2016 Winter Semester

STUDIO | Air, Wind, Breath
Professors: Prof. Carmen Luippold, Prof. Uwe Gellert

Air flows everywhere. It constantly surrounds our selves and all the things around us. Invisible, odorless and tasteless it occupies all space. It is the substance we breathe and the essential source for life on earth. We take air for granted as we hardly notice it or consider its effect on us.

Naturally clean, it is necessary for human and animal survival. But polluted air can harm living bodies as well as our ecosystem. No matter where pollution originated, air does not respect national boundaries. One country’s pollution can create environmental and economic effects in other countries and areas.

Building any kind of structure occupies airspace. Adding something means on the same hand subtracting something from the existing void. An ancient principle of property law states: “For whoever owns the soil, it is theirs up to heaven and down to hell” – just until airplanes occupied and drones (and Pokemons) populated our aerospace.

Air is difficult to detect directly. We only can grasp air by other means. For example, movements at high speed create wind that we can sense with our skin. Wind moves other objects, which makes air visible for us. Air gives shape to pneumatic structures causing resonances, which we perceive as sound. Air is the conductive material for sound. Music instruments make use of resonance and vibration affecting the molecules in the air. Without air there is no sound because sonic waves cannot travel.

This semester’s studio is an investigation of the aesthetic, social, environmental, philosophical, political and/or economic dimensions of AIR. Together we will explore its impact, influence and consequences on a micro-, meso- or macro level. We will systematically analyze the topic, define frameworks, create bold concepts and aesthetic designs leading to sophisticated visualizations and prototypes. Take a deep breath.


MENTORING
Professors: Prof. Carmen Luippold, Prof. Uwe Gellert, Ms. Sandra Giegler

  1. Identify personal strengths, aims and goals qualify potential research and subject areas determine relevant references and sources explore appropriate research methods frame and formulate problem statements first draft of exposè to contact potential advisors
  2. Thesis organizing and scheduling introduce academic standards write briefs and outlines use methodical approach structure and layout of written thesis perform peer review develop presentation practice and techniques get general assistance

ELECTIVE MODULE 2D
Professor: Prof. Bernd Hennig

…traced, found, swapped, saved, picked, bought, inherited, given, taken, collected…
How to organize the world with collections and lists.
In this elective course design meets art, plan meets process, accident meets experiment.


ELECTIVE MODULE 3D | wood-blender / material mix
Professor: Mr. Marc Pohl

Due to its availability and its easy way of manipulation, wood has been one of the most important materials for human evolution. Over centuries, this material has been applied to countless uses, serving as a warm, strong, flexible, noble, antibacterial material.
During the 20th. century, as wood seemed to have lost its prevailing position to other materials such us plastic and metal, its attributes remained intact. Nowadays, as social and environment awareness changes, wood regains importance due to its impressive ecological footprint, its durability, and its tradition. One thing is for sure: the possibilities of its use have not yet been exhausted.

In this course, we will not only study wood and its characteristics to get to know some possible processes for its utilization. Moreover, we will manly explore the combination of wood and other materials, in search for aesthetic and functional gain. This exciting exploration should result in the experimental and conceptional development of new products.


ELECTIVE MODULE 4D | „Project APPollon“ Concepting and Prototyping mobile APPs in a nutshell
Professor: Prof. Hermann Klöckner

What ever happens in life – there’s an app for that! In this elective course, we thrive to explore the development of a digital service around a mobile app. What does it take to boldly go where no UX or UI Designer has gone before and how do we make it all the way from early conception to convincing prototyping?


EXPERTISE TYPOGRAPHY | VOTE4ME!
Professor: Prof. Gerald Christ

Create and Communicate your political Point of View

  • Research (Good Life, recent Elections, Profiles of political Partys)
  • ˜Develop your personal Party Programme (Values, Objectives)
  • Three Partys max. within the Course – Team Work
  • ŸCampaign (Contents / Candidats – Typography /Photography)
  • Test Run in Public / Publishing

Party & Campaign may be serious or satirical …


EXPERTISE PROJECT REFINEMENT | Getting things better with the DesignFactors® Method
Professor: Prof. Severin Wucher

When the Apple iPhone hit the market in 2007, this tool was an amazing ­revolution—and it wasn’t. Actually, the iPhone had not fallen from the sky, but it was a strategically planned result of integrated
— transformation (computer → mobile device),
— consolidation (various tools → one platform),
— evolution (mobile phone → smart phone),
into one device.

In this course, we will work with your existing projects which we ask you to bring in and allow us to work with. By applying the DesignFactors® method, you will refine your fellows’ projects into ­something new, something better, or something different by transformation, consolidation, and evolution.


