‘All we ever wanted was everything.’ Bauhaus curriculum, the organization of movement.

GROUP 1A & 1B Interior Architecture and Furniture Design KABK 2019 Lecture: Photography / Graphic Design Term: Year 1, semester 2, part 4

‘All we ever wanted was everything.’ Bauhaus curriculum, the organization of movement.

Robin Hermes (1B), 064

KABK BAU HAUS

‘All we ever wanted was everything.’ Bauhaus curriculum, the organization of movement.

GROUP 1A & 1B Interior Architecture and Furniture Design KABK 2019 Lecture: Photography / Graphic Design Term: Year 1, semester 2, part 4

Contents Assignments Introduction

005 011 012 037

Students Photography Graphic Design

039 041 076 078 117

Colophon

118

Assignments

Assignment — Photography

005

Interior Architecture and Furniture Design KABK Domain: Media & Materials Courses: Photography and Graphic Design Period: Year 1 semester 2, part 4 (April-June 2019) Lecture Photography: Sanne Peper

All we ever wanted was everything All we ever wanted was everything All we ever got was cold Get up, eat jelly, sandwich bars and barbed wire And squash every week into a day – song by the British band Bauhaus, 1982 As you probably know by now the Bauhaus School was one of the most influential art and design schools in the 20th century. It existed in three cities: Weimar (1919–1925), Dessau (1925–1932) and Berlin (1932–1933) where it eventually closed due to political pressure from the Nazis. Its overarching vision was to put art in contact with everyday life. The Bauhaus presented a new academic approach by replacing the traditional teacher-student model with the idea of a community or union of artists working together for a unified purpose.

The Bauhaus School had an impact on art, architecture, graphic design, interior design, industrial design, and typography, but it also influenced photography. Photography, although a relatively new medium, reflected the teachings of the Bauhaus as a new technology in the new world — the Bauhaus thus impacted photography aesthetics and techniques.

The photography department of the school was a place where celebrated artists including László Moholy-Nagy and Walter Peterhans encouraged students and artists to use their cameras for imagining new worlds. It took a while before it was established as an artistic field of experimentation, ranging from the photogram to the photo collage. Photography became an official artistic mode in 1929 when it was integrated into the advertising workshop. Before this, photography had only played a minor role. Bauhaus founder Walter Gropius used it mainly for purposes of documentation and publicity for the objects and architecture developed at the Bauhaus.

László Moholy-Nagy introduced the ‘New Seeing’ to the Bauhaus in Dessau. His photographs of the Dessau Bauhaus building, for example, are in no sense mechanical reproductions of reality. Instead, they approach it actively using unconventional and even daring perspectives — and thus define a new relationship between people and architecture. The progressive sense of life this expressed was quickly taken up by other Bauhaus photographers. Their photos reflect the life, utopianism and spirit of fresh departures of a new era.

Assignment Photography Bauhaus was radical for many reasons, one of them was that the school accepted female applicants.

Yet, unfortunately, many of the female artists and designers who studied or were associated with the Bauhaus fail to enter the canon of European modernism, unlike their male counterparts. Often it is Gropius, or others male figures such as Wassily Kandinsky, Paul Klee, László Moholy-Nagy and Ludwig Mies van der Rohe that are celebrated as the main contributors of Bauhaus design.

More women than men applied to the school in 1919, and Gropius insisted that there would be “no difference between the beautiful and the strong sex” — those very words betraying his real views.

But those of the “strong sex” were, in fact, marked out for painting, carving and, from 1927, the school’s new architecture department. The “beautiful sex” had to be content, mostly, with weaving. Why? According to Walter Gropius, women were not physically and genetically qualified for certain arts because they thought in two dimensions, compared to their male partners, who could think in three.

Assignment — Photography Photography student T. Lux Feiniger, the son of artist and photographer Lyonel Feininger and brother of photographer Andreas Feininger, made a photo of the female weaving students at the Bauhaus academy. That picture has become iconic, also because painter, designer, sculptor and choreographer Oskar Schlemmer made it into a painting. Carefully grouped on and around the now famous Bauhaus stairs, T. Lux shot a dynamic image that portrayed young people on the verge of starting a new career, a new life. Saddening, many would not survive WWII.

Practical Since you are the designers of the future I want you to make a group portrait of your fellow students, after the fashion of the iconic Bauhaus photo on the stairways of the school. This particular photograph stood out also because of the choice of subjects: all female students that attended weaving class. Pick out the group you want to portray: all friends, all enemies, all male, all female, all LGBTQ+, all very tall, all with curly hair, all religious, all with a preference for high heels; whatever you think is important to keep for eternity.

Make sure you realize that every choice is of the greatest influence: your point of view; choice of medium and of focus; light and shadow; time of day or night; and so on. But also, this is an exercise in directing people: you will be the organizer, you’ll have to choose their position, the pose, how they hold their heads, what they wear, what expression they have. Also, you will have to decide how to use the technical means of photography: maybe use focus/out of focus; movement/stationary; etc. Use either the stairs of The Helena or the KABK, but organize and direct a black and white photograph of human presence in an architectural space, that — hopefully — will be a focal point for generations to come.

