Daan Roosegaarde: “People can do what they want with my Crystal installation”

Dezeen and MINI World Tour: Dutch designer Daan Roosegaarde explains how his installation in Eindhoven consisting of hundreds of glowing LED crystals will change over time as some people steal them and others create new ones of their own. 

Crystal by Studio Roosegaarde

Crystal is a permanent installation that opened in Eindhoven during Dutch Design Week. It consists of hundreds of wireless LED crystals that light up when placed on the floor.

“The city of Eindhoven commissioned us to think about the future of light, where light gets liberated and jumps out of the lightbulb,” Roosegaarde explains. “We developed thousands of little crystals, which have two LEDs in them. The floor has a weak magnetic field and the moment you play with them they light up. No battery, no cable – it’s Lego made from light.”

Crystal by Studio Roosegaarde

Roosegaarde says that people have already started using the crystals in creative ways.

“People use it to write letters,” he says. “We had one lady, her boyfriend proposed to her. It’s great to make environments that are open to the influence of people. You can play [with the crystals], you can interact with them, you can share them, you can steal them. And I like it the most because it’s an experience you cannot download. You have to go here to experience it. The crystal and the location need each other.”

Crystal by Studio Roosegaarde

Roosegaarde will replenish the crystals every month, to replace those that are stolen. He also hopes that students will contribute their own crystal designs.

“We will open source how to make [the crystals] so students can make their own in different colours and shapes,” he says. “So Crystal will keep on growing. More crystals will be added, new shapes will arise, I will have nothing to do with that, people can do whatever they want.”

He adds: “In that way, it will be an ecosystem of behaviour and I think it’s going to be super exciting to see how the design will evolve.”

Daan Roosegaarde portrait
Daan Roosegaarde. Copyright: Dezeen

We drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y’Skid.

You can listen to more music by Y’Skid on Dezeen Music Project and watch more of our Dezeen and MINI World Tour movies here.

Dezeen and MINI World Tour: Eindhoven
Our MINI Paceman in Eindhoven

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Martijn Van Strien’s Dystopian Brutalist Outerwear is “a kind of trend forecast”

Dezeen and MINI World Tour: graduate designer Martijn Van Strien explains that his range of coats made from single sheets of black tarpaulin are designed for an imagined future world where money and resources are in short supply.

Dystopian Brutalist Outerwear by Martijn Van Strien

Dystopian Brutalist Outerwear, which Van Strien exhibited at the Design Academy Eindhoven graduate show during Dutch Design Week last year, consists of five coats made out of cut sheets of folded tarpaulin.

Dystopian Brutalist Outerwear by Martijn Van Strien

“It’s a kind of trend forecast for a dystopian future that, when everything is not so great with the economic stuff that’s going on right now, we might be heading towards,” says Van Strien. “It will be cold; people will be unhappy; we’ll be living in buildings that are just grey blocks. These are coats that we could produce for people that don’t have a lot of money, when we don’t have a lot of materials, when a coat needs to last for a lifetime.”

Dystopian Brutalist Outerwear by Martijn Van Strien

Van Strien says he chose tarpaulin because it is cheap, resilient and simple to work with.

“[The coats] are all cut from a single piece of black tarpaulin,” he says. “You then have to weld the parts together with heat. In the front I’ve made closures with magnets and that’s pretty much it. This material is super easy to work with, you don’t need to finish it or anything and it will last forever.”

Dystopian Brutalist Outerwear by Martijn Van Strien

The coats were designed to provoke a reaction and make people think about where the world could be heading, Van Strien says.

“A lot of people feel a bit creeped out [by the coats] and that is the goal, that we think about how we’re handling our social malaise,” he explains. “I see myself as a fashion designer, so I’ve looked at this from a purely aesthetic point of view. But the thought behind it is something that I feel very strongly about. I never make a garment just because it’s pretty, it always has to tell a story.”

Dystopian Brutalist Outerwear by Martijn Van Strien

Despite being designed for a future that does not exist yet, Van Strien says he has been approached by a number of people interested in putting the coats into production.

“I was not planning on putting these coats into production when I first made them, it was just a statement,” he says. “But a couple of parties have come up and they asked me if I wanted to take them into production so now I’m considering it.”

