https://redesigning-industry.org Master Industrial Design 2023 Thu, 25 Sep 2025 16:27:07 +0000 https://redesigning-industry.org en https://redesigning-industry.org/Grassmat-Eline-ten-Busschen Thu, 25 Sep 2025 15:44:08 +0000 Master Industrial Design 2023 https://redesigning-industry.org/Grassmat-Eline-ten-Busschen Grassmat–Eline ten Busschen Footballfields, dunes, cracks in the pavement, tramtracks, city parks: Grass is everywhere and that omnipresence has made us blind to its complexities. Often it is rather about maintaining and cultivating an idea, rather than the physical presence of grass as a plant. In this project, 'Grassmat', grass becomes a lens through which we examine how ‘Nature’ is not just an absolute entity, but a cultural and socio-political construct. &nbsp; <img width="8219" height="5479" width_o="8219" height_o="5479" data-src="https://freight.cargo.site/t/original/i/f281d45bc8f494f2e22de9dbcbfeb966ff8b06ff76e18a8b598cafb51003b42b/DSC_9270-bewerkt-min.jpg" data-mid="238769202" border="0" src="https://freight.cargo.site/w/1000/i/f281d45bc8f494f2e22de9dbcbfeb966ff8b06ff76e18a8b598cafb51003b42b/DSC_9270-bewerkt-min.jpg" /> Focusing on various grass-scapes in The Hague, for example: the invasive grasses of the dunes in Westduinpark, and the carefully regulated pitch of the ADO Den Haag stadium—this work explores the seemingly opposing landscapes with an associative stance.&nbsp; Using local dunegrass as both a fibre and a concept, the project materialises this research through a series of experiments, at the centre: an alternative football turf made from tufts of dunegrass. The 'tufted turf'&nbsp; proposes a reimagined relationship between the stadium and the natural landscape it is close to. The resulting concept-grasmat bridges the artificial and the organic, reflecting on how our perception of grass shifts with its context. This installation consists of a video and materialbook next to the concept grassmat, to illustrate overlooked connections and connect information to its physical presence. &nbsp; <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/670571dbbfe28af8cec69bedf752e96c1d9f45c0022788c51e3470988c6c47fd/DSC_9283-1.jpg" data-mid="238769201" border="0" src="https://freight.cargo.site/w/1000/i/670571dbbfe28af8cec69bedf752e96c1d9f45c0022788c51e3470988c6c47fd/DSC_9283-1.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/fb26c41c23820e4155072cb02d8e2004cfda903407fdc9c7118b7a34d0db4aa0/DSC_9275-min.jpg" data-mid="238769203" border="0" src="https://freight.cargo.site/w/1000/i/fb26c41c23820e4155072cb02d8e2004cfda903407fdc9c7118b7a34d0db4aa0/DSC_9275-min.jpg" /> This work resists traditional categorisations by exploring associative connections between materials, spaces, and meanings. Through this tactile and visual research, Grassmat invites to see beyond the idea of grass.&nbsp; <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/b0e6c6e18b0a291e0b535bd6d5a0042b17a725ff99591f3fbd697db1228a09d2/DSC_9253-bewerkt-1-min.jpg" data-mid="238671128" border="0" src="https://freight.cargo.site/w/1000/i/b0e6c6e18b0a291e0b535bd6d5a0042b17a725ff99591f3fbd697db1228a09d2/DSC_9253-bewerkt-1-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/THE-HOUSE-OF-O-Doga-Cakmakci Thu, 25 Sep 2025 16:19:50 +0000 Master Industrial Design 2023 https://redesigning-industry.org/THE-HOUSE-OF-O-Doga-Cakmakci THE HOUSE OF O –Doğa Çakmakçı The House of O explores HUMAN as a biologically and sociologically engineered western ideal: a construct, a commodity, an artificial heteropatriarchal industrial product; made of flesh, yet programmed and categorised by society - designed to generate capital. <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/013f9974785b8b2c805c1d745d05ab2adbc17364468ace11d89f016785137e4b/DSC_9199.jpg" data-mid="238702793" border="0" src="https://freight.cargo.site/w/1000/i/013f9974785b8b2c805c1d745d05ab2adbc17364468ace11d89f016785137e4b/DSC_9199.jpg" /> The name, The House of O, comes from the only third-person pronoun in Turkish: O. Unlike most Western languages, Turkish doesn’t employ gendered pronouns; O, a genderless pronoun, has always existed outside Western hegemonic structures - used for all, encompassing he, she, it, living or non-living beings. The work focuses on childhood, gender, and sexuality; exposing the underlying mechanisms that maintain and re-establish heteropatriarchal relations by inviting visitors to take a step into the world of the infantile - primary stages of constructing and conditioning a HUMAN.