BRING WITH YOU THE FIRST LESSON FRIDAY APRIL 5 Bring two print-outs of group images. One of your own circle of friends or family from the country you hail from; and one that you think looks interesting, for whatever reason.

IMPORTANT Sketch and take notes as much as possible, we will discuss your sketches every lesson.

We will put together a book with the graphic and photographic work of both classes combined (1A+1B), printed digitally by Lulu.com and published by Issuu.com. For this book you need to deliver the final high-resolution files on the final review lesson on June 7.

See examples: http://issuu.com/michaelsnitker

Planning Friday April 5

Friday April 12 Friday April 19 Friday April 26

Friday May 3 Friday May 10

Friday May 17 Friday May 24 Friday May 31 Friday June 7

First lesson, we will introduce the assignment and don’t forget: As described above: ‘Bring with you the first lesson April 5’ (Project week) (Good Friday) First photographic sketches of possible locations, studies from different angles, and first plans of who and why.

(May break) First attempts of groups in your location, doesn’t necessarily have to be the final selection of students.

You will enhance your material.

You will enhance your material.

Last important detailing, we will discuss last fine-tuning.

Final lesson, individual review. Collecting definitive HR files.

Wed. June 12 Collective review Thursday June 13 Collective review

Oskar Schlemmer. Bauhaus Stairway. 1932

T. Lux Feininger, Female Bauhaus students on staircase, c. 1927

Assignment — Photography 006 007

Assignments

Assignment — Graphic Design

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Interior Architecture and Furniture Design KABK Domain: Media & Materials Courses: Photography and Graphic Design Period: Year 1 semester 2, part 4 (April-June 2019) Lecture Graphic Design: Michaël Snitker

Bauhaus curriculum, the organization of movement.

This year — as you all know — it’s been a hundred years ago since the Bauhaus, an innovative art and design school in Germany, was founded by Walter Gropius. The Bauhaus, literally meaning “house of building”, was one of the most influential design institutes of the 20th century. When founded in Weimar, Germany in 1919, the mission of the institute was simple; level the distinction between fine and applied arts and reunite creativity and manufacturing. Gropius had the dream that The Bauhaus would umbrella all of artistic media: fine arts, industrial design, graphic design, photography, typography, interior design and finally architecture.

Most impactful was the school’s unique and influential curriculum. Gropius himself created and designed the famous ‘wheel diagram’ (p.6) outlining the progression of education one could expect to receive whilst studying at the Bauhaus.

The outer ring, the vorkurs, are the foundation courses created to help students begin to grapple with the concepts of contrasting properties of forms, colors and materials. In the first six months at the Bauhaus, all students were required to attend classes intended to get them to shake off traditional views of art and design. After graduating from the vorkurs, students would participate in the two inner rings, both of which were individual three-year-long courses. The second ring, the formlehre, focused on the expression of form in all settings while the third and final ring, the werklehre, focused on material construction and the crafting skills needed in order to use specific materials. Only after completing the three rings would a student enter the realm of the inner circle.

The inner circle focused on minimalist concepts and individual building. These courses specialized in building constructions that led students to seek practicality and necessity through simple reproduction, all with an emphasis on craft and workmanship that was lost in the rise of industrial manufacturing. This process was done in a setting that cultivated individual creative potential in a communal sense, without aggressive or malicious competition.

The curriculum changed several times in the relatively short history of Bauhaus, mostly when the school moved to a new building or got a new director. When Hannes Meyer became the director of Bauhaus in Dessau in 1928, the bull’s-eye curriculum diagram changed radically to a newly designed grid-diagram.

Artists and teachers at the Bauhaus — like Paul Klee, Herbert Bayer and Oskar Schlemmer — often used diagrams to explain their vision on art and the relationship between artist, object and the outside world. One of the most appealing diagrams is made in 1926 by Oskar Schlemmer for the Bauhaus Gesture Dance, in which he reduced form and motion to the smallest number of abstract shapes and movements (p.6).

Nowadays there are also artists and designers who use diagrams in their works to illustrate contemporary social space — like Peter Halley, Matt Mullican and Thomas Hirschhorn (google them up). At Onomatopee in Eindhoven there is till May a contemporary exhibition about diagrams: https://www.onomatopee.net/exhibition/diagrams-of-power

Assignment Graphic Design: make your own curriculum Research the most important themes for your development as a designer. What would the curriculum look like if you were to choose the subjects and structure? Investigate this as extensively as possible: where do you come from, what is your background; which social, cultural and political issues do you

Assignment — Graphic Design think are important; which trends and fashion or styles do you embrace; what materials and techniques are you attracted to; what did you expect to be taught and do you miss dearly this year? Try to envision everything in text and image so you can design your personal curriculum for the coming 4 years at this academy. This diagram could have either a technical and organizational appearance — like the Gropius diagram, or a more poetical one, like the Gesture Dance diagram by Oskar Schlemmer.

A diagram, by the way, is never complete, nor perfect: it may seem organized but will always be a work in progress with mistakes and assumptions because it is impossible to fit certain movements or thought-structures into a mold. Make use of this fact as much as possible! Use your imagination, your drawing can be wild and inaccurate, as long as it looks graphic and complex. Use all technical skills possible to make it beautiful and intriguing.

