Louise Schouwenberg is a Dutch researcher and writer on art and design. She studied psychology (Radboud University Nijmegen), sculpture (Gerrit Rietveld Academy Amsterdam), and philosophy (University of Amsterdam). Since 2000 her focus has been on art and design theory, design education, and, incidentally, curating exhibitions on the cutting edge between art and design.
Schouwenberg has been teaching at various art schools and universities, including the Sandberg Institute Amsterdam, Vrije Universiteit Amsterdam, the Royal Academy of Art and Design in The Hague (MA interior architecture, since 2012), and in 2018 she will be teaching at the Politecnico di Milano (department Architecture). Since 2010 Schouwenberg leads the Master programme Contextual Design at Design Academy Eindhoven.
Italian designer Simone Farresin graduated from Design Academy Eindhoven, Contextual Design department, in 2009. Together with Andrea Trimarchi he founded design studio Formafantasma, located in Amsterdam.
In their work Farresin and Trimarchi bridge craft, industry, object, and user. For this reason they are interested in forging links between their research-based practice and a wider design industry. Works by Studio Formafantasma have been commissioned by a variety of partners including Fendi, Hermes, Droog, J&L Lobmeyr, Gallery Libby Sellers, Established and Sons and Lexus. Whether designing for a client or investigating alternative applications of materials, Studio Formafantasma apply the same rigorous attention to context, process and detail to every project they undertake. The added nuance for the duo is that they do so with an intense awareness of the historical, political and social forces that have shaped a specific context.
At the Contextual Design department Simone Farresin guides the second year students, focussing on the layers of meaning and references that hide in materials, techniques and forms.
Gijs Assmann is a Dutch artist, who studied at AKI in Enschede and the post-academic Rijksakademie van Beeldende Kunsten in Amsterdam. Narration is at the heart of his work. Assmann combines dramatic, figurative and stereotypical images with a flippant and experimental way of making. The resulting installations, sculptures and drawings touch upon all the senses and provoke an overall sense of melancholia and helplessness that arises from “the tension between true happiness and inevitable failing”.
Apart from his autonomous work, Assmann has also realised a large range of works commissioned for public space, including a sculpture for the headquarters of British Petrol and a monument to memorize Charley Toorop. In 2015 Museum Jan Cunen in Oss presented Desalniettemin, de Liefde (Nevertheless, love), an overview of Gijs Assmann’s oeuvre. From 1999 to 2006 Assmann headed the Ceramic Department of the Gerrit Rietveld Academy in Amsterdam and since 2012 he’s a tutor at the department of Fine Arts at ArtEZ Arnhem.
All Suits. 2 x 10 suits worn by the artist and his son. Xiamen, China 2008. Inktjet print on bisonyl, 2008 (collection Op den Orth, Landsmeer)
Hewald Jongenelis is a Dutch artist, who has studied at the School of Fine and Performing Arts in Tilburg and the postgraduate De Ateliers ’63. He works both on individual projects and on projects he realizes together with his partner Sylvie Zijlmans. The duo is known for the large variety of media they employ, ranging from drawings, sculptures, installations, film and photography to large events they organize with people in specific urban contexts. Their works often question reality and trigger the mind to wander off to unknown, dreamlike and humorous territories. Their work is part of the collections of various museums, including Museum Boijmans Van Beuningen in Rotterdam and the Stedelijk Museum Schiedam. Apart from their autonomous works Jongenelis and Zijlmans have realized a range of public art projects, to be found in various places in the Netherlands. Jongenelis is also a regular tutor at the Rietveld Academy in Amsterdam.
Maarten Baas is a Dutch designer who obtained his bachelor degree from Design Academy Eindhoven in 1996. His works occupy a special place in the history of Dutch (conceptual) design, due to their rebellious, playful, theatrical and artistic appeal. His work varies from products, conceptual designs, limited editions, installations, public space designs, architecture, to theatre design and performance.