&nbsp; <img width="5426" height="8139" width_o="5426" height_o="8139" data-src="https://freight.cargo.site/t/original/i/54bb0b873859fe5254beb6d30959f09a5a54052c8b358d2ccde86a38bca7b360/DSC_9208.jpg" data-mid="238769393" border="0" src="https://freight.cargo.site/w/1000/i/54bb0b873859fe5254beb6d30959f09a5a54052c8b358d2ccde86a38bca7b360/DSC_9208.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/9f7a3354d7d9769c68d9410c6f3badeeb908366fdb07809f6598ca77e61b09a0/DSC_9201.jpg" data-mid="238769392" border="0" src="https://freight.cargo.site/w/1000/i/9f7a3354d7d9769c68d9410c6f3badeeb908366fdb07809f6598ca77e61b09a0/DSC_9201.jpg" /> Through glitched scans of baby dolls escaping capitalism’s flattening capture mechanisms, an essay film (Phantasmagoria of the Self: A joyful death is a birth of an Other) investigating the processes of conditioning and resistance, and baby clothes vested with brutally honest slogans The House of O materializes the voice of the O. O, disturbs the polished fantasy of innocence and purity in the infantile world; expressing frustration, rejection and resistance toward the established heteropatriarchal normality. Employing cuteness as a Trojan Horse - (a)cute enough to charm and disarm - O delivers and spreads queer agenda. What, then, might emerge when cuteness is not used to tame, but to disorient? <img width="5300" height="7950" width_o="5300" height_o="7950" data-src="https://freight.cargo.site/t/original/i/0acec152808050e3eb7d40c1cb4af0b3661a0ea6aab31d8753974fe6deca15aa/DSC_9170-min.jpg" data-mid="238671313" border="0" src="https://freight.cargo.site/w/1000/i/0acec152808050e3eb7d40c1cb4af0b3661a0ea6aab31d8753974fe6deca15aa/DSC_9170-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/Material-Reset-Anatomy-of-Forgotten-Surfaces-Enora-Cressen Thu, 25 Sep 2025 16:00:27 +0000 Master Industrial Design 2023 https://redesigning-industry.org/Material-Reset-Anatomy-of-Forgotten-Surfaces-Enora-Cressen Material Reset:Anatomy of Forgotten Surfaces –Enora Cressan Material Reset explores the concept of affective obsolescence: the tendency to lose, or never form an emotional or sensory connection with the materials of the objects that surround us. This disconnection contributes to a deeply ingrained culture of disposability, with acknowledged significant ecological implications. Through the project, I investigate how the expressive and tactile qualities of materials might reshape our relationship to objects, and in doing so, counteract this affective detachment. <img width="7695" height="5130" width_o="7695" height_o="5130" data-src="https://freight.cargo.site/t/original/i/399febcd8eaa12d61fb0554950f79049744b5e5fbb7e360cf0faf0b762a53c49/DSC_9451.jpg" data-mid="238769221" border="0" src="https://freight.cargo.site/w/1000/i/399febcd8eaa12d61fb0554950f79049744b5e5fbb7e360cf0faf0b762a53c49/DSC_9451.jpg" /> The study grounds itself in the environment of The Hague Market (De Haagse Markt), which embodies a logic of impermanence. This vibrant, transient space reveals a material economy defined by ephemerality: each day, crates, bags, polystyrene, and cardboard serve short-lived functions -transporting and packaging goods- before being discarded without a second thought. After collecting these "dead materials," I explored methods of transformation and assembly, experimenting with texture, form, and unexpected pairings. By combining fish skin -a living, organic membrane- with synthetic