dutch design fashion architecture 2011 Year Report Jaarbericht

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dutch design fashion

architecture 2011

Year Report

Jaarbericht

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Foreword

Activity Report 2011

Towards the Final Push

Programme 2011

Germany China

Turkey India

The Netherlands

Dutch Profiles Reflections

Housing With a Mission

Ole Bouman

Dutch Denim Diner

James Veenhoff

Delhi 2050

Ton Venhoeven

Smart Strategies

Machtelt Schelling

The Incubator Has Landed

Jeroen Junte

A Collaborative Idiom

Janak Mistry

Laboratory of the World

Robert Jan Marringa

Designing in Excellent Coalitions

Henk Ovink

Professional Self-analysis

Helma Weijnand-Schut and Jaap van der Grinten

Connecting Cultures

Dipannita Ghosh Biswas

Dutch Design College

Michel de Boer

Thank You

Financial Report 2011 Credits

4 6 22

48 54 54 56 58 60 62 64 66 68 70 72 74 76 78 80

4 14 22

48 54 54 56 58 60 62 64 66 68 70 72 74 76 78 80

Voorwoord

Activiteitenverslag 2011

Aanzet tot het slotakkoord

Programma 2011

Duitsland China Turkije India Nederland

Dutch Profiles Reflecties

Housing With a Mission

Ole Bouman

Dutch Denim Diner

James Veenhoff

Delhi 2050

Ton Venhoeven

Smart Strategies

Machtelt Schelling

The Incubator Has Landed

Jeroen Junte

A Collaborative Idiom

Janak Mistry

Laboratory of the World

Robert Jan Marringa

Designing in Excellent Coalitions

Henk Ovink

Professional Self-analysis

Helma Weijnand-Schut en Jaap van der Grinten

Connecting Cultures

Dipannita Ghosh Biswas

Dutch Design College

Michel de Boer

Thank You

Jaarcijfers 2011 Credits

2 Contents 3 Inhoud

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4 Foreword

It’s something that everyone who’s ever taken the bullet train between Pudong International Airport and Shanghai will recognise. The train gets off to a gentle start, just like a normal modern train. Then it starts to pick up speed, reaching a top speed of over 300kph at around two-thirds of the trajectory.

And then the train driver throttles down, letting the train roll its course until it reaches its destination, as calmly as its departure.

This is an apt metaphor for the trajectory that Dutch Design Fashion Architecture is on. After an initial year of searching and feeling its way for- ward, two years followed in which initiatives were launched and developed extremely quickly. That took a lot of energy, but all that effort has proved very fruitful. Networks have been established, joint projects carried out, and the sought-after profile fleshed out. Dutch design, fashion and architecture are on the map, in all the focus countries.

This is not only the result of the efforts by

DutchDFA, but also of the autonomous development of globalisation and the increasing interdepen- dence. In this playing field, DutchDFA is a targeted intervention of limited duration. It is an accelerator of developments and an instigator of collaboration in and with a field that the Scheepbouwer commit- tee described as fragmented.

In my view, DutchDFA is first and foremost a col- lection of learning experiences. The programme forges new routines and creates new combinations, and its unique set-up will continue to be a source of inspiration for the future. DutchDFA is not a fund. In a field so thoroughly familiar with dea- ling with funds, this took some time to get used to. DutchDFA is a venture undertaken by the field itself, requiring all parties to work together and to jointly bear responsibility. It is a construction with extremely little overhead and an equally extreme purposefulness (if I may disregard the start-up phase of figuring out how to play this new game).

We have succeeded over time in establishing new routines for collaboration. This has boosted trust and confidence and has created the cohesion so lacking before. Furthermore, methods have been developed and procedures found and tested.

By selecting different focus countries, sensitivity was fostered for the role of varying contexts and

phases. And last but not least, we engaged in marketing and created a climate that made it pos- sible to build an infrastructure. Without contacts, no contracts!

The yield of DutchDFA will emerge over the course of many years to come. Not all the seeds sown will germinate. But much of what was cultivated will bear fruit, which is already becoming apparent in various ways. It will require follow-up efforts to further stimulate the results, and that is a task for the field at large, as well as for the government.

This not only calls for a critical attitude, but also and particularly, an appreciative approach.

As chairman of the steering group, I not only observe a satisfying collaboration between the partners, but I also see a dedicated programme office. Much has been achieved under the leader- ship of Christine de Baan. Together we now face a new challenge: in the concluding phase it’s no longer about setting up new initiatives, but about the consolidation and transfer of activities.

Fortunately, that’s not the end of it. The recent addi- tion of Turkey as focus country provides an oppor- tunity to test all we learnt before and elsewhere. It means that even in this concluding phase, there’s still scope for new discoveries.

Finally, we now see many policy documents quoting the approach of Dutch Design Fashion Architecture. In these, DutchDFA is sometimes held up as an inspiring example, with calls for it to con- tinue. But DutchDFA is a temporary programme, devised as a deliberate intervention. An interven- tion in which the government and the field together take bold steps and shatter conventions. It is this boldness that calls for a continuation.

Harry Starren

Chair Steering Group DutchDFA

5 Voorwoord

Wie wel eens in de bullet trein tussen Pudong International Airport en Shanghai heeft gezeten, herkent het. De trein vertrekt rustig, als een gewone sneltrein. Dan maakt ie vaart om op tweederde van het traject een topsnelheid van boven de 300 kilometer te bereiken. Zodra dat gebeurt laat de machinist het gas los en mindert de trein vaart om op de bestemming aan te komen zoals zij is vertrokken.

Het is een metafoor voor het traject dat Dutch Design Fashion Architecture aflegt. Na een eerste jaar van zoeken en tasten volgden er twee jaren waarin op hoge snelheid initiatieven zijn ont- plooid. Dat heeft veel energie gekost. Maar de inspanning heeft vruchten afgeworpen. Netwerken zijn opgezet, gezamenlijke projecten zijn uitge- voerd en de profilering die gezocht werd is gevon- den. Design, fashion en architecture uit Nederland staan in de focuslanden op de kaart.

Dat is niet alleen de vrucht van de inspanningen van DutchDFA maar ook de vrucht van een auto- nome ontwikkeling van globalisering en groeiende interdependentie. DutchDFA is hierin een gerichte interventie met een beperkte duur. Een versneller van ontwikkelingen en een uitlokking tot samen- werking in en met een veld dat door de commissie Scheepbouwer als gefragmenteerd werd betiteld.

In mijn ogen is DutchDFA eerst en vooral een ver- zameling leerervaringen. Het programma bouwt nieuwe routines op en vindt nieuwe combinaties.

Het kent een unieke opzet en is daarin ook voor de toekomst inspirerend. DutchDFA is geen fonds.

Dat was wennen voor een veld dat de omgang met fondsen al te goed kende. Het is een onderne- ming van het veld zelf, dat langs die weg genoopt is samen te werken en verantwoordelijkheid te dragen. Een constructie met een uitzonderlijk lage overhead en een even uitzonderlijke doelgericht- heid (als ik daarbij even voorbij mag gaan aan de eerste periode van zoeken naar de regels van het nieuwe spel).

