Month: April 2026

Forecast typeface embodies the consequences of man-made climate change. It illustrates the problems posed by extreme weather events such as floods and droughts.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

The purpose of my typeface is to raise awareness of the growing problem of climate change. It is an issue that affects everyone around the world.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

Forecast is a variable typeface. It is made up of four masters. Flash Flood, Flood, Moderate Weather and Flash Drought. Moderate Weather illustrates a balanced climate, while the other masters depict the destruction caused by an unbalanced climate.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

Showing climate change in the form of a typeface is not a common occurrence. Even though a lot of design uses typography. So it’s my approach to highlight the problem through typography, which can be used to strengthen a design’s message.

Does it impact or reflect young people need(s) and how?

Extreme weather has already destroyed many livelihoods around the world. The more climate change continues, the more destruction there will be. It’s something we’ll have to deal with sooner or later.

A future-oriented design project exploring sixteen plausible human–nature relations in Lombok toward 2045, translating societal goals into an educational program now active across ten primary schools, and continuing to grow beyond the graduation project itself.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

Across Lombok, human–nature relations are shifting, shaped by forces operating at different levels of agency: community life, knowledge systems, institutional governance, and global market pressures. The way people relate to nature varies fundamentally, from nature as sacred, to an interdependent system, uncontrollable, or something to be controlled. Existing systems struggle to navigate this plurality.

This project addresses this through a community-driven futures framework, developed with local stakeholders, NGOs, and policymakers, making it socially engaged and culturally grounded by design. By integrating the outcome into an existing curriculum rather than building parallel systems, it is resource-efficient and scalable. The educational approach builds long-term ecological awareness, contributing to environmental impact beyond the project itself. The workshop format and lesson modules prioritize accessibility and participation, ensuring the solution is usable and meaningful in its local context.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

Human–Nature 2045 is a graduation project guided by the Vision in Design methodology, mapping sixteen plausible human–nature relations toward 2045 and translating these into societal goals. The resulting framework was applied at Coral Connect as a conversation and coalition-forming tool among NGOs, policymakers, and conservation actors.

Four societal goals became the pillars of a modular educational concept, integrated within the existing curriculum in Lombok. Each pillar was materialised as a distinct lesson module with its own learning objectives rooted in the framework. One uses a map-based game with nature change cards, teaching children to navigate natural disasters through discussion-based learning. Others take the form of a website, storycards and a diary used in a natural context, and a design workshop addressing a local natural problem to foster agency.

Together they demonstrate how future-oriented societal goals can be translated into varied, contextually grounded learning experiences for the next generation.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

This project received a perfect 10 for its graduation assessment, a rare distinction within the MSc Design for Interaction program at TU Delft, reflecting the originality and rigor of its approach.

Its innovation lies in applying Vision in Design, a methodology built for structuring complexity and articulating long-term values, in a non-Western, cross-cultural context. It is widely acknowledged that the vast majority of design is made for the wealthiest ten percent of the world. This project deliberately works against that tendency, bringing futures thinking and design methodology to a context where it is rarely applied, yet urgently needed.

Rather than proposing a single solution, the project maps a plurality of futures and societal goals, acknowledging that there is no single right relationship with nature. This systemic, values-driven approach, translated into tangible tools tested in real schools, makes it both conceptually rigorous and practically grounded.

Does it impact or reflect young people need(s) and how?

This project is fundamentally oriented toward the next generation. The educational program is designed for primary school children in Lombok, directly addressing a gap in their curriculum: a relational, future-oriented understanding of nature that connects their daily lives to the world they will inherit by 2045.

Young people in Lombok are growing up in a context of accelerating ecological change, including increased natural disasters, shifting landscapes, and uncertain futures. Yet education rarely prepares them to navigate this complexity or to see themselves as agents within it. This project responds to that need by designing learning experiences that are contextually grounded, engaging, and empowering.

More broadly, the planet and how we live on it is the defining challenge for today’s youth globally. This project contributes to building the ecological literacy and relational understanding that the next generation will need to face it.

