Police Brutality is a very hard topic to talk about for many as it’s not an easy topic to digest.
The sculptures are meant to give that little push at dinner settings to open up for conversation. The best way to deal with trauma and or problems in general is opening conversation about it. This subject is very personal to me as I have lived through it and also during the make of the sculptures. Not only me but friends and family have gone through it too, as well as many others in this world. Having talked to many people about this theme I understood very quickly that many people, although very educated, still can’t fully grasp the concept and extent of racially motivated aggressions. Having dark skin raises the chance of dying through police Brutality by 3.5x compared to people with white skin. Which is an absurd markup and raises many questions who we should call when in danger because police kill.
The sculptures are hand modeled from clay, burned and weather using mixed media.
During our research phase, we observed some figurines hold their position in a way that seems trapped. We thought it would be interesting to bring this movement back to life, by uniting their physical presence on the table with a digital tool — a filter. This brings the figurines to a digital dimension and makes them interactive, which gives these old-fashioned objects a modern approach. The filter also gave an opportunity to show how the digital world surpasses the possibilities of the physical one, since there are no limitations. We decided to unite the figurine with a typical object present on our tables: a teacup.
There are many types of violence and it often starts in communication. Many words or statements are not recognised as such because one is familiar with them or used to them. Threats, blackmail, nagging, criticism, generalising, insulting, shaming, irony, sarcasm, excuses, justifications hurtful remarks and slights often disguised as jokes in these cases judge other people about one’s own feelings and the feelings are trivialised or ignored. Those who have experienced psychological violence over a longer period of time usually feel it worse than physical violence. It gradually destroys self-confidence. Based on the feeling of heartbreak and dealing with it, I wanted to express the disappointment, sadness and anger, but there is so much more behind these feelings. The way people behave in any relationship The environment and especially the communication. Perceived abusive expressions in everyday communication – microagressions, also ghosting,being ignored and sweeping conflicts under the carpet are part of it.
for example: From underestimation in the family, to toxic relationships to all forms of discrimination in everyday life. professional circles, false circles of friends and on the street.
Even if it is „well-intentioned“, they can be very hurtful.This kind of micro-violence in communication is what I want to show in my communication pieces.
Violence in communication can be found everywhere, but it is usually „not meant badly“.
Too big, too small, too crooked, too misshapen, too pale, too different – too imperfect.
Worldwide about 1.3 billion tonnes of food end up in the rubbish every year. But about half of this could actually be avoided. More than 2.6 million hectares are farmed for the bin and almost 48 million tonnes of greenhouse gases are emitted for nothing.
With my project Oddly I want to question the standards of the food industry but also the purchasing decisions of consumers. Because we also tend to reach for the standard because we are used to it and tend to be sceptical about what is unknown and looks different. But also due to the strict EU regulations of the food industry a lot is sorted out before it even reaches the supermarket. Like the crooked cucumber for example which does not fit into the boxes for storage and is therefore simply impractical for retailers. It’s cheaper and easier to throw it away even though it actually tastes just as good and just as much work goes into growing it as a straight cucumber.
With Oddly I bring the misfits among vegetables into the supermarket and onto the dining table as conversation pieces to provide fun and serious conversation. This takes away the fear of the unfamiliar and makes you wonder why such foods are only on the table and not on your own plate. After all, it is precisely the flaws and imperfections that make something special and lovable.
For the prototypes, the imperfect vegetables were 3D scanned, printed, moulded in plaster and then cast in ceramic. To make them look even more whimsical and absurd on the table, they were enlarged three to four times. In this way they stand out even more from the norm and attract attention.
People have always created things to perpetuate themselves and their culture. Buildings, monuments, statues, figures – carved, chiseled or pottered. They remind us of historical events, great rulers, rites or sanctuaries. Porcelain is a material that has always been used in this context, to create decorative, representative and symbolic objects. It is firmly rooted in many places of the world. whether in ancient China, ancient Greece, in aztec or old egyptian culture. FOREVER TRASH creates an analogy to this practice by staging trash objects made of porcelain as representative figures of our time. Whether we like it or not, what our generation will leave behind is clear: lots of trash. Packaging is quickly unpacked and thrown away. We devote only fractions of a second to this unpleasant topic. Yet garbage embodies many aspects of human activity: Consumption, capitalism, environmental exploitation and destruction, ignorance, megalomania … all this has to do with garbage. Our garbage will outlast the age of humanity and will probably leave traces on our planet forever.
KORAL gives a central place to those that we usually overlook or actively ignore. Corals.In the last 30 years, we have lost 50% of the world‘s corals due to rising water temperatures. When the water temperature rises around corals, the algae that are in their skin disappear as a protective mechanism. The corals give us a signal by turning white. White corals are not dead, they are dying. They can recover when the water temperature drops again.
But that only happens if we act. If we care. When I think about figurines, I think about kitsch and people having porcelain figures somewhere on their shelves, waiting for them to slowly dust away. KORAL is a more interactive approach to figurines. KORAL generates a relationship with the figurine, not just an emotional one but a relationship that depends on each other. You have to care about KORAL, to keep it alive. By underfiring the 3D-printed porcelain, it absorbs water and moisturizes the surface. To create a reciprocal relationship with the figure, I immediately thought of a living figure. Something special that deserves your attention. The 3D printed structure is the perfect base for planting on the surface. By absorbing water, the porcelain keeps them alive. But only if one cares about it. Feeding it with water and attention. This project is nowhere near a solution to coral bleaching around the world. But it brings corals back into our daily lives.
a conversation piece that poses as an incense holder
As a conversation piece, „fuming.“ addresses the issue of toxic masculinity and encourages a conversation about it. The figure depicts three sad men. They each stand for a way of dealing with one‘s feelings, worries and problems. The incense cone inside the middle figure creates a smoke that flows out of all three heads and brings the object to life.
ONE MONTH is a sculpture representing the monthly meatconsumption in Germany. The sculpture consists of 62 matt-black bones, which are piled up into a heap. Some of themshow different figures and facts about the environmentalimpact of the meat consumption depicted. The sculpturemakes the viewers think about their own meat consumptionand its consequences.
The Pioupiou project was born from the desire to create a contemporary porcelain figurine, inspired by two archetypes of porcelain objects, the tea set and the bird figurines that used to be found on well-arranged tables to show the beauty of nature. My idea was to merge these two archetypes to create a service that would not be presented on a tray (horizontally) but could be stacked to create a vertical figurine. It is a different way to consider everyday objects. Using the stacking, not as a simple way to store, to optimize closet space but as a possibility to give a sculptural look to these objects. Instead of hiding them behind a door, what if they were left in the room for all to see as a figure of the house ? By stacking these everyday objects, we obtain something more fragile, refined, which must be handled with more care, something that echoes the classic figurine.
The tea set also represent a past culture, it was at the time, gifts offered as marriage present.
Nowadays, it is not so common that people have a set for tea or coffee, but more pieces that they get from here and there. I wanted to dust off this « classic » and make an attractive porcelain service/figurine.
Before, birds figure were arranged to show the beauty of nature on the table. Nowadays birds are one of the most domesticated species by human, and many species are in danger of extinction because of human behavior (deforestation, climate change, pollution). So I also wanted to bring this conversation around the table, and around a cup of tea or coffee. To design my set, I inspired myself with different elements of birds like the tail, the beak or the crown.
My figurine is composed with one pot (tail), one milk jug (beak), one cup (with a hole as an handle and different way to grab the cup, (eyes) and one coffee filter (crown). We use directly the different parts of the bird, as humans just take advantage of the animal species and nature that surrounds it. I wanted to represent a bird in an minimalist way, not one particular species, but a sort of collage, which allows some interpretation to the user. The pieces alone don’t look like parts of a bird but it’s putting them together that reveals the figurine.
Nowadays, figurines are usually only found at flea markets, in museums, expensive porcelain shops or perhaps in grandparents‘ glass cabinets. Their image is kitschy and their relevance dusty. Back then, until a few decades ago, they belonged on the tables of aristocratic and upper-class society set with already expensive porcelain, in order to provoke conversation or provide space for extensive exchanges on socially or politically decisive topics.
This function of the ceramic figures is little known and all the more seriously represented by the view of the tasteless jumble.
With my project „NeoZoo“, I would like to invite the porcelain figures back to the table and give them a context that humorously plays with and breaks the theme of kitsch. On the one hand, „NeoZoo“ is to make use of the tradition and function of the „Conversation pieces“ and, on the other hand, to explore new types of functional ceramics.
With four animal figurines, which stand for the most frequently immigrated animals in Berlin’s urban space, I would like to open up the conversation for the displacement of animals from the countryside to the city caused by humans. The function of the individual figurines supports this message and makes a critique clear in that those animal figurines spit on the plate of the user of the object or optionally „shit“. With the selection of fox, squirrel, pigeon and raccoon, I would like to point out the responsibility and relevance of human behaviour towards these animals. The bigger the city, the more animals will live in it in the future, and in order to make it possible for them to live together, it will become increasingly important for humans to critically question and adapt themselves and their role in urban space.
Our everyday life is becoming increasingly fast paced and time has become a valuable commodity in our society. Due to digitization, you can be reached anytime and anywhere. This makes it even harder to actually recover from the day during or after work. wThe stress level is constantly increased and the pressure of today’s performance society supports this unhealthy lifestyle. You take fewer or even no breaks and work until you are unfocused and frustrated. Thus, you overexert your own body day after day without regard to your own well-being.
The draft SOWL aims to counteract this outcome. It is a tea service in the shape of an owl. But why an owl? Patience and wisdom are often associated with the owl. In other words, exactly the qualities that we lack in our hectic everyday lives.
SOWL should not only be a simple commodity or decoration, but also show how important it is to take regular breaks. SOWL can be seen as a personal advisor that accompanies you throughout the day at work. The set can be placed on the table and while you work every now and then to draw attention to breaks.
Even just a small break of five minutes, during which you drink a cup of tea, can relax you and increase your health and productivity throughout the day.
The diversity and beauty of the tiny butterfly eggs remain hidden to the naked eye in everyday life. At the same time, humans with their re-ckless and selfish way of life contribute to the fact that the habitats of butterflies continue to dwindle and thus the populations are endange-red. This project „serves“ humans the effects of their actions on fellow creatures.
With the project „sex talk“ I want to break the taboos and stigmas around the topic of female* masturbation. For this purpose, I have taken casts of famous sex toys that are mainly used by women* and made them in porcelain. To begin, I captured existing sex toys with the 3D scanner and then upscaled these files by twelve percent, as I had to account for the shrinkage of porcelain. After that, I 3D printed the files and then reworked them with spray putty to get rid of the grooves created by printing. After that, I was able to cast the objects in plaster, then cast them in porcelain. After drying, I manually engraved decorations into the porcelain based on traditional porcelain patterns. After the first firing, I was able to glaze the figures and then fire them a second time. In the final step, I repainted the details with gold glaze and fired a third time. I placed the resulting objects on matte black metal stands.
My project „sex talk“ is a new form of traditional conversation objects and should encourage to talk more about the topic of female* masturbation, as this is often concealed. Talking objects were around the seventeenth century and later traditional, mostly porcelain, figures that were placed on the table to start conversations about socially relevant topics. Exactly on this principle, „sex talk“ is also intended to encourage open and free conversation with guests, friends and strangers about this relevant topic. I want girls to no longer feel ashamed when they masturbate and women of all ages to be able to have an open conversation about masturbation without shame. After all, masturbation is not only healthy, but enormously beautiful and a big step towards sexual self-determination.
A preserved image of Antarctic ’Doomsday Glacier’ as a memorandum and decorative tablepiece.
The Thwaites Glacier – also called Doomsday Glacier – is one of the most significant and spectated Antarctic glacier, considering rising sea levels. It is considered as a forefront of Antarctic ice in regard to global warming. With new found warm-water currents underneath its field of ice shelf it is predicted that large parts of the glacier will be fully melting off and flowing into open sea within the next ten years.
It Is Still Here is a new take on the role of porcelain objects as table decorations and conversation pieces as we know them from the 16th century onwards. The collection of four objects shows an abstract portrait of the ever-changing and melting Thwaites Glacier, frozen in time. Preserved in porcelain, a material similar to ice in its color, feeling of temperature and brittleness, but a lot more durable, so one can take the memorandum to the glacier into the comfort of their own home. Reminding us, that right now the glacier is still there.
Depicted are four typical parts of a glacier, modeled after currently existing examples of the Thwaites Glacier, but they can also be projected on many other glaciers, as the threat of melting off is there for a lot of them. Of all glaciers worldwide the major part is receding because of global warming and fueled by smaller factors such as warm water flows and glacial blackness.
The pieces will bring us closer to a spot on earth, which is very important to our climate and will once be lost forever.
Away from acrylic nails towards luxurious porcelain accessories. A material study in which the difficulty lay in perceiving porcelain not only as a classic table decoration, but also as an accessory that adorns the body. Since nail studios use fast-hardening acrylic and can therefore glue anything to the nails, and have a wide range of design options, it does not mean that porcelain cannot implement the same properties. With the porcelain fingernails you don’t have to have your nails done again and again and there is no more wasting of materials, you put the nail on like a ring over your finger and the party can start.
