0%

While you're waiting, you could:
Lucandrea Baraldi is an Narrative Designer.
His work investigates the experiential qualities
of objects, spaces and systems.
the wildsound hunter
The WildSound Hunter
the peace engine
The Peace Engine
augmented urban tour
Augmented Urban Tour
narrative exoskeleton
Narrative Exoskeleton
unfolding exp. landscapes #1
Unfolding Experiential Landscapes #1
breadbrumbs
Breadcrumbs
maaanvis
Bricoleur
Born in Italy (1991), he is currently based in Eindhoven, The Netherlands—where he runs his studio and works as narrative curator for We Are.


He would love for you to write him a line.
Lucandrea Baraldi
The Politics of Representation
EDUCATION
2012/2016 Design Academy Eindhoven (NL), BA Man and Leisure—Cum Laude;
2011/2012 London Metropolitan University (UK), BA Product and Furniture Design—n/a;
2005/2010 A. Venturi Art Institute (IT), Visual Communication—Cum Laude.

work experiences...
EXPERIENCES
2019—
Designer for ‘Toren van Babel’ project by Cultuur Eindhoven;
Experience designer for Hiil Justice Innovation Forum, Den Haag (NL);
2018—
Co-curator of the exhibition ‘We Are Human Rights’;
Composer for ‘Education Dance’ + ‘Justice Dance’ by Dorota Gazy;
Research Artist in Residence with ‘Atlas of Experiential Landscapes’ at SEA Foundation, Tilburg (NL);
Collaboration with Justice&Peace and Human Right Defender Madeeha on ‘Cultural Bonds’, Tilburg (NL);
Appointed Narrative Curator @ Stichting We Are, Eindhoven (NL);
2017—
Co-Founder of Stichting We Are;
Freelancer Composer @ Dorten Studios, Berlin (DE);
Designer for Sound Scouts, Eindhoven (NL);
Experience Designer for Kinder Muziek Tuin, Muziek Op de Dommel, Eindhoven (NL);
Collaboration with Studio SF for ‘Narrative Exoskeleton’, Carpi (IT);
Founder of Studio Lucandrea Baraldi;
Speaker for The Hague Talks about the project ‘The Peace Engine’, Den Haag (NL);
2016—
Workshop ‘To Acoustic Peace’ (based on ‘The Peace Engine’), International School of Geneva (CH);
Extra Fantômes, La Gaîté Lyrique (FR)—Assistant exhibition and experience designer @ Daily Tous Les Jours;
2015—
Internship @ Daily Tous Les Jour, Montreal (CAN)—Interaction + Experience Design;
Co-Art Director of Veenhuizen Design Factory, Eindhoven (NL).

exhibitons & publications...
Extra Fantômes @ La Gaîté Lyrique, Paris
Lucandrea Baraldi
Lucandrea Baraldi
Toren Van Babel @ Cultuur Eindhoven
Toren Van Babel
We Are applies designs for societal impact
We Are
EXHIBITIONS & PUBLICATIONS
2019—
Online Publication of ‘In and Out of Place’ community podcast;
Innovating Justice Forum, Den Haag (NL)—Justice Experience Room;
2018—
DDW18, Eindhoven(NL)—Out of the Ordinary + The Politics of Representation;
‘We Are Human Rights’, Exhibition—Co-curator;
‘We Are Human Right: the research’, publication;
‘Papayas, Pineapples and the Apocalypse’, publication;
Interview for Trouw de Verdieping (NL);
2017—
DDW17, Eindhoven (NL)—Sound Scouts + Narrative Exoskeleton + Maaanvis;
Online publication of ‘Maaanvis’ at maaanvis.com;
Who’s afraid of provocation? Sexyland, Amsterdam (NL)—The Peace Engine;
2016—
Interview for NRC (NL);
‘In Need Of’, Design Academy Catalogue;
DDW16, Eindhoven (NL)—The Wildsound Hunter + The Peace Engine;
Visualizing Peace & Justice, Museon, Den Haag (NL)—The Peace Engine;
2015—
Embedded, Veenhuizen (NL)—Breadcrumbs;
Embedded, Eindhoven (NL)—Breadcrumbs;
Veenhuizen Design Factory, Eindhoven(NL)—Co-Art Director w/ Maxime Benvenuto.


