Quantum technology governance presents a significant challenge for policymakers due to its rapid advancement, interdisciplinary complexity, and systemic implications. In response, the Dutch government has begun integrating quantum strategists into its departments to enhance engagement and policy preparedness.

The Quantum Futures Game, developed as a policymaking tool, seeks to make quantum discourse more accessible by enabling policymakers to explore quantum applications and policy instruments through an interactive format. Following an iterative design process, five prototypes were tested with over 150 stakeholders, demonstrating the game’s ability to introduce the systemic impact of quantum and facilitate dialogue, ultimately aiming to support informed decision-making

This project provides an interactive engagement tool for the Centre for Quantum and Society, offering an additional means to raise awareness and strengthen responsible quantum governance frameworks. Integrating this approach builds engagement for a proactive and resilient response to quantum’s societal impact.

Each year, over 50 million tonnes of electronic waste is generated globally, with the Netherlands averaging more than 20 kg per capita (Compendium voor de Leefomgeving, 2023). The shift from a linear to a circular economy is crucial in addressing this issue, emphasizing the importance of durability and repairability in product design. Additionally, the forthcoming legislation from the European Commission (2023) regarding the “right to repair” highlights the need for designers to create products that are both durable and repairable. This project delves into a product’s durability, considering not only its physical repairability, but also how it can retain aesthetic value over time. Central to this exploration is the question: “How can appliances be re-designed for retainment, considering repairability and aesthetic durability?” Drawing upon literature research, a design space is formulated, guiding the several re-designs of the same appliance, in this case a sandwich maker, with each re-design focusing on a specific aspects of repairability and aesthetic durability theory. Evaluation of these re-designs by visitors at Dutch Design Week informed challenges, guiding the further development of one of the re-designs into a functional prototype. The literature review addresses repairability through the challenge of fault diagnosis, particularly as products are often perceived as ‘black boxes’. Practical design implications for improving ease of disassembly and part replacement, alongside the value of awareness of components in having a product repaired, are discussed. Aesthetic durability is explored from the perspectives of ‘living with things’ and the ‘life of things’. The former examines aesthetic pleasure from a multisensory point of view, and the role of familiarity and novelty in design. The latter discusses the dimension of temporality in product design throughout a product’s lifetime, and the concept of products becoming ‘things’ when they break down. The construction of a design space with three axes based on this theory—’the possibility to repair’, ‘our pleasure as users’, and ‘the life of the thing itself’—provides a framework for creating eight diverse prototypes reflecting various perspectives from the theory. Evaluation by 3010 Dutch Design Week visitors identifies one prototype, featuring an ‘oven mitt’-like top, as standing out for its emotional qualities such as ‘connection’ and ‘beauty.’ This re-design is selected for further development into a functional prototype, highlighting repairability improvements and offering the opportunity for ergonomic testing.

The existing food systems are rooted in the assumption for the need for excess and elaborate choice to cater to the consumers’ preferences, albeit these choices are sometimes uncertain. (Chen, PJ and Antonelli, 2020). The pressure to have a wide variety of food available, everywhere all the time. This greatly improves convenience for the consumers and helps to improve customer satisfaction, but leads to inefficient resource use.(Robin.P, 2006)
Living in a society of over-consumption, facilitated by the convenient availability of things everywhere has created a culture where these very things have become devalued. This extends to all things, from food to clothing. This contributes to a perpetual cycle of supply and demand, and creates a culture of wastefulness, as things are perceived less valuable. Having de coupled the producers from the consumers has seen the amount of food wasted skyrocket over the past decade (Zobel et. Al, (2016)).
Multiple studies have tried to address how could design influence consumer choices towards lessening food waste.
Examples of such design interventions include The Bump Mark, a sticker that transforms from smooth to bumpy when the food expires, or The Keep-It Label, that visually shows how much longer can the food be kept.(Hebrok, M., & Boks, C. (2017)).
Groundedness, is a new paradigm from marketing that revolves around connecting people to their social, physical and historical environments, the perceived value of the products increase. These products are seen as more valuable and contribute to the overall well-being of the consumers, by affording them to feel rooted. (Eichinger et al,2023)
Against this background, we want to investigate whether feeling grounded helps in mitigating food waste. That is, if consumers feel grounded in their lives, it would drive consumers to handle resources, such as food, more carefully and mindfully. And as a result, they would waste less food.

