Edited logbook by museum director Guus Beumer — HOWMAYIHELPYOU.COM
museum director Guus Beumer entered website on 23.05.2018 at 13:06:36, clicked on 3 tags, opened 0 projects and browsed 1 scenarios generating 130 images.

howmayihelpyou.nl is a digital library that delves into the phenomena, people, things and places developed by Studio Makkink&Bey. beep. In order for new dialogues, commissions and collaborations to occur. beep. beep. This digital publication is initiated after fifteen years of artistic services, during which the collective has performed works in various domains such as product design, interior architecture, beep, exhibition design, curating, applied arts and public space. beep. beep. Compile a logbook. beep. Zooming in and out from product scale to urban planning. beep. Did the invention of elevators give rise to the skyscraper, or did high-risers necessitate elevators? beep. beep. Various edited logbooks are available. Ka-Ching. Do you want your receipt with you, or in the bag? Have a nice day.

Studio Makkink/Bey

Essay by museum director Guus Beumer

Which transitions has Dutch Design gone trough since its establishment in the early 1990s and how does Studio Makkink&Bey relate to these developments? The essay ‘Studio Makkink/Bey’ describes the hybrid work practice of Rianne Makkink and Jurgen Bey throughout two decades.

It is worth noting that rational considerations played no part in the founding of Studio Makkink/Bey. Its origins are rooted in love, nurtured by camaraderie and a deep-felt empathy for one another’s philosophy as designer. 

She contributed to an architecture shaped by narrative and, as a designer, abandoned the notion of a presupposed use in favour of an expressive, spatial potential, resulting in, among other things, the founding of the maxwan architectural practice. 

His early work was characterized by what would later – in retrospect, of course – be labelled Dutch Design, and made his name as the designer who introduced a sense of disorientation to the domestic interior. Instead of the immaculate transparency so typical of a modernist aesthetic, he offered mystery and astonishment, on one celebrated occasion attaching cast-bronze Biedermeier chair backs to a tree trunk, challenging the viewer to imagine in what kind of space, expressing what kind of desire it might stand.

Picture Jurgen Bey’s house in Rotterdam which, thanks to his many experiments, had been reduced to a Swiss cheese porosity, held together solely by the occupant’s boundless energy.

Picture another home in Rotterdam, that of Rianne Makkink, who carried on developing models that are both transient and hybrid and who recast her apartment as salon/storage and on another occasion as cattery/showroom. 

At some point they decided to merge, or rather blend, their practices and his talent for the disorienting object was detached from a domestic setting, while her fascination with hybrids was incorporated into the potential repertoire of design products. Ground plan became pattern, the model became the end product, while the domesticated interior turned into a landscape for Makkink/Bey and thus into an infinite universe, an endless source of utopian reflections. 

Supposing that Dutch Design, setting aside the unvarying debates about nationality and identity, or aesthetic versus mentality, were for once to be understood as a unique public/private project from the early 1990s, as the transient fruits of a collective, as the sum of a few big and many more small contributions by curators, policy makers, designers, politicians, teachers and theorists – how might we then interpret the development and current position of Studio Makkink/Bey?

In recent times, and for the sake of convenience let’s take 2005 as the starting point, public funding has dwindled and policy makers and designers have become convinced that the cultural success of Dutch Design should be monetized. According to the prevailing thinking the only reality was that of the market and so, in the context of Dutch Design, its earlier endorsement of craftsmanship could also be sold as a form of luxury marketing. Likewise, that once disorienting visual language could be construed as a form of theatricality and as such a response to the consumer’s insatiable appetite for new images. In the past decade, these strategic realignments – you could call it a repositioning – of the notion of Dutch Design have played a crucial part in the success of a few individual members, but they have also served to obscure the one-time collective project: a project that was fundamentally – and perhaps even unwittingly – aimed at freeing the designer from the obligation to answer to a client and a local industry. Thanks to public funding, designers were given the space and time to develop their own capacity to commission and to experiment. In other words, Dutch designers were accorded the opportunities and resources of the Dutch artist and as a corollary of that were imbued – and once again, no doubt unwittingly – with the ideology of the artist as critical outsider. 

Interestingly, and what’s more coincidental with the commercialization of Dutch Design, a new ambition for design was formulated, once again prompted by the role of government: the idea of design as a response to social issues. Design morphed into ‘design thinking’. In that transition from Dutch Design Then to Design Now, Studio Makkink/Bey, with its complement of assistants, freelancers and trainees alongside the two main players, constitutes a point of reference. 