Er zijn in de afgelopen tijd samenwerkingsroutines opgebouwd. Die hebben het vertrouwen ver- sterkt en een tot dan toe ontbrekende samenhang gecreëerd. Bovendien zijn methodes ontwikkeld en aanpakken beproefd. Door verschillende focuslan- den te kiezen is er gevoeligheid ontwikkeld voor

de invloed van verschillende contexten en fases.

Last but not least is er marketing gedaan en een klimaat geschapen waarin het mogelijk was om infrastructuur ‘aan te leggen’. Zonder contacten geen contracten.

De opbrengst van DutchDFA is in een lange reeks van jaren te verwachten. Niet alles wat gezaaid is komt op. Maar veel van wat is opgezet zal vrucht dragen en dat is hier en daar al goed zichtbaar geworden. Het verder stimuleren van de effecten vergt follow-up. Dat is een taak van het veld. En van de overheid. Dat vergt niet alleen een kritische houding, maar vooral een waarderende blik.

Als voorzitter van de regiegroep constateer ik niet alleen bevredigende samenwerking tussen de part- ners, maar ik zie ook een toegewijd werkappa- raat. Onder leiding van Christine de Baan is veel bereikt. Gezamenlijk staan we voor een nieuwe uitdaging: het gaat in de afrondingsfase niet lan- ger om de opzet van nieuwe initiatieven, maar om het bestendigen en overdragen van activiteiten.

Gelukkig is dat niet alles. De recente toevoeging van Turkije als focusland biedt kansen om te toetsen wat elders is geleerd. En het geeft ook in deze fase nog ruimte aan het nieuwe, aan de ontdekking.

Ten slotte. In veel beleidsstukken wordt gewag gemaakt van de aanpak van Dutch Design Fashion Architecture. DutchDFA wordt daarin soms als voorbeeld gesteld. Er wordt dan gepleit voor voort- zetting. DutchDFA is een tijdelijk programma, een gerichte interventie. Een interventie waarin overheid en veld durf tonen en conventies doorbreken. Het zou mooi zijn als aan die durf geen einde kwam.

Harry Starren

voorzitter Regiegroep DutchDFA

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Opportunities in Times of Crisis

2011 was a pivotal year for DutchDFA: just past the halfway mark of the four-year programme, and the overture to the final quarter. It marked a moment for evaluation: what had we learnt, how had we succeeded, what could be improved?

But it was also the time to pluck the first fruits of the expertise, relationships and visibility that have been amassed, of new infrastructure and partnerships, both within the Netherlands and beyond. With the solid foundations of positioning, net- working and cooperating established in the programme’s first two years, the emphasis could shift towards business ventures and reaping the returns.

But this shift was not only a result of the programme’s intrinsic dynamics. There were other, external reasons to take a more enterprising approach. In Europe, the interna- tional economic crisis that had made its consequences felt in the Netherlands simultaneously with the launch of the programme, reached a new low. Creative entrepreneurs are increasingly finding new opportunities in distant emerg- ing economies, but lack the power to tap into them. In this climate, it is all the more important to join forces in order to bolster their international position.

In 2011 a sharp reformulation of Dutch cultural policy brought about new combinations between organisations and a review of government budgets that support the cultural sector. The Netherlands Architecture Institute, Premsela and the Virtueel Platform began working towards a merger into an Institute for the Creative Industries as of 1 January 2013.

At the end of 2011 the Mondrian Foundation transferred its budgets for design, fashion and architecture to the Netherlands Architecture Fund, which in 2013 will become a fund for the creative industries. In the same year, the Federation for Creative Industries became an active repre- sentative of professional and sectoral organisations.

In March 2011, Maxime Verhagen, Minister for Economic Affairs, Agriculture and Innovation, designated the creative industries as one of the Dutch economy’s nine ‘top sectors’

and appointed a team of consultants for each sector. In June this ‘Top Team for the Creative Industries’ published a pre- liminary advisory report, arguing for, among other things, continued ‘support for the internationalisation activities of the creative industries’; combining the budgets of the minis- tries of Education, Culture and Science (OCW), Economic Affairs, Agriculture and Innovation (ELI) and Foreign Affairs (BZ) for this sector; and establishing a Creative Industries Council.

As this annual report is being written, the economic outlook for the Netherlands has deteriorated further. An unluckier star for ‘reaping rewards’ in the DutchDFA programme’s final year would be hard to imagine. Nevertheless, there is reason for optimism. Within three years, DutchDFA has yielded visible and appreciable results that can permanently contribute to reinforcing the international position of Dutch design, despite – or even because of – the crisis.

Nurturing collaborations

A distinctive feature of the DutchDFA programme is the combination of disciplines – fashion, design and architecture – and policy domains – culture, economy and diplomacy.

The first combination has proven to be particularly effec- tive in strengthening the international reputation of Dutch design. But recent experience has shown that the greatest challenge lies in the second combination, policy domains.

It is almost certainly here that the greatest profit is to be gained in the fields of innovation and international ventures as well as in addressing social issues that are locally defined but international in character.

As of 2013, both the new Fund and the new Institute for the creative industries will interconnect several design disci- plines. The same applies for the Dutch Creative Industries Council, which represents the creative business community.

But the actual ‘continuation of DutchDFA’ as a programme and modus operandi calls for a coordinated policy from the Council, Fund and Institute, as well as a ring-fenced, joint budget for internationalisation with combined cultural, social and economic objectives. It should be funded by at least the three ‘founding’ ministries of Education, Culture and Science (OCW), Economic Affairs, Agriculture and Innovation (ELI) and Foreign Affairs (BZ), which have been working in concert within the DutchDFA framework in recent years. They have done this both through close consultation in the Netherlands and by fostering cooperation between the trade, science & technology and cultural sections at Dutch diplomatic posts abroad. The continuation of such collaboration is essential for helping DutchDFA’s achieve- ments to take root, as well as for the success of subsequent internationalisation programmes.

Results 1: Midterm Review

In early 2011, the ministries of OCW, ELI and BZ com- missioned the Berenschot consultancy firm to conduct a midterm review of the DutchDFA programme. The most important findings were:

Positioning: the programme’s multidisciplinary approach is starting to bear fruit. The disciplines of design, fashion, and architecture (DFA) are being distinctively positioned in the focus countries by means of a linking narrative. Thanks to the subject-specific expertise and concentration of forces of DutchDFA disciplines, the international promotion of the Dutch design sector is of a higher quality and is being achieved more expertly than in the past.

Demand-driven: the programme is demand-driven and acts upon urgent issues in the selected focus countries.

DutchDFA is thereby contributing to long-term cooperation among stakeholders from the DFA disciplines and the countries in question.

Cooperation: sectoral institutions, trade associations and government ministries are working together on the programme’s implementation. The projects satisfy the cross-sectoral objectives (idea-network-enterprise) and the internal objective of cooperation. The cultural, economic and diplomatic agendas are converging.

6 DutchDFA Activity Report 2011 7

Towards the Final Push

Regimentation: the programme compels parties within the cultural sector to think about cooperation, both abroad and within the Netherlands. This ensures a concentration of strength, even for the ministries.

