CCAA_brochure

Creative
Amsterdam
creating opportunities
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Colophon:
CCAA
Visiting address
De Ruyterkade 5
1013 AA Amsterdam
Postal address
Postbus 2825
1000 CW Amsterdam
The Netherlands
Tel: +31 (0)20-5241125
Fax: +31 (0)20-5241134
Email: info@ccaa.nl
www.creativeamsterdam.nl
Text: CCAA, Jeanine Mies, Liesbeth Krumeich
English version: Jane Szita
Design: www.davdigital.com, DAVstudio (BNO)
Editorial: CCAA
Amsterdam, March 2008 ©
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Contents
20 Creative Calling Cards from the Amsterdam Metropolitan Area
1 Walter Amerika Ambassador for the Creative Industries page 8
2 Marcel Wanders Worldwide Wanders page 9
3 Rijksmuseum Art: Anytime, Anywere page 10
4 UNStudio Art Historian with an Architectural Practice page 11
5 Dutch Public Broadcasting Crossovers and mashups page 12
6 WhyRobbieRocks Virtual Society for Fashion Addicts page 13
7 Pastoe fabriek Furnishing culture for society page 14
8 Scope Translating Dutch Design for Industry page 15
9 Kauwgomballenfabriek Creativity bubbles in former chewing gum factory page 16
10 Waagsociety Affective computing and serious games page 17
11 Bureau Pindakaas Tasty Advertising Talent from Amsterdam page 18
12 NDSM Docks Underground Culture in a Former Shipyard page 19
13 Red Light Fashion Amsterdam Fashion Hotspot of the Moment page 20
14 Dutch Game Garden Japanese go Dutch for games page 21
15 U-Design Making creative connections page 22
16 Brandboxx Alpha Locations for Alpha Brands page 23
17 Netwerk 023 Haarlem’s Network for Media, Advertising and the Internet page 24
18 Bureau Broedplaatsen A place to be professional page 25
19 Amersfoort Creative City An Initiative to Strengthen the Creative Economy page 26
20 Beelden voor de Toekomst Old Photos and Films Stay Viewable page 27

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Creative
Amsterdam
20 creative calling cards from the Amsterdam Metropolitan Area
In this brochure, you’ll find a collection of 20 creative calling cards from the Amsterdam Metropolitan Area. One by one, they tell inspiring tales of
how Dutch talent is conquering the world, how the region is stimulating creatives to new heights of innovation and entrepreneurship, and how
attractive these creative industries are becoming for foreign companies.
Amsterdam Metropolitan Area as an international creative hub
The creative industries are the trump card of the Amsterdam Metropolitan Area. This region belongs to the top five creative cities in the world,
along with giants like London, New York and Los Angeles. Almost one in every three Dutch jobs in the creative industries is to be found here.
Thanks to the scope, quality and diversity of the creative industries, the region is developing into an international creative hub.

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The creative industries comprise three sectors:
The arts: the performing arts, the visual arts, theatre, galleries, and museums
Media and entertainment: publishing, radio, TV, film, video, gaming
Creative business services: advertising, photography, design, fashion.
Creative talent has plenty of room for manoeuvre in a service economy like the Netherlands. Of the region’s total employment,
85% is in the service sector. Amsterdam Metropolitan Area is especially strong in business and financial services. More and
more banks and head offices of international companies are opening their doors in the region. This is not only because of easy
accessibility, thanks to nearby Amsterdam Airport Schiphol, but also because of the region’s innovative character and pleasant
living climate. For creative business service providers, including designers and advertising agencies, the presence of such large
companies means an enormous potential market.
Conversely, a thriving creative sector itself brings new entrepreneurship, innovations and employment. So international talent is
attacted and retained.
Creative Amsterdam: creating opportunities
Creative Amsterdam is a one-stop shop for the creative industries.
Creative Amsterdam offers national and international companies access to the creative potential of the region. Conversely, it
also helps the region's creative companies find the right facilities to stimulate their entrepreneurialism.
Further information?
www.creativeamsterdam.nl
The Netherlands, March 2008

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Walter Amerika has almost 20 years of consumer and corporate brand building experience for clients like Heineken, Grolsch,
Vodafone, PepsiCo, Douwe Egberts/SaraLee and Schiphol Airport. Over the last few years, he’s applied his skills to promoting
creativity itself, as a lecturer at the Design Academy Eindhoven, as creative industries adviser to the management centre De
Baak, as president of the creative board of Creative Amsterdam, and in countless other related functions.
So why does he devote himself so passionately to promoting the creative industries? “I think that after sustainability, creativity
is the next good thing,” says Walter. “It can contribute a lot towards making the world a bit better, more beautiful, and more
effective. We’ve come out of an industrial society and we’re moving into a knowledge-based economy, which hopefully will
continue to develop into a creative economy, one of intuitive thinking. Of course, you can use creativity to put things on the
agenda, as Al Gore did with his film, An Inconvenient Truth. In its most simple form, it concerns better architecture, better
homes, better lifestyles for people. In 2008, for the first time in the history of humanity, there are more people living in cities
than in rural areas. Think of Mexico City. Architects, designers, and communication experts can make a big contribution to
improve urban living.”
Walter cites the social climate, the creative diversity, and the enormous willingness of the government to stimulate the creative
industries as major boosters for Amsterdam’s creativity. For example, plenty of spaces are made available, sometimes in old
heritage buildings, for new companies to establish themselves cheaply and effectively. There is not only fashion in this region,
but also new media, design and architecture. That creative diversity is an important plus.
Walter was in advertising. So how does he see the industry 10 years from now? “The new office model, whatever that will be,
is going to emerge partly from this region,” he says. “In New York, there are a number of offices much more into the field of
cooperation with consumers and social networks. They steer much less from the client end and stand far closer to the
end-user, the consumer. Exactly here is where bureau 2008 started, which undoubtedly will be no traditional advertising
agency. Agencies and brands are looking much more to social networks, where consumers are uniting. That means not only
Hyves, but things like patient networks too. At Fiat, they have just let an enormous number of people test the new Fiat 500.
Lego had done that too. Ultimately, you try to get as many outside influences as possible for the product.”
Walter Amerika
Brand and Marketing Consultant
Most proud of:
Continuing to be occupied with creativity all
day and everyday. Creativity is not yet an
everyday thing, it isn’t always understood by
everyone.
Dream job:
Developing the Creative Industry Sofa,
which I’m working on now. In imitation of the
farmers who set up their own bank, the
Rabobank, we’re trying to set up a support
and financing club for the creative
industries.
Biggest opportunity for the creative
industries:
To ensure a really sustainable and
multicultural society. By ooking at things
more conceptually, by making links, and by
showing the good sides instead of the bad
sides.
www.walteramerika.blogs.com
Walter Amerika Ambassador for the Creative Industries

