To start with a broad question: how is Sectie-C doing currently?
Jur: Sectie-C is thriving! Within the ecosystem, exciting collaborations are emerging. Young and established creators are connecting, leading to new opportunities. We've noticed increased utilization of Sectie-C's design prowess by regional companies, resulting in collaborations that make the city more innovative, beautiful, and sustainable. With our cultural program, events and exhibitions are attracting new people, integrating Sectie-C even more into the neighborhood and the city.
Mats: Simultaneously, it's a challenging time. Sectie-C was sold in 2019, and real estate developer Focus Real Estate has plans to redevelop it. However, the details of this development and its impact on our creative space remain uncertain. There's concern that the area might transform into predominantly residential spaces with limited room for creativity, restricting maker spaces to minimize disturbance for residents.
Over Make Eindhoven
Make Eindhoven is een lab voor creatieve makers die willen werken met glas (slumpen, casten en fusen), metaalgieten (brons en aluminium), digitale ontwerpmethoden (CadCam) en/of grafische druktechnieken. De drempel én de kosten zijn relatief laag. Je kunt er zelfstandig aan de slag, en er zijn instructeurs aanwezig. Aanmelden voor een werkplek bij Make Eindhoven gaat via een formulier op de website.
Projecten bij Make Eindhoven draaien altijd om experiment; voor productie van een serie objecten zijn er andere werkplaatsen. Je kunt er terecht voor kortetermijnprojecten en voor langerlopend onderzoek. Twee keer drie maanden per jaar werkt een kunstenaar of ontwerper bij Make Eindhoven als resident, vanuit het Mondriaanfonds. Make Eindhoven is gevestigd op het NRE-terrein, in de voormalige gasfabriek.
‘‘If our city doesn't invest in design and creative prowess, we risk losing part of our identity.’’
Does this scenario only affect Sectie-C's entrepreneurs, or does it have broader implications for the city?
Jur: Eindhoven positions itself as a city of TDK – Technology, Design, and Knowledge. The "Design" element is crucial for the city's future, but it's not guaranteed. Many designers are leaving for the Randstad or other cities where affordable workspace and projects are more accessible. This applies to both established names and emerging talent. Sectie-C houses nearly 300 entrepreneurs, and finding an alternative space for them is challenging. If the city doesn't invest in design and creative prowess, we risk losing a part of our identity.
Mats: While there's growing recognition for the value of designers, makers, and creative hubs in the city, the position of creative makers remains uncertain. Decisions by the municipality and developers sometimes prioritize other interests over ours. For instance, the idea of placing makers on the ground floor of new buildings citywide sounds good in theory, but in practice, it falls short as a viable solution.
‘‘Breeding grounds where young talent can flourish are so valuable for a city that holds design in high regard.’’
Integrating designers and makers into the city center's new buildings seems logical. What are the drawbacks of this idea, in your opinion?
Mats: Providing more space for creative makers is beneficial, but the power of physically being close to each other shouldn't be underestimated. Collaboration and quick access to various talents within Sectie-C facilitate unique outcomes. The High Tech Campus, for example, clusters companies for effective collaboration. It's counterintuitive to disperse the creative sector across the city. This undermines the magic of places like Sectie-C.
Jur: Additionally, separating makers diminishes cross-pollination. On Sectie-C, you find both new and established makers. When established designers get projects, they often involve young talent, fostering learning, connections, and simply helping them to pay their rent. Creative hubs are invaluable for a city that values design. You can’t achieve the same with a workshop on the ground floor of a new apartment building. Furthermore, a workspace in a ground-floor setting is suitable for only a few makers.
Which types of makers are suitable for ground-floor spaces, and which are not?
Jur: A graphic designer or photographer can easily occupy an office on the ground floor – a desk, laptop, and a bike hook on the wall. Done. However, someone crafting interiors has no place there. Heavy machinery noise would disturb the residents living above. Many makers also require substantial space. Visit Hal G, Oost-C, or Nacho Carbonell's studio on Sectie-C, and you'll realize these spaces can't fit into a ground-floor setting. Not to mention transportation – Sectie-C often receives large deliveries that can't be accommodated in a traffic-calmed city center.
Mats: Moreover, a ground floor often serves as a showcase location with cafes and trendy shops. It's like being in an aquarium. Most makers don't want to be observed all day. In their studios, they can experiment, make a mess, and express themselves freely. Constant scrutiny is undesirable. People passing by gain little from seeing a graphic designer in the ground floor – it doesn't enhance the connection between the creative sector and the city. People appreciate creativity when something happens – something quirky, unexpected. Sectie-C provides that. There's always something to see and discover.
When houses are eventually built on Sectie-C, there might be tension between the entrepreneurs and residents. How do you see that?
Jur: Having residences on Sectie-C is fantastic, but we fear that the creative space might be an afterthought, rather than the other way around. Flattening the terrain, building houses, and only later considering workshop spaces could strain the relationship between residents and entrepreneurs.Mats: Ideally, we'd prefer workshops to be built first, followed by houses. Then, it becomes living amidst creativity, a genuinely innovative approach. If residential buildings come first, residents often have more rights than makers. Finding a balance is essential, making it a pleasant place for everyone. However, people who move to a creative breeding ground will likely have a different perspective on creative activities than those who suddenly have a workshop open next to their home.
