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By its support for the campus @ heimtextil 2012 area and through many other actions, the Heimtextil leadership team at Messe Frankfurt Exhibition GmbH is a generous supporter of European talent development in textile design.

Donnerstag, 5. Januar 2012


CAMPUS @ HEIMTEXTIL 2012                 
 11-14 January 2012   Frankfurt / Germany  Hall 4.2 G91

The aim of CAMPUS @ HEIMTEXTIL 2012 is to network academic design training and the textile business world, creating exchange possibilities for our upcoming design professionals.

By its support for this show and through many other actions, the
Heimtextil leadership team at Messe Frankfurt Exhibition GmbH
is a generous supporter of European talent development in textile design. Thank you for your unfailing help and generous support!

Ideas crossing was the theme for 15 art and design academies from Europe and from guest country Brazil exhibiting on the campus stand at Heimtextil fair 2012.
The show includes samples for interior and home usage, and free creative installations or clever ideas for reused materials.

The association rooms for free coordinates the event.

rooms for free e.V.
offices c/o clasen
Kopernikusstr. 35
D-10243 Berlin

Contact: Projects, Treasurer Cora Francois
Tel.: +49 160 96 26 87 82

rooms for free networks design academies in Europe

rooms for free – an international exchange forum for design universities in the centre of Europe focused on textiles, fashion and living space.

Since 2004, the association carries out community actions for designers to underscore the importance of creativity for living together in Europe.
Our objectives are to
·         highlight the diversity of young creative potential
·         provide exchange opportunities between academies and industry
·         support young design professionals
Besides the co-ordination of CAMPUS@HEIMTEXTIL, now in its sixth year in the present format, the association has organised workshops for tutor networking and creative project weeks to develop international team building with design students. These actions are facilitated by the ongoing support of partners from the textile and service industries, such as Messe Frankfurt Exhibition GmbH (www.messefrankfurt.com) and the printing mill Color Textil, Frankenberg/Germany (http://www.color-textil.de/).

President: Hervé Francois             mailto: h.francois@color-textil.de

rooms for free e.V.
offices c/o clasen
Kopernikusstr. 35
D-10243 Berlin

Contact: Projects, Treasurer Cora Francois
Tel.: +49 160 96 26 87 82

Korbwerk sponsored the beach chair structures

Rooms for free and all participating universities thank Korbwerk GmbH for providing the beautiful beach chair structures for CAMPUS @ HEIMTEXTIL 2012!

Trusted shelter on the isle of Usedom, Germany  - since 1925.
Relax zone at Heimtextil in 5.1 C76
Art zone at Heimtextil in 4.2 G91
We‘ve got all it takes to build the best beach chairs on the Baltic Coast – 42 km of white sands, 1,900 hours of sunshire a year, plenty of wind. And all our visitors, happy to bathe in the sunshine as they snuggle cosily in one of our  hand-made beach chairs. 
On our beaches, on your terrace or in your garden – the proof is in the making. We manfacture more than 4,000 beach chairs each year, from traditional stripes to modern design cushions and even do a heated six-seater  for your first barbecue next springtime.
Check out our catalogue on http://www.korbwerk.de/
Korbwerk Heringsdorf GmbH & Co. KG
Waldbühnenweg  3
D-17424 Heringsdorf
Isle of Usedom, Germany

Tel.:     +49 38378 46505-0, Fax: +49 38378 46505-9
E-Mail: info@korbwerk.de

Ordinary things and poetic variations from HSLU Lucern

Two graduate projects from Lucerne University Design and Art are exhibited at Heimtextil. “In the Company of Things“ by Martina Gilgen reflects on ordinary objects we mostly take for granted: We value them most when we mislay them. „La Martyre“ by Andrea Boog are variations on a poem from Baudelaire‘s classic „Les fleurs du mal“ highlighting the sensual and voluptous splendors of decay.
At Lucerne University, both the realisation of textile designs and their presentation reflects the ecological and economic context. Artistic abilities and analysing the needs of potential customers are of equal importance to create harmonious concords between aesthetic values and target markets.  