9www.marcelwanders.com | Photography: Inga Powilleit
Marcel Wanders’ international breakthrough came 12 years ago, with his Knotted Chair. He developed this piece, made entire-
ly from rope, together with the Technical University, Delft. Since then, the technically innovative but simultaneously warm, roman-
tic design has become a classic. Marcel mainly designs products and interiors, and nearly everyone has seen at least one of his
works, whether they realise it or not. His work is inventive and very broad: he designs everything from cars to coathangers, and
makes both one-off pieces and large series. In 2005, his Carbon Chair won a prize in the Elle Decoration International Design
Awards, and the year after the same awards crowned him Designer of the Year.
Marcel takes issue with the large role that technology and industry presently plays in design: “You don’t design for industry,
but for people,” he says. “You must be able to understand people’s dreams, not just design things so that the industry can
manufacture them in the easiest way possible.” As an example, he points to the sofa, an object with hardly any detail and
where the customer can only select colour and fabric – and then waits 12 weeks for it to be delivered. “This is the way the
system works. With Moooi Boutique, I’m working on a sofa that can be delivered immediately, with covers that are very
different from normal. I’m trying to change the industry with this,” says Marcel.
Amsterdam is the base for Marcel Wanders and his team of 32 employees, but the world is their working area. At least half of
the team comes from abroad, and the office works with global suppliers, from Italy to India and China. What’s more, 95% of
Marcel’s customers are outside the Netherlands. “We work on some of the world’s biggest projects,” he says. “Beautiful
projects for which we find the most talented people to work with. Amsterdam is a fine place to live and work. Maybe here and
there you’ll find a better place, but it has a strong attraction, and people who work here have a great time.”
As well as a pleasant lifestyle, Amsterdam offers good opportunities for Marcel Wanders to excel at his profession. Within the
context of Europe, it has an advantageous location. Furthermore, he points to the good transport infrastructure, which makes it
easy to visit international clients: Schiphol Airport is practically on the corner. Finally, business here works fast and well –
something the Dutch perhaps overlook, because it’s under their noses. “You can react rapidly where business is concerned,”
says Marcel. “If you work worldwide, you see how well organised many basic services are in the Netherlands. Try sending
something by post in some other countries.”
Marcel Wanders
Industrial designer
Most proud of:
Learning to walk. With scarcely a single
lesson, after two years you don’t fall over
anymore.
Dream job:
Develop nice plans for Amsterdam, for
example to create a super-hip going-out
island on Pampus, an island near
Amsterdam – you arrive at 8 o’clock at night
and leave at 8 the next morning
industries:
Contributing to the success of Amsterdam.
marcel Wanders Worldwide Wanders

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Rijksmuseum Art: Anytime, Anywhere
Jan Willem Sieburgh
Business Director,
Rijksmuseum Amsterdam
Most proud of:
The simplicity and the impact of the
Rijksmuseum’s widget.
Dream job:
To do something spectacular and compelling
for Amsterdam. For example, make a stretch
of the Prinsengracht canal available for boat
hotels designed by Dutch designers.
Biggest chance for the creative
industries:
Nowadays you can’t predict what will
succeed and what won’t. You couldn’t have
planned the Prinsengracht concert or
YouTube. The Amsterdam Region must give
things the chance to blossom.
Since 2005, people all over the world have been able to admire a masterpiece from the collection of Amsterdam’s
Rijksmuseum on their very own desktop. The Rijksmuseum was the first museum to offer a widget, a tiny computer program
that allows you to view a different work from the collection every day. The ‘reverse side’ of every work provides more
information about the work and the painter. It’s been a big hit, going on the enthusiastic reactions on the website: “Thank you
for opening your e-door to this little corner of our computers,” and, “It’s a very good idea, to punctuate each day of our life with
a new work of art.”
The widget is part of the Rijksmuseum’s plan to reach visitors in as many different ways as possible during the renovation
period up until 2013. Nevertheless, a large part of the collection remains on show and there are also special exhibitions as
usual. “During the renovations, we’ve decided to do a whole lot more,” explains business director Jan Willem Sieburgh.
“Thanks to new initiatives on the website, like the widget, web visits have grown explosively over the last few years. We’ve
opened a branch at Schiphol Airport, and we’ve launched a magazine, Oog (‘eye’). We want to make more surprising
encounters possible than just in the museum. With the web, the magazine and the Schiphol branch, we have an enormously
extended range and visibility. Moreover, we also present parts of the collection in nine satellite museums, in the Netherlands,
Belgium and Germany.”
Last year, despite the renovation, the Rijksmuseum reached almost normal visitor numbers. 960,000 visited the Philips Wing,
and 200,000 visited the Schiphol branch. In 2006, the special Rembrandt Caravaggio exhibition attracted 400,000 visitors. The
museum’s presence at such a transit hub as Schiphol is greatly appreciated. Travellers are frequently stressed and
overstimulated at the airport, and in that hectic context, the changing Rijksmuseum collection on the Holland Boulevard
between the E- and F- piers forms a kind of retreat. “People experience it as a kind of oasis,” says Jan Willem. “It’s like
chocolate for the eyes”, as one visitor wrote in the guestbook.”
When the modernisation is complete, the 1885 building will have all the necessary facilities to receive at least 1.5 million
visitors per year in comfort and safety. The inner courtyards, which were closed in due to space shortages, will return, again
giving the building its ‘lungs’ of light and air. With regard to the classification of different objects, textiles, paintings, porcelain,
clothing and weapons will all be shown in combination. The accessibility of the collection will be improved, thanks to modern
media such as audiotours and iPod options allowing visitors to compose their own tour.
www.rijksmuseum.nl | Photography: Arie de Leeuw

