Zo naar de Melkfabriek in Eindhoven om te gaan kijken naar projecten van m'n zoon die daar tentoongesteld zijn als afsluiting van de eerste helft van het derde jaar Design Academy Eindhoven (#DAE).
DAE gaat over een paar jaar verhuizen van de Witte Dame naar de plek naast de Melkfabriek. De projecten zijn gemaakt met de verhuizing als inspiratie voor hergebruik.
#DesignAcademyEindhoven #Melkfabriek #WitteDame #Eindhoven

stella van beers turns a grain silo into a compact two-level dwelling

#architecture #video #architectureinthenetherlands #designacademyeindhoven #recycling #renovationarchitectureanddesign #residentialarchitectureandinteriors #spacesunder50sqm

Stella van Beers converts grain silo into micro home

Design Academy Eindhoven graduate Stella van Beers has created a watchtower-style house inside a grain silo.

In a project called Silo Living, Van Beers transformed the disused agricultural structure into a two-level living space, which she believes could function as a short-term home.

The project converts a seven-metre-high grain silo

While silos are not ideally proportioned for living, they offer some unique benefits. They can often be installed in rural locations without planning permission.

They are also readily available in the Netherlands as a country-wide reduction in livestock has resulted in lower demand for grain, leaving many of these structures redundant.

The designer had to add doors, windows and floors

Van Beers hopes to inspire new uses for these disused silos, which are otherwise costly to dispose of and impossible to recycle.

"You always see them in rural areas," she told Dezeen. "I always really wanted to go inside one, so thought it could be a nice place for a temporary stay."

Van Beers created two storeys inside the silo

To test her concept, the designer found a seven-metre-high silo for sale online. "I thought, if I want to do something with a silo then I have to just buy one and see what's possible," she said.

After explaining her plans to the owner, he let her take it away for free.

A spiral staircase and deck provides access

Originally there was no way for a person to enter the silo, so Van Beers started by changing that.

She installed a set of double doors, then added a spiral staircase and access deck.

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To make the most of the space inside, she installed two floors, connected by a mini staircase and ladder.

The lower level is a living space, with a ledge that functions as a space to eat or work.

A mini staircase and ladder connects the levels inside

The mezzanine above is a sleep space, so is entirely taken up by a mattress.

Both storeys now have projecting windows and there's also a skylight that functions as a lookout point.

Windows were added to both floors

"A cylindrical house is not something you see very often, so it was a bit of a challenge," said Van Beers.

Most of the adaptations use standard components, so could be easily replicated on a variety of silos. The designer hopes to inspire silo owners to get creative.

The windows project out, creating some additional space

"There are a lot of things I would change if I made another," she said, "but I'm really happy with this as a first prototype. A few people have slept in it already."

"If you have a bigger silo, you could use it as a living space for a longe amount of time," she suggested.

A porthole in the top creates a lookout point.

Van Beers created the project for her bachelors degree at Design Academy Eindhoven. She presented it at the graduation show, which took place during Dutch Design Week in October.

Other projects on show included glass blown inside bread and "trauma-healing" garments.

The post Stella van Beers converts grain silo into micro home appeared first on Dezeen.

#residential #all #architecture #videos #netherlands #designacademyeindhoven #studentprojects #architecturevideos #microhomes #residentialconversions #graduates

Pauline Rip designs cultural artefacts for Bigfoot, elves and reptilian humanoids

A project by Design Academy Eindhoven graduate Pauline Rip suggests how three mythical creatures might become part of UNESCO's Intangible Cultural Heritage.

Building on real histories, French designer Rip has imagined how community traditions might have developed in response to the believed presence of Bigfoot, elves and reptilian humanoids.

The project is titled That's One Small Step for Bigfoot, One Giant Leap for Rationalists.

Pauline Rip has designed artefacts for each fictional cultural practice

Rip has created three fictional cultural practices, each designed to meet the criteria of UNESCO's Intangible Cultural Heritage list, and created objects associated with these practices.