Lucandrea designs experiences for the exploration and cultivation of secondary qualities.
Peace Engine @ Museon, The Hague
Lucandrea Baraldi
Sound Scouts @ Musiek op de Dommel, Eindhvoen
Lucandrea Baraldi
Lucandrea Baraldi
We Are Human Rights @ DDW18, Eindhbvoen
We Are Human Rights
WAHR: the Research
We Are Human Rights
Studio
Lucandrea Baraldi
~
Kruisstraat 146A
5612CM, Eindhoven
+31 (0) 643183324
~
info@
lucandreabaraldi
.com
Objects, spaces and systems are not only functional artifacts, but also complex collections of emotional, cultural, cognitive and social variables.


These subjective and elusive qualities are the focus of Lucandrea's work.
life charm
Life Charm
These experiential qualities are of paramount importance for healthy environments, whether domestic or public.
Ignoring them in favour of pure practicalities means ignoring other fundamental human needs.



Public Piazza 101
Stone bricks provide good friction to safely reach the other side of the square.
0.5m2 of green area per bystander offer oxygen.



Stopping at these practical qualities is short-sighted, for humans have other equally fundamental necessities.
augmented urban tour
Augmented Urban Tour
In his work, Lucandrea aims to cultivate artifacts that are concerned with a wider spectrum of human needs—namely critical thinking, expression of emotions, sensory stimuli, social exchange and imagination.


narrative exoskeleton
Narrative Exoskeleton
(in)Justice
(in)Justice
All of Lucandrea’s work is rooted in the desire to include emotional, social,
cultural or imaginative nuances
to our living spaces.


It can take the form of
narrative environments (such as installations or exhibitions),
embodied experiences (such as workshops or play-forms)
or ritualistic-like objects .
atlas of experiential landscapes
Atlas of Experiential Landscapes
The WildSound Hunter, 2016
The Peace Engine: an Acoustic Symbol, 2016
The Politics of Representation, 2018
We Are Human Rights, 2018
Narrative Exoskeleton, 2017
Atlas of Experiential Landscapes, 2018—ongoing
Life Charm, 2015
Breadcrumbs, 2015
Augmented Urban Tour, 2017
Maaanvis, 2017
Out of the Ordinary, 2018
(in)Justice, 2019
Unfolding Experiential Landscapes #1, 2019
We Are Societal Impact, 2019
Reconstructing the Classroom, 2019
Preview
The Peace Engine: an Acoustic Symbol, 2016
We Are Human Rights, 2018
Maaanvis, 2017
Out of the Ordinary, 2018
Augmented Urban Tour, 2017
(in)Justice, 2019
Unfolding Experiential Landscapes #1, 2019
We Are Societal Impact, 2019
Preview
The WildSound Hunter, 2016
The Politics of Representation, 2018
Augmented Urban Tour, 2017
Atlas of Experiential Landscapes, 2018—ongoing
Breadcrumbs, 2015
Unfolding Experiential Landscapes #1, 2019
Reconstructing the Classroom, 2019
Preview
Narrative Exoskeleton, 2017
Life Charm, 2015
The WildSound Hunter, 2016
Breadcrumbs, 2015
Atlas of Experiential Landscapes, 2018—ongoing
Unfolding Experiential Landscapes #1, 2019
Reconstructing the Classroom, 2019
Preview
This chapter of the site is currently under development.
Check back soon!
sounds captured in the neighborhood of Cassandraplein (Eindhoven, 2016).
‘The WildSound Hunter’ is a collection of tools, objects and wearables which enable to hunt for and capture sounds and display them as precious findings.
The experience gives a stage to the rich sonic world that surrounds us daily—offering a chance to enjoy its beauty and evaluate its dangers.
The collection is composed of bind goggles, sound weapons and traps, and sound trophies—among others.

