Design Academy Eindhoven does not structure its courses along the lines of the classical disciplines such as graphic designer, interior designer or, for instance, fashion designer. Nevertheless you will find some recognizable categories in our educational programme. These are distinguishable by their different approaches to the subject. ‘Man’ requires different characteristics for each product or service in each different context. Think of a chair in a public space, in someone’s spare time, or at work. This is why the academy has a number of different design departments. The thing they all have in common is the fact that they focus on man. Man and...

Food Non Food

Designers design for people. Food is at the heart of what people need, and it is something that binds us all. It is energy in the broadest sense. Major problems such as far-reaching industrialisation, animal welfare, bee mortality and obesity have given the subject of food an increased urgency.

Interest in food is growing fast both within the academy and outside it. There is a need for creative minds that can address the various issues within the subject of food. There is great scope for innovation, for clarification, for exposing and questioning traditions and for a more poetic or artistic approach to food.

Laura van Os 'Victoria'(2012)


‘Cool head, warm heart’. Things, environments, and experiences that are designed to enhance life and enable us to thrive. Whether you are looking at for example, cutlery, water, dance or design for the health care system, wellbeing is the starting point for your design approach. You design with a view to integrating the way things look with human experience; you look at projects from a physical and emotional perspective, practical and poetic, individual and social.’One eye sees, the other feels’.

Asnate Bočkis ‘Floating Among Clouds, Trapp and Cloud’ (2012)


As an Identity student you will have a set of ‘’antennae’’ for the things that are brewing beneath the surface of our everyday lives. You have a natural curiosity for every new thing around you and you are able to sense which influences will affect tomorrow’s tastes and styles. You are able to predict the way people will want to live in the future and to combine them with the re­levant shapes and materials.

Ionie Chamilaki ‘Pronkpak’ (2012)


Whether the focus is on work, rest, or play, at Activity you will be looking for ways to improve those pro­ducts and services that have brought us to where we are today. You will study the changing needs in society in great detail and explore how new developments in technology may be used.

Remi van Oers ‘Easy-Car-Jack’ (2010)

Public Private

The increasing blur between public and private changes the way we should address these two domains. Especially in the crossover, on the borders and in the extremes of this new field, we find the challenges where our designers can make a difference.

Eveline Visser ‘Bird City’ (2010)


Industry has become a system of mass waste production. There are new solutions to be discovered: 3d-printing, connectivity and the fluidity of hardware and software allow us to rethink and rebuild the lost connection between human needs and technology. What really moves us? How can we challenge industry to create a circular system? What is your contribution as a designer? Our drive is to improve the world of industrial creation by enabling students to design new values for brands, products and services. Read more about the department Motion.

"We shape our tools and thereafter our tools shape us” (Marshall McLuhan)

Bastiaan de Nennie’s The Digital Virtuosity (2015)


How do we shape our most personal time and how do we make sense of it? Are there any better, cleaner, more beautiful, more fascina­ting, more meaningful ways to do this? Within the department of Leisure you will be observing the ways people spend their spare time with an open and inquisitive eye, and this will be the guiding principle in your designs.

Jan Pieter Kaptein, 'Self Unself laboratory'


The Communication programme is aimed at helping you develop a broad and comprehensive expertise in visual communication. Not just to learn how communication works and how to apply this, but also to develop a perso­nal, social and cultural identity.

Suyin Tjon A Hie ‘A Plastic Life’ (2011)