Design na BezTydzień / Weekdays Design – workshop week
In the Silesian lect „beztydzień” stands for weekdays. Design na BezTydzień / Weekdays Design are workshops organized by the Faculty of Design of the Academy of Fine Arts in Katowice, where students are accompanied by design from Monday to Friday, participating in workshops carried out by Polish and foreign experts, academic teachers, representatives of design studios and business.
For a week, we change the fixed timetable for a workshop mode and meet at full-day intensive courses, dedicated to broadening and improving design competence and working in interdisciplinary teams.
This event aims to exchange good practice, open to the newest technologies and design methods, complement the didactic offer by unconventional, interesting notions. The important thing is the form: teamwork, which encourages more openness and communication and therefore helps achieve another quality.
From an extensive offer, students choose workshops and lectures broadening their interests and facilitating individual development. An additional value is the integration of students, who have a chance to work in interdisciplinary teams.
Schedule and selection process / 3rd edition 2019
Design na BezTydzień Workshop Week will be opened with Stephan Thiel’s lecture: Designers as facilitators. Social responsibility in the digital world, in the Cinema at 8:50.
The 5 workshops delivered in English for students of the MA programme cover a range of subjects from interactive design, creative coding to public transport. Students are obligated to choose two two-day workshops. Apart from the workshops, students participate in theoretical classes according to the schedule of the workshop week (see here). Please be aware of admission limits.
The selection of workshops will take place on November 12 and 13 and will be divided into stages. You have to choose two workshops that are conducted on different days.
Workshop selection system:
- if you choose your first workshop from group A you can choose your second workshop from group C or D
- if you choose your first workshop from group B you can choose your second workshop from group D
- if you choose your first workshop from group C you can choose your second workshop from group A
- if you choose your first workshop from group D you can choose your second workshop from group A or B
Data Design, design Data
Monday–Tuesday 18–19 November:
Koszarowa 19 / 211
Modern design practices are unthinkable without a basic understanding of how algorithms and data work. Not only will it enable a critical approach to our digital culture, but it will open up new worlds of visual language and creative processes. On top of that understanding, data unlocks a whole new world of inspiration and understanding. This workshop will introduce coding and data visualization especially for designers who want to use software creatively to enrich their work. Participants need to have: pen, paper and a laptop/computer with a modern browser, e.g. Chrome
Stephan Thiel / Co-founder and managing director, NAND Studio, Berlin, DE
Stephan Thiel designs innovative solutions in data visualization and interaction design for companies and research institutes worldwide. He also runs the non-profit Start Coding, which aims to foster digital education in Germany. During his design studies (an MFA at Bauhaus Universität Weimar and a BA in Interface Design in Potsdam), he specialized in the analysis and visualization of literary texts in collaboration with universities in the US and UK.
The Burrow: photography workshops
Tuesday–Wednesday 19–20 November
10:30–17:30 / 306, Koszarowa 19
It is entirely conceivable that life‘s splendour forever lies in wait about each one of us in all its fullness, but veiled from view, deep down, invisible, far off. It is there, though, not hostile, not recultant, not deaf. If you summon it by the right word, by the right name, it will come.
Only a fragment was preserved from a relatively little known short story written by Franz Kafka in his declining years in 1923. The fragment was later called by Max Brod as Der Bau. The short story was written during Kafka´s stay in longed-for Berlin, far away from the influence of his family as well as his strict, almost archetypal image of a father. For the first time in his life, Kafka has his own household and lives together with his girlfriend Dora Diamant in two rented rooms. Numbered parcels from home full of food and various things necessary for the new life in a couple, together with letters, remain the only faint bond with Prague for some time. Retrospectively seen, it is not a very calm time for an unexpected flight from Prague. The hyperinflation is culminating and as Kafka, himself writes: “Prices in Berlin climb up as squirrels.” The writer is already seriously ill and tries to gather his last strength to write. However, in the letters addressed to his family, he makes light of his serious state of health. Kafka needs those silent Berlin nights to listen to his own self. His life – the past and the present, too – mingles with fantasy more tightly than ever before. During a single night ending with a cool morning, he writes a long story called The Burrow. The calm Steglitz quarter with almost a winter park right at the edge of noisy Berlin becomes, for a short time, the last perfect place for creative writing. His extraordinary life comes full circle and becomes a story of a writer par excellence.
