Archiv der Kategorie: Produktdesign

BILLIEBEAN | Alina Seegert

BILLIE BEAN

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.

Alina Seegert, 7 Sem. WS2021/22 –

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WRAP IT UP | Lukas Henneberger

WRAP IT UP

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.

Lukas Henneberger, MA WS2021/22 –

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RE.ME | Cathy Wolter

RE.me

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.

Cathy Wolter, MA WS2021/22 –

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DUCKIES | Kim Kuhl

DUCKIES – Duck The System

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.

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Kim Kuhl, MA WS2021/22 –

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NOMADS TABLE | Sebastian Schwindt

NOMADS TABLE

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.

Sebastian Schwindt, MA WS2021/22 –

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Swimfinergy | Jan Colomer

Swimfinergy

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.

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.

Jan Colomer, MA, WS 2021/22 –

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Plastic for Eternity | Charlotte Marabito

ULTRASTONE®

Plastic for Eternity

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.

Charlotte Marabito, MA, WS 2021/22 –

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CUBO | Anton Oberländer & Luca Ortmann

CUBO

a reusable glass bottle for dairy products

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 |

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PUBO | Jing Jin

PUBO

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.

Jing Jin, MA Anpassungssem. WS 2021/22 –

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BAYAS | Gloriana Valverde & Maria Salamanca Millán

BAYAS

A packaging and transport system for soft fruit

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

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monoplan | Tim Schuetze

monoplan

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.

Tim Schuetze, MA Anpassungssem. WS 2021/22 – www.timschuetze.com

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IMMERFRISCH | Paula Schwager

immerfrisch

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.

Paula Cosima Schwager, WS 2021/22 –

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OTTER | Max Hausmann

OTTER

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.

Max Hausmann, MA Anpassungssem. WS 2021/22 –

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SUPERWAREHOUSE | Peer Alexander Assman

SUPERWAREHOUSE

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.

Peer Alexander Assmann, WS 2021/22 –

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<150km | Laura Laipple

< 150km

a future vision on our food system

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.

Laura Laipple, 9 Sem. WS 2021/22 –

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COMPAGNON | Jonas Fehrenbach & Marek Asamoah

COMPAGNON

A shopping basket for Bicycles

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 –

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PERFORATION PATTERN | Linda Elsner

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PERFORATION PATTERN

Eine Perforation ist ein kleiner Ausschnitt in einem Material. In der Regel gibt es mehr als eine Perforation in organisierter Form, wobei alle Ausschnitte zusammen ein Perforationsmuster bilden. Perforationen können als Leitlinien für das Reißen von dünnem Material entlang einer perforierten Linie oder als Designelement für funktionale oder ästhetische Zwecke verwendet werden.

Ein einheitlich gerastertes Muster ermöglicht zwar eine Dehnung des Materials, durch die Skalierung einzelner Perforationen können jedoch präzise gerichtete Bewegungen erreicht werden. Je näher die Ausschnitte beieinander liegen und je größer der Ausschnitt, desto verformbarer wird der betroffene Teil des Materials. Attractors in Grasshopper machen dieses Prinzip mit sehr wenig Rechenleistung möglich.

Es wird ein Hex-Gitter mit einer vorgegebenen Anzahl von Zellen erstellt. Die Mittelpunkte jeder Zelle dienen als Zentrum für das jeweils gewählte Perforationsmuster. Der Attractor (beliebige Geometrie) bestimmt die Skalierung des Musters innerhalb der Hex-Gitterzelle. Je näher sich eine Zelle an der Attractor Geometrie befindet, desto größer wird das Perforationsmuster skaliert.
Das Ergebnis ist ein flexibler Teil entlang der Attractor Geometrie. Durch das Erstellen eigener Attractor Geometrien werden gerichtete Bewegungen und Verformungen ermöglicht. Ein einfaches Ergebnis ist eine gerade Linie, die eine lineare Biegung verursacht, es sind jedoch komplexere Verformungen möglich.

Die vom dreizackigen Stern abgeleiteten Formen funktionieren am besten in einem sechseckigen Gitter. Die Zwischenräume sind bestmöglich verteilt und die drei Achsen ermöglichen den größten Bewegungsspielraum. Durch das Hinzufügen von Abrundungen (fillet), Kappen und das Abrunden der Geometrie insgesamt wird der Bewegungsspielraum jeweils vergrößert.

Im Online-Konfigurator ist eine beispielhafte Voreinstellung von vier Attraktorgeometrien vorgeladen. Es kann jedoch jede beliebige .dxf- Datei importiert werden. Nach der Anpassung durch die Schieberegler oder manueller Eingabe von Werten und der Fertigstellung des Musters wird die Datei über eine Download- und Exportfunktion gespeichert. Das Format .dxf kann in jedem CAD-Programm geöffnet und für Fertigungsverfahren wie Laser cutten oder 3D-Druck verwendet werden.

PERFORATION PATTERN

A perforation is a small cutout in a material. There is usually more than one perforation in an organised fashion, where all of the cutouts collectively form a perforation pattern. Perforations can be used as guidelines for ripping thin material along a perforated line or used as a design element for functional or aesthetic purposes.

A uniform pattern enables a stretch in the material but using the scale of singular perforations can achieve precise guided movements. The closer the cutouts are to each other the more deformable that part of the material gets. Attractors in grasshopper make this principle possible with very little computing power.

A hex grid with a predetermined number of cells is created. The middle points of each cell act as the center point for whichever perforation pattern is selected. The attractor (any geometry) determines the scaling of the pattern within the hex grid cell.The closer to the attractor geometry, the bigger the scaling. The result is a flexible part right along the attractor geometry. Directed movements can be made possible by choosing and drawing attractor geometries. A simple result is a straight line causing a linear bend, however much more complex deformations are possible.

Shapes derived from the three pointed star work best in a hexagonal grid. The gaps in between are best distributed and the three axes allow for the most range of movement. In adding a fillet, a capped end and rounding the geometry altogether it increases the range of movement. Circular and hexagonal cutouts take away more dense areal material which is prone to tearing along the bridges.

In the online configurator an exemplary preset of four attractor geometries is preloaded. Any .dxf file can be imported though. After adjusting the sliders accordingly and finalising the pattern, a download and export feature enables the user to save their pattern. The format .dxf can be opened in any CAD program and used for manufacturing such as laser cutting or 3d printing.

STEMPELSET | Osamah Abouzor

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STEMPELSET

Am Anfang war mein Ziel, eine Menge von Elementen zu erreichen, die durch die Funktion zusammengehen.
Deshalb habe ich nach einem Element gesucht, das je nach Funktion seine Form ändern kann, und hier habe ich mich für den Stempel als Tool entschieden, der im Bereich der bildenden Kunst verwendet werden kann. Der Stempel ist mit dem Konzept von Macht und Entscheidungsfindung verbunden, und das machte ihn für mich als künstlerisches Tool zu einem noch interessanteren Element.

Die Ausführung war auf vier Stempel beschränkt, die auf drei geometrischen Grundformen basierten: dem Quadrat, dem Dreieck und dem Kreis. Diese drei geometrischen Formen sind nicht nur die Grundlage für den Bau dieser Elemente, sondern auch die Formen der Abdrücke, die der Stempel auf Papier oder Stoff hinterlässt, die verwendet werden können, um verschiedene Formationen aus mehreren Materialien zu erstellen.

STEMPELSET

In the beginning, my goal was to achieve a set of elements that belong together through the function. That is why I searched for an element that can change its shape according to the function it performs, and here I chose the stamp as a tool that can be used in the field of visual arts. The stamp is related to the concept of power and decision making and this is what made it an even more interesting element to me as an art-making tool. The execution was limited to four pieces of stamps based on three basic geometric shapes: the square, the triangle, and the circle.

These three geometric shapes are not only the basis for building these elements but also the shapes of the prints that the stamp leaves on paper or fabric that can be used to build different formations using multiple materials.

COZY | Anna Wibke Muenz

COZY

Verwandtschaft kann durch die unterschiedlichsten Eigenschaften aufgezeigt werden. Form, Farbe, Material aber auch durch ein Zugehörigkeitsgefühl oder einen Nutzen.

Cozy untersucht die Grenzen der Form und den daraus resultierenden Nutzen. Die mit Stoff überzogenen Schaumstoffformen folgen alle dem gleichen Prinzip. Dem Prinzip der Anpassung an den menschlichen Körper.
Die gewundene äußere Form der einzelnen Kissen ist unterschiedlich stark ausgeprägt. Manche engerlaufenden Wölbungen stießen bei der Weiterverarbeitung an ihre Grenzen. Dennoch konnte über mehrere Versuche ein passendes Endresultat erzeugt werden.

Die einzelnen Kissen unterstützen unterschiedliche Körperhaltungen eines Menschen. Dabei ist der individuellen Nutzung keine Grenzen gesetzt. Ob als Stützkissen, Sitzkissen oder als Kopfkissen, die unterschiedlichen Wölbungen ermöglichen größt möglichen Komfort.

COZY

Relations can be a result of different features as form, colour, material or sense of belonging or the use case of something.

Cozy examines the possibilities of form and the resulting use from it. The foam is covered with fabric. Every cushion follows the same principles. The winding form of each is different in its characteristics. Some of the curves have a smaller and so a more difficult radius to process the materials. In some points the fabric and the foam come to a limit of processing. Nevertheless, trough out multiple tries the final result convinces with its usable form.

Different postures can be assisted by the use of the cushions. The possibilities of the individual use are almost endless. You can use it for your knees, your neck, your head or something totally different. It is your choice of needs.

DER WILDE TON DES MEERES | Joshua Mirza

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DER WILDE TON DES MEERES

Wenn die Brise an der Nordsee mal wieder so frisch ist, dass man im 45 Grad Winkel über den Deich laufen muss, dann ist ein wärmender Tee danach genau das Richtige.
Der Ton für dieses Teeservice kommt mehr oder weniger direkt aus der Nordsee.
Wenn Steine die Flüsse herunter gespült werden, dann werden sie mit der Zeit so fein gemahlen, dass sie erst zu Sand, dann zu Schluff und irgendwann zu Ton werden.
Dieser Ton setzt sich dann in den ruhigeren Zonen der Flüsse und auch an den vor Wellen geschützten Bereichen des Wattenmeers ab.
Der anfangs dunkelgraue Ton der Nordsee färbt sich beim Brennen in ein Ziegelrot, das so warm ist wie frisch gebrühter Tee.
In passendem Kontrast dazu, ist das Service in Fjordblau glasiert, welches den Farbtönen der Nordsee sehr nahe kommt.
Da die Norddeutschen ihre Angelegenheiten gerne gut im Griff haben, ist der Griff der Teekanne dicker als die meisten seiner Verwandten. Formsprache und Ergonomie lehnen sich dabei eher an modernes Werkzeug als an das Porzellan der Großeltern.
Wer es aber trotzdem klassisch mag, kann das Milchkännchen und die Zuckerdose natürlich auch für Sahne und Kluntjes oder Kandiszucker verwenden.

THE WILD CLAY OF THE SEA

When the breeze on the North Sea is so rough that you have to walk across the dyke at a 45 degree angle, a warm tea afterwards is just the thing.
The clay for this tea service comes more or less directly from the North Sea.
As rocks are washed down rivers, they are ground so finely over time that they become sand, then silt, and eventually clay.
This clay then settles in the calmer zones of the rivers and also in the areas of the Wadden Sea that are protected from waves.
The initially dark gray clay of the North Sea turns brick red during firing, which is as warm as freshly brewed tea.
In matching contrast, the service is glazed in fjord blue, which comes very close to the colors of the North Sea.
As North Germans like to have things under control, the teapot’s handle is thicker than most of its relatives. The design language and ergonomics are based rather on modern tools than on grandparents‘ porcelain.
If you still like it classic, you can of course also use the milk jug and the sugar bowl for cream and Kluntjes or rock candy.

FLOWERTOWER | Sebastian Mueller-Tiburtius

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FLOWER TOWER

Flower Tower ist ein Spielsteinset für Kleinkinder, dessen lebendige Formen einen anderen Zugang zur kindlicher Phantasie ermöglichen sollen. Fast alle Kinder wuchsen und wachsen mit rechteckigen Bausteinen auf: Was sich leicht zu kleinen Häusern oder Städtchen zusammen stapeln lässt, stößt dabei aber bald an seine Grenzen. Denn erst mit viel Einbildungskraft löst sich der architektonische, kubische Charakter auf, – natürliche, organische Formen lassen sich durch rechteckige Körper nun mal schwerlich nachbilden. Die Bausteine von Flower Tower möchten diese Leerstelle füllen und (wenn gewollt) eine Brücke schlagen. In ihren neutralen aber expliziten Gestalt sehen alle etwas anderes: Mal einen Baum, mal ein Tier, mal eine Insel in einem weiten Meer.

FLOWER TOWER

Flower Tower is a toy brick set for toddlers, whose lively shapes are designed to provide a different approach to the child’s imagination. Almost all children grew up and continue to grow up with rectangular building blocks: What can be easily stacked together to form small houses or towns, however, soon reaches its limits. It takes a lot of imagination to dissolve the architectural, cubic character – natural, organic shapes are difficult to reproduce with rectangular bodies. Flower Tower’s building blocks aim to fill this void and (if intentional) build a bridge. In their neutral but explicit shapes, everyone sees something different: sometimes a tree, sometimes an animal, sometimes an island in a broad sea.

INEINANDER | Alice Bonanomi

INEINANDER

Ineinander ist ein Projekt, das von der Idee einer klassischen Familienstruktur und meiner Wahrnehmung davon inspiriert ist. Ich wollte das Gefühl des „Zusammenklebens“ in Objekte übersetzen, Individuen, die sich in Funktion und Form unterscheiden, aber innerhalb eines Systems arbeiten, in dem die Form des einen das andere beeinflusst.

Meine Erinnerung an die Familie ist eng mit der Küche und dem Sitzen am Tisch verbunden, also habe ich Gegenstände ausgewählt, die zu diesem Moment gehören: eine Teekanne, einen Kaffeefilter und eine Saftpresse.

Ich habe sie wie eine Matroschka strukturiert, die eine enthält die andere. Jedem von ihnen entspricht eine Tasse, die als Aufsatz dient. Jedes der sechs Teile besteht aus zwei Elementen: einem Körper, der als Zylinder, Kegel oder Halbkugel geformt ist, und einem Griff, der, um die Form leichter zu machen, aus hohlen oder durch Kurven geschnittenen Körpern besteht.

INEINANDER

Ineinander is a project inspired by the idea of a classic family structure and my perception of it. I wanted to translate in objects the feeling of being “stuck together”, individuals that differ in function and shape but work within a system, where the shape of one affects the other.

My memory of family is tightly connected to the kitchen and sitting around the table, so I chose objects that belong to that moment: a teapot, a coffee filter and a juicer.

I structured them as a Matrioska, one containing the other. To each of them correspond a cup, that serves as a top. Each of the six pieces consists of two elements: a body, shaped as cylinders, cone or semisphere and a handler that in order of making the form lighter consists in solids made hollow or cut by curves.

KAPPA | Sheraz Bhatti

KAPPA

KAPPA ist eine Karaffe, die den manuellen Grad bei Produktionsmethoden, den Ressourcenverbrauch und vor allem die soziale Zugänglichkeit von Designobjekten hinterfragt.
Der Großteil von Objekten, die eine größere Aufmerksamkeit von Gestaltern erfahren, spielt sich im gehobenen Preissegment ab. Manufakturelle Produktionsmethoden und die Wahl von teureren Materialien beschränken den Zugang von schöner gestalteten Objekten auf eine kleine Bevölkerungsschicht.
Beim Aufbrechen dieses etablierten Konsumverhaltens kann der 3D-Druck neue Ansätze geben.
KAPPA entstand aus der Auseinandersetzung mit dem FDM-Druck. Die formale Ausprägung des Gefäßes wurde aus den Funktionsprinzipien des FDM-Druckers gewonnen. Form und herstellende Bewegung sind symbiotisch, sodass vollständig nutzbare Objekte in sehr kurzen Druckzeiten entstehen.
Durch die Kommunikation mit der Form mittels parametrischer Software, werden Vorstellungen von Einzelstücken, Kleinserien und Massenproduktion obsolet.

HOMMAGE | Anna-Maria Argmann

HOMMAGE

Materialien mit ihren unterschiedlichen Eigenschaften bedingen die Verarbeitung und so auch die Gestaltung der Produkte. Durch eine experimentelle und lösungsorientierte Annäherung im Modellbau ließen sich passende Arbeitsprozesse finden. Die Gegebenheiten zu akzeptieren und so die Möglichkeiten des Materials entdecken und wertschätzen zu können, schufen einen lehrreichen und interessanten Designprozess.

Die Objekte aus Silber, Edelstahl und europäischen Hölzern sind trotz ihrer Unterschiedlichkeit in Form, Farbe, Haptik und Gewicht, miteinander verbunden. Flache Grundwerkstoffe, Bleche und Holzfurnier, waren der Ausgangspunkt und vereinen Löffel, Becher, Karaffe und Schalen in ihrer ästhetischen Sprache. Verarbeitungstechniken, wie Hartlöten, Furnierverleimung und verschiedenste Versäuberungstechniken der Oberflächen verleihen den Gefäßen ihre Ausstrahlung.

Die einzelnen Objekte stehen für sich, als eigene Charaktere und dennoch bilden sie eine lebendige Gefäßfamilie. Individuell, in getrennten Räumlichkeiten oder gemeinsam als Tafelservice, können die Gefäße vielseitig genutzt werden und sich in ihrer Besonderheit entfalten.

HOMMAGE

Materials with their different qualities cause the process and also the design of the products. Through an experimental and solution-oriented approach in prototyping, suitable processes could be found. Accepting the conditions and being able to discover and appreciate the possibilities of the material created an instructive and interesting design process.

The objects, made of silver, stainless steel and European woods, are connected despite their differences in shape, color, feel and weight. Flat base materials, sheet metal and wood veneer, were the starting point and unite spoons, cups, carafes and bowls in their aesthetic language. Processing techniques such as hard soldering, veneer gluing and a wide variety of surface finishing techniques give the vessels their radiance.

The objects stand on their own, with their own characteristics, and yet they form a lively family of vessels. Individually, in separate spaces or together as a dinner service, the vessels can be used in many ways.

MASTER CALLS 2022/2023 online!

The time to do the paperwork and really send in your application is between 1. March till 1. April, but…. the calls for MA Product Design and MA Fashion Design are online already so you can get familiar with them and prepare yourself.

Find the Master Call Fashion Design HERE
Find the Master Call Product Design HERE
Find all about MA-Design and application procedure HERE

Important dates:
• from now on: OPEN CALLS 2022/2023 online and registration
• 1. March – 1. April 23:59 p.m: send your application
• 8. March 18:00 -19:00 (CET): online info meeting for all questions on the MA programs and the application process PLEASE CLICK LINK HERE

Die Zeit, um die Unterlagen zu erledigen und Deine Bewerbung wirklich einzureichen, liegt zwischen dem 1. März und dem 1. April, aber die CALLS für MA Product Design und MA Fashion Design sind jedoch bereits online, um sich mit ihnen vertraut zu machen und sich vorzubereiten.

Den Master Call Fashiondesign ist HIER zu finden
Den Master Call Produktdesign ist HIER zu finden
Alles über MA-Design und das Bewerbungsverfahren ist HIER zu finden

Wichtige Daten:
• ab jetzt: OPEN CALLS 2022/2023 online und Registrierung
• 1. März – 1. April 23:59 Uhr: Einreichung der Bewerbung
• 8. März: 18:00-19:00 Uhr (MEZ): Online Infotreffen für alle Fragen zum MA-Programm und dem Bewerbungsverfahren LINK BITTE HIER KLICKEN

Philipp Hainke & Aleksander Łuczak selected in 2022 Pure Talents contest Köln

Philipp Hainke’s graduation project PowerPlace is selected for the Pure Talents contest in Cologne and Aleksander Łuczak was selected with his Trunk furniture, a system that enables individual combinations of furniture.