As a statement and it-piece object, this unisex piece of jewelry beautifies everyone’s hands, regardless of age, figure or fashion style. The trend of styled nails is increasing, that’s why done nails symbolize a kind of freedom, self-confidence and the expression of one’s personality.
The porcelain nails are suitable for the evening of your life. Especially for special events like the „Met Gala“ in New York. The theme of any red carpet is to stand out and exude as much extravagance as possible.
In order to attract attention, nail designs have to be trumped again and again, and this is only possible up to a certain point. After that, it’s more about which materiality you can use to attract even more attention. Of course with fingernails made of porcelain.
The decoration is meant to show that there is an individual behind every balaclava. Every person is unique in their own way. On one hand, the masking leads to an identification with the group, a sense of togetherness, and on the other hand, the individual protects him/herself from attacks from outside. The attached „spikes“ show the harsh reality of political persecution, condemnation and restricted speech, but also the softer side of the person behind the mask, when looked at more closely. For the decoration, solid porcelain was creamed with the addition of water and filled into silicone bags. To achieve the desired result, nozzles were used which are actually used for baking. The creamy porcelain could then be shaped into the desired form with the help of the baking utensils.
Silicart enables co-living with algae. The shape is informed by a silicoflagellate micro alga. Algae also grow on its surface. The hollow inside serves as a tank from which the algae irrigate themselves. They filter the water and lead to cleansed water to evaporate into the room which cools down the interior climate. This low-maintenance product can be crafted from local soil and is solely driven by microbiological forces fuelled by sun, CO2 and human care.
Christine Öhme won a participation at exhibition ‚work art market‘ in Wasserschloss Klaffenbach with her project Die Werkelküche. Five award winners will have the opportunity to present their exhibits free of charge on November 6th and 7th, 2022 as part of the Werkkunstmarkt, a sales exhibition for design and handicrafts.
Ayosha Kortlang won a participation for the exhibitionGreen Smart Materialsof Haute Innovation as part of a trade fairHaute Innovation. Haute Innovation presents material-based developments by at least three German Design Graduates in an exhibition.Young designers are given the opportunity to present their innovations to an international specialist audience.
Daniel Tratter won a participation for the exhibitionGreen Smart Materialsof Haute Innovation as part of a trade fairHaute Innovation. Haute Innovation presents material-based developments by at least three German Design Graduates in an exhibition.Young designers are given the opportunity to present their innovations to an international specialist audience.
Agnes Kelm won a participation at Ambiente Talents with her project DAS TUN AN SICH. German Design Graduates participants have the opportunity to take part in the Ambiente Talents program. This also includes free exhibition space in one of the two talent areas of the fair. These are located in the immediate vicinity of well-known exhibitors from the consumer goods industry.
Anna Koppmann won a participation at Design Post Köln Frischholz. Selected participants from German Design Graduates have the opportunity to present their projects at Design Post Cologne. Design Post presents work by university graduates from a sustainability perspective, with a particular interest in material innovations and new manufacturing processes.
Tobias Trübenbacher won a Feature + Matchmaking with the International Design Centre Berlin. The International Design Center Berlin (IDZ) awards free annual memberships to three German Design Graduates.They will have the opportunity to present their work to other members and interested guests as part of an IDZ virtual meetup in September 2021.The Meetup offers the opportunity to get to know and exchange ideas with leading agencies and companies from the membership and the extended network of the IDZ – later cooperation is not excluded!
Tobias Trübenbacher won the PECHA KUCHA & ROUND TABLE German Design Graduates @ KGM Dresden.
With a view to the future, young product design graduates think in a networked manner and provide concrete solutions to the challenges of our time and design future living environments. If design wants to remain socially relevant, designers have to take responsibility more than ever – ecologically – culturally – socially – politically – humanely.
Thomas A. Geisler and Katrin Krupka moderate the round, in which exciting graduates from East and West present and discuss their topics and attitudes, relate them to positions from the exhibition German Design 1949-89 and share their experiences and their attitude towards Report design education today.
Tobias Trübenbacher won the recognition Green Concept with his project PAPILIO. Nicola Stattmann honors two graduates with a „Green Concept“ recognition. This recognition is endowed with 500 euros. In addition, the graduates have the opportunity to receive advice on further development with Nicola Stattmann.
Kimia Amir-Moazami won an the Design Research Award with her Project Vorkoster. In 2021, the IfDRA under Stephan Ott awarded the Vorkoster project by Kimia Amir-Moazami. The Research Prize is endowed with 1000 €.
Milan Siegers won a Support by Anna Badur & Daniel Lorchwith his project Spin Cuisine.
Berlin designers Anna Badur and Daniel Lorch offer coaching for two graduates who want to work as independent designers in the future. They share their knowledge of what is important when starting your own business – beyond the stereotypical advice on marketing strategies and business plans.
For two graduates who submitted their thesis to the German Design Graduates archive in 2020, LÄUFER & KEICHEL offers specific project coaching that helps with the concept development.This can be input into the topics of material technology production as well as project implementation and marketing.
Georgia von le Fort won a Support for a 3 month Designresidency at MAGAZIN with her project Relics 2020. As part of the German Design Graduates, MAGAZIN offers Georgia the opportunity of a 3-month residency in the Berlin product development office in B-Part.
Felix Yarwood won a Green Card for Ein-und-Zwanzig with his project Soft Bodies 2019.
This means that his work got on the long list to be exhibited at Milan Design Week.
The German Design Council awards Green Cards to three GDG’s for the shortlist of the annual one&twenty exhibition in Milan. With this, the German Design Council wants to help increase the visibility of graduates of German design schools and give them a chance to present themselves.
Felix Yarwood won a Green Card for Pure Talents with his project Soft Bodies 2020.
This means that his work got on the long list to be exhibited at IMM Cologne
IMM Cologne awards Green Cards to three GDG’s for the shortlist of the Pure Talents exhibition in Cologne. With this, the IMM Cologne wants to help increase the visibility of graduates of German design schools and give them a chance to present themselves.
PIXEL CHAIR is a script-based design of a customizable CNC-manufactured chair.
The first input parameters of the script are the basic dimensions and angles, which are gridded to fit the material thickness, which can also be set as an input parameter. The basic design is then translated into pixels with an underlying point grid. By selecting points of this grid with a brush tool, „pixels“ of the chair can be erased. At the same time, a pattern is recalculated and nested.
The script can be seen as a concept for a game/app in wich users can design their own chair in an augmented reality app and achieve a „nesting score“ by erasing pixels of the chair. The basic design of the chair fits on a quarter of an industrial 25mm fibreboard (105 cm x 144 cm). When you play the game and modify the chair, the freed-up space then unlocks bonus objects like a stool or a wardrobe.
A minimalist chair CNC machined from a sheet of plywood. This project faces two challenges: maximum material efficiency through an optimized arrangement of the individual parts during the milling process and the elimination of connecting elements such as screws, dowels or glue. The design is based on a simple plug connection. This means that it can be quickly disassembled into all the individual parts and also reassembled without any tools. The arrangement of the individual parts for the milling process was optimized for a set consisting of four chairs. These can thus be produced from one plate (2,440mm x 1220mm) with minimal waste.
The design’s upright yet comfortable seating position allows the chair to be used in the dining room as well as at a desk. Hard edges meet slightly rounded corners and give plug&sit a light, friendly look.
In the short term project nesting, I developed a chess game, which can be be made from two 150x200mm plates. Different colored Material is being used to distinguish the players. The outstanding fact about this game is, that 100% of the material is being used and nothing goes to waste. The organically shaped figures, are on one side referencing classic chess figures while also perfectly integrating in the nesting. In the process my goal was to stay close to the original shapes of chess figures, while making little changes to them, that would make them ideal for nesting.
The chessboard is also integrated in the nesting. The oddly shaped stones that emerge from that can be arranged individually. Resulting from this intentional gaps occur, which distinguish it from a traditional chess game and reference its production.
In the elaboration of BALANCÍN, the industrial cutting process of Nesting was taken into account, which automatically generated a simple trapezoidal geometry of its pieces and as a result a better accommodation of these within the plate layer (860-790mm) of the respective material (plate sperm wood) generating as well the least possible amount of waste of material. BALANCÍN is a children’s seesaw toy for children between 3 and 5 years old with an approximate size of 55cm high x45cm long, which can be assembled and disassembled without the need to use any kind of glue for the union of all its trapezoidal pieces that fit together through their respective incisions. This toy allows the child to swing from front to back by means of its geometry and the gripping or supporting limbs at the front top and bottom (such as the handlebars and footrest).
NEST is a pendant lamp made of wood, which consists of organically shaped wooden parts, which are held together by 3 ropes. The panels rest on nodes in the ropes. The shape of the individual wooden parts is ehr undefined. The ropes, by which the wooden parts are held together, however, together form a clear sphere, which additionally brings order to the construction. The warm light of the lamp is additionally enhanced by the light wood. Despite the open construction, the lamp has its own inner life and the layered construction creates an open and warm atmosphere in the room. In the manufacture of the lamp, there is also little waste, because the individual parts fit perfectly into each other. Thus, NEST is also efficient in its production and can also be delivered or stored space-efficiently.
Building with Hugo is designed to help children combine their imagination with cognitive thinking and inventiveness, to place process above outcome, and to empower them to create their own world. Without guidelines and free of everything known, the aim is to give an opportunity to give shape and form to that which cannot be captured in words.
For this short project on Nesting, I was interested in an object that we all know: the draisienne for children. I find this object interesting with its round shapes that remind the world of play and childhood. I imagine that these shapes can be nested to lose as little material as possible during production. What I find interesting with this object is that there are already hundreds of them, it is not for me to draw or invent a new object but to find a virtuous solution for the production of an object that already has a limited life span. The shapes I designed for my bike fit together. For exemple the forks can fit into each other and the seat is placed in the center to lose as little material as possible. The different elements of the bike are like patterns with a repeating connection. The bikes are cut out of a sheet of plywood of 2.44 m by 1.44 m, 24 mm thick, and 6 bikes can be cut out of one sheet. The bike is transported flat, you assemble it yourself with bolts. It is very simple and can be done with the child for a playful moment. The size of the seat is adjustable to allow the child to enjoy this object longer even if he grows up!
96 is a chess game in which black and white aren’t opposed as usual, but round and edged pieces. Both sides have a different formal language and are nevertheless recognizable as belonging to each other. Thus, both sets have similar characteristics, such as the King’s crown and the Tower’s battlements. However, they are presented differently.
Also the playing field is not constructed as a closed surface, but is divided into seperate stones with a thickness of 10mm. Here the distinction is also not solved by colors, but the two formal languages are taken up again. The 25mm thick figures get their character by an optimal and material-saving use of the material. For example, King and Queen can be inserted into each other at their upper ends, so that no residual material is created. The first model made of polysterol gives a first glimpse of what the final design can look like in a 1:1 scale. The final prototype is to be made of solid wood, so that the figures are easy to handle with an optimal weight.
96 pieces that only play together.
The alien-chair is a lounge chair whose components can be milled from the same wood-based panel. The parts are arranged in such a way that as little material as possible is wasted. The joints between the individual parts are also milled, so that the chair can be assembled directly after milling. Plywood or so-called 3-layer boards with a material thickness of 30 mm can be used.
Instead of drilling holes in walls, you can slide this hook onto different surfaces. To do this, you have to bend it in four different places. This allows it to adapt to the place where you want it to hold something.#
A puzzle consisting of just one element of the human body — hands — allowing children to play with and form whichever figure they please. Laser-cut from a 32 x 45 cm HDF plate.
What is the impact of our meat and fish consumption on the environment? We probably all know the answer to this question, but how do you educate children about the negative environmental consequences of meat and fish consumption? PUZZLE provides a playful way to address this
current topic in a more understandable and child-friendly way.
NIP is a short project about the harmony of organic forms. It is a silicone shell for making ice cubes with the purpose of leisure interaction. The sinuous curvy shapes of the ice forms moulded are shaped to have a firm grip facilitating interactions and designed on the proportion of the body curves. The pieces are nested together on a rectangular base of 26cmx12cm.
Cliffhanger is a sculptural wardrobe inspired by a rock face. Made from black coated Multiplex board, its dimension of 120 by 40 centimeters and a great number of hook like-shapes on its surface, it provides plenty of possibilities to hang jackets, coats, scarfs, caps and bags. The structure is based on a horizontal wall-mounted hanging system, that provides a support for 6 vertical slats. Each of them is designed after a longitudinal cut of a rock face. Using Nesting technology , the cnc mill production uses up 96 precent of a standard sized multiplex board (125 x250 cm). The design process is based on a permanent interplay between the overall visual appearance of the assembled object and the spatial arrangement of single parts on the standard sized plywood sheet. Hereby material efficiency as well as visual outcome are improved simultaneously.
Alexander Luczak, 8 Sem. SS2022 |
Jonas Fehrenbach, 8 Sem. SS2022 |
The intention with One Stool One Material was to design one that was as low in complexity as possible for children, which is easy to understand, light and yet very robust. The material “Ultramid” presented by our cooperation partner offered the best prerequisites for this project. The granules processed under steam, which are very robust and yet extremely light, seemed particularly suitable for my application.