She hopes to show how a community tradition might have value even if it is based on fiction.

"Who decides what is important?" she said. "Does something have to be true to be valuable and worth preserving?"

One culture centres around night expeditions in search of Bigfoot

Rip's first practice is based around the myth of Bigfoot, a large creature believed to roam wild in North America.

Building on the work of real-life cryptozoologists, who search for legendary animals, she has outlined a tradition where the residents of a village between Canada and Washington State go out at night in search of the so-called yeti.

Rip has created shoes based a real pair worn by a researcher in the 1950s

She has created two objects as artefacts of this practice.

The first are replicas of the shoes worn by real Bigfoot researcher Michael Ward in 1951, while the second is an imagined "sound monument" presented to researchers who have successfully recorded Bigfoot's nightly growls.

Rip also imagines a practice of harvesting morning dew, to offer to elves

Rip's second practice is based on elficology, a study of elves and fairies originally developed by French author Pierre Dubois through a series of encyclopedias published in the 1990s.

Building on the myth that elves drink morning dew, Rip imagines that a community might develop a practice for harvesting this dew themselves so that they can make offerings to the elves.

Long-sleeved garments and painted vases are used in this practice

She has created linen sleeves and embroidered harnesses which would be worn by the dew collectors, allowing them to carry out their work through a form of ritualistic dance.

The designer has also created ceramic vases for storing the dew, which are intricately painted with scenes and images that celebrate the collection process.

The third practice involves repurposing the skin moults of reptilian humanoids

The third cultural practice builds on an ongoing conspiracy theory that suggests that reptilian creatures are disguising themselves as humans and living among us.

Rip imagines a tradition where people go down into the sewers to collect reptilian skin moults, which are used to create new objects.

To demonstrate, she has used the moults to create a skin blouse and a stained-glass-style window, and has also used it as a cast for patterned ceramics.

The moults are used to create various items, including a blouse

Rip's aim is not to ridicule these myths, but to show how shared beliefs can have both positive and negative outcomes, building communities while also perpetuating untruths.

"[The project] brings together creative bubbles that disturb the rationality of science and history, producing stories that are as romantic as they are controversial," explained Rip.

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"This work echoes an increasingly connected society, where the fake sometimes seems more real than the real 'real', and highlights a very human paradox: our obsession with truth and our eagerness to escape from it – a paradox as healthy as it is dangerous," she added.

Rip created the project for her masters degree at Design Academy Eindhoven, under the contextual design programme.

Other objects in the display include a stained-glass-style window and a Bigfoot "sound monument"

She presented it at the graduation show, which took place during Dutch Design Week in October.

Other projects on show included glass blown inside bread and "trauma-healing" garments.

The post Pauline Rip designs cultural artefacts for Bigfoot, elves and reptilian humanoids appeared first on Dezeen.

#all #installations #design #designacademyeindhoven #studentprojects #graduates

Rosana Escobar finds new potential in the humble coffee bag

An agave plant fibre used to produce coffee bags could be repurposed in the furniture industry, according to Design Academy Eindhoven graduate Rosana Escobar.

Fique is primarily turned into coffee bags to be exported from Colombia all around the world, but Escobar believes the material is not being used to its full potential.

Rosana Escobar has created furniture from fique fibres leftover from coffee bag production

By identifying "missed opportunities" in the production process, the designer has found sources of waste fique fibres, which she believes could be used for crafting furniture and textiles.

To demonstrate this, she has used the material to create a bench, stool and rug.

A felt rug is produced using the fique fibres

"This is a huge industry that completely relies on another industry – it relies on the industry of coffee – and this makes this material very vulnerable," Escobar explains in a video.

"I wanted to give a voice to this material, to produce new products that could give new narratives and could make us connect with the fibre differently," she said.