In conclusion: DutchDFA’s drive and motivational role have swiftly resulted in robust network development and an international profile that this fragmented realm would have been unable to achieve otherwise. In 2009 and 2010 Dutch design was put firmly on the map, in a manner that reflected quality.

The following aspects require attention during the second half of the programme:

• Transfer of knowledge and networks: the DutchDFA pro- gramme’s results must be firmly and sustainably embed- ded after 2012. To achieve this, the transfer of networks and expertise among all parties concerned – programme bureau, partners and designers – is necessary.

• Monitoring: there is room for improvement in the mea- surement of effects and results, both in the evaluation instruments and in the reporting. This demands extra (administrative) attention from the programme bureau and from programme participants who are receiving support from the DutchDFA budget.

• Enterprise: during the second half of the programme the emphasis must shift from positioning and establishing net- works in the focus countries to enterprise-driven activities.

• Key themes: the basic principle for the programme devel- opment is that social themes are the bridge between culture and enterprise, between local demand and Dutch supply in the long term. This thematic approach could be stepped up.

Results 2: Programme as Laboratory and Source of Knowledge

In 2011 the DutchDFA Steering Group and partner organ- isations reflected on the programme, its achievements, and their future ambitions. These evaluations present a picture of the programme as an experimental garden, a pivotal link, and a booster for effective international entrepreneurship in the design sectors.

Laboratory

The DutchDFA programme functions as a laboratory for exemplary projects that would be difficult to establish otherwise, if at all. It enables the development of activities that match the design sector’s character and its specific mix of cultural ambitions, social engagement and economic rel- evance over a longer period and from a single budget. New cross-sectoral models and instruments are being developed, such as the Dutch Design Workspaces and Matchmaking projects. The Workspaces underpin the individual entre- preneurship of designers; at the same time, they serve as platforms for dialogue among the design disciplines, and for contact with the outside world (governments, businesses, clients, press and public). The Matchmaking projects com- bine discipline-specific ambitions, knowledge sharing and economic returns around carefully chosen social themes.

The programme budget and its attendant criteria bring together partners from different backgrounds within the sector and encourage teamwork. A central coordinat- ing body supports the concentration of forces, monitors the budgetary objectives, and enhances the exchange of information between partners. These factors drive a pro- grammatic approach that encourages parties to undertake joint activities, such as the collaboration between MODINT and Premsela for a fashion project in Berlin or between Premsela, Brainport and the NAI for the ‘Connecting Concepts’ exhibition. Such co-productions are characteristic of the programme’s laboratory function.

Cooperation Within the Sector

The programme strengthens the cohesion among the Dutch parties involved – the professional and trade organisa- tions, the sectoral institutions, the three ministries and six Dutch ‘creative cities’. Together, these cities coordinate the scheduling of major events that involve the creative industries and strive to present a united front abroad. Four of the five founding organisations of the Federation of Dutch Creative Industries are DutchDFA partners: BNA, BNO, BNI and MODINT. Thanks in part to their contacts within DutchDFA, the way for collaboration had already been paved and parties connected swiftly. In their preparations for the Institute for the Creative Industries, Premsela and the NAI are building on the cooperation established within the programme. As of 2012, the Netherlands Architecture Fund – the DutchDFA programme’s formal and physical

‘home base’ – will become a fund for architecture, design and e-culture.

These new organisations validate the collaborations that have taken shape within the DutchDFA programme, and constitute a strong foundation for pursuing the DutchDFA approach after 2012. All parties recognise that cross- sectoral and interdisciplinary cooperation in the creative industries is possible and fruitful. Let us not forget, with all present governmental interest in the combined cultural and economic potential of the creative industries, that the pro- gramme was originally initiated by the design sector itself.

Boosting Individual Entrepreneurship

Success in international ventures primarily depends on the personal drive, vision, preparation and stamina of indi- vidual designers and firms. Nevertheless, conversations with designers from the three sectors prove that international ventures are more enjoyable and effective when experi- ences are shared.

Support – both in ‘high-end’ profiling and with practical matters – can enhance one’s entrepreneurship. The ‘high- end’ level matches the objectives of the sectoral institutions;

it is about setting the agenda, positioning, reputation-build- ing, and encouraging dialogue and knowledge sharing.

At the level of everyday entrepreneurship, the focus is on practical support and information services, cooperation and – once again – knowledge sharing, but in this case, among colleagues. This is the sphere of activity of professional and trade organisations, and where the Design Desks and Workspaces come into play. The individual entrepreneurship

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of designers operates somewhere between the agenda- setting and supportive levels. Projects and programmes that conjoin the two levels are essential to reinforcing such enterprises. These are often projects that intersect with other

‘top sectors’, such as water management, life sciences, agri- food or high-tech.

‘High-end’, Positioning, Agenda-setting, Thematic

Travelling exhibitions and design-led research are important instruments for linking culture and commerce, various design disciplines, and different sectors. Both types of activity call for preparation and implementation over several years, so a programmatic approach proves useful. This approach involves several partners, and has necessitated long-term funding by DutchDFA to achieve the combined cultural- economic-social objectives.

In 2011 the ‘Connecting Concepts’ travelling exhibition, a co-production by Premsela, Brainport and the NAI, toured to various venues in India and China. It concentrates on the mentality, thinking and expertise behind selected Dutch designs, rather than on the objects themselves. The narrative threads in ‘Connecting Concepts’ interlink basic principles in fashion with concepts in water management and, for example, high-tech materials with traditional craft methods.

This set-up makes it possible to forge links with other sec- tors in external communications and fringe programming.

‘Connecting Concepts’ links design cultures, too: in each country the curators invite a few local designers to contrib- ute work. In 2012 the exhibition will travel to Eindhoven, Berlin and Istanbul, respectively.

Design-led research has proven an effective instrument for placing topics on the agenda and bringing parties together, thus far mainly in the domain of architecture. The NAI’s Matchmaking project, active in China and India, is a fine example. Focusing on a theme that relates to a pressing local issue, local designers and their Dutch counterparts develop joint studies and designs. Such projects take much time and patience, because of the requisite preparatory research into suitable themes and the need for a commer- cial enterprise willing to commit to its actual realisation. In China that process went relatively smoothly in 2011. The Delhi 2050 project in India is another example of a design- led research initiative that places topics on the agenda and forges links.

Providing Support: Workspaces and Desks

The Dutch Design Workspaces and Design Desks were cre- ated to support entrepreneurship. The pioneering example was the Workspace in Shanghai that opened in 2010, followed by the Design Desk in Guangzhou/Hong Kong.

During 2011, preparations were made for the Workspace in Mumbai (set to open in spring 2012), and a study was conducted into the feasibility of a branch in Istanbul. The Design Desk Europe in Maastricht, which will initially focus on the German market, is set to open in spring 2012.

The Workspaces offer designers from various disciplines shared office and studio spaces in foreign countries. A team of staff members – the design desk – supports and advises designers (whether or not they make use of the workspace) when venturing into the local market. The Workspaces contribute to the positioning of Dutch design with events, lec- tures and small-scale presentations. Based on a pump-prim- ing investment model that decreases annually, they must be financially self-sufficient after 2012. Establishing the Desks has involved entering into partnerships with consulates and/

or local governments. Both facilities maintain close contacts with the local networks of diplomatic posts and increasingly exchange experiences and contacts among themselves.