To repeat, Dutch Design Then was a product of the globalization of the design industry and the introduction of public funding, such as project and presentation grants for the designer. It began with a reconsideration of the interior and consumer articles and culminated in a contextual approach whereby, for example, an object’s functionality was de-emphasized in favour of its communicative power. Studio Makkink/Bey is one of the very few offices that did not so much exchange these principles from the early years as transform them into a speculative practice that revolves around the designer as researcher and new forms of representation and mediation are sought for each project. Whether acting on their own initiative or, more rarely, at the behest of someone else, they see design as encompassing both the design of an educational system and responding to issues related to a rural area in a state of transition. In the context of Makkink/Bey’s work practice, the research model – scale model, prototype or workshop – is simultaneously a design product and in turn the starting point for a new question, while the exhibition is not a survey of finished products, but a research instrument still working towards a possible solution. Within the domain of Design Now, Makkink/Bey is not alone in embracing such a work practice, but as the heir of the idea of Dutch Design Then, it is one of the few offices in which the evolution from then to now and the advent of a more research-oriented approach to design is evident.

Meanwhile, this office’s work practice is also having a big influence on design education. Bey is director of the Sandberg Instituut and Makkink teaches at several academies and universities. At the same time, their product has moved further and further away from what the general public recognizes as design and their projects are becoming increasingly ephemeral, not just because of the time-specific and performative nature of their products, such as the lecture, the workshop or the presentation, but also because of their tendency to materialize their research proposals and images in Styrofoam, as well as their repeated use of the maquette and the model – as if they are at pains to emphasize the speculative, still evolving, nature of their proposals. This is not a case of undue modesty, however, but an expression of a broader interpretation of the role of design, one in which the social significance and speculative capacity of design is paramount.

Let us pause to consider this most recent in a series of transformations from Dutch Design Then to Design Now. Thanks to public funds, the designer was able to develop into an ‘auteur’, which subsequently, courtesy of the repositioning of Dutch Design Then, led to the commercialization and thus the success of a few star designers. At the same time, this notion of Dutch Design Then has also given rise to a new practice in which the role of the designer is more important than their persona, leading to a more socially engaged practice like that of Makkink/Bey. Interestingly enough, this type of practice is predicated not on a consumer, but once again on a private or public client, while the final form of the end project or product is the outcome of interaction between designer and user rather than the imprimatur of the auteur. The market for luxury interior products is consequently no longer the appropriate place for this Design Now approach and stance, and as such it is also clear that the general consumer is no longer the sole market for Design Now products. If this second outgrowth of Dutch Design of the 1990s is to be turned to good account, if it is to be ‘monetized’, it must first be recognized as a design practice that is both relevant and socially engaged and the result of the interplay between market and government, between private and public, between culture and economy.

In hindsight we piece together the whys and wherefores, governed by cause and effect, and we construct an edifice of motives, which in turn invests everything with a certain logic. Studio Makkink/Bey is that edifice, is that retrospectively formulated outcome of a development that started sometime in the early 1990s and now, almost 30 years later, provides the argumentation for a different, relatively unfamiliar design form which, although associated with a Dutch context, is no longer related to an idea of ‘Dutchness’. Despite their social and cultural success, economic success continues to elude them, precisely because a hybrid work practice also presupposes a hybrid client, market and user (in the form of a community, for example). It is possible that the last of these can only be created by breathing new life into that old collective project – this time based on alternative forms of communality – with the help of newly formulated platforms within different and probably more diverse contexts. Until that moment, long live the philosophy and ambition of Studio Makkink/Bey! 

museum director Guus Beumer clicked on
13:07:04 Rianne Makkink
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13:07:07 Jurgen Bey
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13:07:12 DESIGN RESEARCH
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13:07:18 Seaweed Site
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13:07:04 museum director Guus Beumer clicked on Rianne Makkink
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and displayed 15 images

RIANNE MAKKINK • adjective: rianne makkink.

