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There’s no better place to gauge the current state of innovation in design than graduation shows; unburdened from the restrictions of commercial considerations, students are free to be as bold as they please, to think outside of the box and to indulge their creativity. Nowhere is this more captivatingly palpable than in Design Academy Eindhoven’s annual graduation show, a tradition since 1991, which takes place every October during Dutch Design Week. Underpinned by the Dutch Institute’s inter- and cross-disciplinary curriculum, dedication to experimentation and people-centric approach to design, the Graduation Show eschews the expository conventions of such academic events for a curatorial approach that reveals shared lines of inquiry, forges connections between projects, and highlights common ideas and ideals that drive today’s designers.
Devices for a ‘sonic recalibration lab’ that help us re-engage with the sounds around us, so we are better able to deal with them. © Design Academy Eindhoven. Photo by Femke Rijerman. Colette Aliman, The Mechaphony. Devices for a ‘sonic recalibration lab’ that help us re-engage with the sounds around us, so we are better able to deal with them. © Design Academy Eindhoven. Photo by Femke Rijerman. 
Exploring ways to procreate through objects rather than biology. © Design Academy Eindhoven. Photo by Iris Rijskamp. For the second year in a row, the 2019 Graduation Show took over the historic Campina milk factory, a decommissioned 1960s industrial complex on the Eindhoven Canal, where the vast collection of graduate projects were assembled into kaleidoscopic narratives mapping various possible futures of our society.Ranging from the highly conceptual to the shrewdly practical, from technologically ingenuity to innovative craftsmanship, and from socio-political engagement to cultural commentary, the projects on display not only tackle the most pressing issues facing the world of today but also showcase the design talent of the future. Eschewing conventional disciples such as graphic, interior, industrial or fashion design, the Design Academy Eindhoven structures its graduate and post-graduate courses around “domains of human activity”, focusing not on products but on people who use them, with departments that range from Man and Leisure, Man and Well-being, and Man and Motion, toSocial design and Information design. In sticking to this academic structure, the curators of the 2019 Graduation Show mapped out the projects into several cross-departmental groups in order to uncover the creative currents motivating this talented crop of designers. 
A shelving unit and lamp is covered by a thin membrane that reveals the inner structure at work. © Design Academy Eindhoven. Photo by Femke Rijerman. Satomi Minoshima, Inflatable Leather. A series of leather-covered inflatable furniture. © Design Academy Eindhoven. Photo by Ronald Smits. 
A living room as a curated staged decor, built to be a photographic image. © Design Academy Eindhoven. 
A synthesis of furniture and clothing to go beyond the original features of each. © Design Academy Eindhoven. Photo by Hansol Kim. Design Academy Eindhoven was established in 1955 as an institute of industrial design before embracing art, architecture and design in the 1990s, so it’s no surprise that furniture design was at the centre of numerous projects. Inspired by our own bodies, Alex Blondeau explores the anatomy of objects by stretching a thin silicone membrane over shelving units and lamps; when the air is sucked out, the outer skin sticks to the inner structure revealing the skeleton therein. Satomi Minoshima’s leather-covered inflatable furniture extend the boundaries of inflatable products through the use of a durable material such as leather, while Hansol Kim questions the strict boundary between clothing and furniture by merging the two disciplines to create a new kind of hybrid object cheekily titled “Wearing Chairs While Sitting On Pants”. Other graduates pushing the boundaries of furniture design include Etienne Marc who revises classical pieces with contemporary ornamentation that we normally might ignore, disdain or consider as banal. Orson van Beek who breathes new life into Le Corbusier’s classic LC2 leather armchair by creating a masterfully scrunched up version, Federico Rosa whose furniture collection reflects the effects of high tide in Venice by incorporating molluscs, barnacles and seaweed which he casts into bronze ornaments for their legs, and Paul Coenen whose furniture collection is inspired by the flexibility of sheet metal, shedding the need for glue, screws or welding. Federico Rosa, Acqua Alta. A furniture collection that reflects the effects of high tide in Venice, creating a new aesthetic with references to the classic republican style. © Design Academy Eindhoven. Photo by Iris Rijskamp. 
Furniture that refers to and reflects contemporary culture. © Design Academy Eindhoven. Photo by Ronald Smits. 
A furniture collection inspired by the flexibility of sheet metal and the standard sizes used in the manufacturing industry. © Design Academy Eindhoven. Photo by Ronald Smits. 
A range of furniture to investigate our appreciation of antique objects. © Design Academy Eindhoven. Photo by Femke Rijerman. Furniture pieces are also featured in Boris Brucher’s installation “HomeSet”, albeit in a more conceptual manner. By constructing a room out of scaffolding which are draped over with images of popular furniture like Jeanneret chairs and Perriand stools that social media stars love to showcase, he illustrates the gap between representation and reality in our digital, image saturated world. As conceptually intriguing are Ismaël Rifai’s series of objects whose surreal design is inspired by the semi-legal trade across the border of Spanish enclave Ceuta in Morocco, which requires special techniques for packing and carrying goods, and the furniture collection by Italian designer Gianmaria della Ratta produced by combining the traditional production process of pasta making with 3D modelling, rapid prototyping and new materials in an effort to subvert the stereotype of Italian identity. Dorian Renard challenges our prejudices about humble materials such as plastic by subverting traditional crafting techniques associated with precious artefacts. By sculpting plastic as if it were glass, Dorian creates beautifully shaped objects that eschew the industrial dullness of typical plastic products for a twisted, warped plasticity that imbues the material with allure. Johanna Seelemann also uses a humble, expandable material, in this case industrial modelling clay which is commonly used in car design, to create objects that can be infinitely restyled by the user as an act against rampant consumerism, while Pauline Esparon explores the untapped potential of flax by taking advantage of the sheen, softness and expressiveness of the natural fibre which predominantly grows in Normandy but is mostly exported to China. 
The semi-legal trade across the border of Spanish enclave Ceuta in Morocco inspired Ismaël Rifai to develop a series of objects ‘designed’ by the border. © Design Academy Eindhoven. Photo by Femke Rijerman. 
This project takes the industrial method of extruding pasta and translates it into the world of 3D software, breathing new life into a stagnant |