A stool and bench are made from the yarns as a way of recycling the coffee bags

Escobar developed the project, titled Unravelling the Coffee Bag, for the bachelor degree programme at Design Academy Eindhoven (DAE) in the Netherlands.

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Originally from Bogotá, the designer wanted to look more closely at a material that is embedded in Colombia's history, but which has become increasingly mono-functional.

Fique is grown and harvested in Colombia, primarily for the production of coffee bags

She felt it was important to develop ideas that fit into the material's existing lifecycle, rather than place more demand on an already strained farming industry.

To do this, she investigated each stage in the fibres' journey from plant to product.

"In all these different stages I found opportunities where waste is produced and discarded," she said.

Escobar identified missed opportunities in the lifecycle of the fique fibres

The first opportunity takes place when the fique fibres are harvested. As the material is combed, it creates a "kind of fluff" byproduct, which Escobar has turned into felt.

The designer also discovered that coffee bags are largely disposed of after use. She proposes unravelling the woven fabric to create hair-like fibres.

The designer hopes to bring new value to the material

Escobar used the felt to create her rug, while her bench and stool are made from the recycled yarns.

These designs were developed in collaboration with local fique producers, building on their existing craft techniques.

"I think it is necessary for new products to come out of this industry and to be produced locally," Escobar told Dezeen. "Because if raw materials are exported, to be processed elsewhere, the value is only gain on the other end."

Escobar presented the project as part of Design Indaba’s Antenna showcase

Escobar presented her project during Dutch Design Week in October, both at the DAE graduate show and as part of the Antenna graduate showcase organised by Design Indaba.

Other DAE bachelor degree projects completed this year include a DIY repair system, a device for turning human breath into clouds and furniture that charts a history of homosexuality.

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#furniture #all #design #designacademyeindhoven #coffee #studentprojects #designvideos #graduates

Bruno Baietto creates symbolic vases by blowing glass inside bread

Design Academy Eindhoven graduate Bruno Baietto hopes to highlight the role of bread as a symbol of class, politics and religion, by using it to shape blown glass.

Baietto has created a series of coloured vases blown inside bread loaves, plus various other ceramic and porcelain objects that commemorate the bread-making process.

Bruno Baietto has created a series of objects that explore the symbolism of bread

The project, titled Follow the Crumbs That Fall From Your Own, explores the symbolism of bread in different social constructs across history.

"Under socialism, bread is a synonym of labour and national progress," said Baietto, "while under capitalism it is a staple food and the result of a large economy."

"It's also a symbol of Christianity, as a gift of god and the body of Christ," he told Dezeen.

He created a series of vases blown inside bread loaves

For Baietto, bread is also part of his family history. He grew up in Montevideo, Uruguay, in a family of bakers with political ties in both Brazil and Uruguay.

"So it was a natural decision to explore the symbolism of bread and its production to address the leftovers of my own ideological background," he said.

The bread burns away in the blowing process

Baietto created the blown glass pieces at the Nationaal Glasmuseum in Leerdam, with help from master glassblowers Geir Nurstad and Josja Caecilia Schepman.

The process itself is fairly straightforward.

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The molten glass is inserted into a hollowed out loaf before being blown.

The bread burns away and eventually breaks off, leaving a glass vessel with a unique texture.

The bread gives a unique texture to the glass

The main challenge, according to Baietto, is the amount of smoke created by the burning of the bread. Few glassblowing facilities allow such high levels of smoke; only the Nationaal Glasmuseum was willing to take on the project.

The designer found that stale bread works better, as it creates a firmer mould for the glass.

The vases were produced with help from the Nationaal Glasmuseum in Leerdam

Other objects that Baietto created for the project include a porcelain vase, created from a cast of a baguette baked by the designer's family.

He also created a porcelain shoe, based on the safety shoe worn by bakery workers, tiles cast from discarded bakery workwear and ceramic trays that mimic the form of used cardboard boxes.