The result of my semester work is a height-adjustable stool that grows with the children and is easy to understand. The number of built-in parts is reduced to 2, which is particularly ideal for small children, as there are no small attachments such as screws, etc.
Based on this idea, the sibling bench was created, which is based on the same principle. It allows two children to sit at the same height despite different heights.
The purpose of this project is to explore the different correlations between the Spree and the actors that interact with it (architecture, flora and fauna, citizens, authorities, climate, industry…). The aim of the research is to react —through the tools of design— to the following questions: How can the Spree be reactivated as a public space while repairing the exploitative processes it suffered in the last centuries? How can a win-win relationship be achieved, in which humans not only take but also give something back to the river?
2/7„Die Umwandlung mechanischer Energie in Wärmeenergie und die Um-wandlung der geradlinigen Bewegung in die Drehbewegung sind die zwei grundlegenden Naturgesetze, mit denen der Mensch Vorausset-zungen schuf, sich die Dinge der Natur nutzbar zu machen.“ Vor dem Hintergrund meiner eigenen Herkunft und der geografi-schen Nähe zum Erzgebirge wurde ich früh durch das Spielzeug und die Weihnachtsobjekte aus dieser Region geprägt. Die kindliche Leichtigkeit der Farbkombinationen und die freien Anordungen simplen geometrischen Körper zog mich als Kind in ihren Bann und faziniert mich bis heute.Im Rahmen des Masterstudiums möchte ich mich – als Designer und meinem Interesse an der sozialen und gesellschaftlichen Bedeu-tung von Handwerk – mit einer der ältesten Fertigungstechniken, dem Drechseln auseinandersetzen. Diese Handwerkskunst reicht weit in der Menschheitsgeschichte zurück und findet sich in verschiedensten Kulturkreisen wieder. -Wo liegen die Grenzen eines im subtragtiven Verfahren herge- stelltem Rotationskörper heute? -Lassen sich Atribute von Wertigkeit durch zeitgenössische Verfahren transformieren? -Inwiefern repräsentiert die Handwerkstradition einen realen, sozialen Kontext? -Wie kann ihre experimentelle Weiterführung zur Entwicklung von nachhaltigem Design anregen?Um dieses Spannungsfeld zwischen erzgebirgischerHandwerkskunst und dem Drechseln als zukunftsorientierteFertigungstechnik zu eröffnen, möchte ich Forschungsreisenin diese Region unternehmen, mehr über den technologischenStand der Herstellungsverfahren verstehen, Kunsthandwerker*innenkennenlernen und mögliche Kooperationspartner*innen für meine Masterarbeit finden. Die gewonnenen Erkenntnisse möchte ich in abstrahierter Form weiter in eine Reihe von Rotationskörpern übersetzen – als Evolutionskette, deren Kernelemente verknüpft und im einzelnen Objekt zum Ausdruck gebracht werden.
-Was zeigt uns/mir wann ein gedrechseltes Element hergestellt wurde?
-Ab wann löst sich das Objekt aus aus der Tradition, bedient sich ihrer Technik zeigt aber ganz klar die Gegenwart. Durch Herstellung eigener Verbundwerkstoffe basierend auf na-türlichen und künstlichen Ausgangsstoffen möchte ichMuster ausarbeiten. Diese Muster, welche durch 3d Formen ent-stehen möchte ich auf ihre Abhänigkeiten untersuchen und kate-gorisieren.Mir geht es darum auf der Grundlage von holzhandwerklichen Verarbeitungswegen neue überraschende Richtungen durch Materi-alexperimente zu finden.Es ist auf der einen Seite die Annäherung über Materialexperi-mente hin zu einem Halbzeug in Form von Stangen, oder Leisten. Leisten welche aus den verschiedensten Materialien und Farben kombiniert werden um dann Ausgangsmaterial für die Weiterver-arbeitung zu werden.Dabei möchte ich mit Kombinationen aus Laubholz, Valchromat, Kunststoff und Acrylic arbeiten. Ich kann mir vorstellen das sich auf der Suche noch mehr zeigen wird, was sich von hieraus noch nicht absehen lässt.Das Freilegen von Mustern stellt eine Zwischenstufe auf dem Weg der Materialexpermente dar.Ich halte kurz inne und lege, mit Fokus auf entstehende Muster gewisse Parameter fest.Die Parameter ergeben sich aus zwei Faktoren. Zum einen aus der Zusammensetzung von unterschiedlichen Materialien nach Kriterien wie Farbe, Größe, Anzahl der verbunden Teile, Anord-nung im Raum und Größenverhältnisse zu einander.Zum anderen aus den angewendeten Profilen, deren Wiederholungen und Streckenabschnitten, also deren Längen ausschlaggebend-sind.Gedanklich sehe ich ein Spannungsfeld zwischen der technischen Transformation und der Gestaltung der Materialkombinationen.Diese Dialogpartner tretten in einen Austausch und bilden die Basis eines Gestaltungsdialogs. T: Was ist mit der Reproduzierbarkeit? M: Keine Ahnung, ich will mich erstmal überraschen lassen .T: Ja ok klingt gut, aber willst du am Ende nicht auch perfekt aussehen? M: Hmm, vielleicht…
Der alltägliche Umgang des Menschen ist mit Artefakten bestimmt. Der überwiegende Teil dieser Gegenstände ist Ergebnis der industriellen Produktionsweise, ebenso wie die Materialien und die Werkzeuge aus denen sie hergestellt sind. Mit dem heranwachsen zurweltweit bestimmenden Warenproduktion in der Mitte des 19. Jahrhunderts, verloren veraltetete Fertigungsmethoden im handwerklichen Sinne an Bedeutung. Der Anfänglich gute Wille der Industrialisierung, Produkte zu günstigeren Preisen und einer Breiteren Maße verfügbar zu machen schlug jedoch um, in ein Wettrennen um das billigste Produkt in der Weltwirtschaft. Der Mensch verlor das Gespür und die Verbindung zu angeboten Produkten und Objekten des alltäglichen Lebens und aus einem Reparieren und Retten wurde ein Ersetzten.Da mein Vater als Restaurator tätig war, entwickelte ich bereits als Kind großes Interesse an Materialien und deren Gestaltung. Unter seiner Anleitung konnte ich früh verschiedene Techniken der Holzbearbeitung erlernen und einen Einblick in die Vielfalt der Materialien gewinnen. Von einfachen handwerklichen Tischlerarbeiten bis hin zu aufwendigen Oberflächengestaltungen wurde ich in sämtliche Bereiche der Restaurierung eingeführt. Diese frühen Erfahrungen entwickelten sich zu einer Leidenschaft für Gestaltung und die beteiligten Prozesse. Dort fand ich zu neuen Sichtweisen und Erfahrungen in meiner gestalterischen Praxis und konnte meinen kreativen Horizont durch kritische Reflektion erweitern. Anfangs beschäftigte ich mich mit unterschiedlichen Herstellungsprozessen und vertiefte mein Wissen in der Materiallandschaft. Später konnte ich diese Auseinandersetzung durch mein Engagement als Tutor im Fachbereich Technologie und Konstruktion bei Prof. Holger Neumann professionalisieren und fand dabei viel Unterstützung. Nach der umfassenden Auseinandersetzung mit der Materialität Holz und seinen Eigenschaften in meiner Bachelorarbeit möchte ich mich während des Masterprogramms tiefer in das Thema Reparatur und Konservierung im Kontext Nachhaltigkeit und Ästhetik einarbeiten. Durch meinen Vater wurde ich früh an das Universität der KünsteMA WS 2021/22Niklas Böll
Wiederherstellen von Objekten und Möbeln, welche bereits als wirtschaftliche Totalschäden abgestempelt wurden, herangeführt und entwickelte so ein Bewusstsein für Nachhaltigkeit und den ideellen Wert von Objekten, welcher über den reinen Produktwert hinausgeht. Dabei fasziniert mich die Veränderung eines Materials, die durch Benutzung im Alltag, Witterung oder anderweitige Alterung entsteht. Risse tun sich auf, Verfärbungen entstehen, Narben werden zum festen Bestandteil eines Objekts. So kann zum Beispiel die Front eines Schellack polierten Möbelstücks, welche der Sonne ausgesetzt ungleichmäßig bleicht und so die Farbe verändert, dem ganzen Objekt eine neue Ästhetik verleihen. Vormalige Mängel und Irritationen werden zu unverkennbaren Charakterzügen und Qualitäten, welche dem Objekt eine einzigartige Erscheinung geben. Die Reparatur wird ein Teil der individuellen Geschichte des Objekts. Die tagtäglich auf dem Holztisch abgestellte Kaffeetasse, welche ringförmige Verfärbungen auf der Tischplatte hinterlässt und dem Tisch einen individuellen Stempel verpasst; der von meinem Großvater immer wieder reparierte Holzschemel, welcher durch jede Ausbesserung ein neues Detail erhält diese ganz eigenen Ästhetiken und die dabei erzählten Geschichten interessieren mich. Zudem möchte ich untersuchen, in welcher Verbindung der Mensch zu einem Objekt steht und was ein Objekt individuell macht und an persönlichen Wert gewinnt. Inwiefern steht dies mit dem Kunsthandwerk und dem Handwerk und der Produktion in Verbindung, sind es die Materialien, die Spuren der Herstellung, oder einfach nur die Erinnerungen, die uns eine Beziehung mit einem Objekt eingehen lässt?! Interessant ist es hier einen Blick auf die japanische Tradition der “Keramikreperatur“ zu werfen, dem sogenannten „Kintsugi“. Hierbei werden gebrochene Teile in die Ursprüngliche Form gesetzt, jedoch bleibt die Bruchstelle sichtbar, bzw. wird sie hervorgehoben und somit ein Teil des Objektes. Anstelle an Wert zu verlieren, gewinnt das Objekt an Wert und wird meist kostbarer als zuvor. Hier steckt die Ästhetik nicht in der Perfektion, sondern im Fehlerhaften, im Vergänglichen, im Alten. Universität der KünsteMA WS 2021/22Niklas Böll
Im Rahmen des des Moduls 2 möchte ich mich ausführlich mit dem Thema auseinandersetzen und dabei ein Gestaltungskonzept entwickeln, welches auf den Einsichten und Kenntnissen aufbaut, die ich durch eine hybride Arbeitsweise zwischen theoretischer Recherche und praktischer experimenteller Arbeit mit verschiedenen Materialien erlangen möchte.
Im schriftlichen Teil meiner Masterthesis möchte ich mich im Spannungsfeld der Perfektion und des Fehlerhaften in der Gestaltung und der Produktion bewegen. Ich möchte erörtern was Fehlerhaftigkeit für uns in der Gesellschaft bedeutet und wie wir sie Aufnehmen. Unter anderem möchte ich mich mit den Fragen befassen, wie sich die Ästhetik durch umstellen in der Produktion, vom Handwerk hin zum Industriellen bis ins Digitale Zeitalter verändert hat. Fabriken und Fließbandproduktion wuchsen zur produzierenden Größe heran und prägten ein neues Erscheinungsbild der Produkte.Die Individualität, die durch das Handwerk einem jedem Werkstück hinzugefügt wurde, wurde durch ein gleichbleibendes, auf Perfektion ausgelegtes Produktergebnis ersetzt. Die Form und die Materialität der Produkte wurde dem Herstellungsverfahren angepasst. Organische Materialien wurden durch anorganische, leichter zu verarbeitende Materialien ersetzt. So wurde z.B. aus dem ungleichmäßigen Werkstoff Vollholz ein gleichmäßiger anorganischer Werkstoff, wie die Pressspannplatten, welcher wesentlich leichter zu verarbeiten ist.Das Kennzeichen dieser Produktion, der Serienproduktion, ist die sich wiederholende und Zielführende Schaffung eines gleichbleibendes Produkts. Was bedeutet Fehlerhaftigkeit in der Gestaltung? Wieso verspürt die Heutige Gesellschaft den Drang zur Rückkehr zum Individuellen? Interessant ist es hier zu betrachten, wie die Industrie reagiert und durch Prozessgestaltung sich diesem Trend anpasst. Erahnen lässt es sich durch Projekte von Firmen wie “Motel A Mio“, Diese wirbt gar mit Einzigartigkeit auf der eigenen Webseite und bietet Handgefertigte Keramik einer breiten Maße an, welche im Gegensatz zum sehr teuren, handgefertigten Keramik aus der Boutique erschwinglich wirkt. Dieses Verschwimmen von Handwerk und Industrie ist eine Entwicklung die ich ästhetisch und aus einer sozialen Perspektive sehr interessant finde und in meinem schriftlichen Teil meiner Masterthesis untersuchen möchte.
