Pushed by technology and international regulations the world of identities is rapidly changing. Among others, the Dutch government is obliged to keep up. In line with these developments, a special facility for execution of identification processes for crime and migration purposes was nationally commissioned in 2015, called the ‘’Basisvoorziening Identiteitsvaststelling’’. Among others, this facility is used by the Dutch National Police to execute identification processes on migrants, aliens, suspects, convicts and witnesses. Throughout the years the appliance has become out-dated. Expensive defects and poor user experiences have caused the Police to initiate the development of a new design. Research unveiled that the Police is placed in a difficult position by relying highly on a product which functionality depends on numerous (uncontrollable) factors. The envisioned product requires be more flexible and future proof. Additionally, it was concluded that standardisation of a new enrolment facility for all identity related governmental agencies is feasible and desired. The Police was focused to design for: they set the highest requirements and have the most difficult users. Technology research provided that future identification will involve more biometric technologies and that a stationary enrolment facility will remain necessary for the coming decade. Using the Vision in Product Design method the current product and context were evaluated. A new user interaction journey was developed to provide a foundation for future development. The participant and the product were envisioned to become more involved in the process. It was chosen to create an unjudged experience for the participant. For the operator, the feeling of police workmanship should be emphasised. This led to the design goal: “Design the next identity enrolment facility for the Dutch National Police”. In order to improve the current situation, the following goals are formulated: Improving the user interaction; Inducing flexibility by: reducing dependency; implementing futureproofing; enabling versatile employability; anticipating identity technology. This initiated the ideation process. Through iterative prototyping, sketching and brainstorming a concept was designed. Eventually, an argumentation is provided on how the Main Appliance for Identification (‘MAID’) meets the design goals. Eventually, recommendations and unused ideas are provided for the client for future development.

For the fashion industry, 2020 was a year of change. As the covid-19 pandemic ravaged the world, the industry suffered its worst year on record (Business of Fashion, 2021). Consumer behaviour shifted, and supply chains were disrupted. The industry had to rethink their business and define the 'new normal', which meant adapting to trends and focusing on digital solutions.   One of the solutions could be digital fashion. Digital fashion is computer-generated fashion that can be worn with your digital bodies - avatars - and with physical bodies by using AR technology. PVH, a global apparel company that manages lifestyle brands such as Tommy Hilfiger, has identified digital fashion as an opportunity for new digital products/services or digital ventures and is looking to use it in innovations that 'Win over Gen-Z' and 'Commit to Sustainability'.   The aim of this research is to provide Area52 with a recommendation for how to pursue digital fashion innovation within the coming ten years in the form of a future vision and a strategic roadmap. Extensive literature review and multiple generative research methodologies like focus groups, semi-structured interviews and co-creation sessions were used to empathize with all stakeholders. Subsequently, various elements of Vision in Product design (Hekkert & Van Dijk, 2011) and Design Roadmapping (Simonse et al., 2015) were used to synthesize the insights into a set of recommendations that are structured in a why-how-what format.  Why? In our envisioned future, Gen Z are identity nomads that want to be unique and continuously develop and discover new sides of their identity through the fashion they wear. They would prefer to have an endless wardrobe with which they can try something new every day. However, the environmental impact and cost hold them back. In the on-demand and augmented society that the world is heading towards, this problem can be answered with the future vision: In 2030, augmented fashion will be the ethical means for Gen Z to express and stretch their identity through instant experimentation.  How? In the stated vision, digital fashion changes the interaction between consumers and brands from a one-way stream to an infinite interaction loop. Tommy Hilfiger facilitates the continuous discovery of the identities a person wants to identify with. Consumers can explore and experiment with digital styles in the physical domain using AR technology endlessly. In turn, Tommy Hilfiger perfects their consumer profile with the data they receive.   To arrive at the future vision, I propose a three-horizon approach for Tommy Hilfiger:  H1 Enhance physical fashion H2 Build blocks for phygital fashion H3 Instant experiments with augmented ethical fashion  What? Based on the roadmap, future vision and brand-user interaction, the desired product-user interaction is defined in the form of guiding principles. The principles state that Tommy Hilfiger's digital fashion solutions should foster experimentation in a way that: (1) Is Playful, (2) Is Dynamic and Iterative, (3) Offers Interesting Variety, (4) Is Accessible, and (5) Enables Feedback.  The way these principles can be put to practice in product or service designs is demonstrated in the final vision concept 'Anywear'. Anywear is a 2030 platform that connects style-influencers to people who want to experiment with new identities. Through a subscription model, users get access to an infinite digital wardrobe that they can use across the entire phygital environment. It gamifies fashion and guarantees newness by monetizing success for creators.    The concept provides Tommy Hilfiger with: Insight into how their products are styled, New inspiration for designs, Customer engagement, Data on consumer personality, preferences, community and possibly even activities, based on the fashion they choose to augment.      