„La Martyre“
Sultry as a hothouse, sumptuously decaying, a bouquet sighs its last into its
Crystal coffin -. Guilty  joys, passion’s mysterious rites, secret splendours glimpsed through heavy folds of voluptuous draperies ensnare the gaze and overwhelm the senses. Did he kiss you once farewell? Rest in peace, your picture is immortal.


«Eine Märtyrerin»   (frei nach Baudelaire aus „Les fleurs du mal“)
Lau wie ein Treibhaus und unheilschwanger überall,
letzte Seufzer haucht ein Blumenstrauss in einem Sarge aus Kristall.
Sündhaftes Vergnügen, geheimnisvolle Leidenschaft wird enthüllt.
Erschaffen in verborgener Pracht, üppige Gewänder, unsere Blicke sind gefangen.
Die Sinne sind wund vor Überdruss! Hatte er ihr einen Abschiedskuss gegeben?
Ruhe in Frieden – Dein Bild wird ewig leben.

In the Company of Things
How such ordinary things can gratify us.
Though mostly we take them for granted,
when chance mislays them, and we must find them again,
how they glow delighted in our attention.
Casting their peripheral images on the textile screen brings their companionship to light.

Martina Gilgen                 gilgen.martina@gmail.com

Vom Wesen der Dinge
Alltägliche Gegenstände erleichtern und verschönern so manchen Moment unseres Lebens. Als Mittel zum Zweck gehen sie oft in der Selbstverständlichkeit unter. Doch einmal verlegt und wiedergefunden erfassen sie überraschend unsere Aufmerksamkeit. Auf der textilen Ebene wird das ursprüngliche Erscheinungsbild verfremdet, und die treuen, unscheinbaren Begleiter werden in ein anderes Licht gerückt.

Produkt- und Industriedesign
Prof. Tina Moor
Magalie Jost Naranjo
+41 41 228 69 71

Textildesign setzt ein Interesse für Farbe, Material, Musterung und Technologie voraus.

Entwerfen, Umsetzen und Inszenieren von Textilien geschehen in einem ökologischen und wirtschaftlichen Kontext.

Es ist ebenso wichtig, die Anforderungen der potenziellen Kunden zu kennen,
das gestalterische Können anzuwenden und mit der Zielgruppe in Einklang zu bringen.

Textile Design
Product- und Industrial Design
Prof. Tina Moor
Magalie Jost Naranjo
+41 41 228 69 71

Textile Design assumes student interests in colour, material, patterning and technology.

Both the realisation of designs in textiles, and their presentation, take place in an ecological and an economic context.

Artistic abilites and knowledge of the needs of potential customers are of equal importance in creating harmonious concords between aesthetic values and target markets. 

Opulence and Power of Ornaments Weißensee Berlin

This work by a graduate of Weißensee Kunsthochschule Berlin strikes a critical path. With the use of unexpected materials in the tradition of the Islamic ornament, it hopes to bring current and contrary influences together, be they technical or political.
The Islamic ornament has its genesis in image ban, which was enforced almost four centuries after the advent of Islam. Image ban was to deactivate the widespread worship of pagan Gods and their manifestations. So, in order to establish monotheism, any cult which was dedicated to other godhood must have been battled. Instead, the absoluteness of the one God was set, which could not be modified by any kind of earthly manifestations. The most important ritual to pay homage to the one God was the prayer and the place in which it was performed must have been free from any kind of „impurity“. In that sense the images of human beings and animals were considered as „impure“;therefore, were banned from the mosques and public spaces. Whilst the possibilities of figurative representations were blocked, an artistic expression, so much the more creative flowered out, that laid on the mathematical and geometrical knowledge, which was highly developed to that time. To this day ornament is the most predominant form of expression in the Islamic world and coins essentially its culture and self-conception. Especially in mosques, who’s indoor is often entirely coated with ornaments, there is a powerful connection between the cosmologic, absolute notion of god and a compelling optic experience. All elements are parts of an ordered and apparently endlessly expanding system. The obsessive play of repetition and variation makes also each Muslim a part of a major overwhelming arrangement. In that sense, sometimes, it can even create overlaying image planes, when the ordered mass of prayers or pilgrim appears to take the form of an ornament itself.
In this opulence and powerful effect of the Islamic ornament lies its ambivalence. On one hand it is not to be restricted by any symbolism and can create intensive aesthetic experiences by its endless variable and playful form  language. On the other hand it builds an aesthetic of control and power that connects it to a religious-social system, which implies the suggestive visually of ornament as a means of severe discipline.
With this historical background and the impulse of the current ideological overloaded politics of my homeland Iran, this work strikes a critical path. It explores the structures and coherences of the abstract form, but to deconstruct and reassemble it in a way that other aspects of it reveals.
The process of design included developing a geometric grid, which in spite of its chaotic and fragmented look follows a strict repeating structure. Other than that with the use of unexpected materials in the tradition of Islamic ornament, it hopes to bring current and contrary influences together (Technical, Political).