EXPERTISE PHOTOGRAPHY | Understanding Photography
Professor: Klaus Pollmeier

In our course we will review a deeper insight into photographic communication from various perspectives. Depending on our individual interests, theoretical and practical aspects of the media will be researched and applied. Since MA/MAID students come from different universities with very different experiences in photography, the class will try to provide technical and theoretical information and assignments to improve individual skills or to support current projects.


EXPERTISE BIONICS | Bionics for problem-solving discovery of bionic principles, systems and structures
Professors: Prof. Dieter Raffler

Analysis:
To study and discover natural phenomena of evolutionary processes.
“Why this and not another way?”, evolutionary principle of optimization.

Synthesis:
To derive natural solutions on principle, combination and optimization, 
 development of a solution.

Topics:
To find and analyse biological and evolutionary processes, as well as their realization and technical use.

-to draw and sketch analytically
-to take photographs by discovering and documenting events
-techniques of depiction
-communication of problems and solutions
-get facts to the point
-to work and visualize in a scientific, editorial manner
-to split functions into time-based processes and to visualize these processes with the help of animated images


EXPERTISE DESIGN DIDACTICS | Creation of interactive teaching and learning materials
Professor: Ms. Jördis Dörner

The aim of digital didactical design is to improve teaching and learning by designing and implementing digital media into a learning environment. This includes deliberations on how to choose, combine and apply digital media for different teaching and learning objectives.

This course will focus on the analysis of the target audience, the selection, and the structure of learning contents and teaching methods. We will exemplary develop learning objectives and ensure the structure and the content meets those objectives. The students will get practical experiences by working on a learning situation of their own choice.

Learning outcomes

  • Basic knowledge about didactical design for teaching and learning projects
  • Understanding the concept and approach of instructional design and didactical design
  • Basic abilities to analyze the target group of learners, to build learning objectives, objectives, structure learning environments, and choose proper methods, media, and content

EXPERTISE | Creative Direction
Professor: Mr. Jens-Ole Kracht

Being a creative director involves spending less time with 3DS-Max or Photoshop, but more time leading and inspiring others. Her or his role involves some hands-on design, but very often it’s about her or him taking the lead on a project, working with the client on the overall approach and then briefing the team to create something great, something outstanding. A creative director will stay closely in touch with the project for its duration, with a steady input and a continuous analysis of the team’s work, while having the customer brief and the target audience in mind at all times.

Creative direction plays an important role from creating the first idea to the development process. A creative director is responsible for leading the whole design process. Usually she or he works in large teams and projects and has to oversee and manage the projects, make decisions and take on responsibilities in order to meet deadlines and budgets.

Creative directors need to enable the teams they lead, to come up with the best, the most creative ideas. In order to do so, she or he need to learn fast and incorporate team members ideas and strategies into project. They have to be open minded and they have to listen to the clients, really listen to them, to everything they say. And, a creative director needs to take time to listen to the team and also accept their ideas and their input. To be able to weave these invaluable team assets into the projects is paramount.

Design teams in larger offices are often multinational. This is crucial, as design today, more and more, has to work in a global context, in a global market. Therefore, it is essential to deal with cultural diversity in the design process and within the team.
To be able to incorporate, to integrate, to think outside the box is an indispensable capability.

A creative director is a team leader, with expertise in all relevant fields of design and with leadership abilities. This requires a comprehensive set of skills which can not only be acquired through a study programme, but also through work experience.

This course will help you to prepare to take on leadership roles in a design oriented work environment.


COMPACT WEEK | Workshop Design
Professor: Ms. Hedi Schäfer

“Tell me and I forget, teach me and I may remember, involve me and I learn.” Benjamin Franklin

Workshops are a key approach to transfer knowledge successfully and are based on the principle „learning by doing“.

This course is a trilogy of learning about workshop design, of planning your workshop individually with the help of a structured workshop cookbook and of performing your workshop (4 hours). The topics of your workshop can range from T-Shirt Design to Calligraphy, Beer Brewery to Lip Gloss Making, from Book Binding to professional Sushi Rolling. Anything goes, as long as you are passionate about it and especially skilled in that field.

By the end of the seminar you will have turned your passion and knowledge into a workshop step by step. You have done a detailled planning of your workshop and executed it on your own. By doing so you got more confident in moderating, facilitating groups and being the center of the stage. You also have created your own detailled workshop cookbook with all aspects that need to be considered and which you can use as a guideline again for future workshops.

The course is a mixture of inputs and inspirations, participation and interaction. It gives an overall view on how to create a learning experience for others and being the centre of the stage. The goal is an enjoyable, hands-on learning journey with a tangible outcome: An actual workshop.


