The project investigates the needs for learning environments in 2035 and how you can design that learning environment future-proof. The project has 2 results, theoretical design guidelines and a design tool. The theoretical guidelines are based on a multitude of factors that have been collected through literature research, interviews and observation. These factors may or may not have a connection with each other. By investigating these relations, 11 clusters have emerged. By linking these clusters to each other, looking for connections, fitting and measuring, trial and error, I created a framework. The framework is filled with patterns that influence behavior, interaction and engagement in educational situations, which led to types of spaces, so called typologies. Naming and grouping these patterns provides designers with guidelines that enable them to shape future learning environments through an organised yet flexible approach.

At the core of the typologies are 12 types that represent relevant actions in the learning environment of 2035. For example: exploring or sharing perspectives. To make these actions spatial and demonstrate how every action can be executed in different ways, for each action, 5 to 6 archetypes are connected to it. An archetype embodies a space or object that everyone has an idea or experience with, but at the same time everyone has their own interpretation of it, for example a cafe. The archetypes capture qualities and the actions of users. The archetypes serve as adaptable design references, offering insights into how different spatial arrangements can foster diverse educational experiences.

Building on this research, the second part of the project translates the framework into a tangible design tool: a card set that facilitates ideation, discussion, and creative exploration. This project is executed for Triomf Design, their designers are the main stakeholder for the design of the card set. Triomf approaches projects dynamically and intuitively. The tool encourages designers to experiment with spatial concepts and interactions. An interaction vision, inspired by children collaboratively building with Lego blocks, was used to define six key interaction qualities, ensuring that the tool fosters engagement and adaptability.

The card set comprises 18 archetypes and the corresponding actions, presented in a visually engaging format. To encourage playful exploration, each card has a unique shape, color-coded action labels, and visualisations that balance guidance with interpretive freedom. The imperfect fit of the shapes emphasise that there is no single “right” solution. This design invites users to interact physically with the cards, experimenting with arrangements and combinations to spark creativity. By incorporating both product and interaction qualities, the tool helps users think beyond literal representations, encouraging more intentional and innovative spatial designs.

Together, the framework and design tool offer a structured yet adaptable approach to shaping future learning environments. The framework provides a theoretical lens for understanding the typologies, while the card set translates these insights into a tool that supports designers throughout different stages of the design process. This dual approach ensures that educational spaces remain flexible, engaging, and responsive to future learning needs.

Designing a lampshade design for an Amsterdam based company with the basic requirements of low- cost, in house production, adjustable features and implementable within a year. Which resulted in a minimalist lampshade with a modular and variable design.

This graduation project started as a continuation of an earlier design project. The design team Bdot, a group of students from the TU Delft, made a concept design for the company Merford. After the success of the Bdot concept, Merford was inspired to continue development further to a high fidelity prototype or even production. The open workspace, or so called ‘office garden’, is becoming more popular in modern and renovated office spaces. Such office spaces do not have many walls, which offers benefits to work culture development but can also lead to a variety of problems. Research shows that acoustic hindrance is one of the biggest problems found in open workspaces (JMP, 2017). The concept developed during the JMP project provides a solution to that problem. The Pinecone as designed by the JMP group, ended with a concept design and a prototype which showed the sense of scale of the product. This graduation project will focus on three important aspects of the design. First of all, the panel will be redesigned, having a refined finish and look. Secondly, a solution for hanging the acoustic panels had to be designed. From the beginning of this graduation project, the idea came up to make panels modular, and connecting them instead of hanging them on complete rings. Thirdly, the focus was on designing a functional retraction mechanism making the prototype prove that the mechanics will work for the end product. A new design brief was made, including these three focus points. Together with the company Merford and information from the previous design report, a list of criteria was formed for guiding this project. During the exploration phase of this project, numerous resources were reviewed. This gave more information and inspiration for several solutions for each focus area. The development of these focus areas was a very iterative process. Finding solutions, then getting more information through experts, and making revisions of these solutions to find better ones happened multiple times. During this iterative process, the switch between design for end product and design for a show-model had to be made continuously. This means that during the development chapter, conclusions are drawn for both the prototype and for the end design of this project. The prototyping phase focused on getting a working prototype build. The goal of this prototype was to prove the mechanics would work, together with being a show model for Merford. The prototype will eventually hang in the showroom of Merford and will be used for business events and fairs. The final chapter elaborates on the final design of the Pinecone. Materials, production techniques and production series are spoken of in this chapter. The chapter doesn not only give the design of the ‘standard’ Pinecone, but also gives multiple opportunities and possibilities for Merford to sell more Pinecones in the near future.