This research thesis aims to create a new perspective of design as an integral part of internal change communication and attempts to showcase what design can contribute to the domain of internal change communication. It follows an exploratory research approach that was driven by a research question and where a design was used as a stimulus to test the research question (as can be seen in Figure 3 on page 21). The research question in this thesis is: what can design offer, in addition to contemporary approaches, in change communication to create internal buy-in? To attain an understanding of organisational change and change communication, both literature and field research (in the form of interviews) were conducted. This concluded the first part of the thesis, the Study, and moved it into the Design part of the thesis. After conducting interviews with eighteen people at six different companies, across the levels of hierarchy, a design opportunity presented itself: after the company change was announced, the employees had lots of questions and they felt like they weren’t being taken seriously. The thesis proceeds to describe how a solution to this challenge was designed and tested. The testing of the design brought the Design and Study parts of the thesis together: the concluding remarks from the test reflect not only the feasibility, desirability and viability of the design, but present insights pertaining to the research question. This thesis concludes by offering the insights that what design can offer internal change communication to create internal buy-in are boundary objects and a user-centred approach to problem solving. Boundary objects could provide a form of common understanding and clarity about topics, that are complex or unclear, that allow for people to have facilitated discussions. By creating a better understanding about the change and how employee questions and queries will be addressed, you can reduce resistance to the change and create internal buy-in (Llenza, 2008). Having a user-centred approach allows for users to inform the design of a tool that they will be using, allowing for it to not only meet their needs, but also creating ownership over that tool and the company change. If the change isn’t strongly or exclusively top driven, employees will feel a willingness to participate in the change and take ownership of the change, creating internal buy-in (Alvesson and Sveningsson, 2015).

The Ocean Cleanup is an NGO founded in 2013, with the aim to rid the world’s oceans of plastic by 2040. Collecting this plastic however begs the question: ‘What to do with this waste after it has left the ocean?’To answer this question, first, it is important to look at the material. In my research, I defined the following tiers of ocean plastic:Tier 1: Mechanically recyclable plastics and recolourableTier 2: Mechanically recyclable plastics, but black and non recolourableTier 3: Non-mechanically recyclable plasticsBased on an analysis The Ocean Cleanup and its context I defined three main goals that it should attempt to achieve with the plastic: Value: To gain as much income as possible from the plastic in order to be less dependent on donations.Awareness: To use the plastics to generate as much awareness as possible for the ocean plastic issue.Volume: To find a purpose for the entire volume of the extracted ocean plastic.No single product made from ocean plastic can satisfy all the goals and tiers at once. By developing a combination of complementary ideas with an underlying strategy, The Ocean Cleanup can maximise the impact on all three goals while ensuring that the different ideas fit with the material tiers.Through a combination of literature research and interviews (both with consumers and experts) I designed and developed the following strategies:1: Limited Ocean Plastic EditionsPartner with specific companies to make limited ocean plastic editions of existing products. This creates a win-win-win situation in which the consumers get a special version of a product, the partner company benefits from the positive brand association and The Ocean Cleanup accomplishes all three goals.2: Interior&Exterior ArchitectureCollaborate with processing companies to create building materials from the ocean plastic. In this context the fact that the material cannot be coloured is of lesser importance and the demand for sustainable materials is high.3: Arts & ExperimentsThis context allows for the extraction of as much value and awareness out of the non-recyclable plastic as possible by using it in for example: art projects and design competitions.These three distinct strategies fit together in an overarching brand concept I call: Ocean Product. This brand establishes a single point of recognition for consumers, while at the same time differentiating The Ocean Cleanup’s plastic from that of competitors.Finally, I integrated all findings into a partnership selection tool, which can help The Ocean Cleanup decide which partnerships are worth pursuing and which are not.I believe that this strategy, with its three tiers and partnership selection tool presents a complete vision of how The Ocean Cleanup can turn 80.000.000 kg of waste into ‘Ocean Product’.

Temperatures in the planet are rising, our cities are not designed for extreme weather and that makes urban heatwaves a deathly hazard. The Red Cross, an organisation who’s vision prevents and alleviates human suffering partnered with the TU Delft for a strategic design approach to find solutions for this wicked problem. This project explores the collaboration of the humanitarian sector in the urban environment. Cities are alive and they can offer space for innovation and experimentation. This master thesis is the result of a highly collaborative process, in which experts from different disciplines were interviewed, a thermal image study was performed in the cities of Delft, Amsterdam and Utrecht and literature review was executed. After collecting data, design directions began to arise. Heatwaves are invisible, people are not aware of the risks, the vulnerable groups are varied and vegetation can help bring the temperatures down. The result of this twenty weeks of work is a three step strategy to be followed by the Netherlands Red Cross. See, Share and Solve. See the heat. Urban heatwaves are dangerous because they are invisible Share the data. Show people how hot it can really get, also share solutions Solve the problem. A call to action, connect citizens and volunteers with organisations that are working with vegetation in the city. To share the data, structures across the city are proposed, cooling stations. By placing cooling stations in the city, the Red Cross can offer a temporary solution by providing shadow to the citizens but can also share information with citizens on how to cool down themselves, their homes and their neighbourhoods. Together with the Red Cross volunteers, neighbours can get involved in activities to bring vegetation on to the city in order to lower the temperatures and at the same time build strong communities with those who live next door.