Inocula is an open-source, locally producible field applicator for introducing fungus into invasive trees, enabling more accessible tree management through repairable design, 3D printing, and small-series production.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

Invasive tree management is labor-intensive and still often relies on herbicides. Inocula offers a more targeted alternative by enabling the application of a species-specific fungal treatment through a dedicated field tool. It is designed for safer and more consistent use in real working conditions. The applicator is repairable, suited to local small-series production, and made so individual parts can be replaced instead of discarding the whole device. This supports resource efficiency and lowers barriers for smaller municipalities, land managers, and other trained users.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

Inocula is a handheld applicator developed as part of my bachelor thesis in collaboration with Biohelp. The project grew from the gap between a promising biological treatment for invasive trees and the lack of a well-suited tool for applying it in the field. It combines incision, dosing, handling, and transport in one device designed around the real sequence of use. The applicator uses a sliding hammer for insertion and removal, an adjustable dosing system, a visible blade area for feedback during application, and an integrated safety cover and carrying system. It is designed for local small-series production and uses predominantly FDM-printed polypropylene parts. Repairability and clear material identification through labeling were important so the parts can be sorted into a defined recycling stream and more easily re-enter circular material flows. The project developed through iterative prototyping, testing, and refinement of construction, handling, and field workflow.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

What makes the project different is the way it responds to a very specific use case. In a niche field like this, conventional manufacturing would often be too expensive to justify a specialized tool. This project uses 3D printing for small-series production to make such a tool possible at all. It is designed to be produced locally, repaired, adapted, and improved over time. That matters because availability and maintenance are often just as important as the treatment itself. Compared to existing efforts, the project is not only about applying a specific fungus, but about making the tool behind that treatment realistic to build and use in practice.

Does it impact or reflect young people need(s) and how?

We as young people are growing up in a world shaped by climate change, ecological instability, all of which make issues like invasive species more urgent and more visible. This creates a growing need for tools and systems that help people respond to changing environmental conditions. Inocula reflects that need by supporting a more precise and locally adaptable approach to ecological maintenance. It also speaks to young designers. Many niche environmental fields lack well-designed tools, even when better methods already exist. The project aims to show, how design can contribute beyond mainstream consumer products by improving access, usability, and production in areas where small interventions can have real impact. In that sense, it reflects both the environmental challenges young people face and the opportunity to use design skills in a different and meaningful ways.

INTERLOOM turns discarded inner bike tubes into adaptable wearables built for people who move through the world on their own terms.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

Most products are designed to be replaced, not repaired. INTERLOOM challenges that by working with a material that is already at the end of its life, discarded inner bike tubes, and turning it into something durable and adaptable. The modular system means components can be swapped, repaired, or resized rather than discarded, keeping the product in use longer. Materials are sourced locally in Eindhoven, keeping the supply chain short and energy use low. Beyond the material, the project is connected to a real community, free party and sound system culture, where function and adaptability matter because conditions are unpredictable. The pieces respond to that. INTERLOOM is not about sustainability as a trend. It is about making well-crafted objects from discarded materials. Craftsmanship is also part of the equation. Through an internship in Haute Couture, Josquin developed a precise understanding of garment construction, a standard he carries into every piece.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

INTERLOOM started from a personal need. Coming from free party and sound system culture meant long journeys, walking through forests, and sometimes having to move fast. That reality drove the need for wearables that are functional, adaptable, and built for unpredictable situations. The material came from that same world of overlooked things, inner bike tubes collected from local shops in Eindhoven. They are durable, water resistant, and widely discarded. The core technique is hand weaving, structuring the tubes into a rigid yet flexible surface. The weave used as an adaptable system allows components to be attached, detached, resized, and replaced. There are products designed for similar situations, but INTERLOOM also speaks to the people who use them those who exist outside the mainstream, much like the material itself. Each piece is made by hand with a level of craft informed by Josquin’s experience in Haute Couture garment construction.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

Most products made from recycled materials use sustainability as a selling point while the object itself remains conventional. INTERLOOM doesn’t lead with that. The recycled material is a starting point, not a marketing angle.
What makes it different is the combination of things it brings together, a modular system that genuinely extends the life of the product, a material that is locally sourced and otherwise discarded, and a level of craft that makes it hard to believe where it comes from. The pieces are also connected to a real community and a real set of needs, not a trend.
It is not the first product made from bike tubes, and it doesn’t claim to be. But the intersection of function, craft, cultural context, and a system designed to last rather than be replaced is what sets it apart.