Baietto also created a porcelain vase from a cast of a baguette

With these objects, Baietto hopes to show that all design products are part of a system of ideologies, making them susceptible to a range of different interpretations.

"When something is designed, it is actively materialising a belief system and worldview, infiltrating the designer's values and moral positions even when it's not consciously intended," he said.

"In everyday life, no object or practice is neutral, but rather a result of its context and its ideological influences."

Other objects include a porcelain work shoe and ceramic trays that mimic cardboard

Baietto completed the project for his masters degree at Design Academy Eindhoven, as part of the contextual design programme.

For the Design Academy Eindhoven graduation show, which took place during Dutch Design Week, Baietto created an installation that encouraged visitors to walk over some of the workwear tiles, breaking them in the process.

An animatronic called Justin the Dustbin provided commentary on the exhibition

He also designed an animatronic dustbin to act as a critic for the exhibition. With bulging eyes, this bin moved was programmed to move around the space, reciting a recorded monologue.

Both moves were intended to shape the experience of Baietto's designs and the perception of their value.

Other projects on show at the DAE graduate show included garments designed to heal trauma, a giant dress and tools for turning human breath into clouds.

The DAE Graduation Show 2021 was exhibited from 16 to 24 October, as part ofDutch Design Week. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

The post Bruno Baietto creates symbolic vases by blowing glass inside bread appeared first on Dezeen.

#homeware #all #design #videos #designacademyeindhoven #glass #vases #studentprojects #designvideos #graduates #colouredglass

Vincent Dassi uses pulped cardboard to make and repair everyday objects

Design Academy Eindhoven graduate Vincent Dassi has developed a form of papier-mâché that allows anyone to make and repair household objects using recycled cardboard boxes.

Pulp It sees Dassi use a food processor to transform cardboard into paper pulp, which he then moulds into 3D forms using several different techniques.

The material can be used to create new objects, repair broken or disused items, or customise objects for different uses.

Dassi has used cardboard pulp to repair various objects, including a vacuum cleaner

"As a designer, you can feel very stressed and guilty about creating objects," said Dassi, who studied on DAE's bachelor degree programme.

"I wanted to find a way to create objects with the lowest ecological costs possible," he told Dezeen.

The designer post tutorials online to encourage others to follow suit

Dassi's project is deliberately low-tech, as he wanted to create an approach that would be easy for others to replicate.

He has posted the "recipe" for his paper pulp on the Pulp It website, where he also shares videos demonstrating how to make everyday objects, including a chair and a desk lamp.

Objects Dassi has made include a laundry bin and a dustpan and brush

The designer said his aim is to offer an alternative to consumer culture by empowering people to make their own objects by hand using locally sourced materials, rather than buying them online.

"The maker is no longer a simple consumer, but takes part in the process of making, which leads to a better appropriation of the object," he said.

The designer also used cardboard pulp to repair a broken guitar

Dassi's paper pulp recipe consists of two ingredients, which are both made in the blender.

The first is the paper clay, consisting of shredded paper mixed with water. The second is a glue made by combining rice flour with boiling water.

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The designer has also built his own press, which he uses to squeeze the water out of his paper clay.

Instructions for how to build this using simple off-the-shelf materials can be downloaded from the website.

A broken chair was repaired with the addition of a new seat

To mould the cardboard pulp, Dassi has devised a simple method that involves 3D printing a mesh made out of PLA plastic, then heating it up so it can be shaped around a surface. He then uses a 3D pen to fix the formwork.

Once the shape is formed, it can be used as a mould for the pulp to set inside.

"This is a project about how to be autonomous and how to be local," Dassi explained. "You can make this material yourself and it can fulfil any need that you want."

Dassi has designed a paper press that can be built from simple materials

The set pulp should hold its shape, although it isn't waterproof. Dassi suggests adding a wax coating, but points out that this makes the material more difficult to recycle.

"The fact that it is water sensitive can be seen as an advantage," he suggested, noting that plastic's waterproof properties lead to litter and pollution.