This master thesis was executed for Mercedes-Benz; a subsidiary of Daimler AG. Its goal was to design a holistic interior concept for level 4 premium autonomous driving, aimed at:‘’Purpose-driven people, expressing confidence in their success, who reluctantly accept novelty framed by tradition’’, using a context based design approach. In the future, these people will lose their traditional means expressing authenticity and identity. They will no longer be able to achieve confirmation through a hierarchy based interaction with their cars. Additionally, expressing premium shifts from material possession to immaterial behaviour. Therefore, the following mission was stated:‘’I want people to be able to express exclusivity though conduct ,whilst being assured of their personal significance.’’In order to preserve current interaction qualities in a new context, the following analogy for the product-user relationship was described:“Like walking your German Shepherd Dog through the woods’’. During synthesis, an interaction gap was discovered. Current interior concepts aimed at level 4 autonomous diving mainly focussed on technical solutions. Situations were approached as if the customer and car were already cooperating successfully. However, in order to achieve a successful cooperation, both parties first have to trust one another. MIND introduces the artificial intelligence of the car immediately after ordering. During the time it takes to produce the car, referred to as “Transcendence”, the customer teaches MIND his preferences and character traits by allowing it to follow and observe him. MIND proves itself step by step with the assistance of augmented reality. This gradually generates a meaningful relationship between product and user and lowers the emotional threshold to accept future mobility. Feedback on progress made by MIND is communicated by the development of a unique pattern, visible on a physical manifestation of MIND. - Premium by means of exclusivity is achieved though the developed character of MIND, which is unique and personal to every customer. - Exclusivity through conduct is achieved by including the customer. Providing effort and being rewarded with something truly personal creates a meaningful experience. - MIND obtains assurance by proofing its capability in a safe environment, generating confidence. - The customer is furthermore assured by the transparency of data traffic and storage. - Personal significance is confirmed through the reactiveness of the pattern. - MIND is beneficial to the development process at Mercedes-Benz by providing real-time, actual data instead. - It provides Mercedes-Benz as brand with the opportunity to manifest itself as a mobility provider without the necessity of a physical car. MIND as a concept provides a train of thought about expressing premium through behavior rather than possession. It can serve as inspiration for smaller-scoped design briefs. It can provide the bridge between user wants and technical developments. Finally, MIND can be applied beyond ownership in shared mobility and public transport systems. Moreover, it can be applied beyond the context of mobility, positioning Mercedes-Benz as life companion rather than mobility agent.

Municipalities all over the world are struggling to find their role in this fast-paced society. The general attitude towards the government is negative and people experiencing its services as inefficient, irrelevant and unpersonal. Their functioning shapes people’s sense of trust in and expectations of the municipality. Despite efforts by incorporating modern technologies the relationship between citizens and governmental bodies are not improving. To date, service optimizations focusses on improving efficiency, accessibility and transparency. A problem-driven approach might achieve in a state of neutrality. However, the goal of the thesis is concerned with enhancing well-being of citizens in the municipal service center. Reducing or preventing inconveniences does not promises increased well-being. Moving into the positive zone requires a different strategy: a positive design approach. Activities make up 40% of our happiness level and are vital to our well-being. By investigating what people experience during these activities, possibilities will arise to enhance well-being. Analyzing people’s micro-emotions yielded 144 emotional events that elucidate that people experience one positive on two negative emotions. Dissatisfaction, confusion and unpleasant surprise make up for 23% of negative emotions while satisfaction makes up for 47% of positive emotions. Emotional events are either beneficiary or harmful to our needs. The universal need for Acknowledgement and Ease are carrying the majority of negative emotions in the current situation. However, an opportunity is found in contributing to a sense of belonging when framing interactions in a municipal service center of well-being. It aims to bring municipality and citizens closer, shape trusting relationships and aims to provide citizens a feeling that they are accepted and part of a bigger whole. Creating a sense of belonging is put at its core to design a positive and meaningful moment that contributes to people’s well-being. With many concerns in the context, a dilemma driven approach was applied that juxtapositions people’s concerns to inspire ideation. A concept was created that introduces a positive moment in the waiting room. The concept keeps track of people’s appointments, and meanwhile people can listen to stories that stimulate a sense of connectedness in citizens. An iterative process resulted in a final concept that was tested with 12 people. User test concluded that the prototype evoked only positive emotions, one rich experience and it contributed slightly to a sense of connectedness. Altogether, the concept positively created a moment that elevates people, making them feel connected to others and shed a fresh perspective that broadened people’s horizon.