Transfloralismus
Von ‘Transfloralismus’ und Arten übergreifendem Design In meiner Masterarbeit untersuche ich spekulativ wie ein soziales Kommunikationsnetzwerk für Bäume in Städten gestaltet werden kann. Ein holistischer Designansatz, in dem natürliche und künstliche, menschliche und nichtmenschliche Akteure miteinbezogen werden, setzt dabei die Basis für ein Projekt, das im stark anthropozentrisch geprägten Ökosystem Stadt die Bedürfnisse und Potentiale nichtmenschlicher Spezies berücksichtigt. Inspiriert von verschiedenen post anthropozentrischen Ansätzen, steht das Bewusstsein für die Interdependenz und die bewusste Auflösung des Dualismus von Natur und Kultur im Fokus. Bäume in Städten sind im Anthropozän starken Stressfaktoren ausgesetzt: Platzmangel, Schadstoffe, verdichteter Boden, Schatten, städtische Hitze- und Trockenperioden. Funktionale und technische Anforderungen der Menschen werden in der Stadtplanung strukturell vor die Bedürfnisse der Bäume gestellt. Während Waldbäume über ihre Wurzeln und Mykorrhiza Pilze kommunizieren (auch ‘Wood Wide Web’ genannt) und in einem sozialen Interspezies Gefüge auf höchst intelligente Art und Weise für das gemeinschaftliche (Über-)Leben kooperieren, sterben immer mehr Stadtbäume als Folge unserer anthropozentrischen Integration und Haltung im urbanen Raum als auch der individualistischen Sicht auf den Baum als Einsiedler. Dabei sind vor allem gesunde Stadtbäume im kollektiven Kampf gegen die Klimakrise essentiell notwendig: Sie kühlen als natürliche Klimaanlage unsere schwülen Asphalt- und Betonlandschaften, sie reinigen und produzieren unsere Luft als ‘grüne Lunge’ der Stadt, sie tragen positiv zu unserer psychischen Gesundheit bei und sind Lebensraum für andere Lebewesen, die wiederum in zahllosen anderen Teilen unseres städtischen Ökosystems ihren Dienst leisten.Für ein baumgerechtes Leben in der Stadt, müssen wir Bäume als ‘Social Player’ ernst nehmen und ihnen ein soziales Kommunikationsnetzwerk ermöglichen, das ihnen erlaubt ihre Bedürfnisse und ihren Zustand zu kommunizieren.Dabei ist zu beachten, dass das Ökosystem Stadt im Gegensatz zum Wald von der Technosphäre dominiert wird und es neben natürlichen menschlichen und nichtmenschlichen Akteuren auch künstliche und ‘tote’ Akteure umfasst, die in der Gestaltung eines sozialen Kommunikationsnetzwerks als Kooperationspartner der Bäume in Frage kommen. Mit diesem Gedankenschritt geht ein grundlegendes Umdenken des romantischen Naturbegriffs einher. Die über Jahre verankerte ideelle Distanz von Natur und Kultur soll aufgelöst werden und der stetige Ausbau der Technosphäre soll die Biosphäre nicht mehr überlagern, sondern sich mit ihr verweben.
MA Modul 1_Kim Kuhl_dokumentation (2)(1)-min
Kim Kuhl, MA WS2021/22 –
You can’t see them, you can’t smell them, you can’t taste them, and yet they are quite common on conventionally grown fruits and vegetables – pesticides or the residues of them.
Due to the use of sometimes highly toxic pesticides in the global south, they come back into the EU through food imports and end up in our food cycle. To counteract this danger, I have focused on a design concept within the framework of „One material, one product“, which is intended to better protect consumers when peeling or handling fruit and vegetables, because many residues are found on the peel and skin.
I distinguish between inedible and edible peel when it comes to the application of the design ideas. Inedible peel is about not having to touch the peel when peeling, therefore the idea of flexible tongs and a supporting as well as protective thimble.
According to recent studies, fruits or vegetables with edible peel should be soaked in warm water together with baking soda for 15 minutes to optimally dissolve pesticide residues. In order to subsequently make the food fit for consumption, a brush was developed to remove the last superficial residues from the food. In the designs, attention was paid to ergonomics and the specific use of the material with a high protective factor.
The decisions for the individual designs were also closely linked to the properties of the material Elastollan from BASF’s TPU family. This material stands for maximum reliability, consistent product quality and cost efficiency. The flexibility and feel of Ellastolan were also decisive for the individual designs of the tools. The material and the tools are dishwasher safe, can be produced industrially by injection molding and since the whole concept is made out of only one material everything can be optimally recycled.
The addition of pigments makes the recycling of plastics more difficult. Sorting by colour is very time-consuming and expensive at the moment. Therefore, different colours of plastic are recycled together, resulting in a brown color. This color is very unpopular with consumers. Using uncolored “natural” plastics would make the recycling process much easier and would enable a better circular economy. Since even undyed material becomes darker with each recycling process, it also wants to promote the use of brown recycled plastics. “You Can Make Me Smile” is playing with the value of a material.
You get more for your money if you decide to buy the
chair made out of recycled material, as in our society
freshly produced material has a higher price.
This project wants to point out to this topic.
We should ask ourselves which material actually has the higher value……
The „Symbioscene“ describes an era beyond the Anthropocene in which there is a sustainable relationship between humans and nature that promotes a symbiotic mindset for the mutual benefit of all living things. The question of how we can move closer to this vision of the future will be explored through „Restorative Design,“ among other practices. This practice is about reversing the damage caused by humans and nature. This design strategy is intended to respond to a problem that is a major contributor to climate change, namely the high concentration of CO2 in the atmosphere. The objective is to determine to what extent synthetic CO2 mineralization technology, together with design, can counteract this problem. The overarching question that arises is whether the combination of „Restorative Design“ and technology can be part of the solution towards the „Symbioscene“ era?
Recycling is important, but not a solution. It is much more important that the product lasts longer. But at the moment, plastic products are always thrown away. We don‘t even try to fix them as if they were made to be thrown away. Besides, it is not enough to create a product that can be easily repaired because the trend is missing, and that will not go down well with the public. How would a trend like this catch on?
a card game about sustainability This card game is supposed to teach about sustainability and health from a young age. The children can collect their cards when shopping more sustainable and will learn with ease and fun about different aspects like regionality, seasonality and eco-balance. This will provide a new understanding and recognition of sustainability inside the supermarket as well as at home.
When we started the project “Supermarket of the future” I initially thought about the future. In my opinion it is the children of this generation. So if you start with them, the future will automatically look more sustainable.
This card game deals with the supermarket in a playful way and is intended to help a young age understand more about aspects such as sustainability, eco-balance, regionality and seasonality.
The game consists of different cards, the product cards representing different foods of the supermarket belonging to seven food groups. Those being: fruit and vegetables, fish and meat, substitute products, animal products, beverages, dry goods and snacks. In addition, there are attacks on each product card that represent its strengths. These attacks damage the opponent’s card. They all have a certain number of sustainability points. This number of points are composed of their eco-balance but also of how healthy the food is. The other cards are called action cards. These are either booster cards or group cards. Both types of cards trigger different actions and often also have a learning aspect about sustainability. For example, with the “own packaging” card, you get 30 additional sustainability points for your own active product card.
Cards are collected directly in the supermarket. The more sustainable and healthier a purchase is, the more tickets are handed over at the end. To make this clear to all those involved, all products in the supermarket are provided with a symbol. These are small dots that are either green, orange or pink. Green dots are seen on particularly good foods, they generate three points, orange dots are on okay foods and generate two points, pink circles are on bad foods and generate either no points or just one. At the cash register, the cashier receives a visual hint of how many card packs to hand over. For every three points collected, one card pack is handed over. There are three cards in each pack. On the back of each pack is a QR code which shows the game manual.
Each child can collect together with its parents their own deck of cards.
As mentioned, two product cards always duel against each other. In each turn you can play any number of action cards and each turn is finished by a selected attack. In order to write down the score there is a simple table in the game manual which you can easily draw on a piece of paper. Otherwise, all you need is a dice.
Mit Essen spielt man is an easy and fun way to learn about sustainability. The aim of the game is that children in the supermarket might prefer to buy their “heroes” instead of the candy stuff and that due to the visual indication on the product, the green marked also land faster in the shopping trolley so that more cards can be collected. All this leads to a more sustainable shopping.Emma
a cafe to go beverage which can motivate people to use it in the pfandsystem This container is designed for those who are willing to try the rental container as a supermarket shopping package. The container is made of ppsu provided by basf, which is lighter in weight than glass containers, cannot be broken, and can be reused 800-1000 times. When packaging is taken back from consumers by recycling companies, it can be further steam sterilized to keep food safe during the pandemic.
a project that brings legumes closer to the consumer. Eating legumes has an incredible number of benefits for our health and the environment. Their cultivation is also highly important for sustainable soil management and global food security. They have a small environmental footprint, increase carbon storage in the soil, and contribute their own nitrogen fertilizer, thus counteracting climate change. Through their diverse flowers, they counteract insect mortality.This design provides a modern communication and inspiration to include legumes more in our meals again and additionally it encourages to replace the occasional meat meal.
The supermarket display consists of two-sided fine corrugated board. The challenge was to generate the most plausible assembly method possible by folding and inserting only, since the entire product, the display including pulses, is to be delivered to the stores in a flat packs. In a single module is space for 30L leguminous. The package will be delivered on a standard EU pallet 120cm x 80cm.
To create more inspiration, simple generalized recipes are printed on the pillow boxes made of recycled paper, which serve as packaging to avoid all aluminum or plastic packaging. They are meant to encourage you to try your way through the different peas, beans and lentils, which is why the exact variety is not mentioned in the recipe.Together with the Leguminous herbs and spices are exhibited. The direct affiliation should be unmistakable as they can clearly contribute to digestibility. The supermarket display is intended in the vegetable section, because it is a basic food, with incredibly positive heal.
In the supermarket ecosystem, goods are delivered to supermarkets on roll containers. In order to secure the cargo and stabilize the containers, they are wrapped with a plastic film made of polyethylene. According to the manufacturer, PE stretch film is made of 100% recyclable plastic. However, it is a pure single-use product. In the supermarket, it is unraveled and disposed of after the goods are received. Thus, the film is unusable after only one use. With my design, I would like to explore an alternative for this disposable item.
Through a, made of 100% TPU security film this problem can be counteracted. Wrap it Up is a reusable and recyclable alternative solution to the conventional wrap film. On the one hand it stabilizes the roll container, on the other hand goods are fixed on the container and cannot slip. Due to the high quality plastic, it can be reused numerous times. Wrap it Up consists of a semi-transparent TPU film and several connectors, which are also made of TPU. The special feature is that the connectors taper so that they become very thin at the point of contact with the film. Both parts can be welded together. This means that no additional adhesive needs to be used and the mono-materiality is retained.
40% of the waste on the street is caused by disposable food packaging. In Germany alone, 770 T of takeaway packaging is generated every day. The largest share is accounted by packaging made of expanded polystyrene. Therefore, from July 2021 on, the EU Commission has introduced a regulation banning polystyrene food packaging. Plastics consisting of microparticles, such as polystyrene, are particularly difficult to dispose of. They break down into tiny particles and are easily released into the environment.
RE:ME is a reusable solution for expanded polystyrene food packaging and all other disposable containers. The box is made of a mono-material, designed to make recycling processes easier. It consists of a layered wall system. The outside is made of a food safe, high transparent, colour, odour, and taste neutral, chemical resistant, tough PPSU Plastic.
PPSU particle foam is sandwiched in the middle which is mainly used in transportation design and has great insulation properties. The different material properties allow, among others, to store hot and cold food and maintain their temperature. In addition, it can endure temperatures as low as -40 and +180 degrees, which allows it to be used in the fridge, freezer, oven, or microwave. The material supports a long lifespan and saves enormous amounts of resources, as it can be sterilised around 1000-1500 times before being recycled.
RE:ME can be developed into a wider system. The rectangular shape not only allows the most efficient use of volume, but also a wide range of food, from pasta to sushi, from burritos to soups. In addition, the concept can be thought further including different variations of boxes to include an even wider range of food varieties.
It is important to think differently about food, resources and materials and use them in the most efficient way.
DUCKIES is a 100 % TPU kids shoe integrated into a deposit and return system in shops and kindergartens. With a playful design that develops the wide toe position, DUCKIES borrows the look of a waddling duck foot to make the healthy foot position attractive for toddlers.
DUCKIES – Duck The System
Where can plastic still be useful today and take a sustainable approach? When working on investigating and highlighting sustainability in plastic, this project aims to question and shape not only the product but also the system, the community and the service behind it.
Kids’ feet grow up to 1-1.5 mm per month, which means that children‘s shoes have a short life. 95% of shoes end up in landfills!
57% of children wear shoes that are too small. This can be due to rapid growth as well as to our current shoe culture: shoes often offer the foot little free space, especially in the toe area. With a crooked toe position, kids risk malpositions and foot damage that can affect the entire body. 98% of all children are born with healthy feet but only 20 % can maintain this foot health in adulthood. This is why current trends are moving towards more barefoot running for children.
In its design, DUCKIES shows a radical paradigm shift in the shape of children‘s shoes. With a playful design that develops the wide toe position, DUCKIES borrows the look of a waddling duck foot to make the unusual shape of the healthy foot position attractive for toddlers.
The Radical Freedom of Toes enables the big toe to perform its natural function as an anchor and stabilizer for the foot and thus the entire body. Unlike normal shoes, which hold onto the foot due to the tightness in the toe area, DUCKIES give the foot its hold at the instep and at the heel.
Standing on a 0% heel, the skeleton is naturally aligned and the body weight is evenly distributed over the entire surface of the soles of the feet.
With the principle of extreme flexibility in all directions, push-off and balancing propulsion is mobilized and a real barefoot feeling is created.