1. Rianne Makkink (Gorssel, 1964) is a Dutch Architect and designer. Makkink graduated in 1990 from the Technical University in Delft in the architecture department. She founded studio Max 1 and since 2012 directs Studio Makkink & Bey with Jurgen Bey. Makkink has been teaching at amongst others Design Academy Eindhoven and the Academy of Architecture. 2. Pferd und Wagen: mit Pferd und Wagen fuhr Rianne Makink entschleunigt durch den Norden von den Niederlanden. Langsamkeit wollte sie erfahren, erklärte sie uns in ihre Vortrag. Gleichzeitig baute Herman Verkerk, ihre damalige Kompagnon ein Gewächshaus aus Fundmaterialien. Und damit war Rianne die aktuelle Slow-bewegung ziemlich weit voraus. Mittlerweile leitet sie zusammen mit Jurgen Bey das renommierte Design Studio Makkink Bey, wo mit Design-objekten gesellschaftliche Entwickelungen kommentiert und beeinflusst werden.

Synonyms: Prada nomad, polder daughter, space odyssey lover, architect turned designer, parachutist.

Origin: Rianne as a name for girls is of Welsh and Irish derivation, and the name Rianne means “great queen, or goddess”. Rianne is a version of Rhiannon (Welsh). Rianne is also a form of Riane (Irish): feminine of
Ryan.

Rianne Makkink in a parked car, 2002
Entrance of one of the residencies designed by MAX 1, 1995
Rianne Makkink in a parked car, 1995
Publication on sloom.01, 2002
Publication on sloom.04, 2004
Illustration of MAX 50, 1999
Exhibition view of Higher Truth, 2002
Exhibition view of Higher Truth, 2002
The counter at Higher Truth, 2002
View of the kitchen from the stairs, 1998
View of the kitchen from the living room, 1998
Exterior view of the office, 1998
The office under construction, 1998
Man in sales cart in India, 2003
Exterior view of the Grocery Shop, 2005
13:07:07 museum director Guus Beumer clicked on Jurgen Bey
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and displayed 15 images

JURGEN BEY • adjective: jurgen bey.

1. Jurgen Bey is a Dutch product, furniture, interior and public space designer.

Jurgen Bey (1965), designer. Bey graduated from the Eindhoven Academy of Industrial Design in 1989 with a specialisation in Man and Public Space. His work gained publicity through Droog Design. He reused existing objects and gave them a new life, such as re-coating a chair with a layer synthetic material (Kokon 1999), or giving old pendants a new covering. For the new office of Interpolis, he designed a new version of the armchair which was taken into production by Prooff, a label he created together with SV Interior group. Together with Rianne Makkink, he is working under the name of Studio Makkink & Bey on various projects and products. Bey has taught at amongst others the Royal College of Art in London and is currently director of the Sandberg Instituut.

Synonyms: silver fox, poetic tom-tom, the talking head, polder knight, progressive office priest, giant in a model world, narrator.

Origin: Low German form of George.