plastic, and incorporating biomaterials made from fruit peels, friction emerges between the surfaces, printing the material portrait of this place. My series of exploratory bags appear as a tactile archive of invisible narratives, where discarded matter becomes a site of meaning. <img width="4913" height="7369" width_o="4913" height_o="7369" data-src="https://freight.cargo.site/t/original/i/9454260d2c4ec1d58b61d3d38b4f6a57c862a75b4fc01bb5f883e7e0288a8777/DSC_9458.jpg" data-mid="238769220" border="0" src="https://freight.cargo.site/w/1000/i/9454260d2c4ec1d58b61d3d38b4f6a57c862a75b4fc01bb5f883e7e0288a8777/DSC_9458.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/a27b6de26fe300a8fbb158e0d3b8d0f44a239d30d03a248017ada465e26ecb2d/DSC_9461.jpg" data-mid="238769219" border="0" src="https://freight.cargo.site/w/1000/i/a27b6de26fe300a8fbb158e0d3b8d0f44a239d30d03a248017ada465e26ecb2d/DSC_9461.jpg" /> However, De Haagse Markt- as a lively, multicultural space with its own rhythms and priorities- does not necessarily lend itself to immediate engagement with these ecological or material concerns. The bag becomes more than just an object but a narrative tool, inviting dialogue with users and fostering a renewed, more mindful awareness of materials in a setting where their value is often overlooked. <img width="5143" height="7714" width_o="5143" height_o="7714" data-src="https://freight.cargo.site/t/original/i/62b2a609544cf90081abbbfef07fcbf24b22c6e2cdeb98994c3db3c70280d1d1/DSC_9445-bewerkt-min.jpg" data-mid="238671156" border="0" src="https://freight.cargo.site/w/1000/i/62b2a609544cf90081abbbfef07fcbf24b22c6e2cdeb98994c3db3c70280d1d1/DSC_9445-bewerkt-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/Is-it-still-life-Renan-Zarpellon-Gago Thu, 25 Sep 2025 16:17:13 +0000 Master Industrial Design 2023 https://redesigning-industry.org/Is-it-still-life-Renan-Zarpellon-Gago Is it still life? –Renan Zarpellon Gago Since their industrial development, pesticides — synthetic compounds used to control or eliminate pests such as insects, rodents, fungi, and unwanted plants — have been promoted as a technological solution to ensure productivity and feed a growing global population. This narrative, still widely disseminated today, omits a crucial point: hunger in the world persists. The presence of these chemicals in our fields, tables, and within our bodies continues to be normalized by part of the population, without measuring the consequences this entails. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/7f547f6b7ce7dcd23b8350c32e5a97bd0626f79ae260c302b4cb239aa2813514/DSC_9233.jpg" data-mid="238769304" border="0" src="https://freight.cargo.site/w/1000/i/7f547f6b7ce7dcd23b8350c32e5a97bd0626f79ae260c302b4cb239aa2813514/DSC_9233.jpg" /> In Brazil, pesticides operate as tools that impose modes of production, territorial control, and resource extraction, all under the guise of modernity and progress. Not unlike the colonial period, the main beneficiaries remain the countries of the Global North, now embodied by major chemical corporations. This is the foundation of this project: to understand pesticides not merely as toxic substances, but as symbols of a broader system of power, a form of chemical colonialism.&nbsp; While the European Union bans the use of highly toxic pesticides within its borders, it still allows them to be manufactured locally and exported elsewhere. In a boomerang effect, Brazil stands as one of the main suppliers of soy to the Netherlands, where it is primarily used as animal feed. As a result, poultry, pigs, and cattle — as well as their by-products such as eggs and dairy — carry these chemicals within their production chain.