Practical First: make an inventory in text and image of all subjects and elements that might fit in your diagram.

Second: analyze this inventory and choose the form and structure that fits your vision. Determine whether you’re going to make it predominantly text-based, or more abstract and graphic and whether you want it to have a pragmatic feel, or a poetic one.

You will start in black and white, and add color later only if deemed functional. Start sketching by hand and only later elaborate on the computer. Eventually you will have to print an A0 or A1 poster, so make sure from the beginning (resolution!) that even in a larger size your “drawing” looks interesting and relevant because of its intricacy and detailing.

Come up with a schoolname (like the Bauhaus or the Helena) which suits your curriculum diagram and determine where to place this on your poster.

BRING WITH YOU THE FIRST LESSON FRIDAY APRIL 5 Bring a print-out of the façade of the building of your previous school.

IMPORTANT Sketch and take notes as much as possible, we will discuss your sketches every lesson.

We will put together a book with the graphic and photographic work of both classes combined (1A+1B), printed digitally by Lulu.com and published by Issuu.com. For this book you need to deliver the final high-resolution files on the final review lesson on June 7.

See examples: http://issuu.com/michaelsnitker

Planning Friday April 5

Friday April 12 Friday April 19 Friday April 26 Friday May 3 Friday May 10 Friday May 17 Friday May 24 Friday May 31 Friday June 7

First lesson, we will introduce the assignment and don’t forget: As described above: ‘Bring with you the first lesson April 5’ (Project week) (Good Friday) Inventory in text and image of all subjects and elements for your diagram.

(May break) First sketches of the graphic design of you diagram.

You will enhance your material.

You will enhance your material.

Last important detailing, we will discuss last fine-tuning.

Final lesson, individual review. Collecting definitive HR files.

Wed. June 12 Collective review Thursday June 13 Collective review

Assignment — Graphic Design

010 011

Walter Gropius, diagram of the curriculum of the Bauhaus, with the Vorkurs in the outer ring, 1922

Oskar Schlemmer, Gesture Dance diagram, 1927

Oskar Schlemmer, Figur und Raumlineatur, 1924

Herbert Bayer, Diagram of the Field of Vision, 1930

Hannes Meyer’s chart from 1930 illustrated the reorganisation of the teaching on the basis of scientific aspects. The entire plan is laid out between the two poles of art and science. The chart, with its ‘work circles’ or ‘cells’, lacks the symbolic Utopian goals of the Bau (building) of Gropius’s days. The Werk (work) actually created (far right) has taken its place as a matter of course.

Introduction

Introduction [Friday April 5] Photography: Laszlo Moholy-Nagy

013

Introduction [Friday April 5] Photography: Laszlo Moholy-Nagy / Walter Peterhans

Introduction [Friday April 5] Photography: Walter Peterhans / Lucia Moholy / T. Lux Feininger

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Introduction [Friday April 5] Photography: T. Lux Feininger

Introduction [Friday April 5] Photography: T. Lux Feininger / Oskar Schlemmer

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Introduction [Friday April 5] Photography: Oskar Schlemmer / Stairways and Balconies

Introduction [Friday April 5] Photography: Stairways and Balconies

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Introduction [Friday April 5] Photography: Groups

Introduction [Friday April 5] Photography: Groups

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Introduction [Friday April 5] Photography: Groups / Re-enactment / Ari Versluis & Ellie Uyttenbroek

Introduction [Friday April 5] Photography: Ari Versluis & Ellie Uyttenbroek Hans Eijkelboom

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Introduction [Friday April 5] Photography: Hans Eijkelboom / Scheltens/Abbenes

Introduction [Friday April 5] Photography: Scheltens/Abbenes / Motion/Focus

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Introduction [Friday April 5] Photography: Motion/Focus

Introduction [Friday April 5] Graphic Design: Curriculum versus Building

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Introduction [Friday April 5] Graphic Design: Curriculum versus Building / Bauhaus Signet

Introduction [Friday April 5] Graphic Design: Bauhaus Signet / Bauhaus Curriculum

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Introduction [Friday April 5] Graphic Design: Bauhaus Curriculum

Introduction [Friday April 5] Graphic Design: Bauhaus Curriculum

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Introduction [Friday April 5] Graphic Design: Bauhaus Curriculum

Introduction [Friday April 5] Graphic Design: Bauhaus Curriculum / Organograms

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Introduction [Friday April 5] Graphic Design: Organograms

Introduction [Friday April 5] Graphic Design: Organograms

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Introduction [Friday April 5] Graphic Design: Organograms

Introduction [Friday April 5] Graphic Design: Organograms

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Students

1A Cynthia Bruinsma (NL) Esther Chung (KR-BE) Hilde Fledderman (NL) Smaranda Franciuc (RO) Victor de Groot (NL) Joshua Holetz (BR) Deandra Jauw (ID) Youbin Kang (KR) Chaeeun Lee (KR) Johan Recén Larsson (SE) Louise Spisser (FR-DE) Anna Thusseau (FR) Tino Yu (CN) 1B Heejeen Choo (KR) Daria Brandenburg (RO) Sarang Han (KR) Robin Hermes (NL) Ju Young Hwang (KR) Chen Jia (CN) Hye Mi Lee (KR) Luca Loli (IT) Jakob Oorschot (NL-DK) Jaiho (Jay) Park (KR) Marie Siebdrat (DE) Chloë Snoeks (NL-CN) Dóra Szilvási-Léhy (HU) Yunjia Zhou (CN)

