As an Industrial Designer, my professional identity is shaped by a passion for learning that stretches across very different fields. I want to be a designer who looks beyond conventional boundaries, always trying to explore and understand a broad range of topics in technology, society and art. My FBP is one example. There I went into the still underexplored intersection of AI and education, designing a toolkit that aimed to demystify AI and give children the tools to find their footing in an increasingly AI-driven world.

A designer needs to take into account as many components of the design as possible. That means being creative, working from a human-centered approach and spotting opportunities others might overlook. The last of these belongs as much to the entrepreneur as to the designer. A good designer can not only create valuable designs but also bring them to market, whether by starting a company or collaborating with existing ones. This is what allows designs to move past research value and make a real difference for the people who use them.

“A designer is someone who can envision beyond where most people pause their thinking’’

I have a strong curiosity that drives me to connect conceptual design with research-focused frameworks. I feel most at ease where design meets technology, particularly in emerging areas like artificial intelligence. My interest is centered around large language models (LLM’s) and generative AI systems, which captivate me not only for their innovative aspects but also for their potential to reshape how individuals learn, explore ideas and engage with intricate topics. Rather than just seeing these technologies as ways to improve efficiency, I am more interested in their ability to foster reflection, creativity and self-directed exploration.

During my master’s, my attention has moved towards business and entrepreneurship. The question I kept asking is how I can make design stand on its own as a working practice rather than a purely academic one. Studying business, innovation strategy and leadership has shown me how design intentions become value propositions, how client relationships are built and how the structures around a practice take shape.

Early in my education, I had a habit of reaching for clarity too quickly. I would hold off on acting until the direction felt settled. During my research project (M12) and the Preparation FMP, I made a point of working against this. I stayed in uncertainty longer than was comfortable and started using making as a way of thinking rather than a way of completing. The change was significant. I am now far more comfortable working in ambiguity and I treat prototyping as exploration first and execution second.

My main limitation is no longer that Studio Dribb is untested, but that its validation is still limited in scale and context. Through my Final Master Project, I tested the studio’s methodology on a real client case and gathered feedback from external stakeholders. This confirmed that the approach has value, but it does not yet prove that Studio Dribb can function as a sustainable practice beyond this specific context. The current challenge is therefore to move from promising validation toward repeatable application. Finding clients outside my existing academic network, sharpening the value proposition and testing whether the methodology can generate consistent demand, revenue and long-term relevance.

My long-term ambition remains to build a sustainable and research-oriented design practice. Through Studio Dribb, I have taken the first steps toward this goal by developing and validating a methodology that operates at the intersection of aesthetics, ambiguity and emerging technology. After my Master’s, I also intend to pursue an Engineering Doctorate. I see the EngD as a way to sharpen the methodological and technical rigor of my work inside a hands-on, industry-facing R&D environment. The two feed each other. The studio becomes a place to experiment and validate, whilst the EngD gives me the analytical grounding to keep developing that practice over time.