3003 The Glass Curtain partly transparent, 1995
4016 The Healing Chair, 2000
3015 Shopping window installation for Levi’s RED collection, 2000
3006 The Sun-Dial as installed in Amersfoort, 1998
3006 Model of the Sun-Dial, 1998
3037 Jurgen Bey sitting on a Beach Bench, 1998
3037 Model showing the production of Beach Benches, 1998
Exhibition view of Kokon, my Castle, my Home, 2000
3009 Production of the Gardening Bench, 1998
3009 Photograph of the Extrusion Bench, 1998
3014 Kokon Panelling on show in the Centraal Museum Utrecht, 2001
3041 Tokyo Daytripper before coating is applied, 2001
3041 Synthetic coat applied to the Tokyo Daytripper, 2001
3026 One of the suits created for S.L.A.K., 2000
13:07:12 museum director Guus Beumer clicked on DESIGN RESEARCH
Discipline
and displayed 87 images
3395 Fragment of the illustration of the entire Polderscape, 2017, ongoing
6000 Office campus landscape drawing overview, 2006, ongoing
3410 Illustration of the production of the Glass Bottle for the Water School, 2017, ongoing
3368 Drawing of the Seaweed Site in the Werkplaats Centraal publication, 2017, ongoing
6000 Detail of office campus landscape drawing, 2006, ongoing
3410 Illustration of the production of Bricks for the Water School, 2017, ongoing
3380 Website www.designdiorama.com, 2016
3374 Illustration of the production landscape of the NORYA furniture collection, 2016
6000 Detail of office campus landscape drawing, 2006, ongoing
3235 Collage of the exhibition’s content and participants, 2011
3099 Research page of Lightness Studios publication, 2007
3336 Cover of the Werkplaats Centraal publication, 2017, ongoing
3368 Harvesting and drying seaweed in the Seaweed Warehouse, 2017, ongoing
3177 Study of the train station of Zevenaar, 2009
3368 Spread of the Werkplaats Centraal on the location of the Seaweed Site, 2017, ongoing
3102 Models for the Vitra my Home exhibition, 2007
3308 Early model of product developed for the Concept Room, 2014
3006 Model of the Sun-Dial, 1998
3395 Fragment of the illustration of the entire Polderscape, 2017, ongoing
3395 Fragment of the illustration of the entire Polderscape, 2017, ongoing
3269 Isometric view of the exhibition site, 2013
3245 Plan of farm and surrounding pastures, 2011
3102 Technical drawing of the Slow Car, 2007
3177 Illustration depicting numerous added public functions, 2009
3049 Model of the BLOB, 2004
3368 Spread of the Werkplaats Centraal publication on the Seaweed Warehouse, 2017, ongoing
3245 Bird’s eye view of future pasture, 2011
3368 Resident designers of the Seaweed Site, 2017, ongoing
3244 Map of the route travelled, 2012
3395 Fragment of the illustration of the entire Polderscape, 2017, ongoing
Publication on sloom.04, 2004
3410 Illustration of the Landscape of the Water School, 2017, ongoing
3099 Page on carbon and transport, 2007
6005 Scale model for Work at Home, 2013
3108 Construction of the model for Travels through Paradise, 2007
3102 Construction of the Slow Car in the studio, 2007
3410 Illustration of the Water School and its Organization, 2017, ongoing
3410 Illustration of the Community of the Water School, 2017, ongoing
3102 Technical drawing of the High Spot, 2007
3268 Illustration for Werkplaats Buijtenland, 2012
3034 Illustration showing development of the Ear Chair, 2002
3043 Map detailing the &Route, 2003
4059 Worklight drawing, 2008
3395 Fragment of the illustration of the entire Polderscape, 2017, ongoing
3368 Activities happening at the Seaweed Site, 2017, ongoing
3245 Draft for design of the dairy farm, 2011
3244 Model of the dining table, 2012
3395 Illustration of the entire Polderscape, 2017, ongoing
3368 Boat harvesting seaweed, 2017, ongoing
3245 Cover of the Free Range Shelter publication, 2011
6006 PROOFFLAB Magazine website www.proofflabmagazine.com, 2015
3309 Reference image for textile in the interior, 2014
3380 Website www.designdiorama.com, 2016
3244 Cover of the Worked All Europe publication, 2012
3380 Hand out accompanying the installation, 2016
6000 Illustration showing development of products for PROOFF, 2006, ongoing
3043 Proposal for the development of a forest, 2003
3043 Proposal for the development of an agricultural plot, 2003
3268 Illustration for Werkplaats Buijtenland, 2012
6000 Office campus landscape drawing, 2006, ongoing
3043 Proposal for pavillions to be installed, 2003
3099 Research page of Lightness Studios publication, 2007
3402 Model of the Compost Kliko Toilet, 2017
3099 Page showing models of light construction, 2007
6000 Detail of office campus landscape drawing, 2006, ongoing
3177 Developing a station into a Library, 2009
3395 Fragment of the illustration of the entire Polderscape, 2017, ongoing
3244 Prototype of the Flat Chandelier, 2012
3245 Illustration of distribution of cattle throughout the year, 2011
3157 Illustration showing products developed for PROOFF, 2008
3402 Illustration of the Compost Kliko Toilet’s possible uses, 2017
3133 Detail of the model created for De Velden, 2009
3177 Concluding text of the Prettig Wachten publication, 2009
8411 Reference image for the SuperLandEscapes Exhibition, 2017
3244 Documentation of places visited en route, 2012
3043 Landing page of the &Route publication, 2003
3177 Cover of the Prettig Wachten publication, 2009
3099 Cover of the Lightness Studios publication, 2007
3410 Illustration of the production of the Uniform of the Water School, 2017, ongoing
3332 Still of the movie made for Autonië, 2014
Publication on sloom.01, 2002
6000 Detail of the office campus landscape drawing, 2006, ongoing
3368 Producing, processing and studying seaweed in the Seaweed Warehouse, 2017, ongoing
13:07:18 museum director Guus Beumer clicked on Seaweed Site
scenario
and displayed 13 images

DIKE • noun: dike.