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UNStudio Art Historian with an Architectural Practice
Caroline Bos
Director UNStudio
Most proud of:
Our office of 80 passionate employees,
including 20
different nationalities.
Dream assignment:
To create a new airport model for the
future. UNStudio is a specialist in public
network projects and is very interested in
logistics, movement, and people flows.
industries:
To invent creative, sustainable solutions.
A grass roof is a way out, sustainability
should be integrated in the
architecture.
She doesn’t come from the design disciplines, and she studied art history rather than engineering. Yet Caroline Bos has been
director of the architectural firm UNStudio for the last 20 years. “UNStudio was set up as a multidisciplinary office,” says
Caroline. “It is a collaboration between my husband (architect Ben van Berkel) and myself. During our studies, we were already
working together, on articles for the Volkskrant (a Dutch newspaper) and architecture magazines. My specialisation was
architecture. Now, I’m absorbed in planning and city construction. As a non-designer in this profession, I have the role of
analyst and critic.”
She likes the fact that her work involves the present and future now, rather than just the past, as is the case with art history. “It
works beautifully when you do unexpected things with the creativity of designers, and supplement these with other contexts, to
try to keep the thought process going. Architecture interfaces with economics, human behaviour, human desires, how people
move on. You take that into consideration in the design.”
The most famous UNStudio work is the Mercedes-Benz Museum in Stuttgart. An iconic design in the Netherlands is the
Erasmus Bridge in Rotterdam. The office won the commission for it in 1996 – a stroke of incredible luck, because Van Berkel
was not yet 35, and architects don’t often get to build bridges, anyway. It coincided with the city development of Rotterdam, of
which the bridge had become a symbol.
UNStudio tries to ensure that projects themselves generate new activities. As the Erasmus Bridge appeals to the imagination
and appears different depending on where you are in the city, you view and experience it in other ways. It makes you aware of
your own situation in the space. People have incorporated the bridge in their use of the city and their social behaviour. Dutch
architecture has enjoyed an extremely high international standing over the last 15 years, thanks to an incentives policy.
Caroline believes the profession has performed enormously well. Architects are showing entrepreneurial spirit and they are eas-
ily crossing borders. Critics have also picked up on, and so stimulated, the developments. “Abroad, people find our different
way of thinking, and what we dare to do, intriguing,” says Caroline. “Although Dutch architects form a group, it’s a very rich one,
in that everyone has developed separately. There is a certain shared basis, and sufficient wealth to develop a lot of diversity.”
Caroline would like to see a large, umbrella-type initiative, like the Olympic Games, to really combine the strengths of the Dutch
creative industries. A big project like this would involve working together towards something, including a concrete vision for the
region on the basis of the project’s impact.
www.unstudio.com | Photography: Koos Breukel

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For quite a while already, public broadcasting hasn’t been limited to simply radio, TV and the Internet. Where else can you meet
the public? That is the question that Michel Mol, director of innovation and new media, asks himself on a daily basis. On public
transport, via mobile phones and via outdoor screens are just three of the many possibilities. For example, Michel is considering
a concept store for public broadcasting, like ZDF in Germany, which has three such stores in this country. Consumers can buy
ordinary CDs and DVDs there, but also get the feeling that they are at the broadcaster’s. The same thing happens at the Media
Park in Hilversum. The barriers disappear and the public get increased access, thanks to the arrival of the Institute for Images
and Sound (Instituut voor Beeld en Geluid), among other things.
Michel believes in the added value of crossovers between the media and other industries. “We’re in discussions with a project
developer to see if Hilversum can’t also be more present in Amsterdam,” says Michel. “For example, on the Stadionplein in
Amsterdam, which is developing into a media area. Public broadcasting can contribute to that in the form of a media café, or
with additional studios, or by showing previous programmes outdoors in pillars with touchscreens. The economy class of KLM
will shortly have screens with video on demand, so passengers can see the programmes they’ve missed when they’re on the
way home.”
Thanks to the penetration and quality of its Internet and mobile services, the Netherlands has a great climate for innovation.
And there is so much intellectual capital to use, which is interesting as an export product. Michel is currently looking to
cooperate with small, innovative start-ups. Among other things, he’s talking to Delta Solutions, a company that can transform a
living room into a studio with a couple of flight cases. Delta Solutions is an R&D-oriented listed company, which is currently wor-
king on exports.
So what innovations does Michel foresee in the future? “As a public broadcaster, we want to be there if the public starts taking
content itself using the new services,” he says. “We sit on top of the social networks. We’re currently doing a test with Hyves
where people can embed a past programme on their own web page. They get the programme, but they can also mark
fragments, put them in a new order, and add their own material. So then what you get is mashups: something new that has
been made with something old. We’re making the cultural heritage available to the people. And that’s appropriate, given our
mission as a public broadcaster.”
Michel Mol
Director Innovation and New Media,
Dutch Public Broadcasting
Most proud of:
Creating new public services with play-
ers from other industries.
Dream job:
To connect start-ups to larger organi-
sations such as a broadcaster, so they
have a bigger impact, and to see what
great combinations can come from
such a mix.
industries:
Thinking less in terms of the traditional
compartments of fashion architecture
and media.Decompartmentalising the
traditional industries and thinking
about what they have to offer. What is
the public going to want and expect
from new services?
Dutch Public BroadcastingCrossovers and Mashups
www.omroep.nl | www.deltasolutionsinternational.com

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Two years ago, Cindy Dekkers set up the interactive entertainment company RobbieNetworks, together with her two partners.
She wanted to use her creativity more fully, and discover whether there was a market in the Netherlands for her idea. Since
then, the virtual fashion world Whyrobbierocks.com numbers over 150,000 members, young people between 14 and 24 years
of age. Right now, they are still mainly from the Netherlands, but that will change rapidly if Cindy has anything to do with it.
So how does it work? At Whyrobbierocks.com, you can dress up a top-to-bottom personally styled figure, also called an
avatar. With so-called Robbie credits, you can buy clothes and accessories, with over 5,000 different items to choose from. If
you are happy with the way you look, you can save your alter ego and use it for all your online communication. It becomes a
personal PR platform. Change your clothes, or even design your own clothes, create your own shop, and then wait for the
votes and comments from others.
Avatars, fashion . . . it may sound like pure fun, but Cindy has a serious mission with WhyRobbieRocks: to develop the
creativity of young people with an enjoyable, sociable, non-violent concept. She is setting up a fashion design contest together
with MySpace, for example. With a design tool, users will make their own designs, which others can then vote on. The winners
will be helped to make their collections for real, taking them onto the catwalk to compete against each other for the top prize.
WhyRobbieRocks offers advertisers the chance to reach a young target group in a different way, namely with in-game
advertising. Brands can be built into the game in a way that is useful to members. So the Rabobank looks after the
virtual economy, for example. It also has its own chatbot, a Rabobank character who can chat with the target group. O'Neill put
its newest collection online, so members can choose to try items on. This gives O'Neill information about which items are most
popular. Cindy has learned from experience that avatars don’t actually act very differently online than they do in real life.
O'Neill subsequently pays on the basis of the number of impressions.
WhyRobbieRocks Virtual Society for Fashion Addicts
Cindy Dekkers
Co-Owner, RobbieNetworks
Most proud of:
My alter ego!
Dream job:
To become the international avatar
supplier for all the social communities
of MySpace, Google and Yahoo, for
example, so that everyone uses
Robbie for their online communication.
industries:
Organise export possibilities using the
Internet, with virtual workshops and
assistants, so that creatives can get
their concepts rapidly realised
internationally.
www.whyrobbierocks.com | www.robbienetworks.com