Conversations with designers confirm that the Workspaces and Design Desks meet an obvious need for ‘ports of call’

abroad. Via the Design Desk in Southern China, several designers gained swift access to useful contacts; others used the Workspace to gain access to trade missions and fairs, and to hitch a ride on the spot’s growing reputation. The Workspaces and Desks offer tailor-made support for the individual entrepreneurship of designers, and these users are prepared to pay for these services. Professional and trade organisations, as well as the diplomatic posts, regard them as important products of the programme.

Without the DutchDFA programme these facilities would not have been established, given that they do not fit into existing pigeon-holes and the initial investments could not have been sourced from any other scheme. The four-year programme is itself an ‘incubator’ for testing and fine-tuning the model for the Workspaces and Desks. Their initiators have an entrepreneurial spirit, and nearly all are willing to take a personal business risk. The DutchDFA programme bureau will continue to advise (accountancy, financing models), support (communications, networks, expertise) and coor- dinate from the Netherlands, at least until the end of 2012.

Hereafter these functions must be fulfilled elsewhere.

Providing Support: Knowledge Sharing

The international entrepreneurship of designers and businesses is stimulated and underpinned by sharing knowledge. The Creative Amsterdam conference in 2010 – co-organised by the BNO, Pakhuis de Zwijger and DutchDFA – offered a seminal platform for interchange.

Designers talked about their experiences in China and Germany, shedding light on business methodologies. The Creative Dutch workshop series followed in 2011. Geared toward the advancement of professionalism in international ventures, it was organised by the BNO with financial back- ing from DutchDFA. These workshops focused on specific cities and regions, with the participants forming a profes- sional ‘knowledge circle’. The BNA has introduced a similar initiative for the architecture sector with its two-year ‘BNA International’ programme, launched in November 2011.

Several prominent, internationally active Dutch firms are contributing to this platform.

DutchDFA Activity Report 2011

Objectives and Phasing

The ‘Four-Year Plan 2009–2012’ sets the DutchDFA pro- gramme’s objectives:

After four years, the international position of Dutch design, fashion and architecture will have demonstrably improved, especially in the focus countries.

• Idea: the specific qualities of Dutch design are known, and are recognised as valuable for local issues and attractive to local markets;

• Network: permanent networks have been developed between the Netherlands and each of the focus countries in professional, educational, journalistic and governmental realms;

• Enterprise: barriers to entering local markets have been overcome and offices and companies have established enduring contacts, won commissions, and/or expanded their market territory;

• Cooperation: new collaborative ventures have been formed by Dutch organisations in the design sector, between government departments, and between the public and private sectors, while communication among them has improved considerably.

The annual plan for 2011 described DutchDFA as a ‘multi- speed programme’, with the degree of programme develop- ment varying per country. It distinguishes three phases:

1) amassing knowledge, building networks, increasing vis- ibility, developing the programme;

2) implementing the programme, as well as utilising and reinforcing the network and public profile;

3) consolidating the outcomes, transferring the instruments (or rendering them self-sufficient). The goal is to reach the final phase in each country.

This multi-stage programme development runs broadly in parallel with the idea, network and enterprise objectives, which in practice often occur consecutively: strengthening the international position proceeds from positioning through vis- ibility and image-building (reputation), via network-building (relations) to enduring effects for enterprise (results).

At the start of 2012 the programme in China is in phase 3, India is between phases 2 and 3, and Turkey (designated as the fourth focus country in 2011) must swiftly progress through the phases. Given that Germany was hardly terra incognita at the outset, the phasing does not apply. Activities in the Netherlands – effectively the ‘fifth focus country’ since 2011 – belong to the third phase of transfer and consolida- tion, as the basis for the programme’s continuation by the field and the partners.

India

The 2011 annual plan for India has been almost entirely achieved. India nevertheless remains unpredictable in its responses to activities. The NAI Matchmaking project pro- ceeded less smoothly in India than in China, in part because of the initial difficulties in finding a business partner who

was prepared to commit. The ‘Connecting Concepts’ exhibi- tion started out in Ahmedabad, the cradle of Indian design education, continued to Mumbai, and ended in Bangalore.

The tour generated positive media attention and new contacts were established (e.g. between educational institu- tions from the two countries), but the effect could hardly be compared with the reception of ‘Connecting Concepts’ in China later in the year.

Enterprise

Time and patience are indispensable in India, which is why the BNO has, for example, maintained close ties with the organiser of the Kyoorius Designyatra conference and its network for the past five years. Giving a lecture at an Indian design conference can suddenly lead to a major commis- sion, as Paul Mijksenaar found out: he is now designing the signage for Delhi Airport. But most new opportunities result from good contacts and a visible presence. In India, unlike in China, the networks between the different urban nodes are not very strong. Therefore reputations have to be built from scratch in every city.

Relatively speaking, Mumbai is the most ‘connected’ city and is most open to international influences, which is one reason Workspace India was established there. DutchDFA prepared the branch in 2011, and received the first applica- tions by Indian and Dutch designers. With only a handful of Dutch designers currently working in India, the Mumbai Workspace expects less interest in long-term establishment than there is in China.

This Workspace offers a temporary ‘port of call’ for design- ers who want to explore business opportunities in India, have won a one-off commission or are seeking manufac- turers. The Design Desk has an Indian director with many years of experience working both in the Netherlands and as a commercial intermediary between the Netherlands and India. She is a key contact for network building, matchmak- ing and advice. In addition, the Workspace functions as a high-profile ‘outpost’ for Dutch design (e.g. because of its Dutch-designed interior). It is first and foremost a place for dialogue, an important precondition for gaining trust and building relations in India.

Key Themes

The Delhi 2050 project got underway in mid-2011.

Supported by DutchDFA, Delhi 2050 facilitated a series of multidisciplinary workshops with Dutch and Indian archi- tects, urban planners and product designers. A successful media offensive put the necessity of a long-term vision for Delhi’s development on the local agenda. The follow-up in 2011 and 2012 involves many social partners, both in India and the Netherlands: besides designers from both countries, government bodies, educational institutions and major consultants and engineering firms are taking part.

Delhi 2050 is not associated with a commissioner, but through its alliance with top sectors, such as water man- agement and logistics, the project shows great promise.

In the Netherlands, the Ministry of Infrastructure and the Environment has embraced Delhi 2050 and is substantially supplementing DutchDFA’s financial support. The results of the following phase of ‘design-led research’ will be

Towards the Final Push

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presented at the 5th International Architecture Biennale Rotterdam from April 2012, and will travel to Delhi in the autumn.

Both the NAI Matchmaking project and Delhi 2050 fit with DutchDFA’s theme for India, ‘Design for Basic Need’, defined in 2011. The explosive growth of India’s economy goes hand in hand with major environmental problems and poor living conditions for the vast majority of the population. With their knowledge, analytical and conceptual capacity, sensitivity to context, and pragmatism, Dutch designers are well- equipped to help improve the quality of daily life in India, whether that concerns water, housing, infrastructure, health, or new uses for old traditions.

