CAMPUS @ HEIMTEXTIL 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!

http://www.heimtextil-blog.com/

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

mailto: cfc@francois-consult.de

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.  

www.hslu.ch/textildesign

        

„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.

Andrea Boog www.andreaboog.ch   AndreaBoog@gmx.ch

 

«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.

Textildesign

Bachelor

Produkt- und Industriedesign

Leitung

Prof. Tina Moor

Informationen

Magalie Jost Naranjo

+41 41 228 69 71

magalie.jostnaranjo@hslu.ch

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

Bachelor

Product- und Industrial Design

Head

Prof. Tina Moor

Information

Magalie Jost Naranjo

+41 41 228 69 71

magalie.jostnaranjo@hslu.ch

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. 

www.hslu.ch/textildesign

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).

http://www.kh-berlin.de/index.php5?locale=en

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.

www.fh-zwickau.de/aks

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.
http://www.msgsu.edu.tr/msu/pages/436.aspx

PLAIN PROVOKING! Metropolia University Helsinki

Plain Provoking by the textile design students of Helsinki Metropolia University of Applied Sciences

http://www.metropolia.fi/en/

The theme for Campus @ Heimtextil 2012-exhibition is Plain Provoking.

To follow the project, see our facebook page

www.facebook.com/plainprovoking

Plain provoking challenges us to feel emotions that are usually experienced through raging and flagrant images. Plain Provoking wants to be a bit mysterious without being quiet, delicate but not too tender. Are we provoked by similar things?

The theme inspired the second year students to design knitted surfaces and experiment with innovative freeform textile techniques. All the designs ask the questions the theme presents. What is provocation? When can something be considered as provocation? Is there such thing as harmony?

In addition to design courses the exhibition project contained also studies in graphic design, project management, trend research and exhibition production. All studies aimed towards the common goal, to produce a “plain provoking” show to be exhibited at Heimtextil-fair.

Helsinki Metropolia University of Applied Sciences is one of the most international universities of applied sciences in Finland. The international activities at Metropolia include international degree programmes, student and teacher mobility, work placement opportunities abroad and various projects.

In addition to design courses the exhibition project contained also studies in graphic design, project management, trend research and exhibition production. All studies aimed towards the common goal, to produce a “plain provoking” show to be exhibited at Heimtextil-fair.

Helsinki Metropolia University of Applied Sciences is one of the most international universities of applied sciences in Finland. The international activities at Metropolia include international degree programmes, student and teacher mobility, work placement opportunities abroad and various projects.

Unique approach in Prague Academy of Arts, Architecture and Design

TEXTILE ACTUAL!

www.vsup.cz

 The intention to hold an exhibition at the Frankfurt HEIMTEXTIL Fair 2012 highlights the particular specifics and uniqueness of the textile design studio. In cooperation with the CAMPUS @ HEIMTEXTIL project AAAD will present an overview of students´ work from The Textile Design Studio, showing examples of creative assignments in which students were given complete freedom, outcomes of cooperation with industrial companies and studies of modern technologies and materials, such as nanotechnology and nanofibers

The concept of the Textile Design Studio is based on a comprehensive education of textile designers and on developing their ability to combine more professions, including the insight into new areas which our students need for their work. Pragmatic exercises alternate with creative tasks, based on a completely free attitude. A detached point of view and the awareness of the context are basic preconditions for managing their own work. Through carrying out their projects, our students search for and find their place in society and in the world. An important part of the textile design training at AAAD is the ability of students to criticize and comment on their own or other people´s projects, to come up with their own creative ideas and cooperate as the team. The process of creation is maintained in such a way as to activate the students to start with their own selves, to learn something about their uniqueness and then through this optics perceive the present, look around and react to new impulses that they are later able to enhance in their work.

AAAD graduates should be able to produce works of high-quality fine art (drawings, graphics, tapestry, etc.), to deal with any possible extensive and challenging tasks and to be also able to present their work, defend it and become competitive on the market. The current goal of the textile studio is to open up to the students` cooperation with private companies that work with particular modern technologies. The aim of such cooperation is to overcome the school's theoretical boundaries towards the practice with all its aspects - technological particularities, trends, interconnection with the market, economic aspects, feasibility of the projects, etc.

These tendencies and specifics are also a challenge and commitment for The Textile Design Studio to seek new ways and possibilities of self-presentation. Active approach of students and heads of the studio is becoming a new perspective for the whole field and, subsequently, for its graduates who want to remain the part of the arts and crafts world.

Merging antagonistic forms New Bulgarian University

MERGING

New Bulgarian University

http://www.nbu.bg/entrance.php?lang=1

For the first time we decided to take advantage of the fact that in our department we have both fashion and interior design programs.  So students from both programs started discussing what to do. The clashes were terrific – I had never expected that two - different but not so antagonistic - professions would find nothing in common about the way how to use a beach chair. However, slowly they started finding some sort of mutual understanding. On one hand, the fashion people insisted on using all kinds of natural materials and techniques, on the other hand the interior people wanted rectangular forms, lines, some lighting bands… So, by and by, the two ideas started coming together. The result will be somewhat funny. On one side the beach chair will be bare and rectangular, on the other side it will be cozy, soft and warm. What’s more – it won’t be quite finished, so everybody passing by can knit on and make it longer. For this purpose it will finish by knitting needles and some yarn, so people can experience the joy of knitting.

It was difficult to find the appropriate name for this strange concoction, starting with “A winter cap for a summer beach chair”, etc., etc. However, after a hot brain storm operation we came up with the best possible name – MERGING.