Does it impact or reflect young people need(s) and how?

I work with materials that are thrown away for a culture that doesn’t fit in. The goal is to make something so well-crafted you forget where it came from because both deserve a second look.

Just Bones is a material research project that transforms discarded animal bones into a biodegradable material, rooted in Iceland’s tradition of utilising bones as part of everyday life.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

Modern meat production generates large quantities of waste, while society simultaneously struggles with the environmental cost of non-biodegradable materials. Just Bones addresses both challenges by transforming discarded animal bones into a durable, biodegradable material, similar in strength to MDF, capable of being moulded, drilled, sawn, and laser-cut.
The project is rooted in Icelandic heritage. Historically, survival in Iceland demanded extreme resourcefulness. For example, bones were used in everyday life, carved into buttons, used as toys, and as tools because nothing was wasted. Just Bones is a modern expression of this tradition.
Living on an island creates an awareness of materials, or perhaps the very lack of materials available. It’s important to explore discarded matter from different perspectives and find new opportunities for utilization.
Rather than creating new demand for animal products, the project works with what already exists. Just Bones strives to transform cultural memory into a modern material future.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

Just Bones is a material research project developing a strong, natural biomaterial made entirely from animal bones. The process involves two methods: bones are heated and ground into a fine powder, and are separately processed into bone glue, which acts as a binder. Mixed together, the result is a material comparable in strength to MDF. It is liquid when mixed, allowing it to be moulded like ceramics, and once hardened, it can be drilled, sawed, and laser cut. Different heating methods produce colour variations in the material.
Objects made so far include urns and miniature toy horses, each referencing Icelandic cultural history.
The material is prepared entirely by hand. This deliberate slowness is central to the work, ensuring each bone, often dismissed as waste, is handled with intention and care throughout the entire process.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

If we make the choice to consume meat, it is our responsibility to utilize the whole animal and do it with as little pollution to our planet as possible. Just Bones reflects on society’s meat consumption and the question of waste that follows it. The project is an example of how various opportunities are hidden in our immediate environment. By exploring familiar materials from different perspectives, new opportunities for utilisation can be found. The material is strong for as long as you need it to be, and is designed to disappear when it is no longer needed. It can be dissolved in water and returned to nature. The project draws on the Icelandic heritage of utilising bones and translates this into a contemporary material practice. The project suggests that innovation for the future can come by looking back, finding answers in the resourcefulness of those who came before us.

Does it impact or reflect young people need(s) and how?

Just Bones invites people to reconsider where materials come from and what happens to them after use, a question that feels increasingly relevant in a world of mass production and disposable culture. Just Bones hopefully inspires people to seek material alternatives in unsuspected places, in what is already around us, waste that, with care and curiosity, can become something to treat as precious treasures.

KomshiLOOK is a community-based model that turns residential spaces into collective places of culture, connection and pride, shaped by local residents and shared experiences that strengthen relationships, neighbourhood belonging and everyday forms of citizenship.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

Komsiluk is a Balkan value based on care, responsibility, proximity and the everyday practice of living with others. Yet in many contemporary residential areas, these bonds are weakening. Shared spaces still exist, but they are often underused and rarely seen as places for participation, exchange or collective life. KomshiLOOK starts from look as an invitation to pay closer attention to our surroundings. Through multidisciplinary art formats, it reuses existing residential architecture, local knowledge and everyday routines, transforming these environments into low-resource, community-driven cultural spaces. This method connects social engagement with resource-conscious practice, using adaptation instead of new construction. By activating places where people already live, it nurtures relationships, reinforces neighbourhood identity and encourages participation as a form of citizenship. Through this process, residents become co-curators and co-authors, shaping a cultural experience that reflects local identity while reinforcing responsibility, recognition, and collective ownership of shared space.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

KomshiLOOK is a one-day neighbourhood format created through a three-month collaborative curatorial process. It is designed for residential areas of different social and cultural backgrounds, in both urban and rural settings, usually involving communities of up to 300 residents or about 150 households. Each edition includes over 100 participants and reaches around 2,000 visitors. The project places multidisciplinary art formats inside private and semi-private spaces, from balconies and windows to yards and domestic interiors. Residents take on small but meaningful hosting roles, while artists and creatives develop the programme through spatial dramaturgy and close collaboration with the community. In this way, neighbours also encounter new artistic formats and ways of participating in culture. The result is a collective process shaped from within the neighbourhood itself, making KomshiLOOK a one-day rehearsal of an ideal neighbourhood, where everyone contributes to a shared experience.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