The Pure Talents Contest, which is held annually as part of the imm cologne, is one of the most recognized design competitions for young designers worldwide. Here up-and-coming talents can present their products to a large audience and make initial contacts in the international design industry.

IMM mentions: „From the more than 500 entries from 52 countries, the expert jury of the 19th PTC nominated the 20 best designs – despite the cancellation of imm cologne 2022: All selected projects show great market potential and convince both aesthetically and technically. Above all, however, the next design generation is looking for one thing: sustainable product concepts.“
Designer Sebastian Herkner commented on the result of the current Pure Talents Contest: „It’s impressive how many high-quality designs were submitted this year – despite the difficult circumstances of the past few months.“

The 3 winners will be announced in February in the imm Magazine.

More on PowerPlace by Philipp Hainke at Pure Talents on Instagram, below and via www.philipphainke.de

More to Trunk by Aleksander Łuczak at Pure Talents on Instagram and below in SYSTØM

MA-VISIT: Studio Lukas Wegwerth | WiSe 2021/22

9 Nov 2021: visit to Studio Lukas Wegwerth, Berlin

The MA-class visited designer Lucas Wegwerth in his studio in Berlin to hear from him about his work and whereabouts since starting up his studio and to hear about his experience to be in charge of the production of the installations for the supersalone in Milano, Sept 2021.
We had a discussion about how he designs, circularity, his relationship with nature, the value of repairing, open systems, local production, thinking rationally and the rare and beautiful idea of emotional durability.

Anna Koppman’s ‚Frischholz‘ in Designpost Köln

Anna Koppmann’s graduation project Frischholz (see below) is presented at Design Post Cologne and Anna is involved in a talk on Monday 17 January.

As a new partner to German Design Graduates, Design Post offered GDG 2021 a chance to present their projects to a professional audience and get involved in the current design debate:
For January 2021 Design Post selected and showcases the work of graduates with a sustainability perspective and a particular interest in material innovations and new manufacturing processes.

Design Post is a year-round showroom and platform founded in 2006 as a showroom, bringing brands together to showcase themselves. Two decades later, it still sees it as its mission to empower brands, design professionals, industry experts and creative industry professionals by giving them the tools, knowledge and networks they need to connect, collaborate and generate new business. Designposts strives to act as a compass for the future of the industry by working together and sharing knowledge.

designpost.de
www.annakoppmann.eu

Freie Tutorien

Liebe Produktdesign Studierende ,

hier findet ihr künftig alle Ausschreibungen für studentische Hilfskräfte!

Ab dem Wintersemester 2024/25 sind in der Kunststoffwerkstatt zwei Tutorenstellen frei.

Konkret ab dem 01.10.2024

Bewerbungen bitte so kurzfristig wie möglich per Mail

(CV und kleines Portfolio – formlos, als PDF)

an Ben Seidel schicken:

Voraussetzungen:

du bist Student/in ab dem 4. Semester und hast idealerweise

Kenntnisse und Erfahrungen mit gängigen Modellbaumaterialien

(Polystyrol, Acryl, PET, Holzwerkstoffe, usw.) und deren

Verarbeitung (Drehen, Kleben, thermisches Umformen, etc.).

Aufgaben:

Unterstützung von Studierenden bei der Umsetzung ihrer Projekte

Betreuung und Bedienung der Maschinen

Selbstverständlich wirst du eingearbeitet.

Mindestvetragslaufzeit: 1 Jahr (zwei Semester)

Déclic | Sandro Bodet | BA 2021

Déclic | Bachelorarbeit 2021

Das Erforschen und experimentieren am Modell stand im Vordergrund dieser Arbeit. Die Ausgangssituation war zügig klar: CNC-Fräse, Sperrholz, Stecksystem.
Eine Schnittstelle zwischen Architektur und Design sollte dabei erarbeitet werden, wobei die Idee des Bausteins im Mittelpunkt stand. Dieser Jahrtausende alte
Begleiter der Menschen manifestierte sich in vielen Formen und Materialien. Mein Ziel war es eine neue Antwort zu präsentieren, die sich den aktuellen Themenschwerpunkten
und Möglichkeiten bedient. Aus Holz, dem nachhaltig nachwachsenden Rohstoff, können stabile und standardisierte Werkstoffe wie Sperrholz hergestellt werden, aus
denen, mittels CNC-gesteuerter Bearbeitung, präzise Teile in hoher Stückzahl entstehen können. Um diesen Umstand attraktiv und erlebbar zu machen, habe ich verschiedenste
Verbindungen mit variierender Komplexität entwickelt und gefräst. Der daraus resultierende déclic-Mechanismus ist sowohl Verbindung für die Bestandteile der Bausteine, als
auch für die Bausteine untereinander. Diese können in alle Richtungen aufeinander gestapelt werden und halten als Struktur durch den hinterschnittigen Formschluss der einzelnen Elemente.

The exploration and experimenting on the model was crucial to this work. The starting point was clearly defined: CNC-mill, plywood, plug system. The connection
between design and architecture should be investigated, reguarding building block as companion for centuries in human history. The brick had many forms and materials
and my goal was to find a modern attempt with new priorities. Wood, as a regrowing resource, can be stabilised and standartised as plywood, which is perfectly suited
for cnc-machining – precise pieces in high quantity. To make this circumstance perceptible, I milled various wood connections in different complexities. The finally
emerging déclic-mechanism is simultaneously the connection of the brick components and the connection of the bricks themselves. They can be stacked in every direction
and build stable structures due to a undercutted form lock between the building blocks.

Prozess

Betreut durch

Prof. Burkhard Schmitz, Prof. Holger Neumann, KM Antonia Kühne

3. Dec: Mall anders – talk on sustainable consuming

On Friday 3 December there will be a talk 15.30-16.30 in MALL ANDERS, the open learning laboratory for
science & society. The talk is open for a wider audience, but will be in German.

Nachhaltiger Konsum – geht das überhaupt?
with:
Jana Möller (FU Berlin)
Timothee Ingen-Housz (UdK Berlin)
Philipp Brandts (Supermarkt der Zukunft)
Moderation: Michael Wilmes (Climate Change Center)

Vor Ort:
Mall Anders
EG Wilma Shoppen
Wilmersdorfer Str. 46

For more information see THIS LINK (scroll to 3. dec)

Motion Theory

Bewegungslehre, Kooperation mit IGUS GmbH, Köln
Hauptseminar ab 5. Semester – Wahlpflicht Produktdesign und Anpassungsstudium MA

Prof. Holger Neumann, WM Julian Ribler

SEMINARANGEBOT – COURSE OVERVIEW

Endergebnisse

Endpräsentation

Fahnen

WORK IN PROGRESS

BESUCH VON IGUS

MINDMAP

Die individuellen Recherchen der Studierenden wurden als Inspiration und Orientierung mithilfe einer Mindmap kategorisiert, geclustert und visualisiert.

SEMINARANGEBOT – COURSE OVERVIEW

Kontext: Tribologie ist die Bezeichnung der Wissenschaft, die sich mit Reibung-Phänomenen und damit einhergehend Verschleiß und Schmierung befasst. Im Design treffen wir auf Tribologie, wenn es um bewegliche Bauteile und Objekte geht: Beispielsweise in Gleitlagern und Linearführungen in Möbelbeschlägen (Auszüge).

Kooperation: Die Firma igus® GmbH beschäftigt sich damit, tribologische Funktionen zu vereinfachen. Viele Lager und Führungen bestehen aus einer Vielzahl von Teilen, oftmals aus verschiedenen Werkstoffen. Nicht selten muss ein Schmiermittel verwendet werden, dass zudem regelmäßig gewartet werden muss. igus® fasst die vielen Bauteile zu einem Kunststoffteil zusammen, das sämtliche Funktionen übernimmt. Das Kern-Know-how von igus® liegt in der Entwicklung tribologisch optimierter Kunststoffe.

Aufgabe: Die Semesteraufgabe besteht darin, ein Möbel zu konstruieren, das Bauelemente von igus® verwendet, um neue konfigurierbare Objekte zu entwickeln. Die Ableitung von Bewegungen aus Gebieten wie Mechanik, kinetische Objekte und Getriebetechnik kann dabei als Strategie dienen. Beispiele für Bewegung könnten sein: Schieben, Drehen, Kippen und Schwenken.

Voraussetzungen
– Regelmäßige Teilnahme am Seminar
– Vortrag
– Präsentationen

Abgabe
– Prototyp
– Dokumentation
– Poster
– Kurz-Video

Betreuer
Prof. Holger Neumann
WMJulian Ribler

OBENAUF – STANDINGWORKSTATION

Konstruktion / Material 3 – Metall
PFLICHTSEMINAR TECHNOLOGIE / 3. SEMESTER BACHELOR

Prof. Holger Neumann, WM Steffen Herm

Basierend auf Referaten und Workshops wurden in Obenauf die relevanten Prinzipien und Parameter von verschiedenen Metallverarbeitungsverfahren vermittelt. Anschließend sollte das Wissen in dem individuellen Entwurf einer Workstation aus 1m³ gefaltetem Stahlblech angewandt werden.

Die Abwicklungen der Blechteile wurden gelasert, in den Werkstätten gebogen und zusammengesetzt.

Endergebnisse

Fahnen

Umsetzung in der Metallwerkstatt

Erste Ideen und Modelle

EXKURSION

Besuch bei Ferrum-Lasercut.

ZWISCHENPRÄSENTATION – MIT MALTE LICHT

MINDMAP

Die individuellen Recherchen der Studierenden wurden als Inspiration und Orientierung mithilfe einer Mindmap kategorisiert, geclustert und visualisiert.

SEMINARANGEBOT – COURSE OVERVIEW

Projekt “V” von Tomma Hinrichsen und Julius Terhedebrügge

Blech ist eines der wichtigsten Metall-Halbzeuge. Insbesondere Stahl- und Aluminiumblech ist von grundlegender Bedeutung für die Herstellung design-relevanter Objekte. Bleche werden dabei nicht nur für Gehäuse, sondern auch für Lasten-abtragende Konstruktionselemente, Maschinenteile aber auch Monomaterial-Produkte eingesetzt. Wir werden verschiedene Werkstoffe sowie die wesentlichen Be- und Verarbeitungstechniken dieser Werkstoffgruppe ausführlich kennenlernen und uns das für DesignerInnen wichtige Know-how aneignen.

Das Objekt soll aus ausgelaserten und gekanteten Blechelementen bestehen. Alle abgewickelten Elemente müssen auf eine Fläche von 990 x 990 mm passen, wobei ein Mindestabstand von 5 mm zwischen den einzelnen Teilen bestehen muss. Kantungen werden durch gelaserte Perforationen vereinfacht. Die Fertigung der Blechabwicklung erfolgt durch unseren Projektpartner Ferrum Lasercut GmbH.

Besonderen Wert wird auf einen effizienten Materialeinsatz sowie eine dem Prozess und dem Material angemessene Formensprache gelegt. Gemeint ist eine konstruktive Eleganz, die das Zusammenspiel zwischen Konstruktion, Statik und gestalterischer Qualität verkörpert.

Anforderungen
-regelmäßige Teilnahme Seminar + CAD-Seminar
-Referat
-Entwurf
-3D-Datensatz und Prototyp
-Dokumentation
-Poster und Präsentation

Kooperationspartner
Kooperationspartner Ferrum Lasercut GmbH / https://www.ferrum-lasercut.de/

Gast
Dipl. Des. Malte Licht https://oxyd-gmbh.de/

Betreuer
Prof. Holger Neumann
WM Steffen Herm

Anna Koppmann on show in ‚SLOW‘ by AHEC (KGM Berlin)

SLOW DESIGN FOR FAST CHANGE

Anna Koppmann who graduated last year at UdK’s product design with her project Frischholz – containing an impressive research on the worrying status quo and possible future for German forests – is one of the nine young designers that are on show in the SLOW exhibition by AHEC in Kunstgewerbemuseum Berlin.

With a focus on American red oak, hard and soft maple and cherry, AHEC (American Hardwood Export Council) has teamed up with 9 young designers to create an object that reflects their approach towards “slow design for fast change”.
The result is an exercise in how young voices of design re-think their profession today, when factoring in the aspects of sustainability, longevity and a focus on quality. Working together with experienced design professionals Hanne Willmann, Sebastian Herkner and Garth Roberts, the designers present their final pieces at Kunstgewerbemuseum Berlin from November 26th 2021 to 20th February 2022.

The final pieces include a wide range of objects from bowls to chairs, benches to shelving systems as well as tables and modular furniture elements. Produced by German workshop Holzfreude, the finished objects symbolize the value of perfect craftsmanship as well as present a selection of the best young voices of design in a unique historical context.

The exhibitors are: Maximilian Beck, Clémece Buytaert, Simon Gehring, Hansil Heo, Sarah Hossli und Lorenz Noelle, Anna Koppmann, Haus Otto (Nils Körner and Patrick Henry Nagel), Theo Luvisotto and Max Rohregger.
The young designers studied under Wolfgang Laubersheimer (KISD Köln), Maddalena Casadei (ECAL Lausanne), Christophe de la Fontaine (ABK Stuttgart), Konstantin Grcic (HFBK Hamburg), Anniina Koivu (ECAL Lausanne), Ineke Hans (Udk Berlin), Stefan Diez (Angewandte Wien).

The American Hardwood Export Council (AHEC) is a strong advocate of wood as a raw material and has successfully developed a sustainable brand around hardwoods from the USA. AHEC is one of the pioneers behind the Life Cycle Assessment (LCA) analysis of hardwoods. Through innovative design projects such as Legacy, The Smile and MultiPly for the London Design Festival, AHEC demonstrated the performance potential of these sustainable materials and provides valuable inspiration.

26 Nov. – 15 May: SLOW (extended till 15 May 2022)
Kunstgewerbemuseum Berlin, read more
see the virtual exhibition HERE

See Anna’s project HERE
+ short interview HERE

find more info on AHEC HERE and a press release on SLOW HERE
and via Instagram @ahec_europe

Tobias Trübenbacher winner BRAUN DesignPrize 2021

18.11.2021:
Tobias Trübenbacher is one of the 10 winners in the Braun DesignPrize 2021 with his graduationproject Papilio.

Papilio is a wind powered streetlight to tackle light pollution. The lamp generates electricity using a wind turbine reducing the ecological footprint of street lighting while at the same time minimizing light pollution. With Papilio, the process of generating energy becomes an aesthetic play, enriching the public space — both during the day and at night.

This years prize had two categories: Students & Young Creatives with less than 5 years work experience.
They could send in Products that are not on the market or in production.
Submissions from all countries were considered and participation was free of charge.
There were 1150 valid entries in 2021.
All submitted projects were reviewed and carefully judged in a multi-stage evaluation process.
The Jury consisted of an international panel of experts, see more here
This years total prize value was 100.000 USD and all ten winners win $ 10.000,00

From November 19 to December 9, 2021, you will have the opportunity to vote for your favorite BraunPrize 2021 winner project and win one of 10 Braun watches. The Public voting will take place on the Instagram channel @Braunprize and will be announced in a separate post on November 19.

See more HERE and read more HERE

EXCURSION MA: BASF – Ludwigshafen | WiSe 2021

From 12 till 14 October visited BASF in Ludwigshafen as kick-off for our cooperation project ONE MATERIAL, ONE PRODUCT.
In the BASF Creation Centre we received introductions into 3 material groups: Ultramid, Ultrason and Elastollan from BASF experts had a tour at the production plant and at the Technikum and at the last day some first ideas were presented.

Some more impressions from our visit to BASF:

EXCURSION BA & MA: DDW EINDHOVEN | WISE 2021/2022

20-23 oct. 2021: Dutch Design Week Eindhoven

BELOW:
1: BA Film – 2: MA FILM – 3: full Program – 4: PHOTO IMPRESSIONS

^ BA FILM – MA FILM v

PROGRAM

Day 1
Station Area
• Visit: Eggshell ceramics, Museum of Endagered food
• Visit: DESIGN ACADEMY GRADUATION SHOW 2021, cum laude projects, study information talks
Fuutlaan
Cabinet of collaboration @fuutlaan hall:
• Visit: Rick Tegelaar, Krane & Gille, Marjan van Aubel, SPACE 10, Thonik.
• Meeting: Mars Holwerda mobility designer and founder of Studio MOM, and Tom and Roos Meerman and Tom Kortbeek digital design researchers of Fillip Studios
Fuutlaan 14i
• ENVISIONS, meeting with Sanne Schuurmans & Maya Leroy founder and participant of this designer collective
Fuutlaan 12b:
• DUTCH INVERTUALS, meeting with curator and founder Wendy Plomp about this designer cooperation platform and upcoming exhibition in MAKK Köln.
Kazerne
Visit: Kazerne Awards for DAE alumni, Growth, Neo Stone Age, Social Label

Day 2
Strijp S
Things that Matter @Microlab hall:
• morning coffee with Ineke Hans and Circuform at REX
• visit Circulair Warenhuis, Dutch Design Awards and more
• HOW & WOW meeting Willemien Ippel, director of Crafts Council Nederland
about the cooperation with instagram initiative Basketclub
• meeting with DDW ambassador Christien Meindertsma at her expo sharing elements

Yksi Expo:
• Meeting with Leonne Cuppen, founder of Yksi and initiator of the RETHINKING PLASTICS exhibitions
• Visit: Green culture club / What a waste / Sparkling Plastic/ Waste based glazed brick / Lilian van Daal / Why colors matter / Food Design Systems / WDCD – No Waste Challenge / and more
Ketelhuisplein:
• Visit: The Embassy of Inclusive Society / Hara Hachi Bu Village by Arne Hendriks / Embassy of Circular & Biobased Building / Embassy of Health
• Meeting with Kees Brouwer of VPRO television who set up RE//ACTION against cheap production
• Visit Natlab: Smelling Spieces with Frank Bloem, Jelle Zandveld, Arne Hendriks, Thomas Thwaites and Extinction Claims by MediamaticKlokgebouw (the greater number):
• Visit: Labyrinth the Art of Changing Direction by DDW embassador Floris Alkemade / Maacq Oase / Its in our Nature
• Meet Jorn Konijn, curator and program leader of the Greater Number at DDW
• Visit the presentations of Dutch Design Academies / Embassy of Health / Embassy of Safety / Embassy of Mobility / Living and working from home / Embassy of food -Future of the Supermarket / Autonomous Tree by Krzysztof Wronski / Good Industrial Design Awards, Tangible Experiences by HTW Berlin
Strijp T + R
• Meeting: Raw Color to speak about their Temperature Textiles
At Piet Hein Eek:
Visit: shop, workshop, showroom, and various locations & designers
• Visit: Rop van Mierlo, Studio Rens, Scheublin & Lindeman, Bricknic

Evening:
Pizza at La vita è Bella, with with students & tutors from HTW Berlin, and Weissensee

Day 3
Sectie C:
• Visit o.a: Vantot, S.O.A.P. Sander Wassink, Plastic Fantastic
• Meeting: Deigo Faivre, Minute Manufacturing
• Meeting: product designer Maarten Baptist
Pennings Foundation:
• Meeting: Weissensee Berlin, All Connected, Postgraduate projects by Designfarm/Seekicks
• Meeting: Isola, only good news
• Visit Schellens fabriek: a.o. Isola talent factory, Sander Mulder
• Visit Van Abbemuseum: o.a. DAE geo design, 1 m collective
Van Abbehuis:
• Meeting: Steven Visser & Vera Meijwaard at their presentation CRAFTWORK in collaboration with the labels they work for
Hallenweg:
• Meeting: Rianne Makkink at the Waterschool
• Visit: the Linen Project / 15 years vij5 / AtelierNL

afternoon: free program
evening: meet up at Studio Ineke Hans in Arnhem, asian take -away and stay over

Day 4

Return to Berlin

IMPRESSIONS:
Dutch Design Week Eindhoven

DAY 1

Degreeshow Design Academy Eindhoven

Design Academy Eindhoven ^

Day 2

above: REX by cicuform
below: Christien Meindertsma

above: Crafts Council Nederland x Basketclub
below: Rethinking Plastic at Yksi

above: Yksi – Rethinking Plastic

below: Johanna looking at the map

Studio Ineke Hans Arnhem:

Below: return to Berlin via Arnhem Central station

8 November: Kimia Amir Moazami & Tobi Trübenbacher selected for Global Grad Show 2021

Global Grad Show is a programme for graduates in universities across the world whose research and ideas offer solutions to help solve major social and environmental issues. It brings together graduates and professors from over 70 countries and 600 universities who are working on solutions for a better world. From the world’s most prominent academic institutions to local colleges in developing markets, in fields ranging from biomedical engineering to urban design and data sciences.

