Marije Vogelzang: If you would design a chair, you would also think about the act of sitting down. Then you start to think about, ‘What does it have to look like,’ or ‘What does it have to communicate?’ or ‘How can I change this?’ It's just looking at something and turning it upside down, and looking underneath, and finding a different angle to something. I think that it's so nice that there's a big change in culture, within the mind of a designer. That designing can be about so many more things and so many more relevant things, then only making pretty things.
Lonneke Gordijn: We do a lot of things just because we do them unconsciously, but I think if you're going to look consciously at processes, and think how to change unconscious behaviour, then I think it's design. I think it's about conscious, about how you want to things to be.
Guus Kusters: What we often try to do is just create a lot of suggestions in the thing that we make, that we think can be applied into other things, but it can be in a more abstract way. I would say its idea is some application and reproduction, so that in the end, it lands somewhere that it doesn't stay the autonomous idea.
Pieke Bergmans: I'm also very curious about the definition of design, of the definition of art, or the definition of science. There's so many definitions, but nowadays a designer if he wants, he can he can design a building. He can become an architect, so it can become so much bigger than just one of these definitions. Let's say if an architect designs a chair, then the product designers are like, "Yeah, you know, you can see he's an architect, 'cause the screws in it doesn't really fit," and he thinks from a different way. But actually I'm really curious to see how he thinks, because I'm sure the results will be different. And to me, that's more interesting.
Ralph Nauta: Yeah, design is creating. It's coming up with a weird idea that's not possible yet, and then mak[ing] that goal happen. That crazy, insane goal that nobody else believes in.
Samira Boon: Well, I think it's always a challenge to stay fresh minded. Really also in terms of that you don't feel any constraints to certain techniques. So I think there is a challenge between getting to know the techniques, more and more, so you can stretch them. As well as, that you are blunt and in a way, open. So you can come up with very strange ideas in the beginning, and figure out with technicians how you can make it happen. Like questioning constantly what a material’s properties are, and whether you would like to stretch them, or make them or modify [them]. I think that is really where it starts, in what you can [do], how you can make a product out of that.
Stefanie Van Keijsteren: I think it’s a reaction on the world we are living in, and yeah, you could answer it in different ways.
Renee Mennen: Yeah, I think it's just normal way of life and the way we are living, and then the reaction—also what Stefanie is saying—the reaction on the way we are living and the way we are using things, and the way we are seeing things, is our role: to show people how we are seeing the world.
Jo Coenen: Designing means for me, [my] whole life, what I am feeling with this practice. I am designing in [an] urban context, architecture, technological, and the smallest context of the nice details of the materials. So design means for me which linking this ranges of scale, and designing them for me is the attention to those elements in this process, that deserve my attention and curiosity.
Nikki Gonnissen: For me, the power of design is the way you communicate, and with that comes responsibility. So if you communicate, you have to be really clear and take it carefully, and choose what you communicate and be engaged to that. We have the power of words, but also the power of a visual image, and that can be activistic, humouristic, clear, simple, architecture, textile, branding, or interaction. We have to be careful how we do it.