1. An embankment for controlling or holding back the waters of the sea or a river. “They built a temporary dike of sandbags to keep the river from flooding the town.” 2. A contemptuous term used to refer to a lesbian. “The terms dyke and bull dyke are used with disparaging intent and are perceived as insulting. However, they have been adopted as positive terms of self-reference by young or radical lesbians and in the academic community. In the mainstream homosexual community, gay and lesbian remain the terms of choice.”

Synonyms: barrier, dam, weir, milldam, dyke, enclose, lesbian, gay woman.

Origin: Before 900; Middle English ‘dik(e)’, Old English ‘dīc’, Old Norse ‘dīki’; akin to ‘ditch’. 1940-45; earlier in form ‘bulldike’ (with a variant ‘bulldagger’); of obscure origin; claimed to be a shortening of ‘morphodyke’ (variant of ‘morphodite’, a reshaping of ‘hermaphrodite’), though morphodyke is more likely a blend of morphodite and a pre-existing ‘dyke’; other hypothesized connections, such as with ‘diked out’ or dike ‘ditch’ are dubious on semantic grounds.

Het Maakonderwijs

In zijn standaardwerk ‘The Craftsman’ omschrijft Richard Sennett het ambachtschap in het kort als “de bedrevenheid (de kunde) om dingen goed te doen.” Hij gaat verder: “Ambachtschap benoemt een doorlopende, basale menselijke impuls, het verlangen om een beroep goed uit te voeren ‘for its own sake’.” Bedrevenheid, toewijding en inschattingsvermogen zijn drie belangrijke dimensies die een professional een ambachtsman maken volgens Sennett. Ambacht betreft niet alleen analoge beroepen (technieken in de houtbewerking), maar alle beroepen. Zelfs nieuwe technische beroepen – die meestal niet worden geschaard onder de ambachten – worden door een continue nieuwsgierigheid en toewijding van de uitvoerder een ambacht. Zouden we dit betrekken op het MBO-onderwijs, dringt zich de vraag op hoe ambacht een plek vindt in de huidige MBO opleidingen.

Nieuwe technologieën, technieken en materialen vragen om een nieuwe aanpak van educatie, door alle niveaus van onderwijs heen. Voor educatie voor de maakindustrie is het wellicht het meest urgent om methodes en structuren te herzien. Binnen de lijst beroepen waartoe mbo-colleges opleiden zijn een aantal beroepen al verhuisd naar lage-lonen landen en anderen door verdere automatisering en robotisering binnen een aantal jaar obsoleet zullen zijn, zoals administratief medewerker en boekhouder. Het ligt in de lijn der verwachting dat de banen in de nijverheden sector zullen afnemen door technologische ontwikkelingen. Maar er ontstaan ook nieuwe beroepen en ambachten door nieuwe ontwikkelingen in de industrie. Die technieken en materialen vergen nog extra onderzoek, een gedegen testfase en er moet nog een toepassing en afzetmarkt worden gevonden. Mbo-colleges zouden daar een belangrijke rol in moeten spelen.

Educatie wanneer kennis alomtegenwoordig is

Het internet biedt met de brede beschikbaarheid van kennis ook veel mogelijkheden. Nieuwe technologie is op hetzelfde moment voor docenten als studenten beschikbaar. Op dit gebied hebben studenten dus een enorme voorsprong op hun opleiding en docenten: de docent heeft weinig tijd om nieuwe technieken en materialen te onderzoeken, maar studenten kunnen al hun vrije uren besteden aan het verkennen van een nieuw onderwerp. Binnen de kortste keren lopen zij voor in kennis op de docent. Hiermee verandert de verhouding docent/ student fundamenteel: een docent krijgt een begeleidende rol in het leerproces van de student. Dit betekent niet dat zij overbodig zijn, zij blijven van vitaal belang om langlopende kennis in te brengen, gerelateerde onderwerpen aan te halen en studenten te sturen in hun studie.

Met nieuwe materialen komen ook nieuwe modellen, waarbinnen mensen zich op een andere manier tot elkaar verhouden. Een gebouw neerzetten waarbinnen een of meerdere functies huizen, is niet langer meer houdbaar – er moeten condities worden geschept om die nieuwe methodes en functies binnen te ontwikkelen, waar experts op andere manieren met elkaar kunnen samenwerken. Deze verandering in betreft uiteindelijk ook het maak-onderwijs waar op dezelfde manier wordt gevraagd naar multidisciplinaire samenwerkingen, flexibele structuren en project gestuurd onderwijs.

