Inter­na­tio­nale Labor­woche 2020

Hier findet ihr in Kürze das Programm zur Labor­woche 2020.

Der Work­shop behan­delt die elemen­taren Basics der Schrift­ge­stal­tung (Theorie und Soft­ware) und setzt einen Fokus auf Vektoren und Inter­po­la­tion um schluss­end­lich einen kleinen Variable Font zu kreieren und in CSS zu animieren.

Jakob Runge von TypeMates

We will use a simple web server (supplied by the lectu­rers) to play around with commu­ni­ca­tion over the web. The result will be some kind of inter­face to exch­ange signals with one or more other participants.

These signals could be text but also any other bit of infor­ma­tion like emojis, sound, graphical shapes, colors, … . There is only one rest­ric­tion: build anything but a normal text-based chat client!

Hartmut Bohn­acker, Vanessa Stöckel

To design usefull things is easy. To design useless things is even easier. To design things though which equally over­come the realm of the usefull and the useless alike rising up to the olymp of the almost useless is the supreme discipline.

»Chin­dogu« is the Japa­nese word describing the art of desig­ning almost useful things which solve the small problems of ever­yday life – to finally collapse all along the line. ​”Chin­dogus can give live a new direc­tion. The change one’s percep­tion.«, says Kenij Kawa­kami, the presi­dent of the Inter­na­tional Chin­dōgu Society. Chin­dogus chall­enge the prin­ci­ples of perfec­tion and effi­ci­ancy which mark the thin­king of indus­tri­ally shaped societies.

Prof. Florian Pfeffer

Coded Biophilia is a work­shop desi­gned to learn basics of soft weara­bles and the explo­ra­tion of biolo­gical textiles.

During the work­shop, students will explore the poten­tial of bacte­rial cellu­lose for textile futures in terms of growing living mate­rials and crea­ting specu­la­tive scena­rios for second skins, sensors, and adap­tive respon­sive structures.

Lear­ning new methods of making sensory surfaces for weara­bles and to envi­sion how biotech­no­logy and new mate­rials will shape our envi­ron­ment. At the end of the work­shop, students will be able to iden­tify state-of-the-art soft wearable and bio-textiles applications.

Giulia Toma­sello

In the work­shop ​„Comic Drawing for Begin­ners“ we will deal with the idea gene­ra­tion, concep­tion and gradual elabo­ra­tion of a short comic of 4 – 6 pages. The focus is on deve­lo­ping a compre­hen­sible narra­tive struc­ture and finding your own visual voice.

Julia Bern­hard

Design will play a key role in the tran­si­tion to a circular economy (CE). Too often we design products with little regard for what happens when we no longer want them. But waste is design gone wrong! 

This course will streng­then your skills as a desi­gner by tack­ling the tran­si­tion from our linear ​„take-make-waste“ economy to a circular economy. In a circular economy products loop back into the produc­tion system through repair, refur­bish­ment, rema­nu­fac­tu­ring and even­tually, recy­cling. By doing this we extend their useful life and design out waste.

We have a Massive Open Online Course (MOOC) available to use for free. For the 3 days of the seminar week we will use the follo­wing sessions in the MOOC:

Day 1 (Episode 1): What is the circular economy?

How can the circular economy provide solu­tions to the chal­lenges our current, linear economy brings? We explore the roots of the circular economy toge­ther with experts in the fields of indus­trial ecology, cradle to cradle and biomimicry.

Day 1 (Episode 2): Busi­ness value in a circular economy

Through closed loop supply chains and reversed logi­stics, new oppor­tu­ni­ties for busi­ness are created. This episode explores value crea­tion and new busi­ness models in a circular economy.

Day 2 (Episode 3): Longer lasting products

The smaller the loop, the greater the profi­ta­bi­lity of the system. We look at product life exten­sion through the eyes of desi­gners and entre­pre­neurs. Join us in our repair café!

Day 3 (Episode 6): Thin­king in systems

The shift from linear to circular should not be unde­re­sti­mated. This episode will discuss the extent and dura­tion of the tran­si­tion. It will also ask, is the circular economy really sustainable?