Baas has worked for brands such as Louis Vuitton, Swarovski, Dior, Gramercy Park Hotel, Dom Ruinart and Berluti. Many of his works are in the collections of major museums, including MoMA New York, Victoria & Albert Museum London, Les Arts Decoratifs Paris, San Francisco Museum of Modern Art, Die Neue Sammlung München, Stedelijk Museum and Rijksmuseum in Amsterdam. Some works are part of private collections, including those of Brad Pitt, Kanye West, Ian Schrager and Adam Lindemann.
Each year Baas contributes to the Contextual Design department as tutor in the first year, where he focuses on freeing students from preconceptions on design and challenges to start working on execution from day one.
Jan Konings graduated from Design Academy Eindhoven, department Man and Living, in 1990. In the early years of his career he has collaborated with others, including Jurgen Bey, on design projects that became known as ‘conceptual design from the Netherlands’.
Today Konings works at the cutting edge of urban design, landscape, art, ecology and design, and investigates ways of improving and enlivening the social cohesion of public space with (minor) changes or additions, prompting more involvement of people with their surroundings. Works include a park created from a former refuse tip in Haarlem, a meeting place for youngsters in a new housing estate in The Hague and three public staircases for the Maasvlakte (Portscapes 2). He is the initiator and driving force behind Hotel Transvaal, a hotel spread throughout the refurbished Transvaal neighborhood in The Hague, which uses all kinds of interspaces that arise when a neighborhood changes. Apart from working on his projects he’s often involved as a (guest) tutor at various academies, including the Jan van Eyck Academy in Maastricht.
Konings is a regular tutor in the Contextual Design department where he works both with first and second years, following his main interest: how design implicates the activities of users.
In her work Dröge Wendel is focussed on the manifold relationships between people and objects. Dröge Wendel challenges new ways of relating to objects and for this reason she sets up experimental encounters, aiming to capture what it is that objects actually do with people, with their surrounding, with each other. The artist is currently working on a PhD artistic research project at the University of Twente, in which she dives deeper into the relationship of people and objects.
Dröge Wendel publishes art books, features frequently in solo and group exhibitions, and engages on a regular basis with the public in public spaces. In 1994 she won the second Prix de Rome award for her work, and in 2016 she won the prestigious Dr A.H. Heineken Prize for Art. She is head of the department of Fine Arts at the Gerrit Rietveld Academie.
At the Contextual Design department Yvonne Dröge Wendel guides a design studio in the first year, in which she focuses on research and the development of concepts on the relationship of users and objects.
Vincent de Rijk graduated from Design Academy Eindhoven, bachelor department Man and Living, in the 80s. He’s well-known for his extensive expertise in working with a range of different materials, especially in working with resins and plastics. He works both on self initiated projects and for a range of clients, including architectural firm OMA, for which he created many iconic models of buildings that became very famous. Apart from working for OMA his clients range from designers, artists, and architects, to companies, including Jongeriuslab/Galery Kreo, Ulf Moritz, Joris Laarman, Doepel Strijkers Architects, Richard Hutten, Van Bergen Kolpa architects, Studio Wieki Somers, and many others.
Vincent de Rijk contributes to the program of Contextual Design by way of material workshops, most of which are given at his well-equipped workplace in Rotterdam.
Marjan van Aubel is an inventor and solar designer whose innovative practice spans the fields of sustainability, design and technology. In collaboration with scientists, engineers and institutions such as Swarovski and the ECN, the Dutch Energy Centre, van Aubel works to promote extreme energy efficiency through intelligent design. From working with expandable materials, to integrating solar cells that mimic the process of photosynthesis in plants, she adds a double function to objects and puts them to work: A table is not just a table, but also a producer of electricity. Through her practice, she strives to redefine our current relationship with solar technology and accelerate its transition to ubiquity.