039 Photography Graphic Design 041 044 045 046 047 048 049 050 052 054 055 056 058

078 082 083 084 085 086 087 090 091 092 093 096 097

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Photography

Cynthia Bruinsma (NL)

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Cynthia Bruinsma (NL)

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Esther Chung (KR-BE)

Hilde Fledderman (NL)

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Smaranda Franciuc (RO)

Victor de Groot (NL)

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Joshua Holetz (BR)

Deandra Jauw (ID)

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Youbin Kang (KR)

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Chaeeun Lee (KR)

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Johan RecĂŠn Larsson (SE)

Louise Spisser (FR-DE)

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Anna Thusseau (FR)

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Tino Yu (CN)

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Heejeen Choo (KR)

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Daria Brandenburg (RO)

Sarang Han (KR)

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Robin Hermes (NL)

Ju Young Hwang (KR)

Chen Jia (CN)

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Hye Mi Lee (KR)

Luca Loli (IT)

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Jakob Oorschot (NL-DK)

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Jai Ho Park (KR)

Marie Siebdrat (DE)

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Chloë Snoeks (NL-CN)

Yunjia Zhou (CN)

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Dóra Szilvási-Léhy (HU)

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The Umbrella University

Costume

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Poster

Computerdrawing

Reader

Long assignments

Projectweek

Chain to chair

Reality design

Traveling

Alumni event

Feedback References

Collective s

Handdrawing

Tiny shop

Time

Tiny Design Field research

Theory

Playground Photography

Article

Mindmap Manifesto

History

Lectures

Evening studio

Internship Time

Intermediate Products

Accessory

Sports

Chair to vase

Stopmotion

Costume Texture

Sketchup & photoshop

Morphology

Time

Midterms

Research

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Lexicon

Stopmotion

Storyboard Music

Material Design

Sketchup

Research

Researchboard Researchboard

Computerdrawing

Collage

Poster

Urban Interoir

Lecture

Time

Essay

Feedback

Postcard

Interioir Architecture

Furniture Design

Mindmap

Playground

Openday

ABPPW

Intermediate Products

Midterms

Urban Interoir

Handdrawing

History

Theory

Evening studio

Photograph y

Discourse

082 083

Material Design storyboard

Furniture Design

Smaranda Franciuc (RO)

A B FINE ARTS C FASHION D INTERIOR E FURNITURE

ENVIRONMENT

CREATING A TRANQUIL ENVIRONMENT THROUGH WORKING SPACE, LIGHT, AIR CIRCULATION

NORMAN JAFFE

MATTHIEU VENOT

MARK ROTHKO

POP CULTURE

KAWS

YAYOI KUSAMA

ROBERT CAPA

GLEN E. FRIEDMAN

LASLO MOHOLY-NAGY

JEFF KOONS

ALEXANDER MCQUEEN

JEAN NOUVEL

PEPE LEAL

PAAVO TYNELL

IKEA

PIERRE JEANNERET

MARCEL BEURER

B&B ITALIA

MICHEL DUCAROY

ARNE JACOBSEN

CHARLES RAY EAMES

TT LO

R HA

C

LO

KI

JOSEPH KLIBANSKY

KID CUDI

VIRGIL ABLOH

CHARLES-EDOUARD JEANNERETE

KANYE WEST

BAARS & BLOEMHOF PETER ZUMTHOR

HENRIQUE CARTIER BRESSON

VIVIENNE WESTWOOD

GERRIT RIETVELD

FEAR OF GOD

TAKING CARE OF THE PHYSICAL AND MENTAL STATE OF THE INDIVIDUALS

BODY & MIND

MARIO TESTINO

TRANSFER POINTS

PHOTOGRAPHY

FLEXIBILITY

EACH STUDENT IS UNIQUE, THAT REQUIRES FLEXIBILITY. EACH INDIVIDUAL CAN ADAPT TO THE CURRICULUM ON ITS OWN PREFERED WAY

D

AN

RI

E EP

AMBUSH

MARLENE DIETRICH

ACNE

DANIEL ARSHAM

V I A M O D U L A R I

COMMUNICATION TO SPACE & AIR

OUT-OF-DOORS

FREQUANT EVALUATION CONVERSATION WITH MENTOR(S) TO SECURE THE DESIRED PROCES

EVALUATIONS

Victor de Groot (NL) 084 085

JACQUEMUS

DAVID LA CHAPELLE

ERWIN OLAF

PIETER LINDBEGH AL M

RE

NC CO

A BI N

CU R O TC A

DI N AN

L TY SS

T ER RO

HE CR

CO CO TE

R TO EA M I IN SM

P EE UT

AN DR LY LIL AN M

IC

RE H

AD F OL S

O LO

CH AN EL

System

Photography

Painting

Photo

Fluffing

Form

think you got what it takes to become an architect?

if successful then you may join me and gain the right to act as architect!

during the last year you will focus all your strenghts in the Architecture mastery

The choice of path to take is yours, there are no limitations

1st year - 14 turns 2nd year - 14 turns 3rd year - 11 turns 4th year - 1 turn

Your path will be divided into 4 years, and each year you have a set number of turns:

TO unlock certain locations you need to complete previous steps.

