<blockquote><h1>“Constraints often lead to the most creative solutions."&nbsp;</h1></blockquote>&nbsp;Let’s start with a short bio. How did you get into design?&nbsp;Donald Roos (DR): "I was born in Bloemendaal, a conservative but affluent town near Amsterdam, into a creative and entrepreneurial family. My father owned a photography studio, and my mother had studied art but stayed home. From an early age, I was drawn to creating my own projects. At 8 or 9, my friends and I made a school newspaper with typewriters and rub-on letters—we even sold ads in our village.I went on to study Graphic and Typographic Design at the Royal Academy of Art in The Hague. After graduating, one of my professors offered me a job, but after six months, I realized structured environments weren’t for me. The idea of fixed vacation days made me anxious, so I started my own design firm."

<blockquote><h1>“My typography background gives me structure, but I also love creative chaos.”</h1></blockquote>&nbsp;The need for freedom can sometimes clash with the realities of working in design. How do you balance the two?DR: "Freedom—or at least a sense of freedom—is crucial to me. I struggle with being in the same place every day, which is why I prefer working with freelancers instead of full-time interns. I want the flexibility to set my own hours.But with freedom also comes the need for discipline. It’s important to work on something every day—if not for a client, then on your own project. Working with freelancers keeps your team flexible and fresh. Especially for personal projects, it’s inspiring to collaborate with people who either do the same thing but think differently or do something different but think the same way.Of course, the downside of interns is that they’re there every day—even when you’d rather have a day to yourself. [laughs]"&nbsp;Talk us through your process: is it structured, or is it chaos?DR: &nbsp;"A mix of both. My typography background gives me structure, but I also love creative chaos. I start with quick sketches—pen and paper or iPad—so I don’t get caught in details too soon.The key is to start, and the rest follows naturally. If I’m in a creative process, I don’t mind some chaos. But it should be organized chaos—intentional and focused. Cleaning my workspace often helps clear my mind. Or my house... though the rest of the family doesn’t always appreciate that."

<blockquote><h1>"I'm like a creative ‘tractor’—just pushing forward."</h1></blockquote>&nbsp;How do you approach a new project?&nbsp;DR: "I sketch a lot. I'm like a creative ‘tractor’—just pushing forward. Early sketches get immediate feedback, helping determine if we're on the right track."&nbsp;Do all of your clients understand the early-stage sketching process?DR: "Not always. About 80% of the time, it’s fine. Another 10% need more guidance. The last 10% don’t get it at all—they think rough sketches are the final product! Some clients push the work in a better direction with their feedback, but others nitpick endlessly. In such cases, I sometimes have to say, ‘I don’t think we’re on the same page.’&nbsp;It’s not that the client is bad—it’s just not the right fit. And that’s okay. It’s better to acknowledge that early so they can work with a designer who truly gets them. But overall, I have great clients."&nbsp;Has AI affected your work?DR: "Not as much as in other fields, since most of my clients are creatives who value human creativity. I use AI for placeholders and rough concept visuals, but it can’t replace the creative process—it’s just a tool."However, I think AI will increasingly handle repetitive design tasks, freeing up creatives for more strategic thinking. That’s where human ingenuity still holds the edge."

<blockquote><h1>"People think creativity means thinking outside the box, but real creativity happens within constraints."</h1></blockquote>&nbsp;How does a typographer become an author?DR: "It wasn’t planned. I was always creating things—books, apps, designs. While discussing an app idea with a developer—something we were actually using for a studio I had at the time—we kept coming up with new ideas. But whenever we had another ‘great idea,’ we’d say, ‘Great idea, let’s not do it.’That’s when I realized that choosing not to do something is a powerful creative tool. That insight became ‘Don’t Read This Book,’ which was followed by ‘Don’t Buy This Book,’ and my latest, ‘If You Don’t.’And, of course, I couldn’t have done it without my partner in crime, Anne de Bruijn, who turned all my concepts and ideas into actual, readable books."&nbsp;Your latest book argues that sometimes doing nothing is the best choice. Can you elaborate?DR: "The title might sound passive, but it’s really about making conscious choices. For example, deciding not to fly forces you to explore other ways of traveling—ways that might lead to entirely new experiences you wouldn’t have had if you’d just taken a plane again. Constraints often lead to the most creative solutions.People think creativity means thinking outside the box, but real creativity happens within constraints. If you tell someone, ‘Make a painting,’ it’s too broad. But if you say, ‘Make a red painting,’ ideas start flowing immediately."

<blockquote><h1>"We’re living in uncertain times—things will change, one way or another… As creatives, we’re standing at a kind of blank slate, which also means there are opportunities."</h1></blockquote>&nbsp;Your book touches on sustainability. Do creatives have a responsibility to address these issues? &nbsp;DR: "It’s complicated. Creatives are often called in to ‘fix’ bad decisions made by those in power. Instead of finger-pointing, I see it as an invitation to rethink systems. Even small creative ideas can lead to change.We’re living in uncertain times—things will change, one way or another. Right now, we have to swallow some bitter pills. But in a way, I find that inspiring and challenging. As creatives, we’re standing at a kind of blank slate, which also means there are opportunities.Take something like not eating meat. You can see it as a limitation, or you can see it as a glimpse into the future. Meat consumption is unsustainable in so many ways—we all know it has to stop eventually. So why not start exploring what new possibilities open up when you leave meat out of the equation? Suddenly, a whole new world of flavors and ideas emerges."

<blockquote><h1>“We often accept systems without questioning them, but sometimes the most powerful thing we can do is to stop, reconsider, and choose a different path.”&nbsp;</h1></blockquote>&nbsp;Do you think privilege affects how people experience these changes?DR: "Absolutely. It’s easy to talk about sustainability when you’re financially secure. But if you’re juggling multiple jobs just to make ends meet, it’s simply not a priority. That’s why solutions need to be inclusive.I think many creatives don’t fully realize the privilege of being able to focus on creativity every day. Even if we’re not earning top-tier salaries by Western standards, we still make more than most people on this planet. That perspective matters."&nbsp;You say that sustainability is misunderstood. Can you explain?DR: "People assume reusable products are always sustainable, but that’s not necessarily true. A simple plastic bag might be more sustainable than a tote bag that requires huge resources to produce. We need to rethink how we consume, not just what we consume."&nbsp;Is your book a call to action or more of a thought experiment?DR: "Both. It’s not about telling people what to do, but about questioning why things are the way they are. We often accept systems without questioning them, but sometimes the most powerful thing we can do is to stop, reconsider, and choose a different path."