DUCKIES was specifically designed according to the performance properties of TPU by BASF. It illustrates the versatility of the material in a ‚One material product‘. TPU meets the intended properties like extreme flexibility and lightness but slip – and abrasion resistance, comfort, nice haptic and breathability.
Following the 100% one material principle, DUCKIES proposes a sustainable use of plastic:
They can be recycled mechanically with relatively little energy, intensifying the material use in a closed product cycle until the material no longer performs.
Moreover, the deposit and return system reacts to the existing and established swap-, rewear- and second-hand culture of kids‘ products and enables access for an easy change of shoe sizes for families, tackling the high rate of children that wear too small shoes. When DUCKIES have been worn (and passed on), they are returned to the shop and can be exchanged for the next size.
Ich möchte mich mit meinem Entwurf an Menschen richten , welche sich in einer sich ständig veränderten Lebenssituation befinden, sogenannte „modern nomads. Sie leben in Städten, reisen viel und führen ein oft selbstständiges Leben und das meine ich auch in Bezug auf ihre Arbeitsverhältnisse. Für sie steht nicht der berufliche Erfolg im Fokus, sondern die gemeinsame Zeit mit anderen Menschen und ihre Verbindung zur Natur. Sie suchen nach ihren Wurzeln und einem Einklang mit der Umwelt. Ihr Erklärtes Ziel ist es ein in jeder hinsicht Bewusstes und nachhaltiges Leben zu führen. Die Idee meines Entwurfs soll eher als ein mögliches Prinzip Anklang finden. Durch die Niederkomplexität der verwendeten Technologie und deren Werkzeuge in Verbindung zu der leichten Zugänglichkeit von Materialien in Form von Halbzeugen. Dadurch kann man Lieferwege und Produktionskosten gering halten. Über dies hinaus kann ich mir vorstellen den Entwurf frei zur Verfügung zu stellen, damit sich jeder der ein solches 3 in 1 Objekt benötigt es sich selbst herstellen kann und die Vielseitigkeit der Anwendungen nutzen kann. Das 3 in 1 Objekt kann ein Steharbeitstisch sein, wenn man im Homeoffice arbeiten möchte. Ein Tisch, wenn man einen Tisch zum Essen oder Treffen auf dem Balkon oder in der Natur braucht. Oder eine Bank für drinnen und draußen. Jedes Objekt lässt sich unkompliziert umbauen. Das einzige Werkzeug was man braucht ist ein Hammer um die Beine aus den Steckverbindungen zu lösen, oder umgekehrt zu fixieren da es sich bei den Verbindungen im Holm um formschlüssige Steckverbindungen handelt. All das zusammen ermöglicht der Nutzer*in mit einem Bausatz drei Objekte nutzen zu können. Ich glaube dies trifft die Vorstellung von Menschen, welche einer spartanischen Lebensvorstellung folgen. Und sollten sich doch einmal die Lebensumstände ändern kann man den Bausatz einfach recyceln.
Swimfinergy is a swimming vest that supports the child in all learning phases. It’s made completely of thermoplastic polyurethane, thus making it easily recyclable after use. It consists of two modular parts to provide versatility of use and adaptability.
Swimming vests are usually made of different plastic groups to offer lightness, comfort and portability, however this makes the recycling process difficult or impossible. Children grow fast and learn to swim quickly. The average lifespan of a swimming vest is between 4 to 12 weeks. After use, they are disposed or burned for energy recovering.
Swimfinergy is a swimming vest that supports the child in all learning phases. Made completely of thermoplastic polyurethane, thus making it easily recyclable after use. It consists of two modular parts to provide versatility of use and adaptability.
The two parts used together place the child in a nearly vertical position, with its head above the water. Thus allowing it to practice its first swimming movements safely while offering stability and greater freedom of movement of arms and shoulders.
When the child feels confident in the water, the waistband helps it discover the swimmer’s horizontal position. The upper collar can be detached and used as a swimming board promoting active learning.
Swimfinergy can be easily washed and reused. When it reaches the end of its life it can be mechanically recycled without having to separate the different parts of the product.
Did you know that over 50% of all gravestones on German cemeteries come from Asia where they are often mined and processed under poor working conditions? We should not only be aware of the exploitation of labor and a big CO2 footprint when it comes time to choose a memorial due to the loss of a loved one. Choosing a gravestone means creating a personal place to remember and mourn. But what happens after 20 years when its lying has reached an end? Only a minority hold on to the stone, the rest gets disposed. In most cases the gravestones, with which we once chose to remember our loved ones, are turned into rubble. This degradation of a monument is contrary to the emotional value it was once imbued with, as well as to the value for material and labor that lies within.
An ULTRASTONE® is a new generation gravestone. It is made of Ultrason®E, a durable mono-plastic that can be recycled at least 4 times without any loss of quality. This would correspond to 4 lifespans as a gravestone. Due to the sustainable 3D printing technology and digital craftsmanship, an individual design of the gravestone can be implemented locally, with almost no production waste of the valuable material.
ULTRASTONE® is a circular design concept that uses the property of plastics‘ long lifespan within a controlled and closed system and offers a contemporary perspective on remembrance.
With CUBO, we have developed a reusable alternative packaging for dairy products in which the lid is firmly attached to the bottle. As a result, there is no material loss during the entire life cycle. This solves the problem that previous packaging cannot be reused in most cases. Multiple coatings and missing lids when returned make recycling impossible. CUBO combines the convenience of beverage cartons with the ecological materiality of existing deposit glass bottles.
A comparison of the life cycle assessments of different beverage containers shows that, in terms of sustainability, returnable deposit systems and tetrapaks are at the top of the list. Nevertheless, there are many problems that stand in the way of them being 100 percent sustainable. The commercially available beverage carton is not only made of paper but is usually coated with aluminum and plastic. In addition, the twist cap, which most of those products have, is also made of plastic. Overall, the company tetrapak itself, produces about 700,000 tons of plastic per year. Thus, the recycling of this packaging is difficult and is therefore not usually done. Only 33 percent getting recycled. In addition, most of them are thrown into the wrong garbage and thus cannot even be disposed of correctly. The situation is much better with reusable deposit systems. But here, too, the reusable cycle can usually not be completed because of-ten the lids, which are made of sheet metal and are also often coated with plastic, are either not returned or are too difficult to recycle. Both beverage cartons and conventional glass bottles therefore consist of several materials whose separation in the recycling process is not possible or too expensive.
Our goal with CUBO was to design a 100 percent returnable alternative to beverage carton and glass bottles. CUBO is a reusable alternative with the lid firmly attached to the bottle itself. This guarantees that no waste is generated during its entire life cycle. Industrially, on the other hand, the lid can be easily removed for cleaning and filling. It combines the convenience of beverage cartons with the ecological materiality of existing deposit glass bottles. Due to the under-cut-free shape, industrial cleaning of the bottle can be carried out in a much more resource-friendly manner than with conventional glass bottles. The lid can be opened completely in half. Thus, any contents can be poured out comfortably. Food products such as viscous dairy products like yogurt can also be conveniently completely consumed due to the omission of undercuts. In addition, the glass form can be produced more easily, since it is completely open on the top. Another problem with the handling of glass bottles is the lip of the spout. When pouring slowly, the contents usually drip down the neck of the bottle. To protect the glass from breaking, it must be strongly rounded. However, in our design, the edge of the glass is protected by the plastic cap all around, so we can use a sharp edge. Thus, CUBO represents a completely ecological alternative to conventional beverage containers.
Anton Oberländer 3 Sem. WS 2021/22 | Luca Ortmann, 3 Sem. WS 2021/22 |
A reusable meal-kit delivery packaging During the pandemic, there’s a growing favor for meal kit services that allow consumers to skip the food prep process. Their delivery packaging is usually consisted of a cardboard box, a layer of insulation and ice packs. To minimize the environmental impact of single-use materials in these packaging, Pubo is created as a reusable alternative. Made of abrasion-resistant TPU sheet from BASF, the light-weight inflatable box provides both insulation and cushioning.
We aimed to reduce plastic dependency in the packaging industry by designing a berry tray made of paper pulp, which is easily moldable. We were inspired by the geometry of the egg-carton, which implements dents that give rigidness to the form. BAYAS implements a new way of transporting these trays: instead of using boxes, we designed a grid-template, which uses less cardboard. The trays fit into the dents of the grid, allowing a safe transport
During the implementation of our project, we identified and contextualized the problem of consumption in the supermarket. In particular, we looked at the amount of waste and material consumption for transport packaging (such as cardboard boxes, which are produced in large quantities and thrown away after use) and packaging (which is mostly plastic). These plastic packaging materials not only have advantages such as less weight, transparency, flexibility and cheap production, but also have huge social and environmental impacts, as they have been produced in a drastic amount of 8.6 billion tons since 1950, of which only 9% have been recycled. Although there are recycling systems for this material, almost half of the collected material ends up in waste incineration, which causes high emissions of toxic gases.
On the side of producing cardboard boxes in quantities for transportation, the problem of resource and energy consumption for the production of these boxes and their immediate disposal (which often takes place in supermarkets) becomes obvious.
Since we wanted to focus our project on products packaged in plastic, where plastic is also used as a means of transportation, we came up with fruits and vegetables. In this context, we saw the challenge of redesigning the packaging of berries, because plastic is still commonly used for fruits that are sensitive to external damage. Therefore, we decided to look at sustainable production alternatives for packaging that avoid the use of plastic. One of these alternatives is the production of materials from recycled paper fibers and water. This material is not only considered sustainable compared to plastic, but it is also easy to shape, durable due to the binding of compressed paper fibers, and has low production costs.
For this packaging, we made sure to create a geometry that provides stability and security for the contents by adding dimples in the walls and a rim that allows for better handling. In addition, when we redesigned the berry packaging, we came up with the idea of a new type of transport box that is reduced to a grid template and made from recycled cardboard.
This grid weighs only half as much as a cardboard box used for transporting berries, and allows for easy locking of the package by means of intersecting crosses, which makes it almost impossible to shift it unintentionally when transporting the berry package. The grid also covers the contents during transport, so there is no need to put a lid on the container. The semi-cylindrical geometry of the container facilitates handling during transport.
For the production of the two elements, we have designed two corresponding molds (one negative and one positive) that correspond to the actual industrial pulp molding process. For this process, we use a mixture of paper pulp, recycled cardboard and water. When preparing the mixture, we add salt to prevent mold formation when in contact with moisture.
Maria Salamanca Millán, 3 Sem. WS 2021/22 – Gloriana Valverde, 5. Sem WS 2021/22 – g
a circular packaging concept for cleaning products monoplan introduces a new take on refill stations for liquid detergents or cleaning agents. The reusable bulk bag deflates while dispensing, enabling both minimal residue and return volume, ensuring sustainability. It is designed to be refilled in a cradle-2-cradle cycle and eliminates the exhaustive process of internal cleaning before refilling. Once worn out, the bag can be materially recycled due to its mono-material fabrication. It also features an intuitive dispenser that guarantees spill-free bottling – regardless of content.
a packaging which makes fruit and vegetables last longer
Immerfrisch is a packaging which tackles food waste in the supermarket. During the pulp moulding process of immerfrisch zeolite is added to the material. Zeolite is a mineral, which adsorps ethylene, the gas responsible for the ripening process of fruit and vegetables. Fresh produce stored in immerfrisch has a longer shelf life and gets wasted less.
Every year about a third of all food gets thrown away. This is a huge loss of energy, water, agricultural areas, money and other valuable resources. Supermarkets and grocery stores play a huge role in this because they´re the second biggest food wasters after private households. Because of poor shelf management, consumer habits and the abundant amount of produce available, a lot of groceries land in the trash before they can be sold. Especially fruit and vegetables are at high risk to get wasted. The main problem is to keep fruits fresh and attractive looking because naturally they go bad fast. If it is possible to prolong the shelf life of fruits for even just one day up to 40% of fresh produce could be saved and sold. Immerfrisch offers a way to prolong the freshness of fruit and vegetables. The fruit trays are made from moulded pulp with the addition of zeolite. Zeolite is a mineral which occurs naturally or can be manufactured in the lab. It has the ability to adsorb ethylene, the gas responsible for the ripening process of fruits and vegetables. By binding the ethylene zeolite slows down the ripening process and fresh produce stays fresh longer. Immerfrisch is stackable to create a closed room for the produce and to ensure the best adsorption of ethylene and therefore the longest possible freshness and minimal food waste.
is a basket that facilitates supermarket shopping by bicycle
Although shopping is one of the most common mobility activities in everyday life, along with commuting, there are hardly any transport containers designed specifically for this purpose. Otter offers the possibility to easily attach groceries to the bike. By using only polyamide and ensuring that all individual parts are repairable and interchangeable, a new direction in sustainable product development is demonstrated.
a concept for the packaging needs of the future, where supermarkets become obsolete and are replaced by online stores and warehouses.
Ebay supersedes flea markets, Amazon crushes department stores, and supermarkets will be substituted next. As such the packaging of the future should no longer cater to the concept of a physical store. It’s goals are space optimisation, digital processing, stack-ability, handling, resource conservation and integration into digital platforms including our digital lives.