Sheets of 3D printed PLA are used as moulds for the pulp

Dassi's project was exhibited at the DAE graduate show, where other projects on display included garments designed to heal trauma, a giant dress and tools for turning human breath into clouds.

The DAE Graduation Show 2021 was exhibited from 16 to 24 October, as part ofDutch Design Week. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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#homeware #all #design #instagram #designacademyeindhoven #paper #studentprojects #graduates

Leo Maher charts a history of homosexuality with Unfamiliar Passions furniture

Design Academy Eindhoven graduate Leo Maher has created a series of unusual furniture pieces that combine references to queer culture from across history.

Unfamiliar Passions is a series of five designs featuring an assortment of visual references, including a cockerel, a backgammon board and an assortment of body parts.

As well as serving a practical function, each object uses a different lens to explore the history and culture of homosexuality, from the time of the Ancient Greeks and Romans right up to the modern day.

Unfamiliar Passions is a series of five furniture designs that explore themes of homosexuality

"The series investigates the history of homosexuality and its dance through time and western civilisation," said Maher, who graduated from DAE's bachelor degree programme.

"Each piece of the series explores the heritage of identifiers, legends, euphemisms, deviant behaviours and signalling mechanisms, noting how they transcend cultures and societies before ending up woven into the cloth of modern gay life."

Homo-Delicatus explores different traits believed to indicate homosexuality

Homo-Delicatus is an elevated bowl that references characteristics used to single out homosexuals at different points in history, from physical traits to fashion choices.

It incorporates a 3D-printed limp wrist, a ceramic leather boot and a specific type of walk depicted in sheet metal.

Violet Patriarchy looks at the role of punishment in homosexual relationships

A table lamp called Violet Patriarchy explores homosexual behaviour in a master and slave relationship, which Maher found was common between the first and fifth centuries in London, or Londinium as it was then known.

The piece centres around a ceramic radish, which was infamously used by Ronan soldiers to rape warriors overcome in battle.

Purple-toned metal flowers decorate the lampshade, referencing the ongoing association between homosexuality and the colour purple.

Gentleman of the Backdoor highlights different euphemisms used to describe queer men

One of the most distinctive designs is a small table, which is titled Gentleman of the Backdoor.

This design explores different euphemisms used to describe homosexual men in England in the 18th century. These include "faggot", a word that Maher said was "once used to describe a bundle of sticks on which accused sodomites were burnt to death".

A backgammon board references the slang term "backgammon players", while mouldings of cockerel heads and a young man's crotch refer to the term "ganymede", typically used to describe an effeminate queer boy.

The Cruising cost stand highlights the culture of practicing sex in public places

The culture of cruising is topic explored by a piece that appears to be a coat stand, which includes references to saunas, public toilets and Turkish baths.

The fifth piece, called Polari, is a side table that focuses on language. It features a series of words used by homosexuals to avoid attracting attention to themselves.

The piece is topped by a metal flower, representing the green carnation worn by Oscar Wilde – who was trialled and prosecuted for his homosexuality in 1895 – as a symbol of his queerness.

The piece imagery from saunas, public toilets and Turkish baths

"All these references just started to repeat and overlap and adjust themselves as the enquiry extended," explained Maher.

"This was something that captured me, something that deserved to be spotlighted with the luminescence of more conservative narratives, but admired for its queer, chaotic assembly of history at the same time."

The designer worked with a range of different materials and craft techniques to produce each, which lends the designs a collage quality.

Polari looks at how language was used by homosexuals as a means of disguise

In each case, Maher chose the material that he felt best fitted the idea rather than trying to make things fit aesthetically.

"Materials were really chosen with my knowledge over how to manipulate them," the designer told Dezeen. "For instance, I knew I could better sculpt the chicken heads digitally and 3D print them, rather than carve them from a block of wood."

"Although there was definitely something conscious about suggesting some kind of regality to their aesthetic," he added, "gilding them with gold leaf an attempt to offer them the aesthetic of typical iconography."