By traveling to each landmark you gain information that allows you to progress!

these are the rules: Start your journey in one of the 4 pillars of knowledge.

this is a theory based roleplaying game

then listen to The rules!

Want to be like me?

Physics

Materia

Elementals

Opticals

Kinect

Bard School

Strenght

Strategy

Area of Effect

Fire

Morphology

Furniture

Comfort

Graphics

Light Mastery Pigmentation Shadow Walk

Kino

Lightning

Water

Smithing

Alchemy

Lumberjacking

Earth

Structure

Papyrus Textiles

Architecture

Setting Mapping

Land

Urbanism

Theater Charisma

Narrative

Iniciative

Meta Gaming

Locus

Universitas

Munus Fessus

Joshua Holetz (BR)

Deandra Jauw (ID)

086 087

CLIENT

OPEN

INTERN

SELF-DISCIPLINE

GONG

COLLAB SPACE INSTALLATION

GLASS

COLLAB

SPONSORED COLLABORATION

COLLAB TEXTILE

CLAY

METAL PLASTIC

WOOD

The Middle is Still EBONFIRE

FIREWORKS SOIL SOIL

CLIENT

GONG

INTERN

F-DISCIPLINE

OPEN

Youbin Kang (KR)

Sophie (Chaeeun) Lee (KR)

090 091

民生 History Trend Feedback ion Motivat tion Exhibi

ation

History Trend Feedback

h ial rc er se Re

Re

rim e Co Hi nt p l ste orti or S stor tic on ens y s e Pro

De

sig n

Ide

as

SELF - ESTEEM

Rest

De

sig n

Reading

Leisure

Motivation

Ide

Achievement Management Ambitions Encourage Goals Confidence

Rest

Reading Socialize Leisure Advice Listen to others Respect

Motivation

Time for myself

as

Vacation

Time for myself

Reward Family time

Vacation

Scale Proposition Blance Flow Plan

De up In tch p e o Sk osh n t o tio Ph stra AD Illu toC ax Au D M 3

Com

ience Rese arch

m un

icatio n Read ing

Presentation

Main Point Attitude Confidence Language Skill

Know ledg Histo

Writing

ry

Critiq ue

Grammer Reading Practice Essay

Com

Expe r

ience

Rese arch

m un

icatio n Read i ng

e

N

Expe r

ATION

ry Critiq ue

CATIO

Function

e

UNIC

m

a gr o Pr

Scale Proposition Blance Flow Plan

g in n m sig

Histo

Technique

Color Sketch Croquis

Function

Know ledg

De up In tch p e o k S os h n ot tio Ph stra AD Illu toC ax Au D M 3

COMM

m

ra og r P

g in m sign

Technique Drawing

Color Sketch Croquis

Drawing

Reward Family time

MMU NI

Ae

r Inspi

at

M

e nt ienc r me on Expe vir re En xt u Te h ial rc er at se

Ex pe r

im e Ae Prop Colo His nt ste orti r S tor tic E on ens y sxpe e

e n nMc otivatio nt rie hibition me on xpe Ex n E vir iratio re Insp En xt u Te

M

民生

P

M At Co Lan

Writing

Grammer Reading

Johan RecĂŠn Larsson (SE)

To discover history of what has already been done, to place oneself in the historical context and realize what sort of philosophical underlying axioms are behind the current dominant philosophy of architecture.

To question that by learning diffirent schools of thought, and view them as just as plausable of being true as the current paradigm we live in now.

Overview of the totallity of material experiments used in architecture and interior design. A compendium of material knowledge, that is used as a basis for creating your own experiments.

r

t As

om

on

Sac

red

Physics of materials

Material knowledge introduction

Philosophy of beauty

l

a ic

Database of material experiments

Ar- Interichitec- ordeture sign

Diffirent schools of thought

Introduction to vocabulary, education, and professional field

The psychology of the person experiencing the building, what serves the persons well being, for example, how plants can be brought into an office to remind us of the nature from which we come, in an increasingly sterile world. How facts about psychology can be used to build an environment thats more compassionate to the human condition.

Psychology of architec-

Psychology of wellbeing

Combination of the two

Building self-image

Experiments

Buisness of design

Time Curriculum To learn the in the broadest way possible, the terms that will enable you to speak the language so one can start to get an insight into the profession, to see if it is something that is fitting or not. The basic knowledge of what it is your getting yourself into, at the very beguinning of the curriculum.

With all this aquired knowledge one can experiment freely, to build there self image and start a their profession as a designer.

The final adission of information would be about buisness, to enable the practical things that comes with a buisness model.

Louise Spisser (FR-DE)

092 093

Unboxing abilities : focus and explore one subject a month (photography, performance, writing class...)