According to a study by ZALf (Leibniz Centre for Agricultural Landscape Research), a city like Berlin can be fully supplied with food produced within a radius of less than 150km. Using design objects to communicate, the project > 150km envisions an urban society that strives for a direct connection to its food by consuming only products that come from its immediate surroundings.
envisioning a food system for tomorrow:
Every year, millions of tons of food are shipped around the globe to ensure the ready availability of fresh produce in the global North. This long-established food system causes an enormous amount of emissions and food waste. It also puts great pressure on the Third World and developing countries to meet this demand.
By 2050, more than 80% of the world’s population will live in cities, further increasing their dependence on the food industry. So change is needed, and not just to achieve the Green Deal 2030, but a society loses its connection to food production and thus its independence. <150 km envisions what the future could look like if humanity manages to solve these major problems and change its lifestyle to super-local production with strong citizen participation.
According to a study by ZALf (Leibniz Centre for Agricultural Landscape Research), a city like Berlin can be fully supplied with food produced within a radius of less than 150km. Using design objects to communicate, the project <150km envisions an urban society that strives for a direct connection to its food by consuming only products that come from its immediate surroundings. The range of food is defined only by local products. However, they are changing from being places of fast to conscious consumption. Instead of space-consuming discounters, supermarkets are blending into the cityscape and becoming places of social interaction. In 2050, people will no longer go to the supermarket to get something quickly, but to be inspired by what is on offer.
The <150km project represents this reality using various objects. The concept of <150km is transferred to the objects. All products are made from materials sourced in the vicinity of Berlin. Clothes made of linen and hats made of straw. Aesthetic gardening tools made from recycled aluminium to integrate gardening into daily life. Seed banks made of clay to enhance and individualise the seeds. Knives made of recycled steel that have adapted to the changing food culture. This reality is presented through the fictional characters Lilli and Musa, who live in Berlin in the year 2050. These products represent excerpts from their lives.
The Compagnon bike shopper, it’s a return of a classic. The design is inspired from an iconic shopping basket. However it is equipped with an additional suspension for the bike rack – a small detail with a high symbolic power, converting and combining classical shopping basket and a bike shopper. It’s the longlife alternative to familiar shopping bags and boxes at the supermarket’s checkout. Made to last and to reuse.
Car Free Zones and Cycling paths as part of many cities‘ strategies and aspirations to support sustainable living are on the rise. At the same time the need for local food supply through supermarkets and grocery stores remains. Especially the demand for fresh and healthy food from local sources – despite the trend of shopping groceries online – is growing.
The Bicycle as a medium of transport will become more and more important for short and intermediate distances in urban areas. Yet supermarkets are focusing on car-using-customer’s needs and growing supply of parking spaces but sooner or later alternatives have to be found to put greener solutions into place.
Introducing Compagnon bike shopper, it’s a return of a classic. The design is inspired from an old iconic shopping cart. However it is equipped with an additional suspension for the bike rack – A small detail with a high symbolic power, converting and combining classical shopping basket and a bike shopper. It is made from solid stainless steel wires, highly robust but lightweight at the same time. Compagnon is a ready to use and easy to handle, low price bike shopper available at the check out of local supermarkets.
It’s the longlife alternative to familiar paper shopping bags, plastic bags or shopping boxes at the points of sale. Made to last and to reuse.
Jonas Fehrenbach, WS 2021/22 –
Marek Asamoah, WS 2021/22 –
a game to make cooking easy, intuitive and fun
Two people or more at a table, half a million food combinations, more than a million taste buds on a tongue – lets have some fun!
EaTable is a game to motivate young and elderly to cook together, get more creative and intuitive and make cooking as easy and fun as possible. In the middle of the playing field one spins a bottle and starts picking cards from the stacks each round, until the first player has assembled four ingredients. The group then decides who has to offer the best sounding dish that then will be cooked. One game takes no longer than 15-30 minutes.
Based on the science of food pairing EaTable has five different aromatic groups that will ensure each dish turns out tasty yet exotic.
My approach was to link two problems, to bring less plastic and canned food into circulation and to offer our organic leftovers another use besides compost. They can be used to make dry dog food, to buy less plastic-packed food and to make good use of nutrient-rich organic
The optimization of the Hermetia illucens (Black Soldier Fly)
A systematic approach that caters to the life cycle of the Hermetia Illucens (The Black Soldier Fly) to be then optimized for our society and ultimately the environment. A concept of reinventing the consumer’s food supply choices by the desensitization of insects in which they are intriguingly exhibited for acceptance.
CITY CHICKENS adds to the beauty of cohabitation of different species in cities by reviving the coexistence of humans and farm animals in urban areas. A colorful housing system integrates wild chickens functionally and socially into small and large, private and public urban green spaces.
Our senses show us what we like to eat. But what else could we like to taste? How can we cook to find new taste experiences? One possible approach is “foodpairing”. Through a precise flavor analysis, we know which foods and spices go together or support each other in their flavor.I have integrated this information into the shelf system “Spice Up”. A color and symbol system accompanies us while cooking and supports us to combine our spices and foods. In addition to our experience of cooking, we have more possibilities to enjoy food. By using the knowledge of flavor components, we can find unexpected flavor combinations or rediscover familiar tastes.
I’m setting out to rethink the systems and habits around producing, packaging and delivering meals with the goal of providing a hands-on vision of a possible future that doesn’t deny current and future developments of the technologies and economics in food and transportation, yet finds a way to make them work in the interests of a humanitarian society.
Zine.ria – zinnieren für eine bessere Welt | Bachelorarbeit 2020
Zine.ria ist ein frisch gegründeter Zine-Verlag aus Berlin. Wir gestalten und publizieren Zines: Bunte Hefte, die von selbsternannten Autor*innen hergestellt und in kleinen Auf- lagen veröffentlicht werden. Die vielen unterschiedlichen Geschichten und Visionen, die immer aus der Perspektive der Autor*innen selbst erzählt werden, bieten einen poeti- schen Zugang zu den Themen Stadt und Commons. Es geht hierbei nicht darum, konkrete Nutzungskonzepte für Orte zu erstellen, sondern vielmehr um einen individuellen Blick und die assoziative Ebene der Transformation. Die Zine.ria hat sich am Tempelhofer Flughafen niedergelassen und bietet die Möglichkeit diesen Ort zu erkunden und über ihn zu schreiben, zu zeichnen und zu dichten.
Der Verlag hat sich aus Rücksicht auf die Umwelt auf Online- Zines spezialisiert, veröffentlicht aber auch Zines im Rahmen von Ausstellungen und/oder zu besonderen Anlässen. Zine.ria bietet Workshops an und ist selbst auch eine lernende Organisation. In den Workshops wird kein Wissen patentiert sondern wild weitergegeben. So kann jedes erstellte Zine wieder zu Collage-Material und somit kreative Anregung für neue Zines werden.
Jede*r kann zinnieren und jedes Zine hat seine Nische!
Zineria is a newly founded Zine publishing house from Berlin
We design and publish zines: colorful magazines that are published by self-appointed authors. The many personal stories and visions, always told from the perspective of the authors themselves are creating visions and dreams for public space. The Zineria has settled at Tempelhof Airport and offers the opportunity for sharing thoughts and ideas about that place.
The Zineria has specialized in online zines out of consideration for the environment, but also publishes zines in the context of exhibitions and/or on special occasions. Zineria offers workshops and is itself also a learning organisation. In the workshops no knowledge is patented but wildly passed on. So every created zine can become collage material again and thus creative inspiration for new zines.
Neue Zeiten, neue Möbel. Homeoffice hat sich durch die Pandemie etabliert und wird weiterhin Teil unseres Alltags bleiben. Wir leben und arbeiten jetzt zu Hause: wo Räume hybrid werden, will wenig Raum gut genutzt sein. Die Ansprüche an unsere Möbel verändern sich, da das Büro zu Hause Einzug findet. Da uns im urbanen Raum immer weniger Wohnraum zur Verfügung stehen wird, ist es an der Zeit ein zukunftsorientiertes Umdenken in Sachen Raumgestaltung anzustoßen.
Die Pandemie hat die Welt fest im Griff. Wenn sich in den vergangenen zwei Jahren eines gezeigt hat dann, dass es in der modernen Arbeitswelt in vielen Bereichen möglich ist, von überall aus zu arbeiten. Jedem Arbeitnehmer sollte deswegen ein Arbeitsplatz zur Verfügung stehen, an dem er produktiv und vor allem gesund seinen Tätigkeiten und Aufgaben nachgehen kann – auch im Homeoffice.
Das Sitzobjekt versucht Arbeit und Wohnen spielerisch zu verbinden und steht Symbolisch für eine Work-Life-Balance bei der wir auch zu Hause gesunde Pausen einlegen. FourOne fördert die optimale wechselseitig Anpassung des Menschen an seinen Arbeits- und Wohnumfeld.
Auf vier Seiten des Multi-Chair können verschiedene Sitzpositionen eingenommen werden, welche die organische und aufrechte Körperhaltung unterstützen. Kompatibel im Raum zielt es auf eine inspirierende Arbeitsatmosphäre ab.
Jede Position fördert eine andere Haltung.
It’s important to take a break. Changing position helps changing the perspective.
It’s your day. Chose position for your workflow
New times, new furniture. Home office has been established by the pandemic and will continue to be part of our everyday life. We now live and work at home: where spaces become hybrid, little space wants to be used well. The demands on our furniture are changing as the home office takes hold. With less and less living space available to us in urban areas, it’s time to initiate a forward-thinking rethink of interior design.
The pandemic has the world firmly in its grip. If the past two years have shown one thing, it’s that in the modern working world, it’s possible in many areas to work from anywhere. Every employee should therefore have a workplace where he or she can pursue his or her activities and tasks productively and, above all, healthily – even in a home office.
The seating object attempts to combine work and living in a playful way and is symbolic of a work-life balance in which we also take healthy breaks at home. FourOne promotes the optimal mutual adaptation of people to their working and living environment.
On four sides of the Multi-Chair, different sitting positions can be adopted that support organic and upright posture. Compatible in the room, it aims to create an inspiring working atmosphere.
Each position promotes a different posture.
It’s important to take a break. Changing position helps changing the perspective.
It’s your day. Chose position for your workflow.
Betreut durch:
Prof. Ineke Hans, Prof. Holger Neuman, WM Steffen Herm
Zeit wird in der heutigen kapitalistischen Wirtschafts- und Gesellschaftsordnungallmählich zu einem Marktwert und einer kostbaren Ressource. Der Kapitalismus ordnet allem was wir in einer bestimmten Zeitspanne tun einen bestimmten Geldwert zu. Rentabilität, Produktivitätssteigerung und Optimierung von Arbeitsprozessen sind allgegenwärtig undtief mit den Ideologien der Leistungsgesellschaft verwurzelt.Jede ungenutzte Sekunde ist ein Produktionsverlust. Jede Fehlzeit bedeutet Einnahmeverlust. Welche Auswirkungen hat diese aktuelle Entwicklung im Spätkapitalismus auf die kreative Tätigkeit eines Modedesigners, wenn die tickende Uhr immer mehr den Arbeitstakt vorgibt? Durch ein Selbstexperiment mit rigorosen Bestimmungen und Beschränkungen der Arbeitszeit wollte ich eine Antwort auf diese Frage finden.
In today’s capitalist economic and social order, time is gradually becoming a market value and a valuable resource. Capitalism assigns a certain monetary value to everything we do in a certain period of time. Profitability, increased productivity and optimization of work processes are omnipresent and deeply rooted in the ideologies of the performance society.
Every unused second is a loss of production. Every absence means loss of income. What effects does this current development in late capitalism have on the creative work of a fashion designer if the ticking clock increasingly dictates the work cycle? I wanted to find an answer to this question through a self-experiment with rigorous regulations and restrictions on working hours.
Betreuer: Lars Paschke und Carolin Lerch
Credits:
Foto Laura Schaeffer @lauraschaefffer Hair Naomi Gugler @naomzz Make-Up Hungry @isshehungry Model Zarah Kofler @zarahkofler
Emotionale Technologie bezieht sich auf Konzepte und Haltungen, dass die Technologieentwicklung nicht nur allein unter Effizienz und Performance-Aspekten betrachten, sondern auch auf die psychologischen und emotionalen Potenziale der Technologie für die Zukunft ausüben kann.
In diesem Projekt sehen Sie drei Entwicklungsphase. In dem Lampe Design der ersten Entwicklungsphrase, wird das Objekt durch die Zufälligkeit der Programmierung gegen die Anforderung der Menschen isoliert. In der zweiten Phase können die Menschen durch Technologieentwicklung die emotionale Beziehung mit dem Objekt erfahren und lernen. Das Design in der dritten Phase ist ein Einblick in der Zukunft sowie ein Szenario, in dem die Menschen durch Technologie alle Objekte emotional interagieren können.
Neben dem Machine-Learning bringt dieses Projekt den Begriff „Human-Learning“ vor. Technologie wird zum Kommunikationskanal zwischen Menschen und Objekte. Menschen nutzen Technologie, um die emotionale Beziehung zu allen Objekten zu erfahren und zu lernen. We are learning that we love each other. Für Designers wird es eine große Herausforderung und Verantwortung sein, in Zukunft eine Welt voller analog und digitale Objekte zu entwerfen.
Emotional technology
We are learning that we love each other.
