Kung Fu Cha Dao - New perspectives on Chinese tea culture

Kung Fu Cha Dao - New perspectives on Chinese tea culture

Throw me out!

THROW ME OUT! gives you a productive distraction....challenge yourself! start action! get surprised!

Productive distraction organises a moment of flow to get you back in focus. You can start the program yourself, otherwise it will visit YOU randomly. This is web based service, open even to GSM platforms. The activity proposals of TROW ME OUT are made by users of the web site, or by yourself. The activities have to be funny, distractive and help you regain your focus. Therefore we have the rules below.

Rules:

- No money needed - Inspires to get back on track - Can be silly and be unexpected

These are our proposals to start

Go for a walk with your socks off Find your favorite songs from years ago - Listen to it loud! Paint a self portrait of you right now Write a senseless letter and read it out loud Make a prank call

...

Gender Design

Geschlechterverhältnis im Design und qualitative Designforschung

Betreut von Prof. Dr. Uta Brandes

Wintersemester 2011/2012

Incarnate

Design Concepts

by Prof. Oliver Baron

Winterterm 2010

Typografie und Design

betreut durch Prof. Iris Utikal

Wintersemester 2011/2012

eine Kooperation mit dem Römisch-Germanischen-Museum Köln

Ein Rundgang um die Stadtmauer

Identität und Design

betreut durch Prof. Andreas Wrede

Wintersemester 2010/2011

eine Kooperation mit dem Kölner Filmhaus Verein

Vom Kölner Filmhaus zu Filmhaus Köln

Ziel des Projektes war es ein Gestaltungs- und Kommunikationskonzept zu entwickeln, das sowohl den unterschiedlichen Tätigkeitsfeldern des »Kölner Filmhaus e.V.« in den Bereichen Kinokultur, Medienbildung und Filmschaffen als auch den kulturellen Ansprüchen dieser Institution eine zukunftweisenden und ausdrucksvolle Erscheinung verleiht.

Die für den »Kölner Filmhaus e.V.« zentralen Begriffe Bild, Bewegung, Vielfalt und Vernetzung sind schließlich als jene strategische Parameter identifiziert worden, an denen sich die zukünftige Kommunikation des Vereins ausrichten soll.

In einer zweiten Arbeitsphase wurden sowohl medienübergreifende Kommunikationselemente, wie: Namens- und Farbgebung, Logo, typografische, bildliche und audiovisuelle Ausdrucksformen sowie eine entsprechende Gestaltungssystematik, welche die vielfältigen Kompetenzen und Leistungen des Filmhauses Köln in den Bereichen: Kinokultur, Medienbildung, und Filmschaffen zu einem ganzheitlichen und ausdrucksstarken Bild verdichtet, geschaffen.

Die neue Corporate Identity des Filmhauses Köln wurde im Rahmen des 30. Jubiläums des Filmhauses Köln am 21. Juli 2011 durch die Studierenden der Köln International School of Design präsentiert.

Designtheory and Designhistory

by Prof. Dr. Michael Erhoff

with Mieke Gerritzen

Wintersemester 2011/2012

The Conference About the project

From 16th January to 12th February 2012 the gallery WERFT 11 exhibited under the title THE CONFERENCE a simulation of a conference with the most important and famous theoretician and thinkers of our time by the dutch graphic designer Mieke Gerritzen and the media theorist and net critic and activist Geert Lovink. The setup of this uncommon staging was made up traditionally of chairs and one orator. The wall was decorated with text graphics and on a monitor was shown the film “Beautiful World”. A critical film about the visual language from signs, codes and trends. The graphic designer Mieke Gerritzen is most notable for her collection and arrangement of portrait photos. Her work was lately shown in the Cooper Hewitt Museum, New York, in the Design Museum, Milan and at the Venice Biennale. Furthermore she is the director of the MOTI, Museum of the Image in Breda, Netherlands. Mieke Gerritzen lives in Amsterdam. The media theorist and critic Geert Lovink is founder and director of the Institute of Network Cultures. He is initiator of internet projects like “nettime” an “fibreculture”. His last published book has the title: “Zero Comments”, Routledge, New York, 2007. He lives in Amsterdam.

