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Winners Dutch Design Awards 2019 Awards Night
© Oscar Vinck

Dutch Design Awards 2019

Dutch Design Awards 2019

All week at Veem | Floor 3 | Strijp-S

The work of all Dutch Design Awards (DDA) winners and nominees 2019 can be seen during Dutch Design Week (DDW) in a nine-day exhibition. This tells the stories behind the designs, places the works in their social-cultural context and thus clarifies the impact and meaning of the designs.

Every year, Dutch Design Awards (DDA) honours the best Dutch designers and their most impressive and groundbreaking projects. Various disciplines, viewpoints and solutions are judged in light of the impact they have on our society. Dutch Design Awards thereby gives a boost to the profession as a whole. The best Dutch design, viewed in perspective and placed on a pedestal.

LEX POTT X WELTEVREE

POPLARS
Poplars are a reinterpretation of an iconic Dutch heritage product: wooden clomps made from poplar wood. Now with a different silhouette, they have been adjusted to suit modern living. Lex Pott was responsible for the design and Weltevree is the client and label within which this product has been developed into a comfortable, wearable and easily producible model. Poplars are produced by Krajenbrink Klompenfabriek: one of the two last remaining industrialised clomp producers in the Netherlands. The clomps are made from poplar wood from Dutch forests using traditional methods. Each clomp is made from one block of wood. Clean lines in the wood are characteristic of this reinterpretation.

BEN VAN BERKEL, UNSTUDIO B.V.

THE COOLEST WHITE
The Coolest White has been developed by UNStudio, in collaboration with Monopol Colors. The Coolest White is an extremely white, very UV-resistant and extremely sustainable coating that reflects sunlight and thus protects urban buildings from excessive solar radiation and warming. The Coolest White helps to slow down the warming of our cities. And this is essential: the use of dark, heat-retaining materials in much of our urban construction is one of the main causes of the so-called Urban Heat Island Effect. Buildings absorb sun rays, which not only means that a lot of energy is used to cool the interiors down again, but they also release the absorbed heat back into the surrounding urban environment. It is a fluoropolymer paint with the highest level of solar reflection in its category. Furthermore, the paint is also 2.5 times stronger than traditional polyester based paints. One layer of paint lasts 40 years and is even suitable for high-quality metals façade elements and aluminium, steel or fibreglass structures.

GISPEN

GISPEN SETT CE
The Sett CE by Gispen is a timeless design sofa, designed by Peter van de Water and made from 95 percent recycled materials. In order to prevent plastic waste, Gispen has used its own plastic waste material in its production. Together with TU Delft and Searious Business, plastic cupboard doors have been used to develop a new raw material with which the body of the sofa is printed by 10XL. This can be re-used up to ten times without having to add new material. The seat and back of the sofa are made from recycled polyether foam. All materials used in the Sett CE bank can be separated and, thanks to innovative techniques, each component can be processed into a new product.

CIVIC ARCHITECTS X BRAAKSMA & ROOS ARCHITECTENBUREAU X INSIDE OUTSIDE / PETRA BLAISSE

LOCHAL
The LocHal is the new beating heart of Spoorzone Tilburg. The former locomotive workshop has been transformed into a public city hall. The existing construction and the new, added architecture together shape the backdrop for an innovative library concept with work and meeting rooms for Seats2Meet, a city kitchen, two art installations and a city hall for events, exhibitions and debates. A new living room for the city where people meet up and where knowledge is gained and generated.

ECTOR HOOGSTAD ARCHITECTEN

‘S WERELDS GROOTSTE FIETSENSTALLING
Ector Hoogstad Architecten – in collaboration with Buro Sant & Co and Royal Haskoning DHV – has realised a new bicycle parking facility near Utrecht station. The large parking area offers space for no less than 12,500 bikes. Users can cycle in and out of the building using gentle slopes. This increases the comfort as well as the speed with which travellers can park and collect their bikes. Various open spaces highlight the spaciousness; sightlines to the railway and the bus station provide orientation. A great deal of attention has also been paid to the lighting and acoustics. The striking, thirty metre-high ‘trumpet columns’ support the upper square with its characteristic ‘bulb roof’ which is integral in the design.

