VV
V.A. Vijsma
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1
In contemporary Western society, death has been pushed out of communal life. Dying has moved into professional settings, care for the deceased has been handed to specialists, funerals have been standardised and commercialised, and grief is increasingly framed as an individual condition with an expected endpoint. Together these form one movement: a reduction of dying to a medical event, of the farewell to a service, of grief to a condition. What this displaces is not only a set of practices but a way of making meaning together.
This project asked how design can create space for grief in public without reducing or prescribing what it should look like. It began from the goal of reclaiming public space in which the bereaved and their communities could share grief, and sharpened that during the research: to create conditions in which grief can be expressed, shared and lived with, in relation to the dead and to those around the bereaved, without that relation having to be explained, resolved or fitted to a recognised form of mourning.
The research combined a literature review across sociology, psychology, anthropology and philosophy with interviews with practitioners working around dying, farewell and grief, conversations with people carrying losses of their own, and field trips. These were clustered into patterns in how loss is lived. The design phase worked through making: a booklet carried by the designer's own family on a trip after a loss, a set of ideas developed into two concepts, and an exposition walked by fifteen visitors.
Across the practitioners ran a refusal of that reduction; what each of them restores is not death itself but the relationships around it. The bereaved showed the same from the inside: bonds that do not end but change shape and are actively kept, described with joy and in the same breath called vague or strange. That gap, between what is fully real from the inside and barely legible from the outside, became what the design addressed. It led to the rouwdier, a word joining rouw (grief) to dier (animal): a particular and changing way someone continues to live with a loss, appearing as a habit, an object, a place, a shared moment, or as something that never settles into a form. The fifteen visitors gave shape to nineteen of them. What a rouwdier was differed widely; what it did recurred across that difference.
The outcome is a travelling exposition in which the rouwdieren of others stand side by side, each in the medium its maker chose, with room to give shape to one's own. It offers recognition rather than participation, and is a proposal grounded in what the testing showed rather than an evaluated design. ...
This project asked how design can create space for grief in public without reducing or prescribing what it should look like. It began from the goal of reclaiming public space in which the bereaved and their communities could share grief, and sharpened that during the research: to create conditions in which grief can be expressed, shared and lived with, in relation to the dead and to those around the bereaved, without that relation having to be explained, resolved or fitted to a recognised form of mourning.
The research combined a literature review across sociology, psychology, anthropology and philosophy with interviews with practitioners working around dying, farewell and grief, conversations with people carrying losses of their own, and field trips. These were clustered into patterns in how loss is lived. The design phase worked through making: a booklet carried by the designer's own family on a trip after a loss, a set of ideas developed into two concepts, and an exposition walked by fifteen visitors.
Across the practitioners ran a refusal of that reduction; what each of them restores is not death itself but the relationships around it. The bereaved showed the same from the inside: bonds that do not end but change shape and are actively kept, described with joy and in the same breath called vague or strange. That gap, between what is fully real from the inside and barely legible from the outside, became what the design addressed. It led to the rouwdier, a word joining rouw (grief) to dier (animal): a particular and changing way someone continues to live with a loss, appearing as a habit, an object, a place, a shared moment, or as something that never settles into a form. The fifteen visitors gave shape to nineteen of them. What a rouwdier was differed widely; what it did recurred across that difference.
The outcome is a travelling exposition in which the rouwdieren of others stand side by side, each in the medium its maker chose, with room to give shape to one's own. It offers recognition rather than participation, and is a proposal grounded in what the testing showed rather than an evaluated design. ...
In contemporary Western society, death has been pushed out of communal life. Dying has moved into professional settings, care for the deceased has been handed to specialists, funerals have been standardised and commercialised, and grief is increasingly framed as an individual condition with an expected endpoint. Together these form one movement: a reduction of dying to a medical event, of the farewell to a service, of grief to a condition. What this displaces is not only a set of practices but a way of making meaning together.
This project asked how design can create space for grief in public without reducing or prescribing what it should look like. It began from the goal of reclaiming public space in which the bereaved and their communities could share grief, and sharpened that during the research: to create conditions in which grief can be expressed, shared and lived with, in relation to the dead and to those around the bereaved, without that relation having to be explained, resolved or fitted to a recognised form of mourning.
The research combined a literature review across sociology, psychology, anthropology and philosophy with interviews with practitioners working around dying, farewell and grief, conversations with people carrying losses of their own, and field trips. These were clustered into patterns in how loss is lived. The design phase worked through making: a booklet carried by the designer's own family on a trip after a loss, a set of ideas developed into two concepts, and an exposition walked by fifteen visitors.
Across the practitioners ran a refusal of that reduction; what each of them restores is not death itself but the relationships around it. The bereaved showed the same from the inside: bonds that do not end but change shape and are actively kept, described with joy and in the same breath called vague or strange. That gap, between what is fully real from the inside and barely legible from the outside, became what the design addressed. It led to the rouwdier, a word joining rouw (grief) to dier (animal): a particular and changing way someone continues to live with a loss, appearing as a habit, an object, a place, a shared moment, or as something that never settles into a form. The fifteen visitors gave shape to nineteen of them. What a rouwdier was differed widely; what it did recurred across that difference.