Emotional technology refers to concepts and attitudes that technology development can not only consider in terms of efficiency and performance, but can also exert the psychological and emotional potential of technology for the future.
In this project you see three development phases. In the lamp design of the first development phrase, the randomness of the programming isolates the object from people’s requirements. In the second phase, people can experience and learn the emotional relationship with the object through technology development. The design in the third phase is an insight into the future as well as a scenario in which people can emotionally interact with all objects through technology.
In addition to machine learning, this project uses the term “human learning”. Technology becomes the communication channel between people and objects. People use technology to experience and learn the emotional relationship with all objects. We are learning that we love each other. It will be a great challenge and responsibility for designers to design a world full of analog and digital objects in the future.
Ob sichtbar oder unsichtbar- der intelligente Code des Universums ist allgegenwärtig und fraktal. Was für uns aussieht wie Chaos ist ein Muster, welches sich immer wieder wiederholt- vom Blatt bis zum Ast, zur Wurzel, bis zum Wald in seiner Gesamtheit. Das Einzelne entspricht dem Ganzen, entspricht dem Einzelnem. Übersetzt hat diesen Code 1975 Benoit Mandelbrot durch eine unendliche Iteration der Julia- Gleichung und der grafischen Darstellung der Ergebnisse in ein Koordinatensystem; es entsteht die 4. Dimension und die fraktale Geometrie wurde zum ersten mal sichtbar. Auf diese Entdeckung aufbauend beschäftigt man sich tiefer mit der Thematik und stellt fest, dass sowohl Energie und Kraftwellen, als auch die Wahrnehmung von Zeit durch fraktale Phasen konjugiert werden. Durch eine Spiralförmige Anordnung der Wellenlinien ergibt sich eine Implosion Richtung Zentrum. Es entsteht ein Strudel, der durch „acceleration of charge“ zur Entstehung unseres Sonnensystems und zur Schwerkraft führte. Die fraktale Geometrie in ihrer mathematisch-spirituellen Komplexität und Schönheit wird in dieser Installation auf eine Plattform projiziert, wie sie auch im Cosmos auf alles angewendet werden kann. Die zum Zentrum gerichtete Facettierung simuliert die Implosion und vereint so allegorisch die Ansätze verschiedener Fraktal-Pioniere des 20Jh.
In some cases we can see it, in some we don’t, the intelligent code of the universe which is omnipresent and fractal. All looks like chaos but is determined patterns, which are repeating themselves eternally- like a leaf looks like the root, looks like the forest in its entirety.
The code of nature got translated by Benoit Mandelbrot with the iteration of the Julia-Set which outcomes he graphically put in a system of coordinates. He discovered the 4. dimension and the fractal geometry. To get deeper in the topic you will see that energy waves as well as time itself is conjugated in fractal phases and causing all kinds of power and phenomena. This installation shows the scientific beauty of fractals and the artistic entitlement. The generated facets on the platform are synchronized to the centre of the animation whereby an implosion fractal is simulated.
Wie weit wird das Digitale in Analoge Bereiche vordringen?
Der Hammer zählt die Schläge. Er besitzt ein digitales „Leben“. Je nach Stärke und Anzahl der Schläge die ausgeführt werden, wird die Lebenszeit verkürzt. Ab einem ungewissen Zeitpunkt wird auf dem Display zu lesen sein: Produkt abgelaufen – bitte Entsorgen“. Wirder weitergenutzt werden? Wieviel Technik brauchen wir? Wann macht Tracking Sinn? Und in welchen Bereichen? Ist ein Mehr an Technik gleich Fortschritt?
Der Digitale Hammer ironisiert und vereint das Archaische mit demTrend der umfassenden Technologisierung.
MyMikroplastik
Das Objekt myMikroplastik stellt einen Nano-Plastikpartikel 300.000 – fach vergrößert dar.
Es ist eine Hommage an die Plastikverschmutzung durch den modernen Menschen. Durch eine akustische Verschmutzung sorgt es für eine Wahrnehmung dessen, was sonst durch den Menschen kaum wahrgenommen wird, für andere Organismen jedoch tödlich sein kann. Der Ton kann nur durch “aufheben” des Objekts unterbrochen werden.Der Mensch hat seine Umweltauswirkungen praktisch in der Hand.
Was wäre, wenn wir allen Spezies durch Künstliche Intelligenz eine politische Stimme geben könnten? Würde dadurch Gerechtigkeit zwischen Menschen, Tieren und Pflanzen entstehen? Wie schaffen wir es ihre Bedürfnisse in unserem Alltag sichtbar zu machen? Erreichen wir durch Sichtbarkeit und Erlebbarkeit Verständnis? Können und Soziale Netzwerke, Künstliche Intelligenz und Augmented Reality dabei helfen, unseren verlorenen Zugang zur Natur neu zu entdecken?
Three weeks ago the Designathon Zürich organized their first digital, international unconference – because of the great feedback we will repeat this format again next Saturday! But this time, we will focus on the power of Objects. TOPIC EDITION 2.0
In edition 2.0 «The Power of Objects» we’d like to invite you to come up with ideas surrounding things or architecture. We engage you to think about the empowerment or domination through objects and to create awareness of the influence of objects on everyone of us. Possible questions might be: Do we need new objects? Does the weapon kill or the human? Do objects have a gender? Should we have an organ donation obligation? How long can you survive without a smartphone? Do we dominate it or are we being dominated?
What are the topics and questions that interest you? We are keen to hear that and discuss it with you!
WHY WE DO AN UNCONFERENCE?
Since many parts of the world are enclosed, we want to create a platform for connections! Therefore we organise an unconference with no borders together with our partners in crimeUrban Equipe.
An unconference is a participant-driven meeting day where topics are chosen by you and other attendees. In other words, we invite you to form the unconference at the same time as you are participating – to learn, teach and discuss together. We only define some basic structure
around it. One aim of our association is to support the exchange in the society, beyond social circles, companies or universities. With these series of digital events we want to keep up the exchange.
HOW TO?
We will start at 9:30 am Central European Time (CET: UTC+02:00) with a digital call together and coffee or tea at home. If you haven’t done already, you will have time to come up with a proposal for a topic.
Then there will be a small introduction of the topic «power of the objects». Followed up by collecting your questions and subtopics that you want to discuss. So if you want to tell the audience some of your thoughts, present a project you did surrounding this topic or if you just have an urgent question that you want to discuss with an international audience, you are welcome to present that. After collecting all inputs we vote together and select nine of them.
From there we will split off into groups and dig deeper into the topics that interest us the most. Each group will discuss and give their presentation. When we have finished the last discussion in the individual groups, we meet again all together for a feedback round and to say goodbye around 2pm!
Till then – stay safe!
We would love to see you next week.
Your Designathon Team
-> The event is free but registration is needed (limited spaces) please register here https://bit.ly/2Vt6n1w
die aktuelle Situation bindet uns an unser Zuhause, unsere Wohnung, unsere WG Zimmer. Wir haben von Vielem weniger und von Manchem vielleicht mehr. Die Pandemie verschiebt weltweit das, was wir gewohnt waren. Das Sommersemester wird am 20. April starten – zunächst ohne Präsenz. Die Umstellung auf Online-Lehre ist herausfordernd, wird in Teilen sicherlich provisorisch und experimentell sein. Lassen wir uns darauf ein und sehen es als eine gemeinsame Testphase für Dinge, die wir sonst nie probiert hätten. Materielles wird sich stärker ins Synthetische verschieben. Nähe durch Ferne ersetzt. 3D werden wir stärker 2D verhandeln und erleben müssen. Trotzdem. Wir wollen diese ganz besondere Zeit nutzen, um eine ganz eigene modespezifische künstlerische Auseinandersetzung zu führen, das Handwerkliche nicht zu kurz kommen lassen und gemeinschaftlich auch noch Gutes tun.
Das Institut hat im letzten Sommersemester eine wertvolle Sammlung von Tischdecken geschenkt bekommen. Es sind alles Unikate, die unterschiedlichst bestickt und gestaltet sind. Wir wollen das „Gegebene“ nutzen, um wieder etwas zu „Geben“. Als gemeinsamen Ausgangspunkt erhält jeder Modestudierende zwei Tischdecken dieser Sammlung mit dem Auftrag, diese neu zu denken, be- oder umzuarbeiten u.v.m. Ziel ist, mit den entstandenen „Werken“ am Ende des Sommersemesters in einer konzertierten Aktion (Veröffentlichung, Auktion, Ausstellung etc.) Spendengelder zu generieren. Wir werden gemeinsam entscheiden, wem diese zu Gute kommen sollen.
Die Auseinandersetzung und Bearbeitung der Tischdecken ist integrativer Teil der jeweiligen Entwurfsprojekte. Jedes Lehrendenteam wird eigene Schwerpunkte setzen, so dass am Ende ein Projekt entsteht, dass individuell, kollaborativ und sozial engagiert ist.
Wir freuen uns, dass ihr – auch unter diesen aktuell schwierigen Bedingungen – mit uns in das Sommersester 2020 startet!
Um für euch ein digitales Semester auf die Beine zu stellen, haben wir uns einiges überlegt, manches verändert und wieder anderes doch einfach so gelassen wie es „vorher“ war. So zum Beispiel die digitale Projektbörse für die Wahl der Entwurfsprojekte im Produktdesignbereich.
Dieses Semester startet sie am Donnerstag den 16.04. um 10:00 und endet am Montag den 20.04. um 12:00.
Für eine optimale Orientierung innerhalb der jeweiligen Semester gibt es wie gehabt den Stundenplan SoSe 2020,
denn die Wochenstruktur bleibt auch im kommenden Semester, wie bekannt bestehen.
Um an Kursen teilnehmen zu können und zu den virtuellen Meetings eingeladen zu werden,
schreibt euch bitte für eure Kurse vorab im Moodle ein!
Falls einer der Kurse nicht im Moodle zu finden sein sollte, schreibt bitte der*m Lehrenden vor Kursbeginn eine E-Mail.
Die E-Mail-Adressen der Lehrenden findet ihr anstelle der Raumangabe im Stundenplan.
Fragen zur Handhabung etc. bitte entweder direkt an den Lehrenden, der das Projekt betreut oder wenn es um technische Fragen geht gerne an Anja Lapatsch und Jussi Ängeslevä:
und
DIES BETRIFFT VOR ALLEM DIE PRODUKTDESIGNSTUDIERENDEN DA DIE MODEDESIGNSTUDIERENDEN IHRE PROJEKTE SCHON GEWÄHLT HABEN!
KIDS DESIGN AWARD 2020 – Nachwuchsförderpreis für Designstudenten und Jungdesigner
Angehende Designer und Berufseinsteiger können sich bis zum 31. Mai 2020 für den „Kids Design Award“ bewerben. Der Nachwuchsförderpreis der Koelnmesse prämiert herausragende und zukunftsweisende Konzepte und Entwürfe für Kinderausstattung und Kindermöbel.
Die Jury nominiert zehn Entwürfe, die als Prototypen auf der Kind+Jugend vom 17. bis 20. September einem internationalen Publikum präsentiert werden. Die Kind+Jugend ist die internationale Leitmesse für hochwertige Baby- und Kleinkindausstattung und zählt jährlich über 22.000 Fachbesucher.
Neben der achtköpfigen Expertenjury begleiten auch renommierte Hersteller den Award in allen Phasen.
Als Produktpaten unterstützen sie die Nachwuchstalente dabei, die eingereichten Entwürfe bis zur Marktreife zu entwickeln und erleichtern ihnen den Markteintritt. Die Jungdesigner haben zudem vielfältige Möglichkeiten, wichtige Kontakte in die Branche zu knüpfen.
Teilnehmen können alle Studenten der Studienrichtung Gestaltung/Design sowie Gestalter und Nachwuchsdesigner aus aller Welt, deren Abschluss nicht länger als fünf Jahre zurückliegt. Eingereicht werden können Konzepte und Entwürfe, die maximal als nicht marktreife Prototypen vorliegen. Bewerbungen können bis zum 31.05.2020 auf der Website eingereicht werden: https://www.kindundjugend.de/events/kids-design-award/kids-design-award.php
Aluminium ist heutzutage eines der meist genutzen und abgebauten Metalle auf der Erde. Das elegante silbrig-weiße Metall wiegt nicht nur 2/3 weniger als Stahl, sondern ist auch hoch elektrisch leitfähig, nicht-rostend sowie gut wärmeableitend. Aufgrund seiner vielseitigen Eigenschaften findet es auch in der Produkt- und Möbelindustrie immer mehr Anwendung. Der Entstehungsprozess des Materials ist allerdings mit gewaltigem Energieaufwand verbunden und sehr umweltschädlich. Eine Alternative zu Primäraluminium ist Sekundäraluminium, welches durch Recycling aus Altaluminium oder Alu-Schrott wiedergewonnen wird. Wie können, im Falle von Aluminium, also Möglichkeiten der ressourceneffizienten Nutzung innerhalb eines Produktkreislaufs aussehen? Ein Teil aus reinem Aluminium kann beispielsweise beliebig oft recycelt werden, solange es nicht mit anderen Metallen gemischt wird.