<img class="image_resized" style="width:25%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/1734005834646_71aac1e382.jpeg" alt="1734005834646.jpeg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_1734005834646_71aac1e382.jpeg 156w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_1734005834646_71aac1e382.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_1734005834646_71aac1e382.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_1734005834646_71aac1e382.jpeg 1000w," sizes="100vw"><img class="image_resized" style="width:25%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/1734005839502_8c5cc103c3.jpeg" alt="1734005839502.jpeg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_1734005839502_8c5cc103c3.jpeg 156w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_1734005839502_8c5cc103c3.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_1734005839502_8c5cc103c3.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_1734005839502_8c5cc103c3.jpeg 1000w," sizes="100vw"><img class="image_resized" style="width:25%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/Cover_Front_Y_Square_7cc1231044.png" alt="Cover_Front_Y_Square.png" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_Cover_Front_Y_Square_7cc1231044.png 156w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_Cover_Front_Y_Square_7cc1231044.png 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_Cover_Front_Y_Square_7cc1231044.png 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_Cover_Front_Y_Square_7cc1231044.png 1000w," sizes="100vw">Donald Roos is an independent typographic designer and creative entrepreneur. He regularly launches new projects because he loves executing fresh ideas. His biggest problem is having too much to do and too little time, so he developed the To Don’t List method. Together with Anne de Bruijn, he wrote several books on the subject for BIS Publishers, which you can&nbsp;<a href="https://www.bispublishers.com/brands/donald-roos/">buy here</a>.&nbsp;&nbsp;&nbsp;&nbsp;

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Donald Roos is a typographic designer, creative entrepreneur, and problem solver whose work spans industries—from designing film titles for major motion pictures to crafting intuitive UI/UX experiences for startups. With a relentless drive to execute fresh ideas, Roos thrives on launching new projects. However, like many creatives, he often wrestles with an endless to-do list. This struggle led him to develop the "To Don’t List," a method designed to bring clarity and focus to creative work by prioritizing what not to do.&nbsp;In this interview, Roos shares insights into his creative process, the importance of freedom in design, and how constraints can actually fuel innovation. He also delves into sustainability, systemic change, and the surprising power of choosing to do nothing.

DONALD ROOS ON CREATIVITY AND THE POWER OF DOING NOTHING

<h1>Defining Creativity / Defying Labels</h1>&nbsp;Ask&nbsp;Sagmeister to define creativity, and his answer is characteristically unconventional: “There are very few things that bore me more in life than writing about definitions of creativity. I find the desire to define it a tad uncreative.”Fair point.Sagmeister’s refusal to box creativity into a neat little package speaks volumes about his approach—fluid, exploratory, and ever-evolving. When asked how he transitions so easily between disciplines, his reasoning is just as straightforward: “I get bored easily. So after a while, there’s always the urge to switch lanes.”However, he does acknowledge the long-standing debate on whether creativity is an&nbsp;innate talent or a&nbsp;skill that can be developed: “I always used to be vehemently on the muscle-training side of this debate and regarded innate talent as a myth. But after reading psychological research, I found convincing arguments that genetics play a significant role in determining a person’s well-being. If this is true, then perhaps the ability to perceive trends in design could also be a naturally inherited trait.”&nbsp;<blockquote><h1>“There are very few things that bore me more in life than writing about definitions of creativity. I find the desire to define it a tad uncreative.”</h1></blockquote>

<h1>The Creative Process</h1>&nbsp;If creativity is indeed&nbsp;an inherited trait, Sagmeister seems to have inherited plenty of it. While some creatives adhere to&nbsp;strict processes, he takes a more&nbsp;relaxed approach, finding inspiration in his surroundings.He emphasizes the importance of&nbsp;workspace design: “A beautiful studio makes me work longer and harder, simply because I want to spend more time in it. A wide-open view that is interesting helps significantly with idea generation.”He also finds inspiration in&nbsp;motion and travel: “Taking train trips works well for me. The forward motion, combined with a view out the window and enough space for a sketchbook, helps generate ideas.”For Sagmeister, working away from the studio has its own advantages: “In a different place, thoughts about execution don’t come to mind immediately, and I can dream a bit more freely.”&nbsp;<blockquote><h1>"A beautiful studio makes me work longer and harder, simply because I want to spend more time in it."</h1></blockquote>

<h1>Risk and Failure in Creativity</h1>&nbsp;Dreaming is all well and good, but the harsh reality is that&nbsp;any creative endeavor has the potential to fail gloriously. And while failure is often romanticized in creative circles, Sagmeister challenges this notion: “Failure is overrated. The same people who talked about ‘thinking outside the box’ a decade ago are now discovering ‘the importance of failure.’”That said, he acknowledges that&nbsp;stepping outside his comfort zone has often led to&nbsp;success: “In most cases, when I go beyond what feels comfortable, things work out really well. My fears usually kick in far sooner than they should, and I’m convinced my work would be much better if I took more risks.”&nbsp;<blockquote><h1>“I’ve never seen play reduce depth or meaning.”</h1></blockquote>&nbsp;One misstep he recalls involved making a&nbsp;last-minute change to a presentation, which inadvertently offended several people: “But such a case happens too rarely to even mention. The problem of staying on the safe side is infinitely bigger—it eliminates so much potentially good work.”Despite the risks, Sagmeister&nbsp;embraces playfulness in his work, believing that it enhances rather than trivializes depth and meaning: “I choose a theme or direction that is meaningful to me, and then I play within some parameters freely. I’ve never seen play reduce depth or meaning.”