SOCIAL LABEL LAB

WERKWARENHUIS
The former animal feed factory De Heus on the Tramkade in ’s-Hertogenbosch has, with the support of the Rabobank Foundation, been transformed into a concept store, meeting place and halfway house for those distanced from the labour market. The Work Warehouse consists of the Social label Lab (design lab for social innovation), ClubW (performance, dance, theatre, music) and café/restaurant Van Aken. Based on the principle of ‘making something from nothing’, an experiment lasting ten years (2015-2025) will build a Monument of the Future in which the instigators Studio Boot and C-mone, together with renowned designers and people distanced form the labour market, try to capture the creativity and activity of the area and share it with the whole city. The human dimension, the power of design, architecture and communication form the starting point for all of this.

STICHTING HET PALEIS VAN TYPOGRAFISCH METSELWERK

HET PALEIS VAN TYPOGRAFISCH METSELWERK
The Palace of Typographic Masonry is a plea for the power of imagination of graphic designers: a place where the intrinsic value of graphic design is safeguarded and cherished. Founded by Richard Niessen ‘based on the lack of an institute that takes care of the graphic design industry’ and designed as an imaginary institute: a building that exists only on paper. The structure of this imaginary building rests upon nine themes: Sign, Symbol, Ornament, Construction, Poetry, Play, Order, Craft and Practice. The Palace of Typographic Masonry invites others to help build this institute, with the aim of celebrating the depth, width, fun and power of graphic design.

RNDR

OPENRNDR
OPENRNDR is a modern, open source framework for creative coding. OPENRNDR is based on the creative nature of an artist or designer and combines this with the power of production-quality software. By iteratively sketching with code, unexpected things can be discovered and further developed. OPENRDNR is versatile enough to use for sketches, but also fast and robust enough to deliver (interactive) media installations of production quality. The platform is particularly suitable for the use of real-time data, for example in dynamic data visualisations or interactive installations. OPENRNDR is dedicated to building an involved and inclusive community of coders, designers and other users.

THE RODINA

SONIC ACTS IDENTITY
The Rodina has designed a multi-layered identity for the Amsterdam art, science and sound festival Sonic Acts. They have given shape to the festival theme HEREAFTER: an exploration of major themes like inequality through colonisation, immigration and the climate crisis. It emphasises what The Rodina consider to be two basic principles of design: to reveal and to hide. The designers took underground infrastructures as a starting point and reconstructed these from the original plans and architectural drawings of mines. The resulting visual identity has been translated into a large variety of offline and online resources, including a 320-page festival guide and – now characteristic of The Rodina – performative interventions in the Stedelijk Museum Amsterdam.

BONNE REIJN

DE RRUSIE SUIT
The De Rrusie Suit by Bonne Suits in collaboration with Kevin ‘De Rrusie’ Lucas, is Bonne Reijn’s second design. With his self-proclaimed ‘poor man’s suits’ he aims to question and reverse the expectations people have of clothing – and suits in particular - and thus increase and accentuate the attention for personal style in the world of fashion. With a minimalistic design, a low price and an extensive range of sizes, Bonne Suits are accessible to a wide audience. The emphasis is on the wearer and the application of his or her own personal style. Everyone wears the same, regardless of size, gender, age, sub-culture or class.

MAISON THE FAUX

MAISON POUR MAISON
During Amsterdam Fashion Week, MAISON pour MAISON is all about coming home, being free, the importance of being able to choose your own surroundings and the inevitable limitations. This multidisciplinary presentation combines fashion, theatre, dance, music and spatial design and brings together all facets of ‘home’. The residents are dressed in MAISON the FAUX’s interpretation of leisure wear. Pyjamas, night gowns, negligées and dressing gowns. Everything is styled with various interior accessories such as cushions, duvets, sleeping masks and even mattresses. MAISON the FAUX is an initiative of Joris Suk and Tessa de Boer: a creative studio that presents itself as a major couture brand. MAISON the FAUX is consciously working on breaking through (gender) boundaries, narrow-mindedness and pushing a varied image in the fashion scene. (Damaging) beauty ideals are questioned and individual freedom and expression are promoted.

NINAMOUNAH

COLLECTION 004 EVOLVE AROUND ME
Collection 004 Evolve Around Me is all about dominance and submission through the lens of evolution and man’s urge to overpower the animal kingdom. Fashion is seen here as an organism that continuously adapts to different situations, such as the changing of the seasons and the process of natural selection. For this, Ninamounah has merged together iconic deadstock items of clothing like the leather jacket, the corset, the pinstripe suit and the shirt into new and contrasting shapes, silhouettes and colour combinations.