Policymaking regarding Artificial Intelligence is threatened to lag behind, and the Dutch Ministry of Justice and Security stated its desire to catch up. The longer we wait, the wider the ‘gap’ will become between regulation and market development. In order to keep AI technology beneficial, a human-centered design approach should be key not only in AI development, but also in policy development. Instead of focussing on ‘what is possible’, we need to empathize with stakeholders to unravel the latent needs that define the public values of today. Along with the unfamiliarity of AI technology and its unpredictable consequences, this calls for a transition towards an agile government. This transition represents a shift from ‘assuming’ to ‘learning by doing’, from ‘is it safe?’ to ‘is it safe to fail?’, and from 'reactive' to 'proactive' policymaking. This thesis proposes proactive policymaking as a creative, iterative and future-oriented exploration. AI experiments should be framed as a priority vehicle for organizational learning. Experiments are used to empathize and unravel its desirability early in the process. Policy Provotypes and Minimum Viable Policies are created as first feedback loops prior to current feasibility studies. An ‘Desirability panel’, covering the experiences of a representative group of society, reduces blind spots and offers transparency. It facilitates short-line communication and alignment. Potential policy interventions transcend theoretical discussion as the demonstrated experiments provide a context for detailed dialogue. Policymaking will be less affected by the media's magnifying glass as stakeholder inclusion is at the heart of policy development. This vision calls for the need of a Creative, Empathic, Transparent, Inclusive, Future-oriented, Iterative, Experience-driven and Demonstrative approach. Therefore I present the acronym: CERTIFIED. The CERTIFIED approach covers a theoretical framework for agile policymaking. In essence, it is about the ability to adapt quickly by providing a window for feedback by the public early-on in the process and embracing criticism as a valuable gift. An iterative design process led to (1) the creation of the CERTIFIED Manifesto for the ministry, that publicly declares the needed transition mindset, and (2) a practical toolkit to offer policymakers an actionable way to carry out the first steps. The toolkit resembles a low barrier to demystify the desirability of AI application scenarios with a representative group of society. This toolkit contains a Perspectives card deck and a set of 6 canvases. The card deck includes 15 stakeholder cards to empathize with their values, roles, concerns and power. The canvases guide the panel in the steps of Design Thinking and capture the insights from the dialogue. A final toolkit pilot with representative stakeholders of the Quadruple helix showed a cross-fertilization of knowledge and expertise resulting in the ability to identify their blind spots and to formulate a ‘Minimum Viable Policy’ and test set-up to validate their assumptions. This research concludes that if space is provided for proactive policy experimentation, this would give policymakers momentum to reflect on the long-term goals instead of the issues of the day. Thus, offering a way towards becoming an adaptive government.

This project aims to plant a seed in the minds of children to develop sustainable behaviour now and inspire an attitude of environmental stewardship for the future. Children grow up in a take-make-dispose world driven by consumerism. This world is characterised by the continuous production of new consumer products. This has a significant negative effect on the environment. For a sustainable future, people’s behaviour needs to change. Changing children’s attitude towards toy ownership has been identified as an opportunity to create this behaviour change. This lead to the following design challenge: How can I create an experience that engages children to change their behaviour towards toy ownership to inspire environmental stewardship? One of the most efficient ways to make products more sustainable is by extending product life. Extending product life is put into practice by having children pass on toys they have outgrown. By studying children using the context mapping method it was found that they find it difficult to let go of their unused toys. Extending product life and difficulty to let go are conflicting statements. For children below the age of five this is unavoidable, therefore the target group is children aged 5 - 6 as this is the youngest group possible to set in motion the desired behaviour change. Solution directions for the desired behaviour change were generated. The Toy on adventure concept was selected to further develop as this concept uses a narrative which allows for a perspective shift to occur with the child. A shift from a negative association (losing your toy), to a positive one (allowing your toy to go on adventure). In order to convince the child to participate in the concept, action tendency needs to be recognised. Multiple in-context interventions with the users were performed to find effective action tendencies that facilitate behaviour change. The following design elements were established: the power of growth, storytelling, negative emotions & pride. Using and integrating these design elements, the final design was created: Olli Play. Olli Play is an episodic storybook including action items and supporting props (play mat/bag & headdress) to make it easier for children to pass on toys they have outgrown. The design elements are embedded as follows: Episodic storytelling engages children with the experience of Olli Play. The concept of the power of growth is used in the narrative to make the letting go of toys part of growing up. Negative emotions are used to create a rich experience according to the theory of design for emotion. The use of pride provides the after the fact gratification necessary for the experience to have a lasting effect in order to inspire environmental stewardship. The interaction with the final design was tested in a three day testing session. The results showed that the intended effects were accomplished. As expected, the child experienced great difficulties with the thought of letting go toys at first. But as the interaction progressed throughout the days, the attitude of the child was transformed and the overall experience was perceived to be very enjoyable and the toys were gladly given away. The interaction also sparked interest in environmental stewardship. This way, Olli Play creates immediate sustainable behaviour and inspires the intended attitude of environmental stewardship.