Event : Blue or Golden dress ? analysis, critical thinking and argumentation

battere

Res(E)t : weekend break to refresh our minds

a starting point in a white space, uniting our bodies and minds

solo

piu

start of the personal project

poco a poco animato

the diffe intert

building parallels : expending our minds to other art forms

Tempo II Crescendo

Tempo I Adagio

molto vivace

QUARTERS

den dress ? and argumentation

A CURRICULUM FOR INNOCENT VOICES

Res(E)t : our bodies m our minds are bubbled

piu confusione the different subjects grow and intertwine with each other

Tempo III Forte

Smoothing the edges : polishing and connecting the projects

molto vivace sync. gathering and extending, archiving and sharing Res(E)t : our bodies may be resting, our minds are bubbled up with ideas

con anima the unfinished Grand Finale : some things fall into places, others are ready to become the starting point of a new journey

Tempo IV Ensemble

Calmato

Anna Thusseau (FR)

Tino Yu (CN)

096 097

Heejeen Choo (KR)

Daria Brandenburg (RO)

100 101

PROFUSION

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HAPPINESS

lea it a ry tio n re rn ob t st ni e ve r y fro g day. Do not ge be st h t m t o m or .D ev b or on ge on ery ou ei ot k ta s. D thin d g nm n l e i e p in m bo h fee ind th e b a d t ut yo ee h the ou wn y th f uc i unp abi em tly m c l e lity e r o i a .C sant c d o . onversation fast. Ask ut yt er of the od gy h b e ot rela .D m b tion so on ship t to rust ot off if it’ ric not t stic t o D s . e s m h a rmful to k to uch the oo m past t e relati tb ons.

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ID TS OU xp de e an yp XE o re st S ee m RC ou n ari G I o SIN e v no .D PI N ea G e th E t g E a t i L S n ov to ta e thi e re at m me es a wh en t k in s e . r E n so at o u t wh . Ta a ok mo lear o l e C s ea . s g d o n t l n d i e t r s. . t fi . a h r e K t e nd s e u .S the p e s on p re y o l p e m a ents well. Focu le Le et rom yd r a a th e r are f s n v t i e n on s o g e t n t u e . eye n n e i n is. Ta ti an c t 30 m ing k m s e a a a e l w t a a l k n ep ff e e v e i g.Ke n in a ee n e h t . h 6 o u ed e in h r w m o i h ur en y nb me t o s u w ei o r k . Sleep at the sa b e on f o r e t ph y o u sle mar ep. Do eas not us

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HAPPINESS HEALTHY LIFE

FINDING HAPPINESS FINDING

Hye Mi Lee (KR)

Luca Loli (IT)

108 109

GUIDELINE

WAY S O F A F F I N I T I E S

1 ME My name is Luca, I am French, German and Italian, 23 years old.

15

AS

GD

morphology

FA

IAFD

1st year departements Guideline

2 KABK Moved to the Netherlands to study at KABK, summer 2018

history 14

labs 18

typeface design

TF

P

IMD

16

visual communication

design identity

documentary & fiction

8

methodology 12 6

development research 5

practice & skills 1

4 START

7 DOCUMENTARY AND FICTION Analysing the movie, to define and describe what is the attention of the filmmaker, what is the message?

8 DESIGN IDENTITY When design meets buisiness, make a nice coktail, learn how to sell yourself.

17

10 KNOWLEDGE Knowledge is like jam, the less we have, the more we spread it out.

12 DEVELOPMENT Evolving preferred future, doesn’t matter who your were, what only matter is who you are and what do you want to do.

13 METHODOLOGY How you do things, work method, can be good.

14 HISTORY Good to learn from the past, to not make twice the same mistake again.

art

2

3

Grafic Design GD Texile and Fashion TF Interactive Media Design IMD Photography P Fine Art FA Art Science AS Interior and Furniture design IAFD

15 MORPHOLOGY Apparently the study of shapes, time and space, but also 1 + 1 bigger than 2.

GD TF IMD P FA AS IAFD

me

11

5 | 11 PRATICE AND SKILLS Pratice at the wood and metal workshop is my absent-mindely stress out activity, and at the sam time fullfield my handcraft skills

9 VISUAL COMMUNICATION How do you present yourself, what message do you want to tell.

13

sociology

4 ART Art is my passion, between sculpture, painting, architecture, films, litterature, photography, design, all combine together could just make the artwork stronger.

6 SOCIOLOGY This is my pass time to struggle with question about society, humanity, and art that i never thought before.

9

7

10

knowledge

3 IAFD I applied in Interior Arcitecture and Furniture Design

association

higher mental

speech

focus

movement

balance

sound

space

language

identity

senses

Jakob Oorschot (NL-DK)

Jai Ho Park (KR)

110 111

Marie Siebdrat (DE)

Chloë Snoeks (NL-CN)