Dr. David Peck

# Zuerst werden wir unser Sehen mit vielen prak­ti­schen Übungen sensi­bi­li­sieren. (u.a. mit Fotoaufgaben,…)

# Danach werden wir die filmi­sche Einstel­lungen und Kame­ra­po­si­tonen als Grund­lagen für eine Film­ana­lyse kennen lernen. 

# Durch kurze Videos und Film­aus­schnitte werden wir das erwor­bene Wissen aktiv anwenden und dadurch unser Sehen erweitern. 

# Es könnten Infoplakate/​formen als Kurs­doku entstehen.

Dipl.-Designer Rasih Bayölken

As desi­gned things are incre­asingly ​‘made’ through networked compu­ta­tion as well as physical mate­rials, meaning that they become ​“fluid assem­blages” that are inher­ently chan­geable rather than stable objects, their forms still typi­cally mimic earlier types of things. 

What would it mean to more ​‘honestly’ and ​‘trans­par­ently’ bring to presence what these connected things are and do? What would be a more appro­priate aesthetic expres­sion for things that are fluid assem­blages? In this work­shop, we will explore these ques­tions through inves­ti­ga­ting what certain connected things actually are and do, and then reim­agi­ning them in alter­na­tive ways that better express their complex and fluid character.

Dr. Heather Wiltse and Dr. Marije de Haas

Der Frage ​„Wie ernähren wir uns in Zukunft?“, welchen Einfluss wir Gestalter darauf haben und welche Möglich­keiten sich dort für Gestalter ergeben, dessen widmet sich unser Workshop.

Zwei­ein­halb Millionen Jahre lang ernährten unsere Vorfahren von Pflanzen und Tieren, die ohne mensch­liche Eingriffe lebten und sich vermehrten. Heute kommt unser Essen mit nur einem Klick bis vor unsere Haustüre.

Die stei­gende Welt­be­völ­ke­rung verschärft zudem das Verlangen nach einer gerech­teren Lebens­mit­tel­ver­tei­lung. Zusätz­liche Faktoren wie Klima­wandel und Tier-Ethik führen zu Trends wie Veganismus/​Vegetarismus in Indus­trie­na­tionen, wogegen einst vege­ta­ri­sche Länder wie Indien vermehrt zu Fleisch greifen.

Denn zum einen gehen die Trends zu einer funk­tio­nalen Ernäh­rung (Bsp. meal-repla­ce­ment shakes, perso­na­lized nutri­tion, etc.) zum anderen steuern wir auf eine erleb­nis­ori­en­tierte Ernäh­rung (Bsp. Krimi­dinner, Slow Food, etc.) zu.

In ​“Food­ture – wie könnte die Zukunft rund um unsere Esskultur aussehen?” unter­nehmen die Studenten eine Zeit­reise durch die wich­tigsten Meilen­steine in der mensch­li­chen Ernäh­rungs­ge­schichte und sie lernen die wich­tigsten Ernäh­rungs­trends der heutigen und vergan­genen Zeit kennen, um daraus eigene Szena­rien für die Zukunft abzu­leiten und dafür zuge­schnit­tene Produkte/​Dienstleistungen zu gestalten.

Paul Rees, Maurizio Blötscher

The goal of the work­shop was not to deliver a solu­tion but to train our design process. We were not concerned with aesthe­tics but, rather, with content and the flow of our thoughts. Our wish was to achieve the flow defined by Mihály Csíkszentmihályi.

The students were given tasks one by one, meaning that they had no idea what was coming next. The first task was to collect some­thing from physical (urban) space. They were quite pleased to be away from the computer screen for a little while … They were then tasked with analy­sing the item they had chosen and writing a sentence about its basic prin­ciple. This sentence became our new begin­ning. They then had to find a photo that they asso­ciated with the meaning of the sentence.

Now the proper fun began. They were asked to arrange the photos one after another so that each new photo had an asso­cia­tive connec­tion with the previous one. That connec­tion might be merely visual or be more profound in nature. They had to arrange at least ten photos, after which they could stop when­ever they wanted to. It was quite inte­res­ting to see that three of the students stopped when they had reached an asso­cia­tion with a sentence from phase two. During the conver­sa­tion, we were able (without any addi­tional effort) to write down our second sentence that described the last photo. This sentence then led to a diagram, which was our conclu­ding task.