<h1>Sabbaticals and Their Impact</h1>&nbsp;One of the&nbsp;most well-documented aspects of Sagmeister’s career is his practice of taking&nbsp;extended sabbaticals. These breaks from client work have led to some of his&nbsp;most acclaimed projects, including&nbsp;Things I Have Learned in My Life So Far and&nbsp;The Happy Film.Every&nbsp;seven years, he takes a&nbsp;year-long sabbatical to step away from commercial work and focus on personal exploration. These breaks have been&nbsp;instrumental in shaping his most introspective projects, reinforcing his belief that&nbsp;rest and reflection are essential to&nbsp;sustained creativity.&nbsp;<blockquote><h1>“The first sabbatical was really scary—I had to overcome a lot of fear.”</h1></blockquote>&nbsp;Reflecting on his&nbsp;first sabbatical, he recalls considering a&nbsp;career shift into film directing. However, he realized: “It would be a 10-year process, and it seemed to make more sense to stay with the language I already knew—design—and see if I had anything to say beyond the purely promotional.”Was taking time off a&nbsp;risk? Not in hindsight: “The first sabbatical was really scary—I had to overcome a lot of fear (the studio being forgotten, clients leaving, etc.). But because that first sabbatical was so successful, the second was easy, the third even easier, and the fourth presented no risk at all.”Now&nbsp;mid-sabbatical, he finds himself working&nbsp;more than ever, but only on projects that genuinely&nbsp;interest him: “I work almost twice as many hours as I used to in the New York studio before the sabbatical. It’s very joyful.”

<h1>Advice for Young Creatives</h1>&nbsp;For&nbsp;emerging designers struggling to find their voice, Sagmeister offers&nbsp;practical advice: “If you’re fresh out of school, look for a design company that does the kind of work you want to do. Try really hard to get a job with them. Work your ass off. Then start your own place. It’s a great job.”For those&nbsp;hesitant to take a break, fearing it might&nbsp;hinder their progress, he shares a friend's advice: “Stop concentrating on your own happiness and start looking out for the happiness of others.”In a world where creativity is often seen as a solution to&nbsp;global challenges, Sagmeister offers a&nbsp;pragmatic perspective: “Ultimately, if your main goal is to change the world, design is not the right profession. Politics is. But designers can contribute an itsy bit here and there.”On his website, Sagmeister&nbsp;challenges the idea that design is purely about&nbsp;problem-solving: “Solving problems is for accountants and engineers. We can do so much more. We can delight! I can experience true beauty—whether looking at the New York skyline or the Austrian Alps. Considering it took nature 200 million years to form the Alps, but New Yorkers built the skyline in 200 years, I’m somehow more impressed with New Yorkers. The form of the Empire State Building does NOT follow function, but it functions much better than the 1970s skyscrapers built under the term of functionalism.”&nbsp;<blockquote><h1>“If your main goal is to change the world, design is not the right profession.”&nbsp;</h1></blockquote>

<h1>Obsesssions</h1>&nbsp;In September 2008, Sagmeister and his team set out to create something bold, fleeting, and unforgettable. Over eight days, with the help of more than 100 volunteers, they meticulously arranged 250,000 Eurocent coins across a square in the heart Amsterdam, sorting them into gradients of copper and spelling out a striking confession:&nbsp;“Obsessions make my life worse and my work better.” Then, in a move as daring as the project itself, they walked away—leaving the shimmering mural unguarded, open for the public to engage with.What happened next was inevitable and yet, somehow, completely unexpected. Less than 20 hours later, a local resident spotted someone scooping up handfuls of coins, stuffing them into a bag. Protective of the art they had watched take shape, they called the police. But in a twist Sagmeister himself might have appreciated, the authorities—determined to “preserve” the piece—swept up every last cent and carted them away. Just like that, the artwork vanished.I was there, working as a press officer for the festival, and I still have a few of those coins tucked away in a junk drawer, a fact I relayed to the designer. His reaction was pure Sagmeister:&nbsp;“Ahhh, that is fantastic! I still like that project...” No frustration, no regret—only delight in the unpredictability of it all. That’s Sagmeister—more invested in the creative process than the permanence of the result. His work isn’t just about aesthetics or function; it’s about play, storytelling, and embracing the unexpected. And perhaps that’s the real lesson: true creativity isn’t just about what we make, but how we engage with the world around us. &nbsp;<blockquote><h1>“Stop concentrating on your own happiness and start looking out for the happiness of others.”</h1></blockquote>

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Designer&nbsp;Stefan Sagmeister has built a career on defying convention, bending the rules of typography, branding, and visual storytelling. From Grammy-winning album covers for&nbsp;The Rolling Stones, Lou Reed, and Aerosmith to provocative projects—including&nbsp;carving typography into his own skin—his work challenges the limits of design.Every seven years, he&nbsp;steps away from his New York studio for a year-long&nbsp;sabbatical, using the time to recharge, explore, and create on his own terms. For this interview, we caught up with him mid-sabbatical, bouncing between&nbsp;Mexico and Ukraine—technically on a break, yet still generous enough to share his time and insights. &nbsp;

THE CREATIVE MIND OF STEFAN SAGMEISTER: DESIGN, PLAY, AND PURPOSE

A bit of background info: before establishing Secrid, René and his wife Marianne ran a design firm for over 20 years, working with various clients across different markets. This experience would prove invaluable, allowing them to learn and apply their skills in diverse contexts. "We worked for different clients and markets, which was very educational and exciting," van Geer recalls. Eventually, they decided to channel their knowledge and creativity into their own venture. “We wanted to apply all we had learned to our own products and under our own brand,” he explains.The 2008 financial crisis was the final push they needed to fully commit to Secrid. The card protector they launched won the Red Dot Design Award, and the rest, as they say, is history. Today, Secrid's products are sold in over 8,500 stores worldwide, but it’s the owners' focus on creativity that really sets the brand apart. We sat down with René in the Secrid headquarters, housed in a beautifully renovated industrial warehouse in The Hague, to talk business.