114 115

bloodlines

producing a thesis (visual and text based booklet)

chloe snoeks

composition 1 (2d visual and audio)

fourth year

complex forms

visual tactility

written

excursion influence (local workshops and designers)

composition 1 (writing styles)

poetry analysis

red dunes burj khalifa dubai frame the opus the creek al fahidi opera house

graduation project

studio collaboration

composition 2 (graphic and text combination)

personal book choice and style analysis

new york

social and spatial critique on the current world

composition 2 (3d visual)

visual

final project

frick collection public library natural history broadway show tenement museum central park

ns

ex

critique and reviews

environmentally integrated (landscape architecture)

tv shows films comics concerts

pop culture

events

yoyogi park edo museum nezu museum sanaa architects mount fuji studio shinjuku gyoen garden

piece analysis composing learn an instrument

music

biennale architettura parco sempione fondazione prada cathedral archaeology museum

tokyo

ty

ocie

nd s

sa ture

cul

ons

ursi

exc

milan

third year other courses

set design enviroment acoustics

C++ Java HTML python arduino

gy

nolo

tech tial

pa ic s

second year

mad men

guo pei

new york nico

baking

alex guimet

idN magazine

1984

ghyczy

talking heads ghost in the shell cooking workshops xenoblade chronicles jojo’s bizarre adventure zaha hadid architects

louis kahn

bioshock tool

films and docs

field research

(non) fiction books

hands on making

games food

forests

xQc

fencing

romanticism

en ns co

ex t nt co

y

l na sam rulz

architonic studio kxx dani schafer

a perfect circle metallica

radiohead

thierry le goues francis alys ellsworth kelly lamb of god david imlay francesca woodman

silent hill miguel rothschild bloc party tintin castle in the sky michael snow uttaporn nimmalaikaew spirited away kuala lumpur laura hendricks cha sieu fan

red dead redemption

penda studio

angela deane bart hess

mark lazenby

josef stammel

libraries

suicidal tendencies

taipei

linda van slobbe

shira

heart

pokemon

deerhunter fleet foxes

destiny i prevail

iron maiden

drift wood cambodia vietnam cold war bunny rabbits nuclear weapon and technology

mangoes

egg waffle

japan

metal gear solid shanghai moby los angeles architecture burgers and fries alex russell flint ozzy osbourne pearl jam glassjaw bubble tea

deftones

concrete mechanics stage lighting

peaches

chris pratt

clubs

copper

phantom of the opera

sketching pencils and oil paint

tattoos nintendo swtich

playstation halo

stitching and embroidery badminton table tennis dawn and dusk

nail polish

general history psychology anthropology archaeology law literature philosophy religion

books video games comics design critique bands films

and advanced spatial forms interior urban plan landscapes construction speculative

berlin

tenacious d studio farris

sabaton rule of rose anton synytsia

dungeons and dragons

rubber glass masonry ceramics insulation electronics

devilman no uta gorillaz sex pistols

onishi yasuaki

muji franz ferdinand bohyun yoon julia faber

dead kennedys

renaissance eddie vedder shirin towfiq tamagotchi

mandarin japanese spanish danish latin welsh german russian esperanto adv. english

sit

bangkok

msva architects

john frusciante wang zhi hong the hague descendents

bee and puppycat

rough materials and textures

plastic wood metal textile

nicholson baker caat studio

cats

interpol halloween

incubus

first year

phuket

hong kong

autumn horace vernet

f1

bands

the chernobyl podcast no such thing as a fish podcast matcha

dp

tadao ando

tv shows

mykonos gravity’s rainbow adventure time

david stenbeck (dovneon)

yoko seyama

magazines

keke

velasquez

the smiths

research

kyuss

uncharted tom blachford

alexis christodoulou jinjer

mvrdv

the jealous curator

the goldfinch

fever 333

weta workshop

the clash

gundam

gojira

kings of leon

foo fighters

black mirror

a clockwork orange

forma fantasma

ghost (bc)

studio olafur eliasson

ist

as peaky blinders

mark magazine

twin peaks

studio brasch

alice in wonderland

dinara kasko

league of legends acre studio

six n. five studio

indiana jones

thomas pynchon

killkennykat

arquicostura studio tarantulas and reptiles

the witcher

herzog and de meuron

do androids dream of electric sheep? (blade runner)

an

sleeper magazine

rio

alvaro siza

er na tio

death grips

runescape

cu

final fantasy skyrim elder scrolls

behemoth

int

anarchitect co

languages

advanced materials

cy

sio n

an d

bas

s

form

n

coding

pr og re s

lighting

ballet modern dance criminology urban studies alternate reality

sio

technical atmosphere theatre and set

landscape architecture

them crooked vultures

dim sum

otep

case study investigtion

inspiration and references from other departments

conducting interviews with studio and other designers

dubai

raw materiality

cultural and societal phenomenons

scale model or 1:1 end product

sio cur

theatre exhibitions conventions

cinema and theatre

visual production (film or animation)

complex compositions

colour and form analysis

historical influences and inspiration

exsite excursions internships voluntary work self-led project studio collaboration

Dóra Szilvási-Léhy (HU)

.furniture design. analysis process senses detailing

.morphology. concept based experiment unexpected material fusion

.interior architecture.. character function fusion in space awareness

.knowledge. think critically question everything

s

ao

in

ch

re

ow

e er , wh er , ry nn ve o-i ack o e o g d, b al, r pt tt on ma an wa ti r w o mo , we er, f al, e tual t c sic elle fluid ou y ph int ing be

mind tuner dance dynamic movement morning practice 3 rhythms instinct finder Gabrielle Roth

fl

co th nne e w cti o pr ac our isdo n w tic bo m o ith e th of dy f e fu unk goin l g he ly r now int ad ele o as n fir ed st th e b int o ea t