This project is about inclusion in the museum sector. Concerns around inclusion and equality are rapidly increasing. And, due to these societal dynamics, museums are in times of fundamental change towards inclusivity. At the start of the project, a theoretic framework depicting the different layers and elements of inclusion was developed. This knowledge helped to gather rich contextual insights in the research phase of the project; exploring inclusivity from the museum sector’s perspective and the visitors’ perspective. As a result, three key challenges and opportunities from the sectors’ perspective, and the key visitors’ needs, were identified. From synthesising these findings, it was found that the key opportunity and challenge for the project lay in addressing the relationship between museums and the public: to help move towards a mutual symbiotic relationship, where both parties are able to benefit from. Based on this challenge brainstorming, experimentation, and observations were done to iteratively develop a strategic service concept. The final concept that evolved was Habitat. To put it briefly: Habitat is a digital museum platform that gives small pieces of context and sparking questions related to art pieces, to support visitors’ curiosity and line of thinking. And, it allows visitors to leave their own ideas, thoughts, or opinion on augmented sticky notes. Habitat’s ultimate contribution to inclusion is that it, on the one hand, helps visitors to become active participants, and allows them to see what art can do and mean to them, without needing to be an art-expert. And, on the other hand, it helps museums to better understand their visitors, tap better into their (inclusive) needs, and facilitate the space to build a mutually beneficial relationship the public. In validation tests with museum visitors, the concept’s desirability was investigated. In parallel, expert evaluations were performed. The insights from these activities combined were used to formulate the final recommendations. Here advice is being given on how to answer the following questions, related to the desirability, feasibility and viability: ‘Can it be done?’, ‘Does it bring value?’, and ‘Can it be sufficiently supported?’. The project was primarily centred around the Dutch museum sector. However, input was also gathered from international sources and the project aims to be as inspirational and scalable as possible for cultural experiences and organisations, in and beyond the Dutch cultural landscape. Finally, what this thesis in particular advocates for, when designing for inclusion, is to focus on finding out what people might have in common and what connects them. In terms of defining peoples’ needs, designers should not focus on separating groups of people to fit simplified personas, instead they should look out to find universal needs shared among all. This will help to recognize common grounds on which inclusion can be built. Besides that, this thesis advocates to adopt a system thinking mindset when designing for inclusion. Doing so will help to understand the interactions between the actors in the system, the environment around them, and to see who gets excluded, why, and how.

Dutch festivals are currently extremely popular and offer visitors a way to escape the daily routine, and experience new things. This popularity starts to have its drawbacks since the number of complaints increase. As an effect, regulations become stricter and municipalities hand out fewer permits, resulting in last-minute cancellations of festivals. The festival landscape already encounters other extreme risks and some festivals can go bankrupt within one bad edition. Simultaneously, the Netherlands is changing and festivals also have to adapt to future trends. These trends are positioned around one main phenomenon: the purpose economy. Combining these occurrences, the festival landscape has become a much-discussed topic and every year questions pop up with regards to its relevance and effects. It is discussed that citizens and visitors currently have the most impact on the success of a festival. Nevertheless, the impact on their own lives is minimal and short term. An increase in official complaints or disturbed citizens would endanger the festivals’ position. Therefore, festivals will have to become indispensable towards these two stakeholders to create a permanent position. They should do this by creating reciprocity and fulfill the needs of the stakeholders. For citizens, this means that festivals will help tackle societal challenges. For visitors, festivals can help to facilitate a meaningful, out of this world, experience that gives them a sense of purpose. This report presents a proposal on how festivals in 2030 can create a permanent position within this changing environment. In order to do so, festivals will have to change their role to a stakeholder-oriented service and position themselves as a platform where citizens and visitors come together and take the opportunity to fulfill their needs. This results in a shift of focus and festivals can use this position to strengthen its base. In order to fully embrace this new role, festivals will have to create a strong relationship between visitors and citizens. Research shows that co-creation can change the attitudes of people towards a service. A continuous innovation plan is developed where the four pillars of a strong relationship are implemented. These four pillars are ‘Openness’, ‘Trust’, ‘Involvement’, and ‘Commitment’. It is stated that this relationship should be created in the before-, during- and after phase of a festival, finishing each cycle with peak-end, ensuring an overall positive attitude and increasing loyalty towards the festival. Since festivals can have different aims for creating a strong relationship, three scenarios are developed. The first one is a formal relationship where the festival does not merge its identity with the environment. Secondly, a relationship can be created where the festival creates an impact on the environment. Thirdly, the festival can aim for a relationship where they are an equal part of the community. The festival can use the online platform to reach more people and tackle the complexities of the offline platform. Finally, a roadmap is created on how festivals can implement this future vision and create a stakeholder-oriented organization. A plan is developed on how to create awareness among festivals. During the entire project, the organization of Into the Great Wide Open served as a basecamp where insights could be validated.