The outcome is a travelling exposition in which the rouwdieren of others stand side by side, each in the medium its maker chose, with room to give shape to one's own. It offers recognition rather than participation, and is a proposal grounded in what the testing showed rather than an evaluated design.
This project asked how design can create space for grief in public without reducing or prescribing what it should look like. It began from the goal of reclaiming public space in which the bereaved and their communities could share grief, and sharpened that during the research: to create conditions in which grief can be expressed, shared and lived with, in relation to the dead and to those around the bereaved, without that relation having to be explained, resolved or fitted to a recognised form of mourning.
The research combined a literature review across sociology, psychology, anthropology and philosophy with interviews with practitioners working around dying, farewell and grief, conversations with people carrying losses of their own, and field trips. These were clustered into patterns in how loss is lived. The design phase worked through making: a booklet carried by the designer's own family on a trip after a loss, a set of ideas developed into two concepts, and an exposition walked by fifteen visitors.
Across the practitioners ran a refusal of that reduction; what each of them restores is not death itself but the relationships around it. The bereaved showed the same from the inside: bonds that do not end but change shape and are actively kept, described with joy and in the same breath called vague or strange. That gap, between what is fully real from the inside and barely legible from the outside, became what the design addressed. It led to the rouwdier, a word joining rouw (grief) to dier (animal): a particular and changing way someone continues to live with a loss, appearing as a habit, an object, a place, a shared moment, or as something that never settles into a form. The fifteen visitors gave shape to nineteen of them. What a rouwdier was differed widely; what it did recurred across that difference.
The outcome is a travelling exposition in which the rouwdieren of others stand side by side, each in the medium its maker chose, with room to give shape to one's own. It offers recognition rather than participation, and is a proposal grounded in what the testing showed rather than an evaluated design.
This thesis explores the development of a product-service system that supports independent mobility for individuals with both visual and mobility impairments (MVIPs). These individuals face unique challenges, as existing mobility aids do not adequately address the combined limitations of impaired vision and restricted physical movement. The project aims to bridge this gap by integrating environmental sensing and tactile feedback technologies into a rollator-based system. The design approach follows a human-centered and iterative process, combining desktop research, stakeholder interviews, user testing, and prototyping.
The final outcome, VAMO, consists of modular components that can be mounted on an existing rollator and paired with a digital interface. The system provides users with real-time spatial awareness via vibration feedback, facilitating safer navigation. The project evaluates the effectiveness of the feedback system through user testing and expert reviews. While the solution is not universally applicable due to user diversity, it demonstrates the potential for inclusive design to improve quality of life and autonomy for MVIPs. The thesis contributes to the field of assistive technology by proposing a scalable and adaptable mobility aid that aligns with current trends in modularity, personalization, and accessibility. ...
The final outcome, VAMO, consists of modular components that can be mounted on an existing rollator and paired with a digital interface. The system provides users with real-time spatial awareness via vibration feedback, facilitating safer navigation. The project evaluates the effectiveness of the feedback system through user testing and expert reviews. While the solution is not universally applicable due to user diversity, it demonstrates the potential for inclusive design to improve quality of life and autonomy for MVIPs. The thesis contributes to the field of assistive technology by proposing a scalable and adaptable mobility aid that aligns with current trends in modularity, personalization, and accessibility. ...
This thesis explores the development of a product-service system that supports independent mobility for individuals with both visual and mobility impairments (MVIPs). These individuals face unique challenges, as existing mobility aids do not adequately address the combined limitations of impaired vision and restricted physical movement. The project aims to bridge this gap by integrating environmental sensing and tactile feedback technologies into a rollator-based system. The design approach follows a human-centered and iterative process, combining desktop research, stakeholder interviews, user testing, and prototyping.
The final outcome, VAMO, consists of modular components that can be mounted on an existing rollator and paired with a digital interface. The system provides users with real-time spatial awareness via vibration feedback, facilitating safer navigation. The project evaluates the effectiveness of the feedback system through user testing and expert reviews. While the solution is not universally applicable due to user diversity, it demonstrates the potential for inclusive design to improve quality of life and autonomy for MVIPs. The thesis contributes to the field of assistive technology by proposing a scalable and adaptable mobility aid that aligns with current trends in modularity, personalization, and accessibility.
The final outcome, VAMO, consists of modular components that can be mounted on an existing rollator and paired with a digital interface. The system provides users with real-time spatial awareness via vibration feedback, facilitating safer navigation. The project evaluates the effectiveness of the feedback system through user testing and expert reviews. While the solution is not universally applicable due to user diversity, it demonstrates the potential for inclusive design to improve quality of life and autonomy for MVIPs. The thesis contributes to the field of assistive technology by proposing a scalable and adaptable mobility aid that aligns with current trends in modularity, personalization, and accessibility.