Modelle der sog. „Circular Economy“ beschreiben hierzu verschiedene Strategien und Konzepte zur Gestaltung einer regenerativen Kreislaufwirtschaft. Dabei spielen bspw. Aspekte des Materialrecyclings ebenso eine Rolle wie die Optimierung von Produktionsprozessen.
Die Frage ist wie könnte ein Aluminiumprodukt konzipiert sein, das Material und Herstellungsverfahren möglichst effizient nutzt? Welche Aspekte müssen berücksichtigt werden um einen sinnvollen Produktkreislauf zu ermöglichen?
Im Zuge meiner Masterarbeit möchte ich ein Produkt entwerfen, welches Aluminium ressourceneffizient verwendet und ein Beispiel aufzeigt wie das Material innerhalb eines Produktkreislaufs zurückgewonnen werden kann.
Erste Ansätze verwenden Aluminiumbleche fast reiner Qualität, die nur laser-perforiert werden und bspw. als flaches Teil verschickt und zuhause aufgebaut werden können.
Wie können uns Analysen von Objekten zu einer kritischen Reflexion von heteronormativen Geschlechtervorstellungen verhelfen?
In meinem Masterprojekt setze ich mich mit der heteronormativen Geschlechterordnung unserer Gesellschaft auseinander und werde deren Beziehung zur Objektwelt kritisch hinterfragen. Mit Hilfe von Umfragen und Experimenten untersuche ich welche Objekte – in ihrer Formgebung, Farbe, Materialität, Funktion, im Gebrauch, dem Herstellungsverfahren und durch ihre Bezeichnungen – binäre Geschlechterbilder aufzeigen und somit in der Gestaltung reproduziert werden. Gemeinsam mit anderen Designer:innen versuche ich zu ergründen, welche Stereotype von Geschlecht spezifische Objekte wiederspiegeln. Die Forschung besteht darin durch eine Objektanalyse die Heteronormativität unserer Gesellschaft zu erfassen und herauszuarbeiten wie folglich neue, veränderte Entwürfe von Gegenständen zu größtmöglicher Diversität in der Welt der Menschen und ihrer Dinge beitragen können.
An analysis of gender norms through objects
How can object analysis help us to critically refelect heteronormative gender conceptions of our society?
In my master’s project I deal with the heteronormative gender order of our society and will critically examine its relationship to the world of objects. With the help of surveys and experiments, I will investigate which objects reflect binary gender norms – in their shape, color, material, function, use, manufacturing process and by their names – and are therefore reproduced in their design. Together with other designers I will try to find out which stereotypes of gender are shown by these objects. The research consists of using object analysis to understand the heteronormativity of our society and to find out how new, changed designs of objects contribute to the greatest possible diversity in the world of people and their things.
The exploration and realization of monolithic yet flexible geometries are now, due to technological developments, more tangible. “Monolithic-yet-flexible“ describes the concept of compliance, where mobility is gained from the deflection of flexible members, rather than only from movable joints. Thus, compliance dispenses
with the traditional joint-concept while relying on control over the material and its reversible deflection. Structures, mechanisms, or entire objects can be constructed using this concept.
Deformations and instabilities are usually avoided in human-made engineering, as they often represent mechanical failure. The majority of existing designs are constructed on the requirement of being both stiff and strong; therefore, the distinctiveness of these properties is difficult to perceive. This results in a lack of differentiation, but stiffness and strength are not the same. Exemplary for this is the comparison between nature and human engineering.
Natural structures tend to be more flexible than human-made constructions, as human-made engineering relies on the criterion of stiffness. These structures contain a lot of material to reach stiffness. Nature’s engineering, on the other hand, tends to build on the criterion of strength while using less material. Considering movements from nature, it can be observed that they are mostly generated from bending flexible parts. Therefore, flexibility and compliance are nature’s concept for achieving movement.
However, nature’s examples show how integrating compliance into human-made engineering can lead to additional functionality. Monolithic-yet-flexible structures could improve or even add new functionalities to objects. Production methods, such as 3d printing, offer new possibilities to produce monolithic objects.
In unserem Masterprojekt beschäftigen wir uns mit innerstädtischer Individual-Mobilität und entwickeln ein leichtes Sharing-Fahrzeug, welches die Lücke zwischen Fahrrad, Motorroller und PKW schließt. Es soll einen geschützten Raum für eine Person und Gepäck bieten, ein ausgewogenes Gewichtsverhältnis zwischen Passagier und Fahrzeug haben, von einem Elektromotor angetrieben werden und möglichst wenig öffentlichen Raum benötigen.
Der Arbeitsalltag viele kreativer Berufe, wie Industriedesigner, findet heutzutage zu großen Teilen am Computer statt – eine Folge der Digitalisierung der Produktionstechnik. In den meisten Büros werden dafür auf all-in-one Kompaktgeräte, wie Apple iMacs oder Microsoft Studios benutzt, die durch ihre möglichst schlanke Bauweise Einbußen an Wartungsfreundlichkeit und Leistungsfähigkeit erfahren. Immer mehr professionelle Nutzer nehmen diese reparaturunfreundlichen Geräte als selbstverständlich wahr, und schaffen in Jahresabständen neue Hardware an. Das was bisher hauptsächlich für Smartphones galt, betrifft mittlerweile auch Arbeitsgeräte, bei denen Komponenten verlötet und verklebt werden. Einige Hersteller setzen zusätzlich auf proprietäre Schrauben, oder Siegel die beim Brechen die Garantie verfallen lassen. Der Nutzer wird so von Allem, was im Gehäuse seines Gerätes passiert, entmündigt. Dagegen hat sich das Right-To-Repair-Movement gebildet, das in USA und EU für eine Gesetzeslage lobbiert, die diese Praxis verbietet.
Das schon lange bestehende Gegenmodell des modularen PC-Towers scheint nicht attraktiv genug zu sein, da der Formfaktor auf alten Standards beruht und Rückwärtskompatibilität für lange Zeiträume garantiert wird.
In diesem Masterprojekt möchte ich ein glaubwürdiges Konzept für einen modularen Computer vorstellen, der die Vorteile beider Welten verbindet und dem Nutzer durch einfache Reparaturen die Souveränität über sein Arbeitswerkzeug zurückgibt.
Kunststoffe haben unser Leben bequemer gemacht. Die Verfügbarkeit von Einweggegenständen, zum Transport von Waren und als hygienische Verpackung für unsere Lebensmittel lässt uns eine Welt ohne Kunststoffe kaum vorstellbar erscheinen. Sie haben unseren heutigen Lebensstandard gleichsam ermöglicht und befeuert – eine kapitalistische Marktwirtschaft mit dem heutigen Angebot, der Verfügbarkeit und Bezahlbarkeit von Waren wäre ohne die mineralöl-basierten Kunststoffe nicht denkbar. Sie lassen sich billig in großen Mengen produzieren und mit enormer Präzision verarbeiten und vervielfältigen. Die Anwendungsmöglichkeiten sind nahezu unendlich.
Gleichzeitig sind die Vorteile dieser Werkstoffe zu einem ökologischen Problem geworden. Allein im Jahr 2010 gelangten etwa 8 Millionen Tonnen Plastikmüll in die Weltmeere. An den Stränden der Küstenregionen sammeln sich große Mengen an Müll. Die von den Meeresbewohnern aufgenommenen Mikroplastik-Partikel gelangen mitsamt giftiger Inhaltsstoffe über die Nahrungskette auch in unsere Lebensmittel.
Es soll ein Prinzip definiert werden, nach welchem gestalterisch eine Innovation in einem konkreten Produkt durchgeführt werden kann. Dieses Produkt soll dann hinsichtlich seines Gebrauchsprozesses sowie seiner Umweltverträglichkeit realistisch analysiert und der Vorteil des Gestaltungsvorhabens auf diese Weise belegt werden. Ziel ist es, ein realistisch umsetzbares und industriell anwendbares Prinzip mit einer neuen Produkttypologie zum Ausdruck zu bringen.
Plastics have made our lives more comfortable. The availability of disposable items, for the transport of goods and as hygienic packaging for our foodstuffs makes a world without plastics difficult to imagine. They have enabled and fueled our standard of living today – a capitalist market economy with today’s range, availability and affordability of goods would not be conceivable without the mineral oil-based plastics. They can be cheaply produced in large quantities and processed and reproduced with enormous precision. The application possibilities are almost infinite.
At the same time, the advantages of these materials have become an ecological problem. In 2010 alone, around 8 million tons of plastic waste entered the world’s oceans. Large amounts of garbage collect on the beaches of the coastal regions. The microplastic particles ingested by the sea creatures, together with toxic ingredients, reach our foodstuffs via the food chain.
A principle is to be defined according to which an innovation can be carried out in a specific product. This product should then be realistically analyzed with regard to its use process and its environmental compatibility, and the advantage of the design project should be demonstrated in this way. The aim is to express a realistic and industrially applicable principle with a new product typology.
Unsere Sprache und Schrift ermöglicht uns den Zugang zu fast unendlichem Wissen.
Können wir lesen, haben wir Zugriff auf jegliche Informationen, die uns in schriftlicher Form zur Verfügung stehen. Es beginnt bei Straßenschildern, U-Bahn-Anzeigen und Leuchtreklamen und geht weiter mit Romanen, Zeitschriften und Onlineartikeln. Das Lesen eröffnet uns die Türen zu einer Welt, die aus dem Erkennen von einzelnen Worthinweisen bis hin zum Verstehen ganzer Texte, aktueller Nachrichten und Zusammenhänge entsteht.
Doch wer hätte gedacht, dass fast jeder 3. deutsche Erwerbstätige nicht richtig lesen und schreiben kann!
Im kommenden Semester plane ich ein Tool zu entwickeln, dass das Lernen von Lesen und Schreiben unterstützen soll.
Der Entwurf eines neuen Mediums soll die Vorzüge von analog und digital kombiniert. Das Analoge bietet insbesondere den Vorteil physischer Erfahrungen, wobei das Digitale mit der Möglichkeit der Dokumentation und Reproduktion bestechen kann. Ich möchte das Lernen von Lesen und Schreiben so vermitteln, dass es zugänglich und verständlich ist, abwechslungsreich und nicht eintönig, dass individuelle Interessen und das persönliche Lerntempo berücksichtigt werden können und dass mehrere Lernkanäle und somit mehrere Sinne angesprochen werden. Am wichtigsten ist mir bei dieser Arbeit, dass der „Schüler“ – im weitesten Sinne – lernt eigenständig weiterzukommen und erkennt, dass es unheimlich viel wert ist, lesen und schreiben zu können!
Dieses Projekt basiert auf einer Spekulation: Technologie wird als eine eigene Spezies betrachtet, deren Ziel es ist sich auszubreiten und eine höhere Intelligenz zu entwickeln. Wie Gene bei biologischen Lebensformen suchen sich Softwareprogramme Körper um die Welt in einem ständigen Informationsaustausch wahrzunehmen. Diese Körper treten in Form von Produkten auf, die vordergründig einen direkten Nutzen für den Menschen liefern. Hintergründig tragen sie durch das Bereitstellen von ökonomischen Mitteln und Datensätzen zur Entwicklung von intelligenten Systemen bei. Viele dieser Systeme basieren auf dem Ansatz, dass Computer ihr Verhalten selbständig erlernen, anstatt nach vorgegebenen Regeln zu handeln. Dabei verarbeiten sie große Mengen an Daten, erkennen darin auftretende Muster und trainieren so ihr intelligentes Verhalten.
Maschinen verfügen über einen anderen Blickwinkel auf die Welt. Sie ahmen menschliche Sinne wie Sehen oder Hören nach, verarbeiten die wahrgenommenen Reize jedoch komplett anders. Um das zu veranschaulichen wurden in diesem Projekt drei Objekte ausgestellt, die jeweils für eine Phase des maschinellen Lernens stehen. Angefangen beim Erfassen der Daten über das Erkennen von Mustern bis zum Vorhersagen von zukünftigen Ereignissen. Diese drei Objekte nehmen die Umwelt auf verschiedene Weisen wahr, interagieren untereinander und mit den BetrachterInnen. Symbolisch stehen sie für ästhetisierte Technologien, die die Nähe von Menschen suchen und so über die physische Welt und ihre Abläufe lernen.
Handelt es sich bei diesem Prozess nur um den nächsten Schritt der natürlichen Evolution oder steht doch der Mensch im Mittelpunkt weil er diese Technologien erschafft?
Embodiments of learning machines
This project is based on a speculation: Technology is seen as a species that spreads around the globe to develop higher intelligence. Like genes in biological life software-programs search for bodies. These occur in form of products that perceive the world around in a constant information feedback loop. On one side they provide useful functions, on the other they generate economic drive and datasets to push their development. Many of theses systems are based on learning rather than following programmed rules. They process large amounts of data, find patterns and train their intelligent behaviour.
Machines have another point of view on the outside world. They imitate human senses like seeing and hearing but process stimuli in a totally different way.
To demonstrate that process of perceiving and learning about the world three objects are shown. Each stands for one phase in a machine learning process. Starting from collecting data to recognizing patterns to predicting future events. These three objects perceive the world around in different ways, interacting among themselves and outside persons. In a symbolic way they represent aestheticized technologies that try to get closer to humans for learning about the physical world. Is this whole process just the next step of natural evolution or is it all about human-centered progress?
Prozess
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