Martijn Van Strien portrait
Martijn Van Strien. Copyright: Dezeen

We drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y’Skid.

You can listen to more music by Y’Skid on Dezeen Music Project and watch more of our Dezeen and MINI World Tour movies here.

MINI Paceman outside Evoluon building, Eindhoven
Our MINI Paceman outside the Evoluon building, Eindhoven

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Gijs van Bon’s Skryf machine “writes poems on the ground with sand”

Dezeen and MINI World Tour: in this movie filmed at Dutch Design Week in Eindhoven, artist Gijs van Bon shows us his machine called Skryf, which deposits a trail of sand behind it to form letters on the ground. 

Skryf sand writer by Gijs van Bon

Skryf consists of an adapted CNC milling machine on wheels, which van Bon controls with a laptop via a simple piece of software he developed.

“I can just type in text and it converts it to a code that the machine accepts,” he explains. “It writes letter by letter and in the four hours that I write per day it will write about 160 metres.”

Skryf sand writer by Gijs van Bon

Van Bon travels to different festivals around the world with Skryf and chooses new pieces of literature to write on the ground in each place.

“I’ve been with Skryf throughout Europe and once to Australia,” he explains. “In Eindhoven, I’m writing the poems of Merel Morre. She is the city poet of Eindhoven; she reflects on what is happening now in the city.”

Skryf sand writer by Gijs van Bon

Skryf’s carefully-written lines of poetry are destroyed by passersby or the wind almost as quickly as it can write them. Van Bon says that the whole idea behind the project is that the lines of poetry exist only momentarily.

“When you’re writing one [line of] text, another one is going away because people start walking through it,” he explains. “Once I’ve finished writing, I walk the same way back but it’s all destroyed. It’s ephemeral, it’s just for this moment and afterwards it’s left to the public and to the wind.”

Gijs van Bon
Gijs van Bon. Copyright: Dezeen

We drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y’Skid.

You can listen to more music by Y’Skid on Dezeen Music Project and watch more of our Dezeen and MINI World Tour movies here.

Dezeen's MINI Paceman at Strijp-S, Eindhoven
Our MINI Paceman in Eindhoven

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Pieke Bergmans’ blown-plastic VAPOR lighting “grows like a plant or animal”

Dezeen and MINI World Tour: Amsterdam designer Pieke Bergmans explains that she used a process similar to glass blowing to create the plastic lighting she exhibited during Dutch Design Week 2013 in Eindhoven.

Vapor by Pieke Bergmans

Showcased amongst the pipes in a former pump house in Eindhoven, Bergmans exhibited two groups of objects as part of her VAPOR collection, which she created by heating and rapidly inflating PVC plastic.

Vapor by Pieke Bergmans

Swaying, ethereal shapes were hung in the main room, which Bergmans made by blowing air into the plastic until it stretched into an extremely thin, translucent tube at one end.

“The material is solid and somehow it fades away almost into nothingness,” she explains. “It dissolves like a gas. It’s very thin plastic at the ends, but on the top it’s quite solid.”

Vapor by Pieke Bergmans

A second installation in the basement of the pump house consisted of a series of twisted, rippled pipes.

Vapor by Pieke Bergmans

“The shapes are really organic, they grow like a plant or an animal,” she says. “That is something I really love, because I don’t like to design being very precise. I actually prefer that shapes grow into their natural environments.”

She continues: “So this plastic is actually grown. The only thing I decide is to add more or less air into it, or maybe add a few colours, or maybe add more material.”

Vapor by Pieke Bergmans

Bergmans explains that the pieces she exhibited at Dutch Design Week were the result of many different experiments.

“I’m very free and experimental and I try to understand the boundaries [of a production process],” she explains. “I will make things with lots of air and it will explode, maybe. After lots of experiments I know the limits; I know the edges. And actually, the edges are most of the time the nicest.”

Pieke Bergmans portrait
Pieke Bergmans. Copyright: Dezeen

We drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y’Skid.

You can listen to more music by Y’Skid on Dezeen Music Project and watch more of our Dezeen and MINI World Tour movies here.

