Flössern – in fluent

A handmade raft navigates along the Rhine-River, transforming river travel into a platform for shared knowledge, dialogue and alternative measurement.

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?

Decisions about rivers are often made by distant institutions that manage them through technical standards, data platforms, and clearly defined borders of responsibility. Environmental protection, engineering, and energy production operate in parallel systems, rarely sharing knowledge or perspectives.
At the same time, crucial information about water flows remains inaccessible. For example, hydropower operators in upstream regions do not publish reservoir levels or flow data, which leaves downstream regions in a state of uncertainty regarding future water availability.
Historically, rivers were interpreted differently. Timber rafters had to understand currents, landscapes and seasonal changes through direct observation and exchange. This situational knowledge has largely disappeared.
Today, the Rhine-River is largely used as an industrial material, but is rarely understood as a shared ecosystem that can also be depleted. There is a need to bridge this gap by creating opportunities for institutions and communities to exchange knowledge and rethink collective responsibility across landscapes.

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

A handmade raft becomes a mobile measuring station that floats on the Rhine as an unconventional research instrument. This structure encourages direct engagement with the river landscapes and with the people, ecologies and institutions that form around the river. Rooted in pre-industrial rafting, the project reflects on how industrial standards have shaped our relationship with rivers. At each station, conversations with scientists, ethnologists and engineers will provide site-specific insights into missing parameters, which will later be translated into visual and spatial interventions. Instead of transporting goods, the raft carries stories, knowledge and alternative ways of knowing. Each documentary episode addresses gaps in recorded history, while archival publications compare standards and values along the Rhine, bringing knowledge back to institutions and crossing rigid borders of responsibility. The evolving design process transforms the raft into a platform for exchange, turning the river into a shared space of connection.

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

Research is often conducted from a top view—identifying problems and attempting to intervene from the outside. Much like the sequence of your questions: Problem > Project > Innovation > Impact. For me, it was important to become an actor within the system, standing alongside the institutions and stakeholders along the Rhine.
Every conversation, research step, journey, and intervention happens through the object. The timber history and the building of a raft become the entry point for exchange.
Historically, rafts were highly adapted to each river course and current. In a similar way, the object—and myself as its navigator—remain adaptable in form and language, translating internal or specialised knowledge into accessible entry points.
The project challenges how we enter a river system: where access begins, through which tools, and who is allowed to participate in understanding it.

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

Young people will face the ecological consequences of river systems, yet they are rarely part of current discussions. Flößern challenges this “not yet.” It shows that one does not need to be a scientist or engineer to begin engaging with rivers, and how a simple object can become a tool for community building and interdisciplinary exchange.
As more young people move to cities, they become consumers of distant landscapes without perceiving the infrastructures that sustain them. Rivers reveal these hidden connections. Timber once travelled from Alpine forests to Dutch cities, enabling urban growth. Today, these relationships persist but remain invisible.
By retracing these routes and translating them into publications, conversations, and spatial encounters, the project reconnects urban generations with the landscapes, communities, and infrastructures they depend on. It highlights how decisions in one region—such as climate change in the Alps or restricted environmental data—directly affect ecosystems and communities downstream.



Laurn Böhm

Designer and trained carpenter from the Alpine region, where local questions between material origin and landscape conditions shape everyday life. This background informs his research-driven practice, which investigates water systems and the ways human behavior affects environments and the other way around. At the Design Academy Eindhoven, he developed a methodology that combines handcrafted objects with engagement of communities. Recent work includes the exhibition Studio Technogeographies (Z33, Hasselt, 2024), where he presented research on water behavior, materiality, and handmade fieldwork objects. The investigation into Austria’s infrastructure and dependence on artificial snow was shown at Atlas of Distances (Faber, Timisoara, 2023).

EcoRush – Design of a Didactic Game for Developing Ecological Awareness in Children

EcoRush is a cooperative didactic game designed to build environmental awareness in children through play, showing them how everyday actions affect nature while developing cognitive, social, and creative skills.

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?