This master thesis explores how to extend the product line of the Dutch stroller company JOOLZ with products that support parents in their homes. Traditionally JOOLZ designs , but want to explore possibilities beyond this market segment. The focus of the assignment is parent life in a large metropolis, such as Tokyo, New York and Amsterdam. Through desk and generative research, the solution space is explored in terms of important aspects of parent child relations as well as everyday life 'rituals' such as sleeping, 'involvement' and nourishment. The solution space is also explored in relation to trends and aspects of parent life in a metropolis, such as space constraints. New tendencies such as micro living are taken into account because the (reduced) availability of space in metropolises are a factor of modern life, a trend which is also being addressed by other companies such as IKEA. Together with various experts and professionals inside and outside the company a series of iterations on concepts and concept directions are carried out. The resulting concepts are documented in stages include the final selection. ‘JOY’ is the name of the selected concept, a mobile device that facilitates everyday life. JOY is a movable frame with interchangeable applications (hammock, dining chair and baby gym) that can be changed according to the area, sparing the space that positioning devices for baby born take. The final concept is detailed to a level where it is feasible and ready to be taken further by domain experts. An analysis of the design characteristics of JOOLZ products is used to show how the selected concept could be made to fit with the JOOLZ portfolio, but still exploring 'new' aesthetic territory. The report concludes with recommendations for how to further develop the concept.

This report shows the process and result of a graduation project at the Netherlands Red Cross (NLRC). In their search to improve the humanitarian system, innovation is necessary. However, the Netherlands Red Cross faces challenges associated with time, resources, culture and methodologies to execute a research regarding the integration of innovation into the organisation. Based on this problem the following research question was formulated: “How can humanitarian innovation at the Netherlands Red Cross be improved?” To answer this research question, two ethnographic studies were conducted in the context of the headquarters of the Netherlands Red Cross and Red Cross operation on Sint Maarten. Ethnographic research is a qualitative research method in which you observe, interact and empathise with the topic that is being researched. It is mainly used to gain a deep understanding of the context when dealing with highly complex problems. Ethnographic Study 1 The first ethnographic study took place at the headquarters of the Netherlands Red Cross, involving methods such as observations and interviews. The research resulted in a general understanding of the way of working at the NLRC. Furthermore, multiple bottlenecks of innovation were identified: Donor structure, organisational silos and project proposals. Ethnographic Study 2 The second ethnographic study was conducted on Sint Maarten. The island, located in the hurricane prone Caribbean, was hit by hurricane Irma in September 2017. The Red Cross responded and provided relief aid to the inhabitants of Sint Maarten. The field visit, which had a focus on disaster preparedness, allowed research into the programming of the Red Cross on Sint Maarten. The following insights were found: Design principles The Red Cross should follow the the following five design principles; (1) embrace a holistic approach; (2) pivot the existing situation; (3) ensure knowledge is transferred; (4) use a context specific approach and; (5) use a phase specific approach. Organisational insights Through collaboration, the missing identified qualities: creativity, ideation, speed, hands-on approach and decisiveness, can be implemented into (future) projects. Concept The concept, ‘Community Based Data Collection’, that was developed for this thesis consists of three different phases: preparation, quick response and long-term benefits. Each neighbourhood will have a local ‘data collector’ with knowledge of the community, which will gather relevant data for the three different phases. Preparation • Identify the most vulnerable people in the communities by mapping the neighbourhoods; • Use data to estimate the quantity of relief good necessary per community, and; • Identify and map valuable capacities on the island for a ‘sharing economy (relief operation)’. Response • Use data from the preparation phase to deliver appropriate and focussed aid; • Use a communication system (e.g. pop-up wifi) to provide communication possibilities for both beneficiaries and the Red Cross, and; • Use real time data to optimize relief aid. Long-term benefits • Identify and map structural problems on Sint Maarten; • Provide information to specialized organisations in order to solve these problems, and; • Create a financial independent project by having a ‘data based business model’.

