The Department of Energy [DOE] investigates how the river as
natural occurrence influences the human environment both physical and cultural. Providing for
fresh water, infrastructure, trade routes, borders and hydroelectricity, the river has become vital to the human
environment. Water currents are worshipped through various religions and mythological narratives, varying from
all around the globe.
The Department of Energy translates the physical places of the river valleys
into audio experiences, supplemented with background and contextual understanding. The design takes an editorial
approach, supplementing the audio experience – that liberates the river from its physical limitations – with
background information on the local environment, tradition, nature, folklore, and mythological. The project
resulted in an ever emerging visual identity and the Aghavrick Acid compact disck
album that was released on the 10th of July 2020.
Visual communication (often unconsciously) heavily relies on symbolism.
My bachelor thesis is a dichotomous exploration of symbolic language that investigates; (1) the transition from
origin and physical application towards visual representation, and (2) the shift in meaning of symbolism.
The research is conducted through the case study of the laurel wreath, a symbol internationally applied to
represent victory, unity and peace.
The origin of the laurel wreath can be found in Greek mythology, in a story in which Apollo’s undesired love
results in a transformation, followed by the total destruction of his concubine. It is in the Roman tradition
that the laurel wreath acquires the status of Corona Civica – the civil crown – an honour that can only
be achieved through military conquest. The origin of meaning aims at a specific interpretation of victory,
namely through destruction or domination of the other.
Nevertheless, the same visual rhetoric is applied for peace keeping organisations such as the United Nations,
anarchists counter movements like Anonymous, fascist, nationalists but certainly also commercial driven
companies like Fred Perry. Napoleon himself preferred the civil crown over the crown of Charlemagne during his
coronation in 1804, and Beyoncé reminds us of this rhetoric in her 2018’s music video of
The continuous aim to create open accessible work resulted in an experiment in which the entire design of the
publication is generated by an online css script. The thesis is completely accessible online through Github, where the publication can
be generated via the print command.
(please consider that the prototype has been created to function on chrome and may result into error if
used on another browser)
Even the simplest and most ordinary of user objects represent the cultural environment in which it is shaped,
used, desired and created. The elements composing the object – visual appearance, method of production and
materiality – can be understood as signifier and representation of cultural values. This is the language of the
The designed (research-) plates enhance contemporary aesthetics and function as ornamental fragments to exposes
utilities as cultural representations.
Epigrams are blended into the native typography of the object, namely the
production labels. These labels form the DNA of the object, its origin, country of production, copyright
ownership and material components. The labels are repurposed to supplement a narrative that guides towards an
understanding of the language of objects.
Special thanks to Silvio Lorusso, Jan Robert Leegte and Thomas
Buxo for guiding the project.
Pirate libraries aim to share publications with the ideology to make knowledge accessible to all. The
internet itself has been created with the intention of sharing information and therewith have the exceptional
potential to obliviate (physical-) borders and transform the ownership of knowledge into an obsolete concept.
The Pirate Reader: on Mobility is an attempt to join and support that effort
and ideology in provocation against the privatisation of intelligence.
The material concerning the topic of mobility, in ownership of the Royal Library in The Hague
(Koninklijke Bibliotheek) –
accessible only due request and solely to be inspected at the reading halls of the Royal Library itself – was
collected and scanned manually and reorganised as one. The collection of sources, publishers and various authors
are distilled into one publication on Mobility, shared through online and open source platform Github and in
printed format on Lulu (and downloadable through the webpage), fully typeset in Liberation Mono, a typeface designed by Steve Matteson, registered within the Open Font License.
Special thanks to Thomas Buxo for guiding the project.
The Anthroposcent is the branding proposal for a fragrance based on the
exquisite minerals of the new geological epoch proposed as the Anthropocene – an era in which mankind is to be
considered the most influential aspect of environmental change. The project is an embodiment of research into
the topic of the Anthropocene and uses contemporary commercial (visual-) language to engage into a teasing
meaningful flirt with ethics of the industry. It aims at the connection between luxurious products and scarcity
of natural ingredients, and is reaching out within its own intonation for ways to communicate a message of
social, political and environmental relevancy.
Known as paradise by tour guides and travellers, known for human right violations by Amnesty International.
Popular holiday destinations such as Indonesia often provides a landscape of conflict. This project dives into
this duality by a forensic attempt to restage the traces of a crime against humanity. Commissioned by Amnesty
International, in collaboration with Frank Hemmekam, we located the crime scene of one of Amnnesty
International’s priority cases and recreated the scene using a 3D modelling software. The tour through the crime
scene is supplemented by a tour-guide maintaining the friction between tourism and terror.
This project was part of Models for Humanity
executed in collaboration with Frank Hemmekam
and guided by Lauren Alexander
& Niels Schrader.