Dezeen and MINI World Tour: Eindhoven
Our MINI Paceman in Eindhoven

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Jacket to help prepare for the end of the world

Floatation devices, signalling flags and weapons are all incorporated into this apocalypse survival coat by Design Academy Eindhoven graduate Marie-Elsa Batteux Flahault.

Jacket to help prepare for the end of the world by Marie-Elsa Batteux Flahault

Marie-Elsa Batteux Flahault created the On The Edge jacket after speaking to preppers, a group of people equipping themselves in case calamity strikes with little or no warning.

“I was exploring the end-of-the-world fever that expended with the 2012 Mayan prediction,” Batteux Flahault told Dezeen. “While looking into this subject, I discovered the existence of the preppers. I was interested in their approach that is more pragmatic than the religious fanaticism, which is often depicted with this kind of theme.”

Jacket to help prepare for the end of the world by Marie-Elsa Batteux Flahault

She integrated a selection of potentially life-saving features into a pale camouflage jacket that might aid the wearer in the event of catastrophic disaster.

A visor and mask can fold over the face to provide protection for the eyes and respiratory system. Sections around the neck and base of the jacket inflate to create flotation devices.

Jacket to help prepare for the end of the world by Marie-Elsa Batteux Flahault

A blade in the sleeve flicks out for when wearer is in need of a weapon and the hood is covered with diagrams depicting how to use the drawstring to inflict pain or create traps.

Water and food can be hoarded in pockets created in the lining, while bright orange flaps unfurl from zipped pockets at the sides for signalling to attract attention.

Jacket to help prepare for the end of the world by Marie-Elsa Batteux Flahault

Gold-coloured foil unwraps from the hem to cover the legs, providing protection against the cold. Bandages for first aid are also attached to the back.

Batteux Flahault believes that other survival tools could be included in the jacket and that the functional components could be applied to other garments.

Jacket to help prepare for the end of the world by Marie-Elsa Batteux Flahault

“For me the jacket is the image of a movement,” she said. “All kinds of equipment could be featured in the jacket. I chose the jacket to show this principle but the way I see it, it could be applied to a whole range of objects.”

The coat was shown during Dutch Design Week 2013, where other survival garments made from heavy-duty black tarpaulin were also exhibited. The day before the Mayan calendar ended in 2012 we published another fashion collection for surviving the end of the world.

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Piet Hein Eek uses offcuts from his scrap wood furniture to make Waste Waste 40×40

Dutch designer Piet Hein Eek has created a collection of furniture made by meticulously gluing together tiny squares of wood, which are cut from the waste material of his famous scrap wood furniture.

Waste Waste 40 40 by Piet Hein Eek

Piet Hein Eek made his name in the 1990s for his Waste furniture assembled by stacking up pieces of scrap material that would otherwise be discarded, and the new Waste Waste 40×40 collection takes the process a step further.

“It’s made of the leftovers from the leftovers,” he told Dezeen when we visited his studio and workshop complex in a former Eindhoven ceramics factory during Dutch Design Week.

Small pieces of timber that can’t be used in the Waste series are cut down into identical squares of 40 by 40 millimetres. These are then glued together to cover the surface of chairs, tables and benches.

Waste Waste 40 40 by Piet Hein Eek

“We all of a sudden have a size which determines the design,” explained the designer. “Everything is determined by this 40 by 40 size, so the thickness of the surface is either 40 or 80 and the leg can be either 40, 80 or 120 in width.”

Waste Waste 40 40 by Piet Hein Eek

“A round table can’t be round any more and it ends up looking a lot like pixels,” he added. The pieces are made from a mixture of timbers and retain traces of different lacquers and paints on the surface, meaning no two pieces are ever identical. Each object will be numbered consecutively.

Piet Hein Eek began making the Waste furniture as a result of his frustration at having to throw away material because it was too expensive to use it for anything – not because the material itself was worthless but because the cost of labour should make the extra effort required to work with differently shaped and sized scraps of material uneconomical.

Waste Waste 40 40 by Piet Hein Eek

He decided to use the material anyway, pretending for a moment that labour was free and materials were worth their weight in gold, and found to his surprise that the products were commercially viable because customers were willing to pay for the extra effort involved.