It features a surfaces embossed with words from the Polari language

The designs were exhibited at the Design Academy Eindhoven graduate show, where other projects on display included garments designed to heal trauma, a giant dress and tools for turning human breath into clouds.

Maher said that very little of his designs is based on his own experiences, but that he "growingly finds the traces" in his own life.

He hopes that the project will provoke discussion about the transcultural nature of homosexuality.

"I find it really beautiful and a great privilege to see these queer narratives in an environment where they can finally have discourse, not only with one another but past their previous confines," he said. "It has taught me a lot about pride."

The DAE Graduation Show 2021 was exhibited from 16 to 24 October, as part ofDutch Design Week. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

The post Leo Maher charts a history of homosexuality with Unfamiliar Passions furniture appeared first on Dezeen.

#furniture #all #design #designacademyeindhoven #graduates

Hsin Min Chan's giant dress empowers its wearer by making them unapproachable

An experience of 24-hour surveillance led Design Academy Eindhoven graduate Hsin Min Chan to create a dress that exaggerates the "to-be-looked-at-ness" of its wearer.

The dress is designed to empower its wearer by making them both highly visible but also unapproachable.

The dress is a response to an experience of 24-hour surveillance

Hsin Min Chan developed the design, called To-be-looked-at-ness, after being detained by Taiwanese authorities and placed under constant surveillance.

The event took place at the start of the pandemic. With Design Academy Eindhoven forced to close, Chan had decided to leave the Netherlands to be with her family back in Taiwan.

Hsin Min Chan had to perform hysterics in order to be released

On arrival, the designer was told she would need to go into isolation due to Covid protocols. She initially protested, which led to her being arrested and placed in a hospital isolation ward with a 24-hour camera above her bed.

The only human contact she had over this time came through an intercom system. She was given no clear indication of how long the testing procedure would take.

"I was really aware of the surveillance camera, pointed straight at my bed," she told Dezeen.

"I felt powerless and helpless, so in the beginning I just hid myself under a blanket and cried."

The dress is designed to exaggerate the "to-be-looked-at-ness" of the wearer

After five days, Chan decided to stage a protest against the "dehumanising" way she was being treated, by putting on a performance of hysterics.

"I changed my pose to make sure the camera could see me, then I just screamed and yelled," she said.

This had an instant response. The voice on the intercom told her they would speed up the process of testing and she was released later the same day.

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It made Chan realise her power to change the way she is treated, by altering the way she is perceived.

"They treated me not as a human being but as a dangerous body. So I turned myself into a dangerous body that they couldn't handle. I used dehumanisation as a strategy to empower myself."

The design incorporates images of the designer's face and body

Chan decided to employ the same strategy to change the way she is perceived day-to-day, particularly by men.

It was this that led to the design of a giant dress, which forces those around to both take notice and give way.

"I'm super aware of how I look and how people look at me; I've never left my house without makeup," she explained. "I wanted to break down other's control of me."

Images of furniture reference the room where Chan was isolated

The structure is formed around a large metal mesh, over which Chan has added various materials including papier-mâché, plater, fabric, resin and expanding foam.

The design incorporates images of Chan's face and body. There are also pieces of furniture, which reference her experience in the isolation ward.

"I always stayed on the bed because there wasn't that much furniture, even though the space was big," she said. "I feel it was a disciplinary device to control my behaviour."

Chan has to climb a ladder to wear the dress. Photo is by Pierre Castignola

To wear the dress, Chan enters through a gap in the rear and climbs up on a ladder structure concealed inside.

She can conceal other people inside the dress, to help her move around. The ladder system is on castors, so it can be pushed from inside. But Chan has to direct, as her helpers can't see where they are going.

"When I start moving, people have to make a path for me. It's really empowering," added Chan.

Chan created the project for the Contextual Design masters programme at Design Academy Eindhoven.