Primož Fijavž

Under­stan­ding the people we design for is essen­tial in order to create solu­tions that are rele­vant and solve real problems that people have. To gain this under­stan­ding we have to immerse ourselves in the lives of people we want to help. 

This work­shop is about helping you to become confi­dent with plan­ning, prepa­ring, carrying out, and synthe­sising your user rese­arch. You will gain a good under­stan­ding of what design rese­arch is about, and get intro­duced to some useful rese­arch methods to use in your own future projects. You will also work on a case in small groups to prac­tice a selec­tion of these methods.

Jenni Tori­seva & Joanna Pruchnicka

Du willst dein Projekt auf die nächste Ebene bringen, willst heraus­finden, ob aus deiner Idee auch ein stabiles und erfolg­rei­ches Geschäfts­mo­dell werden kann? Willst Einblick wie echtes Busi­ness funk­tio­niert? Bei Thomas Schön­weitz hast Du die Möglich­keit Stake­holder Mapping, Rese­arch-Technik, Werte­ver­spre­chen und Busi­ness Model Canvas anhand von konkreten Fall­bei­spielen nach­zu­voll­ziehen und zu entwi­ckeln. Dazu kommt ein Einblick in erste Finanz­mo­delle um heraus­zu­finden ob sich deine Ideen auch wirk­lich rechnen, und was du tun kannst damit sie skalierbar werden.

„Der Work­shop war super infor­mativ. Ich habe viele Methoden und Tools gelernt, die ich auch perfekt in zukünf­tigen Projekten anwenden kann.„ Mona Freu­den­berger, Teil­neh­merin goHfG WS21

​„Der Work­shop gibt mir eine super Basis um jetzt richtig durch­zu­starten. Kann ich jedem nur empfehlen.“ Alina Gaides, Teil­neh­merin goHfG WS21 und Gewin­nerin des goHfG Award

Neben der Gestal­tung von Geschäfts­mo­dellen sind auch gute Texte für Kommu­ni­ka­tion und Marke­ting (Presse, Port­fo­lios und Such­ma­schinen) ausschlag­ge­bend. Bei Carmen Fischer lernst Du daher wie schnell ein guter Text entsteht. 10 Tipps für die Über­ar­bei­tung eigener Texte kannst Du dann am letzten Tag gleich umsetzen und Dich mit 2 Din A4 Seiten um den goAward bewerben.

Zusätz­lich zu den 3 Tagen goEdu­ca­tion Entre­pre­neu­rial Tools bieten wir für alle, die noch tiefer einsteigen wollen, mit dem folgenden goHfG advanced work­shop volle Betreuung und indi­vi­du­elles Feed­back zu Deinem Projekt und Pitch.

Thomas Schön­weitz / Carmen Fischer

The course will start with a general lecture on the prin­ci­ples of infor­ma­tion design from a data- and content-driven perspec­tive and an intro­duc­tion to how human percep­tion affects design decis­ions. An intro­duc­tion to a selec­tion of available tools for infor­ma­tion design will also be given. 

The parti­ci­pants will complete a hands-on intro­duc­tion to crea­ting statis­tical maps and visua­liza­tions with QGIS, an open-source GIS program suite. Based on it, each student will do a small visua­liza­tion assignment.

Jonatan Hilden

Sket­ching ist eines der einfachsten, schnellsten und effek­tivsten Kreativ.- bzw. Kommu­ni­ka­ti­ons­tools welches Gestal­tern zur Verfü­gung steht. Über einen Skiz­zen­pro­zess können Ideen gesam­melt und doku­men­tiert werden, sie können verän­dert und über Vari­anten weiter­ent­wi­ckelt werden, sie können für interne und externe Work­shops und Entschei­dungen genutzt werden und sie helfen Teams sich zu orga­ni­sieren und zu focu­sieren. In einer Auftrag­geber Dienst­leis­ter­be­zie­hung kann selbst­ver­ständ­li­ches Skiz­zieren Miss­ver­ständ­nisse vermeiden und Abstim­mungen beschleunigen. 

Sket­ching ist ein erlern­barer Prozess der durch perma­nentes Wieder­holen und selbst­ver­ständ­li­ches Anwenden zu einem wert­vollen Tool für Produkt­de­si­gner werden kann. Gefühl für Perspek­tive, Drei­di­men­sio­na­lität und Propor­tion werden geschärft und kommen in einer sehr frühen Phase des Projekts zu Anwen­dung. Studie­rende neigen off dazu zu selten und mit Focus auf ein ​„schönes Bild“ zu skiz­zieren oder haben Hemmungen ihre Skizzen zu zeigen, weil sie Sorge haben sie sind nicht gut genug.