The 2021 selection of international projects is unveiled online on 8 November, featuring innovative solutions to some of the greatest and often unappreciated challenges of our times. Kimia Amir Moazami and Tobi Trübenbacher are selected with their graduate projects Vorkoster and Papilio.
Vorkoster is selected in the section ‚Future of Food‘.
Papilio is selected in the section ‚Design against Waste‘.
In addition, MENA Grad Show will display social impact projects developed by academic talent from the region, at a physical exhibition held as part of Dubai Design Week.

See and read more about the Global Grad Show 2021 program, HERE
See and hear more about Tobias‘ Papilio HERE
See and hear more about Kimia’s Vorkoster HERE
and… find out more on Kimia and Tobi’s projects below.

It is the second time that Tobi’s has a project selected for GGS.
See some impressions of GGS 2019 when his Ignis project was selected with projects of 4 other UdK product design students and when they were all invited to Dubai with Prof. Ineke Hans.

24 January – Guest 26: Claudia Banz

KAIROS 26 – OBJECT 26

Object: T-shirt

ON Claudia Banz

Dr. Claudia Banz is an art and design scientist and since 2017 curator for design at the Kunstgewerbemuseum Berlin. Previously she was head of the Department of Art and Design at the Museum für Kunst und Gewerbe Hamburg. As a curator, she has realised numerous exhibitions, education formats and fairs at the interface of design, fashion, crafts and art, most recently Fast Fashion. The dark side of fashion, Food Revolution 5.0. Designing for tomorrow’s society andConnecting Afro Futures. Fashion x Hair x Design. In the MKG Hamburg she was also responsible for the new presentation of the design collection. As leading curator of the Annual Fair for Arts and Crafts, she initiated an international exhibition platform for design universities and an award for young designers.

For the Kunstgewerbemuseum Berlin she established the series Design Lab and Design Talks in order to open up the house as a platform and experimental space for multidisciplinary design approaches and a critical discourse on socially relevant design issues. She also researches and publishes on questions of social design (Social Design. Gestalten für die Transformation der Gesellschaft, transcript 2016) and decolonial collections.

üBer Claudia Banz

Dr. Claudia Banz ist Kunst- und Designwissenschaftlerin und seit 2017 Kuratorin für Design am Kunstgewerbemuseum Berlin. Zuvor leitete sie die Abteilung Kunst und Design am Museum für Kunst und Gewerbe Hamburg. Als Kuratorin realisierte sie zahlreiche Ausstellungen, Vermittlungsformate und Messen an der Schnittstelle von Design, Mode, Handwerk und Kunst, zuletzt Fast Fashion. Die Schattenseite der Mode, Food Revolution 5.0. Gestaltung für die Gesellschaft von morgen und Connecting Afro Futures. Fashion x Hair x Design. Im MKG Hamburg war sie außerdem für die Neupräsentation der Designsammlung verantwortlich. Als leitende Kuratorin der Jahresmesse für Kunst und Handwerk hat sie eine internationale Ausstellungplattform für Hochschulen und einen Nachwuchspreis für junge Gestalter initiiert.Für das Kunstgewerbemuseum Berlin etablierte sie die Reihe Design Lab sowie Design Talks, um das Haus als Plattform und Experimentalraum für multidispziplinäre Designansätze und einen kritischen Diskurs über gesellschaftlich relevante Gestaltungsfragen zu öffnen. Außerdem forscht und publiziert sie zu Fragen des Social Design (Social Design. Gestalten für die Transformation der Gesellschaft, transcript 2016) und dekolonialen Sammlungen.

KAIROS 26 – A Talk with Claudia Banz

Zusammenfassung

xxxx // Kairos 26

xxxx

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7 February – Guest 28: Vlasta Kubusova – crafting plastics

KAIROS 28 – OBJECT 28

Object: Bring an object that connects (in the broadest sense)

There is always the one starting moment when excitement, opposite or aligned perspectives, the energy of two or more suddenly intersect, and the magic start towards collaboration happens.

I would like to talk about the situations and moments when we start to think and work together.
How can we start initiating cross-disciplinary collaboration? Are there objects that help the collaboration enhance and sustain? Is it even possible to work towards responsible design systems without working together?

ON VLasta Kubusova

Vlasta Kubušová is a material designer and researcher. She holds an M.A. degree in Media Arts from Academy of Performing Arts in Bratislava (2013) and M.A. in Design from the UDK (2015). Following her collaborative master thesis, together with Miroslav Král she founded crafting plastics! studio (cp!s), an award-winning multidisciplinary material design studio. By combining science and design, cp!s revolutionizes properties, the aesthetic and values of biobased materials, and offers solutions for consumer goods and closed-loop systems in various fields. In 2018, together with material scientists, they co-created NUATAN, a material brand for bioplastic solutions for value-added products.

The studio’s projects have been presented at some of the most renowned institutions, including V&A, London Design Museum, Salone del Mobile, Rossana Orlandi Milan, Schloss Hollenegg for Design, MAK Vienna, Expo Dubai etc. Cp!s won several international prizes, including Diploma Selection (2016), Slovak National Design Award, and was nominated for German Design Award (2018 and 2021), Green Product Award (2017, 2021) Beazley Designs of the Years 2019, Dezeen Award (best-emerging studios, 2019). In 2018, Vlasta was appointed a member of the Slovak Forbes’ 30under30.

Vlasta currently continues to research biomaterial systems within her PhD studies at the Slovak University of Technology in Bratislava. She is a recipient of the Fulbright Scholarship and will conduct research in Interactive Biomaterials in collaboration with scientists and architects from UPenn, RISD and MIT. Apart from her design practice, she is also the founder and initiator of various cross-disciplinary projects, symposiums, and forums such as In the Midl Design Forum, De/posium, or Biomaterials in Practice (together with Verena Michels).

www.craftingplastics.com
www.biomaterialsinpractice.com
www.deposium.org
#crafting_plastics

KAIROS 28 – A Talk with Vlasta KUbusova

Zusammenfassung

xxxx // Kairos 28

xxxx

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10 January – Guest 25: Richard van der Laken – what design can do

KAIROS 25 – OBJECT 25

Object: The Swiss Knife

About The Swiss Knife: (From Wikipedia)
The term „Swiss Army knife“ was coined by American soldiers after World War II after they had trouble pronouncing the German word „Offiziersmesser“, meaning „officer’s knife“.[2] The Swiss Army knife generally has a main spearpoint blade plus other blades and tools such as screwdrivers, a can opener, a saw blade, a pair of scissors, and many others. These are stowed inside the handle of the knife through a pivot point mechanism. The handle is traditionally a red color, with either a Victorinox or Wenger „cross“ logo or, for Swiss military issue knives, the coat of arms of Switzerland. Other colors, textures, and shapes have appeared over the years.
Originating in Ibach, Switzerland, the Swiss Army knife was first produced in 1891 when the Karl Elsenercompany, which later became Victorinox, won the contract to produce the Swiss Army’s Modell 1890 knife from the previous German manufacturer.

A cultural icon of Switzerland, both the design of the knife and its versatility have worldwide recognition.[3] The term „Swiss Army knife“ has acquired usage as a figure of speech indicating extreme utility applicable to more or less any scenario at hand.

ON Richard van der Laken – What Design Can DO

(From AGI – Alliants Graphique International)
Richard van der Laken is an acclaimed Dutch graphic designer, entrepreneur, initiator and on a fierceless mission as an unlikely globetrotting ambassador for the social impact of design.

His work is well known in graphic design circles. His Amsterdam design agency, Design Politie (Design Police) has shaped the cultural scene in Holland and shot to fame in the ‘90’s on a wave of interest in the Dutch design.
Today, he divides his time between designing for clients and running a global design organization called What Design Can Do. It started as a conference on the impact of design. It rapidly attracted many people to Amsterdam’s state theatre and to exhibitions at the Stedelijk Museum.
Nowadays What Design Can Do operates on a global level with partnerships in Mexico City, São Paulo, Nairobi, Delhi and Tokyo.

In his career Richard was honored with many awards and nominations, such as Red Dot, D&AD, Design Museum – Design Of The Year, ADCN (Art Directors Club Netherlands), Dutch Design Awards and more.

www.whatdesigncando.com
no-waste
www.designpolitie.nl
www.thedailygorilla.nl

KAIROS 25 – A Talk with RICHARD VAN DER LAKEN (WDCD)

Zusammenfassung

xxxx // Kairos 25

xxxx

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29 November – Guest 23: Harald Gründl

KAIROS 23 – OBJECT 23

The “Cirucluar Design Rules” are an attempt to speed up literacy of circular design within the design community and producers. It comes as a playful card deck which helps to rethink design processes.

Object to bring: Choose an object which uses “greenwashing” communication.

ON Harald Gründl

Harald is designer, design theorist and curator. He is partner at the design studio EOOS and director and founder of the IDRV – Institute of Design Research Vienna. He is specialized in the research and application of social and sustainable design strategies. 2020 EOOS has founded EOOS NEXT, a social design enterprise Harald co-leads as managing director.

He finished his habilitation in Theory and History of Design at the University of Applied Arts Vienna in 2009. He taught design theory as well as design practice at several national and international universities. 2015 and 2017 he was co-curating the Vienna Biennale for Change design exhibitions at the Museum of Applied Arts in Vienna on the topic of sustainable design. Since 2018 he has established a doctoral seminar at the University of Applied Arts in Vienna specializing on “transformative design”.

In 2021 he published the “Ciruclar Design Rules” together with Ronja Ullrich. The project was supported by the Austrian ministry for climate protection and is embedded into the “New European Bauhaus” initiative.

www.idrv.org
www.eoos.com
www.eoosnext.com

KAIROS 23 – A Talk with Harald Gründl

Zusammenfassung

xxxx // Kairos 23

xxxx

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22 November – Guest 22: Uta Brandes

KAIROS 22 – OBJECT 22

Object to bring: an important book for you

Mein Objekt zu einem Wendepunkt liegt lange zurück (1967): Das Buch „Ästhetische Theorie“ von Theodor W. Adorno.

ON Uta Brandes

Dr. Uta Brandes, Autorin, emeritierte Professorin für Gender & Design an der Köln International School of Design, TH Köln.
Erste Professorin, international, die das Lehrgebiet „Gender“ im Design als erste unter dieser Bezeichnung ausübte (ab 1995). Viele Gastdozenturen u.a . in Hongkong, Hangzhou, Tokyo, Fukuoka, Sydney, New York … Mitgründerin und Vorsitzende des international Gender Design Network. Mitgründerin der Deutschen Gesellschaft für Designtheorie und-Forschung. Ursprünglich Soziologin und Psychologin. Lebt in Köln.

www.be-design.info
www.genderdesign.org

KAIROS 22 – A Talk with Uta Brandes

Zusammenfassung

xxxx // Kairos 22

xxxx

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31 January – Guest 27: Gijs Bakker

KAIROS 27- OBJECT 27

Object: a bowl

I gained an intense experience when I discovered a bowl by Bruno Munari, whose name I first encountered in 1964 during a hitchhiking trip to Italy.

As a revelation there stood this object in a shop window in Naples amidst all kinds of household knick-knacks, like a kind of bright spark. I found that recognizing the revelation in the work of another can be just as important as recognizing the revelation in yourself. You see something, you hardly dare to believe it, you don’t know exactly what you see, but you experience such a strong emotion that you are sucked in, you want to touch it, and eventually you have to own it.

Any amount would be too much for a hitchhiker who had lived for weeks on bread and tomatoes and canned sardines, with the oil acting as sunscreen. The only thing of value I had in my backpack was my camera. It brought in just enough at the pawn shop to buy the dish.

Bruno Funari Bowl, 1960

Gijs Bakker, Spotwelded Bracelet / Puntlas Armband, 1966, stainless steel, h.75 x w.85 x d.43 mm

ON Gijs bakker

Gijs Bakker (Amersfoort, The Netherlands, 1942) was trained as a jewelry and industrial designer at the Gerrit Rietveld Academie in Amsterdam, the Netherlands and the Konstfackskolan in Stockholm, Sweden.

His designs cover jewelry, home accessories and household appliances, furniture, interiors, public spaces and exhibitions. He worked and works for numerous companies, including Polaroid, Artifort, Droog Design, Castelijn, HEMA, Royal VKB, ENO Studio and recently as creative director for Yii, Taiwan.

Bakker taught at various schools, among which the ArtEZ Institute of the Arts in Arnhem, Delft University of Technology, and the Design Academy Eindhoven where he worked from 1987 until 2012 (since 2000 as Head of the Masters Programme). In 2016, Bakker joined as member of the Dutch Society of Arts (Akademie van Kunsten).

In 1993, Bakker co-founded Droog Design, a Dutch collective of designers, products and information. Together with Renny Ramakers, he was the selector and art director of all products within Droog Design until 2009.

In 1996, Bakker co-founded Chi ha paura…? (Italian for Who’s afraid of…?). With chp…?, the new brand name since 2013, they wanted to show the international design world that a piece of jewelry is more than a decorative fashion accessory. chp…? invites internationally acclaimed designers to create a special piece for the collection.

Gijs Bakker travels around the world to give workshops and lectures about his own work, Droog Design, chp…?, Yii /HAN gallery and is frequently a member of juries. His work is represented in both public and private collections worldwide. In 2018, Bakker received the royal distinction of Ridder in de Orde van de Nederlandse Leeuw.

In 2016 Bakker founded the MASieraad foundation together with Ruudt Peters, Ted Noten, Liesbeth den Besten, Liesbeth in’t Hout and Leo Versteijlen. MASieraad aims at the promotion of jewellery in a broad sense, through the organisation of education, workshops, lectures, exhibitions, and publications. MASieraad’s first project started at the Sandberg Institute in Amsterdam, as a temporary experimental 2-years Master called Challenging Jewellery. In 2020 MASieraad founded the international two-years Masterclass Program MASieraad Hasselt – Amsterdam, or MASieraad H-A.

www.gijsbakker.com
#gijsbakker
www.droog.com

KAIROS 27 – A Talk with GIJS BAKKER – xxParticipants

Zusammenfassung

xxxx // Kairos 27

xxxx

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13 December – Guest 24: Marjan van Aubel

KAIROS 24- OBJECT 24

Object: a bottle of water that you can re-fill

How can we democratize solar energy? Wouldn’t it be great if we look at solar anew, and no longer see them as big rigid installations? There are plenty of ways to change the perspective and democratize solar energy. It can be small and integrated, and can be temporarily rolled out at deserted spaces for a period of time. It’s something that can be charged and shared, and you can carry it around like a bottle of water.

photo: Sander Plug

ON Marjan van Aubel

Marjan van Aubel is an award-winning innovative solar designer that brings solar energy into daily life. Designing for a positive future through combining the fields of sustainability, design and technology.

The studio is creating lasting change through solar design, integrating solar power seamlessly into our environments such as in buildings and objects. With the goal to make solar power more accessible for everyone. Most notable works are Sunne, Current Table, Power Plant and the roof of the Netherlands Pavilion at the World Expo 2020 in Dubai.

Marjan has collaborated with global brands such as Cos, Timberland, Swarovski with the aim of accelerating global energy transition to solar. Graduating from the Royal College of Art (Design Products MA) in 2012 and the Rietveld Academy DesignLAB (BA) in 2009.

www.marjanvanaubel.com
solar biennale
#marjanvanaubel

KAIROS 24 – A Talk with Marjan van Aubel – 17 Participants

Zusammenfassung

Marjan van Aubel // Kairos 24

Key themes:
The primary focus of the seminar and Marjan’s “kairos moment” came when she was writing her dissertation on the future of colour at the Royal College of Art, London. Her research led her to solar cells that could generate energy using the “properties of colour”. Her logic followed that if glass could be a generator of power perhaps everyday objects could be designed so that they could use this technology to harness energy. What if the abundance of the sun could be harnessed through the use and existence of household objects? If this could be done the way we perceive and operate energy generation could be completely reshaped. And thus so could the world. Putting the users in direct relation and control of the energy they produce as well as consume. “A solar democracy”. It is this idea that drives Marjan’s work.

Marjan’s asked us to bring a water bottle to the seminar. This was to draw a connection between how we see water bottles today and how she envisions we could see energy in the future. A future where we would fill everyday objects with energy the same way we fill a water bottle. This reinforcing the concept of this “solar democracy” where the user of objects, i.e. the people, are in control of the energy they use and generate. This having obvious sustainability and social implications.

This new function of energy generation could operate in tandem with an objects main function but could also be completely separate/secondary to their primary use. This way nearly all objects could be transformed into implements of “solar democracy”

Early career:
When she first started work with solar generation she got in contact with Michael Grätzel, famous for the pioneering of cost effective alternatives to silicon based solar cells in the 1990’s, at the EPFL laboratory where she was able to familiarise herself with the technology. This proved to be fruitful and inspirational for her work as she had only the idea of this solar integration and no real concept of how to implement it. She said that as a designer you bring a certain naiveté that means your ideas exist outside of the realm of the logistics and technicalities that dominate those who work in the lab. Meaning that her ideas may have been impractical but they provided alternative perspectives to how to utilise the technology and thus how to develop it. An example of this naiveté would be that she wanted to design cylindrical solar cells but due to the available technology only flat cells could be produced.

Eventually after working with the dye sensitised solar cells for a time her and the rest of the solar industry realised that the technology was not suitable for the future and that they must move onto more practical technologies in order to progress. This brought up an important point that she made of being able to let go of projects that are not working and move onto to greener pastures. In her case out of this letting go she moved onto to OPV solar cells that proved to be much more applicable to her work.

Projects:
The first project briefly mentioned was “The Energy Collection” project that proposed her vision for solar democracy in its infant stage. The project was a conceptual shelf that acts as a hub/battery from which everyday objects such as glasses, plates, jugs etc. It would use dye sensitised solar cells built into their exterior to harvest and use the energy from the sun and use it as power for household objects. This project acted almost as a manifesto of her intentions and as stepping stone from which she could go begin to bring this concept to life with practical projects.

The next projects discussed were her “Current Tables”. Tables whose top surface is made of dye sensitised solar cells that act as a generator of energy for appliances that can be plugged in via a side USB port. Her thinking being that the kitchen table is a universally utilised object that would act as a suitable hub for energy generation and use. Marjan had the intention of starting a company to produce the tables but unfortunately as mentioned before the technology was realised to be inefficient and not scalable so they had to be cancelled. This project was however enormously informative for her however as it showed what producing a solar generation product would be like as well as helping her focus how she wanted to utilise the technology in the future. Namely that she realised that a table as an object would be problematic because of inherent elements. In her eyes a table would be much too stationary and cumbersome an object for individual use so she wanted something more portable to allow for a much more individualised control of one’s energy generation and use.