The WildSound Hunter, 2016
various sizes; wood, fur, cotton, glass, electronics
~
graduation project
exhibited at DDW16
the wildsound hunter in action
The WildSound Hunter
parabolic microphone
The WildSound Hunter
blind goggles highten awareness
The WildSound Hunter
sound are stored in red sound capsules
The WildSound Hunter
sound trophy
The WildSound Hunter
development
The WildSound Hunter
extractors and capturing box
The WildSound Hunter
contact microphone
The WildSound Hunter
blind goggles
The WildSound Hunter
‘The Peace Engine: an Acoustic Symbol’ is an installation that invites people to evaluate the concept of peace by challenging the symbols that currently represent it.
Visitors’ interpretations of peace are recorded, analysed and archived. With every new input, the Peace Algorithm weighs the necessities of the acoustic community and resolves conflicts, outputting an ever-evolving acoustic symbol.

The Peace Engine: an Acoustic Symbol, 2016
2x1x2 m; wood, felt, electronics
~
graduation project
developed with Justice&Peace Netherlands
the peace engine
The Peace Engine
Museon, The Hague
The Peace Engine
peace engine diagram
The Peace Engine
diagram
The Peace Engine
inputs are recorded through a microphone
The Peace Engine
peace algorithm in action
The Peace Engine
peace algorithm in action
The Peace Engine
‘The Politics of Representation’ is a research projects that exposes the ways in which representational techniques (such as museum display structures or descriptions) influence ethnographic narratives.
It is part of a larger project ‘Cultural Bonds’ on ethno-cultural tensions between communities in Sudan which is being developed in collaboration with Sudanese human right defender Madeeha [last name omitted].

The Politics of Representation, 2018
visual manual, research models
~
in collaboration with Foundation We Are
and Justice&Peace Netherlands
exhibited during DDW18
exhibition analysis tools
The Politics of Representation
page from the visual manual
The Politics of Representation
exhibition models
The Politics of Representation
workshop @ MU
The Politics of Representation
exhibition @ DDW18
The Politics of Representation
page from the visual manual
The Politics of Representation
modular structures
The Politics of Representation
‘We Are Human Rights’ is an exhibition by Foundation We Are for DDW18, which shows the journey of 7 designers who collaborated with 7 human rights defenders.
I co-curated the exhibition, as well as designed and produced an audio tour combining the testimonies of the designers, archive recordings and original music to bring the research projects in an intimate conversation with their audience.

We Are Human Rights, 2018
exhibition, audio tour, publication
~
for Foundation We Foundation We Are
Exhibited at DDW18
fishing for futures by Hannah van Luttervelt
We Are Human Rights
introduction
We Are Human Rights
refracting propaganda by Maxime Benevenuto
We Are Human Rights
visual language of the exhibition
We Are Human Rights
visitors receiving the audio tour
We Are Human Rights
publication of the research
We Are Human Rights
publication
We Are Human Rights
'Narrative Exoskeleton' is a research project that aims to re-stage the relevance of emotional and narrative value of clothing.
How can we invert the depreciation process of the Fast Fashion formula?
Starting as a blank page, the garments slowly evolve with the owner, who can pin down meaningful events through embroideries and a unique language able to capture memories in an atmospheric way through a system of symbols.

Narrative Exoskeleton, 2017
garments, cotton; map
~
in collaboration with Studio SF
Exhibited at DDW17
embroidery on canvas
Narrative Exoskeleton
nineth layer of privary
Narrative Exoskeleton
second layer of privacy
Narrative Exoskeleton
system of the Mnemonic Language
Narrative Exoskeleton
development with Studio SF
Narrative Exoskeleton
first layer layer of privacy
Narrative Exoskeleton
fifth layer
Narrative Exoskeleton
private memories are stored secretly
Narrative Exoskeleton
fifth layer
Narrative Exoskeleton
‘Atlas of Experiential Landscapes’ is an ongoing research project which aims to develop methodologies and practical tools to discover, analyse or cultivate the ‘secondary qualities’ of artifacts.
The collection is in continuous expansion and currently includes semiotic mapping methods, a deck of cards for narrative analysis and a set ‘navigation instruments’.
The project started during a research residency at SEA Foundation in Tilburg.

