Refugees — social design course

migrate yadzia williams & adam cooke

E F E

immigrating identities ann bessemans & johan vandebosch

social design marjatta itkonen

host) (ile object(ive)s katerina antonaki rossetos metzitakos children refugees today eleni martini aspasia voudouri

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Refugees – international exhibition

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Introduction 5 Map of exhibitions 6 alto University, Helsinki 7 Technological Educational Institute of Athens 7 Gryndŵ r University Wrexham 8 School of Arts Hasselt mad 8 Polish-Japanese Academy of Information Technologies pjatk 9 Gallery 9 Social Design – Marjatta Itkonen 10

pjatk projects 14 Host) (ile – Katerina Antonaki & Rossetos Metzitakos 20

tei projects 24 Object(ive)s – Katerina Antonaki 30

pjatk projects 36 Migrate – Yadzia Williams & Adam Cooke 40

pjatk projects 44

gryndŵr projects 48 Immigrating Identities – Ann Bessemans & Johan Vandebosch 54

pjatk projects 56 Participants 60 Lecturers 61 Editorial 62

to such a sensitive issue and expressed feelings and ideas in such

to enjoy the student’s work and to open a discussion over what

all, each in our own way, weird lunatics, provides the only hope

a creative way. Our profession requires us to be ‘ in the first line’

design stands for regarding the present and the future of Europe.

for a tolerable co-existence of different ways of life. Slavoj Žižek

to distillate data, simplify complex issues, and communicate and

Democracy and human rights are challenged, we rather not “value”

(philosopher), “What our fear of refugees says about Europe”

spread ideas in an effective way. Here, communication requires

this by numbers but collaborate, create common solution frames

engagement and deep thinking.

This project is a great example as it shows how simple ideas and strong will of few individuals may generate inspiration for solution making and reflect a strong insight to the problem.

and practices. We “are” our way of life: it is our second nature,

It is crucial for the graphic design community and academia

which is why direct “education” is not able to change it. Something

to get involved with these important issues by raising questions,

much more radical is needed, a kind of Brechtian “extraneation”…

– there is nothing natural in the way we embrace and kiss, in the way we wash ourselves, in the way we behave while eating…

It also responds to the prerequisites for successful communication: collaboration on multidisciplinary projects and engagement – involvement through broad approaches. Students were challenged to broaden their spectrum of thinking through multidisci-

communicating alternative perspectives, generating consciousness, spreading knowledge and facilitating our understanding of the variable parameters of human existence and envision radical approaches to socially demanding issues. After all Europe

The point is thus not to recognise ourselves in strangers, but to

is about thinking and working collectively, it is about integration

recognise a stranger in ourselves – therein resides the innermost

of different cultures, it is about composing and creating, via our

dimension of European modernity. The recognition that we are

differences, new realities of inclusion instead of exclusion.

plinary lectures, collaboration, agreement, disagreement, debate and discourses to finally express personal opinions and propose

Katerina Antonaki

solutions. After all social design and visual communication are about challenging the given. It is about facilitating free speech, global benefit, promoting democratic values and the notion of

Lecturer at TEI of Athens.

Graphic designer

Reflecting on the Refugee project:

The best way to learn is by studying together and learning

human itself, towards the “creation” of societies that engage and

from each other. When we created an international

react to what is happening in the social sphere. It is important,

cooperation, we had concerns common to Europeans in

particularly today, that human rights and values are challenged

mind; the rapidly changing landscape in societies, politics

and placed into discourses where the graphic design community

and people’s attitudes. Students need to be able to have

gets involved and supports the communication in the public

broad understanding in order to communicate visually,

domain effectively.

and make information readable to tell stories, to provide dialogue between people. Students designed and worked

A communal multidisciplinary project and 4 exhibitions.

It all started with a simple skype call and a proposal why don't

both individually and in teams.

Mass media of all kinds are overloaded with broadcasts, posts,

we do a project on refugee crisis and migration? The reaction

and documentaries on the crucial topic of Syrian refugees and

was direct. Students were great, full of enthusiasm, they worked

their devastating visual captures of their cities. This contem-

collectively and intensively and come up with unexpected ideas

finished my diploma at Henryk Tomaszewski’s poster studio.

porary tragedy composes its own communication territory and

and projects worth spreading.