RE-SOURCE

RE-SOURCE
The research project RE-source maps out urban residual flows, in order to then use them as a source for circular thinking, doing and learning. RE-source analyses and provides insight into the structure of the systems, locations, products and materials that are needed for this. At the same time it designs strategies for transforming these residual flows into a resource which can be used again and again. Through the network of the Rotterdam city council, RE-source tries to gain insight into the method of designing, managing and maintaining the outside space and associated material flows. RE-source researches which phases are distinguished, which routes are used and which human and non-human factors - such as locations, involved citizens and professionals, tools, vehicles, distances - play a role in this.

MARTINA HUYNH

BASIC INCOME CAFÉ
The idea of an unconditional or universal basic income (UBI) is a topical subject that can differ greatly in effect and meaning, depending on the intentions and conditions of implementation. In the interactive installation Basic Income Café by Martina Huynh, visitors are able to experience two different basic income economies, whereby coffee is used to visualise the cash flow. One system provides a basis that is sufficient to meet all basic needs, the other provides a helping hand and assumes there is extra income to achieve a full (basic) income. Martina Huynh uses the coffee metaphor as an accessible context to provide insight into a complex concept and to enter into conversations about money and politics.

MARJAN VAN AUBEL STUDIO

POWER PLANT
Marjan van Aubel Studio researches a solution for two of the largest problems of our time: the food and energy issues. Power Plant is an energy-neutral greenhouse, in which both electricity and food are produced from sunlight. New bio-technologies make food production more efficient, but usually require large amounts of energy. Each hour, the Earth receives enough sunlight to provide the whole planet with sufficient energy for an entire year. Power Plant researches how sun cells can be integrated into our daily surroundings in such a way that this inexhaustible resource can be optimally utilized – firstly for food production – and made available to a much larger group of people. Marjan van Aubel therefore also strives to achieve a Solar Democracy, through making crossovers with different disciplines.

FABRIQUE X Q42

BELOW THE SURFACE
Twelve years of digging on the North/South line brought a wealth of historic objects to the surface that sketch a rich picture of Amsterdam through the ages. With Below de Surface, Fabrique and Q42 want to capture the magic of making the invisible visible. In combination with a permanent exhibition at the Rokin metro station and an extensive catalogue, the website presents discovered artefacts in relation to a timeline. By scrolling from the year 2005 to over 100,000 years ago, the most wonderful and mundane objects can be discovered: from a pistol to dentures, and from a bank card to a crocodile skull. If you scroll through the thousands of finds, you will inevitably become fascinated by the numerous links and stories.

CLEVER°FRANKE

BMX Live Visualisation
The Royal Dutch Cycling Union (KNWU) wants to elevate Freestyle BMX – an Olympic sport for the first time in 2020 – to a higher level. The task for Clever°Franke: to offer fans, spectators and athletes an exciting experience showing the performance of the riders, by way of a convincing, easy to understand showcase of their run. Clever°Franke has succeeded in this with the help of sensor technology (developed by the Urban Sports Performance Centre) that records the speed, lift and orientation of the riders. A real time data visualisation digitally reproduces the performances. Riders can thus analyse their performances and jury members can better assess the runs. Furthermore, the visuals provide a viewing experience for the visitors.

MOOOI

THE BUTTON - DIGITAL PROOF OF AUTHENTICITY
In a world where mass production and fakes are becoming increasingly common, Moooi wants to invest in (the future of) original design. The Button: digital proof of authenticity arose from this motivation. The button contains NFC technology and subsequently accompanies all designs made by the maker. Furthermore, the button can be adopted by other brands and designers: The Button uses a technique that can be applied to the designs of all physical products. The Button gives objects a unique identity and acts as proof of authenticity. It therefore protects original designs, as well as the buyer of (design) pieces. The Button can be read by every smartphone and is easy to use.

MOJO X HANSJE VAN HALEM X FABRIQUE

LOWLANDS ARTWORK & WEBSITE 2019
A colourful mixture of creatives was involved in the development of the Lowlands artwork and translating it to the new website. From chief designer to animators, from software programmers to interactive designers. Offline and online. Once again in 2019, organiser MOJO remains visually loyal to the concept by Hansje van Halem. This concept is developed further each year and per edition. Fabrique translated Van Halem’s rhythmic and hypnotic graphic lines online and thereby simultaneously took new steps in interaction and technology, with the objective of ensuring that the real Lowlands feeling jumps out of the screen as it should.

