Design Academy Eindhoven //
Emmasingel 14 //
Eindhoven // 56111AZ // //

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2010-04-26 // // VERVELAND // Assignment



The streets were heavy and tired, aged by the monotony of industry. The concrete wore the marks of everyday weariness. The sodium light buzzing on was the only cue that day turns to night. This cycle was a reflection of the repetition of production. There are mechanisms of escape hiding in the thick fog, maybe only captured in a blink of an eye. Identity. Fame. Religion. Indulgence. Violence. Vanity. Isolation. Romance. Mystery. Set against the bleak atmosphere these desires are manufactured, synchronized to the echo of industry, but following an unpredictable randomness. This controlled chaos leaves open the possibility for spontaneity and unexpected connections. The constant flux highlights the absurdity of city growth and human nature.

Has the manufacturing of desires rendered them obsolete? By opening up a flexible platform for play, is there still a need for escape? 


Eindhoven in sections first assignment-

As a group, we divided the city of Eindhoven into equal sections.  We then set out to document and explore our respective areas, with the idea of finding hidden glamour.   The objective is to use the tangible real information discovered in Eindhoven to create our own narrative in the city. 


Styrofoam model- choosing words

Places of interest were made into models and installed together on a scaled map of the city.  This fostered discussion on the importance of these places, and their relation to each other.  By distilling our ideas, we came to the conclusion that glamour is a product of human desire.  Using observations of activity in the city, we each found a single word that embodied a desire.  Identity, Romance, Vanity, Mystery, Indulgence, Religion, Isolation, Violence and Fame.


Units- Production line –building model – sound

Desires are manufactured like anything else in the supply and demand system.   The satisfaction of human longing can be likened to manufacturing and consumption.   The words we chose were translated into a material and symbolic building unit.  In this manner of abstraction, we created an assembly line of desires that are used to build a city. 


Virtual model

To perfect a craft skill, the objective is to train the hand and eye to replicate another object in a near perfect way.  By copying an object over and over, a craftsman gains knowledge of material and technique.  In the digital realm three dimensional objects can be endlessly copied and reproduced at the click of a button.  By building the city in a virtual context are we subverting the craft process?  What is lost?  What is gained?

Recreating a complex physical installation in a digital model is challenging, both technically and theoretically.  Is it possible to create a mess in 3D?  Is there room for experimentation and accident?

In this re-animation of Verveland, we reverse the role of the typical production process.  Where digital models are normally created to inform the final product in reality, we are using the real to inform our digital model. 

The physical Verveland lends itself to an outsider perspective.  A person viewing gets the sense that he or she is looking in on another world from above.  By translating the city into digital representation, a perspective change occurs.  The viewer is suddenly a small player inside a world, able to explore and navigate without a sense of what is around the corner.