Babydough’ll is a smart incubator for sourdough, inspired by emotional welfare. To start the fermentation process bacteria and a warm surrounding are needed. Bacteria like the ones we carry on our skin. Making the human touch as essential for sourdough as for babies. The temperature of the incubator is calibrated through an app, enabling the user to control the ratio between lactic and acetic acids. And making the organism adjustable to personal preferences of taste and texture. By experimenting with the relationship to food this project wants to raise awareness to the fragility of nature as our food source and ask for new ways of living with what feeds us.
Baby Dough'll I Pepita Neureuter
Design & Technologie ab 5. Semester BA&MA // Mehr Informationen unter folgendem Link
Prof. Valeska Schmidt-Thomsen will be available for questions regarding applications and content of BA and MA Design programme in fashion design.
Information desk - Modedesign, Institut für experimentelles Bekleidungs- und Textildesign
Our senses show us what we like to eat. But what else could we like to taste? How can we cook to find new taste experiences? One possible approach is “foodpairing”. Through a precise flavor analysis, we know which foods and spices go together or support each other in their flavor. I have integrated this information into the shelf system “Spice Up”. A color and symbol system accompanies us while cooking and supports us to combine our spices and foods. In addition to our experience of cooking, we have more possibilities to enjoy food. By using the knowledge of flavor components, we can find unexpected flavor combinations or rediscover familiar tastes.
Spice Up I Anna-Maria Argmann
CITY CHICKENS is a reaction to anthropocene urban development. In urban space, we live in an environment that is increasingly shaped by humans for humans, with man-made environments and controlled ecosystems.
City Chickens I Kim Kuhl
»Neobiota« are species (animals, plants, fungi) that have settled in an area outside their original biotope. These processes are always associated with complex interactions: This means that not only the neobiont has to adapt to its new environment, but also the biotope changes when a new species establishes itself. In ten interventions with different media, the UdK design students investigate whether neobiont migration processes and interactions can also be demonstrated for artefacts. What happens to objects when they leave their biotope and end up in completely different contexts? How will the objects behave in these unfamiliar environments - and how do these environments behave towards them? Will their original functions remain in the foreground in the other contexts or will they be interpreted in a completely new way? Can they unfold undreamed-of values or do they lose relevance altogether? Such transformations are not normally envisaged in museum contexts. On the contrary: the museum‘s task is precisely to protect the objects from any changes. They are taken out of the living world of becoming and passing away and surrounded by a semi-permeable protective cloak: looking in is possible, looking out is hardly possible. Yet most of them have a centuries-long, often very eventful biography of value creation and change, but also of destruction behind them - including the raids, and wars, that were waged around them or about them. What happens when we abduct the immobilised objects and bring them back to life? When we transplant them into unfamiliar social contexts, invent new narratives and put them to the test? What stories can be developed going forward - and what stories can be told when those so mad return to the museum biotope? What multiple dialogues and also contagions occur in the collection spaces of the Museum of Decorative Arts between the originals and the neo-biontic returnees?
STEREOTINDER It seems that most people strive for individuality. We consume clothes in order to stand out from our surroundings. However, we mostly still move within a pigeonhole and thus set clear codes to our outside world. What happens when we consciously resort to strongly connoted items of clothing from different pigeonholes and remove them from the contextual pigeonhole? This problem, the striving for individualism, not only concerns the end consumer, but also the designer. The human brain, as well as artificial intelligence, collects data and information to generate new contexts. We categorise and systematise our environment, thus reducing complex information to stereotypes. This happens mostly in an unconscious cognitive mapping. We have incorporated the design methodology (morphing) of an artificial intelligence into our design. The Ai cannot distinguish within its data set where the backpack ends and the top begins. So we were able to morph stereotypical garments within a drawer into something new. It is precisely through technical innovations such as artificial intelligence that the role of the human designer is also called into question. The stereotypes depicted refer to the western world, the Berlin area. With our project, we ourselves take on the role of the conscious observer and, by dissolving the context, attempt to remove a categorization into pigeonholes.