Waste Waste 40 40 by Piet Hein Eek

“As opposed to almost any other product, the waste products are made with the patience of a saint, quite a feat considering this is an age in which time is a rare commodity for pretty much everyone,” he reflected.

Waste Waste 40 40 by Piet Hein Eek

The original Waste series is made by gluing up scraps of wood in layers, carefully aligning all the irregular pieces and trimming them individually to fit where needed.

Waste Waste 40 40 by Piet Hein Eek

This process leaves behind waste material in smaller quantities and even more awkward shapes that are more difficult to use, though, so Piet Hein Eek reduced the labour required to convert them into the new collection by imposing the fixed shape and size of the squares and using them only as a skin rather than stacking them up to make a structure.

Waste Waste 40 40 by Piet Hein Eek

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Primal Skin makeup collection designed for men by Annemiek van der Beek

Design Academy Eindhoven graduate Annemiek van der Beek has designed a collection of makeup that’s packaged to appeal to men (+ slideshow).

Primal Skin by Annemiek van der Beek_dezeen_6

Called Primal Skin, Annemiek van der Beek‘s collection is designed to camouflage small imperfections in the complexion and accentuate the eyes.

Primal Skin makeup for men by Annemiek van der Beek

“These days men are using more cosmetic products than before and even makeup is a more common topic,” the designer told Dezeen. “For women wearing makeup is a daily ritual and for them it’s much easier to use and buy it because of the big range of products. This new branding experience makes makeup accessible for the modern man.”

Primal Skin makeup for men by Annemiek van der Beek

The set includes foundation in five colours, powder in five colours, eye pencil in stone black or coal black and eyeshadow in three shades of grey.

Primal Skin by Annemiek van der Beek_dezeen_5

The cosmetics are made up of natural ingredients such as coal, clay and mineral stones, and must be applied with specially designed tools that van der Beek says give the experience “a rough and sturdy touch.”

Primal Skin by Annemiek van der Beek_dezeen_8

Compacts and brushes are made of black anodised aluminium. “I chose aluminium because the weight and the temperature of the material feels more manly to hold,” she explained.

Primal Skin by Annemiek van der Beek_dezeen_9

They come packaged in minimal boxes with rounded corners, made of black-pigmented MDF that van der Beek chose “because it looks like stone, but it is very lightweight.”

Primal Skin by Annemiek van der Beek_dezeen_10

“Makeup products are always focused on the female user, but I think a guy wants to experience makeup in a different way,” she added.

Primal Skin by Annemiek van der Beek

Annemiek van der Beek presented the project as part of her graduation show at the Design Academy Eindhoven during Dutch Design Week.

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Patterned plates decorated using a pendulum

Rotterdam designer David Derksen has decorated a set of plates by employing the oscillations of a pendulum to drip patterns of paint (+ movie).

Oscillation Plates by David Derksen

The patterns on Derksen‘s prototype Oscillation Plates were created using both the mathematical shapes of the pendulum’s swing and the human element of positioning and initiating the movement.

Oscillation Plates by David Derkson

“A beautiful pattern that is formed under the influence of gravity, which is normally hidden, is now literally shown,” Derksen told Dezeen. “On one hand it follows the mathematical laws of gravity, on the other hand it is very playful.”

Oscillation Plates by David Derkson

The designer created the brass pendulum so it could hold and drip the right amount of paint. “We had to adjust the size of the hole to the viscosity of the paint, to create a nice thin, constant paint flow,” he said. “It also needs to have enough mass for making a constant oscillation.”

Oscillation Plates by David Derkson

The pendulum contained enough acrylic paint to decorate one set of plates. After the first push, the pendulum released a constant flow of black paint onto the surface of the plates in overlapping oval shapes.

Oscillation Plates by David Derkson

Every rotation added to the pattern, creating criss-crossing lines and darker areas where the pendulum changed direction. The position and swing orientation was then changed for a second round, then the plates were left to dry.

Oscillation Plates by David Derkson_dezeen_10

The plates are to be developed by a ceramic specialist and made available for the VIVID Gallery in Rotterdam.

Here is some more information from the designer:


Oscillation Plates

With gravity as the acting force, these plates are decorated by a pendulum. The patterns are a graphic representation of the oscillation of a pendulum, revealing a hidden pattern that exist in nature.