Graduating from the Royal College of Art (MA) in 2012, van Aubel has since exhibited at world-class institutions such as the V&A (London), the Design Museum (London), Boijmans van Beuningen Museum (Rotterdam), and the Stedelijk Museum (Amsterdam). Her work is also part of the permanent collection at the MoMA in New York, the Vitra Design Museum, Boijmans van Beuningen Museum, The Montreal Museum of Art, and the National Gallery of Victoria in Australia. In 2017, Swarovski named Marjan the Designer of the Future, and in 2016 she received WIRED’s Innovation Award, the Wallpaper Design Award and was chosen to be the Radicale Vernieuwer (Radical Pioneer) Netherlands by Neelie Kroes. She received the London Design festival Emerging Talent medal in 2015 and in 2012 she won the First Prize Dutch New Material Award.
Mikel van Gelderen studied painting at the Royal Academy of Art and Design in ‘s-Hertogenbosch, and subsequently architecture at the Technical University Delft, where he obtained his (MSc) master degree in 1994.
Since 1990 Van Gelderen collaborates with architect Jurjen Zeinstra; since 1996 under the umbrella of the architectural firm Zeinstra van Gelderen Architects. The oeuvre of Zeinstra van Gelderen Architects includes various large buildings, such as the Collective House Amsterdam; Blok 5 IJburg Amsterdam; IJdock apartment building and office of the Waterpolice Amsterdam. Apart from these the architects have worked on experimental projects in which themes such as flexible use and changeability were researched, including the Tumble House, the Rubber House, and various urban projects across the Netherlands. Apart from his architectural work Van Gelderen has worked on various set designs for theatre and has contributed as editor to the architectural magazine Oase. Currently he and Zeinstra work on an artproject for public space in the municipality of Ede. In the Spring of 2017 a book on the oeuvre of Zeinstra van Gelderen Architects will be published by Architectura & Natura Amsterdam.
At the Contextual Design department Van Gelderen guides a design studio on the ‘future of dwelling’ in the first year.
Karel Martens is a Dutch graphic designer, whose work ranges from books to fabrics and typographic façades for buildings. His designs are often based on linking different worlds, such as using industrial artefacts turned into ‘stamps’, employing geometric paper constructions, including the flaws of layered prints, and printing on top of administration cards that he rescued from various waste bins.
Martens can be rightfully called one of the iconic figures in graphic design, who has influenced many generations of young designers. He can partly be placed in the tradition of Dutch Modernism, but his experimental approach has created most of all a distinct signature style. Martens won many awards for his works, including the H.N. Werkman Prize for the design of the architectural journal Oase, the Dr. A.H. Heineken Prize for the Arts, the gold medal at the Leipzig Book Fair (for Karel Martens: Printed Matter) and the Gerrit Noordzij Prize.
He was the co-founder of the renowned Werkplaats Typografie in Arnhem and a mentor at the Jan van Eyck academy in Maastricht. Currently he works as a critic in graphic design at the School of Art, Yale University New Haven US.
At the Contextual Design department Martens works as a tutor in the first year on abstract topics such as ‘skin’, which aim at triggering the imagination foremost. In the final part of the second year he guides the students’ designs of the thesis books.
Tamar Shafrir was trained as an architect and designer; in 2012 she graduated at Design Academy Eindhoven, Contextual Design department, with a range of texts on design. Since then she has worked as a writer, curator and researcher.
In 2013, she founded design research studio Space Caviar with Joseph Grima. Their projects have been exhibited at various international events, including the Venice Architecture Biennale, the Victoria & Albert Museum (London, UK), the Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture, Design Miami\Basel, the Vitra Design Museum (Weil am Rhein, DE). In 2014, the studio curated the cultural programme of Biennale Interieur Kortrijk, producing two exhibitions, a film, a discussion series, and the book SQM: The Quantified Home. Since 2015 she’s one of the researchers at the New Institute in Rotterdam.
Shafrir lectured at the master courses of Design Academy Eindhoven: Contextual Design, Social Design, and Design Curating and Writing. She was a tutor at Bezalel Academy of Arts & Design in Israel, the Iceland Academy of the Arts, the Architectural Association in London, the Università degli Studi Mediterranea di Reggio Calabria Spain, Politecnico and Domus Academy in Milan, Italy, and the Museu del Disseny de Barcelona.