Her next project discussed that tackled what she diagnosed as the problem with her “current Tables” was her “cyanometer” with Swarovski, an Austrian jewellery company. She utilised their glass technology to increase the efficiency of energy generation –The glass utilised refracts light at specific angles so that it is more intensely focused onto the solar cells-. The portable solar crystal harvests the light during the day and when plugged into the docking station “gives the sensation of taking the sky indoors”. The nature of the project and working with Swarovski meant the project focused more upon utilising existing technology to make product as opposed to using the project as a means of development and experimentation which for her was informative but didn’t satisfy her drive to push the technology. She also highlighted the how the design process changed: she would simply hand over a design and the company would develop and produce the object independently. This felt quite alien to her as she was so used being hands on at every stage. In her words this way of working was almost “boring”, for her. Though she still thought it useful, as it helped her gain some perspective on how to work with a company and also give her the knowledge simply that she prefers to remain hands on throughout development.

One interesting point arose while discussing her “Power Plant” project. The project involved researched into using solar generation as a means of generating food in self-sustaining modular greenhouses. This project arose out of her returning to Holland where she noticed Holland’s large number of greenhouses. Their use harnesses the sun’s energy to produce food that helps sustain local populations. This led her to formulate the idea for the “Power Plant”. -As a side note returning to Holland from London gave her a fresh perspective on her country that she wouldn’t have noticed if she had not spent time elsewhere. A point she made was that spending time away from something or somewhere can lend a new and valuable perspective-. She then spent a year researching into this topic working with both scientist/researchers and agricultural experts to try and develop a solution. While initially enthused she ultimately ended up stepping away from the project as she felt that the agricultural sector was too profit driven. However her research and pushing of the idea helped kick start further research into this area so while she may not have been able to come to a solution she was able to spark interest and development into a new area of research. Which is valuable itself. As part of this research she had to deal with people from completely different fields whose approach to production is completely different and she emphasised how important a skill it is to be able to mediate different groups of people in order to collaborate on a solution. Related to this she also mentioned how important it is to not only imagine your ideas but create them or at least give them form so that those who cannot envision your product can begin to do so.

For her contribution to the Dutch Pavilion in Dubai at the world Expo 2020 a few interesting points were raised in terms of her approach to designing for such a brief. Marjan was chosen for the pavilion because the theme of the Dutch “Biotope” pavilion related to a self sustaining, self sufficient structure where solar energy was used to power its functions. All parts of the design were designed in a way that they could be deconstructed after the expo had concluded. For example the steel structural material was borrowed from a bridge construction company and after the expo the material was given back to be used by them. The solar panels that Marjan was responsible for also used technology that was light weight compared to her other projects so that it would be more eco friendly to have shipped to Dubai. The solar panels were also designed in a way without adhesive so that they could be separated from each other and be shipped where needed more efficiently. This approach to design gave her a new perspective on how to apply her technology in the future.

She is currently working on her “sunne” project which is a self contained light source that gets it’s power from solar energy generated during the day. She feels as though more embodies her ideal for solar democracy as its energy generation translates directly into a consistently useful functionality. This in comparison to her table projects that she felt were too impractical for individual use and her projects with Swarovski and the Dutch design pavilion that were too dependent on the whims of other people/companies. With this project she feels as though she is in full control of it’s direction. Something that she briefly mentioned was that the prototype of the object cost a lot of money and she emphasised the economy of scale and how it is important to scale your products production so that manufacturing is cheaper(If this is the intention for the project obviously). A closing point to this project was that you have to realise the multi faceted nature of product development including packaging, shipping advertising etc. Which in her words “I’m happy that I didn’t know everything as if I had known everything I wouldn’t have started”? Though she is obviously still happy and satisfied with it’s outcome. She also briefly said that she was using kickstarter in order to gather funding for the project. She thinks that kick-starter is a really useful tool in jump starting projects but she also recommended seeking guidance and help in order to use it to its fullest potential as she was aware of it’s multifaceted complexities when she first envisioned using it to fund the project.

Marjan’s Future:
Marjan was asked what her intentions are for her future work and projects and whether she will remain working exclusively with solar technology. For her the she feels a drive to do something sustainable with her work: “I’m just creating more objects into a world that has already enough objects”. And she sees working with solar technology as the best way she can help contribute to the energy transition. In terms of integrating new technology she is very open made an offhand comment about working with nano technology but she feels that working with solar has helped her focus her approach to design and helped her really find what she is passionate about making so she intends to continue forward with it.

In her opinion the most exciting new technologies include the ability to print on solar panels. While this does decrease the efficiency marginally Marjan believes that the ability for solar panels to be utilised by artists will encourage more people to enter the space and perhaps further bring solar energy and technology into the public consciousness. An example of a company using this technology is UN studio. Or also the ability to bend and curve solar panels which is being used in the “lightyear one” car. A car powered by solar cells.

Advice:
A question posed to Marjan was how she was confident enough to start a line of communication with companies in order to work with them. In her opinion there is no way around biting the bullet and simply having the confidence to step out and communicate with people. All the clients she has worked with the exception of Swarovski and the Dutch design pavilion she was the one who got in contact first. So it goes to show you need to take the initiative to be able to work with companies. Especially when first starting off. Though she stressed that you have to understand that as a designer you will most likely be misunderstood. You just mustn’t be dissuaded. You have to learn to be able to empathise with people’s perspective so that you can adapt your approach to communication and collaboration.

One point she made regarding working with companies was that companies operate differently depending on what sector they work in. For example social sector companies have a much more fluid approach to production with design, ideation and manufacture all informing each other. Usually with an intended goal in mind. Whereas technical sector companies operate more based on monetary and profit driven incentives where progress and development is fuelled by investment. This is just something that she advised us to keep in mind when working with companies as many may not be as idealistically driven as we would like. Tying into her point of how you must be adaptable and understanding of industry shortcomings in order to succeed.

Luke Deighton

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15 November – Guest 21: Maarten Baas

KAIROS 21 – OBJECT 21

Object: drawing from when you were a child

The Kairos moment in my career was the moment I launched Clay Furniture. I’ll talk about the moment I had to choose for a direction that was an intuitively right, yet scary, path to take.
(I also have a secret second kairos moment, about which I’ll tell during the talk.)

Picture: Thomas Straub

ON MAARTEN BAAS

Maarten Baas was born in Arnsberg, Germany in 1978. From 1979, Baas grew up in the Netherlands. After graduating from high school, he began studying at the Design Academy Eindhoven in 1996. Baas is considered to be one of the most influential Dutch designers of the beginning of the 21st century. He is often described as an “author designer,” of which his works lie on the boundaries between art and design. His work is known as rebellious, playful, intellectual, theatrical and artistic. He has gained an autonomous position in the design field, and his work varies from conceptual designs, limited editions, production design, installations, public space, architecture, interior design, theater design and performances.
His works are in major museum collections, such as the MoMa, Victoria & Albert Museum, Les Arts Decoratifs, San Francisco Museum of Modern Art, Die Neue Sammlung, Stedelijk Museum and Rijksmuseum. And in private collections of Brad Pitt, Kanye West, Ian Schrager and Adam Lindemann. He worked for exclusive brands, such as Louis Vuitton, Swarovski, Dior, Dom Ruinart and Berluti.

www.maartenbaas.com
#maarten.baas

KAIROS 21 – A Talk with MAARTEN BAAS – 29 Participants

Zusammenfassung

Maarten Baas // Kairos 21

The key overarching theme of the seminar was that of listening to your inner drive as a designer/artist/creator of things. He emphasised letting your instincts and intuition dictate how you work on projects. This way your work is a true reflection of yourself. It is very easy to disregard this voice or drive in favour of what is expected or popular but it is important that you nurture it so that you cultivate a sort of symbiosis with it. Its fragility means it must be reinforced with the utmost commitment. You have to believe in your work. That is why it is important to work on projects that are born out of this inner drive as without this driving force a project cannot hope to succeed.

Maarten mentioned that though you must be completely committed to a project it is only natural to doubt yourself and the project as blind commitment in a project can also lead to bad outcomes. You have to be insecure or scared of your work or you are likely on “safe ground”. Progress or a creative outcome can only arise from “unsafe ground”. You must push through the hardship in order to break new ground and develop yourself as a designer/creator.

The pre seminar task was to bring in a drawing from when you were a child. The motivation behind this task being to put you in touch with the vague memory of how you felt when you created that piece of art. How it was born out of the creative drive, which Maarten refers to, in its earliest, purest form. Untainted and free. A purity and naivety that is lost with your now experienced and weathered world view. This drive birthing a piece of art that is inherently beautiful because of what it represents. An utterly sincere and pure interpretation of the world. And it is the spontaneity and purity of this drive that Maarten tries to utilise in his work.

This naive world view cannot be fully recaptured and dwindles with age but pragmatically we may use it in combination with our new found wisdom and experience to apply a practical application to this romantic idea of a raw and free creativity. It is crucial to strike a balance between the two so that projects are beautiful and raw yet grounded.

Projects:
“Smoke”: – Maarten’s break into the design world came with his “smoke” series. For this project Maarten took classic chair designs and charcoaled them so that their exterior was entirely burnt before coating the pieces in epoxy resin to preserve their functionality. This creating an obvious incongruity in the objects of transience in opposition to preservation. This linking to nature and human nature respectively: “In nature, everything is in flux, which creates a certain beauty. Yet, it’s a very human tendency to keep things as they are supposed to be and keep them beautiful as they originally were“.

This project has a rebellious facet to its commentary. Of tearing down/burning what came before you so that you can create something new. However, while Maarten realised the rebellious aspect he stressed that the primary focus was that of the transience and preservation duality. In his eyes rebellion in design fundamentally relies on having something to kick against and is inherently negative/anti. It is nothing without what it comments on and thus is hollow in some respects.

From a more business minded and pragmatic perspective Maarten discussed how initially he saw the burning as a sort of niche within the design world he could claim for himself as a sort of calling card that would stake his claim in the design world. He also mentioned that he wanted something that he could make himself and could independently produce, allowing him greater freedom with the outcome.

“Clay”: – For Maartens follow up project “Clay “ he noted how after the success of his smoke project he felt pressure to create something that would live up to what had been built up around his new found design persona. He felt that it would have been easy for him to create a slick modern design as a follow up. But instead he decided to follow the inner child-like drive that he spoke of with the childhood drawings and follow his instincts on where to take his next project. In this case quite literally childish, but only coincidently. It was the spontaneity and intuition of the childish drive that he chased and utilised not the childlike appearance (as this is only superficial). Separate from the expectations placed on him, firmly rooted in a reflection of his true self as a designer. Namely that he made what he wanted to make. Once again he stressed that it was only possible because he believed in what he was doing and committed to it wholeheartedly. It was this realisation in his career that Maarten named as his Kairos moment and would influence the direction that the rest of his career would take

Time related projects: – Finally Maarten spoke on his various projects relating to time. None in specific but he elaborated on his apparent fascination with time in his projects. Namely the perspective that contemplating time can lend to us and it’s ability to show us what we truly value when we see our life in times shadow: “with money you can buy everything but time”. The example he gave was that of his “tree trunk chair” that uses a mould to grow a tree into the shape of a chair over the course of 200 years.

Advice:
Maarten’s advice for us as designers yet to break into the design world was to utilise our circumstances to our advantage. As a student we lack certain privileges afforded to large designers like funding or connections but we also have a much greater flexibility and freedom. As young designers we can also utilise our position to get companies to take us under their wing so to speak and help fund and collaborate with us in ways more experienced designers cannot. What Maarten really emphasised was not to be defeatist and to make the most of our situation regardless of whether it is fair. Even so you are at your most creative when you are young (again relating to the childish creative drive) and this is something that no amount of money or experience can rejuvenate.

Luke Deighton

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Extra Ordinary | Yuhang Ke | MA 2021

Extra Ordinary

Unser modernes Leben ist von so vielen Objekten umgeben, dass man sagen könnte, dass unsere Welt aus ihnen besteht. Einige dieser Gegenstände gibt es schon seit langem, und die Menschen benutzen sie tatsächlich und leben jeden Tag mit ihnen. Die Existenz dieser Objekte schafft eine unsichtbare, aber sehr enge Verbindung zu den Menschen, die meist nicht wahrgenommen wird. Die entscheidende Aufgabe des „Objekt Maker“ Designers ist es, Objekte zu gestalten und für diese unsichtbare Verbindung zwischen Menschen und Objekten verantwortlich zu sein. Das zentrale Ziel von Master Projekt ist es, Design als Medium zu begreifen, um die Aufmerksamkeit der Menschen auf die schönen, aber vernachlässigten Kleinigkeiten des täglichen Lebens zu lenken.

Johannes Vermeer experimentierte bereits im 17. Jahrhundert in den Niederlanden mit der Malerei. Aus dem Studium der Malerei lässt sich leicht erkennen, dass die Malerei eine Kunst ist, bei der die Anordnung des Bildes die Aufmerksamkeit auf das lenkt, was der Maler ausdrücken will. Im Gegensatz zu Gemälden, die Götter und Helden verherrlichen und preisen, wird in Vermeers Gemälde das Sonnenlicht aus dem Fenster als Scheinwerfer auf die Milch einfüllende Magd eingesetzt. Es ist eine alltägliche, sogar langweilige Szene, aber für Vermeer ist sie eine vergessene Perle.

Nach Martin Heideggers „Aufleuchten“-Theorie: Wenn die Vorhandenheit eines Objekts fehlt oder wenn die Zuhandenheit und die Vorhandenheit zwischen den Objekten nicht übereinstimmen, wird dies bevorzugt wahrgenommen als Dies wird bevorzugt in Form eines „Aufleuchtens“ wahrgenommen. In diesem Masterprojekt werden die schöne, aber vernachlässigte Erinnerungen, Erlebnisse und Details des Alltagslebens als „Aufleuchten“ (Extraordinary) in alltägliche Objekte (ordinary) eingesetzt, was zu einer Umgestaltung von Zuhandenheit und Vorhandenheit führt. Diese Objekte haben ein ähnliches Ziel wie die Gemälde von Johannes Vermeer: Sie sollen die Aufmerksamkeit auf die vernachlässigten, aber schönen Kleinigkeit des Alltags lenken (Extra ordinary).

„Extra ordinary“ als Strategie für die Neugestaltung von Alltagsgegenständen werden in diesem Masterprojekt 10 unterschiedliche Objekte entworfen. Sie stellen jeweils eine kleine Erinnerung, eine Erfahrung, einen Moment und ein Detail über die schönen, aber vernachlässigten Aspekte des täglichen Lebens dar.

Our modern lives are surrounded by so many objects that you could say our world is made up of them. Some of these objects have been existing for a long time and people actually use them and live with them every day. The existence of these objects creates an invisible but very close connection to people, which is mostly unnoticed. The crucial task of the „object maker“ designer is to design objects and be responsible for this invisible connection between people and objects. The central aim of this Master project is to understand design as a medium to draw people’s attention to the beautiful but neglected little things of everyday life.

Johannes Vermeer was already experimenting with painting in the 17th century in the Netherlands. From the study of painting, it is easy to see that painting is an art in which the arrangement of the picture draws attention to what the painter wants to express. Unlike paintings that glorify and praise gods and heroes, Vermeer’s painting uses the sunlight from the window as a spotlight on the maid pouring milk. It is a mundane scene, but for Vermeer it is a forgotten pearl.

According to Martin Heidegger’s „Aufleuchten“(Flashing) theory: if the presence of an object is missing or if the availability and the presence between objects do not correspond, this is perceived preferentially in the form of an „Aufleuchten“. In this master project, the beautiful but neglected memories, experiences and details of everyday life are used as „Aufleuchten“ (Extraordinary) in everyday objects (ordinary), which leads to a transformation of Zuhandenheit and Vorhandenheit. These objects have a similar aim as the paintings of Johannes Vermeer: they are meant to draw attention to the neglected but beautiful trifles of everyday life (Extra ordinary).

„Extra ordinary“ as a strategy for redesigning everyday objects, 10 different objects are designed in this master project. They each represent a subtle memory, an experience, a moment and a detail about the beautiful but neglected side of everyday life.

Extra ordinary_Yuhang_Ke_Final_Web_5_Ballon Nussknacker_9

Extra ordinary_Yuhang_Ke_Final_Web_5_Ballon Nussknacker_10

Extra ordinary_Yuhang_Ke_Final_Web_5_Ballon Nussknacker_11

Extra ordinary_Yuhang_Ke_Final_Web_5_Ballon Nussknacker_12

Extra ordinary_Yuhang_Ke_Final_Web_2_25 Zoll Vase_17

Extra ordinary_Yuhang_Ke_Final_Web_2_25 Zoll Vase_1

Extra ordinary_Yuhang_Ke_Final_Web_7_Kartoffeln_13

Extra ordinary_Yuhang_Ke_Final_Web_7_Kartoffeln_6

Extra ordinary_Yuhang_Ke_Final_Web_7_Kartoffeln_3

Extra ordinary_Yuhang_Ke_Final_Web_9_Druckerbank_18

Extra ordinary_Yuhang_Ke_Final_Web_9_Druckerbank_17

Extra ordinary_Yuhang_Ke_Final_Web_8_Sonnetray_7

Extra ordinary_Yuhang_Ke_Final_Web_8_Sonnetray_11

Extra ordinary_Yuhang_Ke_Final_Web_8_Sonnetray_17

Prozess

Betreut durch

Prof. Axel Kufus, Prof. Holger Neumann, WM Martin Beck

VOLTA | Marie Radke | MA 2021

VOLTA

Volta rückt die Steckdose ins Zentrum und bringt den Strom zu Dir. Wir benutzen immer mehr kabellose Geräte, deren Akkus regelmäßig aufgeladen werden müssen. So ist das smartphone eine nicht ganz unwesentliche Zeit ein schnurgebundenes Telefon (mit extrem kurzer Schnur) . Unser Verhältnis zur Steckdose hat sich mit dem zunehmenden Gebrauch verschiedener Geräte verändert. Jahrelang war sie nur dazu da, um einmal täglich den Staubsauer anzustöpseln oder um die Wohnzimmerlampe an ihrem Ort zum Leuchten zu bringen.

Durch die Corona-Krise und den damit verbundenen Digitalisierungsschub wurde das Homeoffice relevanter denn je und spätestens nachdem man den ganzen Tag von zuhause aus gearbeitet hat, weiß man ganz genau, wo die Steckdosen im Raum sind. Während uns Behelfslösungen aus Mehrfachsteckdosen unter Tischen oder Sofas zum bücken und strecken zwingen, bringt VOLTA den Strom zu dir. Die Kollektion besteht aus 3 Objekten: einer Multifunktionslampe, einem Mehrfachstecker und einem Verlängerungskabel zum klemmen. So ist immer eine Steckdose in Reichweite.

Volta moves the socket to the centre and brings the power to you. We use more and more wireless devices whose batteries need to be recharged regularly. The smartphone, for example, is a corded phone (with an extremely short cord) for quite some time. Our relationship with the power socket has changed with the increasing use of various devices. For years, it was only there to plug in the vacuum cleaner once a day or to make the living room lamp glow in its place.

Due to the Corona crisis and the associated digitalisation push, the home office has become more relevant. At the latest after working from home all day, you know exactly where the sockets are in the room. While makeshift solutions of multiple sockets under tables or sofas force us to bend and stretch, VOLTA brings the power to you. The collection consists of 3 objects: a multifunctional lamp, a multiple plug and an extension cable to clamp. So there is always a socket within reach.

Prozess

Betreut durch
Prof. Ineke Hans, Prof. Kathrin Busch, Martha Schwindling

Kontakt
Marieradke.de
Instagram: marieradke

Pellta – Technologie und Privatsphäre @ designtransfer

Als erster Teil der Auguren-Reihe wird in der designtransfer Vitrine der Prozess und die Recherche für ein neuartiges Produkt präsentiert, dass die Privatsphäre von Smartphones schützt.

Die Produkte des Startups Pellta verhindern, dass Smartphones ungewollt Gespräche aufnehmen und die Daten weitergeben. Die Telefone bleiben hierbei erreichbar und hörbar.