Oscillation Plates by David Derkson

The result is a play between the mathematical rules of the natural oscillation and the randomness of the human that initiates the swing of the pendulum. This combination makes each plate unique.

Oscillation Plates by David Derkson

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Honey bees can be trained to detect cancer “in ten minutes” says designer

Dutch Design Week 2013: Portuguese designer Susana Soares has developed a device for detecting cancer and other serious diseases using trained bees ( + slideshow).

Dezeen_Susana_Soares_Bees_Design_2

The bees are placed in a glass chamber into which the patient exhales; the bees fly into a smaller secondary chamber if they detect cancer.

“Trained bees only rush into the smaller chamber if they can detect the odour on the patient’s breath that they have been trained to target,” explained Soares, who presented her Bee’s project at Dutch Design Week in Eindhoven last month.

Dezeen_Susana_Soares_Bees_Design_1SQ

Scientists have found that honey bees – Apis mellifera – have an extraordinary sense of smell that is more acute than that of a sniffer dog and can detect airborne molecules in the parts-per-trillion range.

Bees can be trained to detect specific chemical odours, including the biomarkers associated with diseases such as tuberculosis, lung, skin and pancreatic cancer.

Bees have also been trained to detect explosives and a company called Insectinel is training “sniffer bees” to work in counter-terrorist operations.

Dezeen_Susana_Soares_Bees_Design_3

“The bees can be trained within 10 minutes,” explains Soares. “Training simply consists of exposing the bees to a specific odour and then feeding them with a solution of water and sugar, therefore they associate that odour with a food reward.”

Once trained, the bees will remember the odour for their entire lives, provided they are always rewarded with sugar. Bees live for six weeks on average.

“There’s plenty of interest in the project especially from charities and further applications as a cost effective early detection of illness, specifically in developing countries,” Soares said.

Dezeen_Susana_Soares_Bees_Design_4

Here is a project description by Susana Soares:


Bee’s / Project

Bee’s explores how we might co-habit with natural biological systems and use their potential to increase our perceptive abilities.

The objects facilitate bees’ odour detection abilities in human breath. Bees can be trained within 10 minutes using Pavlov’s reflex to target a wide range of natural and man-made chemicals and odours, including the biomarkers associated with certain diseases.

The aim of the project is to develop upon current technological research by using design to translate the outcome into systems and objects that people can understand and use, engendering significant adjustments in their lives and mind set.

How it works

The glass objects have two enclosures: a smaller chamber that serves as the diagnosis space and a bigger chamber where previously trained bees are kept for the short period of time necessary for them to detect general health. People exhale into the smaller chamber and the bees rush into it if they detect on the breath the odour that they where trained to target.

What can bees detect?

Scientific research demonstrated that bees can diagnose accurately at an early stage a vast variety of diseases, such as: tuberculosis, lung and skin cancer, and diabetes.

Precise object

The outer curved tube helps bees avoid from flying accidentally into the interior diagnosis chamber, making for a more precise result. The tubes connected to the small chamber create condensation, so that exhalation is visible.

Detecting chemicals in the axilla

Apocrine glands are known to contain pheromones that retain information about a person’s health that bees antennae can identify.

The bee clinic

These diagnostic tools would be part of system that uses bees as a biosensor.

The systems implies:
– A bee centre: a structure that facilitates the technologic potential of bees. Within the centre is a beefarm, a training centre, a research lab and a healthcae centre.

– Training centre: courses can be taken on beetraining where bees are collected and trained by beetrainers. These are specialists that learn beetraining techniques to be used in a large scope of applications, including diagnosing diseases.

– BEE clinic: bees are used at the clinic for screening tests. These insects are very accurate in early medical diagnosis through detection on a person’s breath. Bees are a sustainable and valuable resource. After performing the diagnose in the clinic they are released, returning to their beehive.

Bee training

Bees can be easily trained using Pavlov’s reflex to target a wide range of natural and man-made chemicals odours including the biomarkers associated with certain diseases. The training consists in baffling the bees with a specific odour and feeding them with a solution of water and sugar, therefore they associate that odour with a food reward.