Content of The Burrow short story tempts to search for interpretations. So much is said, withal so vaguely. It is for sure that the fragment belongs among several other Kafka´s self-contemplating proses, like Investigations of a Dog and Josephine the Singer, or the Mouse Folk. However, in The Burrow, there is, surprisingly, a creature visually barely specified. It is no longer a type of insect as we know it from The Metamorphosis. The creature from the underground is shown only through some extraordinary abilities of thinking. We do not know anything more specific about its physical appearance or its face. Instead, the author gives us plenty of details about the creature´s behaviour and skills. We thus get to know it only in the form of a psychological profile. Its strange features are markedly similar to an image of a contemporary man. We can even imagine a contemporary neurotic individual, consuming web all the time, who is no longer able to “digest” the gained information, much less classify it. The creature from The Burrow is also obsessed with its own safety, proud of its huge underground house and sees nothing but potential danger all around it. It is trying to sense an enemy lurking above the mossy entrance to the burrow or uncover the enemy inside the ground, which results in a continuous combining of possible defence. One day its guard is full of childish playfulness, the other it is an artful and elaborate strategy of an adult. It is fascinated by its constructive skills, yet, at the same time, is unable to find a way to get further. It is both hardworking and lazy. It is planning a hunt and makes big meat supplies which it rolls through the corridors to its underground. It the middle of the labyrinth, there is a central space – a courtyard where all the corridors lead and where wholesome peace and quiet reign. Nevertheless, nor the quiet lasts long. It soon becomes endangered by a suspicious hiss from the underground. The creature keeps on looking back, yet its work is almost done. It observes it in its whole in the rear-view mirror. Franz Kafka turns one of the sentences in this short story right towards himself, in a self-contemplating way: “The work of my hands seems to be still doing its best to prove its sufficiency to me, its maker, whose final judgement has long since been passed on it.”
Take the subject of The Burrow short story as a philosophical starting point to a free interpretation of the topic for our workshop. Each of us has our own safe space where we stockpile things in a ritual way. Think about ways to perceive a place, space where we feel safe or endangered. For the workshop, we look for visual situations seen from the point of view of a contemporary person. The Burrow might kind of be a bit about each of us. The students present us with a range of possibilities to interpret such a situation. The short story has already become an inspiration for several visual interpretations of the students from Advertising Photography at the Faculty of Multimedia Communications. Let´s have a look at their ways of free interpretation and try to continue the topic with the next pictures.
Jan Jindra was born in Prague, Czechoslovakia, on 7 October 1962. From 1982 to 1987, he attended the Film and Television School of the Academy of Performing Arts (FAMU), train- ing in art photography under Ján Šmok and Pavel Štecha. At that time, he focused mainly on documentary photography. In 1987, Jindra won a prize in the Young European Photographers competition in Frankfurt am Main. In 1990, he participated in the third Eddie Adams Workshop, in New York. In the same year he carried out several assignments for Sygma Photo News, Paris. In 1992 he was a stringer photographer for Prostor, a Prague daily, and between 1993 and 2002 he made more than a hundred covers for the magazine Softwarové noviny. From 1992 onward, he gradually established himself in the world of advertising photography. From 1998 to 2013, he was a full member of the Bund Freischaffender Foto-Designer e.V. (Association of Freelance Photographers) in Germany. In 2001, he won First Prize in the Science and Technology Category of the Czech Press Photo competition, and in 2003 First Prize in the Canon competition in Poland. Since 2002, he has taught at the Faculty of Multimedia Communication, Tomáš Baťa University, Zlín, lecturing in the Department of Advertising Photography and Graphic Arts. In 2012, he was made a Docent at the Academy of Performing Arts, Prague.
Future, individual form of transport for an imaginary customer
Wednesday–Thursday 20–21 November
10:40–17:00 / 106, Raciborska 37
Imagine the future, people who will exist in it and their role in society. It is not easy to identify an individual in such a position yet it is a designers role to be "clairvoyant" in this case. Your task is to "design" (think of) a form of transport that the individual might be using in the future. The form and shape your design will take are entirely dependent on you. One must not exclude a brand one wants to use either. It is also not entirely a subject of wheels (although would not exclude that if your preference is a "wheeled" vehicle). It could be anything floating, hovering, flying, sailing, sliding, it will be fine as long as it transports the user from A to B. The rest is your imagination.
How to inform patients: do no harm!Thursday–Frighday 21–22 NovemberKarel van der Waarde
10:30–17:00 / 103B, Raciborska 37
This workshop starts from the perspective of a patient who needs to take a medicine. Are the current instructions well designed and effective? Can we design something that really helps patients and their carers to take medicines correctly? The combination of increased medicine use, more elderly people and more older elderly, and changing digital technologies needs to be considered by designers now. Can we really design information that does not do any harm?
Karel van der Waarde studied graphic design in the Netherlands and the United Kingdom. He started a design - research consultancy in Belgium in 1995 specializing in the
testing of pharmaceutical information. He teaches (part time) at the Basel School of Design and Visual Communication at Swinburne University in Melbourne.
Design for ExperienceThursday–Frighday 21–22 NovemberJack LenkRaciborska 50 / 113
This workshop will introduce participants to Experience Design and look at some of the essential tools for creating meaningful engagements between people, interfaces, objects, and environments. Following a holistic approach that considers the physical, emotional and intellectual layers of an experience, we will explore how we can provoke certain feelings, thoughts and actions by design. Students will brainstorm concepts for new experiences then tell the story through sketches or prototypes.
Jack Lenk serves as Director of Production at Tellart, an international experience design firm, where he coordinates teams to create projects for clients around the world. He is passionate about visual communication, having also worked as a photographer and film editor. Jack graduated from the Industrial Design department at RISD, and remains involved in the academic community through teaching workshops and courses focused on the design of smart environments and multimedia communication.