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Top-quality minimalism has been the design signature of furniture manufacturer Pastoe for the last 94 years. A specialist in
cupboards and shelving units, with a similarly elegant line in sofas, tables and other pieces, Pastoe bases its products on the
philosophy that furniture should be a long-lasting investment. Therefore, it must continue to look good long after it was made,
as well as being ethically sustainable. For its designs, Pastoe attracts international talent, including Japanese designer Shigeru
Uchida and Belgian designer Maarten van Severen. The result of the cooperation with the German artist Elisabeth Lux will
shortly be unveiled at the design fairs in Milan and Kortrijk.
Of Pastoe’s 60 employees, half work on production in the factory as craftsmen: cabinet-makers, fitters, painters and laquerers.
But production is only one of the activities taking place in the monumental factory building. Since 1982, a part has been
arranged as a showroom. Under the name, the Dutch Design Centre, it showcases national and international interiors brands,
including Arco, Gelderland and Montis from the Netherlands and Kvadrat from Denmark. The centre attracts around 40,000
visitors annually. In addition, the Dutch Design Centre hosts several events in the field of design, such as Utrecht Manifest, the
biennale for social design.
This recent development in the direction of less production, more showroom, is set to continue when Pastoe moves production
to a different location in the neighbourhood. The move will free up the factory’s entire 12,000m2 of space, which will then be
filled a new programme featuring creativity and interaction, with, for example, an art exhibition space, restaurant, theatre, and a
designers’ lab. The Pastoe factory dates from 1918 and boasts a multi-layered construction and an unusual roof which creates
particularly beautiful light effects. The location is on a waterway (in the past, this was essential for timber transport), allowing
for the creation of a waterfront terrace.
Pastoe’s Director, Remco van der Voort, says of the plan for the Pastoe factory: “In many places in the Netherlands, empty
factory buildings are being renovated and prepared to house creative entrepreneurs. People have already worked in the
Pastoe factory for years, and it has received a lot of publicity. That’s unique. The factory was always there, it’s still there, and
there it will stay. The Pastoe factory is becoming the factory of the 21st century: a transparent podium, where different groups
can share knowledge, skills, ideas and experience in a creative process that must eventually contribute to economic, cultural
and social renewal.”
www.pastoe.com | www.utrechtmanifest.nl
Remco van der Voort
Director, Pastoe
Most proud of?
Pastoe
Dream job?
To direct a Rem Koolhaas project, like
the TV tower in China. Or produce
furniture designed by British architect
John Pawson for the Novy Dvur
Monastery in the Czech Republic.
industries?
Developing not only technical, but
aesthetic sustainability, of form in the
function of beauty, both at home and on
the street. The more we create beautiful
objects and buildings, the less we need
to throw them away or demolish them.
Pastoe fabriek Furnishing culture for society

Pim Jonkman
Co-Owner Scope,
industrial design agency.
Most proud of:
The unusual position of Scope in the
design world, which speaks to people so
that they want to work here, even if they
move house to live further away.
Dream assignment:
Communication equipment, tools…. In
short, the products and product lines of
companies that really want to go
somewhere with their brand and product
portfolio.
industries:
To ensure that companies have Chief
Creative Officers as well as Chief
Executive Cfficers. We can possibly
help with that.
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The assignment: make a hospital bed that looks lovely to lie in. That’s a piece of cake for design office Scope. In the words of
co-owner and designer Pim Jonkman: “We connect our skills in designing beautiful things to the needs of the market. We use
design to achieve the maximum impact for the client. For example, to make products dynamic,
businesslike, or comprehensible.”
Cocoon is the name of the bed that Scope devised together with npk industrial design. Its pleasant appearance is partly the
result of the gentle, curved forms of the head and foot, unique in hospital beds. Moreover, the inside of the bed, the patient’s
side, is a different colour. And it goes without saying that the bed meets all further requirements for use: it has moving parts
and can be used in compact spaces.
Although this Scope creation resulted in two design awards, the IF Product Design Award in 2007, and the Red Dot Design
Award in 2008, the office expressly avoids creating designs purely for their aesthetic value and the appreciation of fellow
designers. Infact, Scope is more interested in the aesthetic preferences of consumers. Therefore, the office has undertaken a
quantitative consumer research project in association with the Technical University, Delft, which has resulted in a set of design
guidelines.
“We want to base our continued development in the interface of strategy and design,” says Pim. “For this reason, we asked
consumers what they think is beautiful, and what they think isn’t. From this we’ve ended up with so-called ‘common design
mechanics’, which reflect what broad groups of Dutch people find beautiful. Now we’re looking to see if the same goes for all of
Northwestern Europe. Through the research, we also know what works for specific target groups. If you use curved angles, for
example, you appeal more to older, highly educated people.”
Pim is extremely happy about the international reputation of individual designers like Marcel Wanders and Richard Hutten, and
the label, Droog Design. “They set the tone for innovation,” he says. “They do interesting, beautiful things which attract a lot of
attention for the Netherlands.” He cites their use of reclaimed materials as an example. “Their ideas inspire us to translate
‘high’ design to industry in a pragmatic and practical manner, and to objects that can be sold commercially,” says Pim.
www.scopedesignstrategy.com
Scope Translating Dutch Design for Industry