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Dutch Design Week presents trends “two years ahead of Milan”

Dezeen and MINI World Tour: Eindhoven designer Miriam van der Lubbe takes us around the fair she co-founded, claiming: “What is visible in Milan in two years, you can see at Dutch Design Week now.”

Miriam van der Lubbe
Miriam van der Lubbe. Photo copyright: Dezeen

This year’s Dutch Design Week, the 12th edition of the show, was attended by an estimated 250,000 visitors, more than the entire population of the city of Eindhoven where it takes place.

Van der Lubbe, who co-founded the event, remembers its much more humble beginnings when she was “happy with 5,000” visitors.

S-Strijp during Dutch Design Week in Eindhoven
Strijp-S during Dutch Design Week in Eindhoven

She reveals the first Dutch Design Week was borne out of a frustration among local designers over the lack of a proper platform to present their work.

“Why do we always have to go to Milan to show our work, as if you are only something in design if you are there?” she asks. “In Holland there was nothing, so let’s see if we can actually pull something off here.”

Area 51 skatepark, Eindhoven
Area 51 skatepark in a former industrial building in Strijp, Eindhoven

Van der Lubbe believes that the pro-active spirit of Eindhoven-based designers helped Dutch Design Week quickly get off the ground and grow into the event that it is today.

“There were all kinds of initiatives going on,” she says. “There’s a good urban culture here; people are actually doing stuff instead of talking, which is a big difference, and it grew up to be this huge event.”

Mycelium Chair by Studio Eric Klarenbeek
Mycelium Chair by Eric Klarenbeek, on show at Klokgebouw during Dutch Design Week

The first area van der Lubbe takes us to is Strijp, a former Philips industrial complex that is now one of the central areas of Dutch Design Week.

“The Klokgebouw, one of the old industrial buildings, is the starting point of Dutch Design Week,” van der Lubbe says. “This week there are about 400 events of almost 2,000 designers.”

Vapor by Pieke Bergmans
Vapor by Pieke Bergmans, on show at Strijp during Dutch Design Week

She then takes us to the graduation show at Design Academy Eindhoven, the school where most of Eindhoven’s designers, including van der Lubbe herself, received their education.

Design Academy Eindhoven graduate show
Design Academy Eindhoven graduate show

Van der Lubbe says that current graduates do not benefit from the same economic support that she enjoyed when she graduated.

Precious Plastic by Dave Hakkens
Precious Plastic by Design Academy Eindhoven graduate Dave Hakkens

“The government was very much aware of the importance of creative people,” she says. “There were a lot of funds and we did not have to earn our money from day one.”

Dystopian Brutalist Outerwear by Martijn Van Strien
Dystopian Brutalist Outerwear by Design Academy Eindhoven graduate Martijn Van Strien

“But when the [economic] crisis came in, that all changed. I think it is now the obligation of companies to create opportunities for creative people to grow. I think that is also the role of Dutch Design Week, to be between culture and the money.”

Wire frame of a chair by Nacho Carbonell
Wire frame of a chair by Nacho Carbonell

Next, van der Lubbe takes us to Sectie C, a new design district where young designers including Nacho Carbonell open their studios up to the public. We then head to Eat Drink Design at Kazerne, a gallery and restaurant housed in a former army barracks.

Sectie C during Dutch Design Week in Eindhoven
Sectie C during Dutch Design Week

“[Dutch Design Week] is really different from all the design weeks in the world because it comes out of the designers themselves,” says van der Lubbe. “They open up their doors, you’re welcome in their studios or in their workspaces. You actually can feel the vibe of innovation and of new developments.”

Eat Drink Design at Kazerne during Dutch Design Week in Eindhoven
Eat Drink Design at Kazerne, Eindhoven

“Martijn Paulen, the new director of Dutch Design Week, said: ‘what is visible in Milan in two years, you can see that here now.'”

Nola by Studio Drift
Nola by Studio Drift on show at Eat Drink Design

We drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y’Skid.

You can listen to more music by Y’Skid on Dezeen Music Project and watch more of our Dezeen and MINI World Tour movies here.

MINI Paceman outside Evoluon building, Eindhoven
Our MINI Paceman outside the Evoluon building, Eindhoven

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“two years ahead of Milan”
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