As part of the Neobiont design project, welcome cups were kidnapped from the permanent exhibition of the Kunstgewerbemuseum in Berlin and relocated to the present day. The first welcome cups come from the early modern era and were used as large drinking vessels. It was customary to greet a person or guest to be honoured with a drink from a precious vessel. The use of the welcome was an integral part of the rituals in meetings, ceremonies and festive occasions of aristocratic societies or civil corporations, especially guilds. The image of a cup that everyone can drink from is an image of togetherness, of unit. Due to the current world situation, the thought of a welcome, from which everyone drinks together, disappears rather quickly. Questions like, how can we get back together after months of “social distancing”? – How can we celebrate together? – Or to put it another way: How can the many isolated individuals become a unit and what role do rituals play in this? – appear. However, the image of a shared drinking vessel standing in the middle of a group to toast a special moment together is very powerful. Welcome vol. II brings the isolated individuals of society together to form a unit, represented by several stacked cups. ONE welcome emerges.
Willkomm vol. II
Movement is flexibility. Movement is the development from the two-dimensional into the three-dimensional. Movement is inflation. Movement is BLOBJECT. Inspired by inflatable constructions made of plastic structures that obtain their shape through air pressure, the exploration of inflatable objects came into focus. "Inflatable Objects" and "Inflatable Architecture" have the advantage that they can adapt relatively easily to a wide variety of situations (crises) or conditions due to their flexibility. The possibilities of changing size, volume and shapes make them practical and transportable. Air as an omnipresent element and "material" only needs a frame to take shape and to be able to use its properties. BLOBJECT is an "Inflatable Object" that offers various seating possibilities. The two materially and formally different elements result in aesthetically as well as functionally different variations. The two parameters, pneu & steel tube function as antagonists that influence each other. On the one hand, the shape of the pneumatic tube is changed by the metal and on the other hand, the metal is made usable by the pneumatic tube. The flexibility of the pneumatic body and the shape of the metal frame, which has different sides, result in a wide variety of seating options and uses. Due to the lightness of the pneu and the simple design of the steel tube, BLOBJECT is mobile and can be moved and installed in any location.
Already approximately 2,000,000,000 people around the world eat insects regularly as a part of their diet. Yet acceptance of insects as an alternative protein source is very low among Western consumers. Triggering disgust rather than the desire to eat without the acknowledgement of its benefits to society and in the long run, our environment.
The optimization of the Hermetia Illucens I Dennis Loebach
DELI.DOG - dry dog food from our own kitchen Among all animal-human friendships, the friendship with the dog is the longest and most widespread, as the wolf was the first animal to be domesticated. One reason for this early cohabitation must have been that even the first dogs could be fed with all kinds of food scraps from the human household, not only of animal origin, but also vegetables.In the past 15 years, the number of dogs kept in Germany has increased from 6.5 to 10 million, according to estimates. All these animals also need to be fed. The meat consumption of American cats and dogs alone would be enough to keep the USA in fifth place among the nations with the highest meat consumption in the world. Already today, up to 70 per cent of all global agricultural land is taken up by animal feed production. Conventional meat production is one of the biggest climate polluters. Cattle emit environmentally harmful methane, but the massive use of fertilisers and pesticides, the clearing of rainforest for soya production and the draining of wetlands also contribute to climate change. In addition, one has to imagine that all the food is packed in mini cans up to 20 kg plastic bags and exported worldwide. Which does not improve a dog's CO2 footprint. This is why my approach is to produce the food for the four-legged friend in parallel with our own vegetable-based dishes. In order to still have a positive influence on climate change, we have to eat a vegan diet sooner rather than later. This makes it easier to collect sufficient organic leftovers to process them into dog food. Steaming makes the vegetables soft and more digestible. Afterwards, you should squeeze out the water and drain it to make the food firmer and more durable. If you then heat it to bake it, it can even be kept for days up to a few weeks. In this way, every dog owner can cater to the individual needs of the dog and significantly minimise their own leftovers. In industrially produced dog food, it is often no longer possible to recognise or trace what has been processed, and more and more dogs suffer from allergies where it is no longer possible to draw conclusions about their origin. In contrast, we could also buy our vegetables all produce locally and seasonally, and process them without packaging for us and the dog. This would mean that no meat would have to be produced and the environment would be significantly less polluted. However, a CO2 pawprint cannot be completely avoided. London's parks alone are watered with 4.5 million litres of dog urine every year. But with an awareness of nutrition, many problems can be positively counteracted for humans as well as dogs.
