Reflection on Dutch Design Week(DDW) 2015

(VENUE1) THE POST-VOUTURE COLLECTIVE: Their use of recycled spacer fabric material and DIY application is interestingly applicable for those of who want to create their own wear. I also appreciate their user-friendly website to understand their process as easily and quickly as possible.                 – written before the trip

excerpted from

This venue was the first venue I visited in Eindhoven. The DDW2015 website had shown that this venue was located at “You Are Here”. At first, I found this rather a joke on the map because the pointer sign kept showing up as “you are here” when I wasn’t already physically there. Trying to find this place was bizarre, as I was keen to look for a big convention center.

I finally found the store in the middle of a busy shopping street. At the store, I met the founder/creative director of the project, Martijn van Strien. As I briefly described about research on his project before the trip, I explained the only reason that held me back from purchasing his pattern template was the fact that it was DIY. Although his web-design was clear and user-friendly designed, as someone that can not afford spending more time on “building clothing”, I found the process rather a hassle compared to simply purchasing and receiving the finished garment that are ready to be worn.

CK: Who will actually take time to build it himself? How about incorporating more of an importance in WHY consumer should DIY by providing more personal stories?

MS: The idea is to get creative-minded people to create their own stories as they build it themselves.

As our conversation continued, we talked about his intention behind providing such service and what we imagine the influence of computer-based fabrication method to settle in personal lives.

Strien expressed his pure wish to change the entire system of fashion production. He once worked in fashion industry after graduating De Witte Dame. He saw that receiving samples or yardages of fabric took such a long process as it often involved labor trade from Third World countries. He believed the process of shipping goods between countries is loosing efficiency in energy, time, fuel, and etc.

Strien imagines a system where clothing production can happen in a smaller local circle. For example, with development of MakerSpace, if the consumer were to download a pattern of clothing, he can find the closest fabrication lab and stop by with any material he desires to get the fabric cut out from a laser cutter. In this imagined desire, his presentation at You Are Here was practical and efficient, as the store was located right in front of the fabrication lab that was equipped with laser cutter.

Strien offered customers an option of purchasing pre-made clothing at the store or downloadable template with a help and demonstration from Strien to cut the provided fabric at the fabrication lab right across the store. As his line was called “The Post-Couture Collective”, a customer can provide his or her measurement so that Strien can program his design to scale down or scale up.

I appreciate the idea of local involvement and interaction, however, I also believe in fair trade between countries to keep the world’s economy in its circulation. Additionally, I suggested Strien to consider wider audience besides a specific audience as the brands that store You Are Here carried were focused in specific age (late-10’s to early 30’s) with higher income. For example, his clothing itself can be designed for broader and more generalized people as there are designers for Target or Walmart clothing. However, we both understood that in order to grab attention from the fashion industry that he specifically aims to be transformed, it was more feasible to get attention from the specific audience of You Are Here.

I started my first day of DDW2015 after having a mind-engaging intensive conversation with Strien. Looking back, I realized our DIY conversation has influenced with material choices and building technology in my new direction of project.

You Are Here

(VENUE2) De Witte Dame Graduation Show 2015

Untitled The_All_In_One_Veenhuizen_Time_Files_
by Jeroen Heeren

I have not seen any of Design Academy Eindhoven students’ work before the trip. However, it was on my list to stop by the graduation show. I didn’t have much expectation when I entered the space.

What I remember seeing is generally students’ innovative interpretation of toy designs and interaction with children and space. After cruising through the first hall, my attention was immediately drawn to one table that exhibited a rotary speaker on top. I found it unbelievable since I had been imagining my project to be in the form of rotary speakers before coming to Netherlands. I have only seen a demonstration of the speaker online that when I finally got to see it in person, I got too excited that I had to share my thoughts and listen to what the artist Jeroen Heeren had to say.