EcoRush addresses the growing disconnect between children and environmental responsibility. As ecological crises intensify, early education must embed ecological thinking, yet most tools rely on passive instruction rather than playful, embodied learning.
The game responds directly to the Open Call criteria. It delivers environmental impact through mechanics where rewards and penalties are tied to ecological actions, helping children understand consequences through experience. Social engagement is fostered through cooperative play requiring teamwork to restore a shared natural landscape. The user experience is innovative: children do not just learn about nature, they actively protect it, making decisions with immediate, visible effects on their shared world. Resource efficiency is achieved through thoughtful design that reduces material use while preserving educational value. Community-driven solutions are central: no one wins alone. Players must collaborate as the Guardians of soil, air, forest, and river to restore balance together.

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

EcoRush centers on a circular board symbolizing the planet and the interconnection of all ecosystems, populated with modular elements including trees, factories, recycling stations, solar panels, and oil spills. The landscape visually reflects the state of the world, shifting as players make decisions. Four Guardian characters represent soil, air, forest, and river, each carrying a distinct ecological role.
The game was developed through direct testing with children across multiple prototype iterations, with cardboard and foam models used to refine scale, element proportions, and gameplay mechanics before moving to digital 3D modeling. Material choices were guided by durability, tactile quality, and ecological responsibility. The final system combines structural components with smaller detailed pieces, creating a rich sensory experience. Rewards and penalties are tied directly to ecological actions, making cause and effect immediately legible to young players.

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

Most eco-educational toys are either passive or competitive, framing environmental protection as individual achievement. EcoRush differs in three meaningful ways.
First, it is structurally collective: the game ends only when all four Guardians complete their tasks together, modeling real ecological interdependence rather than simplifying it.
Second, its world-building system is dynamic. Polluted factories sit alongside solar panels, oil spills alongside recycling stations, creating a landscape that visibly degrades or recovers based on player choices, making environmental consequences tangible for young children.
Third, the Guardian characters foster identification over competition: each child embodies a specific ecological role, grounding abstract concepts in personal responsibility. This combination of collective mechanics, visual storytelling, and role embodiment, validated through multiple rounds of child user testing, has no direct equivalent in the current market.

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

EcoRush is designed around the developmental needs of children aged 6 and above, drawing on Piaget’s cognitive stages, fine motor skill research, and socio-emotional growth theory.
At this age, children are transitioning from egocentric toward cooperative reasoning. Gameplay supports this directly: it requires turn-taking, communication, strategic thinking, and emotional regulation when outcomes are negative. Tactile miniature elements strengthen fine motor skills; illustrated character cards support language development and narrative thinking; the ecological task system builds environmental literacy through lived experience.
Young people are the generation that will bear the full weight of today’s environmental decisions. EcoRush meets them at their developmental level with honest, age-appropriate content, not fear, but agency. Children learn that small actions carry weight and that real change happens through cooperation. These are not abstract lessons. They are practiced through play.



Emina Murtezic

Is a product and visual designer, researcher, and advocate exploring the intersection of design, inclusion, and ecological responsibility. Combining social engagement with systems thinking, she develops design solutions that challenge existing structures and center human needs. She studied Product Design in Sarajevo, where she is currently completing her Master’s degree.
Emina’s work explores how design can drive meaningful societal transformation. She collaborates with foundations and international organizations, which informs her impact-driven approach. Her award-winning work has been exhibited across Europe and beyond. She deeply believes that design should not adapt people to the system, but reshape the system to fit people.

Eco Doka

“Doka” is the Dutch word for the photographic darkroom, “donkere kamer”. This research project aims to provide sustainable alternatives to the harmful chemical process of darkroom photography.

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?

Traditional developing and fixing processes in film photography rely on toxic chemicals like hydroquinone, metol and ammonium thiosulfate, and their disposal poses a major ecological risk. Growing up in Naples, where toxic waste dumping is a critical issue, I felt compelled to seek alternatives that wouldn’t contribute further to environmental harm. During my Tech Fellowship at Rijksakademie, I researched and developed new techniques that replace hazardous chemicals with natural and biodegradable substitutes. I identified ascorbic acid (vitamin C) as a safe developing agent and formulated an eco-friendly developer with sodium ascorbate and natural phenols from blueberries, coffee or cocoa powder, which allowed for effective film processing without traditional toxic developers. Similarly, I substituted the stop bath with a simple solution of rainwater and vinegar and experimented with a salt-based fixer, using sustainable accelerants like sulfenic acid from onions and MSM (methylsulfonylmethane) to speed up the process.