.intermediate products. first wave of immersion in metal wood textile

g

staccato percussive movement sharply detached then reconnected

<A building that is being itself, being a building, Peter Zumthor not representing anything, just being.>

<If you make something that doesn't get loved, it's often not sustainable.> SeARCH

<Respecting architecture's surroundings Kengo Kuma instead of dominating them.>

tte r

ma

Balance

No

ett

er

il b

Wood

Metal

Texture

Organic

Soft

Material

Ceramics

Language

History

Qin Dynasty (CHN)

Cool

Hard

Warm

Cost

Price

Machine

Technique

Hand making

Aesthetics

The basis of being a designer Time

Quality

Resibonsibility

Quantity

Gratitude

Moral

Ergonomic

Educative

tin To be aware of what education is.

Freedom

Nothing can cage me.

Understanding

Strangers

Teachers

Friends

Family

Listening

To

Looking forward to the future.

To receive information from every little thing.

To appreciate differences.

International

Personal preference

Causality <Inevitability>

Existence <Impermanence>

Against

No fear to stand on own side.

Not satisfied by breathing.

Being alive

da ily life .

Hope

re fle ct on

Empathy

self discipline

Axes of Conscience

To accept more objective existences; To be kind to people or things I don't know; To be pacient to learn new knowledge.

Tolerance

Experience

Traveling

The basis of being a person

Open mind

Focus

My principle is guiding me.

Determination

Respect the reality.

No regret;

Presentation

Nature-friendly

Making

To be on track;

Thinking

Honesty

Review

Sustainable

Action

To stay a positive impulsion on creating; To keep a strong heart beating for living; To guide me close to another world.

conscience

Passion

The consideration of reality,low cost & high efficiency.

Aesthetics is a behavior of a completed knowledge system.

Logical & Objective

Based on previous theory to rethink and redefine.

Theory

The Edo period (JPN)

Color

Research

Theory doesn't mean the truth.

Architecture

Literature

Middle Ages (EU)

Drawing

Being clam

g.

it.

Workshop

St

op

Chinese poetry

To create my language by playing with details.

Neil Postman

Natural & recycled materials make the future more sustainable.

-T ry a (D gain ep a F r t me ail a nt ga mo in tto F ) a

ub

st

do

do

Ju

W.S Maugham

Qu ali ty no sh If n o ec I ca ws es n d at sa ry o a tit ud to thin e. ma g k n e it n icely orm , ally .

If au a de die sig n n c es can wh 't b ich uil me d up a n s i emp t d ath It oe ic sn re ha is th ve e 't lat ma ion th de s is k e a ship ca igne pa r's ny wi cit f se th y . ault ns its if h e. ed oe sn't

Reading

Yunjia Zhou (CN) 116 117

Colophon GROUP 1A & 1B Interior Architecture and Furniture Design KABK 2019 Lecture: Photography Lecture: Graphic Design Term: Year 1, semester 2, part 4 LECTURERS Michaël Snitker (Graphic Design) www.snitker.nl Sanne Peper (Photography) www.sannepeper.nl STUDENTS 1A Cynthia Bruinsma (NL) Esther Chung (KR-BE) Hilde Fledderman (NL) Smaranda Franciuc (RO) Victor de Groot (NL) Joshua Holetz (BR) Deandra Jauw (ID) Youbin Kang (KR) Chaeeun Lee (KR) Johan Recén Larsson (SE) Louise Spisser (FR-DE) Anna Thusseau (FR) Tino Yu (CN) 1B Heejeen Choo (KR) Daria Brandenburg (RO) Sarang Han (KR) Robin Hermes (NL) Ju Young Hwang (KR) Chen Jia (CN) Hye Mi Lee (KR) Luca Loli (IT) Jakob Oorschot (NL-DK) Jai Ho (Jay) Park (KR) Marie Siebdrat (DE) Chloë Snoeks (NL-CN) Dóra Szilvási-Léhy (HU) Yunjia Zhou (CN) http://issuu.com/michaelsnitker http://www.lulu.com/spotlight/vedute April–June 2019

THANK YOU! BYE-BYE

SPINNING THREAD (Cynthia) “Softly, deftly, music shall caress you.

Hear it, secretly posess you.” (Esther) The Umbrella University (Hilde) ONE WEEK'S WORTH OF (Smaranda) VIA MODULARI (Victor) MUNUS FESSUS (Joshua) The Middle is Still (Deandra) Stability (Youbin) 民生 (Chaeeun) Astronomical Sacred Time (Johan) QUARTERS (Louise) Thinking Pattern (Anna) bianary?? (Tino) Bauhaus / KABK / de Helena PACMAN 2020 (Heejeen) PROFUSION OF PERCEPTION (Daria) Nutrients6 (Sarang) CRYPTOGRAM (Robin) utopia (Ju) REINFORCED CONCRETE – BLOOMING ON (Chen) FINDING HAPPINESS (Hye Mi) WAYS OF AFFINITIES (Luca) Brain Nerves (Jakob) FOLLOW SENSE (Jay) stretching input connecting output (Marie) bloodlines (Chloë) BOOSTORIUM (Dóra) Axes of Conscience – self discipline (Yunjia)