Poster design was considered transcendent in the field

I was studying graphic design in Warsaw in the 70’s and

of graphic design. Today, different design fields collaborate

visual language. There is a discourse whether this over exposure dis-places reality from something that is happening now to

This catalogue is conceived to provide a brief overview of the

and graphic design and visual communication are often

something which is happening in a virtual world, and by doing so,

projects emerged after 24 lectures, 7 workshops and the involve-

about concepts or providing digital services. But design

smoothing the sharp edges of the problem. Refugees on the one

ment of 65 students from three Art and Design Academies. We

is also art.

hand become visual information and on the other data. We moni-

welcome the exhibition in Athens, showing a collection of the

tor the situation but we forget that we refer to human lives.

outcomes of those multiple workshops. Again, the semiotics are strong. It is important that the series of exhibitions start in

institutions and students working together? The following

I live in the centre of Athens where the scene changes radically

Athens, Greece at a specific historical moment where the refugee

pages show the results of our workshops held in different

on a daily basis due to the refugee crisis. Quite often I have the

crisis is at its peak.

parts of Europe.

react. It is important that through this project both the academic

Hopefully it will open the discourse for further approaches.

Thank you all participants: lecturers, tutors and most

institutions and the graphic design community reacted quickly

I am proud being part of this project. We invite you all, both

of all students!

What could be more rewarding than international art

feeling that we are experiencing history without being able to

Marjatta Itkonen Professor emerita Aalto University Graphic designer

Europe

aalto University, Helsinki

Technological Educational Institute tei of Athens

Another Perspective

The Department of Graphic Design has operated since 1977

Aalto University is one of the most prestigious international

under the Faculty of Fine Arts and Design. Constituting

universities of art, design and architecture in the world. Key

the only public School of Applied Arts of Higher Education

areas of research are design, digital media, audiovisual re-

in Greece together with the Departments of Graphic Arts

presentation, art, visual culture, well-being architecture and

Technology, Interior Architecture Decoration & Design,

emerging technologies, as well as urban planning and design.

Photography & Audio-Visual Media and Antiquities & Works of Art Conservation, the Faculty is one of five which form

The School of Arts, Design and Architecture is part of Aalto

the Technological Educational Institute tei of Athens.

University, where the integration of expertise of different

aalto,

Helsinki

fields brings along new opportunities: it is possible to design

The Faculty of Fine Arts and Design is an integral educational

cross disciplinary study modules that support own career

unit and its aim is to promote cultural and artistic innovation.

goals and interests. The school’s history dates back to 1871.

Its prominent presence in the Applied Arts field is widely acknowledged by other professional, educational and artistic bodies throughout the country. The Department educates creative new professionals offering a comprehensive artistic and technical background that will prepare them to meet the needs of an ever-expanding field from graphic communication, advertising and consumer product design, to the field of prin-

GryndĹľr University, Wrexham mad,

pjait,

Warsaw

ted and digital publishing. During their courses the students are exposed to different approaches and concepts, and they are

Hasselt

encouraged to develop a sound artistic and aesthetic sensibility, that will enable them to successfully face the social challenges and responsibilities encountered in their professional life.

The Department has the offer for its students which will support their development of visual communication awareness, inspire a creative aptitude in design, provide a skilled approach tei,

Athens

to problem-solving and cultivate a comprehensive understanding of the rapid technological advances in their field.

During the eight semesters of study, the primary objective of the curriculum is to guide the students in quickly developing their technical skills and expanding their knowledge on visual communication with a series of prerequisite and elective cour-

name of the school, city

ses, culminating in a final graduation project and a six-month work experience placement.

Polish-Japanese Academy of Information Technologies pjatk

Greek Graphic Designers’ Association GGDA

PXL-MAD (Media, Arts and Design) School of Art is a

The Polish-Japanese Academy of Information Technologies

The GGDA was founded in 1983 and is the national association for professional graphic designers.

