Experiment – 45 projects selected
In the second period of the Experiment Grant Scheme, 45 projects were selected. Coordinator Gabriella Fiorentini reflects on the selection.
10 February 2022
In 2021, the Fund launched the Experiment Grant Scheme for small-scale, experiment-driven projects in the field of design, architecture or digital culture, and crossovers between these disciplines. Proof that the scheme meets a need is demonstrated by the large number of applications. It was noticeable that a large proportion came from designers and makers who have not previously received a grant from the Fund and that many applications were submitted by teams of at least two designers or makers, sometimes interdisciplinary.
The vast majority of applications focus on design and digital culture and the underlying subdisciplines. Relatively few applications are aimed at the field of architecture and related disciplines, although the Experiment Grant Scheme is also open to applications from this field.
A notable aspect in the selection is the interest in crossovers with other disciplines and new fields of activity. For example, Dear Hunter aims to gain knowledge about the young field of cartopology with the experiment The Expeditionists. With AMAZE: The Pedagogies of the Labyrinth, deSIGNIFY focuses on neuro-aesthetic tools. Maarten Smith’s Looping Forward research explores philosophical and psychological questions. While Imagination of Things, with the experiment Augmented words, spoken realities, centres on a crossover between AR and word art.
Partly because of Covid-19, there is a great deal of focus on new forms of virtual and physical interaction. For instance, in IN SYNC: EXPERIMENT Magdatt explores human connection. With the study Remote Collaboration Infrastructure, Telcosystems explores new possibilities for collaborating on audiovisual projects remotely in real time. Katja Mater’s Two Intersecting Loops of Silence focuses on a new experience of time created by the Covid-19 pandemic.
Attention being paid to issues relating to climate and sustainability is undiminished, and applications come in from all the disciplines. Studio Adaptive Skins uses the sea as a source for sustainable materials and a new production method for adaptive fashion. With Sweep Island – prototype S001, Angelo Renna and 3dprinting.com are investigating the possibilities of using an artificial island to collect microplastics in the sea. Matilde Patuelli, in Present by Nature: exploring the cosmology of a leftover land, researches areas where nature is regaining its presence. In addition to research into circular materials, there are also projects focused on circular processes. For example, Mannen in de Ruimte are exploring design and construction processes for the reuse of second-hand building materials with Happy Accidents.
There is also significant focus on the social aspects of public space. Stichting Pink Pony Express’s experiment Call of the Wild centres on the control of public space by means of mosquito boxes in Rotterdam. Sophia Holst and Andre Cramer’s Living Monuments research explores the liveability of monumental residual spaces in Amsterdam. While Studio Derksen explores the social aspects of garden villages in Performing the city, The experiment of investigating social renovation in Tuindorp Vreewijk.
In several projects, individual designers seek collaboration with a workplace to learn about or deepen their knowledge of materials and production methods. For example, iris toonen studio is collaborating with Glaslab Den Bosch and Textiellab Tilburg, Kasper Jongejan with the Almeerse Wol Uni and the Knitwear Lab, Team Thursday with the Textiellab Tilburg, and Saar Scherlings with the Glasmuseum Leerdam. Also, various projects focus on new technological developments such as Woven Motion by Studio Milou Voorwinden. The use of digital technology in traditional crafts is regularly explored, for instance in the projects Augmented Weaving by Anita Michaluszko, Oneindig filligrain / Infinity Filigree by Eva van Kempen, and De borduurmachine als brug tussen traditie en toekomst by Martine van ’t Hul.
Of the 81 subsidy applications taken into consideration, 45 are receiving grants. This brings the percentage of applications receiving grants to 56%. The budget available was € 420,000. The period did not close earlier, however so many applications were submitted on the last day that some were not considered because the grant ceiling was reached during the assessment process. So don’t wait until the last day of the period.
The first period of 2022 runs from 15 February to 30 May 2022. The scheme closes when a positively assessed application reaches the subsidy ceiling of € 350,000, which may happen before the end of the period. You can find more information about preparing your application to the Experiment Grant Scheme in the Experiment grant application guide.
If you have any questions, please contact Gabriella Fiorentini: firstname.lastname@example.org