<blockquote><h1>"Everyone is constantly engaged in creative activities.”</h1></blockquote>&nbsp;Creativity is quite a broad concept. I'd like to know your definition of creativity.RvG: “There are many degrees of creativity: people everywhere create their own world every single day. For some, that might mean baking a cake, while others change the entire recipe. The point is that everyone is constantly engaged in creative activities.”&nbsp;So, do you believe that people are inherently creative?RvG: “Everyone is creative. Again, the type of creative activity you’re involved in may vary. There are degrees of creativity depending on things like skills and other practical reasons. For instance, we used to renovate homes, and I would be very hands-on, painting walls and building furniture. All in all, it is a very creative endeavor but also a time-consuming one. The house we just moved into was already renovated. I didn’t want to spend more time renovating a house, so this time around, our focus is more on choosing the right rug, painting, or lamp. I don't paint or build furniture myself anymore because it simply takes too much time.”

<blockquote><h1>“Building a company is very similar to developing a product…You solve problems creatively, just like you would when designing a product.”</h1></blockquote>&nbsp;What does creativity look like in the work you do? Is there room for creativity when you’re the CEO?RvG: “Absolutely. Building a company is very similar to developing a product. It's never finished, and everything is constantly evolving. You develop processes, find the right people, and make numerous decisions, which is very creative. You solve problems creatively, just like you would when designing a product. When you start out as a designer, it can be hard to integrate a lot of different elements all at once. But over time, you learn to consider more factors in your designs, such as the user, the brand, the market, and the functionality. Good design considers all these aspects: you need to be holistic and ensure that what you create functions well in society and is commercially viable.&nbsp;Now that our company is bigger and we have a larger team, we can tackle projects more professionally. We have experts in areas where I lack knowledge, like ICT and legal, which allows me to focus on the creative aspects, which is where my strengths lie. We also try to make sure that the people who work for us can focus on what they’re good at.”

<blockquote><h1>“It's essential for the creative process to include various types of input, from those with engineering minds to those who are more abstract thinkers.”</h1></blockquote>&nbsp;Does working with such a diverse team impact your creative process?RvG: “It adds depth and perspective. Different viewpoints and experiences contribute to richer ideas and solutions. It's essential for the creative process to include various types of input, from those with engineering minds to those who are more abstract thinkers. For years, I’ve been working on a model of our production process, and I’ve narrowed it down to seven levels of abstraction: from the very abstract - the strategic thinking that our product team does - to the more practical art of selling the product, which is the domain of the marketing and sales team. This model is not unlike the chakra system, which also consists of seven steps, or chakras, that help us understand the interaction between body and mind. Each chakra represents a different aspect of our being. For example, the Root Chakra represents stability and security. People strong in this chakra are grounded and practical. The Solar Plexus Chakra is linked to personal power and confidence. Engineers and people who create structure tend to be strong in this chakra. And there’s the Third Eye Chakra, which is related to intuition and insight. This is important for strategic thinkers and visionaries. All these different chakras represent different types of creativity, and having a team with diverse strengths in these areas is crucial.”

<blockquote><h1>"We try to design our office spaces to meet varying needs, ensuring everyone has the right environment to be productive and creative."</h1></blockquote>

What does having a diverse workforce mean for the day-to-day business of running a brand?RvG: “Different roles require different environments. For example, the finance team needs a stable and quiet environment to ensure accuracy and concentration. They benefit from a fixed, calm workspace. Marketing and Sales need areas that foster interaction and collaboration because their work often involves brainstorming and communicating with others. The engineers and developers require structured spaces where they can focus on detailed work without distractions. In contrast, the creative team needs flexibility and inspiration; they thrive in dynamic environments where they can move around and be exposed to new ideas and stimuli.We try to design our office spaces to meet these varying needs, ensuring everyone has the right environment to be productive and creative. In the end, the environment you create must support both the practical and emotional needs of all those people. That’s why we focus on creating spaces that encourage interaction and collaboration. For instance, our espresso bar is a place where employees from all parts of the company come together, fostering informal discussions and idea-sharing.”&nbsp;How do you manage the balance between creativity and practical needs like deadlines and budgets?RvG: “It's about setting clear boundaries. Creativity doesn't have to be a long, drawn-out process. Even within time and budget constraints, you can make creative choices. The key is to prioritize and make the most impactful decisions within those limits.”

<blockquote><h1>“Creativity doesn't have to be a long, drawn-out process. Even within time and budget constraints, you can make creative choices.”</h1></blockquote>

Do you face any specific challenges in maintaining your company's creative edge?RvG: “Design is central to everything we do. We believe that good design can improve the world. This is why we partner with events like What Design Can Do and the Dutch Design Week to showcase how design can address various challenges. Our goal is to highlight the positive impact of thoughtful design on society. One challenge is ensuring that we stay innovative while also managing a growing business. It's a balancing act between exploring new ideas and maintaining the efficiency and quality of our existing products. We strive to foster a culture where both can thrive.”&nbsp;What advice would you give to other entrepreneurs looking to incorporate creativity into their business?RvG: “Surround yourself with diverse talents and create an environment that encourages experimentation and collaboration. Be open to different perspectives and don’t be afraid to take risks. Also, remember that creativity isn’t just about big, groundbreaking ideas; it’s also about making small, incremental improvements that add up over time.”&nbsp;Lastly, are there any personal rituals or habits that help you stay creative?RvG: “I make sure to integrate moments of relaxation and reflection into my daily routine. Whether it's taking a walk, meditating, or simply daydreaming, these activities help me stay open to new ideas. It's about finding a rhythm that works for you and allows your mind the freedom to wander and explore.”&nbsp;<blockquote><h1>“Creativity isn’t just about big, groundbreaking ideas; it’s also about making small, incremental improvements that add up over time.”</h1></blockquote>

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Creativity often takes center stage in the bustling world of product design and innovation. But at Secrid, the brand that has transformed the everyday wallet into a piece of innovative design, they went one step beyond. Here, creativity is not just a buzzword; it's a foundational principle. René van Geer, one of the founders and owners of Secrid, shares his thoughts on creativity, entrepreneurship, and the unique approach his company takes to fostering an innovative environment.