The DAE Graduation Show 2021 was exhibited from 16 to 24 October, as part ofDutch Design Week. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Photography is by Jian da Huang, unless otherwise indicated.

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#fashion #all #design #designacademyeindhoven #dutchdesignweek

Design and integrative therapy combine in Laura Deschl's "trauma-healing" garments

Design Academy Eindhoven graduate Laura Deschl has developed The Healing Imprint, a therapeutic garment that looks like activewear but is made to help heal trauma.

The project was developed to explore the potential of combining acupressure – a non-invasive practice originating in traditional Chinese medicine – with yoga-like movement to treat psychological trauma.

The garments are designed to be used for a combination of acupressure and trauma-informed yoga

Deschl produced custom-knit garments with a grid stitched into them that allows small massage balls to be inserted and moved onto specific acupressure points on the body, feet, hands and head.

The garments' aesthetic is similar to activewear or leisurewear, and a full set includes a bodysuit, gloves, socks and a pillow.

The idea is to combine acupressure with an embodied movement practice based on yoga, which would allow a person's bodyweight to heighten the pressure at the targeted "acu-points."

The garments have channels stitched into them that allow massage balls to be moved onto acupressure points

Deschl based The Healing Imprint on research that shows how physical therapies can be incorporated into psychotherapy to help people heal from psychological trauma, in an approach known as integrative therapy.

She was particularly inspired by the work of Bessel van der Kolk, whose 2014 book The Body Keeps the Score documents the effects of trauma and an array of methods that can be used to treat it.

"I was inspired by how he is incorporating 'untypical' ways of healing trauma, such as through yoga, tapping and community," Deschl told Dezeen.

A full garment set includes a bodysuit, gloves, socks and a pillow

"My research also encompassed certain other thinkers, but their take on healing trauma through the body is somehow similar," she continued. "One thing is certain: they are all convinced that the body needs to play a major role in overcoming the imprint left on the body caused by a traumatic event."

Acupressure has been used to address symptoms of post-traumatic stress disorder, as well as trauma-related anxiety and depression.

With The Healing Imprint garments, the acupressure aims to help the wearer access buried memories or emotions, while the trauma-sensitive yoga practice would facilitate introspection around those recollections.

Deschl said that a person's body and their emotions are "two elements that are crucial for one's sense of self, but are often highly impaired as a result of trauma".

"Many people with histories of trauma and neglect experience an extreme disconnection from their body due to a deep divide between the sense of self and sensory experiences," said Deschl.

"The goal of this project is to help patients train embodiment and thus bring them closer to their bodies."

The channels in the garments allow the massage balls to stay in place

One of The Healing Imprint garment sets is knitted from predominantly merino wool plated with an elastic yarn, which was produced specifically for the project.

A second set with meridian patterns is made from a recycled knitted athleisure fabric, while the massage balls are gemstones.

The Healing Imprint includes a set of illustrations showing where to place the balls for which symptoms, and Deschl worked with a psycho-motor therapist to facilitate test sessions with trauma patients.

The garments are based on research showing how integrative therapies can be used to help people heal from trauma

Deschl tested the garments at Eindhoven mental health institute GGzE and is seeking funding to further develop the project.

A social designer and artistic researcher, Deschl has a background in fashion and textiles as well as yoga teaching.

The Healing Imprint is her graduate project from the Master of Fine Arts and Design at Design Academy Eindhoven and is emblematic of her interdisciplinary approach.

The project includes illustrations showing recommended placement for massage balls

"The garment is not only an interface for an individual to access embodied knowledge and self-awareness, but also represents how design can converge fields such as science, business, medicine, psychiatry and textile-making," said Deschl.

Other designers to have made tools for therapy include Ariadna Sala Nadal, whose Balisa kit is meant to help children express their emotions, and Nicolette Bodewes, whose tactile objects are to assist adults in talk therapy.

Photography is by Iris Rijskamp.

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