&nbsp; <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/8c4edea3d4c8f6187910ce869f566cde1fa56afd1ba3c146daf971d50a6cda8e/DSC_9244-1.jpg" data-mid="238769307" border="0" src="https://freight.cargo.site/w/1000/i/8c4edea3d4c8f6187910ce869f566cde1fa56afd1ba3c146daf971d50a6cda8e/DSC_9244-1.jpg" /> <img width="7988" height="5325" width_o="7988" height_o="5325" data-src="https://freight.cargo.site/t/original/i/78df53313051b05ff4b5239f8f5dc29e04d6f4ee4cecc4e3d314b510c0e82c24/DSC_9227.jpg" data-mid="238769305" border="0" src="https://freight.cargo.site/w/1000/i/78df53313051b05ff4b5239f8f5dc29e04d6f4ee4cecc4e3d314b510c0e82c24/DSC_9227.jpg" /> Through a speculative still life, this work presents a visual fragment of the issue. Inspired by the studied community, the food sculptures coated in soy wax function as metaphors for the multiple impacts of pesticide use, evoking layers of stories, geographies, and consequences that often go unnoticed but continue to shape landscapes, bodies, and futures.&nbsp; <img width="4665" height="6997" width_o="4665" height_o="6997" data-src="https://freight.cargo.site/t/original/i/ef47fa33351d3aa802af87c148a82df8584ab9f793c970a55fa7f0bce9ded0c7/DSC_9215-min.jpg" data-mid="238671296" border="0" src="https://freight.cargo.site/w/1000/i/ef47fa33351d3aa802af87c148a82df8584ab9f793c970a55fa7f0bce9ded0c7/DSC_9215-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/The-negative-space-of-a-chair-Eleonora-Gasparini Thu, 25 Sep 2025 15:58:23 +0000 Master Industrial Design 2023 https://redesigning-industry.org/The-negative-space-of-a-chair-Eleonora-Gasparini The negative space of a chair–Eleonora Gasparini How does the presence of an empty exhibition space communicate with the mass-productive nature of a Graduation Show? How do people engage with something which normally comes filled - with outcomes, objects, and any sort of “materiality”? Once one enters this installation, they will realize that nothing is on display, staying true and coherent to the radical decision to stop designing and producing altogether. Moreover, the structure has been thoughtfully assembled from found components that can be taken apart and reused elsewhere, leaving no trace behind. This choice stems from the urgency of a deeper reflection on the relentless capitalist cycle of production and consumption of which (industrial) design is an accomplice. As such, the discipline itself - commonly understood as a problem-solving and sense-making practice - is called into question.&nbsp; <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/1277c82c9b13ec1df9f18b72fcef92cd8246fbccea40751c6f8e2959b871e016/DSC_9501.jpg" data-mid="238769212" border="0" src="https://freight.cargo.site/w/1000/i/1277c82c9b13ec1df9f18b72fcef92cd8246fbccea40751c6f8e2959b871e016/DSC_9501.jpg" /> The project is part of an ongoing and broader inquiry that unfolds through theoretical research and an exercise-based practice of unlearning. Together with community peers, concepts such as nothingness, stillness, unproductiveness, un-functionality, and nonsense have been collectively explored and challenged.&nbsp; &nbsp; <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/5ef98d5cc9ba9c0daa022d28eeb67665653298255c7fe95c479e14ccacc55605/DSC_9510.jpg" data-mid="238769211" border="0" src="https://freight.cargo.site/w/1000/i/5ef98d5cc9ba9c0daa022d28eeb67665653298255c7fe95c479e14ccacc55605/DSC_9510.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/ffe3041f110d7716b24647127c18d2d763da6dd0ee2216f738d38fb176cbe3f3/DSC_9526.jpg" data-mid="238769210" border="0" src="https://freight.cargo.site/w/1000/i/ffe3041f110d7716b24647127c18d2d763da6dd0ee2216f738d38fb176cbe3f3/DSC_9526.jpg" /> The negative space of a chair is a new activation for testing the paradoxicality of emptiness and stillness. In the midst of cultural indigestion and hyperactivity (both inside and outside the Academy), emptiness is here claimed as a fundamental gap for silence and pause, rather than a mere absence of the object. The “empty” space of refusal and unproductiveness invites stillness, doing nothing and simply listening - to the loudness of the negative space, while partaking in the co-creation of a social sculpture in pause. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/3bf2656cadf6933b0da583dd6f14e113bc5d0349ce75a0465571d1b79ae84bad/DSC_9487-min.jpg" data-mid="238671152" border="0" src="https://freight.cargo.site/w/1000/i/3bf2656cadf6933b0da583dd6f14e113bc5d0349ce75a0465571d1b79ae84bad/DSC_9487-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/The-story-is-in-the-details-Amber-van-Gastel Thu, 25 Sep 2025 16:20:57 +0000 Master Industrial Design 2023 https://redesigning-industry.org/The-story-is-in-the-details-Amber-van-Gastel The story is in the details – Amber van Gastel What is it like to be you? That is quite a big question, right? For those diagnosed with autism later in life, that question becomes more than abstract—it becomes personal. It often means rethinking who you thought you were and seeing that you have been hiding parts (a form of self-protection often referred to as masking) of yourself to belong and then trying to share that shift with others. But instead of being met with understanding, you’re often asked a different version of the same question: What is it like to have autism? <img width="5199" height="7799" width_o="5199" height_o="7799" data-src="https://freight.cargo.site/t/original/i/245d7cd85a348b153f1a393eec0016c5d3e1fe716e839ab61c1fb6e39dbd0ce5/DSC_9108.jpg" data-mid="238695826" border="0" src="https://freight.cargo.site/w/1000/i/245d7cd85a348b153f1a393eec0016c5d3e1fe716e839ab61c1fb6e39dbd0ce5/DSC_9108.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/713f587fc5128e4881a96785a2839bf063acc90514ae9a5f5ba70484c4dd01b2/DSC_9127.jpg" data-mid="238695831" border="0" src="https://freight.cargo.site/w/1000/i/713f587fc5128e4881a96785a2839bf063acc90514ae9a5f5ba70484c4dd01b2/DSC_9127.jpg" /> At its core, this project is about voice—about giving autistic people, including myself, space to rediscover and express our own. Autism is not a deficit; it’s a way of being. But many of us feel disabled by environments that aren’t designed for us. Clinical definitions still describe autism from the outside—how we look, not how we feel. And while we’re often labelled as poor communicators, maybe we just communicate differently. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/4a9d3d38a02049140dde0a9da7ad3944ebfdc2f601b84f34e7e57a521863e568/DSC_9115.jpg" data-mid="238695863" border="0" src="https://freight.cargo.site/w/1000/i/4a9d3d38a02049140dde0a9da7ad3944ebfdc2f601b84f34e7e57a521863e568/DSC_9115.jpg" /> This project is designed around that idea. At its centre is a cabinet of curiosities—an everyday space where many of us get ready to face the world, put on a mask, and practice conversations. Inside, you’ll find trinkets that serve as conversation starters, such as a mask made from pills, which sparks discussion about the medical model of disability. There’s also a workshop space in the back. During the workshop, the participants will play a card game, built on images, poems, and terms that invite associative, intuitive dialogue—another way of speaking that aligns with autistic communication styles.&nbsp; So, each element of this cabinet invites a small, zoomed-in exchange. Together, these details form a more nuanced and human understanding of what it can mean to be autistic. Because sometimes, the story really is in the details. <img width="5133" height="7700" width_o="5133" height_o="7700" data-src="https://freight.cargo.site/t/original/i/f1986d8cf5caf0114560772a0bf3c335eee7fabb2147e947a996888e85b6eee6/DSC_9148-min.jpg" data-mid="238671318" border="0" src="https://freight.cargo.site/w/1000/i/f1986d8cf5caf0114560772a0bf3c335eee7fabb2147e947a996888e85b6eee6/DSC_9148-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/The-extended-presence-Maaike-Helleman Thu, 25 Sep 2025 16:18:32 +0000 Master Industrial Design 2023 https://redesigning-industry.org/The-extended-presence-Maaike-Helleman The Extended Presence –Maaike Helleman Checking your smartphone during a conversation — what seems like a simple behavioural act — has evolved into a shift in the way we communicate with each