De ZeewierSchool

Als een materiaal of een specifieke innovatie de belofte van de toekomst is, hoe kan een opleiding zich daartoe verhouden en haar studenten effectief voorbereiden op hun beroepspraktijk? We werken deze gedachtegang uit aan de hand van zeewier, een grondstof die een dergelijke potentie heeft.

Als het landschap in dienst komt te staan van zeewier, wat voor effect heeft het dan op de traditionele professies en wat voor nieuwe beroepen zou het kunnen opleveren? Op welke manier moet het landschap opnieuw worden ingericht? Het model van De Werkplaats levert een denkkader om de mogelijkheden voor een nieuwe industrie te verkennen. Wanneer we het ontwikkelen van een zeewier industrie als startpunt nemen, waaromheen zich een community vestigt, dan zien we hoeveel ambachten – en mbo-opleidingen – betrokken zijn bij het bouwen van een dergelijke samenleving.

Wanneer de industrie wordt opgebouwd, is er nog geen zeewier verbouwd en geoogst, dus daarmee kan nog niet gebouwd worden. Er is een huisje nodig aan de kade; er komt een locatie van hout. Als je een kade bouwt, dan kan daar een boot aanleggen om de zeewiergebieden te bereiken. Er is een net nodig voor de oogst. Telkens worden ambachtslieden betrokken die zich vestigen en hun ambacht uitbaten. Van de netten worden kastelen geknoopt die in zee hangen, dat wordt een trekpleister voor duikers. Zo ontstaat toerisme, dus komt er een hotel, en bedden. Het hotel heeft een spa waarvoor uit het zeewier crèmes worden ontwikkeld etc.

De zeewiervelden liggen vijf km uit de kust van Rotterdam. Dat valt buiten de territoriale wateren, wat zou dat voor situatie op kunnen leveren? Wat betekent het voor stedenbouw? Creëert zeewier de aanleiding om een nieuwe community te  starten die buiten de bevoegdheid valt van natiestaten?

Als deze logica verder wordt uitgedacht, wordt duidelijk dat er rond zeewier een community kan groeien waarbinnen iedereen gelooft in het materiaal. Als het ware rijk je steeds naar het zeewier, maar telkens zijn er traditionele ambachten nodig om de basis te faciliteren, automotive, gezondheidszorg – beroepen die worden onderwezen op mbo-opleidingen. Iedereen die zich vestigt, neem zijn eigen achtergrond, skills en gereedschap mee, waardoor het gebied steeds aantrekkelijk wordt. Er ontstaan interdisciplinaire uitwisselingen.

By Ellen Zoete, as published in Werkplaats Centraal (2016)

3336 Cover of the Werkplaats Centraal publication, 2017, ongoing
3368 Spread of the Werkplaats Centraal on the location of the Seaweed Site, 2017, ongoing
3368 Spread of the Werkplaats Centraal publication on the Seaweed Warehouse, 2017, ongoing
3368 Drawing of the Seaweed Site in the Werkplaats Centraal publication, 2017, ongoing
3368 Resident designers of the Seaweed Site, 2017, ongoing
3368 Activities happening at the Seaweed Site, 2017, ongoing
3368 Boat harvesting seaweed, 2017, ongoing
3368 Harvested seaweed transferred onto land, 2017, ongoing
3368 Harvested seaweed drying, 2017, ongoing
3368 Farm using seaweed to feed the cattle and fertilize the land, 2017, ongoing
3368 Construction of the Seaweed Warehouse, 2017, ongoing
3368 Harvesting and drying seaweed in the Seaweed Warehouse, 2017, ongoing
3368 Producing, processing and studying seaweed in the Seaweed Warehouse, 2017, ongoing
3368 Making School

A recent project developed for the SEAWEED SITE:

Studio Makkink & Bey was asked to curate and design the exhibition ‘Making School’ in The Veemgebouw Eindhoven during Dutch Design Week (DDW) from 22nd to 30th October. Together with Dirk Osinga (do | ob) they designed a landscape of tables where the public can see, but also join the thirteen research projects. Videos, models, publications, online platforms and products show the results of their investigations.

‘Making School’ examines the future of education for young people. In a rapidly changing society, it is important to develop a new vision on learning. The exhibition ‘Making School’ shows how the knowledge and skills of the creative industries can contribute to such a new vision.

During DDW thirteen multidisciplinary teams of designers, cultural institutions and educational professionals show their studies in this area. By exchanging ideas with teachers, students and the public, the exhibition was further developed during DDW.