COMPACT WEEK | Experimental Text Publishing „Language Labyrinths“
Professor: Ms. Tine Melzer

Language Labyrinths is a practice-based seminar by Tine Melzer on language, its game-like structures and their productive use for designers and artists. A seminar for experimental practices, visual reflections and basics on artistic research. Triggered by input on language, rules and labyrinths from books, films and language-based works, we experiment with visual games, words, sign systems and language. Questions and collaboration are important tools. A handscanner is used to generate image material quickly. Self-publishing is introduced as productive path through the labyrinth and a shared publication concludes the workshop. Seminar in english and german.


COMPACT WEEK | Visual Storytelling + Graphic Recording
Professor: Ms. Alexandra Klobuk

Visual Storytelling is based on two major principles — the image and the narration.
Images get you hooked, faster and stronger then a text could. They draw the attention and can stick to the mind like glue — or fade away.

Narratives keep the attention. They are captivating, intriguing and sympathising. As stories keep you interested they can go deep, provide facts and complexity.
The combination of both is more then the sum of it´s parts. Visual Storytelling is appealing, complex and accessible.

Be it filmmaking, information design, comics or photography – Visual Storytelling is applied to various fields. In this course we´ll focus on fields using illustration or sketching as means of communication. We´ll explore Graphic Journalism, Graphic Recording, Intercultural Storytelling, Travel Sketching and yes – Recipe Illustration. Learn, practice and play with how they work and how you can use them in your creative work.

You don´t need to be an illustrator to attend this course. Drawing is about taking a good look and deciding on what to show and how. Find your own approach — you don´t always need a pen for a sketch, or paper for an Illustration. I want you to find out, which story you want to tell and why. What do you have to say?

The outcome of this course is a wide range of experiments and discoveries, learnings and new questions, all joined in an exhibition showing and using what you learned or liked.


COMPACT WEEK | forgetting – remembering. A book.
Professors: Mr. Manfred Schwarz, Ms. Rita Lass

“But when they came to letters, This, said Theuth, will make the Egyptians wiser and give them better memories; it is a specific both for the memory and for the wit. Thamus replied: O most ingenious Theuth, the parent or inventor of an art is not always the best judge of the utility or inutility of his own inventions to the users of them. And in this instance, you who are the father of letters, from a paternal love of your own children have been led to attribute to them a quality which they cannot have; for this discovery of yours will create forgetfulness in the learners’ souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth; they will be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing; they will be tiresome company, having the show of wisdom without the reality. ” (Phaedrus, Dialogue between Socrates and Phaedrus: 274 d – 275 b)

In this context, memories linger in signs as a manifestation of time. This is the theoretical frame of the block seminar.

The substantial goal of this block seminar is the creation of a “typographical” collage. Each student will create an individual interpretation of the topic “forgetting – remembering.” These will be collected and bound into a book at the end of the seminar week.

An ideal source to create and illustrate such an interpretation is the Introductory Part to “The Caravan”, the first tale cycle of “The Oriental Story Book – A Collection of Tales” (1855, published in Germany in 1825) written by Wilhelm Hauff (1802-1827). Herein, Hauff addresses the conflict between imagination, the Queen Phantasie, and the “reason”. For the illustration, the students will be provided with the complete text in German and English.

The block seminar will begin with a theoretical introduction related to “classical” print media. Furthermore, the students will learn how to plan the realization of a book as well as how to realize that plan according to printed graphics techniques. Such techniques are, for example, planographic printing, letter press, gravure printing, silkscreening or the stencil technique, depending, of course, on the skills and proficiency of each student. Within the second half of the focus seminar, Mrs. Lass will provide an insight in the world of bookbinding and its history.

For the bookbinding at the end of the week, the students will be allowed to use the whole variety of technical possibilities provided by the graphical studio (grafische Werkstatt). The results have to be presented at the end of the seminar.

The knowledge and skills the students will gain during this focus seminar will allow them to use the graphical studio independently for upcoming projects.


EXCURSION | MADE IN GERMANY – Local Manufacturies
Professor: Ms. Hanne Willmann

‘Made in Germany’ stands for quality products, high-level engineering and excellent design. In this excursion we will visit the top German industrial design labels and see how their products are made. We will explore the ceramic production of „KAHLA“, the bentwood technique at „THONET“, upholstery at „ROLF BENZ“ and the famous campus of „VITRA“. To document the meaning of „Made in Germany“, you will work in teams of two. The expenses for accommodation are not included.


DESIGN THEORY
Professor: Ms. Sandra Giegler, Ms. Daniela Peukert

There are as many theories in design as there are designers. Fortunately some designers and others associated with the field have taken the time to put their ideas into words offering an insight into their thinking and reasoning. During the seminar selected texts will be read and analyzed by the students to become familiar with a variety of approaches to the vast field of design theory. The goal is to enable the students to draw conclusions for their own personal design practice.


ADVANCED ENGLISH
Professor: Mr. Alexander Davidson

Advertisements