DESIGNING SUCCESS: CREATIVITY AT SECRID

Van Aubel's efforts have not gone unnoticed: she designed the roof of the Netherlands Pavilion at the World Expo 2020 in Dubai, and her work is part of the permanent collection of New York's MoMA, London's Victoria and Albert Museum, and the Vitra Design Museum, to name but a few. She has also collaborated with global brands, including Cos, Timberland, and Swarovski, all in her effort to accelerate the global energy transition to solar.&nbsp;Where does the interest in solar energy come from?&nbsp;MA: "I have always wondered about the solar panels on rooftops, those unappealing blue squares that don't necessarily make houses look more beautiful. It got me thinking about how we could seamlessly integrate solar power into our daily lives and make those panels not only functional but also visually appealing.&nbsp;We live in an age in which we desperately need answers for our climate crisis. A few of the answers lie in front of us, but we don't make use of them. Conventional energy sources play a big role in global warming, whereas solar energy can be a clean solution. The sun is all around us, almost everywhere on our planet, so why not use what we have in abundance and turn it into something useful that can bring us a step closer towards a more sustainable future?&nbsp;&nbsp;<blockquote><h1>"We are surrounded by surfaces everywhere, so why not use them and design objects that add emotional value"</h1></blockquote>&nbsp;Most people think of panels on roofs or of gigantic solar farms, which are great, of course, to harvest energy, but it would be even better to integrate solar in a beautiful way into our daily lives. We are surrounded by surfaces everywhere, so why not use them and design objects that add emotional value."&nbsp;<div class="raw-html-embed"><div style="padding:53.54% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/644732271?h=434f221748&amp;title=0&amp;byline=0&amp;portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen=""></iframe></div><script src="https://player.vimeo.com/api/player.js"></script></div>

What are the specific challenges or difficulties of working with solar energy?MA: "Every project always starts as a challenge. We have to consider which materials to use and how to produce locally and as efficiently as possible without generating waste. Since we don't use plug-and-play technologies, it takes a lot of research and experimenting. We also have to explore what's available on the market. Plus convince manufacturers to join us on a journey to discover new techniques and ways to make it more affordable. There is a lot of research happening around how to make solar cells more efficient and applicable to different materials, so we always need to stay up to date with the latest findings and developments.”&nbsp;Can you take us through the design process of, for example, the stained glass panels that generate energy?MA: The ‘Current Window’ is a contemporary version of stained glass. It not only serves its traditional purpose of adding color and beauty to a space but also harnesses the power of the sun to generate electricity. The glass panels are constructed with dye-sensitized solar cells (DSSC), which utilize the characteristics of color to create an electric current, inspired by the process of photosynthesis in plants.&nbsp;

With integrated USB ports on the window ledge, you can conveniently charge your devices by plugging them in. The larger the surface area of the window, the more efficient it becomes as a power source. The design merges aesthetics with functionality, allowing you to enjoy the benefits of both natural light and renewable energy in a beautiful and practical way."&nbsp;&nbsp;<figure class="image"><img src="https://tioc-cdn.ams3.digitaloceanspaces.com/windowsill_4f7016eabd.jpeg" alt="windowsill.jpeg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_windowsill_4f7016eabd.jpeg 234w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_windowsill_4f7016eabd.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_windowsill_4f7016eabd.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_windowsill_4f7016eabd.jpeg 1000w," sizes="100vw"></figure>&nbsp;<blockquote><h1>“It's all about finding creative and practical solutions to make renewable energy a part of our everyday life.”</h1></blockquote>

Where else do opportunities lie when it comes to solar design?MA: “Opportunities lie everywhere, they are all around us. In fact, just one hour of sunlight can generate enough energy to power the entire planet for an entire year. There are numerous projects already underway, such as incorporating solar panels into streets, parking lots, bike lanes, roofing of sidewalks, walls next to highways etc. If we master the technology, we can use a lot more surfaces than we do now. Opportunities are endless.You can integrate solar cells into practically any surface in an interior and generate energy. This opens up a world of possibilities for incorporating this technology into our homes. Whether it's windows like ‘The Current Window’, walls, or even furniture, there are plenty of ways to seamlessly integrate solar power into our living spaces. It's all about finding creative and practical solutions to make renewable energy a part of our everyday life."A good starting point is to look at every surface as a potential surface that could generate energy. With that I mean walls, floors, windows and literally every surface that is exposed to light. Almost everything can be designed in a way so that it can harvest energy. On top of that I think it’s important to consider the potential of product design and solar-powered objects in creating more harmonious and integrated spaces. By incorporating well-designed and functional objects into interior design projects, they can create a more symbiotic relationship between fixed elements and objects in the space. A space can become more dynamic in that way. I also think that there will be more solar design in the future with which interior designers can work with and play in space which is quite exciting.”

<div class="raw-html-embed"><div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/84964915?h=a8f1b0a0cd&amp;title=0&amp;byline=0&amp;portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen=""></iframe></div><script src="https://player.vimeo.com/api/player.js"></script></div>&nbsp;Your products are beautiful, but also exclusive. What are you doing to make your designs more available to a wider audience?MA: "Making them more available to a wider audience is, of course, the goal. It has been a challenge to create more affordable products designed with solar power. Unlike other fields of product design, solar design still remains a niche with unique requirements. Each of our products and projects uses individualized and specialized technologies, lacking standardization, which inevitably leads to increased costs. It's also a question of supply and demand; by offering beautiful solar designs, we can create a bigger demand for solar products, allowing production on a larger scale, and hence making solar power more affordable for a wider audience.With our autonomous solar light, Sunne, we took a first step in this direction. It's still on the more exclusive side, but it's a starting point for a series of products that will be more affordable for a wider audience and will help raise awareness of how solar energy can be integrated beautifully into our daily lives. The more designers embrace solar technology, the cheaper it will become to produce. And that's not just great for our studio, but for the entire solar design field and customers. As costs decrease, solar-powered objects will become more affordable for everyone."&nbsp;<div class="raw-html-embed"><div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/523251883?h=97c00295ad&amp;title=0&amp;byline=0&amp;portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen=""></iframe></div><script src="https://player.vimeo.com/api/player.js"></script></div>