Deli.Dog I Alina Seegert
Mary, the most frequently portrayed biblical female figure, is represented as a submissive, silent personality. This image has manifested and reproduced itself socially. It shows that forms of representation are part of an overall social discourse, which at the time regulates what can be said and shown, but which is also always flexible and changeable through interventions. The project ”NEO MARY“ encourages to question the usual Christian representations and to point out and criticize one-sided as well as male-dominated representations. The aim is to break the cycle of representation of the humble, quiet and submissive woman and to give Maria space for a new and contemporary voice.
Design & Technologie 4. Semester BA // Mehr Informationen unter folgendem Link
EaTable a game to make cooking easy, intuitive and fun Two people or more at a table, half a million food combinations, more than a million taste buds on a tongue - lets have some fun! EaTable is a game to motivate young and elderly to cook together, get more creative and intuitive and make cooking as easy and fun as possible. In the middle of the playing field one spins a bottle and starts picking cards from the stacks each round, until the first player has assembled four ingredients. The group then decides who has to offer the best sounding dish that then will be cooked . One game takes no longer than 15-30 minutes. Based on the science of food pairing EaTable has five different aromatic groups that will ensure each dish turns out tasty yet exotic.
EATABLE I Aurelia Lehmann
Design & Technologie 3. Semester BA // Mehr Informationen unter folgendem Link
Design & Technologie 4. Semester BA // Mehr Informationen unter folgendem Link
One of the greatest challenges of our time is to feed the world’s population in an ecologically sustainable way. But we don’t just want to be full, we want our food to be healthy and taste good. Delight is an important part of our culture. But what exactly is culinary delight, how is it located in today’s society and what does its future look like in the context of biotechnology and Crispr in food. Can we as designers respond to a growing need for delight and can objects help us understand and contribute to culinary pleasure? In this design project, we want to look at the history of the kitchen in the context of food production, at a theory of delight, but also at practice, in order to then be able to approach the topic in design. With the philosopher Armen Avanessian we will discuss the social role of delight, and with chef Lukas Mraz we will approach the topic of culinary delight in a practical way by means of a cooking course. Here you can find all student projects and videos on this topic:
Designing Culinary Delight
Have we suppressed and forgotten „play“ as a cultural practise? We tried. We played. In playful interventions ornamental objects are created. The objects are very impractical and useless, but extremely functional for playful interaction. Play is interaction. Playing is engagement. Fashion that is created and re-created in play is living, interactive discussion and relationship. Relation to one another, relation to our material surrounding, relation with the new that arises. Again and again. We are part of this new, the objects and ideas. And they are part of us. Our empowering, transformative strategy is the act of dressing. The emphasis is on playful. Play Harder. Engage. Alter. Create. Transform. Engage. Interact. Change. Re-act. Engage. Re-create. Engage. Wonder.
The Kunstgewerbemuseum is filled with beautifully manufactured objects we cannot intuitively understand: we don’t know how they were made and how they were used. How do we deal with an object when we cannot relate to its actual practice context anymore? Can we make up our own stories? Through memes (information spread by imitation) new stories about some objects of the collection are invented. The texts speculate about possible contexts in which this object once may have lived, is living now or will live in the future. In this way, the museum does not only function as an archive of the past but also as a space for new sorts of interaction with objects. Inspired on the medieval baking moulds and it’s function of telling a story by showing an image, these memes are distributed in form of a biscuit and a stamp. Thus, the meme find its way to the place where stories are told: the mouth.