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Noted international choreographer Anouk van Dijk practises new ballets with her company in a former chewing gum factory.
She shares the old factory on the edge of Amsterdam with other cultural and creative entrepreneurs, including advertising
agencies, caterers, DJs, architects and theatre trainers.
Lingotto Real Estate, which has given new life to the building, consciously choose a mixed composition for the chewing gum
factory, rather than a monotonous occupation. They wanted to create an inspiring and dynamic shared business space that
would add a positive impulse to the image and the social quality of the area.
In the beginning, however, there were several practical obstacles to this successful combination of several different functions.
For example, if a furniture maker was using a saw, that caused a nuisance for others. This type of start-up problem was soon
overcome, since the tenants appreciate that they sit in a shared building, and therefore take each other’s needs into account.
In contrast to many other creative hotspots, the chewing gum factory was developed by a commercial company, and as such
it is living proof that business can make money out of the creative industries. Lingotto saw the potential of the strategically
located, 17,000 m2 building. They considered solutions to revitalise the property and make it more dynamic – a rather more
charming, but also more effective (and less expensive) response than to simply flatten everything and start from scratch
again.
The complex with its four buildings, each with its own separate identity, was instead redeveloped. In order to encourage
social cohesion, they found both smaller tenants (approx. 50m2) and large tenants (above 1000m2), giving the preference to
those who would be present at night and at weekends. They wanted to bring several people together in small and large,
economical and more expensive spaces. The location is now on the map, the studios, workshops and offices are full of
activity, and there is a waiting list. Lingotto is presently working on the last part of the project: restoring large, industrial loft
office spaces. Next comes the phase of reinforcing the mutual contacts between the different entrepreneurs. At the incubator,
there are enormously creative people who are interesting for commercial tenants, and vice versa. There is a new Internet site
with all the information on the tenants, so that they can find each other faster and more easily. Informal get-togethers,
presentations and meetings are organised in the foyer. What’s more, the tenants are also finding each other by meeting
casually in the corridors and hallways.
Kauwgomballenfabriek Art Factory
Creativity
Bubbles in
Former
Chewing Gum
Factory
www.kauwgomballenfabriek.nl | www.anoukvandijk.nl | www.lingotto.nl

www.waag.org 17
Sadly, a cuddle from mum or dad before going to sleep isn’t always possible when you’re a child staying in hospital long-term. And
your little sister or brother isn’t there to tickle you, like at home. So to ensure that young patients of 8 to 12 years old can stay in
touch with the family in more immediate ways than mail or phone, the Waag Society created Scottie.
With Scottie, the child in hospital and the family at home each get a small toy-like figure, which can light up in different colours and
vibrate. So parents and children can communicate in codes that they have agreed together. If the mother at home strokes the
Scottie, it changes colour and the child knows that mum is thinking of him or her. The patient can return the cuddle – a real result,
because children in a hospital cannot easily call or mail at any given time.
Scottie has been developed by the Waag Society, a foundation with a mission to provide “creative technology for social
innovation”. Some of their technical applications are interesting for the consumer market and can become developed into products.
Scottie is currently still at the prototype stage. An impact study will assess how well it works: for example, the colours have to be
clearly differentiated, and so on. The foundation has a commercial company, Waag Products, to bring any potential product
version to the market.
Games Atelier, a Waag Society application for education, is at a further stage in the process. With this new educational tool, pupils
can create, play, share and view their own locative mobile games with GPS equipped mobile phones and an Internet application.
Students can get lessons on the street, thanks to their mobiles. Using their telephones, they can do assignments in which they do
research (where was a certain building in former days?) and make their own photographs and films.
Games Atelier has been tested, and the results were positive and clear. The Waag Society’s starting point was that serious games
have an added value in education. This intuitive assumption appeared be correct: kids with a mobile on the street learned more
and better than kids in the classroom with the traditional curriculum.
The future according to the Waag Society? Internet 3.0, or the Internet of objects. With GPS technology and refined applications,
we will be online always and everywhere. The objects around us are a part of that, thanks to electronic tags. So in the city we
might get a message telling us we’re close to a museum, plus information on its current collection and other options.
Waag Society Medialab
Affective
Computing
and Serious
Games

18
Peggy Stein and Eric Hadderingh’s agency, Bureau Pindakaas (‘pindakaas’ means peanut butter), works on positioning the
Amsterdam brand, among other things. They also thought up this global warning for all the creative festivals in Amsterdam:
once you get touched by Amsterdam creativity, there is no way back.
The remarkable way in which the office itself has invested in Amsterdam is shown in its bringing the Miami Ad school to the
city. A possible Amsterdam office for this school of advertising, design, photography, interactivity and strategy/planning had
already been discussed for years. Peggy talked with the owner concerning the possibilities of Amsterdam as a European
creative hub, persuaded them and facilitated their arrival. The school is in the same building as Bureau Pindakaas. Miami Ad
School Amsterdam is a marketing tool for Amsterdam.
Peggy also had a personal interest in Miami Ad School: she invests in young talent. Regarding the importance of the school,
she says: “We are a private school, supported by the creative sector; the best teachers invest in it by teaching classes. Each
student is guaranteed work on finishing the course. The students come from everywhere: Miami, Madrid, Hamburg, New
Zeeland, San Francisco, including up-and-coming markets like India and Peru. They all think Amsterdam is wonderful, and
often they don’t want to leave. The students are potential talent for offices all over the world. That’s appropriate given the
growing trend for offices to employ international personnel.”
Back to their own approach at Bureau Pindakaas, which is no ordinary advertising agency. With a small group of employees
and a large network of freelancers, their goal is to approach working with clients in a completely different way. To be able to
mean something for a brand, Bureau Pindakaas aims to sit at the table with decision makers. They talk with them, try to make
them loosen up. As an office, you must go further and deeper than is normally the rule for offices. Think with the brand. That’s
a worldwide development: creativity is being drawn more and more into businesses and the government. But why? “We know
with our experience as part of the creative industries how you can organise flexible tools and profit from them,” says Peggy.
Bureau Pindakaas Advertising Agency
www.bureaupindakaas-advertisingagency.com | http://dijksbikesandthestolenwaterkoker.blogspot.com (Miami Ad School Amsterdam blog) | www.miamiadschool.com
Tasty
Advertising
Talent from
Amsterdam

