Class of 2024 exhibition

‘Class of 24’ is a group exhibition presenting (graduation) projects from various Dutch and international academies. The exhibition's goal is to emphasise the importance of education and to give the next generation of designers centre stage to a bigger audience.

Location: Strijp-S area, Klokgebouw | Hall 2, Klokgebouw 50 , Map No. B2

Athina Botonaki (Master Interior Architecture, 2024) - FAR FROM IT

Looking at objects as carriers of nostalgia, and at material waste as part of our human nature, Athina speculates on whether a hoarder's room could possibly constitute a Wunderkammer of the future: a cabinet of curiosities destinated to re-introduce life on earth to human. She examines nostalgia as performed in the domestic space; through the collection and display of beloved objects as personal artefacts.

Now, within the setting of a fictional post-apocalyptic scenario, wouldn't there be a shift of value around a plastic cup, if we realised that it might be the last one in the universe? This seemingly contradictive notion of treasure-looking trash indicates that value derives from the context. For a deeper comprehension and personal engagement in urgent matters, fictional storytelling can thus sometimes be a very powerful design tool: as a conversation starter, it adds new layers in the existing discourse, making it ever more accessible and inclusive.

Therefore, conceived as a short sci-fi story, FAR FROM IT attempts a zoomed-out view of earth as home that, we humans, are destroying. It urges the audience to reflect on the topics of nostalgia and migration through the broader lens of the current climate crisis, and the inevitable end of the world as we know it. It is an installation that hovers between a theatre play and an audio book. Placed on a small stage, it is a set frozen in time; filled with traces of a performance that has already happened.

Nika Dundua (Master Interior Architecture, 2024) - INVISIBLE NARRATIVES

INVISIBLE NARRATIVES questions the ways those historical and political narratives are constructed. It explores different layers of my family history, which spans Russia, Ukraine, and Georgia and through them addresses the history of various wars in those regions.

Within the project, Nika's grandmother's childhood memories of the Second World War are juxtaposed with the narratives propagated and weaponized in today’s Russia. By giving voice to untold personal stories, the project reflects on the potential dangers of producing knowledge, history, and trauma when these stories are erased, ultimately surrendering memory to violent ideology.

Beyond the specific context of the work, this project also aims to reflect on the media used to present these grand narratives and the distortions they create, both physical and digital. Over the past year, Nika has engaged with and researched two such media — film and 3D scanning — which she believes to be direct opposites in their presentation and relation to the same content. Film is a subjective practice that inherently involves manipulation and interpretation, shaping the narrative from a specific angle. In contrast, 3D scanning has the possibility to capture the raw reality of an object without context or interpretation, presenting only the bare fact of its existence. By working at the intersection of these two media, Nika has created an archaeological method for collecting and classifying invisible items of heritage.

Luka Smišek (Master Interior Architecture, 2024) - Domestic Daydreams

The design of domestic space has not changed in decades. People blindly follow norms of domestic space design without questioning or critically reflecting on them. While society is rapidly evolving, our domestic spaces remain the same. We focus on trends and tastes, without taking into account our habits in space and all the affordances that common objects of domestic space offer.

How do we move forward?

Rather than trying to hastily solve problems we don’t fully understand, Luka uses speculation and humour to find problems and unlearn domestic space. He imagines how things could be, instead of how they should be.

Luka creates physical fictions from orphaned objects he finds on the streets - remnants of changing domestic spaces. They provide limitations, inspiration, familiarity and thereby a challenge. Starting with an abstract idea sparked by “what if,” He builds intuitively to create research tools. These fictions alter habits, challenge objects’ affordances, and create implications. Returning them to domestic space, Luka engages with them and discover something new with each interaction.

This way, Luka generates knowledge and poses questions to inspire new approaches to design of domestic spaces.

Aleksandra Chargeishvili (Master Industrial Design,2024) - Weaving Narratives of Hope

Weaving Narratives of Hope explores the forgotten textile and industrial heritage of Cannabis sativa (hemp) and reflects on the relationships between craft, nature, and technology through the lens of the plant.

The work revives traditional weaving practices with hemp to show that industrial production cannot and should not completely replace craftsmanship or the unique properties of natural materials. Today’s reliance on standardisation and synthetics diminishes cultural richness and limits material diversity.

By focusing on neglected materials and weaving techniques, this project advocates for sustainable development where human involvement is honored, natural resources are cherished and technology enhances rather than replaces traditional techniques.

Somewhere in the line between human work and technological production, the future of sustainable and culturally meaningful manufacturing will take its place.

Timo Bega (Master Industrial Design, 2024) - Moulds in Soil

Moulds in Soil reimagines industrial mycelium production by exploring the interconnectedness of fungi, humans, and natural ecosystems. The installation features mould prototypes and material samples grown using an integrated approach within living soil. By handcrafting moulds from natural materials instead of petrochemicals, Timo aligns with nature rather than exploit it.

