Erosive Modeling by: Kristin Dolz
Does CAD software today match our needs as designers?
Who we are and what we want
We come from design (in the diversity of its species), from the arts, from the natural sciences, life sciences and the humanities.
What unites us is the notion that everything that is called knowledge, at its deepest foundation, goes back to the formation of forms (Gestaltung) and related experiments.
With our designs and projects we show that in design and in the arts insights are produced which are irreplaceable and even special compared to other forms of knowledge.
We have come together in 2014 for this research group. Since then, we have been presenting our projects and designs at regular meetings and conferences, debating and developing them together, organizing publicity and promotion.
We reject the interpretive sovereignty of merely deconstructive sciences about the occasions, procedures, results of creative work. Instead, we simply design our own new theories that fit better with our aesthetic-practical experiments, i.e. those motivated by sensual experiences.
Veronika Aumann
Textile Design & Research
Paula van Brummelen
Interaction Design
Kristin Dolz
Interaction Design
Ebba Fransén Waldhör
Textile & Surface Design
Judith Glaser
Interaction Design & Product Design
Marie von Heyl
Art & Theory
Anouk Hoffmeister
Interaction Design & Sociology
Silke Hofmann
Clothing Design Research / Womenswear
Hannah Koch
Textile Engineering
Agata Kycia
Architecture
Rebekka Lauer
Interaction Design
Prof. Dr. Jörg Petruschat
Theory and History of Design
Felix Rasehorn
Design Research
Maxie Schneider
Architecture
Anika Schultz
Interaction Design & Product Design
Natascha Tümpel
Graphic Design / Visual Art
Katja Marie Voigt
Art & Architecture
Babette Wiezorek
Product & Process Design
Does CAD software today match our needs as designers?
What conditions are needed for a talented young woman to become so exceptional at such an early age?
How can responsive shape-changing capacities be integrated into flexible surface structures?
What if materials were digital?
What graphics are possible when created through ambivalence?
What is the constitutional aesthetic of feedbacks and circuits within an emerging form?
How do materials emerge from their interactive potentials?
How can the permeability of an architectural textile be made adaptive with shape memory alloy?
How can we build dynamic membranes for an energy independent architecture?
How can ›integrated research‹ benefit from hybrid competences at the interface of design and computer science?
How do women affected by breast cancer experience currently available post-mastectomy lingerie?
What if architecture were soft?
How can modularization help to make shape change materials accessible for a broader audience?
Can hierarchies of observation be rethought through jewellery?
How well can individualized expression be handled in clinical practice? Do tools for tangible data collection and visualisation support finding a patient narrative?
How does it feel to turn rating systems the other way around?
Does it make sense to talk about a thing without the thing itself?
How do workplaces, tools, and routines shape non-technological practices? How do they need to be reflected in technological workspaces and tools?