In addition to being an inventor and designer, you are also an author. How did the idea for the book come about?MA: "Solar energy is exciting and has lots of potential! There is so much more to it than just its technical side, which we're accustomed to. I wanted to write a book that shows this potential and showcases the latest and most exciting developments in the solar industry. We divided the book into three main parts: the past, the present, and the future. Understanding the origins and learning from the history of solar energy is important, but I didn't want it to be presented in a dry and boring way like many traditional history books. Instead, I wanted to make it fun and captivating by also including intriguing images and visuals that bring the history of solar design to life.&nbsp;The book delves into the present state of solar energy, exploring the latest advancements, innovations, and success stories. It offers a glimpse into the diverse applications of solar technology and its impact in the world today. Working as a solar designer, I met a lot of interesting people across the industry during the past few years whose ideas and experiences I wanted to include in the book. By featuring their perspectives, I aimed to provide readers with a glimpse into the minds of those driving innovation in the field of solar energy today.&nbsp;<img src="https://tioc-cdn.ams3.digitaloceanspaces.com/Solar_Cover_Render_OK_1024x731_e003b96943.jpeg" alt="Solar_Cover_Render_OK-1024x731.jpeg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_Solar_Cover_Render_OK_1024x731_e003b96943.jpeg 219w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_Solar_Cover_Render_OK_1024x731_e003b96943.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_Solar_Cover_Render_OK_1024x731_e003b96943.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_Solar_Cover_Render_OK_1024x731_e003b96943.jpeg 1000w," sizes="100vw">The book ends with a look into the future. By showcasing visionary ideas, groundbreaking research, emerging trends and dreams, I hope to inspire readers to imagine the transformative potential of solar energy in shaping our future. The book is not only written for designers and makers who want to play with solar technologies but for anyone interested in solar energy. I hope the book will help to change the perception of solar design, make it more attractive and exciting and serve as inspiration for everyday life."

<blockquote><h1>“By using our creativity and thinking outside the box, we can challenge the status quo and reshape the perception of solar panels into something functional and beautiful.”&nbsp;</h1></blockquote>&nbsp;What is your vision for the future or dream project?&nbsp;MA: "My dream is to move toward a world in which solar energy is the standard, and we live in a fossil fuel-free future. I love challenges and enjoy realizing things that are initially deemed impossible.One project that I am very passionate about and which remains a dream project is the Solar Biennale. It was initiated last year in Rotterdam in collaboration with fellow professionals in the field. Our main goal with the Solar Biennale is to accelerate the transition toward a fossil fuel-free future by showcasing and discussing solar futures and technologies, and by finding solutions together. One of our main goals is to create think tanks where we bring together people from all sorts of backgrounds, not just those in the industry but from different fields in society as well. We believe that by joining forces and collaborating, we can come up with interesting and impactful solutions. If we collaborate, we can think and implement ideas on a wider scale together.I truly believe that by changing our perspective, we can revolutionize and redefine nearly every technique. We have become accustomed to certain notions, such as the belief that solar panels are always unattractive, confined to roofs or large farms, and limited to square shapes in black or dark blue. However, if we take a step back and approach things with a fresh mindset, we can break free from these preconceptions. By using our creativity and thinking outside the box, we can challenge the status quo and reshape the perception of solar panels into something functional and beautiful. While our specialization lies in the world of solar design, I am sure that there is a lot of room for reinvention in other fields as well. If we, as designers and creatives, do so, we can contribute to making the world more sustainable, democratic, and beautiful at the same time."&nbsp;<div class="raw-html-embed"><div style="padding:125.58% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/630005912?h=94f8115b9c&amp;title=0&amp;byline=0&amp;portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen=""></iframe></div><script src="https://player.vimeo.com/api/player.js"></script></div>

What do you think is the biggest challenge in creating a fossil-free future?&nbsp;MA: "The biggest challenge in achieving a fossil-free future lies in changing our perception of renewable energy. We need to challenge the conventional status quo of relying on traditional energy sources and shift towards fossil-free solutions. While progress has been made, we haven't yet reached a point of complete independence.We have to redefine how we view solar power. Initially, the focus was on reducing costs and improving efficiency, and now solar energy has become the most affordable energy source in many countries. However, we still have the opportunity to make solar technology more accessible for everyone. We have many possibilities, and yet change needs to happen, and we are making progress. Not only with the climate crisis but also with social issues such as the war in Ukraine, we've seen the importance of exploring renewable energy sources to become independent and work towards a sustainable future. Exploring renewable energy sources for independence and creating a sustainable future has become inevitable.Another challenge we are facing is still on the technical side of solar energy. We need to find solutions to not only harvest the sun's energy in the most efficient way but also store the energy sustainably. There is still a long way to go, but we are on a good path."

What designs can we expect from you in the future?MA: "Designs on many different scales. We are working on a wide range of projects as we continue to embrace all sorts of challenges of solar energy. Our focus will be on creating solar-powered objects that integrate seamlessly into everyday life, making it more accessible for everyone.&nbsp;In addition to these smaller-scale projects, we are also committed to working on large-scale installations with which we want to raise awareness about the potential of solar energy. These installations will not only demonstrate the capabilities of solar power but hopefully also inspire others.&nbsp;We are also working on new editions of the Solar Biennale, which we are very excited about. We’ll have think tanks and workshops in different countries to discuss solar energy on an even wider scale."

