Course offer Bachelor Program

  young people in the street Copyright: KG

Visual Design 1b/G&D1

In this course, perception and descriptive thinking in a spatial + functional context, spatial imagination and the ability to abstract in a meaningful way are promoted, as well as the development of a visual memory.

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  Talking about sculpture Copyright: Friedrich

Plastic Design 1b/G&D1

By grasping objects and spaces by hand, we physically internalise our perception and create a mental basis for creative thinking.

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  Photography of a church window Copyright: Mohs

Drawing as kinesthetic memory protocol

How are our perceptions changed by our movement in space, how are we moved through spaces? Attention to space is determined by influences on all our senses from the environment, but also by our inner attitude and by our own physical and mental actions and reactions. We want to explore the complexity of this interaction by drawing in the meticulous self-documentation of our own 'state of mind' (Böhme) as a mutual mood of space and subject. Spatial experience is then not only translated as the result of visual (photographic) perception, but also recorded quasi 'seismographically' as a spatio-temporal interaction of body and senses in movement. In this way, we can also change perceptions, even: (de-)construct them, for example by creating filters, distorting scales, introducing disturbances, increasing transparency or recording synaesthetic superimpositions of different perceptual perspectives on space.

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  biomorphic forms Copyright: Friedrich(Collage)

Biomorphic abstraction/WPF

- colloquially also called 'organic design', was originally developed by sculptors and painters. Artists such as Hans Arp or Joan Miró were fascinated by the formal language of nature at the beginning of modernism and tried to apply this expressive power of growing and becoming, of pulsating and expanding living volumes in their works.

In the seminar, the participants pursue their own strategies and work them into two-dimensional, structural or volumetric sculptures, whereby transitional forms are also conceivable. Modelling is done with plasticine - the freedom of design within a self-imposed set of rules is practically limitless!

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  Grain Copyright: Tschauner

Surface Sculpture: Floor Relief/WF

Re-form paving surfaces as relief and pattern: The design of the relief to be developed jointly and the division of the individual elements is to be oriented towards any methods of creating coloured patterns; we will deal with references to tile patterns, knitting patterns, coloured repeats in the clothing industry, wallpaper, mosaic, parquet and much more in an interdisciplinary way. Starting with research in the urban environment, the basics of the special shaping and processing of the material are collected on the basis of photos, sketches, rubbings and moulds. Parallel to this, sketches and drafts are to be developed on the basis of the methods of rapport, which relate to the multi-part floor object to be designed. The overall composition developed from this is transferred into a unified form-material statement using traditional hand tools and machines via our material 'cast stone'.

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  Photo Lab Copyright: Hámos

Experimental Lab Photography/ WF

In this seminar we focus on the experimental exploration of photographic techniques. The aim is to create spaces through an abstract visual language, through colours and shapes. In free experimentation we examine the interplay of light, lens and film.

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  Photocollage Copyright: Hámos

Photo films/REVIERa, Nordrand Garzweiler/ WF

Photo films are films that essentially consist of still photographs, that question our viewing habits, that make us think cinema. Photo films demand active, reflective viewers. Because once the image is in the film, it invites us to contemplate and we find pleasure in "seeing more". Photo films are experimental laboratories that allow us to present urban phenomena in a new way on film.

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  modular book- and paperobjects Copyright: Lang

Modular book and paper objects/EM

In experimental book design, there are many creative ways to combine individual paper pages into a book form. Even in classical books, in principle, repeating paper structures (such as booklet layers or individual pages) are combined again and again to form a new unit. But the more experimental book bindings become, the more folds are used, spatial structures are already bundled together. Modular solutions in particular offer very interesting possibilities for leporelli and book objects, which can become three-dimensional structures with their very own sculptural qualities.

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