This self-developed technique contrasts sharply with conventional industrial methods that rely on sterile, artificial environments, wasting electricity to imitate natural conditions. The fungus grants Timo the power to create materiality and generate positive impact in one integrated process. Threads of fungal mycelium intertwine with natural byproducts such as straw, fallen leaves, and sawdust, gradually forging them into tangible objects, while nutrients seep into the soil like raindrops.

By adopting a fungal perspective, Timo challenges exploitative industrial practices, proposing a model that prioritizes giving back to nature, balancing human creation with nature’s cycles. If the 20th century was the age of the machine, will the 21st century be the age of life, where industry harmonizes with nature?

Solo exhibitions

Adar Cohen (Master Interior Architecture, 2024) - Processing the Unprocessed

Processing the Unprocessed is an installation that reflects how the mind copes with trauma and the continuous process of healing. Acknowledging that trauma recovery is a complex and non-linear process, the "Unprocessed Process Space" externalises this internal journey, creating an immersive environment where visitors are encouraged to slowly explore and engage with their surroundings—whether standing or lying down.

By incorporating "Slow Art", the installation invites participants to engage deeply, taking time to uncover the layers of their experiences. This gradual, mindful approach mirrors the nature of healing, where pain is slowly processed, and space is created for reflection and integration. Through the use of visual art, audio, light, shadow, and carefully curated personal narratives, the installation fosters a tranquil, meditative state, emphasising the shared human experience of trauma and highlighting the potential for healing through connection and empathy. This multi-sensory environment illustrates the non-linear nature of healing, where emotions are not just felt but seen and experienced in multifaceted ways.

Location: Sectie-C, in the Punt-C building

Magdalena Salinas (second-year student Master Interior Architecture)

House of salt

This project delves into the impermanence of built structures considering erosion as part of design. Though for a seplophobic woman, the house becomes a poignant metaphor for our own journey towards death.

House of salt is a house that delutes, melts and erodes, constantly changing, but it also shines pristine white and after every rainy day and it gets every time more translucent, sparkling and attractive. In a House of Salt, the decaying process is more like a metamorphosis, from a rough stone into a jewel. Until its sudden and silent disappearance.

Time and erosion are considered for the layout of spaces, those rooms located above are the first programmed to turn into gardens and terraces by simple water erosion. Studio, livingroom, dining, kitchen, and lastly bedroom where the owner can rest her last breaths before passing away in her own home. The user rhythm of life is accompanied by her house, becoming every time more accessible, smaller and easier to clean.

Location: West area, Next Nature Museum (Evoluon), Noord Brabantlaan 1A , Map No. C1

Move in Moerwijk

Move in Moerwijk is a soundscape installation that challenges the way we perceive and understand stigmatised communities. Set in Moerwijk, a neighbourhood in The Hague often overshadowed by negative labels, this project invites the audience to slow down, listen, and experience the tapestry of voices that make up this diverse area.

Through a 10-minute sound journey, the installation captures the stories and thoughts of Moerwijk’s residents, blending them into a final musical piece promoted as the only single of Move in Moerwijk "record label". The metaphor of creating a "record label" from a labeling problem lies at the heart of Move in Moerwijk. In traditional contexts, labels serve to categorise and often oversimplify. However, in this project, the label becomes a tool for revealing rather than flattening.

The final musical composition, crafted in collaboration with Argentinian musician Polo, layers the voices of Moerwijk’s inhabitants based on their time of residence in the neighborhood. This way, it creates an unexpected and interesting soundscape.

This approach challenges the stereotypes associated with the neighborhood while also proposing a new way of thinking about labels in design—where labels are not fixed, but fluid, evolving constructs.

Location: Strijp-S area, Microlab Hall, Kastanjelaan 400 , Map No. B19

Akash Kumar (Master Industrial Design, 2024) - Grassland Crafted

The core mission of Grassland Crafted is to unlock the hidden potential of grass as a sustainable material, transforming it from a humble plant into a versatile resource for design and craftsmanship. This endeavour is driven by a belief that sustainable design is not just a passing trend, but a critical responsibility towards the future of our planet.

At the centre of Grassland Crafted is a profound exploration of the art of grass weaving. The journey began with a series of experiments aimed at understanding how grass fibres could be used to create textiles. Initial challenges arose when it became clear that the fibers were too small for traditional weaving techniques. However, through perseverance and creative problem-solving, it was discovered that fully matured and dried grass could be woven into intricate patterns, reminiscent of traditional grass mat weaving. This breakthrough not only preserved the natural integrity of the material but also highlighted its potential for creating unique, eco-friendly textiles. Grassland Crafted extends beyond weaving to embrace the broader possibilities of natural materials.

About DDW

Dutch Design Week is committed to the development and exchange of expertise and talent, and thereby invites different perspectives. The design profession increasingly focuses on social and other relevant issues. Showcasing the work and ideas of over 2,600 designers, DDW attracts more than 300,000 visitors from around the globe. Spread across 110+ locations in the city, the event features a great variety of exhibitions, lectures, award ceremonies, events, debates, and festive gatherings.