Frans Bevers currently works as an independent curator, designer, consultant and tutor. Until 2012 he was co-director of OPERA Amsterdam, a design firm working in the field of interior architecture and exhibition design founded in 1981. The studio produces major exhibition designs and large-scale museum interiors as well as retail, office and interior designs for the health sector. Through the years OPERA Amsterdam worked for clients such as: Victoria & Albert Museum, British Museum, British Library, Hampton Court Palace, Kensington Palace (London) National Museum of Korea (Seoul), National Museum of Denmark (Copenhagen), Museum of Modern Art (NYC), Museum of World Culures (Göteborg), Rijksmuseum (Amsterdam), National Museum of Ethnology (Leiden), Hema (Amsterdam), Tempoteam (Amsterdam), AMC Emma Children’s Hospital (Amsterdam).
Next to a range of nominations, award-winning projects include: Inside Festival Barcelona, 2011 (Ceramic Study Galleries Victoria & Albert Museum), Dutch Design Award, 2004 (Hema pilot store), Lensvelt-De Architect Interior Prize, 2001 (National Museum of Ethnology).
He was tutor and head of the department of Architectural Design at the Gerrit Rietveld Academy (1979-2007), and lectured at Parsons School of Design (NYC), Shanghai Normal University (Shanghai), East China Normal University (Shanghai), University of Illinois (Chicago). Recently he joined the teaching staff of the Royal Academy of Arts (The Hague). As a passionate cyclist he published Dagboek Amerika (2015). Pijn in het Peloton (together with Pieter Cramer) is due to be published in the summer of 2017.
Lucas Verweij is a versatile man who moves across design in all its facets with natural ease. Whether it be as a designer, moderator, writer or educator, Verweij engages in activities that breathe curiosity and innovation.
During the nineties Verweij co-founded studio Schie 2.0, an interdisciplinary practice investigating new approaches for the public realm. Between 2001 and 2005 he worked for Premsela, the Netherlands Institute for Design and Fashion, as project leader in the field of social development. He subsequently served as dean of the Academy for Architecture and Urban Design in Rotterdam. Since 2008 Verweij has lived in Berlin, where he was a teacher at Berlin’s two design schools, Kunsthochschule Weißensee and Universität der Kunste. He published a book in 2017 (‚the designfactor’) and serves as chairman of he designcommittee of the ‘Creative Industries Fund NL (Stimuleringsfonds voor de creatieve industrie). Recently he picked up his first love: Mapmaking. He has been designing Worldmaps that have been exhibited in various galleries and art-shows. He keeps us regularly updated on his observations on design through his blog and his opinion articles for websites such as Dezeen. Apart from this he acts as initiator and curator of public events in the fields of architecture, design and innovation both in Rotterdam and Berlin.
In 2002 designer Dries Verbruggen obtained his bachelor degree at Design Academy Eindhoven, department Man and Living. Soon after he founded design studio Unfold, together with Claire Warnier.
Unfold has created a range of experimental projects in which craft, industrial production methods and digital communication networks are combined, leading to complex patterns and sophisticated forms that testify of today’s production possibilities. “What is the role of the designer and how is it changing in a time when design and manufacturing become increasingly more digitized?” This question is key to understanding the works of Verbruggen and Warnier, which have been presented at many international design events and were covered by various media on innovative design.
Verbruggen has been teaching at various schools, including Colorado State University USA; Luca School of Arts; the ICT & Media Design department of the Fontys University of Applied Sciences in The Netherlands.
At the Contextual Design department Verbruggen guides a design studio in the first year that is focussed on linking old crafts to high tech production methods.
Alexandre Humbert was trained as a product designer (Contextual Design, Design Academy Eindhoven) and gradually developed a fascination for, and expertise as filmmaker. He currently focusses on video as a design practice. "As designers we are storytellers, we are not designing chairs but ways of sitting.” Humbert has created a range of ‘object interviews’ in which designs converse with each other regarding their existence. The first interviews were shown at Palazzo Clerici in Milan, during the Salone del Mobile in 2017, where Design Academy Eindhoven presented ‘DAE #TVClerici’, curated by Jan Boelen. Humbert contributed with surprising narratives derived from talking objects – for some a scary premonition, for others a lively new take on the life of things.