Das Smartphone begleitet uns oft 24 Stunden am Tag und wartet darauf per Berührung oder Sprache aktiviert zu werden.  Für Anwender*innen ist es fast unmöglich zu erkennen, ob auch unerwünschte Software auf die Mikrofone und Kameras der Telefone zugreift. Besonders für die Wirtschaft ist der entstehende Schaden messbar: Allein in Deutschland entsteht durch Wirtschaftsspionage ein jährlicher Schaden von 102,9 Milliarden Euro und 88% der Unternehmen waren in den letzten zwei Jahren von Datendiebstahl betroffen, 28% davon durch Abhören. Und auch Politiker*innen, Journalist*innen und Aktivist*innen werden immer häufiger Ziel dieser Angriffe.

Selbst das Ausschalten oder Blockieren des Telefonnetzes bietet keinen lausreichenden Schutz , da viele Aufnahme-Prozesse von Gesprächen weiterlaufen und versendet werden, sobald das Gerät wieder online ist. Sprache wird automatisiert in Text umgewandelt, ist damit einfach zu speichern, nach Schlüsselwörtern filterbar und als Big Data zu verwerten.

Ziel von Pellta ist es, die Nutzer*innen zu ermächtigen, eine klare Grenze für die digitale Welt zu ziehen. Ihre technischen Aufbewahrungen können als das akustische Gegenstück zum Klebeband-Sticker auf einer Webcam gesehen werden. Die Nutzung ist einfach: Man öffnet den Deckel, legt bis zu zwei Telefone hinein und schließt ihn wieder. Ab diesem Zeitpunkt sind die Smartphones geschützt. Durch einen speziell entwickelten Signalalgorithmus werden im Inneren sowohl die Mikrofone als auch die Analog-Digital-Wandler der Smartphones gestört. Es entsteht aktiver Datenschutz.

Vitrineninstallation: 5. November 2021 – 5. Januar 2022, 24/7

von Dominik Annies, Philipp Hainke und Peter Glas

designtransfer Aussenvitrine, Einsteinufer 43

Pellta Webseite

Gespräch mit Dominik Annies

An Art and Design Love Affair | Ausstellung Kunst + Design

Ausstellung bei Kunst + Design
Straße des 17. Juni 118 (EG Raum 002/003)

Freitag, den 29.10.21, 15 bis 22 h
Samstag, den 30.10.21, 10 bis 22 h

Die Ausstellung zeigt: Freie Projekte, Projekte der Welterforschung, Herkunft und Sein in Diversität,
das persönliche Portfolio als Brücke zwischen Studium und Kariere von Studierenden in Produkt- und Modedesign.

Betreut durch:
Prof. Jozef Legrand
KM Caroline Bittermann
LA Carsten Struck
LA Eva Wilde
LA Bruno Eritt
LA Sabine Wilms
HA Julia Heunemann
HA Berit Schuck

Die fliegende Bettwurst | Magdalena Prieler

SOSE 2021- My Idea.My Project/Open Call-Magdalena Prieler-Kinderbuch.Pdf

Magdalena Prieler

Betreut durch:
Prof. Jozef Legrand

Projekt: My Idea. My Project/OpenCall
SOSE 2021, Semester 5+

Quarentine Intensifies | Anastasia Antonenko

Anastasia Antonenko

Betreut durch:
Prof. Jozef Legrand

Projekt: My Idea. My Project/Open Call
SOSE 2021, Semester 5+

untitled | Max Funkat

Max Funkat

Betreut durch:
Prof. Jozef Legrand

Projekt: My Idea. My Project/OpenCall
SOSE 2021, Semester 5+

Bewohner der Tiefsee | Emma Johann & Jonathan Richter

Emma Johann & Jonathan Richter

Betreut durch:
Prof. Jozef Legrand
KM Caroline Bittermann
LA Carsten Struck
LA Eva Wilde
HA Julia Heunemann

Projekt: Das Ungeheuer das aus der Tiefe kam
WISE 2020/21, 1. Semester

A Deep Sea Meal | Achim Kwon & Sanya Lazarus

Achim Kwon & Sanya Lazarus

Betreut durch:
Prof. Jozef Legrand
KM Caroline Bittermann
LA Carsten Struck
LA Eva Wilde
HA Julia Heunemann

Projekt: Das Ungeheuer das aus der Tiefe kam
WISE 20/21, 1. Semester

Das Portfolioprojekt | Michael Sieweke

SOSE 2021-Das Portfolioprojekt-Michael Sieweke-Pdf

Michael Sieweke

Betreut durch:
Prof. Jozef Legrand
KM Caroline Bittermann
LA Carsten Struck
HA Sabine Wilms

Projekt: Das Portfolioprojekt
SOSE 2021, 4. Semester

Das Portfolioprojekt | Emma Mende

SOSE 2021-Das Portfolioprojekt-Emma Mende-Pdf

Emma Mende

Betreut durch:
Prof. Jozef Legrand
KM Caroline Bittermann
LA Carsten Struck
LA Sabine Wilms

Projekt: Das Portfolioprojekt
SOSE 2021, 4. Semester

Flow | Katharina Matecjek

Katharina Matecjek

Betreut durch:
Prof. Jozef Legrand
KM Caroline Bittermann
LA Carsten Struck
LA Bruno Eritt
HA Julia Heunemann

Projekt: Dark Liquid
WISE 20/21, 3. Semester

Dark Liquid | Gloriana Valverde

Gloriana Valverde

Betreut durch:
Prof. Jozef Legrand
KM Caroline Bittermann
LA Carsten Struck
LA Bruno Eritt
HA Julia Heunemann

Projekt: Dark Liquid
WISE 20/21, 3. Semester

Waldwärts | Julian Kuf | BA 2021

Waldwärts| Bachelorarbeit 2021

Das Projekt ‚waldwärts‘ beschäftigt sich mit der Zukunftsfähigkeit der Gesellschaft und dem komplexen System Wald. Der Wald ist das prägendste Element der deutschen Kulturlandschaft. Die Reinigung von Wasser und Luft durch den Wald ist für uns Menschen von großer Relevanz. Zudem ist er als Rohstofflieferant für den Wirtschaftssektor und somit für die Objekte und Lebensräume unseres täglichen Lebens unverzichtbar. Die klimatischen Veränderungen haben großen Einfluss auf dieses volatile System und die Schäden am Wald nehmen ein beträchtliches Ausmaß an. Durch die zunehmende Bedrohung der natürlichen Versorgungssysteme besteht dringender Handlungsbedarf.

Das Konzept der ‚waldwärts-initiative‘ vereint Naturschutz und strukturelle Nachhaltigkeit in der Produktion von Objekten. Der Verein agiert als Gemeinschaft. Wir gestalten langlebige Artefakte unter sozialen und ökologischen Aspekten. Unsere Versprechen an Gesellschaft und Natur sind für das Gemeinwohl zu wirtschaften, uns politisch in unserer Unternehmung zu positionieren und die globale Anstrengung der Abmilderung des anthropogenen Klimawandels zu verfolgen. Wir wollen andere Menschen inspirieren und streben eine Kooperation mit Gestalter*innen und holzverarbeitenden Gewerken an. Sowohl die Herkunft als auch die Produktion des Rohstoffs werden in Wertschöpfungsketten lokaler Akteur*innen stattfinden. Das zentrale Vorhaben des Vereins ist, durch Interventionen in das forstliche System einzugreifen. Lokale Akteure sollen gefördert werden und der notwendige Waldumbau sollen durch Investitionen in Aufforstungsprojekte unterstützt werden.

Dadurch ermöglicht der Verein eine intergenerationelle Zukunftsfähigkeit unserer Gesellschaft, indem sie sich für den Fortbestand und Transformation der wirtschaftlichen, gesellschaftlichen und natürlichen Systeme einsetzt. Die Möbelserie ‚picus‘ ist die erste Entwurfsserie der Unternehmung des Vereins. In ihren Grundsätzen folgt sie dem Vorhaben der Vereinsideologie und stellt eigene Themenschwerpunkte in den Mittelpunkt. Im Bezug zum Leitthema Wald und dessen systemischen Prozessen liegt dem Entwurf die Analogie der Wachstumsverhältnisse zwischen Bäumen und Menschen zugrunde und stellt deren Interpretation im Beziehungsverhältnis von Mensch und Objekt dar. Der Entwurf verfolgt das Ziel, eine Ermächtigung des Handelns durch Anpassung und Mehrfachnutzung der Objekte zu generieren. Dadurch ermöglicht sich eine Teilhabe an den Lebenshöhen Anderer und unterstützt das Erreichen, Bewältigen und Aufsteigen zu neuen Zielen. Die gestalteten Objekte sind Lebensbegleiter und auf lange Nutzbarkeit ausgelegt und stellen sich als hilfsbereites Objekt in den Mittelpunkt der Mensch-Objekt Beziehung.

The ‚waldwärts‘ project deals with the sustainability of society and the complex forest system. The forest is the most characteristic element of the German cultural landscape. The purification of water and air by the forest is of great relevance for us humans. In addition, it is indispensable as a supplier of raw materials for the economic sector and thus for the objects and habitats of our daily lives. Climatic changes have a major impact on this volatile system and damage to the forest is assuming considerable proportions. Due to the increasing threat to the natural supply systems, there is an urgent need for action.

The concept of the ‚waldwärts initiative‘ combines nature conservation and structural sustainability in the production of objects. The association acts as a community.
We design long-lasting artifacts under social and ecological aspects. Our promises to society and nature are to operate for the common good, to position ourselves politically in our enterprise, and to pursue the global effort of mitigating anthropogenic climate change. We want to inspire others and strive for cooperation with designers and woodworking trades. Both the origin and the production of the raw material will take place in value chains of local actors. The central intention of the association is to intervene in the forestry system. Local actors should be supported and the necessary forest conversion will be driven by investing in reforestation projects.

With these concepts in mind, the association will contribute to an intergenerational viability of our society by advocating for the continuation and transformation of economic, social and natural systems. The furniture series ‚picus‘ is the first design series of the association’s. In its principles it follows the intention of the association’s ideology and focuses on its own thematic priorities. In relation to the central theme of the forest and its systemic processes, the design is based on the analogy of the growth relationships between trees and people and represents their interpretation in the relationship between people and objects. The design pursues the goal of generating an empowerment of action through adaptation and multiple use of the objects. This enables a participation in the life heights of others and supports the reaching, mastering and ascending to new goals. The designed objects are life companions and designed for long usability and place themselves as a helpful object in the center of the human-object relationship.

Prozess

Betreut durch

Prof. Ineke Hans, Gesine Hillmann, Prof. Jozef Legrand

A thousand seeds or the right to becoming | Julius Fuehrer | BA 2021

A THOUSAND SEEDS OR THE RIGHT TO BECOMING | Bachelorarbeit 2021

Durch Klimawandel, das Schädigen der Biosphäre, Versauerung der Meere, Entwaldung, Müllverschmutzung, Vernichtung der Biodiversität und vielem mehr wird das terrestrische Leben, so wie wir es kennen, bedroht. Zum Vermeiden der Katastrophe werden in unserer zivilisierten, durch Kultur und Technologien bestimmten Welt dabei oft Natürlichkeit und Künstlichkeit miteinander verhandelt. Dabei treten wir als die künstlichen, technologisierten und kulturellen Akteure auf und betrachten die Welt um uns oft als passiv und ursprünglich. Doch sind diese Kategorien obsolet. Natur und Kultur sind vielmehr konstitutiv für einander. Daher erscheint die Frage nach ihren Berührungspunkten spannender. Wo finden die Grenzübergänge statt? Wo wirken die verschiedenen Gefüge aufeinander? Wo geschieht das gemeinsame Werden? Das Werden in Bündnissen? Wer ist mit wem infiziert und welche neuen Gefüge entstehen?

In A Thousand Seeds or the Right to Becoming wird die Ansteckung des Samens mit menschlicher Kultur , den Katastrophen, dem Verlust der Biodiversität behandelt. Durch den Affekt mit und die Faszination von menschlichen technologischen Netzwerken wurde auch er zu etwas anderen und tritt heraus aus seiner scheinbaren Passivität und zeigt seine eigene Handlungsmacht. Durch die Erweiterung seiner Wahrnehmung durch den Kontakt zur Drohne und das parasitäre Nutzen des Internets, beginnt er seine Ausbreitung zu steuern. Das Beobachten des Wetters und die Kommunikation untereinander ermöglichen Bäumen und Samen eine optimale Verbreitung, das Finden der günstigsten Standorte und das Intervenieren in ausgewählten Landschaften zum Sichern der eigenen und anderer Arten. Und kommt mit dieser Handlungsmacht auch das Recht an dieser Entwicklung und lässt sich dieses im kulturellen Netzwerk des Patentrechts sichern?

Climate change, damage to the biosphere, ocean acidification, deforestation, waste pollution, destruction of biodiversity and much more threaten terrestrial life as we know it.In order to avoid the catastrophe, naturalness and artificiality are often negotiated with each other in our civilised world determined by culture and technology. In doing so, we appear as the artificial, technologised and cultural actors and often view the world around us as passive and primal. But these categories are obsolete. Nature and culture are rather constitutive of each other. Therefore, the question of their points of contact seems more exciting. Where do the border crossings take place? Where do the different structures interact? Where does the becoming together happen? Becoming in alliances? Who is infected with whom and what new assemblages emerge?

A Thousand Seeds or the Right to Becoming deals with the infection of the seed with human culture , the catastrophes, the loss of biodiversity. Through his affectation with and fascination with human technological networks, he too became something else, stepping out of his apparent passivity and showing his own agency. By expanding his perception through contact with the drone and the parasitic use of the internet, he begins to control his dispersal. Observing the weather and communicating with each other enables trees and seeds to spread optimally, find the most favourable locations and intervene in selected landscapes to save their own and other species. And does with this agency also come the right to this development and can it be secured in the cultural network of patent law?

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Prozess

Betreut durch

Prof. Jussi Ängesleva, Prof. Kathrin Busch, KM Luiz Zanotello, Prof. Jozef Legrand

MANTA ARRAY | Tizian Heinsohn | BA 2021

MANTA ARRAY | Bachelorarbeit 2021

Das Projekt widmet sich der Lärmbelästigung in unseren Lebensräumen. Im englischen Noisepollution genannt. In den vergangen zwei Jahrzehnten gab er mehr Veröffentlichungen zu dem Thema als je zuvor, was nur einer der klaren Anzeichen für die Verbreitung des Problems und die akute Sachlage ist. Die stetig wachsenden Ballungszentren führen zu einer Intensivierung der Grundlärmbelastung. Diese Lärmbelastung betrifft jeden, aber vor allem die Menschen in den Innenstädten. Jeder kennt den Moment in dem die Sprachverständlichkeit so gering ist, dass es einiges an Konzentration fordert, dem Sprechenden zu folgen. Jedem ist das Phänomen bekannt jedoch wird die eigentlichen Auswirkungen auf Körper und Geist zu meist vernachlässigt. Genau dieser Problematik, die nur wenigen wirklich bewusst ist, widmet sich das Projekt.

Manta Array ist ein künstlerisch, -technischer Ansatz die Akustik in unseren Lebensräumen zu verbessern und so die Lärmbelastung der wir täglich ausgesetzt sind zu minimieren.

The project is dedicated to noise pollution in our habitats. In the last two decades there have been more publications on the subject than ever before, which is only one of the clear signs of the spread of the problem. The ever-growing urban centers lead to an intensification of the noise pollution levels. This noise pollution affects everyone, but especially the people living in the inner cities. Everyone knows the situation when they are listening to someone speaking and it requires quite a bit of concentration to follow the speaker. Everyone is aware of this phenomenon, but the actual effects on body and mind are usually neglected. Exactly this problem, of which only a few are really aware, is the subject of this project.

Manta Array is an artistic, -technical approach to improve the acoustics in our living spaces and thus minimize the noise pollution to which we are exposed daily.

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Prozess

Betreut durch

Prof. Ineke Hans, Prof. Holger Neumann, Steffen Herm

LUKULLUS | KIMIA Amir Moazami | BA 2020

LUKULLUS | Bachelorarbeit 2020

Betrachten wir den globalen Norden als Einheit, so sehen wir derzeit den Anspruch auf den vollständigen Verbrauch aller verfügbaren Ressourcen. Dies ist nur durch die erzwungene Verknappung im globalen Süden möglich und führt so zu einer immer größeren Spaltung der Lebenswirklichkeit. Insbesondere der Zugang zu sauberem Trinkwasser ist überlebenswichtig. Die Privatisierung von Wasserressourcen und deren Verbrauch für die Produktion von Konsumgütern schafft ein absurdes Ungleichgewicht in unserer Welt. In Teilen Indiens, Afrikas und Mexikos ist es sogar billiger und vor allem sicherer, ein Softdrink zu kaufen als Wasser.

Mit meinem Entwurf „Lukullus“ gehe ich auf diesen Missstand ein. Lukullus ist ein Filter, der dazu dient, Zucker aus Flüssigkeiten herauszufiltern. Er nutzt die natürliche Eigenschaft der Hefe, die den Zucker verstoffwechselt. Der Filter besteht aus einer 3D-gedruckten Hülle, die zwei verschiedene Filterkammern enthält. An beiden Enden des Filters befinden sich Standardflaschengewinde.

Um Lukullus zu verwenden, wird zunächst der obere Teil des Filters abgeschraubt, die erste Schicht ist ein Filterpapier oder alternativ ein Standard-Wattepad. Nun wird die untere Kammer mit Aktivkohle gefüllt und mit einem weiteren Filterpapier abgedeckt. Die Hefe wird in die Softdrinkflasche gegeben und diese wird auf den Filter geschraubt. In dem Moment, in dem die Hefe auf das Getränk trifft, beginnt sie, den Zucker zu verbrauchen. Wenn die Hefe genug Zucker verbraucht hat, wird der Filter wie eine Sanduhr auf den Kopf gestellt und die Hefe wieder im Filter aufgefangen. Er kann dann für die nächste Charge wiederverwendet werden. Die Aktivkohle filtert nun die restlichen Schadstoffe aus der Flüssigkeit. Wie viel Zucker gefiltert wird, hängt von der Zeit ab, die der Hefe im Getränk gegeben wird. Das Produkt ist als vorübergehende Lösung für den Status quo gedacht. Es kann also als Erfolg gewertet werden, wenn das Produkt in Zukunft seine Daseinsberechtigung verliert. Durch den Herstellungsprozess mit dem 3D-Drucker kann Lukullus als Open Source Konzept zur verfügung gestellt werden. Die Materialien des Filters sind zugänglich und können zu geringen Kosten erworben werden.

If we look at the global North as a unit, we currently see the claim of the complete consumption of all available resources. This is only possible due to the enforced scarcity in the global South and thus leads to an ever-widening division of living realities. Especially access to clean drinking water is necessary for survival. The privatisation of water resources and their consumption for the production of consumer goods is creating an absurd imbalance in our world. In parts of India, Africa and Mexico, it is actually cheaper and above all safer to buy a soft drink than water.

With my design „Lukullus“, I am addressing this deplorable state of affairs. Lukullus is a filter that is used to filter sugar out of liquids. It uses the natural property of yeast, which metabolises the sugar. The filter consists of a 3D printed shell that contains two different filter chambers. Standard bottle threads are found at both ends of the filter.

To use Lukullus, first the upper part of the filter is unscrewed, the first layer is a filter paper or alternatively a standard cotton pad. Now the lower chamber is filled with activated carbon and covered with another filter paper. The yeast is put into the soft drink bottle and this is screwed onto the filter. From the moment the yeast hits the drink, it starts to consume the sugar. After the yeast has consumed enough sugar, the filter is turned upside down like an hourglass and the yeast is collected in the filter again. It can then be reused for the next batch. The activated carbon now filters the remaining pollutants out of the liquid. How much sugar is filtered is determined by the time given to the yeast in the drink. The product is meant to be a temporary way to deal with the status quo. So it can be considered a success if the product loses its reason to exist in the future. Through the manufacturing process with the 3D printer, Lukullus can be made available as an open source concept. The filter’s materials are accessible and can be purchased at low cost.