Heeren presented a table of two keyboards (facing each other) and a computerized keyboard that is installed with matching chorus button game (like Guitar Hero). He explained the project was inspired from visiting Veenhuizen’s Esserheem prison as he found a need for musical lessons. Existing do-it-yourself programs at the site required a lot of additional cables, devices and control systems, which in the end exhausted prisoners from learning and continuing the interest. Therefore, Heeren created a fun game that allows self-taught process during individual leisure activities and an option of human interactive system that some prisoners needed help with.

What I appreciated from his project is his decision to develop a whimsical and easy-to-play game that is designed to learn by you as well as to face each other when learning from the other. First, simple sensory involvement with the complicated machine was amusing. In the next step when there is an interaction between two figures in front of each other seemed to be an answer to provide more opportunities to socialize.

Following is how seeing Heeren’s project had an influence on my work:
1. Absorbing self-learning process through machine-engaging activity
2. Providing an opportunity for physical human interaction
3. Visually presenting the connection between different machines
4. Simplifying the complicated/nonsensical machines to an easily-understandable system

The_All_In_One_Veenhuizen_Time_Files_Keyboard_To_The_Rescue project photos:
Screen Shot 2015-11-05 at 11.53.03 AM Screen Shot 2015-11-05 at 11.53.11 AM

Model version vs. life-size construction

In a small model,
I will use a DC motor to generate enough voltage to turn on the transistor. Because the voltage I will generate from rotating DC motor will be not collected enough to supply 2.7 LED light, I will get the help of batteries to turn LED on.
(=The circuit sketch for this idea is illustrated below. After building/testing the circuit board, however, I realized I DO NOT need to connect anything except a generator and LEDs! Because the generator with a wheel attached creates 3 to 5 voltage.)

From “Generate enough V. to turn on the transistor” to “turn on the LED lights”

*SIDE NOTE* = Collecting energy (from DC motor or human power) is not a right term. Rather, generating voltage is a right term.

In a larger scale,
I will use a DC motor (larger) to generate enough (or more than enough) voltage (and energy, by human feet) to turn on the LED light. In this case, I might not need the transistor but I may need something to protect the light.



Coming back from Dutch Design Week & Netherlands, I acknowledge some potential of what my organic shaped gears can become. I arrived back to the State on Wednesday, 10/21/15. The next day the entire Fiber department senior thesis group had a field trip to Fabric Workshop and Museum (FWM) in Philadelphia.

At the FWM, I came across the following picture from a book at the gift store. I’ve considered a different material to approach making gears so when I came in contact with this photo, I was immediately excited. The photo is called self-lubricating gears and lubrication cogwheels, manufactured by Vereinigte Filzfabriken AG.


On the way back in the bus ride, I reviewed the photo of felt gears. And a question after the other in my head finally hit me. If the gears are supposed to initiate movement, they must be most-efficient. Therefore, the material must contribute to its efficiency. However, the felt material is rather absorbing friction, which limits gears’ potential to radiate energy outward. Then I realized more that what I’ve been modifying the shape of practical gears can seem nonsensical for some. As I countered the material oddity with felt gears, I reflected myself and the project. I kept sketching and I was yet struggling with the non-efficient practicality of organic gears. When I was brainstorming for generated movement of organic gears, I naturally ended up embracing that I’m eventually interested in movement, almost ignoring the fact that it is organic-shaped. Having myself removed from the work and coming back with fresh perspective of gears, I realized what I eventually want to present is the movement and human interaction within it.

THEREFORE!! I’m very much excited to announce my new direction of work, which will be a playground for both adults and children.
*Rule for the playground*
-Two human must interact in order to initiate/witness the movement
-Gears will be human-powered.

I’m imagining my organic shape gear to be replaced in the platform of roundabouts:

Roundabouts 1

I think I am unconsciously influenced(&impressed) by the arrangement for kids play at Dutch Design week:

IMG_2099IMG_2098 IMG_2096 IMG_2095  IMG_2093        IMG_2106    IMG_2100

IMG_2104(<From Archeology Museum>)IMG_2102

Other possibilities with organic gear playground:

31. Make a seating
2. (either/or)
Make a handle

< Light Drawing

Magnetic Core Memory Workshop @ WDKA

I’ve worked with three WDKA students to imagine future application/art approach with the magnetic core memory boards.