19
NDSM Docks A Cultural Incubator
www.ndsm.nl | http://robodock.org | www.koningsdesign.nl
The coming of MTV Networks to the NDSM docklands of North Amsterdam is the ultimate affirmation of its success as a cultural
incubator. It often goes like this: first artists move into a rough, undeveloped, neglected area, then other cultural entrepreneurs
follow, and cafés and restaurants set up shop. The biggest concern now is the maintenance of the authentic character of the
former shipyard, which occupies an area bigger than 10 football fields combined. The huge neighbourhood contains facilities like
the Scheepsbouwloods, a hangar-like structure of 20,000 square metres, containing around 80 artists' studios, and two historic
ship slipways also housing workshops and artists' studios. It should not become too slick, or it would lose its identity.
The general public knows the location thanks to its festivals. In the summertime, they take the ferry for a ten-minute trip over the
water to enjoy the Over het IJ Festival, or the technoculture festival, Robodock. The location is eminently suited to such
large-scale, outdoor events. There are plans to use the slipway for summer concerts by the legendary rock venue, the Paradiso.
Eight years ago, the local council of North Amsterdam still had no idea regarding the future destiny of the industrial heritage site.
A group of artists, theatre people, skaters and architects came up with a plan to make the former dock and shipyard the largest
cultural incubator in the Netherlands. A foundation was set up, Kinetisch Noord (‘Kinetic North’), to realise affordable working
spaces and workshops in close cooperation with tenants, in the form of basic, unfinished spaces that the tenants can finish
themselves. The subsidised spaces are intended for artists and starting entrepreneurs in the creative sector. After a certain
amount of time, they must progress to other locations in Amsterdam or to the more expensive and luxurious spaces of
developers in the NDSM area itself.
Spread over the different halls and warehouses, the 250 local artists form a nucleus for underground culture. They are active in
the fields of visual arts, design, theatre, film, media and architecture. There is an inventor, Eibert Draisma, and craftsmen
including coppersmiths and metal workers, but there are also, for example, people like industrial designer Wouter Konings,
whose projects have included created retail shelving for Nike.
The NDSM docks will be further developed in the future as an international centre for the creative industries. With the local
council, NDSM residents and developers are making plans for the further growth of the area, to promote it more extensively and
place it even more firmly on the map as a podium for art, culture and media.
Underground
Culture in
a Former
Shipyard

20
Couture and the Red Light district: the combination was a magnet for the international press. From Germany to China and
Japan, articles appeared all over the world about this intriguing combination. Take a walk there nowadays, and you can admire
the latest fashion creations of top Dutch designers behind the windows, rather than the well-known girls of pleasure. Some
designers, meanwhile, have had offers from Hawaïi, Argentina and Moscow.
The Red Light Fashion Amsterdam project embroiders on Turning Talent into Business, in which 16 Dutch fashion designers
spent two years being mentored in professional entrepreneurship, getting business advice and taking part in workshops
together. When the City of Amsterdam decided to give a part of the window area to the creative industries, recruitment and
consultancy agency of the fashion industry HTNK selected a large part of the designers of the Turning Talent into Business
program, because of their talent, quality and proven track record.
Red Light Fashion Amsterdam gives an impression of the diversity and the strength of the Dutch fashion indentity. From the
multidisciplinary Bas Kosters to the glamorous Jan Taminau with his crowd of international customers: the offerings of Red Light
Fashion Amsterdam are extremely varied, and yet also completely Dutch. The work of Dutch designers is sometimes called
'Polderglamour': it's creative clothing, with a practical accent. By exhibiting together, the 16 talents combine their strengths and
inspire each other. Their creations are on sale in the recently opened CODE Gallery Store, at 121 Oudezijds Achterburgwal.
The initiative was reason enough for lighting expert Philips to get involved. They have provided their newest retail lighting, as a
result of which the creations on show look resplendent in the windows and workshops. Red Light Fashion Amsterdam therefore
offers possibilities for collaboration. There is also a plan to make a documentary following the designers' lives for a year.
Fashion is an important economic pillar for the Netherlands. It is home to the head offices of G-star, Mexx, Nike, Tommy Hilfiger,
Oilily and recently also Reebok. They can all work happily here, because of the creative maturity of the international fashion
professionals who love to live in Amsterdam, and because of the concentration in and around Amsterdam of subcontractors,
PR offices, model agencies and magazines.
A webshop is opening shortly, so that the international public that has been captivated by Red Light Fashion Amsterdam can
also buy the designs online. Which brings you back to where it all began; turning fashion talent into business.
Fashion
Hotspot of the
Moment
Participating Labels: Bas Kosters | Corné Gabriëls | Roswitha van Rijn | Conny Groenewegen | G+N - Edwin Oudshoorn | Jan Taminiau |
Daryl van Wouw | Sjaak Hullekes | Sebastic | Mada van Gaans | Ignoor | Jeroen van Tuyl | ...and beyond
Red Light Fashion Amsterdam
www.redlightfashionamsterdam.com

21
Although America and Japan are the biggest players in the games industry, the Netherlands has huge potential. Over the past
five years, the Dutch games industry has grown by 10% (source: PWC), and there seems no end in sight to the current phase of
expansion. The combination of Dutch liberal culture, out-of-the-box media design, good training and top-notch scientific research
is resulting in innovative entertainment and excellent casual and serious games. Add to this the fact that the Dutch government
pursues an active policy for encouraging the creative sector, and you have the recipe for the much talked about Dutch gaming
industry.
So Triumph studios has developed a best-seller for the Xbox 360 and PC, Overlord. And W!Games has produced a winner for
the Wii. Casual games developer Spill Group attracts over 60 million players to its web sites every month.
Dutch Game Garden is one government-supported initiative to accelerate the growth of the Dutch game industry both nationally
and internationally. It provides wide-ranging support for starting and established games developers. Ronimo Games, for instance,
is a promising start-up of former Utrecht School of the Arts and University of Utrecht students, whose game "The Blob" has been
bought by THQ, one of the largest publishers worldwide. The company is currently designing a second game with the support of
Dutch Game Garden.
The Dutch Game Garden also provides top-class facilities for existing and growing games companies in order to create true
gaming hotspots (Ronimo Games is located in a business centre with Why Robbie Rocks, also in this brochure, among others).
According to the Dutch Game Garden, the unique feature of the Dutch games sector is that the companies in the games industry
cooperate constructively and don’t consider each other as enemies. Their passion for games means that they prioritise making
better games for players above their own importance. There are also good relations with science departments and institutions.
This gives the Netherlands an advantage in the field of serious games, where integrated cooperation is essential to create games
with impact.
To promote the Dutch games industry in Japan, the Dutch Game Garden organises a GameJam in association with NLGD
Festival or Games. The best Dutch developers are chosen for a weekend collaborative pressure-cooker session to create a
mobile game for the Japanese market. The winning game is launched in Japan during the Tokyo Game Show. Although the
Japanese market is famously difficult to break into, the presence of the Dutch games industry at last year’s show has already led
to some valuable contacts.
Japanese go
Dutch for
games
www.dutchgamegarden.nl
www.triumphstudios.com
www.wgames.biz
www.spillgroup.com
www.ronimogames.com
www.nlgd.nl
www.gamejam.nl
Dutch Game Garden