This thesis shows the process and results of a graduation project for the Effenaar, Eindhoven. The music industry has always been capricious. However, the densely dispersed Dutch pop venue landscape is being faced with a contemporary challenge. A lot of Dutch pop venues are balancing between the public and private sector, have a big heritage weighing down on their shoulders, have complex business models with various stakeholders stuck in their silos and often lack a coherent vision. The world around them however is changing fast and vastly. The digitalization of the music industry has shifted medium sized artists’ reason for performing from creating awareness for an upcoming album to their main source of income. Resulting in a more demanding artist and less power for the pop venues. For pop venues to succeed, they either have to be the biggest or the most specialized. The Effenaar at this point is neither of those two. Based on these challenges the following research question is formulated: “How can a Dutch pop music venue, in a co-creative manner, ready itself for and position itself within the vastly changing pop music industry of 2028? – a case study of the Effenaar, Eindhoven.” A 2028 worldview was created by using the ViP method. Conducting research and interviewing key stakeholders resulted in numerous context factors. These context factors created a storyline from which three main consequences for the Effenaar could be concluded. The disconnection between artist and audience in combination with visitor’s increasing demand for multi-sensory stimulating and layered experience results in the first consequence for the Effenaar; ‘Artists need help connecting to their audience’. Secondly, the digitalization of pop culture will be almost fully completed in 2028. This presents a whole range of new pop culture artists. The online realm possesses a vast array of new pop stars. These new groups could benefit from a medium sized offline stage in Eindhoven. This resulted in the second consequence; ‘Music no longer the main relevant form of artistry in pop culture’. Finally, the digitalization of pop culture results in another consequence. Online available data will put the control in the hands of the artists. Due to qualitative and quantitative data of their followers, artist can among other things decide at which pop venue or festival they want to perform. This results in the last consequence; ‘Artists decide if the Effenaar is suitable. In-house bookers will become obsolete’. Through the narration of short stories, the worldview, its consequences on the Effenaar and a glimpse into a possible reaction are illustrated. These stories depict the consequences of the 2028 future on the Effenaar, its artists and visitors. Three main ingredients are formulated for the Effenaar to respond on the 2028 worldview. This thesis proposes that the Effenaar embraces its physicality, shifts their focus from solely musical artists to the broader spectrum of digitalized pop culture and introduces a digital platform for the instigation of multi-layered collaborative experiences. These collaborations are between 2028’s pop culture and the regions technological artistry. Capitalizing on the Effenaar’s position within the Brainport region. This thesis proposes that the Effenaar takes certain steps in order to become a less rigid platform by including new forms of pop culture stars and by creating an online platform. It consequently suggests that without ignoring the inevitable digitalization of pop culture the Effenaar should embrace its physicality instead of aspiring to become another tree within the vast digitalized forest.

This project was conducted with the goal: to increase the customer intimacy by considering customer's personality for personalization. The main outcome of this project is a personality driven design principle based on the big five (Goldberg, 1990). This principle can be used as the guideline for personality-based product and service innovation. Furthermore, by applying this principle, a website tailored to customer's personality was formulated as a use case. According to the concept evaluation results, services taking personality into account by applying the proposed principle can positively influence the customer experience.

Cities are in an urgent need to adapt to the impacts of climate change, particularly, high temperatures and heat stress. Urban Forests are the most effective means of climate adaptation. However, the multiple benefits of urban trees are highly undervalued in the urban contexts. This project focuses on positioning urban trees as effective agents in improving the overall liveability of cities. The premise of the project lies in the fuzzy front end of the innovation process where the i-Tree technology is being redeveloped for its effective adoption in Netherlands. The goal of the project is to synchronize the technical potential of i-Tree as a tool and communicate the benefits of trees to multiple stakeholders in the process. The overall design direction aims to address these problems through a series of interventions across the system of urban forestry. The concept introduces a public awareness campaign to bridge the knowledge gap between citizens and other stakeholders. The campaign is proposed to stretch over a duration of 10-11 months with several touchpoints along the way for citizens to get enthusiastic about the idea of maintaining and taking care of urban trees. The touchpoints aim to target events like Dutch Design week, Boomfeestdag (Tree Festival) and Springsnow festival. To make the awareness program desirable and interesting. A podcast series and a guide is developed called “How to befriend a Tree?”. A concept for the i-Tree Eco tool is proposed which communicates tree benefits in a way that is comprehensible by all the citizens. All the touch points lead the audience of the campaign to the digital platform of i-Tree Netherlands which helps people become caretakers of trees easily.