other. Body position and eye contact have changed so that people can simultaneously communicate with those physically around them and with their smartphones. People now routinely use smartphones to offload cognitive tasks, such as taking photos to ‘remember’ a moment of togetherness. All this makes that people nowadays cannot imagine being without their smartphone, these devices have even been invited to the table — a space once meant for undivided attention and embodied presence, now often shared with a silent guest. This guest can be seen as an extension of ourselves, shaped though the way we use it. <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/5bb51c4d412bcb2f47f3c72a6387ee9e98fae32cc5926debc18ce3158dde1fe7/DSC_9337.jpg" data-mid="238769330" border="0" src="https://freight.cargo.site/w/1000/i/5bb51c4d412bcb2f47f3c72a6387ee9e98fae32cc5926debc18ce3158dde1fe7/DSC_9337.jpg" /> The Extended Presence was created out of a curious exploration into what the smartphone could bring to shared table interactions. How could the smartphone, as an extension, possibly earn its place at the table and become part of the interaction — not to separate, but to create a balance between digital presence and physical togetherness? <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/7525f51010b1c4f7a2c9a78619a0d0fb6d16ad9fa27001c67a9e77b1fc7f0e38/DSC_9333.jpg" data-mid="238769331" border="0" src="https://freight.cargo.site/w/1000/i/7525f51010b1c4f7a2c9a78619a0d0fb6d16ad9fa27001c67a9e77b1fc7f0e38/DSC_9333.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/f589fe2f56c571fbcc4b2bbcbe1df5d78ff78b22f06f5e0b556fd392313ae8a4/DSC_9319.jpg" data-mid="238769332" border="0" src="https://freight.cargo.site/w/1000/i/f589fe2f56c571fbcc4b2bbcbe1df5d78ff78b22f06f5e0b556fd392313ae8a4/DSC_9319.jpg" /> As a café installation, The Extended Presence is a space where visitors are invited to have a coffee and participate. The table at the heart of the installation only functions through collective participation and the use of smartphones. Come visit The Extended Presence café during one of the available time slots and experience it for yourself. <img width="5165" height="7748" width_o="5165" height_o="7748" data-src="https://freight.cargo.site/t/original/i/89c55b4101720d81fd933eeffc3a3dd68d1d56bae9065c0bdc746a6024c20e0f/DSC_9311-min.jpg" data-mid="238671299" border="0" src="https://freight.cargo.site/w/1000/i/89c55b4101720d81fd933eeffc3a3dd68d1d56bae9065c0bdc746a6024c20e0f/DSC_9311-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/Greenhousing-Saprophytes-Moritz-Plons Thu, 25 Sep 2025 16:27:07 +0000 Master Industrial Design 2023 https://redesigning-industry.org/Greenhousing-Saprophytes-Moritz-Plons Greenhousing Saprophytes– Moritz Plöns Organisms engage in relationships, crossing the boundaries of their own species. They are influencing and interacting with each other, which makes them dependent on one another. These relations are often neglected in traditional bio-design processes. Greenhousing saprophytes derives from the tension of utilizing organisms for human needs on the one side whilst respecting non-human perspectives on the other. Investigating microbial relationships and the ethical implications that come along when working with micro-organisms, this project envisions a design practice that utilizes micro-organisms whilst valuing microbial relations. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/e5075459d889db4370c5e3c8c413aeac443db85fd1b8997e6c619f1641baa698/DSC_9383.jpg" data-mid="238769402" border="0" src="https://freight.cargo.site/w/1000/i/e5075459d889db4370c5e3c8c413aeac443db85fd1b8997e6c619f1641baa698/DSC_9383.jpg" /> Bio-design approaches often involve the isolation of micro-organisms from their original habitat. Cultivated in laboratory settings, their environment is controlled by human beings, to develop a form serving human purposes. Relationships with other microbes are thereby eliminated, but as these are rarely beneficial to the cultivated organism, the environment of control also allows to take care of organisms with certainty. This control was therefore embraced within this project. Representative of this tension, fungal mycelium was examined. Working with Pure Mycelium Material (the fungal organism in its pure form, mostly used for leather-like applications) enabled a practice that takes a fungus from the forest, cultivates it in the laboratory, and, after harvesting, reintroduces the remains of the process – a reproductive fungal organism – into its original habitat. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/7d0c60841d69db3cbf7d3e0adc631227fb11b53757a93c0a69fa08f00d217ef7/DSC_9372.jpg" data-mid="238769403" border="0" src="https://freight.cargo.site/w/1000/i/7d0c60841d69db3cbf7d3e0adc631227fb11b53757a93c0a69fa08f00d217ef7/DSC_9372.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/2fb2439345f7b23bd7975e26c7e3a4e9e7597366e96bd76a8114c274c4de3389/DSC_9397.jpg" data-mid="238769400" border="0" src="https://freight.cargo.site/w/1000/i/2fb2439345f7b23bd7975e26c7e3a4e9e7597366e96bd76a8114c274c4de3389/DSC_9397.jpg" /> The central site of this project was the laboratory set up inside a greenhouse. In this greenhouse different stages of control were explored to develop a three-dimensional growth of Pure Mycelium, a technique accumulating the mycelium only at the spots, where it is needed by the human being, in order to waste less of the organism. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/bfd8ed88172334eba12448b7ac8309744ae717926bc79dc949ff39366fdbd503/DSC_9359-min.jpg" data-mid="238671324" border="0" src="https://freight.cargo.site/w/1000/i/bfd8ed88172334eba12448b7ac8309744ae717926bc79dc949ff39366fdbd503/DSC_9359-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/Objects-of-the-Almost-Bird-Maria-Serra-Gil Thu, 25 Sep 2025 16:11:49 +0000 Master Industrial Design 2023 https://redesigning-industry.org/Objects-of-the-Almost-Bird-Maria-Serra-Gil Objects of the Almost-Bird –Maria Serra Gil Birds live among us. Close, yet rarely noticed. Unlike pets, which we tend to humanize, or livestock, which we mostly encounter through function, birds occupy a quieter space in our daily environments. They are fleeting, observant, rhythmic. This work invites us to attune to them not by watching, but by doing. Objects of the Almost-Bird explores how design can shift human perception through objects inspired by the gestures, behaviours, and presences of birds. <img width="8181" height="5454" width_o="8181" height_o="5454" data-src="https://freight.cargo.site/t/original/i/cafcaab3553e5176a5895d37f5aa8765b5095c8d41e82dea79ec09d889faa942/DSC_9573.jpg" data-mid="238769281" border="0" src="https://freight.cargo.site/w/1000/i/cafcaab3553e5176a5895d37f5aa8765b5095c8d41e82dea79ec09d889faa942/DSC_9573.jpg" /> The objects presented here are not representations, nor tools in the conventional sense. They are proposals for interaction: things to be worn, touched, moved with. Each one is grounded in a specific aspect of bird life: a gesture, a posture, a pattern of relating. Brushes to groom, feathers to peck, feet to balance on, or to practice stillness. Through these embodied experiences, the project asks: Can we relate differently to the other-than-human world by engaging with the ways other beings sense and move? Can feeling closer guide us toward empathy, curiosity, or care? <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/0c794ea8ca8ef7182fc3b4de0a032c5948a6dfbce1687d3ab9a894365a4f7a38/DSC_9559.jpg" data-mid="238769280" border="0" src="https://freight.cargo.site/w/1000/i/0c794ea8ca8ef7182fc3b4de0a032c5948a6dfbce1687d3ab9a894365a4f7a38/DSC_9559.