This graduation report explains the process of the creation of a new reusable product to apply and extract the Beppy menstrual cup, to make the user experience less intimidating and more convenient. The results are two seperate products: the applicator made from medical grade silicone via injection moulding and the extractor made from a hard plastic core with a medical grade silicone outer layer via 2K injection moulding. The applicator helps the user fold the cup and keeps the cup tightly folded while inserting. When inserting, the cup is pushed out by pressing the bottom upwards, pushing a stick against the cup.
The extractor is used to take the menstrual cup out of the vagina canal. This is done by inserting the extractor next to the cup until it passes the rim of the cup. This will release the vacuum that is created by the cup and enable the user to pull it out. The cup is grabbed by the loop, before it is completely out of the vagina canal, so it does not fall.



To come to these final solutions, an analysis, ideation, integration and evaluation were conducted. The analysis provides knowledge about the company Beppy, their customers, related products, inspirational products and designs and general knowledge about the menstrual cycle and anatomy. By conducting a questionnaire and gaining insights from client support, a user journey is made to visualize the troubles experienced during the use of a cup. The insights from the analysis are concluded in the requirements.



To come to concepts, explorative ideation started during the analysis, followed by a brainstorm ideation via a structured micro user step scenario. This was divided into three parts: folding, inserting and extracting. Some of the mirco steps were ideated on and were combined to create ideas to 3D print prototypes with TPU.



The concepts were integrated until they worked properly when tested on vagina dummies and were ready to create silicone prototypes with by the manufacturer of Beppy. The extractor was not as thoroughly integrated as the applicator, because the applicator was more important for the company to develop. The design of the extractor is not yet up to the standard of Beppy, so they would want to continue with developing the design before proceeding with the creation of samples to test. The sample production of the extractor was also more expensive and would take too long to produce for this graduation project.



To test the applicator with users, a 3D printed mold was made and used to create silicone prototypes by the manufacturer. Six participants tested the applicator and gave feedback via a feedback form, first impression video and interview. The feedback was analysed, so a redesign could be made with which Beppy can continue its development.



The final design of the extractor is functional yet not fully shaped in a coherent design. The final design of the applicator is a promising product, that improves the experience of menstrual cup users by making is less intimidating and more convenient.

The central question for this thesis project was how you can design outfits and garments that deliberately influence or induce moods. The focus of this project was on both a cheerful mood, as well as on a relaxed mood. It became apparent that the relation between moods and fashion is constructed of many facets. There are materialistic properties of garments that are specific to a mood, such as the use of materials or fit of an outfit. Next to that, moods have an influence on how one feels the need to interact with the people around them, in which clothes can support that need: using an outfit as a shield to hide a mood from the people around them. Lastly, personal meaning towards an outfit has an influence on how it affects one’s mood. When, for example, one wore an outfit in a period in which they felt most cheerful, that outfit carries these memories and meaning with it, transferring it to one’s current affective state.

Intertwined, all of these facets play a role in the way clothes can influence and induce moods. As a designer, it was the task to unravel these aspects and find a way to translate them into design principles for the Fashion Design process. To do so, meaning and experiences that are associated with either a relaxed or cheerful mood were gathered and translated into design principles

What was found is that clothes provide hints of impact on the wearer’s moods. Small changes in their perception, energy level or focus hint towards an indication that a change in their mood had occurred. These changes can include a more productive attitude due to an active sitting posture triggered by an outfit, an optimistic feeling when seeing yellow patches the moment the wearer let his head hang, or a relaxed feeling when you feel hugged by the touch of fabric on your skin. Whilst moods are often longer lasting drivers of behaviour and perceptions, these hints of impact relate to relatively short periods of time in which the outfit is actually worn.

When designing outfits that induce a cheerful mood, it is important to pay attention to increasing the level of confidence of the wearer, making them feel confident and empowered. This results in the implementation of high quality fabrics and finishing of the garments, as well as an outfit that flatters and highlights areas of the body the wearer wants. When inducing a relaxed mood, it is important that the wearer is not conscious about their outfit. Resulting in simple, and neutral outfits that do not give much stimulus to the wearer. What connects these moods with consciousness and confidence is the personal style of the wearer, which is crucial in the process to achieve the wanted effect. When the outfit is not in-line with the personal style of the wearer, they feel conscious about this difference, and feel less confident whilst wearing it since it does not reflect their personality.