Atlas of Experiential Landscapes, 2017—ongoing
maps, analitical instruments, texts
~
in collaboration with SEA Foundation
further developed and exhibition commissioned
by ONE-project, London
semiotic analysis of a nail
Atlas of Experiential Landscapes
secondary mapping of a nail
Atlas of Experiential Landscapes
collection
Atlas of Experiential Landscapes
experiential landscape
Atlas of Experiential Landscapes
secondary elements
Atlas of Experiential Landscapes
collection of elements
Atlas of Experiential Landscapes
secondary navigational instruments
We Are Human Rights
Life Charm is a jewellery-device meant to be integrated in suicide-attempters therapy. It holds vocal messages from the patient’s loved ones, as a physical representation of their care.
Since suicidal instincts are generally sudden and irrational, attempters might be stopped by early rational or emotional distractions.
If the simple presence of the device isn’t enough, by pressing a button the Life Charm would play back the vocal recordings: a comforting shock.

Life Charm, 2015
2,5 x 2,5cm; brass, rubber, electronics
~
Exhibited at DDW17
using the emotional qualities of the human voice
Life Charm
a physical representation of loved ones
Life Charm
'Breadcrumbs' is an analog way-finding set. The system is based on the placement of wooden pins in the landscape and a the brass compass lets you abstractedly record your journey without resorting to maps or digital devices.
Breadcrumbs aims to evoke a sense of adventure and wonder to stimulate the free exploration of rural areas and discover their hidden treasures.

Breadcrumbs, 2015
25 x 7 cm; wood, leather, brass, glass
~
Developed in collaboration with Collectie Veenhuizen
Breadcrumbs
Breadcrumbs
tracking dial in the compass
Breadcrumbs
‘Augmented Urban Tour’ is an unusual tour of Berlijnplein (Utrecht) and its surroundings that turns the area into a 40.000m2 multisensory and imaginative stage.
Based on fictional and factual narratives, sensorial and social engagement, the tour reveals the “secondary qualities” of the square and shines a light on how these layers infuence a place’s own identity.

Augmented City Tour, 2018
public space installation, maps, audio-tour
~
candidate project for the Makers program at RAUM Utrecht
poetic exploration of the neighbourhood
Augmented City Tour
fluid urban structures
Augmented City Tour
secondary—space map
Augmented City Tour
diagram of secondary layers
Augmented City Tour
tour kit
Augmented City Tour
'Maaanvis' is a world-building project which entails the development of a specific illustration and writing style to create a compelling ecosystem.
St. Violville is a fictional digital town, Maaanvis is the mysterious “correspondent” who produces illustrations as well as poems describing his fellow citizens.
The project was (anonymously) exhibited during the DDW17 and hosted on the website maaanvis.com.

Maaanvis, 2017
digital platform (http://maaanvis.com/)
~
Autonomous work
Exhibited at DDW17
ToToby
Maaanvis
the cosmic mayor
Maaanvis
exhibition @ DENF, Eindhoven
Maaanvis
St.Violville's cathedral's story
Maaanvis
St.Violville's cathedral
Maaanvis
the dragon slayer
Maanvis
‘Out of the Ordinary’ is an exhibition by Sander Wassink for DDW18, in which common objects are borrowed from people working at Sectie-C, and displayed.
For this experience Lucandrea has composed a series of soundscapes that reflect the details and the beauty of these personal objects as well as the cycles of the work routine (startup, work, cleaning and celebration) associated with them.