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/0de72c7635c61a8bf79664977f36bdaf314779521e46948ba21f813afc6d976b/DSC_9562.jpg" data-mid="238769273" border="0" src="https://freight.cargo.site/w/1000/i/0de72c7635c61a8bf79664977f36bdaf314779521e46948ba21f813afc6d976b/DSC_9562.jpg" /> Materially rooted in craft and experimentation, the project brings together ceramic, textile, and wood — materials chosen for their tactile immediacy, familiarity, and responsiveness to the body. Craft here becomes a way of shaping attention: inviting visitors to explore and engage at their own pace; not to imitate birds, but to briefly step into a different mode of being. Welcome to a space for noticing, for moving differently, for sensing with attention. <img width="5257" height="7886" width_o="5257" height_o="7886" data-src="https://freight.cargo.site/t/original/i/54ec5534a437f326c98f1541ccbe810884044da38885d0fb539ec022b3b37216/DSC_9542-min.jpg" data-mid="238671233" border="0" src="https://freight.cargo.site/w/1000/i/54ec5534a437f326c98f1541ccbe810884044da38885d0fb539ec022b3b37216/DSC_9542-min.jpg" /> ︎︎︎Home https://redesigning-industry.org/DEAD-STOCK-The-Ghosts-of-Our-Clothes-Lucy-Vink Thu, 25 Sep 2025 16:07:51 +0000 Master Industrial Design 2023 https://redesigning-industry.org/DEAD-STOCK-The-Ghosts-of-Our-Clothes-Lucy-Vink ‘DEAD’ STOCK The Ghosts of Our Clothes –Lucy Vink We all wear clothes—not only for comfort or coverage, but to express who we are, what we value, and how we wish to be seen. If clothing carries our identity, what traces of ourselves remain? Even when discarded, clothing holds memories of its former wearers—marks, stains, and invisible stories embedded in the fabric. Yet in today’s fast-paced fashion system, these very traces often make second-handclothing undesirable—reducing it to ‘dead’stock. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/5afc316dcbc9b1965c88399fd86e508e1f7bbae719fb61153c78f07418befdfd/DSC_9417.jpg" data-mid="238769259" border="0" src="https://freight.cargo.site/w/1000/i/5afc316dcbc9b1965c88399fd86e508e1f7bbae719fb61153c78f07418befdfd/DSC_9417.jpg" /> While second-hand markets can extend garment lifespans, large volumes still end up in landfills or incinerators. The global second-hand trade—primarily moving from the Global North to the Global South—frequently displaces the issue rather than resolving it. Many garments are sorted and resold, but vast quantities are ultimately deemed unusable. As part of the research, Cirtex—a textile sorting center in Tiel—became a case study. The project focuses on its “category C” items—so-called deadstock—to reflect on our shared urgency around textile waste. Can this discarded material findnew life in a new form, while keeping its history alive? <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/066110a8e350035dfc14093c6026c57c4a283e8e8d4a7ade6858825e54e4bc2b/DSC_9429.jpg" data-mid="238769258" border="0" src="https://freight.cargo.site/w/1000/i/066110a8e350035dfc14093c6026c57c4a283e8e8d4a7ade6858825e54e4bc2b/DSC_9429.jpg" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/ac2a5d4898c63f5d290f976c7d9097857aec029db51c92c473177f4b04d66140/DSC_9420-1.jpg" data-mid="238769263" border="0" src="https://freight.cargo.site/w/1000/i/ac2a5d4898c63f5d290f976c7d9097857aec029db51c92c473177f4b04d66140/DSC_9420-1.jpg" /> This collection emerges from broader material research, with each of the three objects representing a distinct deadstock stream: Utility (the unusable), Hygiene (the unworthy), and Relevance (the undesirable). Shredded textiles from I-did (a recycling company) are combined with techniques like braiding, knotting, and patchwork, preserving visible fragments of the original garments, keeping their material histories and embedded narratives alive. These pieces highlight the many faces of deadstock, offering space for overlooked narratives of obsolescence and renewal. To learn more, explore the labels accompanying each piece. <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/89c1e6f222c3b400d1451374a72af5fba924ee1039ca384fd6e583ec71fa4ddc/DSC_9408-min.jpg" data-mid="238671179" border="0" src="https://freight.cargo.site/w/1000/i/89c1e6f222c3b400d1451374a72af5fba924ee1039ca384fd6e583ec71fa4ddc/DSC_9408-min.jpg" /> ︎︎︎Home