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From reconstructions to storytelling, from archaeology to investigative reporting, and from a tool that makes body language noticeable for a visually impaired listener to an analysis of how a flush toilet can become a metaphor for political oppression and racial discrimination. Digging deep is digging hard. Students have been mining their own personal lives as well as data sets and codes of law and material and technological possibilities to address omnipresent concerns.

Working as archaeologists, they dug up dirt and poetry while creating alternatives for existing models, systems and products. This can be a painful process, and it takes commitment and perseverance to find useful fragments and raw materials to compose possible answers. The result is personal yet universal. The projects in the Graduation Show do not pretend to give definitive solutions. However, their lingering does result in fascinating new approaches that reveal possible futures. Years later we can still recall the green smell of resin in the pines behind the house, the rushing of water on dark grey stones in the riverbed where we played growing up.

She has captured the memories of her own formative years in Bhutan in a richly coloured room divider that brings together her Dutch and Bhutanese roots. The Bhutanese are masters of woodcraft, weaving and colour, the Dutch were pioneers of stained glass. The screen is made of red cedar wood, evocative of the Himalayas, with patterned colour panels that are based on traditional weaves as well as a contemporary take on stained glass. Photo by Iris Rijskamp.

Seoyoon Kwon describes our personality as a layered structure with a variable content.

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By adding or opening up layers, we can conceal or reveal things about ourselves. Just like a cabinet filled with objects — safely tucked away or proudly put on display. Inspired by this metaphor, Seyoon deed a series of cabinets that play with the concept of hide and seek. Depending on how much of your inner self you want to show, you can slide open the silk-covered doors or increase opacity. Are you secretive or outgoing? Or perhaps a little bit of both? See what happens when you sync your furniture with your state of mind. Photo by Femke Rijerman.

For Billie van Katwijk, the rich, organic textures make these animal innards a fascinating material. Some are like winding landscapes, others are almost reptilian. In a labour-intensive tanning process, she was able to transform their raw, natural aesthetic in a unique range of leathers with their own look and feel.

His three interior pieces undergo a metamorphosis when draped around the body. A wall tapestry that improves the acoustics in a room becomes an overcoat, a gauzy curtain turns into a loose flowing shirt and a room divider can be a voluminous vest. Put them in the spotlight. Because of their transparent skins, bonelike structures and organic shapes, you feel compelled to touch them, and they provoke strong emotions: simultaneous attraction and repulsion.

Photo by Ronald Smits. This shelf is entirely reliant on the immediate architecture: it can only stand when leaning in a corner.

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The furniture is in symbiosis with the interior. For the onlooker, the shelf seems to disappear partially into the wall itself; a visual illusion challenging the actual reality. Yet the piece remains functional. The user can display a favourite collection or treasured possessions for all to admire.

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They feature in the mythology of folk as well as religious tradition, in literature and music. In the hands of the maker, the wood gradually takes shape through repetition, careful attention to detail and a respect for this natural material.

The finished piece is a physical embodiment of these qualities. It is highly personal, made to fit the measurements of Wiersma himself using the golden ratio — used since ancient times to achieve balance and beauty in art and architecture. The custom woodwork is a stand against the modern tide of mass-produced furniture. Inspired by old Dutch work songs, Wiersma wrote his own work song about the process.

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She decided to explore alternatives, using metal rods and hot glue and taking her own body as a guide. From this focus on every single, particular t she arrived at these gradually built pieces of furniture that reflect the natural positions of the body. In the open framework, the glued ts started taking a prominent visible role, which Agnieszka recognised makes the user more aware of the value of both the ery and the material.

Does exposed ery make us feel more assured about the structures? Or does it make us question their safety? The glue does more than bind alone; it also flows, creating unsuspected and highly expressive ts and surfaces. She decided to maximise their prominence, turning a purely functional material, usually hidden from sight, into the defining, identifying characteristic of her object.

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Shahar Livne envisages a future in which the production of petrol-based plastics is a thing of the past. She presents plastics as a new natural resource that is mined and used by craftsmen as a rare, nostalgic raw material. This would create a new aesthetic that moves beyond our current view of plastics as cheap, mass-produced materials and pollutants. Shahar thus demonstrates how a shift in our perceptions of what is natural could lead to a new cultural reality. Photo by the deer. Yet, we do not feel the weight of the words on the screen. They remain little more than flashing lights.

His real-time installation converts digital als into physical substance. Each Tweet uses 0. So for each suicide Tweet registered, 0. Stretching the boundaries of 3D weaving, Fransje Gimbrere created this experimental series of textile sculptures that give direction to the interior without diminishing the sense of space.

They are built up, thread by thread, on custom-made weaving looms. The rope — coated with resin to retain its shape — can be replaced by any kind of wire; the structures can take on any size or shape.