22
For the last two years, product, games, graphic, fashion and interior designers from Utrecht (30km from Amsterdam) have all
been meeting up at U-Design. This network, organised by and for designers, holds meetings aimed at strengthening the design
sector. The idea is that the creatives, who are mostly one-person businesses, get to know each other and exchange knowledge.
These meetings can also lead to collaboration. For example, a designer can take on a large job that falls partly outside his or
her specialism, by joining forces with other designers from U-Design.
The enthusiasm that greeted the network, and the positive feedback from the meetings, shows that U-Design is fulfilling a need.
Product designer Pieter van Osch puts it like this: “U-Design isn’t just fun, it’s functional too. At the last meeting, I talked to a
producer of raw materials, and now we’re looking to see if we can work together on product development.”
Networking is one important aspect of U-Design; knowledge development is another. Designers discuss the latest professional
developments with each other and stimulate each other’s entrepreneurialism. So one evening had the topic of ‘making strategic
choices’ as its central theme. How do you profile yourself as a design office on the market? How do people find you? And what
are the pitfalls of a strong profile?
So just what is unusual about designers in this region? Utrecht is blessed with a large number of high-level educational
institutions. These are well connected with the relevant practices, for example in the form of training placements for their
students. Thanks to this, design offices can top up their knowledge base with new ideas from education. Moreover, thanks to
the excellent infrastructure and small size of the Netherlands, it is easy to make contacts and exchange expertise, even with the
top players in the field. The entrepreneurial climate for designers is favourable, because they get support in so many different
areas.
U-Design projects have included a special day for designers and regular business people to reflect on the appreciation of
design, and what the two can mean for each other. Designers, for instance, are able to introduce creativity into ordinary
companies, also into areas that are seemingly not design-related (such as strategic problems). And businesses can help
designers with their commercial skills and experience. One plus one makes three in Utrecht.
u-design Utrecht Design Network
Making
creative
connections
www.u-design.nl

23
Brandboxx
Motorists on the A6 heading in the direction of Almere can’t miss the striking UFO form of the fashion trade centre Brandboxx.
Real estate developer TCN gave architectural firm KOW the express commission of coming up with a landmark with a modern
appearance. Since 2002 the Dôme has housed around 60 exhibitors with a total of 150 brands that offer jeans, young fashion,
ladies’, children’s and men’s clothing and accessories. Since then, the Dôme has been joined by a second building of 35,000m2,
in the form of a cube. A third complex, in the shape of a triangle, follows in 2010.
Visitors to Brandboxx Almere quickly imagine themselves in another season. In spring, the suppliers show clothing for the
autumn, and vice versa. The large atrium where visitors are received gives an immediate feeling of fashion and colour. Retailers
stroll around like shoppers in a mall, and suppliers display their products in showrooms. The most successful suppliers are those
who, with their products and sales skills, can persuade retailers to include something in their collection. A big change with
respect to the retailers is that most now buy a large number of pieces several times a year, and have them delivered. In the
past, they came to fashion centres to replenish their stock, and took the pieces with them directly to their store (cash and carry).
Brandboxx Almere is one of an international network of trade centres all over Europe with a focus on fashion and sport. There
are there now eight, including centres in Prague, Hannover and Salzburg. There will eventually be 15. Because most brands
target international customers and increasingly think internationally, they all have a European development director, whereas in
former days each country had to its own director to approach the market independently. And brands therefore look to those
international trade centres with the appropriate image for their alpha brands.
Arnoud van Raak is director business-to-business Europe of TCN, the developer of the Brandboxx trademarks. His job means
he is abroad for three to five days of the week. In his experience, the Netherlands is perceived as highly distinctive in the Far
East. “There are Dutch architects behind buildings in Shanghai and Hong Kong,” he says. “They are global performances. I think
we are sometimes too modest.” So why does he think other countries choose to work with the Dutch? “We speak other
languages,” he says. “As a small country, we have got used to quickly understanding others. We are open to listening to the
client and finding solutions to their needs. That quality is particularly important in the Far East.”
www.modecentrumalmere.nl
Alpha
Locations
for Alpha
Brands

24
Urbanology is an interactive agency in Haarlem with international customers such as Tommy Hilfiger, Hummer and Boots.
Event manager Lesley Brehm notes that these accounts find it “a bit sexy” to work with a Dutch office: “Dutch creatives are
hip and trendy and are highly regarded,” she says. “Amsterdam is the place to be. Other countries happily do business with
the Netherlands. And most Dutch offices for their part are happy to work with big foreign names. Urbanology happens to be
based in Haarlem, but that’s only 20 minutes from Amsterdam, and foreign customers experience it as Amsterdam.”
Urbanology is one of the four parties behind Netwerk023 (023 is the dialling code of Haarlem), a network for companies in
publicity, media and the Internet in Haarlem. Lesley organise the bi-monthly meetings and is the moderator of the online
community. She explains how the network came to be set up: “The other parties are Wazooky, a search engine marketing
agency, the communications office Blutarsky, and GNR8, a training company for students in the creative sector of the
Hogeschool in the Netherlands and the Media College. All four of us had ideas about making a network so that Haarlemmers
could find each other, and not have to look outside the city. In this way, we can hopefully keep young talent in
Haarlem - hence the participation of GNR8.”
As a member of Netwerk023, you can use meetings to network, exchange knowledge and just have fun. In the last meeting,
members did some brainstorming about how to put creative Haarlem under the spotlight. The resulting ideas will be proposed
to the City Council for possible subsidies. Netwerk023 is a private-sector initiative, paid for by the initiators themselves.
Members can use the site to post or request job offers and projects. Everyone is connected to everyone else.
Netwerk023
www.netwerk023.nl | www.urbanology.nl
Network for
Media,
Advertising and
the Internet