Prozess

Betreut durch

Prof. Ineke Hans, Antonia Kühne, Prof. Dr. Michelle Christensen & Prof. Dr. Florian Conradi, Dr. Ruben R. Rosencrantz, Sany Chea

Kontakt

30 October: Tabula Rasa @urania

On the occasion of the major project Knowledge City 2021 and to kick off Berlin Science Week, Urania Berlin is organising an open forum for science, politics and the general public to meet: the science fair „Tabula rasa.

As part of a compact theme day, the „Tabula Rasa“ science fair, together with the partner network of the Berlin Year of Science and the Berlin Science Week, offers an exciting forum for young ideas from science that appeals to different generations in a vivid way and in dialogue. One focus is on presenting Berlin as an innovative science location. To this end, young scientists will present their work on current topics relating to digitalisation, the environment and climate, medicine and health in poster sessions and then engage in a relaxed exchange with other experts and visitors providing visitors with numerous opportunities to actively participate in the discourse.

At the Tabula Rasa – science at your fingertips / Wissenschaft zum Anfassen event Dominique Bertisch, Anna Maria Argmann, Hendrik Lucka, Roya Haupt and Kimia Amir Moazami will present as UdK product design students. Kimia’s Vorkoster is her graduation project, the other projects are developed in the Find a Fact & Act project in the wintersemester of 2020/21 under supervision of prof. Ineke Hans.

The dialogue programme is complemented by a short film programme on the theme of „StadtNatur- Berlin ökologisch denken“. Here, visitors can immerse themselves in the topics of biodiversity and climate change and experience different worlds in a very vivid and lively way. In the Q&A session with the filmmakers and protagonists afterwards, visitors can ask their own questions.

A moderated final discussion will bring politicians and scientists into conversation with each other. The final event at Café Urania offers all participants the opportunity to exchange ideas and network. There will be a special hands-on area for children called „Understanding Science“.

The event is moderated by journalist, author and Zeit editor Fritz Habekuß.
Admission free, registration required

PRESENTING AT TABULA RASA in Urania:

The Elusiveness Of Objects And Worlds | Elisa Hösch | MA 2021

The Elusiveness of objects and worlds

Weil die Bedeutung der Funktionalität naheliegend ist, geben wir der Fülle an Symbolen, die in unserem Unbewussten schlummert, wenig Aufmerksamkeit. Symbole entstehen aus vergangenen Ereignissen und sind geprägt durch Emotionen, die einst diese ursprünglichen Ereignisse in uns auslösten. Sie können aber auch einen kollektiven Ursprung haben und uns durch Gesellschaft, Kultur, Zeit und Raum infiltriert worden sein. So oder so ist ein Symbol nicht nur die Bedeutung eines Dings, sondern auch ein Gefühl, das uns erst einnimmt, und uns dann im Sog der Interpretationskraft davonträgt. Ist es einmal im Unbewussten manifestiert, müssen wir uns damit auseinandersetzen. Um uns selbst in unserem Dasein bewusst zu werden, müssen wir uns um das Verständnis symbolischer Bedeutung und deren Wirksamkeit bemühen. „The Elusiveness Of Objects And Worlds“ erforscht die archetypische Symbolik von Objekten, die durch eine Verschmelzung des digitalen und analogen Raums geboren sind. Zufall und eigene Interpretationskraft werden Instrumente zur Veranschaulichung der unbewussten Vorstellungskraft. Es entsteht eine intuitive Weise des Gestaltens, unbekannte Formen und damit eine Gruppe an phygitalen Artefakten, die Symbole aus beiden Welten mit sich bringen.

Because the meaning of functionality is always most apparent to us, we may pay just little attention to the richness of symbols that are inherent in our unconscious. Symbols arise from past events and are shaped by the emotions that these original events once triggered in us. But symbols can also rise from a collective origin. Those have been infiltrated into us by the society, culture, time and space, that we live in. Either way, a symbol is more than just the plane meaning of a thing. It’ s a feeling that we get touched by first and then, by the pull of power of our own interpretation, we get carried away. Once it’s manifested in the unconscious, we have to deal with it. In order to become aware of our own existence, we have to strive the understanding of symbolic meaning and its effectiveness. “The Elusiveness Of Objects And Worlds” explores the archetypal symbolism of objects that are born through a fusion of digital and analogue space. Analogue and digital chance and power of interpretation become instruments of creation to illustrate the unconscious power of imagination. The result is an intuitive way of designing unknown shapes and phygital artifacts that are carrying symbols from both worlds within them.

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Prozess

Betreut durch

Prof. Axel Kufus, Anja Lapatsch, Prof. Jozef Legrand

SEEMANNSGARN | Bastian Thuerich | MA 2021

Seemannsgarn

Eine kleine Insel wandelt inmitten der Wüste des offenen Meeres.

In den Erzählungen, treibt sie leuchtend auf der spiegelnden Oberfläche,

und in der Nacht grau zwischen Wellenbergen.

Entsprechend der Gezeiten, greift rhythmisch in ihr, eine Mechanik vom Wasser getrieben. Sie strickt einen Draht in das Unmenschliche hinab.

Die Strömung bedingt auch den Strom, der das Salzwasser spaltet;

Calciumcarbonat und Magnesium versteinern das Strickwerk zu Aragonit.

Die Bewohner des Wassers sind am Stein gesiedelt,

Mollusken und Algen haften dem Mineralischen an.

Auf ihrer Wanderung vorbei ziehende Fische, finden hier Nahrung, ihrerseits Beute für größere Räuber.

A small island wanders in the middle of the desert of the open sea.

In the stories, she floats shining on the reflecting surface,

and gray in the night between wave crests.

Corresponding to the tide, a mechanism that is driven by the water intervenes in it rhythmically. She knits a wire down into the inhuman.

The current also causes the current that splits the salt water;

Calcium carbonate and magnesium turn the knitting into aragonite.

The inhabitants of the water are settled on the stone,

Mollusks and algae adhere to the mineral.

Fish passing by on their migration find food here, in turn, prey for larger predators.

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Prozess

Betreut durch

Programm WS 2020/21

Designgrundlagen
1. Semester, BA, Produkt- und Modedesign, Wintersemester 2020/21

Entwurf
Einführung in den Entwurf für die Erstsemester in Mode und Produkt über verschiedene kurzfristige Gestaltungs- und Entwurfsübungen, die verschiedenste ausgesuchte Aspekte von Beobachtung, Wahrnehmung, Findung und Formung über Methodik, Strategie, Reflexion und Diskussion, bis zu Dokumentation, Darstellung, Präsentation und Vorführung integrieren. Es werden unterschiedliche Aufgabentypen eingesetzt, sowie verschiedene Formate des Inputs, der Besprechung und der Diskussion.

Thema/Motiv
Das verbindende Motiv ist dieses Semester über den Titel „Kopf hoch“ gegeben. Der Kopf als Objekt, als Form, als Prinzip, als Metapher, als Wahrnehmungsorgan, als Farbgeber, als Kommunikator, als Träger, als Denker, als Ausgangspunk und Bezugspunkt.

Programm
Duftmarke (Kommunikationsmodell, Perspektivwechsel, Wahrnehmen & Beschreiben, Diskussion, Kennenlernen, Interpretation, Involvieren, Strategie-Analyse, Humor)
Kopfform (additiv, subtraktiv, abgewickelt)
Familienköpfe: Ähnlichkeit + Unterscheidbarkeit (Formfamilien)
Formfamilie 2D + 3D (Skizze, Zeichnung, Variation, Vergleich, Kriterienkatalog, Verbesserung, paralleles Entwickeln, Reduktion, Test, Diskussion)
Werkstattwoche Motiv Haken (Werkzeuge, Maschinen, Material und Regeln kennenlernen)
Farbkopf Farblehre + Übungen, Iris-Analyse und 3D-Übertragung
Hut und Mut – mit dem Kopf durch die Wand, Gestaltung einer Handlung mit Objekt
(Spiel, Improvisation, Assoziation, Variation, Handlungsinduktion, Integration des Unfertigen, Transformation, Video als Analyse-Werkzeug, Iteration, Test, Video-Inszenierung)

basislabor design
Prof. Robert Scheipner
KM Vertretung Charlotte Marabito
Gabriel Knoop, studentischer Mitarbeiter
Luzie Richter, studentische Mitarbeiterin

R008, R007, Projekträume
R00B, Büro/Besprechungsraum
Aula/R402 Besprechungsräume

montags und dienstags 9–14 Uhr

Start
Montag, den 02.11.2020, 13.30 Uhr, 15.00 Uhr, 16.30 Uhr, Aula R401

Einführungswochen Werkstätten
30.11. – 04.12.20, 07.–11.12.20

Kimia & Kim Selected for Antenna at DDW 2021

Nessi by Kim Kühl and Vorkoster by Kimia Amir Moazami are selected for Antenna 2021 at DDW Eindhoven

Antenna is a platform for young, international design talent, initiated by Design Indaba and Dutch Design Week. They aim ‚to pick the very best of a next generation that will have a positive impact on the world with new insights, clear ideals and strong ambition. No superficial products or big names, but people searching for answers to global challenges. Antenna gives them a voice and the chance to change the world.‘

Annually Antenna presents young students or recent graduates (past 2 years), under 35 years of age, ranging from first-year all the way to PhD level, who are creating design work that has the potential to change the world for the better.
At Dutch Design week projects are presented that show a high level of quality of work (innovation, function & use, sustainability & life cycle). The projects address one or more of the 17 Sustainable Development Goals as an overall aspect.
Antenna is interested in the process and the thinking behind the product or service, its environmental and social impact, its current feasibility and implementation, and its potential for future development.
Selected candidates are invited to Holland for a matchmaking and networking program and supported in short talks to targeted audiences.

This year 8 students and their projects were selected from international design schools. Among them: Kimia Amir Moazami and Kim Kuhl from UdK.

• Kimia is selected with her graduation project Vorkoster a device that informs you about the quality of your food that you can use over and over again. Kimia developed Vorkoster by working closely together with researchers from the Fraunhofer Institut.
Kimia is invited to Dutch Design Week 2021 and will speak for a selected audience at the Ambassadors‘ dinner.

• Kim Kuhl is selected with Nessi a project that deals with draught and trees in urban environment. Nessi was developed in the Find a Fact & Act project of Prof. Ineke Hans

More info on the projects below

You can find more about join Antenna and the conference at Dutch Design Week 2021

Vorkoster at Antenna
Nessi at Antenna

see more about previous antenna’s here

TASCHENLICHT | Merlin C. Everding | MA 2021

Taschenlicht

Das [TL.21] Taschenlicht ist eine minimalistische Stehleuchte. Die TL.21 ist eine zusammenklappbare Stehlampe, die als Antwort auf die Problematik des Versands schwerer Sockel erstanden ist. Auf der Suche nach Lösungen in der Outdoor-Branche, die sich auf leichte und zusammenklappbare Materialien konzentriert, die Im bestenfalls mit lokalen Herstellern Produziert werden kann, So kann TL.21 in einem Paket verschickt werden, das nur einen Bruchteil der Größe und des Gewichts der Leuchte ausmacht. Der Sockel der Lampe besteht aus einem verschweißtem TPU-Beschichtetem Nylon Gewebe, das bei der Konstruktion von aufblasbaren Kajaks verwendet wird, und wird zum Gebrauch mit Wasser oder Sand gefüllt. Eine LED-Leuchte, die in einer Taschenlappenartigen Gehäuse sitzt unter einem Recycelten PET Leuchtschirm verborgen ist, wird von einem Zeltstange getragen. Flexibel und dauerhaft. Geschaffen für Esszimmer, Büros, Wohnzimmer und Wohnräume. Hochmoderne Designmaterialien, die sich für Empfangsbereiche und Büros eignen. „Taschenlicht“ verbindet den strukturellen Charakter der Architektur mit der Dynamik der Outdoor Branche in bleibender Qualität. Ebenso bietet [TL.21] funktionelle und ästhetische Lösungen für den Wohn- oder Aussenbereich. „Taschenlicht“ hat eine eigene Identität und ein einzigartiges Profil, mit dem Fokus auf präzise Details. Das Design zeichnet sich durch eine moderne Palette klassischer Farben aus, welche die Fähigkeit des Systems unterstreichen, ein einzigartiges und persönliches Erlebnis zu bieten. Graphitschwarz und Silber sind die traditionellen Farbcodes, während Tieforange die Signaturfarbe ist.

The [TL.21] pocket light is a minimalist floor lamp. The TL.21 is a collapsible floor lamp, the answer to the problem of shipping heavy bases. Looking for solutions in the outdoor industry, focusing on lightweight and collapsible materials that Im able to produce at best with local manufacturers, So TL.21 can be shipped in a package that is only a fraction of the size and weight of the lamp. The base of the light is made of a welded TPU coated nylon fabric used in the construction of inflatable kayaks, and is filled with water or sand for use. An LED light, which sits in a flashlight-like housing hidden under a Recycled PET light shade, is supported by a tent pole. Flexible and durable. Created for dining rooms, offices, living rooms and residential spaces. Ultra-modern design materials suitable for reception areas and offices. „Taschenlicht“ combines the structural character of architecture with the dynamism of the outdoor industry in lasting quality. Likewise, [TL.21] offers functional and aesthetic solutions for living or outdoor areas. „Taschenlicht“ has its own identity and unique profile, with a focus on precise details. The design features a modern palette of classic colors that highlight the system’s ability to provide a unique and personalized experience. Graphite black and silver are the traditional color codes, while deep orange is the signature color.

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Prozess

Betreut durch

Prof. Axel Kufus, Prof. Burkhard Schmitz, WM Martin Beck

Kontakt

NEW SOURCES | Matthias Gschwendtner | MA 2021

New Sources

Während des Masterstudiums habe ich einen Prozess zur nachhaltigen Herstellung von Holzobjekten entwickelt, durch eine Verbindung von Computerdesign, 3D-Scannen und Roboterfertigung. Ständige Neuberechnungen ermöglichen den Einsatz unregelmäßig geformter Materialien für die Serienfertigung. Ein speziell für dieses Projekt entwickelter Algorithmus analysiert die Geometrie gescannter Äste und platziert sie im virtuellen Raum an die richtige Position. Darüber hinaus werden alle notwendigen Produktionsdaten automatisch berechnet und an einen industriellen Fräsroboter gesendet. Äste werden vorab per Mustererkennung selektiert. Verschiedene Formen passen zu verschiedenen Teilen. Um während der Covid-Pandemie selbstständig arbeiten zu können, habe ich einen kaputten 22 Jahre alten Kuka-Industrieroboter gekauft, repariert und in der Garage meiner Eltern in Ränkam, einem kleinen Dorf im ländlichen Bayern, eine temporäre Werkstatt eingerichtet. Der Computerblockstuhl ist das Endergebnis dieser Fallstudie, bei der Restmaterialien aus der Holzindustrie als alternative Materialquelle für den Bau von Wohnobjekten verwendet werden. In diesem Fall werden Birkenzweige verwendet. Durch die Verwendung von Ästen anstelle von vorgeschnittenem Holz ist jedes Objekt ein Unikat und hat einen anderen Charakter. Die präzise gefrästen Flächen, die rund um das Objekt erscheinen, vermitteln die Schnittstelle zwischen Natur und Technik. Die Birkenrinde bleibt teilweise erhalten und dient als natürliches Ornament, um die Natur und ihre unregelmäßigen Formen zu feiern. Die Materialwahl kritisiert den Massenkonsum und stellt die Standardisierung natürlich angebauter Materialien im industriellen Kontext in Frage.

During the master i developed a process for sustainable production of wooden objects, through an interconnection of computational design, 3D scanning and robotic manufacturing. Constant recalculation makes it possible to use irregular formed materials for serial production. An algorithm specially developed for this project analyzes the geometry of scanned branches and places them into the right position in virtual space. Furthermore all necessary production data gets calculated automatically and sent to an industrial milling robot. Branches will be selected in advance using pattern recognition. Different forms fit different parts. To work independently, during covid pandemic, i bought a broken 22 year old kuka industrial robot, fixed it and set up a temporary workshop in my parent’s garage in Ränkam, a small village in rural Bavaria. The computational log chair is the final outcome of this case study using left over materials from wood industry as an alternative material source for building domestic objects. In this case birch branches are used. Using branches instead of pre cut wood every object is unique and has a different character. The precisely milled surfaces that appear all around the object communicate the intersection between nature and technology. The birch bark partly remains and works as a natural ornament to celebrate nature and its irregular forms. The material choice criticizes mass consumption and questions the standardization of natural grown materials in industrial context.

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Prozess

Betreut durch

Prof. Axel Kufus, Prof. Burkhard Schmitz, Prof. Holger Neumann

Kontakt

Matthiasgschwendtner.com

https://www.instagram.com/maaatthias/

SO MUSE | Louie Gavin | MA 2021

So Muse

Sprachassistenzen sind heutzutage weder sehr persönlich noch sonderlich intelligent. Durch technische und kulturelle Entwicklungen lassen sich aber auch neue Anwendungsgebiete erahnen, die über das Stellen eines Weckers hinausgehen. Es werden immer natürlichere Unterhaltungen mit Maschinen möglich und in diesem Projekt geht es darum neue Ansätze für eine sprachbasierte Mensch-Maschine Interaktion zu entwerfen.

Ein Teil der Arbeit besteht darin eine alternative Persönlichkeit für eine Sprachassistenz zu konzipieren. Dafür wurde die Rolle einer Muse gewählt. Statt Befehle auszuführen geht es darum zu inspirieren. „Es“ hört auf den Namen Sunny und wurde darauf trainiert bei kreativen Prozessen zu unterstützen. So kann es beispielsweise Feedback zu Ideen geben oder für Brainstormings eingesetzt werden. Dabei hört es zu, stellt Fragen und regt das Gespräch mit eigenen Vorschlägen an. Der andere Teil der Arbeit dreht sich um die Verkörperung. Mit gängigen Sprachassistenzen wird vor allem über das Smartphone oder über Smartspeaker kommuniziert. Dabei handelt es sich allerdings um sehr statische Objekte. Um sich mit einer Maschine auf einer Ebene zu unterhalten sollte diese auch als ein Gegenüber wahrgenommen werden. Basierend auf diesen Annahmen wurde ein Prototyp entwickelt, der sich neben der Fähigkeit zu sprechen und zu hören auch bewegen kann.

Intelligent personal assistants are nowadays neither very intelligent nor very personal. Despite that, they are still part of our daily lives and are used for simple tasks such as setting alarms or reading the news. With cultural and technological shifts, new use cases emerge that allow more natural conversations between humans and machines. The first use case focused on general brainstorming or giving feedback on conceptual ideas.

In order to have natural conversations with a machine, it is helpful if the interaction is not explicitly based on language. For example, in human conversations the interaction is enriched by gestures and facial expressions, which is an integral part of transmitting the information appropriately. This is why a physical prototype which is able to move and express itself was developed. This personal robot listens out for its name: „Sunny“. It has one eye, four ears and can move its head. It’s powered by some of the most advanced AI systems available today and listens to your ideas or responds with its own ideas. It can also help you to evaluate and choose different options. Although Sunny’s answers are not always as accurate as they would be from most human beings, they can more often than not help you to expand your horizons.

Prozess

Betreut durch

Prof. Axel Kufus, Prof. Burkhard Schmitz, Prof. Jozef Legrand

MAKE MAG – MASTER GRADUATION MAGAZINE

German Design Graduates Exhibition 2020/2021

Save the date:

On 8 Oktober, German Design Graduates 2020/2021 will open in the Kunstgewerbemuseum Berlin. Since 2020 was a special year, that did not allow a physical exhibition, the selected works of 2020 will be on show in a double-expo 2020-2021.