It could be worthwhile to involve Dutch businesses with a ‘Base of the Pyramid’ policy in India, in model proj- ects with Dutch and Indian designers or design colleges, especially projects that involve finding solutions for such concrete, existential issues. These projects can tap into existing contacts between leading design courses in India (Srishti, NID and MIT Pune) and the Netherlands (Design Academy Eindhoven, TU Delft and the Sandberg Institute).

Another potential partner project is INDEED (INdian DEsign EDucation): in late 2011, Dutch and Indian design profes- sionals collaborated on the proposal for INDEED at the request of India’s National Innovation Council. Developed under the guidance of TU Delft, the project explores ways to strengthen Indian design training.

In late 2011 a mission from the fashion sector – Premsela, HTNK, and Fronteer Strategy on behalf of MODINT – inves- tigated collaborative possibilities with respect to market posi- tioning and business ventures in India’s fashion domain. For 2012 the team is preparing a roll-out that combines Dutch fashion presentations with a collaborative fashion education project, and a project that connects crafts with contemporary techniques and concepts in fashion and design.

Design for Basic Need

Themes: Sustainable urban development, long-term plan- ning, affordable housing, better infrastructure (water, trans- port); connect traditional crafts with modern-day concepts, technologies and markets; design management/thinking;

better products for daily use (health, water, transport, etc.);

a new ‘glocal’ identity in fashion.

Turkey

The programme development for Turkey got off to a slow start in 2011. As DutchDFA’s launch in 2009 has shown, a new programme needs a preliminary build-up. The field needs to become acquainted with the new focus country, and the partners and programme bureau have to readjust their visions. Even if 2011 was primarily intended as a year of preparation, in the autumn the Dutch Design Awards presentation was exhibited at Istanbul Design Week and the Dutch Profiles videos were screened at the Istanbul Book Fair. DutchDFA partners travelled to Istanbul for consultation with their counterparts and visitors from Istanbul came to the

Netherlands; there were deliberations with the Dutch Centre for International Cultural Activities (SICA) and with several intended partners about the celebration of 400 years of diplomatic ties between Turkey and the Netherlands; and an expert undertook a feasibility study into a Workspace or Design Desk for Istanbul. The programme for 2012 was prepared and partially funded.

In Turkey there is a conjunction of DutchDFA programme lines that have proven their value in other contexts: travel- ling exhibitions (‘Connecting Concepts’), design-led research and a Workspace/Desk. In the programme for 2012 these activities are mutually reinforcing and synergistic with the programme for the celebration of 400 years of Turkish- Dutch relations: NLTR400. Both programmes focus on the long-term effects of their activities after 2012, while combin- ing economic, diplomatic and cultural agendas.

The first year’s experiences in Turkey have taught us that cooperation is the most important denominator: from a business perspective, in cultural dialogue, in design-led research and in personal contacts. To engage their Turkish collaborators, Dutch protagonists will have to articulate why they are suitable partners and how they respond to local Turkish demands.

Themes: Affordable housing, repurposing and conservation, long-term planning and urban development, water manage- ment, from ‘made in Turkey’ to ‘designed in Turkey’, crafts and innovation, new ‘glocal’ identities in fashion.

China

The DutchDFA programme had a head start in China thanks to the reputation that a select group of Dutch designers, with OMA in the lead, had previously established there.

The programme’s task was to add depth and breadth to this reputation by positioning themes that are relevant to China.

These position-defining projects were to be combined with enterprise-focused and network-building activities.

Key Themes

The NAI Matchmaking project for China focused on develop- ing ‘affordable housing’ – starter homes for young Chinese professionals – in a small-scale residential development. Five Dutch and five Chinese architecture firms developed plans for these homes during two inspiring workshops in 2011, with the Chinese project developer VANKE as the commis- sioning party. In September the NAI and VANKE signed an agreement in the presence of Halbe Zijlstra, the Dutch State Secretary for Education, Culture and Science. The project was featured at the Shenzhen international architecture biennale in December, where it was awarded the submission ‘most meaningful to Chinese architectural practice’. This residential block is set for construction in 2012, when the Matchmaking programme will embark on a new project concerning hous- ing for seniors in Shenzhen.

The ‘Connecting Concepts’ exhibition (Premsela with the NAI and Brainport) travelled to China in the autumn, where it formed the core of two larger presentations. During Beijing

DutchDFA Activity

Design Week ‘Connecting Concepts’ anchored the ‘Smart Cities, Healthy Cities’ exhibition, and during Shanghai Creative Industry Week it appeared alongside a presenta- tion by the Dutch Design Workspace, together entitled ‘Dutch Design Thinking’. The ‘Liberation of Light’ exhibit (about smart applications of LED lighting, an initiative of Yksi and Brainport) was also on display at Beijing Design Week and continued to Guangzhou Design Week with the Dutch Design Desk’s support. The presentations tied in with trade missions by Dutch designers, as well as an accompanying series of lectures by Dutch and Chinese designers that addressed themes such as food security, the improvement of public space and innovative forms of communication.

This raft of activities resulted in considerable publicity, assign- ments for delegates, and numerous new contacts and part- nerships (several Memoranda of Understanding) with local organisations. This combination of projects, and especially the quick ‘clicks’ – between the organising partners, with the local network of diplomatic posts, and with the Workspace and Desk – is a typical and important result of the DutchDFA programme. In Beijing, Shanghai and Guangzhou the lines that have been developed over recent years converged:

there was teamwork among partners who have become acquainted in the meantime, and the ‘high-end’ (i.e. position- ing and agenda-setting) linked with the ‘low-end’ (i.e. practi- cal support) in an organic way.

Smaller-scale projects can also be effective, as the Dutch contribution to 100% Design in Shanghai demonstrated. A shrewdly planned day began with the screening of several Dutch Profiles, was followed by short presentations by Workspace participants, and concluded with a lecture by a Dutch designer. The event attracted a large audience and generated plenty of publicity. The mini-cinema screening Dutch Profiles and the Book Lounge with approximately 80 books about Dutch architecture, fashion and design were crowd-pullers in both Beijing and Shanghai.

In 2011 DutchDFA supported a study into the possibilities for a Dutch Design College in China, a four-year design course that involves two years of study in China followed by two years of study in the Netherlands, and leads to a Dutch diploma. The lecturers for the course in China are alumni of Dutch academies who will gain the opportunity to explore the country’s potentials; the Chinese graduates become ambassadors and potential partners for designers from the Netherlands. The Central Academy of Fine Arts in Beijing and Design Academy Eindhoven have made a commit- ment to this project. The partners also took part in the ‘Next City’ multidisciplinary masterclass that was held in 2010, resulting in a publication and adjoining conference during Beijing Design Week in 2011. Both parties are interested in a follow-up.

Enterprise

Since opening in September 2010, the Dutch Design Workspace developed into the home base of Dutch designers in China. Its impact is evident in the Dutch Design in China Yearbook, presented to Maxime Verhagen, Minister for Economic Affairs, Agriculture and Innovation, during his visit to Shanghai in May. The Workspace has become a point of contact and an information desk for the local business commu- nity, as demonstrated by the Memorandum of Understanding that was signed in October with the Kunshan Design Center, which aims to link Chinese clients with Dutch designers. With several designers, the Workspace has become increasingly active in local fairs and conferences. Events like Pecha Kucha evenings and lectures by Dutch designers have given it an important niche on Shanghai’s cultural agenda. As State Secretary Halbe Zijlstra witnessed during his visit to China in September, Dutch design has established a solid reputation and built a strong local network.