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

An estimated 11.6 million tonnes of toxic waste is buried or burned beneath vegetable fields, in quarries or on open land in the area around Naples, Italy, my hometown. Highly toxic industrial waste such as dioxin, arsenic, and even radioactive material can be found in the area. It is important to be aware of what these chemicals do to the environment over time, and be eco-smart about the best method of disposal. Most municipalities do not allow the disposal of any photographic waste into septic systems because it can adversely affect sources of underground drinking water and aquatic life. Yet most photographers dispose of their chemicals down the drain. I am developing recipes and guidelines to share with a wider community, hoping to inspire others to pursue environmentally conscious approaches to art and chemical-based processes, while also laying the groundwork for sustainable practices in creative industries.

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

While most coffee-based developers are film-specific, my research focuses on a universal recipe compatible with any black-and-white brand and a massive sensitivity range (ISO 12–3200). I am currently refining this formula to offer a cheap, accessible alternative that I plan to both commercialize and share freely online. The analogue revival is undeniable; over the last decade, Kodak resumed production and ILFORD’s revenues doubled. However, many “eco-friendly” chemicals currently on the market are merely greenwashed products that remain environmentally harmful. My goal is to provide a truly sustainable solution that honours the craft. I hope this movement eventually inspires other chemical-heavy industries, like ceramics and painting, to adopt authentic, sustainable alternatives at a commercial level.

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

This project taps directly into the “Analog Renaissance” led by Gen Z and Millennials, who are increasingly seeking tactile, slow processes to counter their digital-heavy life. Young people are highly sensitive to greenwashing. My recipe offers a transparent, DIY alternative to “eco-labeled” industrial toxins, aligning with their environmental values. Additionally, by keeping the recipe cheap and open-source, I lower the financial barrier to entry, making high-quality film development inclusive rather than elitist.
The project transforms a high-tech hobby into a grounding, kitchen-based ritual, turning a “black box” chemical process into something tangible and safe, satisfying a deep-seated need to reconnect with natural, non-digital cycles.



Giulia Principe

Is a Neapolitan, Italian, transdisciplinary artist currently based in Amsterdam. Her practice explores perception as an unstable interface between the self, technology, and the environment. Mapping a deliberate conceptual arc of moving from the outer environments we observe to the internal environments that observe us. She works on mixed media installations and material research on sustainable darkroom practice first developed during Covid-19 and later supported by Rijksakademie van Beeldende Kunsten via tech fellowship (2022). Her work has been exhibited throughout the Netherlands, India, Japan and NYC. Her photographic research won the Art and Science Prize at Crqlr Awards (JP) in 2024. In 2023 she co-founded Doka 107, a photographic darkroom studio in the centre of Amsterdam.

Das hier ist propaganda

A field guide to Wonderland.
Or, in other words: A cross medial approach to build resilience & resistance against modern Propaganda on Social Media.

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?

I‘m sure you can feel it too. Unsteadiness, discontent, distrust. We find ourselves in times of crisis. It comes at no surprise that we are now especially vulnerable to fall for “white rabbits“ which lure us into their rabbit holes by promising security, idyll and the one-and-only solution for all problems – ideologies too tempting to ignore. It is what many believe has perished with the Nazi Regime nearly a hundred years ago.
The reality is, propaganda is as existent as ever. All that has changed are its tonality, aesthetics, the media. Not that this change was by chance. It simply adapted to stay concealed. The Social Media Logic and recent developments of AI are contributing to spread manipulative content faster, more convincing and more gripping than ever before.

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

Everybody knows enough about propaganda to dislike it, but few know enough to know what it is that propaganda actually does“, says Cory Wimberly.
To recognise the dangers early enough, we need to understand the mechanisms. That is why I designed a guide. It lifts the rosy veil of ideological promises. Inspired by the methology of “Prebunking“, readers learn about five common manipulation techniques and how to recognize them through a process of premonition, explanation and encountering examples. However, propaganda is not rational. It‘s toying with emotions. Thus, I approached the problem by making knowledge tangible through metaphors, namely the famous adventures of Alice in Wonderland but also popcultural references. The informative layer of the leaflet extends into the digital realm – just as propaganda did – by Augmented Reality.