Facts on 2021 selection:
• 177 projects from graduates of 15 German Design Schools are online in the so called HALL OF FAME.
• the young designers all graduated between 30.6.2020 and 31.5.2021
• 23 students graduated from UdK Produkt Design
• for 2021 50 projects of the online archive are selected for an exhibition that highlights topical themes by a a Jury of 5 GDG ambassadors from the fields of Design Culture, Design Praxis, Design Presentations, Design Perspectives, Design Press
• Representatives from the 5 ambassador groups will hand out green cards, supports and awards to the total HALL OF FAME at the award ceremony of 8 October in the Kunstgewerbemuseum Berlin

The exhibition will run from 09.10.2021 till 31.10.2021
You can find more on the UdK exhibitors 2020 and 2021 below
During this first weekend events and talks will take place at the Kunstgewerbemuseum

Saturday 9 October Mediapartner talks
13:00 THF Radio Talk
Post Graduate Perspectives – how much utopia can reality take?
16:00 Ndion Talk
Transferleistung. Wie kommt das Design in die Produktion?

Sunday 10.October: Design Reflection Talks
13:00 UdK Design Talk: Amelie Klein *
To Hell with Good Intentions Why design won’t save the world
16:00 Sebastian Herkner
Balance of things
* the Amelie Klein Talk ist ein UdK talk im rahmen des GDG

For more info see the German Design Graduates website
and apply for the newsletter to keep up to date!

EATABLE | Aurelia Lehmann

EATABLE

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.

Aurelia Lehmann – SS2021

Process:

DELI DOG | Alina Seegert

DELI DOG

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

Alina Seegert, 6. Semester SS 2021 –

Process:

The optimization of the Hermetia illucens (Black Soldier Fly) – Dennis Loebach

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.

Dennis Loebach – 4. Sem SS2021

Process:

CITY CHICKENS | Kim Kuhl

CITY CHICKENS

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.

Kim Kuhl, MA Anpassungsstudium SS 2021 –

project

Process:

Spice UP – Anna Maria Argmann

spice up

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.

Anna Maria Argmann – 4. Sem SS2021

Process:

LILLIPOD | Janik Dietz

lillipod

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.

Janik Dietz – 6. Sem SS2021 verwenden

Process:

Christine, Tobias, Agnes, Moriel selected for German Design Graduates exhibition 2021

German Design Graduates is set up to offer visibility and networks to Graduates that come out of German
Design Education, via an annual museum exhibition, an award gala and network event. Next to it there are events and exhibitions during the year
In 2021 a total 177 graduates of 15 Design Schools send in their work that is visible on the GDG platform, an online database with all graduates the so called HALL OF FAME.
GDG is supported by a wide range of organisations from the professional design field: the ambassadors

For the annual exhibition at least 3 projects of all participating schools are picked by a Jury of 5 GDG ambassadors from the fields of Design Culture, Design Praxis, Design Presentations, Design Perspectives, Design Press

In 2021 the UdK exhibits are:
– Die Werkelküche by Christine Oehme (BA)
– Papilio by Tobias Trubenbacher (BA)
– Das Tun an Sich by Agnes Kelm (BA)
– Programmable Matter by Moriel Blau (MA)

Since 2020 was a special year, that did not allow a physical exhibition, the selected works of 2020 will also be on show in the double-expo 2020-2021 in Kunstgewerbemuseum Berlin from 9 till 31 October

Kim and Kimia selected for Antenna 2021 in Eindhoven

Nessi by Kim Kühl and Vorkoster by Kimia Amir Moazami are selected for Antenna 2021 at DDW Eindhoven

The Antenna Design Conference is part of Antenna, initiated by Design Indaba and Dutch Design Week. Antenna is the platform for international design talent who focus on generating positive impact in the world. The platform goes beyond sharing ideas. It includes a coaching program to assist participating designers in manifesting their ideas.

Antenna is the first international event that showcased the current state of international young talent.
You can see more about join Antenna and the conference at Dutch Design Week 2021

see more about previous antenna’s here

Twice nominated for the German Designer Club Award 2021

IGNIS and PAPILIO two design projects by Tobias Trübenbacher under supervision of Prof. Ineke Hans are both selected for the Deutscher Designer Club Award 2021!

In September the nominees are invited to the What is Good Event in Frankfurt to find out who has won awards in the categories: communication, product and room.

Papilio published in international press

Tobias Trübenbacher’s graduation project Papilio is widely published all over the world!

17. May: THRED (UK)

German design student creates wind powered street light

18. May FRESH GADGETS (NL)
www.freshgadgets.nl/papilio-straatverlichting-die-werkt-op-windenergie

19. May: FAST COMPANY (US)
www.fastcompany.com/90637504/these-playful-street-lamps-are-powered-by-the-wind

19. May: SWIAT OZE (PL) 19 mei

Smart city: oświetlenie zasilane energią wiatru

20. May: Qiio MAGAZINE (DE)
www.qiio.de/gegen-lichtverschmutzung-ein-berliner-erfindet-die-strassenlaterne-neu

Papilio presented in Korea

Tobias Trübenbachers graduation project was selected for DESIGN KOREA 2021 in Seoul

The exhibition with the title CARBON ZERO, from EV to plastic zero is organized by the Korean Design Organisation KIDP focusses on how our environment is threatened and how design and designers can play a role in this.

Papilio presented in zone 3 the section Energy with nature: Power Generation
Various new renewable energies such as solar power, wind power and hydrogen power are used to obtain the required electricity without emitting greenhouse gases. It exhibits various cases from industrial facilities with high electricity demand, through public facilities such as street lights to products used at home.

DESIGN KOREA 2021 by KIDP
10.6.2021 till 10.10.2021
Seoul Yangjae aT Centre

To Hell with good intentions: Amelie Klein | UdK-talk at Kunstgewerbemuseum, 10 Oct.

To Hell with Good Intentions
Why design won’t save the world

Design has a long and sad history of complicity. It makes things beautiful, new and desirable and thus contributes to consumer frenzy and increasing pollution of land, water and air. It attracts with user-friendliness and helps to violate data protection regulations and personal rights. It promises solutions to whatever problem and claims to make the world a better place. Better for who? And what’s better? Often too little is given to this.

As a mediator between people and their environment, design has to say goodbye to its self-image as a problem solver. Rather, it has the task of conveying complexity so that we can find our way around the world and with the world. Will everything be fine then? Probably not. Because there is no such thing as black and white.

On Amelie Klein
Amelie Klein is an independent Viennese design curator, writer and critic. Most recently, she opened an exhibition at the Museum für Kunst & Gewerbe in Hamburg, Germany, titled Heimaten – Eine Ausstellung und Umfrage. This summer, she also co-curated the first iteration of the Design Campus School at the Kunstgewerbemuseum in Dresden / Pillnitz dedicated to Design & Democracy.

Until July 2019, she worked at the Vitra Design Museum in Weil am Rhein, Germany, where she was responsible for several international traveling exhibition such as Victor Papanek: The Politics of Design, Hello, Robot. Design between Human and Machine and Making Africa — A Continent of Contemporary Design.
Klein was nominated twice for the German art magazine’s Curator Prize, an award granted for the best exhibition in Germany, Austria and Switzerland. She completed an MFA in Design Criticism at New York’s School of Visual Arts as well as an MBA at the Vienna University of Economics and Business, Austria. For more than ten years, Klein worked as an editor and journalist publishing amongst others in the Austrian daily Die Presse and magazines such as Abitare and Metropolis.

As guest of UdK-Berlin’s project group Design & Social Context Amelie Klein will speak in the Kunstgewerbemuseum in Berlin where she will reflect on design and society today, where themes like new design strategies & politics, sustainability, identity and sense of belonging are topical and also so reflected in the German Design Graduates exhibition 2019/20 – 2020/21.
Amelie’s talk is therefore part of the talks program of German Design Graduates that was initiated by prof. Ineke Hans and is open for students and the general public.

Seats are limited and there are corona rules
but you can use THIS LINK to make a reservation
(in trouble send a mail to

Date: Sunday 10 October, 13:00 hrs
Venue: Kunstgewerbemuseum Berlin

read more on Amelie and the exhibitions she made HERE and below

WILLKOMM VOL. II | Catherine Wolter

WILLKOMM VOL. II

Aus der Dauerausstellung des Kunstgewerbemuseums in Berlin wurden im Rahmen des Entwurfsprojektes Neobionten Willkomm-Pokale entführt und in die Heutige Zeit versetzt.

Die ersten Willkomm-Pokale, stammen aus der frühen Neuzeit und dienten als große Trinkgefäße. Der Brauch war es, eine zu ehrende Person oder Gast mit einem Trunk aus einem kostbaren Gefäß zu begrüßen. Die Verwendung des Willkomms war fester Bestandteil der Rituale in Versammlungen, Zeremonien und festlichen Anlässen adeliger Gesellschaften oder bürgerlicher Korporationen, insbesondere Zünften.

Das Bild eines Pokales, aus dem jeder trinken kann, ist ein Bild geprägt von Zusammengehörigkeit, des Zusammenseins.

Aufgrund der aktuellen Weltsituation verschwindet der Gedanke an einen Willkomm, aus dem alle gemeinsam trinken, eher schnell. Fragen wie, wie können wir nach Monaten des „social distancing“ wieder zusammenfinden? – Wie können wir gemeinsam feiern? – Oder anders gefragt: Wie kann aus den vielen vereinzelten Individuen eine Einheit werden und welche Rolle spielen dabei Rituale? – kommen auf.

Sehr kraftvoll ist jedoch das Bild eines gemeinsamen Trinkgefäßes, das in der Mitte einer Gruppe steht, um gemeinsam auf einen besonderen Moment anzustoßen.

Willkomm vol. II bringt die vereinzelten Individuen der Gesellschaft zu einer Einheit zusammen, repräsentiert durch mehrere gestapelten Becher und es entsteht EIN Willkomm.

As part of the Neobiont design project, welcome cups were kidnapped from the permanent exhibition of the Kunstgewerbemuseum in Berlin and relocated to the present day.

The first welcome cups come from the early modern era and were used as large drinking vessels. It was customary to greet a person or guest to be honoured with a drink from a precious vessel. The use of the welcome was an integral part of the rituals in meetings, ceremonies and festive occasions of aristocratic societies or civil corporations, especially guilds.

The image of a cup that everyone can drink from is an image of togetherness, of unit.

Due to the current world situation, the thought of a welcome, from which everyone drinks together, disappears rather quickly. Questions like, how can we get back together after months of “social distancing”? – How can we celebrate together? – Or to put it another way: How can the many isolated individuals become a unit and what role do rituals play in this? – appear.

However, the image of a shared drinking vessel standing in the middle of a group to toast a special moment together is very powerful.

Welcome vol. II brings the isolated individuals of society together to form a unit, represented by several stacked cups. ONE welcome emerges.

Prozess

SIMPLE MEMORY | Sebastian Müller-Tiburtius

SIMPLE MEMORY

Einfache Strohmatratzen dienten bis ins späte 19. Jahrhundert üblicherweise als Schlafunterlage. Solche Gegenstände, die von dem entbehrungsreichen Leben der einfachen Leute zeugen, trifft man in Museen jedoch kaum an. Was sagt das nun über unser kulturelles Gedächtnis aus?

ORIGINAL Neuwieder Kabinett

Erworben 1779 vom Kronprinzen Preußens. Preis: 12.000 Goldtaler oder 21.500 Gulden. Eines der teuersten Möbelstücke seiner Zeit. Abraham Roentgen, der Vater David Roentgens, zahlte im Jahre 1763 für ein großes Haus nebst Werkstätten und Schuppen 3.140 Gulden (Haben die etwas mit dem Kabinett zu tun oder ist das ein beliebiges Beispiel??). Das Neuwieder Kabinett wurde nur selten benutzt, es diente vor allem Repräsentationszwecken.

Until the late 19. century, simple straw mattresses were being used as sleep overlays. Such objects, which are relics of the plain folks life full of privation, one seldomly encounters in museums. What does this have to say about our cultural collective memory?

ORIGINAL Neuwieder Kabinett

Purchased in 1779 by the crown prince of Prussia. Price: 12,000 gold coins or 21,500 guilders. One of the most expensive furnitures of its time. In 1763 Abraham Roentgen, the father of David Roentgen, paid 3,140 guilders for a big house with workshops and shed. The Neuwieder cabinet was seldomly used, its main function was representative.

RELIQUIAR KUPPEL | Lukas Dilger

RELIQUIAR KUPPEL

Das KuppelreliquIar spielt mit dem Gegensatz von Innen und Außen, von Zeigen und Verbergen, von Austellungs- und Kultwert: Während die detailliert ausgeführte Außenhülle den Innenraum einer Kirche quasi nach außen kehrt, kann der eigentliche Inhalt des Gefäßes, die Reliquie, nicht eingesehen werden. Das Kuppelreliquiar wurde im Laufe der Jahrhunderte unterschiedlich verwendet: Während es zunächst die Kopfreliquie von Gregor von Nazianz enthielt, diente es später als Hostienbehälter.

Heute – über 800 Jahre später – stellt sich die Frage, womit das Objekt, das nunmehr seine religiöse Funktion eingebüßt hat, seinen Platz im Museum verdient? Aufgrund der meisterlichen Handwerkskunst? Wegen der Verarbeitung hochwertiger Materialien? Weil es einfach schön anzuschauen ist? Oder eben doch, weil es ehemals die Kopfreliquie von Gregor von Nazianz bewahrt hat?

Das geheimnisvolle Wechselspiel von Außen und Innen des Kuppelreliquiars wird hier umgekehrt: Der Inhalt wird zur Hülle, die Hülle zum Inhalt. Doch was passiert dabei mit dem Wert und dessen Zuschreibung? Wohnt er der Reliquie selbst inne oder stellt er sich erst über den Entzug her? Gewinnt etwas nur dann an Wert, wenn es nicht von allen gesehen oder besessen werden kann?

The dome reliquary plays with the contrast of inside and outside, of revealing and covering, of exhibition value and cult value: While the inside of a church is being turned out into the detailed façade, the actual inner life of the vessel, the relic, can´t be seen. The dome reliquary has been used for multiple causes throughout the centuries: While it originally accommodated the head reliquary of Gregory of Nazianzus, it later served as host container.

Nowadays – over 800 years later – the question arises, if the object that henceforth forfeited its religious function, still deserves its place in the museum?

Owing to its finest craftsmanship? On account of the usage of high-class materials? Because it is simply nice to look at? Or since after all it previously stored the head reliquary of Gregory of Nazianzus?

The mysterious interplay of outside and inside of the dome reliquary is being turned around: The inner life becomes the façade, the façade becomes the inner life. Thus what happens with the value and its value adjustment? Is it inherit to the relic itself, or is it being created by deprivation. Does it only gain value when it can`t be seen nor possessed by anyone?

Prozess

PENUMBRA | Thea de Fouchécour

PENMUBRA

Was genau passiert eigentlich, wenn wir einem Objekt begegnen?

Für gewöhnlich sehen wir die Dinge als etwas Statisches oder Unveränderliches an – und auch die Museen stützen eine solche Perspektive, da sie die vielfältigen individuellen Erfahrungen, die Generationen von Besucher:innen mit den Objekten gemacht haben, nicht mitrepräsentieren.

Aber was wäre, wenn sich das Wesen eines Objektes verändert, abhängig davon wie wir es betrachten? Zwar bleibt die Materialität der Dinge (mehr oder weniger) unverändert, aber die Interpretationen, die wir an sie herantragen, sind potentiell unendlich. Den Dingen wohnt also nicht nur eine Wahrheit inne, sondern so viele Wahrheiten wie Besucher:innen mit ihnen verknüpfen. Ihre Identitäten werden fluide.

Penumbra möchte dieses Wechselverhältnis zwischen Objekt und Betrachter:in sichtbar machen. Der lebendige Schatten, der neben dem Objekt ausgestellt wird, gibt einen Hinweis auf dessen genuine Pluralität: Das Objekt hinterlässt Spuren an der Wand, bekommt eine Stimme, reagiert und interagiert. Kurz, es wird zu einem dynamischen Gegenüber, wodurch die traditionelle Hierarchie zwischen aktiver:m Betrachter:in und passivem Objekt hinterfragt und aufgebrochen wird.

What really goes on during the encounter of an object?

Artifacts are usually perceived as unchangeable, permanent and stationary. Museums tend to uphold this basic principle, failing to represent thousands of generations of visitors’ experiences with objects that somehow seem to remain eternal and immutable.

But what if the essence of an object were to change depending on how we look at it? The material object is unalterable, but the interpretations we can have of it are infinite: its identity becomes fluid, embodying not only one truth, but as many realities as viewers bring along with them.

Penumbra aims to make visible the role we play in an object’s identity. The exhibited artifact is displayed along with its shadow, dynamic, lively and unpredictable, providing a constant reminder of its plurality. On the wall, the object leaves a trace, has a voice, reacts and interacts, becoming an active counterpart in the museum experience, thus challenging the long established hierarchy between the viewer and the exhibit.

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Prozess

NEO MARY | Anna Windrich

NEO MARY Reframing Women in Christianity

Maria, die am häufigsten dargestellte biblische Frauenfigur, wird als devote, schweigsame Persönlichkeit repräsentiert. Dieses Bild hat sich gesellschaftlich manifestiert und reproduziert. Daran lässt sich erkennen, dass Darstellungsformen Teil eines Gesamtgesellschaftlichen Diskurses sind, welcher zur jeweiligen Zeit reguliert, was sagbar und zeigbar ist, der jedoch auch immer beweglich und durch Interventionen veränderbar ist.
Das Projekt NEO MARY regt dazu an, die gewohnten christlichen Darstellungen in Frage zu stellen und einseitige sowie männlich dominierte Repräsentationen aufzuzeigen und zu kritisieren. Ziel ist es, den Repräsentationskreislauf der demütigen, stillen und gefügigen Frau zu durchbrechen und Maria Raum für eine neue und zeitgemäße Stimme zu geben.
Das Glasbild „Neo Mary“ ist eine Neuinterpretation des im KGM Berlin ausgestellten Glasgemäldes „Geburt Christi“ von Peter Hemmel. Wie das Original, zeigt „NeoMary“ Maria im blauen Marienmantel in der bekannten Stallszenerie mit Ochse und Esel, nimmt den Titel jedoch wörtlich. Erhobenen Hauptes blickt die Gebärende die betrachtende Person an und beherrscht den Raum. Die klassische Darstellung Marias als devote und schweigsame Person wird überwunden, die Fremdbestimmung abgelegt. Hemmels Werk stammt aus einer Zeit in der das Christentum in vielen Kulturkreisen sinnstiftend war und die Lebenswelten stark beeinflusste. Auch wenn in weiten Teilen die Institution Kirche an Bedeutung eingebüßt hat, ist auch 540 Jahre später noch die westliche Kultur und Gesellschaft stark von christlichen Traditionen und Denkweisen bestimmt. In den modernen Familien- und Rollenbildern werden christliche Werte und Subjektivierungsweisen fortgeschrieben, verschiedene Formen der Diskriminierung werden religiös legitimiert und nicht zuletzt wird der Akt der Geburt nach wie vor tabuisiert. Das Glasbild im Format 48 x 58 cm besteht aus insgesamt 36 transparenten Buntglasstücken, die in Bleiruten gefasst sind.