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The constant change of pattern, depending on the angle, provides a fascinating see-through view. Originating in Dutch colonial Indonesia, this is a body-sized bolster cushion made of bamboo mesh that can be embraced by the user to keep cool at night. This was deed for a tropical climate and is unknown in the Netherlands. Aram travelled to Indonesia and traced the object back to its historical roots, aiming to introduce it to the Dutch population.

The Dutch Wife belongs to a certain period, and to a specific relationship between the two cultures that is set in the past. By deconstructing and applying the original production principles to a series of blankets, which are more familiar to the Dutch situation, Aram allows the object to break out of its old context and re-appropriates it to a new one. The contemporary version is no longer about Dutch ideas of Indonesia, instead telling a story about the present.

Combining delicate yarns with sturdier plastic elements, these wearable, netted fabrics play with light, gravity and body shape. Iridescence, geometric patterns, open weaves and colour tones all combine to hide and reveal, embrace and accentuate the shape of the male body. Fenna has captured her des in a series of photographs as a material catalogue for the fashion industry. While monoculture and fertilisation produce greater grass yields for cattle, other species — like the peewit — suffer from it.

The prominent place the linden tree has held historically, as a place of jurisdiction and social gatherings, has vanished. Today people see the tree as a nuisance; washing its sticky sap off the car is one more thing to do on a busy day. The five objects created by Melle each highlight a different aspect of this changeable relationship between man and nature.

Each invites visitors to reflect on it through a different approach; spiritual, critical, practical, biological or industrial. In his view, illustrators often use visual storytelling to talk about struggles and failures, whereas de has a tendency to guide people towards a clean and finished notion of success. But who ever achieved success without failing first? Changing from stylus and screen to ceramics as a mode to express himself, Van Nuil came to reconsider all the stages of creating.

Working with this volatile material gave him a new naivety and created room for both disappointment and breakthrough. In shaping these figurines he embraces any mistakes and lets them reflect his confusion, questions, pleasure and surprise. How to Overcome the Fear of Failure demonstrates what people can gain from allowing for failed attempts and serves as an inspiration to try fearlessly.

Photo by Nicole Marnati. In its traditional form, the industrial material is based on a flexible 2D netting structure that consists of wires and connectors. Lauren found that when stretched, the latticework not only becomes more open, allowing for more organic shapes, it actually gains in strength as well.

His new de allows the cables to gain a third dimension, depth, and with the added shelves, the framework locks itself into place. With its high carbon content, the stone is extremely good at absorbing and storing heat: it has a high thermal inertia. With thanks to Marbrek and Merbes-Sprimont. We occupy fewer square metres and move around more often. The furniture is made of a dense foam that can be compressed to 10 percent of the original size using the suction power of a vacuum.

We spend our days sitting, at home and at work. This causes all sorts of ailments, from back pain and hernias, to osteoporosis and weak abdominal muscles. A cane maintains balance for weakened legs, a chair supports our bent backs, an oxygen mask feeds brains slowed by lack of movement and a suit is sewn with a hunched back and trouser legs shaped into a constant sitting position. You have been warned. Jian was inspired by the use of bones to do the same.

Traditionally bones were hidden in clothing, such as corsets and hoop skirts, sculpting forms from within. With these des, he applies a framework of soft bone-like elements that change the silhouette from the outside, by tying and draping fabric around them. The idea is to deconstruct existing rules of clothing and to create alternative outlines, depending on the whim of the wearer.

Our own individual touch, and a slice of our precious time add value. Yet, many of us lack the skills to craft our own furniture. Pre-cut s mean it can all be done without so much as a nail or screw. The forms and colours are inspired by American Shaker de. Brush with traditional milk-based paint and there it is: a functional, finished piece handmade by you! Industrial processing and chemical treatment destroy the natural qualities of this ecological material and it tends to be used in utilitarian cloth like cargo sacking.

We do not make use of its full potential. Growing between two to five metres, the strands are incredibly long. And strong. The cushion highlights the length and lustre, while the wall hanging incorporates felted jute — an alternative treatment that keeps the strength and length intact. And especially that healthy sea air that freshens up your lungs and head?

These wall modules are inspired on the graduation towers that are traditionally used for salt production and in spas, with salt water running down a wall of stacked blackthorn. Timo Wuchner has downsized them into small-scale structures for urban environments. The prickly bushes catch drops of salt water, causing them to evaporate, letting the salt work its healing magic. Arranged into a walking route with places to linger, KUR provides a delightful sea breeze right in the city centre.

Yet, familiarity with death is a way of making peace with the human condition. The first is a bronze ring marking a final outfit — a physical reminder of that inevitable moment.

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