25
Every year, around 200 students graduate from Amsterdam’s art schools, including the Rietveld Academy, the Sandberg
Institute, and the Amsterdam School of the Arts. It is important for Amsterdam to hold onto this creativity for the city. The
young creatives include theatre professionals, designers, painters, set builders, and others.
Thanks to Bureau Broedplaatsen (a “broedplaats” is a hatchery or breeding ground), young hopefuls can find affordable wor-
king spaces and studios. The office provides the workshops space along with advice on organisation, management, finances
and buildings. In this way, it gives future cultural entrepreneurs the chance to build up a professional practise without having to
be overly concerned about paying the rent for the first couple of years. Many young artists have the professional ambition of
achieving commercial success and significance in the creative industries, an area in which progress is generally in fits and
starts.
Anyone who sees the work of Folkert de Jong can immediately tell that he wouldn’t necessarily fit into just any business com-
plex. This former student of the Rijksakademie van Beeldende Kunst and winner of the Prix de Rome sculpture award in 2003,
makes huge, figurative sculptural installations in which offenders, assassins, religious fanatics, political extremists and spiritual
mediums play the leading roles. From a subsidised space in a Bureau Broedplaats building, he has been able to develop into a
successful artist, with exhibitions of his work held all over the world.
He started in a workshop in the port area. This desolate neighbourhood inspired him initially to create multimedia performances
concerning death, deprivation and war. Now, from a studio in the leafy neighbourhood of Bos en Lommer, he creates monu-
mental sculptures from materials like polystyrene, foam, and other materials developed especially for highly impact special
effects in the film and television industries.
The studio spaces of Bureau Broedplaatsen range from sheds and old school buildings, to spaces under bridges. Hangars and
school buildings are perfect for painters and sculptors, who need light for their work. Darker spaces, like those under bridges,
make great rehearsal rooms for musicians.
Because working space in the city is becoming increasingly scarce, while there are plenty of bridges offering much potential
space beneath them, Bureau Broedplaatsen is researching to see whether it can profitably exploit such spaces. This seems to
be the case, and Bureau Broedplaatsen is keen to lead the way. The office is also working with neighbouring municipalities in
order to be able to continue to provide large working spaces, which are sometimes difficult to find in Amsterdam itself.
www.bureaubroedplaatsen.amsterdam.nl | www.folkertdejong.com
A place to be
professional
Bureau Broedplaatsen Spaces for creatives

26
The art academy has been dissolved, but plenty of artists remain. Together with craftsmen, cultural entrepreneurs and
consultancies like Twijnstra Gudde, they form the active creative scene of Amersfoort (50 km from Amsterdam). Numerous
initiatives are in preparation for the coming years that will bring these design and consultancy strength more into focus, and
more attractive for companies in Amersfoort.
Amersfoort Creative City (Amersfoort Creatieve Stad) is the engine behind this development. This network organisation
encourages stimulating and connective activities for and by the creative sector, in order to profile Amersfoort as a creative
city. So, the city council has released the deserted former industrial area of the Oliemolenkwartier for creative use for a period
of 15 years. Thirty creative entrepreneurs from the network have made plans for new temporary buidlings in the area,
including Discover!, a place where creatives can work and events will take place, and an unusual shared business space
called Mediafusion.
In this facility, education and media will meet to improve the connections between training and work. It will be an incubator, in
which starting entrepreneurs can establish themselves under the guidance of existing companies.
But the Oliemolenkwartier won’t only be a work and meeting place for creative entrepreneurs: the area will also have a clearly
defined, broad public function. The buildings will offer space for exhibitions and events that have achieved success abroad or
in the Netherlands, and which will surprise, amuse and inform visitors. The Oliemolenkwartier will form the heart of the
creative economy in Amersfoort, and in this way attract the attention of potential clients.
Currently, creative entrepreneurs still meet each other at the networking meetings of Amersfoort Creative City, where new
collaborations are often initiated. One of these recently involved ImproVive, a strategic consultancy, and DBRM, an advertis-
ing company. Together they are working on a new product: DBRM is bringing the branding skills, ImproVive the strategic
ones. Here are just a few of the enthusiastic comments following the meeting: “It was a creative and interactive meeting
again. Very inspired by the talks and new insights. Well done!” and:“I found it a very interesting meeting with a large group of
enthusiastic creatives from Amersfoort. See you at the next one!”
amersfoort creative city A New Creative Heart for Amersfoort
www.amersfoortcreatievestad.nl
An Initiative
to Strengthen
the Creative
Economy

27
Beelden voor de Toekomst Digitising Audio-Visual Heritage
A small part of the last century's movies, documentaries, and radio and TV programmes stored in the Netherlands is unusable
within five years.
The majority faces deterioration in 30 years - including the Dutch entries for the Eurovision Song Contest, and other more impor-
tant historical material. The project Beelden voor de Toekomst ('Pictures for the Future') secures the audio-visual heritage of the
20th century for the future. Over the next seven years, 137,200 hours of video, 22,510 hours of film, 123,900 hours of audio,
and 2.9 million photos will be restored, conserved, digitised, and made accessible by means of various services.
The digitised material will be made accessible for education, the creative industries, and a general audience. The focus in the
coming years is directed towards developing services for educational purposes and stimulating users to become involved.
Six parties are working together on Beelden voor de Toekomst: the Netherlands Institute for Sound and Vision, the Netherlands
Filmmuseum Foundation, the National Archive, Centrale Discotheek Rotterdam, the Association of Public Libraries, and
Knowledgeland. It is a huge project, with a budget of ?179 million for the seven years.
With Beelden voor de Toekomst, the Netherlands is putting itself on the international map: the project is one of the largest in
Europe concerning digitisation of audio-visual heritage.
The knowledge acquired will greatly contribute to the Dutch knowledge-based economy. Restoring and digitising such large
quantities of material is highly specialised work, which is being undertaken by a number of Dutch companies. Industry thus
benefits from the new accessibility of the audio-visual heritage material.
Thanks to digitisation, advertising agencies and film producers can access material quickly and reuse it for new services. A part
of the project is also considering innovative ways of offering the material in the most useful fashion for teachers and
students, so that schoolchildren can use it for online presentations, for example, and teachers can together set up a bank of
lesson plans.
Media companies and technical partners are working together to develop the necessary online tools. With Beelden voor de
Toekomst, the participating archives are making a great step towards the online heritage of the future.
Old Photos
and Films
Stay Viewable
www.beeldenvoordetoekomst.nl

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