<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/Schermafbeelding_2023_11_06_om_16_54_30_9d3c8c9c16.png" alt="Schermafbeelding 2023-11-06 om 16.54.30.png" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_Schermafbeelding_2023_11_06_om_16_54_30_9d3c8c9c16.png 121w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_Schermafbeelding_2023_11_06_om_16_54_30_9d3c8c9c16.png 388w," sizes="100vw">We're very proud to call NOOK one of our partners.&nbsp;NOOK is the official magazine of the Dutch and Belgian professional associations for interior architecture, BNI and AINB. The magazine offers in-depth content, inspiration, and opinions. NOOK is published quarterly in English.&nbsp;A version of the above interview was first published in NOOK, the Symbiosis issue (2023 / #2).&nbsp;<a href="https://bni.nl/nook/">Order a hard copy of the issue for €12.50, excluding shipping.</a>&nbsp;

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Dutch designer <a href="https://marjanvanaubel.com/">Marjan van Aubel</a> (1985) is shining some much-needed light – pun intended – on solar energy. With her studio, she creates designs that bring solar energy into daily life in the most aesthetically pleasing way possible. By combining elements from the fields of sustainability, design, and technology, Van Aubel aims to create lasting change and make solar power accessible to one and all.&nbsp;

MARJAN VAN AUBEL: SOLAR POWER TO THE PEOPLE

We meet up at Capital C, Amsterdam's creative hub, housed in a former diamond factory. Our interview takes place in the old clock tower, which Kessels has converted into a unique office space. All the walls and ceiling are adorned with a large, eclectic collection of clocks. You can rent the space for as long as you need, but be warned, when your time is up, a cacophony of sound will ensue as all the clocks go off simultaneously. Kessels demonstrates this by setting the alarm, and the sound of hundreds of clocks ringing at once is a jarring experience that only ends when you hit the big red buzzer, cleverly concealed within one of the larger clocks. "It's an effective way to bring a meeting to a close," Kessels says with a smile.

What is your personal definition of creativity?EK: “Ultimately, creativity is about doing things differently. When something is ‘different’ and unusual it surprises you, makes you laugh, or makes you think. Creativity is something that inspires people to think and see things differently. Plenty of people say they work in the creative industry, but they've never done anything creative. They're just robots sitting behind a computer, churning out content and following data. Which is why I think it’s more important than ever to put all your energy into your personality and your thought process.&nbsp;People think that creativity is about finishing something or making it perfect because that’s what we tend to focus on. We like to present the finished product: picture-perfect portfolios, glossy websites and Instagram accounts. But that's not really creativity. I usually explain it using the front versus backyard metaphor. The front yard is sort of a reflection of who you are: it’s a little bit creative, but on the whole it’s really a place for people to walk by and look at, which is why everything looks perfect and tidy. However, it’s the backyard that’s interesting because that’s where you’ll find the real creative stuff: unfinished proposals, passion projects, but also feelings of frustration and shame. It’s a place you fence off and where you spend a lot of time struggling and tinkering with things. It is here where ideas are born, which are then moved to the front yard for all to see.Many schools and companies only focus on the front yard – your portfolio – and not so much the backyard – your personality – which is such a shame. I believe that 90% of the time, the focus should be on students’ personalities, on their potential and on teaching them to think as extreme as possible.”&nbsp;

So I gather you believe that creativity is a teachable skill? Or is creativity an innate talent, bestowed on a lucky few?EK: “I am of the opinion that creativity is not an innate talent that people are born with. While some individuals may find it easier to let their minds wander and discard preconceived notions, that's really as far as it goes.&nbsp;Creativity can be hard work. Every time I have to come up with something new, I feel like a beginner all over again. At times, I'll feel inspired, and an excellent idea will materialize in just a few minutes. Other times, it takes weeks of aimlessly wandering, struggling through a maze of clichés to finally arrive at something worthwhile. It's always one of two extremes: either it comes to you quickly, or it's an uphill battle.When it comes to creativity, it's not just about putting in long hours, but rather about picking the right moment. Some agencies have a culture of working late into the night, ordering takeout, and pushing for another round of brainstorming. I don't believe in that approach. In my experience, no one ever came up with a truly innovative idea after 8 pm. I encourage people to go home, get some rest, and come back the next day with a fresh perspective.”&nbsp;<blockquote><h1>"Creative people who are successful can be a bit selfish or even a bit of an asshole but sometimes that's necessary.”</h1></blockquote>

What does that creative process look like?EK: “Most of the work is done in my head. I don't just sit behind a desk or a computer to work something out, instead I walk around mulling things over in my head, visualizing ideas and trying to come up with the best ones.&nbsp;I'm always ‘on,’ constantly on the lookout, discovering new things every day. It could be something I read, research, or some unknown artist I stumble upon. Then, I delve into it and find out everything I can. Sometimes I buy their work, read about them, or even try to meet them in person.I have this antenna and just pick things up from my surroundings, whether it’s conversations I overhear on the street or a note that’s lying around somewhere. I process all that information and then, through association, link things together to generate something new. And the hardest part in all of that is letting go of the fear that you might not be able to come up with something. Or trusting that a concept that pops up in just a couple of seconds is worth pursuing.I'm addicted to the thrill of generating some awe-inspiring idea: once or twice a year, I'm genuinely stunned by my own work. It's an incredible feeling to know that I produced something that surpasses my expectations, and I cherish these moments. They're unpredictable and can't be forced, but they keep me hungry for more.”

And then comes the moment of presenting that great idea to a client. Do you welcome or loathe feedback?EK: "I don't show my ideas to others until I'm completely satisfied with them. Then, after getting some feedback, I might make some small changes, refine the idea, but once it's finished, nobody can change my mind about it.&nbsp;Creative people who are successful can be a bit selfish or even a bit of an asshole but sometimes that's necessary. The creative process is inherently fragile, so I am mindful of that when collaborating with others. However, when it comes to standing up for my ideas and defending my work, I will fight for what I believe in. This doesn't mean being rude or unpleasant, but rather being assertive and confident in my vision.”