The Dutch Design Desk for the Greater Pearl River Delta fulfils the supportive and matchmaking functions of a workspace without the physical workspace facilities. The Desk was closely involved in the two trade missions of Dutch designers to the biannual Canton Fair, Asia’s biggest import/

export event, in the spring and autumn of 2011. The missions, organised by the BNO with Syntens and the Desk, were an unexpected success. The small delegation left in April with five new assignments, three of which were completed in time for a return visit to the Canton Fair in October. One factor in the Dutch success was the fair’s new ‘Product Design Center’, which is devoted to pairing foreign designers with local industry. This initiative follows China’s formal commitment to transforming ‘Made in China’ into ‘Designed in China’.

The Desk is building a robust network with the directors of local businesses and organisations. Both the Desk and the Workspace maintain close contacts with the Dutch embassy and consulates, as well as with the Netherlands Business Support Offices (NBSOs).

Scaling Back in 2012

To maintain interest, it is important that Dutch design remains visible in China. After making intensive invest- ments to establish this visibility, DutchDFA’s budget for China in 2012 is limited. Strategic combinations of people and resources – like films and books – will help sustain the programme’s energy. Dutch fashion will play a special role, since it holds a less prominent position in China than do Dutch design and architecture. A sequel to the successful

‘Dutch Fashion Here & Now’ presentation (initially staged in 2010) is planned for 2012.

Design for Daily Life

Themes: affordable housing, sustainable urban develop- ment, quality of public space, care for the elderly and health, design thinking for more sustainable and better products, linking craft and innovation, a new ‘glocal’ identity in fashion.

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Towards the Final Push

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Germany

2011 saw the publication of the market research report

‘Opportunities in the German Market: Myths and Possibilities for Dutch design, fashion and architecture in Germany’, which DutchDFA commissioned to the INHolland University of Applied Science’s Centre for Applied Research in Cross- media, Brand, Reputation and Design Management (CBRD).

As the title indicates, the report debunks some stubborn myths about the ease with which Dutch designers can con- duct business in Germany. Germany may well be the most important trading partner of the Netherlands, but for Dutch designers the German market is extraordinarily tight. Dutch design lacks a strong image in the German business commu- nity. Despite their geographical proximity, the two countries tend to exhibit tremendous cultural differences. And lastly, a good command of the German language is a precondition for establishing long-term professional relationships.

Nevertheless there are certainly opportunities for Dutch designers in Germany. The report points out German appreciation for the Dutch mercantile spirit. Germans also mention skill at interdisciplinary collaboration, strong price/

quality ratio and excellence in design management as strong characteristics of Dutch design. Germany presents specific opportunities in the realm of sustainability and in the sectors of urban development, affordable fashion and public information design. Firms that manage to link the conceptual qualities of Dutch design with the technological ingenuity of German construction and manufacturing have a strong point of departure.

The choice of Germany as a focus country in 2008 was chiefly based on an appraisal by professional and sec- toral organisations. At that time it was presumed that their members would find it difficult to make the leap into China or India. In part as a consequence of the economic crisis in Europe, the current outlook has altered drastically: the markets of China and India are more favourable, though the barriers are also higher. The DutchDFA programme can be instrumental for designers who would not take the plunge on their own. There has been great eagerness to participate in missions to and presentations in China in recent years.

In addition, the BNO is focusing much of its energy on the programme in India and China. In response to these shifts, there was a nomination in 2011 to drop Germany as a DutchDFA focus country.

Key Themes

There are sound reasons to defend Germany’s position in the programme: there has been a profound congeniality between Dutch and German design cultures since the early 20th century, and German and Dutch designers have often progressed together in the development of education, the formulation of theory and practice. Almost all Dutch design courses continue to work with German counterparts, so at an intellectual level there are continued opportunities for interchange and dialogue.

Premsela has been especially focused on these relationships in recent years, by co-organising the Copy/Culture sympo- sium in Berlin with DMY, for instance, and by curating the

magnificent but complex ‘Basic Instincts’ exhibition (Berlin, summer 2011), which received reviews in German newspa- pers of a more serious tone than would be conceivable in the Netherlands.

Enterprise

MODINT, a trade association that represents Dutch fashion and textile industries (with turnover of more than €2 billion), recently compiled data that points to Germany as the most important export country. Dutch denim and casual fashion brands are particularly successful, as is evident every year at the Bread&Butter tradeshow in Berlin. In 2011 the ‘Dutch Denim Diner’ staged by MODINT successfully forged a link between this fair and the ‘Basic Instincts’ exhibition curated by Premsela. The teamwork was the upshot of many hours of coordination and harmonisation within the DutchDFA frame- work. MODINT is planning a reprise of this event in 2012 in association with various Dutch fashion representatives.

In late 2011 the BNA launched the two-year ‘BNA International’ programme, this time focusing exclusively on Europe. After carrying out probing research into the German market in 2011, the BNA will organise activities in 2012 that dovetail with themes such as building with water, urban planning, repurposing industrial heritage and the organisation of care, all domains where the Dutch approach shows promise.

Preparations for a Dutch Design Desk Europe (DDD Europe), to be established in Maastricht in 2012, took shape over 2011. The Desk will offer connections with professional networks; will collect, interpret and unlock relevant expertise about German organisations; and will enhance the visibility of Dutch design in Germany. This initiative was driven by Maurer United Architects, an office that has been operating successfully in the German market for years. The Province of Limburg will contribute to DDD Europe through the end of 2013, which implies its continuation after 2012. In the longer term, DDD Europe intends to extend its sphere of activity to Belgium and other European countries.

The Netherlands

Since 2011, DutchDFA’s programme has been reinforced in the Netherlands with the motto ‘internationalisation begins at home’. The aim is to render the amassed knowledge and networks visible and accessible, while bolstering the international character of the Netherlands. Exhibitions produced within the DutchDFA context are returning to the Netherlands. After touring three venues in China under the title ‘Taking a Stance’, the renewed ‘daringdesign’ exhibition with the work of eight Chinese and Dutch designers was one of the inaugural presentations at the renovated NAI in 2011.

‘Connecting Concepts’ and ‘Basic Instincts’ will appear in the Netherlands in 2012. Two new international conferences made their debuts in May 2011 with DutchDFA support.

At Creative Amsterdam, Dutch designers shared their experiences abroad and participated in strategic workshops about international ventures. The What Design Can Do!

symposium brought inspirational designers from Europe, Asia, and North and South America to Amsterdam to talk about the social impact of their work. Journalists and important relations from focus countries were invited to this conference, as well as to Amsterdam International Fashion Week and Dutch Design Week Eindhoven.