“There was once a society that believed the future would bring better living conditions to everyone. There were people, utopian thinkers, who thought about the big questions of the city. Today only a feeling remains, half desire, half melancholy, reminiscing of those architects who wanted to live in a better society and who had dreamed of better places. Such an era is now over. Here begins my work.” Raumlaborberlin is a network, a collective of 8 trained architects who collaborate with experts from various other cultural fields, as well as residents of the locations in which they work. The collective operates at the intersection of architecture, city planning, art and urban intervention, and they call their approach ‘research-based design’. In their projects they address the city and urban renewal as a process, with a special fascination for places torn between different systems, time periods or planning ideologies, places that can not adapt. Places that are abandoned, left over or in transition, which contain much potential for experimentation. For an overview of their projects, visit their website.
Brigitte Dalmaijer studied at the textile department of the Design Academy Eindhoven and is specialized in the design and development of woven interior textiles for manufacturing companies and design offices. Her work is characterized by a strong attention to detail, expressed by a refined application of material, colour and tactility. In her weave designs, her main objective is the transition of traditional craftmanship to modern manufacturing processes, whilst maintaining the core values of her designs. She has worked on various projects of Jongeriuslab as senior textile designer. Among her clients: Hella Jongerius (one of the 3 images), Auping, van Besouw, Bo Editions, Boller Winkler, Bonjour of Switzerland, Beddinghouse, Christiane Muller, Heberlein Textildruck, Hella Jongerius, Kendix, Leo Schellens, Liset van der Scheer, Mosa, Muller Zell, de Ploeg, Premsela Vonk, Swinkels, Torri Lana, Ulf Moritz, Vescom Fabrics and Vitra.
(Modal Alam) with works by Martin Belou, Adrien Missika, Rachel Monsov, Offshore Studio and Adrien Vermont, Europalia Curator’s Award, Bozar, Brussels, December 21, 2017–January 21, 2018. Photo: Mono Studio
Laura Herman is a curator and writer whose work focuses on spatial infrastructure and the relationship between architecture, affect and human experience. Laura currently serves as a curator at La Loge, a Brussels-based space dedicated to contemporary art, architecture, and theory, and she is editor of De Witte Raaf, a bimonthly art journal distributed in Belgium and The Netherlands. Laura graduated from the Center for Curatorial Studies at Bard College (CCS Bard, 2016) in New York, and holds a master’s degree in Comparative Modern Literature (Ghent University, 2010). In 2019-20, Laura will be curating the 12th Satellite programme at Jeu de Paume in Paris, CAPC Bordeaux, and the Museo Amparo de Puebla in Mexico, and she is currently developing Family Fictions, an exhibition that will take open at Extra City Kunsthal in September 2019. Laura’s reviews and essays have appeared in Mousse, Frieze, Spike Art Quarterly, Metropolis M, Bomb, De Witte Raaf, and elsewhere, and she has curated exhibitions and events including Natural Capital (Modal Alam) at Bozar (Brussels, 2018), Definition Series: Infrastructure at the Storefront for Art and Architecture (New York, 2016), Third Nature at the Hessel Museum (New York, 2016), The Office for Doubts and Desires at P!, (New York, 2016), and Wild Horses & Trojan Dreams at Marres (Maastricht, 2013). From 2013 to 2015, Laura served as an assistant curator at Z33, House for Contemporary Art, working on commissioned artworks in public space.
Jesse Howard is an Amsterdam-based designer / researcher focusing on creating objects that question the established relationship between designers, producers, and users, and as a result speculate on new systems of making. He graduated from the designLAB at the Gerrit Rietveld Academie in Amsterdam and holds a bachelors degree in mathematics from Colorado College. Recently, Howard has worked together with Intrastructures and Kirschner 3D, and presented workshops for Thingscon and Arduino’s Casa Jasmina.