Speaking of a tense situation. How do you look back on the controversy following the ‘Destroy my face' project? (ed. Kessels designed an installation featuring ramps adorned with digitally altered images of surgically enhanced faces that were later damaged by the skaters who rode over them. Two young women initiated a petition requesting the organizers to remove the artwork.)EK: “I spent a year working on this project. I did extensive research, consulted with cosmetic surgeons. A team of roughly 100 people saw the project before its public release and no concerns were raised. There was never any red flag, so I was quite shocked when it suddenly exploded. It was very intense and for about four to five days I just stayed home, curled up under a blanket, watching National Geographic. But once the initial shock passed I wanted to take action. I reached out to the young women who started the petition but they didn’t want any contact. Under pressure of an American sponsor the work was removed but if anything the whole thing has motivated me to continue creating and pushing boundaries.”&nbsp;<blockquote><h1>“I'm addicted to the thrill of generating some awe-inspiring idea: once or twice a year, I'm genuinely stunned by my own work.”</h1></blockquote>

How do you push those creative boundaries?EK: “You have to keep taking deliberate turns in your thought process. Purposely make a mistake. Enlarge something or make it smaller. Turn something around or upside down. And have a beginner's mindset. Every professional started out as an amateur and it’s good to return to the kind of spontaneity and naivety that you once had.Sure things can go wrong, but what do you have to lose? You might hit a wall but then you just turn around. For instance, we once had a small assignment from a school in Den Bosch where they had a huge problem with garbage on their campus. And instead of solving the problem, we made it worse. There were plenty of trashcans on site but nobody bothered to use them. So we put a sign on them, which read ‘trash only’ and made it difficult to actually throw stuff in them. We put a fence around one and placed another one high up in a tree, which could only be reached with a ladder.”&nbsp;

Can the advances in technology help push our creative boundaries?&nbsp;EK: “Technology and all those tools are fantastic, but their value depends on what you do with them. There are always a few pioneers who make something unique or worthwhile using new technology, followed by others who produce uninteresting content. I remember when YouTube came up and all these companies insisted on having a video on YouTube. It was ridiculous, everyone was doing it and those videos had zero impact. Or take the opportunism and hype that came with things like virtual reality glasses: they’ve been around for two decades now and still haven’t caught on. The fact that there's a bit of a buzz with the metaverse now is just sad, with a commercial company feeling the heat. Take NFTs: the concept behind them is super interesting, and some people have made a real difference with them. But then the masses came along and ruined it all, and it became about quick money and clichés. Ultimately, it is individuals who can make a difference, and those with exceptional skills are becoming increasingly valuable as automation becomes more prevalent.”

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Erik Kessels (1966) is a Dutch artist, designer, and curator, known for his work in photography, advertising and publishing. He the co-founder and creative director of KesselsKramer, an independent communications agency based in Amsterdam. Kessels is a prolific artist whose work has been exhibited at galleries and museums around the world, including the Museum of Modern Art in New York, the Victoria and Albert Museum in London, and the Stedelijk Museum in Amsterdam. He is best known for his work in the field of photography, specifically his use of found photography, and to date has published well over 100 books. A conversation with a modern-day Renaissance man.

ERIK KESSELS: PERSONALITY OVER PORTFOLIO

CREDITS: Photo by Renata Dutrée, Look by Edwin Oudshoorn.What does your daily creative practice look like?NU: “I typically wake up very early and begin working right away. I advise against reading emails in the morning because it often leads to you spending time doing tasks that other people have requested of you. Instead, focus on a project or task you are interested in or have devised yourself.&nbsp;I establish a comprehensive work schedule for my significant projects, exhibitions, and clients. This approach gives me stability and structure, allowing me to work consistently and with focused attention.I reserve the end of the day as a time for inspiration. This is when I like to read, sketch, and reflect.”&nbsp;How important is the physical place of work for you?NU: “The environment where I work is essential to me. I have set up my office on the second floor of my house, a peaceful and well-organized space where everything has a designated place. I maintain a clean desk policy in my office and throughout my entire home, so I can avoid any distractions. I even covered the windows with a semi-transparent foil to minimize distractions and fully concentrate on my work to maximize productivity.”

How do you encourage creativity when working with others?NU: “To encourage creativity, I involve everyone in my vision as much as possible. I clearly communicate the end goal and instill the belief that it is achievable. I ensure that everyone understands their role and how it fits into the bigger picture. Ultimately, I aim to create an environment where everyone can shine and contribute to the project's success.” What’s your number one piece of advice?NU: “Start your projects as early as possible. What's done is done. Good preparation is really half the work. There are no surprises, just bad planning.”

How important will creativity will be in the future?NU: “Crucial. Certainly, with regard to the collective problems in the world, but also for problems in, for example, the government. A fresh creative look leads to new insights. Creativity and solution-oriented thinking and acting are inherently linked. Just as creativity and pragmatics go together naturally: an entrepreneur responsible for his own income sometimes has to develop a creative solution quickly.”&nbsp;With Masterly you (among other things) provide a platform to craftsmen: how do you see the field of work changing as a result of the rapid developments in the field of AI?NU: “Machines are not capable of being truly, autonomously creative. It is always dictated by people. AI is a complement to and not a replacement for. Einstein said: 'If you can't imagine it, you will never create it.' AI helps with 'imagination.' But I still see the real value in the analog, material world. That tangible remains. Craftsmanship and technology are not, by definition, each other's opposites. Reciprocity between them leads to innovation.”

CREDITS: Photo by Renata Dutrée, Look by Edwin Oudshoorn.

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As a curator and independent exhibition creator, Nicole Uniquole merges the worlds of (Dutch) design and business, creating new opportunities for both. Nicole sat down to discuss her daily creative practice, the importance of an organized work environment, how to encourage creativity when working with others, and the future of creativity.

Design

DONALD ROOS ON CREATIVITY AND THE POWER OF DOING NOTHING

THE CREATIVE MIND OF STEFAN SAGMEISTER: DESIGN, PLAY, AND PURPOSE

DESIGNING SUCCESS: CREATIVITY AT SECRID

MARJAN VAN AUBEL: SOLAR POWER TO THE PEOPLE

ERIK KESSELS: PERSONALITY OVER PORTFOLIO

NICOLE UNIQUOLE: CURATING CREATIVITY

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