KomshiLOOK connects social practice, spatial design and multidisciplinary art in one community-based model. It places culture inside the neighbourhood itself, using existing architecture as a living platform for collaboration. Through different artistic-formats and a process of spatial dramaturgy, it creates new ways of meeting and working together in places where culture is often absent or inaccessible. Its value lies not only in artistic output, but in building trust, collaboration and resilience. The artistic programme becomes one layer of a wider process in which people begin relating differently to one another and to the spaces they share. In this sense, KomshiLOOK functions both as a cultural format and as a model for active neighbourhood citizenship. It is a low-resource, adaptable approach that offers a strong alternative to institution-based programming and top-down community engagement. It also brings together multigenerational residents from different backgrounds, connected not by profession or status, but simply neighbours.

Does it impact or reflect young people need(s) and how?

KomshiLOOK reflects young people’s needs by responding to the lack of accessible, meaningful and participatory cultural spaces in everyday life. Many young people experience culture as distant, expensive, institutional, or disconnected from their own environment. KomshiLOOK brings art directly into neighbourhoods, streets, villages and shared spaces, making participation easier, more open and more relevant.

It also responds to the need for visibility, belonging, expressio and connection. Through the project, young people gain space to experiment, meet others and see their surroundings differently.

KomshiLOOK supports social imagination, local pride and a sense of agency. It shows young people that culture can happen where they are, and that they can actively shape public life, community relations and the identity of their own environment. It also offers a strong example for future generations and a reminder of what it means to be a good neighbour.

La Galeta is a self-sufficient cooperative housing project that integrates interior design with urban agriculture to promote well-being, social interaction, and spatial flexibility within a sustainable community environment.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

La Galeta addresses the urban disconnect from food sources and the lack of community-driven housing in Barcelona by transforming the historic Viñas & Co. factory in Poblenou into a self-sufficient cooperative. The project responds to city-specific challenges like gentrification and the loss of industrial heritage by integrating interior design with urban agriculture.

It meets Open Call criteria through significant environmental impact and resource efficiency, using bioclimatic strategies and advanced cultivation to produce local food. Circularity is central, repurposing a traditional industrial site to minimize waste. The user experience is enhanced by flexible, modular housing that evolves with residents’ needs, promoting long-term well-being. By fostering social engagement through shared management and interactive cultivation spaces, La Galeta provides a community-driven solution that strengthens neighborly bonds and creates a resilient urban ecosystem where living and local food production are inextricably linked.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

La Galeta is a cooperative housing project in Barcelona’s Poblenou district that transforms the historic Viñas & Co. factory into a self-sufficient community. The concept, “Habitar Cultivando” (Living by Cultivating), integrates interior design with urban agriculture to foster well-being and social interaction. Inspired by the area’s industrial architecture, the project features two central towers with a structure similar to a gasometer, conceptually representing the factory’s original chimneys.

The technical approach focuses on bioclimatic efficiency and spatial flexibility, utilizing modular housing units that adapt to residents’ changing needs. Methods include various indoor cultivation techniques supported by dedicated hydraulic and electrical infrastructures. The process involved an extensive study of Barcelona’s industrial heritage and Mediterranean climate to ensure resource efficiency. By repurposing industrial materials and structures, La Galeta emphasizes circularity while creating a resilient, community-driven urban ecosystem where history and sustainability coexist.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

La Galeta stands out for its radical integration of domestic space with professional-grade urban agriculture within an industrial heritage context. Unlike traditional community gardens or green housing, this project internalizes production through two central “gasometer-inspired” towers that act as the building’s lungs and larder. This structural choice innovatively reinterprets Barcelona’s industrial chimneys, turning symbols of pollution into beacons of sustainability.