Out of the Ordinary, 2018
soundscapes, spatial experience
~
in collaboration with Sander Wassink
exhibited at DDW18
gloves:work
Out of the Ordinary
startup, work and maintenance
Out of the Ordinary
brooms:maintenance
Out of the Ordinary
fans:leisure
Out of the Ordinary
soundscapes animate the objects
Out of the Ordinary
exploring the objects
Out of the Ordinary
‘(in)Justice’ is an experience which offers a poetic encounter with work-related injustice through an audio-visual installation.

It combines testimonies of people, poetic descriptions and physical interactions to discuss the consequences of work-related violations and the impact that an inaccessible justice system can have on our lives.

(in)Justice, 2019
Audio-visual installation
~
for The Hague Institute for Innovation of Law (HiiL)
in collaboration with Dorota Gazy
a physical experience of injustice
(in)Justice
three audio-visual installations
(in)Justice
soundscapes of testimonies and poetic texts
(in)Justice
justice can be achieved through the right tool
(in)Justice
‘Unfolding Experiential Landscapes #1’ is a spatial installation which presents the experiential analysis of a used soda cup.
Baraldi applies unique methodologies to create an idiosyncratic map of the cup, analysing the correlations between its physical details and cultural references, fantasies and sentiments that emerged during its observation.
The collection includes navigational tools, a publication and a map.

Unfolding Experiential Landscapes #1, 2019
paper, brass, cotton, acrylic, soda cup
~
Realised with the support of SEA Foundation and Kookaburra Gallery
Exhibited at SEA Foundation
three types of tiles
Unfolding Experiential Landscapes #1
navigational instruments
Unfolding Experiential Landscapes #1
pubblication
Unfolding Experiential Landscapes #1
experiential map
Unfolding Experiential Landscapes #1
unfolded exp. landscape
Unfolding Experiential Landscapes #1
unfolded exp. landscape
Unfolding Experiential Landscapes #1
instruments and maps
Unfolding Experiential Landscapes #1
‘We Are Societal Impact’ is an exhibition by Foundation We Are for DDW19, which discussed the usage of the term “impact” in the design world. An introductory video and a map guide visitors through five projects by Foundation We Are, whose impact is measured in “impact charts”. Each project represents a core theme of the foundation’s work: Civic Society, Justice in the Anthropocene, Cultures of Information, Ethics of Technology and Systems of Governance.

We Are Societal Impact, 2019
exhibition, map, videos, audio tour, interactive installations
~
for Foundation We Foundation We Are
Exhibited at DDW19
exhibited in the We Are offices
We Are Societal Impact
'Moral Lab', i.c.w. Fontys University
We Are Societal Impact
visitors consulting the map
We Are Societal Impact
'We Are Environmental Justice'
We Are Societal Impact
'Letter to Europe'
We Are Societal Impact
the map of the experience
We Are Societal Impact
tour of 'Reconstructing the Classroom'
We Are Societal Impact
‘Reconstructing the Classroom’ is a workshop in which students, teachers, principals and policy-makers are challenged to imagine alternative solutions for a more inclusive learning environment through spatial thinking. Participants embody different roles and use a cork scale model to physically materialize their desires and personality, and in this way reveal conflicts. Through negotiating spatial structures in a way that is not limited by practicalities, the “classrooms” becomes a playground for experimental and unconventional solutions.

Reconstructing the Classroom, 2019
workshop: cork blocks, miniature characters, script
~
for Lansbreakers
in collaboration with Foundation We Are
partecipants negotiate space
Reconstructing the Classroom
a cork model is used as a spatial tool
Reconstructing the Classroom
every table is led by a design researcher
Reconstructing the Classroom
the first iteration consisted of 100 partecipants
Reconstructing the Classroom
every partecipant embodies a charachter with different "labels"
Reconstructing the Classroom
students, teachers, school directors and policy-makers exchange roles
Reconstructing the Classroom
spatial solutions to conflicts are borrowed from other spaces
Reconstructing the Classroom