How it works
To view the models in AR, either scan the QR code with your phone. Then press the orange AR button. You can also scan the code on our pink cloud in the exhibition. You can zoom in and out and place the file in the space.
What it is
3D sketches that were made based on historical designs from books about design education. These sketches were 3D-scanned to preserve them and to add new narratives.
Where it comes from
We did an archive research in school publications from Bauhaus to Ulm that were stored in the library of HfG Offenbach. We also used the archive of Hans-Nick Roericht.HFG-ARCHIVE-5
The network of people contributing to a design is more complex than we might think. Unfortunately, design history often overlooks this complexity. When we look at design classics like the Eiermann table, which was designed in the workshop led by Adam Wieland at Stuttgart Academy of the Arts, the question of design authorship becomes uncertain (see: Daniel Klapsing: Forschung durch Redesign, 2017). To further explore the role of non-designers in the design process, we have been mapping the stories of authorship based on personal experiences and historical examples. In particular, we want to delve into the design schools and workshops. We can document our materials through photography, 3D scanning, or written documentation. Additionally, we employed the storytelling method as framed by Donna Haraway. Our findings will be compiled into a digital publication format.
In the theoretical part, we sought to understand how we should change the narratives of renowned design schools such as the Eiermann Table/Adam Wieland Metallwerkstätten, HfG Ulm, and the Bauhaus weaving workshop. To achieve this, we employed postcolonial theory. Through a critical examination of these design schools and their historical contexts, we aimed to challenge existing narratives and perspectives, opening up new possibilities for understanding design history.
In the practical part, our goal was to reshape future design history by mapping the practices and experiences of individuals involved in the design process. By collecting personal stories, historical examples, and other relevant materials, we aimed to create a comprehensive picture of the diverse contributions to design. This mapping exercise allowed us to understand the complexities of authorship and challenge traditional notions of design authorship.
It is important to note that the workshop texts were in German, which may have limited accessibility. However, we aimed to promote inclusivity and diverse perspectives throughout the project.
In summary, our vision was to recognize the Design school workshop as an intercultural meeting place where design is not a protected term but open to everyone as a designer or maker. We acknowledged the different hierarchies between teachers, students, and workshop leaders, emphasizing the importance of joy and excitement in the act of creation. Many designers had backgrounds in architecture, and the organization and concept of making could vary greatly between different School’s workshops. For instance, Students acted as teachers, sharing their knowledge and developing their own workshops.
The Schools aimed to explore non-traditional craftsmanship, such as recycling and reassembling materials into new forms. This approach generated curiosity among students, as recycling may not have been a standard part of traditional educational institutions. It seemed like a rare exercise, where functionality and aesthetics were not the sole concerns, but instead, the exploration of new forms and experimental products was prioritized. Through this project, we hoped to reshape the narratives of design history and encourage transformative design practices for a more inclusive and diverse future.
As a practical experiment, we have created 3D-dimensional sketches of Objects we found in the archive Material and 3D-scanned them.
Nur Horsanali, Laura Dressen, Cecilia Casabona, Kilian Frieling, Annika Frye
The workshop was initiated by Onomatopee Projects, an independent publication space in Eindhoven, the Netherlands.