The 2012 programme in the Netherlands is dominated by the transfer of knowledge and networks, embed- ding achievements, and securing new programmes and organisations, irrespective of budgets. These goals can be achieved by ‘bringing the world to the Netherlands’, whether that means bringing foreign speakers to confer- ences; organising programmes for special guests to impor- tant Dutch events; or sharing knowledge, networks and experiences in workshops for designers about international business ventures. Preparing for the period after 2012, is also a priority: compiling, evaluating, communicating and passing on the results, know-how and achievements, in association with the DutchDFA partners, the ministries, the Netherlands Architecture Fund and the designers in the field. The planning of this process began in 2011.

2012 and beyond

By the time this report is presented in April 2012, the DutchDFA programme will have hit its stride in its final year.

Initial follow-up scenarios will have been written, and new variants for organisation and financing proposed.

The programme will move ahead at full speed during this last phase. Work with the new focus country, Turkey, will generate a huge accumulation of projects in the latter half of the year. The new Workspaces and Desks must rapidly gain sufficient momentum to safeguard their survival after 2012. The collaborations set up for the international pre- sentation of Dutch fashion in Berlin in 2011 should spawn similar projects in Delhi and Istanbul in 2012. The major

‘design-led research’ projects, such as NAI Matchmaking and Delhi 2050, will undergo their reality checks this year.

And finally, exhibitions are set to continue their travels; the new invitation lists have already been compiled.

With the finish line in view, the paths in the landscape beyond are actively being scouted out. Nobody is put- ting on the brakes – the DutchDFA programme is too brief to slow down; its temporary nature, with the end date in view from the start, has lent it a useful urgency throughout.

There’s still time to reap maximum benefits from the current constellation, even if that is only to ascertain what needs to be retained intact in the future. These decisions are already under way; in 2012 we will plot out the ‘road map’ for pass- ing on the baton.

Christine de Baan Programme Director

On behalf of the Steering Group, Programme Group and Programme Office of Dutch Design Fashion Architecture

DutchDFA Activity Report 2011 13

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14

Kansen in Crisistijd

2011 was voor DutchDFA het jaar van de omslag: net voor- bij halverwege, de opmaat naar het laatste jaar. Tijd voor evaluatie: wat hebben we geleerd, wat ging goed, wat kan beter? Maar ook tijd om de eerste vruchten te plukken van inmiddels opgebouwde kennis, relaties en zichtbaarheid, van nieuwe infrastructuur en partnerships, zowel binnen als buiten Nederland. Op dat fundament van positioneren, net- werken en samenwerken kon de nadruk in 2011 verschui- ven naar ondernemen en rendement.

Buiten de eigen dynamiek van het programma waren daar nog andere aanleidingen voor. De internationale econo- mische crisis, waarvan de gevolgen zich vrijwel gelijktijdig met de start van het programma in Nederland aandienden, bereikte vorig jaar in Europa een nieuw dieptepunt. De kansen voor creatieve ondernemers liggen steeds meer in verre opkomende economieën, maar ze hebben steeds minder slagkracht om hiervan gebruik te maken. Dat maakt krachtenbundeling ter versterking van hun internationale positie alleen maar belangrijker.

In 2011 zorgde een scherpe herformulering van het natio- nale cultuurbeleid voor nieuwe verbindingen tussen organi- saties en een heroverweging van overheidsbudgetten die de cultuursector ondersteunen. Het Nederlands Architectuurinstituut, Premsela en Virtueel Platform werk- ten aan een fusie per 1 januari 2013 tot Instituut voor de Creatieve Industrie. De Federatie voor de Creatieve Industrie acteerde als vertegenwoordiger van de beroeps- en bran- cheorganisaties. Het Mondriaan Fonds droeg zijn budgetten voor vormgeving, mode en architectuur eind 2011 over aan het Stimuleringsfonds voor Architectuur, dat vanaf 2013 een fonds voor de creatieve industrie zal zijn.

In maart riep minister Verhagen van ELI de creatieve industrie uit tot een van de negen topsectoren van de Nederlandse economie en benoemde per sector een team van adviseurs. Het Topteam voor de Creatieve Industrie bracht in juni een vooradvies uit, dat onder meer pleit voor voorzetting van het ‘ondersteunen van internationaliserings- activiteiten van de creatieve industrie’, voor samenvoeging van budgetten van OCW, ELI en BZ voor deze sector en voor een Creative Industries Council.

Bij het schrijven van dit jaarverslag is het economisch toekomstbeeld van Nederland opnieuw verslechterd. Een ongunstiger gesternte om in het laatste programmajaar te

‘oogsten’ is nauwelijks denkbaar. Toch is er reden voor opti- misme. Na drie jaar heeft DutchDFA zichtbare en merkbare resultaten opgeleverd, die blijvend kunnen bijdragen aan de versterking van de internationale positie van Nederlands ontwerp. Ook, of eigenlijk juist, in tijden van crisis.

Verbindingen in stand houden

Kenmerkend voor het DutchDFA programma is de com- binatie van disciplines – mode, design, architectuur – en beleidsvelden – cultuur, economie, diplomatie. De eerste combinatie blijkt vooral effectief voor versterking van de

internationale reputatie van Nederlands ontwerp. De afge- lopen jaren hebben aangetoond dat de grootste uitdaging ligt in de tweede combinatie. Daar is ook vrijwel zeker de meeste winst te behalen. Op het gebied van innovatie en internationaal ondernemen, maar ook bij het adresseren van maatschappelijke vraagstukken die lokaal gedefinieerd zijn maar ook een internationaal karakter hebben.

Vanaf 2013 verbinden het nieuwe Fonds en het nieuwe Sectorinstituut voor de Creatieve Industrie meerdere ontwerpdisciplines. Hetzelfde geldt voor de Creative Industries Council die het creatieve bedrijfsleven vertegen- woordigt. Maar werkelijke ‘voortzetting van DutchDFA’ als programma en werkwijze vraagt om een gecoördineerd beleid van Council, Fonds en Sectorinstituut. En om een afgescheiden, gemeenschappelijk budget voor internatio- nalisering met gecombineerde culturele, maatschappelijke en economische doelstellingen. Gefinancierd door tenminste de drie ‘founding’ ministeries van OCW, ELI en BZ, die de afgelopen jaren in het kader van DutchDFA samenwerk- ten. Dat gebeurde op basis van goed onderling overleg in Nederland, en door het bevorderen van de samenwerking tussen de afdelingen economie, techniek/wetenschap en cultuur op de buitenlandse diplomatieke posten. Voortzetting van deze samenwerking is essentieel voor het beklijven van de resultaten van DutchDFA, maar ook voor het succes van volgende internationaliseringsprogramma’s.

Resultaten 1: Midterm Review

In de eerste maanden van 2011 voerde onderzoeksbureau Berenschot in opdracht van de ministeries van OCW, ELI en BZ een midterm review uit van het DutchDFA programma.

Hun belangrijkste bevindingen:

Positionering: de multidisciplinaire aanpak van het pro- gramma begint vruchten af te werpen. De DFA disciplines worden met een verbindend verhaal onderscheidend gepo- sitioneerd in de focuslanden. Dankzij de inhoudelijke kennis en krachtenbundeling van disciplines binnen DutchDFA vindt de internationale promotie van de Nederlandse ontwerp- sector plaats met hogere kwaliteit en meer kennis van zaken dan voorheen.