Project task

The chairs of the simulated conference were supposed to represent the theoretician and thinkers. Each project participant designed 1-2 chairs. For this task Mieke Gerritzen prepared papers with the names of this personalities and selected quotes. The chairs were imitations of the famous chair 3107 by Arne Jacobsen in white.

JOHN BERGER

John Berger is a well-known art critic, writer and dramatist who deals with the relationships between individual and society, culture and politics and experience and expression in a series of films, bookworks, plays and novels. During the last 50 years his international influence has been increased not only because of his engagement but furthermore with his television series and book Ways of Seeing he revolutionised the way that fine art is read and understood. Lets have a closer look on one quote: „GLAMOUR CANNOT EXIST WITHOUT PERSONAL SOCIAL ENVY BEING A COMMON AND WIDESPREAD EMOTION.“ This setting shows a magpie sitting on the top oft he chair, gazing into some breadcrumbs. The magpie as a bird that is attracted to shiny objects, is here ironically a medium for the word glamour. To underline the effect the whole magpie is dipped into glitz. The braedcrumbs are nurishment for the bird that express the personal envy in the context that glamour cannot exist without it. The playful transformation of the breadcrumbs on one hand as the main sentence and on the other as typography itself shall justify the task to dispute with the style of mieke gerritzen. LEV MANOVICH

Lev Manovich is an artist, computer animator, designer, and educator who is working with computer media. He founded Software Studies Initiative - the first digital humanities lab focusing on exploring massive visual data sets. The Language of New Media which is described as “the most suggestive and broad ranging media history since Marshall McLuhan” is one of many books he authored. These are the quotes I focused on: „EDITING, OR MONTAGE, IS THE KEY TWENTIETH TECHNOLOGY FOR CREATING FAKE REALITIES.“ „Avant-garde aesthetic strategies became embedded in the commands and interface metaphors of computer software.“ „The avant-garde became materialized in a computer“ „SHALL WE ACCEPT THIS DEFINITION?“ „»DATA-SUBJECTIVITY«“ „THE ANSWER IS OF COURSE NO.“ „The original Esperanto never became truely popular.“ „The language of cultural interfaces is a hybrid.“ „Contemporary human-computer interfaces offer radical new possibilities for art and communication.“ „DEPENDING ON THE SOFTWARE I AM USING, THE “PROPERTIES” OF A MEDIA OBJECT CAN CHANGE DRAMATICALLY. ECACTLY THE SAME FILE WITH THE SAME CONTENTS CAN TAKE ON A VARIETY OF IDENTITIES DEPENDING ON THE SOFTWARE BEING USED“. The setting shows a kind of illusion, a chair that is dressed so it looks like a man is sitting on it, headless and stripped to the waist. By showing a body as a persona, a „human-computer interface“ for data I like to emphasize the contradiction between computer and human being. The tattoos on his chest highlight ludically the handling with the typography and personificate the object by branding it.

Ökologie und Design

betreut durch Prof. Günther Horntrich

Sommersemester 2011

50% Design

Grundlagen bilden Ökologie und Ökonomie, also Umwelt und Verkaufserfolg. Der Energieaufwand zur Herstellung, Materialwahl, Ressourcenverbrauch, Langlebigkeit, Reparierbarkeit und Recyclingfähigkeit bis hin zur Frage der Notwendigkeit eines Produkts sind einige Kriterien, die es ermöglichen, ein Produkt einzuordnen. Ein wichtiger Faktor ist die Langlebigkeit geworden. Wie der Titel „50% Design“ schon verrät, bestehen diese Produkte aus 50% altem und 50% neuen, passend zu dem Zweck entwickeltem Material. Demnach besteht die Aufgabe darin, ein eher minderwertiges Produkt aus dem Umfeld herauszunehmen, eine andere Funktion zu finden und dementsprechend den fehlende Part zu entwickeln & designen.

Das Endprodukt – Regensammler

Luxus Accessoires in Loden

by Prof. Wolfgang Laubersheimer

Summersemester 2011

The tie made of loden