Der Kurs basiert auf 4 Einta­ges­themen mit einfa­cher Aufga­ben­stel­lung (Pfef­fer­mühle, Seifen­spender, Toaster…) zu denen die Studenten 8 Stunden möglichst konzen­triert Entwürfe skiz­zieren sollen. Parallel dazu können sie dem Kurz­s­leiter (online oder vor Ort per Kamera und Beamer) beim Skiz­zieren zusehen. So entsteht eine Mischung aus Zusehen und Selber­ma­chen mit gleich­zei­tiger Forde­rung Sket­ching 8 Stunden täglich zu prak­ti­zieren und zu üben. Die Studie­renden sehen beim Kurs­leiter und den Mitstu­die­renden wie Skizzen entstehen, verworfen werden, sich verän­dern, verbes­sern und in grosser Menge schnell entstehen können.

Andreas Hess

The work­shop traces how contem­po­rary food is moved and trans­ported, through the design of a mobile food concept. We look at the complex and cross-cultural origins and sourcing of food and then develop crea­tive, inno­va­tive means of expo­sing these processes and problems to the public. We will develop concepts, commu­ni­ca­tions media, physical designs and sustaina­bi­lity models, exami­ning what is gained and what is lost in trying to create balances, careful and respectful cross-cultural, inter­sec­tional and ecolo­gi­cally-minded consump­tion prac­tices for future commu­ni­ties. Food trucks are part of the history of labour, origi­nally respon­ding to urban meta­bolic needs of indus­trial moder­nity. Also, the pandemic has brought the topic of deli­very, food mobi­lity and resources to the fore, giving us a rich, new area for thin­king and acting through art and design practices.

Abbéy Odun­lami & Jamie Allen

In dem Work­shop MY VIEW werden Bild-Erfas­sungen (Foto­gra­fieren / Filmen etc.) mit gängigen und zukünf­tigen Tools konzipiert:

- Visionen für die Erstel­lung UND Bear­bei­tung von eigenen ​„Aufnahmen“ (reale Fotos und Videos sowie eine Mischung aus realer und virtu­eller Welt).

- Welche Tech­no­lo­gien werden einge­setzt oder ​„neu“ ange­dacht (Smart­phone, Kamera, Drohne, Sensorik, visio­näre Ansätze…)?

- Wie wird das Bild fest­ge­halten und auch direkt bearbeitet(Interaktions-Konzepte wie Eye-Tracking, Gesten­steue­rung, Sprach­steue­rung, Haptik…)?

- Folgt eine Bild-Erfas­sung dem eigenen Blick (MY VIEW) oder kann sie auch von außen (z.B. weiteren Personen) gesteuert werden?

- Sind Stan­dard-Produkte zum Foto­gra­fieren wie gängige Smart­phones und Kameras wirk­lich zeit­gemäß oder können sie durch andere physi­sche und virtu­elle Produkte ergänzt oder sogar ersetzt werden?

M.A. Juli­ette Fitz, Prof. Sebas­tian Stroschein

Ever­yone is confronted with gender discri­mi­na­tion, through socia­lized role models and stereo­types. The discrepancy between legally defined and lived equa­lity is a blind spot, a grey area, which has a high social rele­vance. During the lab week we will ques­tion gender concepts, role models and stereo­types. Using specific design methods (e.g. narra­tive inter­view, cultural probes, neth­no­graphy, empathy expe­ri­ence, etc.) we find out on which levels of ever­yday life gender-specific conno­ta­tions, asso­cia­tions and reac­tions take place. The focus of the lab week is the insight-driven and explo­ra­tive approach to design as well as the transfer into the design process. We embark on a short journey that teases out inno­va­tive ideas and lies outside the usual, obvious comfort zone.

Henri­ette-Frie­de­rike Herm

We are losing our death literacy: we are losing know-how and skills on how to face and support people in the end of life, albeit a close loved one or some­body in the commu­nity.

