Street Support



All over Europe, municipal authorities are struggling to address in an effective manner the so-called public nuisances oftentimes associated with underserved and marginalized communities. Interventions are limited and mainly based on repressive acts. Less is know about strategies that tackle wider exclusionary process as an alternative to the criminalization of behavior and life experiences of communities such as people experience homeless, people who use drugs, or sex workers, among others. Street Support Project presents policy makers and service providers with critical tools from which to approach the analysis, design, and implementation of structures of care and support.



Orientation can be understood as a mutually constitutive process and a metastable relationship between space and the body. By physicalizing and enacting research along with these coordinates. Social Design Master students were offered a set of conceptual and methodological entry points to inquire into the relationship of design with systems of power.

Reflective Self-Orientations
Geography Safe



Geography of safe spaces is a cross-disciplinary project with the goal of critically analyze the political and institutional context(s) of Drug Consumption Rooms and the strategies by which these conditions influence the architectural physicalization of such safe spaces. To do so, the project brings together policy-making and design in relationship to poverty, drug use, sex work, and homelessness.



Cities structure binary spaces of inclusion and exclusion. This sustained by networks of political, social, commercial, and residential interests whereby power differentials, through which gender, class, and ethnicity are made present. Within these conditions, individuals are shaped by or are re-shaping the material and social aspects of public space. 

Taking the concept of the line as a starting point, and by activating intersectional, queer and feminist frameworks, CO-ORDINATED ACTIONS provides its participants with critical and analytical methods to consider the effects of design, particularly on identities, bodies and social relationships




Collective Enunciations elaborates on the relationship of feminism to the collective regimes of enunciation that produces it, and its disruptive power. To achieve this, the work speculates on how setting the listening conditions to the act of speech generates new forms of community, and critically examines what pre-existing power structures are at play within the production of the work itself, and the institutional system which it was set. As such, Collective Enunciations exists as a 26 channels sonic installation, the creation of a community mediated through technological devices and a methodology of work aligned to the feminist principles that originated it. 



Thinking about migration requires making a close examination of oneself, and the relationship between public space and identity. Through qualitative research and data visualization methodologies, Mapping Differences investigates the underlining complex process of othering within migratory movements in Amsterdam and aims to challenge ideas regarding territorialization of identity. 

Mapping Differences Cover



Conflict is not abuse is a visual study and a deconstruction of the genre of war games, both as systems of power and cultural objects. Building upon a media archeological research process, the work exists as a visual dissertation and a participatory system that allows the physicalization and re-enactment of the research. As a result, participants are offered the possibility to reflect and excessive in real time concepts such as agency, control or power.



By attempting to return visual data from a publicly abandoned hard-disk through the creation of a persona of Facebook, the work maps the two systems by which contemporary capitalism mass produces subjectivity: by mobilizing a representational level, and by activating non-representative, operational and diagrammatic techniques.

Other Self-11



Building upon research on gamification and its relationship to contemporary forms of governance, this collection of works explores diagrams as a form of resistance. As abstract machines that also behave as topologically, diagrams allows us to dis-order the networks they map and set out in motion, and to connect with a transductive force across strata that allows self-positioning in relation to a variety of voices, de-territorialized concepts, magnitudes and vectors.




GUESS WHO? is a three-channel, multimedia installation that explores the role that a-signifying semiotics have in the production of subjectivities and social relationships. The work critically examines how game systems operate as a force that moves between the singularization of subjectivities and the creation and alteration of other lives and worlds. By deconstructing all the elements of a rule-based performance, and rearranging all of the pieces critically in a diagrammatic space, Guess Who generates a socio-technological space in which the visitor is endowed with a capacity for self-affectation, self-affirmation, and self-positioning within a field of power relationships.




Walkman explores the use of music portable devices as tactic for negotiating the public and the private in urban space. With this as a starting point, the work approaches this technology as a critical tool through which to manage space and time, to construct and negotiate boundaries around the self and as site for fantasy, intimacy, memory and resistance. By colliding visual and auditive data together, Walkman renders visible an alternative geography of the city and its inhabitants.