Taking refuge from consumption AKS Schneeberg

Taking refuge from consumption is the theme of the installation presented by 4th year textile design students from Angewandte Kunst Schneeberg, a faculty of the university West Saxony, Germany.
Westerners live in a world dominated by wares and surrounded by waste. We are dazzled by looks and benefits of the goods, and put away thoughts about the environmental and human impact. Our installation uses discarded packaging materials and textile trompe l‘oeil prints. We as designers contribute to the cycle of consumption and waste – is recycling part of a solution?                    

Konzept:  „Das Spiel zwischen Schein und Realität“
Wir leben in einer Welt die vom Überfluss beherrscht wird.
Umgeben von einer Gesellschaft die den Konsum liebt und der Ökonomie genauso wichtig ist, wie die Plastiktüte, die man nach dem Einkauf bei „Lidl“ entsorgt. Alle werden vom Konsumüberfluss beherrscht, doch man nimmt es nicht wahr. Der schöne Schein vermag so stark zu fesseln,   dass die Verantwortung und ökologische Realität in weite Ferne rückt. Nur wenige bewahren ihren kritischen Geist. Designern fällt diesbezüglich eine besondere Rolle zu.
Als Gegenpol zum Überfluss schafft sich jeder Mensch seine ganz eigene Welt, in der die eigene Realität herrscht, diese Welt ist gemütlich, fernab von allem, eine Mauer aus Konsum. Unser Modell eines Strandkorbes greift genau diese Thematik auf. Die Realität des Konsumüberflusses verstrickt und verhäkelt aus den Dingen die die Wahrnehmung als Abfall und immer wiederkehrendes „Nichts“ betrachtet.
Recycelte Hüllen von Konsumgütern schaffen einen Kokon, der auch Einblicke in die kleine heile Welt des Einzelnen zulässt.

Es wurden Verpackungsmaterialien jeglicher Art gesammelt. Den Plastikabfall verarbeiteten wir mit traditionellen Techniken wie Häkeln und Stricken. Die Form des Strandkorbes wird somit verändert, da das Konstrukt der Plastikflächen ein Eigenleben entwickelt. Die verschlungenen Geflechte bilden Raum für zufällige Gestaltungsmöglichkeiten, die Form bleibt somit wandelbar.
Das Innenleben des Strandkorbes ist mit einer gedruckten Szenerie ausgestattet. Diese stellt eine heimische Wohnzimmerlandschaft dar. Die Illusion der eigenen kleinen heilen Welt wird aufgegriffen und verschwimmt mit der Realität der Sitzfläche, die wiederum gepolstert und funktional ist. Die Rückenlehne besteht aus einer digital bedruckten Fläche (Color Textil), welche verschiedene häusliche Details wie Stickbild, Risse in der Wand und die Anmutung einer Sofalehne aufweist.
Schlussendlich soll gesagt werden dass das Konzept nicht wertet, es soll lediglich das verdeutlichen, was wir jeden Tag vor Augen geführt bekommen und was wir als Designer mit verantworten.

Mimar Sinan Fine Arts University Istanbul

The Textile and Fashion Design Department at Mimar Sinan Fine Arts University in Istanbul has weaving, printing and fashion design facilities. We train professionals cabable of producing contemporary authentic designs who can evaluate innovative ideas and are equipped with basic production knowledge.
The programmes were formed with the approach of leading students to improve individual skills and characteristics and to present original creative suggestions by exploiting color, material, structure, form and function.