Barend Koolhaas' office aims at engaging people, companies and schools in experimental design. Koolhaas holds a MSc. in Architecture from Delft University of Technology. Prior to starting his own practise in 2011 Barend was employed by OMA where he was project leader on a number of international urban and architectural projects, most notably Waterfront City in Dubai and West Kowloon Cultural District for which he spent a year working in Hong Kong. Before his employment at OMA Barend briefly worked at IDEO in Palo Alto and as a self-employed architect he designed Wildflower, a small school building which won the 2004 Dutch Design Award for products in public space. He has recently completed a new building for an art space called EENWERK and renovated the office of renowned designer Irma Boom. Barend teaches at the Royal Academy of Art in The Hague, and at both the Academy of Architecture in Amsterdam and in Rotterdam.
XML is an international creative agency active in the domains of architecture, urbanism and research. The office was founded in Amsterdam by Max Cohen de Lara and David Mulder in 2008. Their work is characterised by a research-driven approach and ranges from the scale of developing a series of scenarios for organizing the Olympics in the Netherlands for the Dutch Ministry of Infrastructure and Environment, to designing an installation for de Apple Arts centre in Amsterdam. Projects include the design for a new UN headquarters in Bonn, an arts pavilion in Hong Kong and researching the architecture of plenaries halls of parliaments around the world. In 2014, the office participated in the 14th Venice International Architecture Biennial and was a finalist for the Prix de Rome 2014, the oldest and largest Dutch state prize for Architects under 40. XML has directing the two-year Master Program 'Designing Democracy' at the Sandberg Institute in Amsterdam.
Julika Rudelius is an internationally exhibiting German-born video and performance artist who lives and works in Amsterdam, The Netherlands, and New York. Her photographic and video work examines complex notions of emotional dependency, social power, abuse, identity and cultural hegemony.
Sjeng Scheijen is an Avant-garde art specialist and author; Research fellow at Leiden University. Her curates exhibitions (Groninger Museum, the National Gallery London, the Bonnefanten Museum, the Drents Museum, the Cobra Museum), writes articles, edits catalogues and other Museum publications. Advises Museums, Cultural Institutions, branches of Government and auction houses. Sjeng Scheijen wrote a monograph on Diaghilev, of which the New York Times wrote it was one of the best books of the 20th century. Recently he has worked on an intensive study of the Russian Avant-garde.
In the majority of projects, executed in photography, film, print, text or performance, Barbara Visser has been occupied with the uncertain relationship between registration and dramatization, plays with notions of original and copy, and questions the way history and memory are being shaped by both the individual and society. Dissecting various strategies to influence our collective memory, our biographies and behaviour, the works challenge conventions, readymade interpretations and clichés. From a solid conceptual basis, many works have a changing appearance, which is related to time, place and context. Thus, the projects can be regarded as multi-layered stories or threads, rather than symbolic pieces or statements.
Nadine Botha is an artist who works with research, writing, publishing, and exhibition making to explore how invisible social, political, legal, economic, and cultural systems design our objects, bodies, technology, homes, cities, and experiences. One of her projects is The Politics of Shit in which she explores the politics of the portable flush toilet in Cape Town’s ongoing toilet wars. The Politics of Shit is now expanding into film, academia, and media. Other activities include being the assistant curator of the 4th Istanbul Design Biennale in 2018, and editor-at-large of DAMN magazine. She is the founder of deSIGNIFY design, media, and art consultancy. In 2005, Deep South published her poetry collection Ants Moving the House Millimetres. Her poems have been featured on Poetry International and The Common and published in various magazines in South Africa.
Ernst van der Hoeven and Kirsten Algera initiated MacGuffin in 2014, an arts and crafts magazine focussed on the Life of Things. The magazine features fabulous stories about the life of ordinary, often anonymously designed things. Each biannual edition takes an object and explores the manifold stories it generates. Like the MacGuffins in Hitchcock films, these things are not the main characters, but the plot devices that set the story in motion.