GEMEENTE AMSTERDAM

PUCCINIMETHODE
The Puccinimethode stands for the high-quality physical design of Amsterdam’s public spaces: all the roads, squares, parks and gardens. The Puccinimethode defines the methods and materials used to make them. Profiles and accompanying design principles are developed for different kinds of roads. Various important details are prepared. The choice of materials for the kind of tile, brick or storm drain is defined. A good and especially smart balance between innovation and standardisation is important in this. Standardising the combination wherever possible, yet also leaving space for specialisation and customisation, creates a typical Amsterdam street scene that forms a logical, coherent and peaceful backdrop for life in the busy city.

INTERPOLIS X FRESHHEADS

INTERPOLIS SLIMME OPLOSSINGEN
As well as offering insurance products, insurance company Interpolis also develops solutions and services that help prevent damage and hassle. Solutions that enable customers to live in a smarter, more comfortable and safer way. As such, it has chosen an approach in which experimentation, prototypes and validation play an important role. For this, Interpolis works closely with Freshheads, an agency with the necessary experience in the field of digital innovation and agile working in multidisciplinary teams. This has led to the development of an embedded innovation team of creatives, designers, developers, marketeers and other content specialists. Together they devise, validate and develop services for in and around the house. Interpolis now has four special innovation teams that use this method: alongside the team Smart Solutions Home are also the teams Smart Solutions Mobility, Smart Solutions Enterprise and Wellbeing.

SIMONE POST

PORTFOLIO
After graduating from the Design Academy Eindhoven (cum laude), textile and product designer Simone Post co-founded the Envisions collective. Having spent a few years as one of the driving forces of this designers collective, she has been focusing more on her own studio for over a year now. The aesthetic, surprising and visible reuse of materials is the central theme in her work. She enters into collaborations with the industry in order to create designs that are innovative in form and material use and thereby offers a new perspective on material waste. She has made rugs from recycled sneakers for Adidas. For plastic recycling company ECO-oh! Post offered a perspective of the future of their materials in the form of an inspiration book. For Vlisco she carried out extensive research into new applications for their waste cloth, which resulted in a carpet. Each and every one is an intervention in which Post makes visible the existing value of a material that would otherwise be seen as waste.

NINAMOUNAH

PORTFOLIO
With an anthropological view of the world, fashion label Ninamounah brings to light social structures, evolution and the functions of organisms. Ninamounah considers the essence of humans: “We are all animals wearing a dress of culture.” In the current fast-fashion industry, Ninamounah choses to focus on timeless creations in which seasons do not exist and craftsmanship is safeguarded. With a consciousness of her own ecological footprint, Ninamounah uses sustainable, local production processes, and materials and shapes are sourced from used clothing or old sofas, so that no two items are the same.

AMBER JAE SLOOTEN

PORTFOLIO
Amber Jae Slooten is a fashion designer and works with the body, animation and digital fashion design. Her work questions the way in which we will fit, purchase and wear clothing in the future. She plays with the way in which our digital identity can take shape in VR, AR and MR. Using algorithms, she researches the image and trend analyses of other labels and then creates new (virtual) worlds showing the results. Furthermore, she works together with fashion labels, 3D models, animators, editors and sound designers. Slooten graduated from the Amsterdam Fashion Institute in 2016 and is a co-founder and creative director of The Fabricant, a digital fashion house that uses visual effects from the film industry to shape a new future image of identity.

FRANS BEVERS (BNO Piet Zwart Prijs)

Ouvre
Frans Bevers is a spatial designer. With the firm OPERA, which he started as an interdisciplinary collaboration in 1981, he has made a major and indispensable contribution to the profession of exhibition design, a profession that had hardly been developed in its early years. Since 1994, Frans Bevers has further developed the practice of OPERA Amsterdam in close cooperation with his business partner and co-founder Lies Willers.
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Dutch Design Awards

Dutch Design Awards came into being in 2003 thanks to the BNO and DesignLink. The DDA office has been located in the design capital of Eindhoven since 2005. The aim of the organisation goes further than rewarding the best design: we want the discussion about Dutch design to continue. We therefore use openness and curiosity to facilitate exchanges between designers and curators, audience and professionals. DDA is part of the Dutch Design Foundation and forms one of the highlights of DDW.