Mary, the most frequently portrayed biblical female figure, is represented as a submissive, silent personality. This image has manifested and reproduced itself socially. This shows that forms of representation are part of an overall social discourse, which at the time regulates what can be said and shown, but which is also always flexible and changeable through interventions.
The project of ”NEO MARY“ encourages to question the usual Christian representations and to point out and criticize one-sided as well as male-dominated representations. The aim is to break the cycle of representation of the humble, quiet and submissive woman and to give Maria space for a new and contemporary voice.
The glass picture „Neo Mary“ is a reinterpretation of the stained glass „Birth of Christ“ by Peter Hemmel exhibited at KGM Berlin. Alike the original, the ”NeoMary” depicts Mary in a blue virgin mary cope in the infamous nativity scene with ox and donkey, but interprets the title literally. With her head held high, the birthing mother is observing the viewer and dominates the room. The classical depiction of Virgin Mary as a devoted and taciturn person is being overcome, the heteronomy discarded. Hemmels artwork stems from a time when Christianity had a great influence and heavily affected the living environment. Even though the institutionalized church has mostly lost its meaning, 540 years later the Western culture and society is still heavily shaped by Chritian traditions and concepts. Within the modern view on family and gender, Christian values and modes of subjectivation are being continued, different forms of discriminations are being legitimated by religion and last but not least the occurence of birth is still kept taboo. The 48 by 58 cm glass picture consists of 36 transparent coloured glass pieces, which are girthed by lead camings.

Prozess

NAUTILUS PARUM AFFINIS | Jairo Cuicapuza

NAUTILUS PARUM AFFINIS

Das Projekt „Nautilus P.A.“ ist weniger eine gestalterische Weiterentwicklung der Nautilus Pokale der Renaissance, als eine Reflektierende Arbeit nach den Gesichtspunkten der Moderne. Die Arbeit möchten einen Bezug schaffen, sowohl auf die Entstehungsgeschichte der Prunkpokale als auch die absehbar bevorstehende Entwicklung der vom Aussterben bedrohten Gattung der Nautilus. Die Kunsthandwerkliche Erscheinung der Kerze bildet eine abstrahierte Nachbildung der Nautilus ab, welche mit einem Fischernetz von Menschenhand gefangen wurde.

Archäologische Funde aus Osttimor belegen das Menschen bereits vor über 40.000 Jahren die Schale der Nautilus gesammelt, verziert und zu Schmuckstücken verarbeitet haben. Das kunstvolle verarbeiten eben dieser Schalen wurde über viele Jahre zur Perfektion getrieben, sodass schlussendlich unzählige dieser Meisterwerke in den fürstlichen Kuriositäten Kabinetts in zentral Europa zu finden waren. Gegen Ende der Renaissance fand die Nautilusschale als Vanitas-motiv Eingang in die Stillleben Malereien. Gemäß der Philosophie dahinter, verkörpert die Nautilus nun die Vergänglichkeit von Schönheit, Reichtum und Eitelkeit und zelebriert die Tatsache, dass alles vergänglich und nichtig ist.

Mit der neuen Interpretation eines Nautilus Pokals aus Paraffin soll auf die tragische Ironie hingewiesen werden, dass eine Uralte Gattung auf Grund ihrer Schönheit noch immer aus dem Meer gefischt wird, und zwar in noch nie dagewesenen Mengenverhältnissen. Sowie die Kerze anschaulich verbrennt, vergeht auch diese Lebensform vor unseren Augen.

The project „Nautilus P.A.“ is not so much a further development of the Renaissance Nautilus goblets in terms of design, but a reflective work according to the aspects of contemporary development. The work aims to create a reference both to the history of the origin of the sumptuous goblets and to the anticipated development of the endangered species of the nautilus. The artisan appearance of the candle depicts an abstracted replica of the nautilus, caught by human hands with a fishing net.

Archaeological discoveries from East Timor prove that people collected the shell of the nautilus more than 40,000 years ago, decorated it and crafted it into jewellery. The artistic processing of these shells has been perfected over many years, so that in conclusion countless of these masterpieces were to be found in the royal cabinets of curiosities in central Europe. Towards the end of the Renaissance, the nautilus shell found its way into still life paintings as a motif of the vanitas philosophy. According to the philosophy, the nautilus now embodies the transience of beauty, wealth and vanity and celebrates the fact that everything is impermanent and void.

The new interpretation of a Nautilus goblet made of paraffin is intended to point out the tragic irony that an ancient species is being fished out of the sea for its beauty in unprecedented proportions. As the candle vividly burns, this life form also perishes before our eyes.

Prozess

MICRO GOES MACRO GOES KGM | THERESA SCHWAIGER

MICRO GOES MACRO GOES KGM

Was hätte ein „Design auf Zeit” im KGM verloren, in dem Zeit normalerweise stillgestellt wird? Die Objekte sollen hier so gut es geht vor dem Verfall bewahrt werden – dazu werden sie zunächst in der sogenannten „Entwesungskammer” von allen potentiell schädlichen Organismen befreit. Doch nicht alle Schädlinge lassen sich restlos beseitigen. Einige Bakterienarten leben aller Maßnahmen zum Trotz auch im Museumraum weiter.

Mithilfe von Petrischalen, einem Agarnährboden und einigen Bakterienproben aus dem Museum wird das „geheime Leben” der Museumsbakterien aufgedeckt. Es wird also nichts neues in das KGM gebracht, sondern mit dem gearbeitet, was ohnehin bereits vorhanden ist: Ob auf dem Kuppelreliquiar, der Eingangstür, der Vase von Louis Comfort Tiffany oder dem Schlüsselbund des Museumsleiters.

„Temporary design“ in the context of the KGM doesn’t really fit, since this is a place where time is usually suspended. The objects here are to be preserved from decay as best as possible – therefore they are first freed from all potentially harmful organisms in the so-called „disinfestation chamber“. However, not all pests can be completely eliminated. Despite all the measures taken, some types of bacteria continue to live in the museum. With the help of Petri dishes, an agar culture medium and some bacterial samples from the museum, the „secret life“ of the museum bacteria can be uncovered. So nothing new is brought into the KGM, rather work is done with what is already there: whether on the dome reliquary, the entrance door, the vase by Louis Comfort Tiffany or the museum director’s keychain.

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Prozess

BOYS WILL BE BOYS | Roya Haupt

BOYS WILL BE BOYS

Der Wandteppich “Boys will be boys” thematisiert Gewaltdarstellungen in unserer Gesellschaft. Wo entsteht Gewalt und wie kann sie sichtbar gemacht werden? Auch wenn vielleicht niemand mehr auf die Idee kommen würde, die eigenen Wohnräume mit Kriegsszenarien zu schmücken, so wird doch bei genauerem Hinsehen deutlich, dass auch unser Alltag nach wie vor von verschiedenen Gewaltformen durchzogen ist. Und dazu gehört auch die strukturelle Gewalt des Patriarchats. Wie aber wäre es, wenn wir dafür ein Bild fänden, eines, das den bitteren Ernst patriarchaler Machtkämpfe in ein Gefecht plüschiger Penisersatzobjekte verwandelt?

Der großformatige Wandteppich konterkariert die brutale Kriegsdarstellung des Originalgobelins mit seiner flauschigen Haptik und bricht mit der Darstellungsweise von Epen, indem die Krieger ihrer Rüstung beraubt und anstatt Waffen mit bunten Vibratoren ausgestattet lächerlich wirken. Die Absurdität von Krieg als aufeinander einschlagende Männer, die mit phallusartigem Penisersatz ihre Macht demonstrieren, wird ersichtlich. Die Arbeit ist als schmunzelnder Kommentar aus feministischer Perspektive zum Patriarchat zu verstehen.

The tapestry Wandteppich “Boys will be boys” broaches the issue of depictions of violence in our society. Where does violence begin and how can it be depicted? Despite no one considering to decorate their private spaces with war scenes, when taking a closer look, it becomes evident that our everyday life is still strained by different forms of violence. The structural violence of patriarchy being part of it. Hence what would happen, if we found a depiction for it, one that sublimates the deadly serious patriarchal power struggle into a battle of plushy penis substitutes?

The tapestry in large format impedes the brutal war depiction of the original with its fluffy haptics and breaks with the traditional portrayal of epics, by the warriors being deprived of their armour and their weapons being substituted with colorful vibrators, which makes them seem ridiculous. The absurdity of war becomes evident as men being at each other’s throats with phallus-like penis substitutes to demonstrate power. The work can be seen as a miscevious commentary about the patriarchy from a feminist point of view.

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Prozess

BAKING STORIES | Esmée Willemsen

BAKING STORIES

Das Kunstgewerbemuseum ist angefüllt mit Objekten, die zwar schön zu betrachten sind, die wir aber intuitiv nicht (mehr) verstehen können: Wir wissen weder wie sie hergestellt wurden, noch welche Funktion sie einmal hatten. Wie gehen wir aber mit solchen Objekten um? Können wir dazu unsere eigenen Geschichten erfinden?

Durch Memes (Informationen, die durch Imitation übermittelt werden) werden neue Geschichten über einige Objekte der Sammlung erzählt. Die Texte spekulieren über mögliche soziale und kulturelle Zusammenhänge, in denen die Objekte einst existiert haben, heute existieren oder in Zukunft existieren könnten. Auf diese Weise fungiert das Museum nicht mehr nur als Archiv des Vergangen, sondern bildet auch einen Resonanzraum für neue Begegnungen und Phantasien. Inspiriert von den mittelalterlichen Backformen und ihrer Funktion, mit Bildern eine Geschichten zu erzählen, werden diese Memes in Form von Keksen und Stempeln serviert. Auf diese Weise findet das Meme den Weg zu dem Ort an dem Geschichten erzählt werden: dem Mund.

ORIGINAL

Die mittelalterlichen Backformen unterscheiden sich von den übrigen Sammlungsobjekten des Kunstgewerbemuseums. Anders als bei den vielen wertvollen Exponate, sind für ihre Herstellung weder hochwertige Materialien vonnöten noch eine spezifische Kunstfertigkeit. Hinzu kommt, dass Alltagsgegenstände, die von einfachen Leuten benutzt worden sind, kaum Eingang ins Museum gefunden haben.

Die Backformen bestehen aus geschnitztem Speck- oder Kalkstein, mit dem ein Motiv in den Teig eingedrückt wurde. Die Bildmotive sind aufgrund ihres Alters und der Präsentation im Museum jedoch schwer zu erkennen. Der bloße Anblick der Objekte verrät uns nicht, wie sie einst benutzt worden sind. Wie können wir ihren praktischen Gebrauch nachvollziehen, wenn sie in einem Kontexten ausgestellt werden, die sich so sehr von ihrer ursprünglichen Verwendungszusammenhängen unterscheiden?

The Kunstgewerbemuseum is filled with beautifully manufactured objects we cannot intuitively understand: we don’t know how they were made and how they were used. How do we deal with an object when we cannot relate to its actual practice context anymore? Can we make up our own stories? Through memes (information spread by imitation) new stories about some objects of the collection are invented. The texts speculate about possible contexts in which this object once may have lived, is living now or will live in the future. In this way, the museum does not only function as an archive of the past but also as a space for new sorts of interaction with objects. Inspired on the medieval baking moulds and it’s function of telling a story by showing an image, these memes are distributed in form of a biscuit and a stamp. Thus, the meme find its way to the place where stories are told: the mouth.

ORIGINAL

The medieval baking mould distinguishes itself from the Kunstgewerbemuseum’s collection. Unlike many of the valuable and appreciated objects in the museum there were neither a special material nor high skills needed to produce this mould. Besides, not many everyday objects or kitchen tools that were used by ordinary people are being displayed. The moulds are made out of soap- or limestone which are engraved to show a relief image on the baked goods. The iconography depicted on these moulds is hard to recognize because of the mould’s age and the way it is presented in the museum. By seeing the object displayed in the museum one can hardly imagine how it was used. How can we experience the former usage of a tool when presented in a context so different from its actual practice context?

Esmée Willemsen, 8.sem SS 2019- www.esmeewillemsen.com –

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Prozess

Zine.Ria | Tomma Suki Hinrichsen | 2020

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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.

Prozess

FOUR ONE | Nadia Narges Rezaei | BA 2020

Four One – Bacherlorarbeit 2020

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

INVERSIS | Lilly Kern

INVERSIS

Inversis, die Umstülpung, ist eine Bewegung in der sich das Äußere nach Innen und das Innere nach außen kehrt. Während Umstülpungen als Phänomen in der Natur und in unserer Textilproduktion weit verbreitet sind, sind Entwicklungen zu geometrischen Umstülpungen platonischer Körper erstaunlich neu. Erst Anfang des 20. Jahrhunderts entwarf Paul Schatz den ersten umstülpbaren Würfel. Das Projekt Inversis konzentriert sich auf die Zerlegung und Umstülpung des Hexaeders. Jedes Modell ist von einem anderen Gestalter entwickelt worden und zerlegt den Würfel anhand unterschiedlicher Symmetrieachsen. Aus der gleichen Grundform ergeben sich durch das Umstülpen von Innen nach Außen neue Formen, Bewegungen und Körper. Da die meisten dieser Körper patentiert sind, bleiben Information und Bilder zu diesem Thema im Internet schwer erhältlich, geschweige denn Anleitungen oder Abwicklungen der komplexeren Körper.
In diesem Projekt soll ein kleiner Einblick in einen spezifischen Bereich der Umstülpung gegeben werden an welchem sich jedoch viele allgemeine Strukturen umstülpbarer Körper erkennen lassen. Die entwickelten Faltbögen werden für interessierte Gestalter gerne auf Nachfrage bereitgestellt und sind als Einladung gedacht um selber zu stülpen, zu verstehen und die bestehenden Systeme weiterzuentwickeln.

INVERSIS

Inversis or inversion is the process of turning the outside to the inside and the inside to the outside. Even through inversion is a phenomenon well known in nature and textile production, the developments on geometrical inversions are fairly recent. At the beginning of the 20th century Paul Schatz developed the first invertible cube. The project Inversis concentrates on the deconstruction and inversion of the hexahedron. Each model is designed by a different person and uses alternating axes of symmetry to divide the cube. Through inversion, the hexahedron moves and transforms each time into new shapes and variations. Because most of the invertible objects are patented it’s hard to find pictures, information and any kind of instructions on how to build the objects online.
This project is ment as a teaser, to show part of the invertible universe and help understand it´s structures. The instructions on how to build the bodies will be offered to anyone interested.

LP_01 | Peer Assmann

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Der Leuchten Prototyp stellt den Versuch dar mit neuzeitlichen Mitteln und Komponenten eine typologisch reine Form einer Schreibtisch Leuchte zu entwickeln. Als Vorbild diente hierzu die Maschinenform des Roboter Arms.

Untersucht wurde vor allem die Anzahl und Anordnung der Freiheitsgrade sowie Achsen der Koten und deren Auswirkung auf die Beweglichkeit der Leuchte. Die zukunftsorientierte Forderung besteht darin sich auf den Wandel des reinen Handwerkzeugs hin zur voll automatischen Bewegung einzulassen und diesen voran zu treiben. Welche bewegten Produkte können, werden oder sollten sich in Zukunft verselbständigen? Was währen die Implikationen einer Evolution hin zu einer Halb- oder Vollautomatischen Umwelt? Werden wir in Zukunft nur noch indirekt agieren?

LP_01

The lamp prototype represents the attempt to develop a typologically pure form of a desk lamp using modern means and components. The machine shape of a robot arm served as a reference for this design. In this first and foremost extensive research went into the number and placement of the axes as well as the degrees of freedom of the knots and their effect on the mobility of the lamp were examined. The future-oriented requirement is to engage with the change from pure hand tools to fully automated moving tools and to drive this forward. Which moving products can, will or should become independent in the future? What are the implications of an evolution towards a semi or fully automatic environment? Will we only act indirectly in the future?

OFFSET | Sheraz Bhatti

OFFSET

OFFSET ist leichter und stabiler Tritthocker aus Formsperrholz, welcher aus drei Teilen besteht. Der Tritthocker bezieht seine Form aus einer Geometrie, die aus den Nutzungsparametern, einer effizienten Nutzung von Material und einer eindeutigen Statik ermittelt wurde.

Mit Hilfe der Biegesperrholzplatte „Upm-Grada“ können die Verbindungen bereits vor der Formpressung eingefräst werden, sodass eine industrielle Fertigung kostengünstig erfolgen kann. OFFSET möchte eine Lösung aus Holz anbieten, die eine Alternative zu bisher etablierten Gestellkostruktionen und Kunsstoffprodukten darstellt.

Durch die pandemiebedingte Situation des Onlinesemesters wurde zur Prototypisierung das Sperrholz durch radiales Einschlitzen durch CAD/CNC in Form gebraucht.

PHOTON 360 | Joshua Mirza

Photon 360

Phototropismus ist das Streben aller Pflanzen nach dem Licht. In einem urbanen Lebensraum stehen oft Wände und Häuser vor der Sonne, weshalb besonders Zimmerpflanzen meist nur in eine Richtung wachsen. In der Natur, unter freiem Himmel, würden diese Pflanzen gleichmäßiger und natürlicher wachsen, ohne uns die kalte Schulter zu zeigen.
Photon 360 löst dieses Problem, indem es die Pflanze dreht. Geräuschlos und langsam dreht ein solarbetriebener Getriebemotor die hängende Pflanze, so dass sie sich nicht mehr verbiegen muss.

Photon 360

Phototropism is a plants strive for the light. Walls and buildings often block out the sun in urban living spaces, which is why especially houseplants tend to grow in one direction only. In nature, under the open sky, these plants would grow more even and natural, without turning their backs on us.
Photon 360 strives to solve this problem, by spinning the plant. Slowly and without a sound, a solar powered gear motor is spinning the hanging plant, so it doesn’t have to grow crooked anymore.

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BILLIE BEAN

WRAP IT UP

RE.me

DUCKIES – Duck The System

NOMADS TABLE

Swimfinergy

ULTRASTONE®

CUBO

PUBO

BAYAS

monoplan

immerfrisch

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9 Nov 2021: visit to Studio Lukas Wegwerth, Berlin

Liebe Produktdesign Studierende ,

Bewegungslehre, Kooperation mit IGUS GmbH, Köln Hauptseminar ab 5. Semester – Wahlpflicht Produktdesign und Anpassungsstudium MA

Konstruktion / Material 3 – Metall PFLICHTSEMINAR TECHNOLOGIE / 3. SEMESTER BACHELOR

SLOW DESIGN FOR FAST CHANGE

20-23 oct. 2021: Dutch Design Week Eindhoven

BELOW: 1: BA Film – 2: MA FILM – 3: full Program – 4: PHOTO IMPRESSIONS

KAIROS 26 – OBJECT 26

ON Claudia Banz

üBer Claudia Banz

KAIROS 26 – A Talk with Claudia Banz

Zusammenfassung

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KAIROS 28 – OBJECT 28

ON VLasta Kubusova

KAIROS 28 – A Talk with Vlasta KUbusova

Zusammenfassung

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KAIROS 25 – OBJECT 25

ON Richard van der Laken – What Design Can DO

KAIROS 25 – A Talk with RICHARD VAN DER LAKEN (WDCD)

Zusammenfassung

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KAIROS 23 – OBJECT 23

ON Harald Gründl

KAIROS 23 – A Talk with Harald Gründl

Zusammenfassung

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KAIROS 22 – OBJECT 22

ON Uta Brandes

KAIROS 22 – A Talk with Uta Brandes

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KAIROS 27- OBJECT 27

ON Gijs bakker

KAIROS 27 – A Talk with GIJS BAKKER – xxParticipants

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KAIROS 24- OBJECT 24

ON Marjan van Aubel

KAIROS 24 – A Talk with Marjan van Aubel – 17 Participants

Zusammenfassung

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KAIROS 21 – OBJECT 21

ON MAARTEN BAAS

KAIROS 21 – A Talk with MAARTEN BAAS – 29 Participants

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PRESENTING AT TABULA RASA in Urania:

Save the date:

EATABLE

DELI DOG

The optimization of the Hermetia illucens (Black Soldier Fly)

CITY CHICKENS

Bewegungslehre, Kooperation mit IGUS GmbH, Köln
Hauptseminar ab 5. Semester – Wahlpflicht Produktdesign und Anpassungsstudium MA

Konstruktion / Material 3 – Metall
PFLICHTSEMINAR TECHNOLOGIE / 3. SEMESTER BACHELOR

BELOW:
1: BA Film – 2: MA FILM – 3: full Program – 4: PHOTO IMPRESSIONS