The confron­ta­tion with death and dying seems to be disap­pearing from our daily life. Hospi­tals, hospices and gravey­ards are more and more outside the cities. Also, our (secular) society loses the social rituals, customs and prac­tices surroun­ding the end of life. The end of life becomes more and more a medical event- outsourced to profes­sio­nals – rather than a deeply shared social expe­ri­ence.

In this work­shop we will explore how we could increase our death literacy through design. An instal­la­tion in public space? A new public campaign? A new social ritual?

Marieke Sonn­eveld and Erika Hajdu

The Media Lab, the Zapp, the work­shops, the DP Lab – the HfG offers 1000 oppor­tu­ni­ties to give free reign to crea­ti­vity and to try things out. But where do you find this info. 

For this we need your know­ledge and not-know­ledge! Toge­ther with you we want to make the HfG expe­ri­en­ceable by students for students. We want to create some­thing that provides students with all the neces­sary infor­ma­tion, guide­lines and templates. So you and future students can use the full offer of the HfG for you and your projects.

Florian Geisel­hart

The students have to develop, design and realize a concept for ​„Urban Spaces – Inside Out“.

The theme includes the fields of design, archi­tec­ture and urba­nism. What is inside, what is outside? What does people need in cities? Rese­arch and realiza­tion shall be combined. Aspects like sustaina­bi­lity, diffe­rent cultures, migra­tion should be considered and imple­nted into the project.

Ponam Choudhry

Work­shop’s Subject:

Promo­ting Life Quality & Equa­lity Through Design – Ergo­nomic Design and Inclu­sive Design as a tool for user empowerment. 

Ergo­nomic Design and Inclu­sive Design, as tangen­tial approa­ches that imple­ment ethics, social respon­si­bi­lity and crea­tive empathy in indus­trial design, in order to promote the user’s health and to realize its full potential.

Work­shop’s Objective:

To provide the students know­ledge, tools and skills to design in such a way that the product will take into account the abili­ties and the limi­ta­tions of the human body and will best adapt to the capa­bi­li­ties and the needs of each user. The product will improve the user’s perfor­mance, and will enable him effec­tive, conve­nient, inde­pen­dent & safe usage, without any health damage (imme­diate or cumu­la­tive). All this – while preser­ving the values of equa­lity and respect to the user.

Work­shop’s Nature:

The work­shop is mainly theo­re­tical. It is composed of segments – each frag­ment consists of a frontal lesson (combi­ning various active-teaching tech­ni­ques) and prac­tice for applying the know­ledge studied in the lesson. This way, the student expe­ri­ences a struc­tured series of know­ledge-trai­ning clus­ters that lead him, while accu­mu­la­ting know­ledge and incre­asing level of diffi­culty, into the final exer­cise. In this exer­cise, the student will be required to imple­ment all the tools he acquired during the lear­ning process, in order to provide a design solu­tion to the problem, while empowe­ring the user’s capabilities. 

Work­shop’s Content:

Examples of lessons“ topics – Anthro­po­me­trics; Biome­cha­nics; Stra­te­gies to prevent muscu­los­ke­letal overuse disor­ders that may be caused to the user by the product; Ergo­nomic Design & Inclu­sive Design Guide­lines; Ergo­nomic aspects of task analysis tech­ni­ques; Mental Model; etc. 

Eran Franco

Current built envi­ron­mental condi­tions around the world are the result of many things that went wrong over the last several decades. Among which is, the obses­sive focus on so-called ​‘Human Centric Design’. In the process, negle­c­ting not only soci­ally and econo­mic­ally margi­na­lized commu­ni­ties around the world but also largely denying the exis­tence of rest of the living beings in urban context. 

Parti­cu­larly the urban built envi­ron­ment has been harsh and often disre­garded any signi­fi­cant conside­ra­tions for the needs of living beings such as birds. 

In this work­shop we will focus on crea­ting ​‘Well Being for Urban Birds’. By under­stan­ding the ​‘Bird-Life­cycle’ and taking all their needs into conside­ra­tion to create poetic response within urban condi­tion. It is in our inte­rest to design for well-being of birds as they increase human happiness. 

It is high time to envi­sion and create ​‘Design for all Sentient Beings’, meaning cohe­sive design for all living beings which are able to expe­ri­ence feelings.

Saty­endra Pakhalé