Ernst van der Hoeven studied art history at the University of Groningen, and landscape architecture at the Politecnico in Milan. His studio, EVDH, is focussed on the design of the urban landscape. In 1994 he co-founded the Rotterdam based office Crimson, and in 2008 he co-founded Club Donny, a journal on the personal experience of nature in an urban environment (2008—2014). Kirsten Algera is a Dutch design historian and design critic. She has participated in various international projects and works currently on her PhD research at the University of Amsterdam. Theme: the relationships between graphic design and subcultures.
Kostas Lambridis is a recent graduate of the Contextual Design programme. His work testifies of a great sensitivity for the possibilities of materials and shapes and testifies of thorough research. His designs were presented in prestigious exhibitions and featured in many media. Beside his own work, Lambridis works as senior designer at the studio of designer Nacho Carbonell.
Matteo Pirola is an Italian architect / theorist / author, who holds a Doctor of Philosophy (PhD) in Architettura degli Interni e Allestimento. He has contributed to various publications and is a lecturer and tutor at the Politecnico di Milano University. His vast knowledge of international architecture and design and his knowledge of the Italian Avant-garde have made him a much-appreciated lecturer on these topics.
Pierluigi Pompei studied both at the Accademia delle Belle Arti in Rome, and the Royal Academy of Fine Arts in The Hague, The Netherlands. Ever since he works as a sculptor in The Netherlands.
Chris Reinewald is a journalist, who publishes regularly in various magazines on a great variety of subjects, with a special focus on design and how it relates to societal developments. He has a vast knowledge of design history and the various key moments that caused important turns in the perception of design.
German artist Ulrike Rehm studied art in Michelstadt and Berlin and finished her studies at Rietveld Academy and Sandberg Institute in Amsterdam. In 2010 she founded design office RaR, together with Beate Reinheimer. The studio has thus far produced a range of imaginative ceramic objects, including Hain and Schwarm, a collection of wall mounted porcelain vases shaped like bugs and beetles. In 2012 Rehm was one of ten finalists in ‘De nieuwe Rembrandt’ (the new Rembrandt), an artist contest that was broadcasted on Dutch television. Curiosity and an incentive for experimentation direct Rehm's artistic development.
Peter-Paul Verbeek is professor of philosophy of technology at the Department of Philosophy and co-director of the DesignLab at the University of Twente, The Netherlands. He is also honorary professor at the Techno-Anthropology program of Aalborg University. His research focuses on the philosophy of human-technology relations, in relation to philosophical theory, ethical reflection, and practices of design and innovation. In 2014, he received a VICI award from the Netherlands Organization for Scientific Research (a personal grant for innovative research) to develop a theory of technological mediation, aiming to theorize how technologies play a mediating role in scientific practices, ethical frameworks, and religion, and how this mediating role of technologies can be included in design practices. Earlier he received a VIDI-award (2008), for studying human enhancement technologies and the blurring boundaries between humans and technologies, and a VENI-award (2004), for studying the moral significance of technology, and its implications for design. From 2010 until 2012 he held the Socrates chair of philosophy at Delft University of Technology; in 2006 he was guest professor of philosophy of technology at Aarhus University, Denmark.
Among many other activities, Verbeek is a member of the UNESCO World Commission for the Ethics of Science and Technology (COMEST), the Dutch Council for the Humanities, the Supervisory Board of TNO (Dutch Organization for applied scientific research), the board of the Rathenau Institute, the program council for Responsible Innovation (NWO – Netherlands Organization for Scientific Research), the Netherlands National Commission for UNESCO, the KNAW Committee for the Freedom of Scientific Pursuit, and the Centre for Ethics and Health (Ministry of Health). He won many awards for his groundbreaking work and is the author of many publications, including Moralizing Technology: Understanding and Designing the Morality of Things (University of Chicago Press, 2011).
Ben Shai van der Wal studied literary sciences at the Vrije Universiteit of Amsterdam, where he specialised in the juncture between literature and philosophy. His interests and research extend from existentialism and semiotics to phenomenology and cultural criticism, and he has published, and contributed to, various publications. His critical mind as a relative outsider turns him into a valuable asset in providing fresh ideas and unconventional perspectives to students.
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