of ‘living materials’ can transform the way we think, feel and act.’

Hazal Ertürkan arrow

‘In my point of view, the arts, teaching, research, creation, are all connected. It is all a matter of communication.’

Joana Borges arrow

‘Nowadays a brand is no longer an instrument of marketing, but it is a symbol for inspiring, meaningfull organisations.’

Susan Klijsen – van Elteren arrow

‘For me, the iterative design-research process is an exciting journey towards designs that can transform human consciousness.’

Danielle Roberts arrow

‘Disrupting our contemporary society can be a serious design goal.’

Eke Rebergen arrow

‘My particular interest lies in sharing interesting and thought-provoking stories. Communication is a big part of that.’

Kimberley Rochat arrow

‘Nature is a perfect example of an iterative design process. It is inspiring and full of exciting solutions.’

Clarice Risseeuw arrow

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