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

A common way to fight disinformation is by debunking the lies and factoids told by propagandists. However, various problems occur if we rely only on trying to redo the damage. Recent study suggests to expand the approach by including prevention: Prebunking. The goal is to preemptively build resilience and resistance against manipulative content. My main concern was how to translate the findings into a project, which would feel trustworthy and invites to properly engage with the topic, while also acknowledging today‘s accelerated consumption habits. The result is crossmedial: I translated the concept of a political pamphlet into a modern zine, combining analogue and digital by including AR-Elements. That way I could go beyond the expectations we have when consuming print products.

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

One major aspect of developing the concept and visual language of the project was understanding where and how young people encounter propaganda. Studies suggest today‘s main touchpoint to be Instagram for my target group, which by it‘s design and logic seems to aggravate dynamics which allow manipulative rhethoric to flourish. Content floods us fast and unsorted. My project responds with the contrast of editorial clarity and structure, consciously enhanced by pop cultural references and memes, absurdity and humour. The AR contents add the possibility of working with motion and sound, to create more accurate links to what we encounter daily in “posts“ and “reels“. My goal is to craft an intuitive access, to empower young people. Because with the necessary tools, we can spot rabbit holes before the fall.



Janine Kerscher

Writing this, I‘m freelancing as a sustainable communication designer, in my early twenties, situated in Germany. Last year, I graduated, leaving uni as “Bachelor of Fine Arts“. But more important than any title, I left with my own expression as a creative person and the goal to craft connection through design. I know it‘s actually complex, but to put it simple: I want to do good.
To me, good design is so much more than “make it pretty”. It means acknowledging the power to change views, to guide, to shape – essentially to map the future. And most importantly “good” includes treating this power with responsibility & care, asking why before what.

Da Grigio A Verde. Campaigning for a greener and healthier city

“Da Grigio A Verde” is a bold campaign promoting the green transformation of Bolzano’s Piani district, one of Italy’s hottest cities—a story of brave people fighting for a better future.


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?

This project is a social and media campaign that fights for the implementation of a greening project in the Piani district in Bolzano, one of the hottest Italian cities, where only 1% of the total area is covered by public green spaces. Co-created with the association Ambiente e Salute, residents, students, professors, activists, and politicians. Together we fight for:

1. Creating green infrastructure.

2. Developing a water management and irrigation system.

3. Enhancing biodiversity.

4. Improving sports fields and playgrounds.

5. Upgrading accessibility, mobility, and safety.

My campaign promotes the project among local residents and focuses on showcasing its creators—residents concerned about the future. Even though the project was approved by the city council and we have secured 350,000 euros for its implementation, the municipality is delaying it and attempting to change its key objectives. That is why the project needs strong public recognition.

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

To make the campaign stand out, I used a bold fluorescent green and a brave visual style that immediately caught attention. Data visualizations—such as a project flag and graphs highlighting supporters and its long history—made the grassroots nature clear and accessible.
Ironic posters and artistic interventions exposed the absurdities of urban life, while an open exhibition at the project site brought the campaign closer to the public. Social media, a press conference, TV interviews, and a local newspaper article helped spread the message across the region.
Thanks to interventions in public space, the first points of the project were already marked and improved inhabitants’ safety. Ultimately, the campaign focused on a positive vision of the future, leaving people with hope and a compelling idea of a better city that truly serves its citizens.

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

The campaign is bold, highly visible, and asserts a strong presence in public space. It creatively uses that space by identifying its problems and possibilities for improvement. It employs a variety of techniques—often unconventional for social campaigns—making it fresh and distinctive.
My role was to facilitate collaboration between visionary citizens and a rigid municipal structure, a connection often overlooked in similar initiatives.
The project shows that determination, commitment, and continuous effort can lead to real results. It proves that fighting for what we care about matters—because when we care deeply enough, others will join and support us.

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

This project was largely created by young people. The initial vision for transforming the space came from the Ambiente e Salute association, which includes older members; however, thanks to the project’s partnership with the university and over two years of student work, it has reached this stage.
Young people live with growing fear about the future. The climate is changing, and predictions suggest the crisis will be far more severe than we can estimate. Climate anxiety is a daily reality. I know this because I carry it with me—sometimes sinking into gloomy visions of a meaningless future. That is why we must act: start locally, put pressure on authorities, and care for our cities. Young people understand this and are responding actively.
The bold, fluorescent campaign also has a modern, youthful character that appeals to younger audiences.