The project moves beyond static architecture by implementing modular, adaptable housing units that respond to the evolving lifecycle of a cooperative. Technically, it bridges the gap between interior design and complex agricultural engineering, incorporating specific hydraulic and electrical infrastructures for indoor farming. By prioritizing “Habitar Cultivando” (Living by Cultivating), La Galeta transforms the act of food production from a peripheral hobby into a core communal activity, offering a scalable model for urban food sovereignty and social resilience in densifying Mediterranean cities.

Does it impact or reflect young people need(s) and how?

La Galeta directly addresses the needs of young people in Barcelona by providing an affordable, community-led alternative to a restrictive housing market. It offers a space where younger generations can regain agency through collective ownership and flexible living arrangements that adapt to their evolving professional and personal lives.

A key impact is the preservation and transmission of knowledge; by integrating urban agriculture into daily life, the project revives “dying trades” and traditional ecological knowledge, such as seasonal crop rotation and artisanal food preservation, that are often lost in digitized urban environments. This “learning by doing” approach provides young residents with tangible, self-sufficiency skills and a sense of purpose. Furthermore, the project addresses the “loneliness epidemic” by creating a built environment that mandates social interaction and intergenerational mentorship, fostering a resilient community where young people can grow both their food and their social networks.

meelo is a multisensory activation system for people with dementia that connects personal photo tokens with recorded stories, music and sounds, making memories easy to access and helping caregivers create moments of connection and engagement.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

People living with dementia often face social isolation, stigma and limited opportunities for meaningful engagement. Caregivers frequently lack biographical knowledge and simple tools to support conversation and emotional connection, while many digital solutions are too complex for people with cognitive decline.
meelo addresses this need through an intuitive activation system that links personal memories like photos, stories, music and sounds to tangible tokens that trigger audio and multisensory experiences. The system was co-designed in close cooperation with people living with dementia and caregivers, ensuring accessibility, dignity and a positive user experience.
The project strengthens social engagement and community-driven care by enabling families and caregivers to collaboratively create meaningful content. In addition, meelo follows a circular product approach: it is designed for durability, repair and recycling, and integrates a digital product passport to support transparency, responsible material use and long-term resource efficiency.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

Caregivers use an AI-supported app to link short, personal audio stories, music and sounds to tangible photo tokens. When a token is placed on the audio box, the corresponding memory plays automatically. Optional multisensory modules such as light, video or scent can further enhance the experience.
The audiobox of meelo is inspired by early radios, because they were present throughout most of the lives of the target group. This familiar form reduces technological barriers and supports intuitive use.
The system was developed through a user-centered design process in close collaboration with people living with dementia and caregivers. Materials are selected for resource efficiency and durability, and the product is designed so components can be separated by material type for repair and recycling. This approach supports a circular product lifecycle while enabling meaningful shared moments that foster conversation, emotional connection and activation.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

meelo is innovative because it combines tangible interaction, personalized storytelling and multisensory activation in a system specifically designed for people with dementia. Instead of relying on complex screens or menus, familiar photo tokens trigger memories through a simple physical action, making the system accessible even as cognitive abilities decline.
Another key innovation is the combination of physical and digital elements: an AI-supported app enables caregivers and families to easily create and personalize content, while the audio box translates this into an intuitive, shared experience.
The project also integrates sustainability and circular design. The device is developed for durability, repair and recycling, and includes a digital product passport to improve transparency and resource efficiency throughout the product lifecycle.
Finally, meelo was co-designed with people living with dementia and caregivers, ensuring that the solution directly reflects the real needs, abilities and everyday contexts of its users.

Does it impact or reflect young people need(s) and how?

Although dementia mainly affects older adults, it strongly impacts younger generations as family members, informal caregivers and future care professionals. As dementia cases are expected to increase significantly in the coming decades, younger people will increasingly face the challenge of supporting relatives with cognitive decline.
meelo helps younger generations stay connected with affected family members by providing an intuitive way to share memories, stories and music. Through the app, children and grandchildren can easily contribute personal content, strengthening intergenerational interaction and emotional bonds.
The project also raises awareness about dementia, empathy and inclusive design, encouraging younger people to engage with the topic and participate in meaningful care practices. By combining digital tools with simple tangible interaction, meelo demonstrates how future care solutions can be accessible, human-centered and socially connected, addressing a growing societal challenge that will affect younger generations both personally and professionally.