'Corporate designmanagement' is een vlot geschreven en zeer overzichtelijk standaardwerk op het gebied van corporate designmanagement. Een sterke visuele identiteit is voor een organisatie een doeltreffend middel om zich te positioneren en te profileren. Voorwaarde is wel dat de visuele identiteit duidelijk wordt geregisseerd. Corporate designmanagement zorgt daarvoor. Dit boek daagt de lezer uit om een eigen visie op corporate design te ontwikkelen en om deze visie in de praktijk vorm te geven. Niet alleen krijgt de lezer een heldere uitleg van begrippen als identiteit, imago, huisstijl, brands, merkbouw en design audit. Ook wordt beschreven hoe deze begrippen succesvol kunnen worden toegepast. En hoe een huisstijl van een organisatie wordt ontwikkeld en gemanaged. In deze herziene druk is er meer aandacht voor het verschil tussen basiselementen zoals logo, kleur, typografie en beeld en toepassingsgebieden oftewel de dragers van de huisstijl. Denk hierbij aan brochures, websites en natuurlijk visitekaartjes. Ook zijn er meer cases en checklists toegevoegd. 'Corporate designmanagement' is niet alleen een zeer toegankelijk en compleet studieboek, maar bewijst ook in de praktijk goede diensten.
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Corporate Social Responsibility affects Corporate Governance as it stretches the accountability of companies beyond its traditional boundaries. This however may conflict with the corporate objective of maximizing stockholder wealth. The paper provides an overview of various academic theories and corporate attitudes on this issue and discusses the merits and disadvantages of the two main governance modes: the stockholder mode and the stakeholder mode.
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Corporate Visual Identity (CVI) is a crucial part of the identity of any organization. Most research on managing corporate identity deals with the strategic development of corporate identity and the design and effects of specific elements of the CVI. This study focuses on an aspect of CVI management that has not received much attention—the problem of maintaining consistent use of the CVI in an organization. A comparison is made between manufacturing and service organizations, and between profit-making and nonprofit organizations. For these organization types, the perceived CVI consistency was investigated, as well as the organizational and CVI management characteristics and instruments affecting it. The research was conducted using questionnaires distributed among employees of 20 Dutch organizations. Most of the differences found were those between profit-making and nonprofit organizations. The results showed greater consistency in the CVI of profit-making organizations, in accordance with the amount of effort these organizations put into CVI management.
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In the last decade, the automotive industry has seen significant advancements in technology (Advanced Driver Assistance Systems (ADAS) and autonomous vehicles) that presents the opportunity to improve traffic safety, efficiency, and comfort. However, the lack of drivers’ knowledge (such as risks, benefits, capabilities, limitations, and components) and confusion (i.e., multiple systems that have similar but not identical functions with different names) concerning the vehicle technology still prevails and thus, limiting the safety potential. The usual sources (such as the owner’s manual, instructions from a sales representative, online forums, and post-purchase training) do not provide adequate and sustainable knowledge to drivers concerning ADAS. Additionally, existing driving training and examinations focus mainly on unassisted driving and are practically unchanged for 30 years. Therefore, where and how drivers should obtain the necessary skills and knowledge for safely and effectively using ADAS? The proposed KIEM project AMIGO aims to create a training framework for learner drivers by combining classroom, online/virtual, and on-the-road training modules for imparting adequate knowledge and skills (such as risk assessment, handling in safety-critical and take-over transitions, and self-evaluation). AMIGO will also develop an assessment procedure to evaluate the impact of ADAS training on drivers’ skills and knowledge by defining key performance indicators (KPIs) using in-vehicle data, eye-tracking data, and subjective measures. For practical reasons, AMIGO will focus on either lane-keeping assistance (LKA) or adaptive cruise control (ACC) for framework development and testing, depending on the system availability. The insights obtained from this project will serve as a foundation for a subsequent research project, which will expand the AMIGO framework to other ADAS systems (e.g., mandatory ADAS systems in new cars from 2020 onwards) and specific driver target groups, such as the elderly and novice.
The DPP4CD project, “Digital Product Passport(s) for Circular Denim: From Pilot to Practice,” focuses on delivering pilot and scalable Digital Product Passports (DPPs) in the circular denim industry. This aligns with the upcoming European Ecodesign for Sustainable Products Regulation (ESPR), making DPPs mandatory for textiles from 2027. A DPP for circular denim should clearly detail material composition, production methods, repair records, and recycling options to meet EU rules like ESPR, Corporate Sustainability Reporting Directive (CSRD) and European Sustainability Reporting Standards (ESRS). It combines dynamic lifecycle data into a standard, interoperable system that boosts traceability, cuts SME admin burdens, and supports sustainable, circular practices. Led by Saxion and HvA, the multidisciplinary project is based on a real-world Dutch use case with MUD Jeans, a leader in circular denim. The project combines circular economy principles with existing digital technologies, working with partners such as tex.tracer, Tejidos Royo, bAwear, Denim Deal, MODINT, EuFSI and, GS1 Netherlands. Instead of developing new tools, the project applies scalable technologies (augmented DPP extension) and methods e.g. blockchain, life cycle assessments, and traceability standards to denim supply chains. The project defines legal, environmental, technical, and user requirements for DPPs in circular denim and designs a modular, data-driven, and ESPR-compliant system that integrates offline and online components while ensuring interoperability, affordability, reliability, accountability, and scalability. It develops a data framework for material tracking, supported by interoperable digital solutions to improve data-sharing and transparency. A pilot DPP with MUD Jeans will cover the full lifecycle from production to recycling, enabling scalable DPP. The project aims to address societal challenges related to circularity, ensure scalable and implementable solutions, and create a digital platform where knowledge can be developed, shared, and utilised. By combining circular practices with digital technologies, DPP4CD will help textile businesses transition towards sustainable, transparent, and future-proof supply chains.
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