Dora Momekova

Fashion design lecturer

NBU

Redefinition of textile heritage by MOME Budapest

Name: Moholy-Nagy University of Art and Design, Budapest (MOME)

E-mail address: textil@mome.hu

University phone: 00 36 1 392 1168

MOME address: H-1121, BUDAPEST, Zugligeti út 9-25, Hungary

www.mome.hu/en

 

From September 2007, MOME has Bachelor and Master formation, according to the Bologna system, meaning 3+2 years.

MOME has 3 institute (Design-, Architecture- and Media), with about 100 students per year.

The Design institute system promotes multidisciplinary among the domains of Product Design, Fashion and Textile Design, as well as Design and Art Departments. It fosters the pursuit of an interdisciplinary artistic activity, as well as the deepening of an open, integrated way of thinking. Besides, it provides the opportunity to form an active dialogue with the design institutions and professional organizations in the country, in Europe, and all over the world.

The Textile Department accepts 20-25 students per year. So thus, we can give for every student a personal program, and it aids the serious work. The Textile Department’s speciality is the diversity of ative workshops.

MOME is a member of the Cumulus, Cepus and Erasmus program, which means that accept every year foreign students. They are classed on their own level, where they follow the courses all the semester. Generally the scholarship means a total semester (3 or 4 months), but it is possible to have an extra time.

During the academic year we have various courses like felting, bone-lace making, photo and computer design, textile chemical courses...and it is possible to take part in these courses too.

School-year begins from the first week of September. The first term finishes on the middle of December. All January is the time of examinations. The second term starts in the first week of

February and finishes at the end of May. June is the month for the diploma-works.

We focus on training designers, who, based on their in-depth knowledge and creativity are fully capable of implementing design projects in their special field and considering economic and technological requirements as well. As individual designers and employees, they contribute both to the development of textile culture and to the preservation and redefinition of its heritage. Due to their education and creative skills they are able to design individual objects as well as series, working independently or as part of a team.

Textile Arts and Experiments from Lodz

POLAND

STRZEMIŃSKI ACADEMY OF FINE ART AND DESIGN IN ŁÓDŹ (established in 1945)

http://www.asp.lodz.pl/index.php?option=com_content&view=article&id=28&Itemid=129&lang=en 

We express gratitude to our sponsor -  Stiftung für deutsch-polnische Zusammenarbeit / Foundation for Polish-German Cooperation - who supports the participation of Department of Textile Art- Academy of Fine Art and Design in Lodz, in CAMPUS@HEIMTEXTIL 2012.

The Strzeminski ACADEMY OF FINE ARTS in Lodz – POLAND
Department of TextileFour students from the Strzeminski Academy of Fine Arts and Design in Lodz (Poland) present a textile experiment at the CAMPUS@Heimtextil exhibiton 2012. The wicker chair structure (which was given by the Organisers of CAMPUS) is transformed into an art object or a kind of sculpture.
It is manufactured of hundreds of colourful, feather shuttlecocks (each element is unique and was hand-made by students) attached to the nylon net.

The Shuttlecock is the symbol of speed.  It is light and fragile but shockproof and should never fall down, going straight to the target, achieving the aim, reaching the right destination ...just like our students' ideas are !

So, our motto is: ALWAYS ON TARGET !

Team:
Students: Walentyna Balcerzak, Magda Lamch, Paulina Sadrak, Martyna Golik
Tutors: Prof. Lidia Choczaj, Dominika Krogulska – Czekalska M.A.

Strzemiński Academy of Fine Arts and Design consists of four faculties, and offers two levels of study : Bachelor and Master of Art

Faculty of Textile Art and Fashion Design

Faculty of Graphic Art and Painting

Faculty of Industrial Design and Interior Architecture

Faculty of Visual Education

FACULTY OF TEXTILE ART AND FASHION DESIGN
Department of Textile Art

The Department of Textile Art Strzemiński Academy of Fine Arts in Lodz is the only unit in Poland

that provides education to students so that they can become highly trained designers, easily dealing

within the field of textile design, widely understood. Specific character of teaching in this faculty rests

on systematic development of both students’ artistic sensitivity and their painting skills. It can be

obtained by combining their experiences from the composition studio and painting design with the

expert knowledge that they gain in four different studios. This kind of method ensures obtaining the

highest qualifications for the future textile designers and, at the same time, allows for far reaching

artistic experiments, which can be regarded as modern art.

Currently, the four studios that are a part of the Department of Textile Art are run by teachers who

have vast both practical and theoretical knowledge of industrial textiles design as well as artistic

achievements which ensure them the place amongst the world’s best “textile artists”.

• The Studio of Decorative Textiles – professor Elżbieta Kędzia, Aneta Anderwald M.A.

• The Studio of Textile Art – professor Lidia Choczaj  Dominika Czekalska M.A.

• The Studio of Innovative Objects for Interior Carpet and Tapestry – professor Jolanta Rudzka-Habisiak, Izabela Walczak M.A.
• The Studio of Paper – professor Ewa Latkowska – Żychska,  Magdalena Soboń Ph.D

Our students’ projects come into being by means of different methods – they can be either hand made, for instance with the use of traditional painting techniques or they can be made with the use of specialist computer applications and software. This enables their implementation both in the school’s weaving plants and on the premises of companies we cooperate with, using the newest technologies. Moreover, textile companies are our allies as far as finding new ways of designers’ training is concerned. They allow students to complete both their coursework and, later on, a diploma; they organize trainings, sponsor certain contests and initiate artistic and integrating activities for young designers. One of such activities is ‘rooms for free’ program, within the framework of which we cooperate with16 schools from Europe, which specialize in textile design.