In a world with an ever-increasing overflow of information, what are we supposed to believe? Even credible sources are distrusted or no attention is paid to their communications at all. The RIVM (National Institute for Public Health and the Environment) is looking for new ways to communicate their findings in such a way that people do not only believe it, but also that they take it into account in their behaviour. A new approach is proposed to find new compelling ways to communicate through design. In doing so, a new way to design for behavioural change in general is composed. The idea behind this approach is the following: People understand their world in a certain way. They have models in their mind about how all kinds of phenomena in this world work. These mental models help people to interpret and predict, which is fundamental to making choices on how to act. Therefore, if we could influence those mental models, we get a new handle on guiding behaviour. This project has explored exactly that handle as it investigates the questions: How can we influence people’s mental models through design? And how can those mental models influence behaviour optimally? Many examples of mental models and designs that embody them were analysed thoroughly. This resulted in a wide range of types and dimensions of mental models and designs, which were collected in a framework. The framework offers strategies to compose, evaluate and refine mental models and designs that embody them. The framework, translated into a toolkit format, was tested with students. Although still lacking validation, the framework seems to be a good basis for further steps: -The framework and the initial toolkit as drafted in this project are a good start for developing a more usable toolkit. The initial test results suggest that the many handles that the framework offers for designing mental models and their embodiments are mostly useful. -The framework offers future research a comprehensive palette for analysing mental models and designs that carry them. The mental model approach as explored in this project is relevant not only for the design of specialized behavioural interventions, but also for design in general. It uncovers, and provides handles on, an element of design that is widely applicable since many designs and communications explain (or could explain) a mental model.

Vincent van Gogh, one of the most important figures in Art history, left the world not only his art, but also a large number of letters. The letters bare the first-hand witness of his unique life stories and precious insights about his art. Dedicated to the works and stories of Van Gogh, the Van Gogh Museum (VGM) wants to redesign the current letter gallery in the museum, aiming at creating personal connections between visitors and Van Gogh. To achieve this, multiple user research activities were conducted, based on which three design strategies of the letter gallery were defined. Then a design concept of the gallery was generated. There are three scopes of the research: "personal connection", "personal connection with Van Gogh", and "connecting with Van Gogh in the VGM letter gallery". To address these scopes, a group session, two rounds of visitor interviews, a Van Gogh fans interview and a letter booklet research were done. With the research insights coming together, the author generated the model of "layers of connections with Van Gogh" which illustrates that in order to achieve personal connections with Van Gogh in the letter gallery, the design strategies can be: 1. Trigger visitors' interests in letters through art; 2. Hit visitors' focus points by layering the information; 3. Encourage further exploration of the letters after visitors leave the gallery. Then, how to realize such design strategies? The author proposed a concept of the gallery, consisting of six parts: 1. Introduction; 2. Trailer; 3. Interactive programme; 4. Narrative structure; 5. Online content and 6. Link to VGM multimedia guide. The design explorations mainly focused on "part 3 Interactive programme" and "part 4 Narrative structure", with three concepts generated for each of the two parts and followed by visitor evaluations. After the design explorations, the final concept was presented, consisting of part 1~4. Part 1 Introduction shows the letter themes in the form of stamps, to make the information easier to understand. Part 2 Trailer consists of projections of a painting and a letter quote of the same theme which switch every 10 seconds, to trigger visitors' interests in more letter contents that they will see next. Part 3 Interactive programme give visitors a quick opportunity to engage with the letters without diving into the whole story. In this programme, users can create their own letters using Van Gogh's letter pieces and send the digital letters to someone by scanning a QR code by their phones. Lastly, part 4 Narrative structure presents the selected letters in six life phases of Van Gogh. The four parts together aim to satisfy the three design strategies and the needs of visitors in different engagement levels.

Voice-technology is, as the name entails, technology that enables the exchange of information through voice. As this technology is currently growing in adoption and usage of customers, the popularity at organizations and researchers is increasing noticeably as well. Normally new intelligence is associated with impressive high-end capabilities. However, this technology is still in its early stages of development because, although humans may be more capable of speech-interaction, the machine now needs to learn from its users. It is important to understand the principles rooted in human communication in order to understand user’s underlying expectations of conversational interfaces and to design for a desired user experience. Conversational interfaces are creating opportunities for new touchpoints between brands and its customers. It adds a new dimension to a customer’s experience and interaction with brands and their services. Brands need to decide how to behave as one of the partners in the collaboration driving this machine-driven conversation. On top of that, a new challenge is found in how to expose a unique identity without any visual and tangible elements to rely on. Alongside a case study for the lifestyle brand Rituals, a brand-driven strategy is proposed to design a voice-interaction service integrated with personified voice-identity. It is of great importance to form a unique and recognizable position within speech-technology corresponds to the existing brand in order to engage customers with a relatable personality. The Rituals case study is used to extrapolate general guidelines, set out in a design kit. It functions as a practical tool to guide organizations in the innovation process towards a voice-interaction service. This project has found a branded identity in the context of voice-technology, defined by an unique fusion of five components. The brand functions here as an overarching connecting factor.