Vraaggestuurd: het programma werkt vraaggestuurd en speelt in op urgenties in de gekozen focuslanden. Hiermee draagt DutchDFA bij aan een duurzame samenwerking tussen betrokken partijen uit de DFA disciplines en de betreffende landen.

Samenwerking: voor de realisatie van het programma werken sectorinstellingen, brancheverenigingen en minis- teries samen. De projecten voldoen aan de crosssectorale doelstellingen (idee-netwerk-onderneming) en de interne doelstelling samenwerking. De culturele, economische en diplomatieke agenda’s groeien naar elkaar toe.

Disciplinering: het programma dwingt partijen binnen de culturele sector na te denken over samenwerking, zowel in het buitenland als in Nederland. Van buiten naar binnen zorgt het voor krachtenbundeling, ook bij de ministeries.

Concluderend: de inzet en aanjagende rol van DutchDFA leidden in korte tijd tot sterke netwerkontwikkeling en een internationale positionering die het versnipperde veld zelf

niet gerealiseerd zou hebben. Nederlands ontwerp is in 2009 en 2010 op de kaart gezet, en dat is bovendien gebeurd op een kwalitatief goede manier.

De volgende onderwerpen vragen aandacht in de tweede helft van het programma:

• Overdracht van kennis en netwerken: de resultaten van het DutchDFA programma moeten na 2012 duurzaam beklijven. Overdracht van netwerken en kennis tussen alle betrokkenen – programmabureau, partners en ont- werpers – is daarvoor essentieel.

• Meten: zowel in de meetinstrumenten als in de verslagleg ging is verbetering mogelijk voor de meting van effecten en resultaten. Dat vraagt extra (administratieve) aandacht van zowel het programmabureau als van deelnemers aan het programma die bijdragen uit het DutchDFA budget ontvangen.

• Ondernemen: in de tweede helft van het programma moet het accent verschuiven van positionering en opbouw van netwerken in de focuslanden naar onderne- mings-gerichte activiteiten.

• Thematiseren: uitgangspunt voor de programmaontwikke- ling is dat maatschappelijke thema’s de verbinding vor- men tussen cultuur en ondernemen, tussen lokale vraag en Nederlands aanbod op lange termijn; die thematische benadering kan worden aangescherpt.

Resultaten 2: programma als laboratorium en bron van kennis over ‘wat werkt’

Zowel de Regiegroep als de partners van DutchDFA reflecteerden in 2011 op hun ervaringen met het pro- gramma, de verworvenheden en hun ambities voor het vervolg. Deze evaluaties geven een duidelijk beeld van het programma als proeftuin, als verbindende schakel en als aanjager van een effectief internationaal ondernemer- schap in de ontwerpsectoren.

Laboratorium

Het DutchDFA programma fungeert als een laboratorium voor voorbeeldprojecten die anders moeilijk of niet tot stand zouden komen. Het programma maakt het moge- lijk om over een langere periode en vanuit één budget, activiteiten te ontplooien die aansluiten op het karakter van de ontwerpsector met zijn specifieke mix van culturele ambities, maatschappelijke betrokkenheid én economische relevantie. Nieuwe crosssectorale modellen en instrumenten worden ontwikkeld, zoals de Dutch Design Workspaces en de Matchmaking projecten. De Workspaces ondersteunen het individueel ondernemerschap van ontwerpers, ze die- nen ook als platform voor dialoog tussen de verschillende ontwerpdisciplines en de contacten met de buitenwereld (overheden, bedrijven, opdrachtgevers, pers en publiek).

De Matchmaking projecten verbinden vakinhoudelijke ambities, kennisuitwisseling en economisch rendement rond zorgvuldig gekozen maatschappelijke thema’s.

Het budget brengt partners met verschillende achter- gronden in de sector regelmatig bij elkaar aan tafel en stimuleert tot samenwerking. Centrale coördinatie door een

bureau ondersteunt de krachtenbundeling, het bewaakt de doelstellingen van het budget en versterkt de wederzijdse informatievoorziening.

Al deze factoren samen vormen het fundament voor een programmatische werkwijze die partijen tot gezamenlijke activiteiten beweegt, zoals de samenwerking tussen MODINT en Premsela voor een modeproject in Berlijn, of tussen Premsela, Brainport en NAi bij de Connecting Concepts tentoonstelling. Ook dergelijke coproducties zijn kenmerkend voor de laboratoriumfunctie van het programma.

Samenwerking in de sector

De samenhang tussen de Nederlandse betrokkenen is via het programma versterkt: dat geldt voor de beroeps- en brancheorganisaties, de sectorinstituten, de drie betrok- ken ministeries en de zes ‘creatieve steden’. De steden stemmen hun agenda’s voor evenementen in de creatieve industrie met elkaar af en proberen in het buitenland samen op te trekken. Vier van de vijf oprichters van de Federatie Creatieve Industrie zijn DutchDFA partners: BNA, BNO, BNI en MODINT. Mede dankzij hun contacten binnen DutchDFA was de weg al geëffend en vonden partijen elkaar snel. Bij de voorbereiding van het sectorinstituut voor de Creatieve Industrie bouwen Premsela en NAi voort op de samenwer- king binnen het programma. En met ingang van 2012 is het Stimuleringsfonds voor Architectuur – de formele en fysieke

‘thuisbasis’ van het DutchDFA programma – een fonds voor architectuur, vormgeving en e-cultuur (vanaf 2013 voor de creatieve industrie).

Al deze nieuwe organisaties bekrachtigen de ‘losse’ samen- werking die rond het DutchDFA programma gestalte heeft gekregen. Ze vormen een sterk fundament voor continuering van de DutchDFA aanpak na 2012. Alle partijen onderken- nen dat crosssectorale en interdisciplinaire samenwerking in de creatieve industrie mogelijk en vruchtbaar is. Belangrijk om hierbij te memoreren is dat het programma ooit op initiatief van de sector zelf tot stand is gekomen.

Kennis over ‘wat werkt’: versterken van individueel ondernemen

Succes in internationaal ondernemen is primair afhankelijk van de eigen drive, visie, voorbereiding en het uithoudings- vermogen van individuele ontwerpers en bureaus. Niettemin bewijzen gesprekken met ontwerpers uit de drie sectoren ook dat internationaal ondernemen plezieriger en effectie- ver wordt wanneer ervaringen worden uitgewisseld.

Zowel ‘high end’ profilering als ondersteuning in de ‘snelle praktische alledaagsheid’ kunnen het eigen ondernemer- schap versterken. Het ‘high end’ niveau is agenderend, positionerend, versterkt de reputatie, bevordert dialoog en kennisuitwisseling. Dit niveau past bij de taakstelling van de sectorinstituten. Op het niveau van dagelijks onder- nemerschap gaat het om praktische ondersteuning en informatievoorziening, samenwerking en opnieuw ken- nisuitwisseling, maar dan onderling. Daar ligt het werkveld van de beroeps- en brancheorganisaties, en komen ook bij de Design Desks en Workspaces in beeld. Tussen het agenderende en ondersteunende niveau beweegt zich het individueel ondernemerschap van ontwerpers. Projecten en

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