Our process:

11.Destructive reading.
How about implicating a concept of destruction in the entire process? Instead of intentionally recording a memory/inserting current, we wanted the magnetic core memory to respond to the environment.

22. For example, by putting magnet above the board to take a risk of destroying but have a possibility to record.


We realized that our common interest was in responding to the/recording environment.

44. We wanted to expose sound wave/frequency so that the bit board can detect and have a magnetic response. By allowing this experiment, we could come up with binary codes that the magnetic bits responded to.

5. However, we didn’t have the environment! We went back to the idea of storing memory of sound.
Instead of finding the responsive binary codes, here is our arbitrary chords code.

6. Based on our convention, we’ve created an universal anthem!

Looking forward: 7
7. Dolphin has collective memories but its intelligence cannot be tangibly manifested. (b/c they have no hands!) However, if we decide to translate dolphin’s frequency into the magnetic core memory, it could be possible!..???

IMG_1897 IMG_1902 IMG_1906 IMG_1899 IMG_1918

Glass Harmonica

How does it work? Franklin’s design called for 37 different-sized glass bowls to be threaded on to an iron spindle, which is rotated using a foot pedal, like a spinning wheel. Lightly touching the rims of the bowls with fingertips that have been dabbed in water and chalk makes the spinning bowls “sing”. The bowls were colour-coded to correspond to pitch – purple for B, orange for D, etc.

Five facts and things

The first musician credited with playing glasses as an instrument is Irishman Richard Puckeridge, who wowed Georgian London with his performances of wine goblets filled with water. The amount of water in the goblet determines the pitch of the note – produced by running a fingertip around the lip of the glass.

This glass harmonica. It doesn’t look much like a harmonica. Well, “glass harmonica” is a catch-all term for any instrument involving the rubbing of glass, with the “harmonica” part derived from the Italian word for harmony. Armonica de verre, glasharmonika and – fabulously – hydrodaktulopsychicharmonica, are the French, German and Greek handles, respectively.

Don’t play the glass harmonica, it will drive you mad! That’s what folks believed in the 18th century, causing the armonica to fall almost completely out of favour as a concert instrument. “The armonica excessively stimulates the nerves,” claimed German musicologist Friedrich Rochlitz, “plunges the player into a nagging depression and hence into a dark and melancholy mood that is apt method for slow self-annihilation. If you are suffering from any nervous disorder, you should not play it; if you are not yet ill you should not play it; if you are feeling melancholy you should not play it.”

More scientific musicologists, however, think that the explanation for the armonica’s maddening appeal lies in the disorienting nature of the tones produced. Sounds above 4,000 hertz apparently can be “triangulated”, or located in space, by our ears, whereas our brains are unable to work out whether sounds below 1000 hertz are coming from the left or right. The armonica typically spins out tones that fall between 1000 and 4000 hertz, tricking our brains into never being quite sure where or what the sound is coming from.

Although the instrument isn’t depicted literally, it is the subject of the astounding surrealist animation, The Glass Harmonica, by Russian filmmaker Andrei Khrjanovsky. Originally released in 1968, but quickly banned by the state, The Glass Harmonica uses the creation of a celestial instrument as an allegory for how capital will always corrupt creativity and the populace, even within a communist state.

“A machine may be defined as a system of interruptions or breaks.” – Anti-Oedipus, p. 36
=”But every machine is a part of a system of machines, and between them they integrate every sort of flow. Therefore there can never be a starting point and an ending point for a process: the flow is simply transformed through the interruption, it cannot be said to have a “final cause,” and any attempt to limit the flow–for instance, portraying desire as something originating with a subject and ending with an object–is a camouflage operation for the actually unlimited flow. Machines make it look like there are actually beginnings and endings in the flow, providing us with an illusion of production, consumption, et cetera. If we see past this property of machines, we can understand that we are never “molecular” or “nomadic” or whatever: we are only “becoming-molecular.”