Gryndŵ r University Wrexham

Media, Arts and Design in Hasselt mad

Our biggest campus and the Gryndŵ r University all started in 2008... or 1887, if you trace back through our history.

department of the University College PXL that offers study

was founded in 1994, based on the agreement between the

We’re still in the same area where the institution, now

programs in the field of ‘Visual Arts’ on academic bachelor

governments of Poland and Japan. Its teaching program has

a university, was founded as an education college more

and master degree level with specialisations in graphic

been systematically adapted to the needs of international

The GGDA provides an advisory and arbitrating role

than 100 years ago. The campus today is a mix of that time

design, fine arts and Object & Jewellery.

labor market and the EU teaching standards, as well as to

for its member designers by informing its members of

the development in the field of graphic design. The New

developments in the field of Graphic Design and by co-

In its curriculum, the Graphic Design department at PXL-MAD

Media Department, launched in 2005, has worked for the

ordinating the efforts of all graphic designers in order

in Hasselt (Belgium) offers a specialisation in typography,

development of education and science, in cooperation with

to facilitate the advancement of the graphic design

in a cluster named ‘TYPO’. Starting next academic year, an

the Academy of Fine Arts in Warsaw and other institutions

profession in Greece. Provides a forum for dialogue

Gryndŵ r University is at the centre of life in Wrexham

international master in typography will be offered next to

of science and culture in its direct surroundings (National

and exchange of ideas and information on issues relat-

and we pride ourselves on our links with the community

the standard curriculum. This cluster and master are led

Audio-visual Institute, Copernicus Science Center and

ed to communication design, while offers advice and

through facilities and partnerships with organisations

by dr. Ann Bessemans, who also founded the typograph-

Warsaw museums, like the National Museum). The New

support in matters pertaining to fees, ethical practice,

in North Wales.

ic research group within PXL-MAD called READSEARCH.

Media Department runs the BA and MA studies in the

copyright etc. to its members. The principal vehicle of

Focussing on reading research, this group looks at type

Graphics discipline, as well as the ba studies in Interior

the association is the General Assembly, which decides

Courses

design and/or typography from a multidisciplinary and

Design and Multimedia Communication Design. Students

on all matters pertaining to the advancement of the

Ba (Hons)

scientific perspective, but always with a practical attitude.

of the English-language program studies of this discipline

association’s goals, as well as every issue submitted

Animation, Visual Effects & Game Art

The artistic practice forms next to, based on and in dialogue

acquire knowledge and skills in shaping the multimedia

to it. The GGDA is ruled by a nine-member Executive

Applied Arts

with experimental, but theoretically founded research a sub-

information, adapted to the needs of contemporary interna-

Board, which is elected every two years.

Film & Photography

stantial share. READSEARCH provides a unique environment

tional user, by means of new computer technologies, as well

Fine Art

that brings together design researchers, typeface designers,

as become aware of traditional artistic and aesthetic values.

The GGDA welcomes the effort of art and design Academies

Graphic Design & Multimedia

scientists, students and stakeholders through research,

At the same time, the regular contact with Japanese culture

for international and multicultural projects and supports

courses and documentation.

and art, as much as the international educational exchange

specifically social design projects related to crucial issues

Ma Masters

programs, provide students with access to the state of the

such as the current refugee crisis. But most important,

Art Practice, Design Practice & Creative Media

art world knowledge and high technologies, modern tools

tries to stand by and promote young designer's practice,

and design methods, and allow them to achieve competence

towards the involvement of our community to collabora-

in social interaction.

tive projects.

but with a modern twist – Grade II listed buildings now standing alongside 21st century facilities and state-of-theart education centres.

Illustration, Graphic Novels & Children’s Publishing

design

Marjatta Itkonen warsaw

pjatk

– helsinki

a alto

Marjatta Itkonen, born in Helsinki, Finland. Education:

The title immigrants and refugees, women

looking for is meaning and significance, then

course was to study how to communicate

Academy of Fine Arts in Warsaw, Master of Arts, Henryk

and children for the social design course was

the first step is to ask, who controls the work

to different audiences, how to design a social

Tomaszewski’s poster studio, 1976 Designer & partner, Studio

aroused through my research. I got the idea

and whose ends does it serve? Social design

campaign and visual communication of

Viiva, 1982–2010. Professor of graphic design, Aalto University,

after reading an article about a female Iranian

is inspired by Victor Papanek’s idea that

importance on a national level. Our task

School of Arts, Design and Architecture, 2002–2014.

immigrant who faced many challenges in

designers have a responsibility to change the

was to create dialogue between locals and

Exhibitions: Finland, Poland, Russia, Mexico, Slovenia, Korea.

integrating into Polish society. The course and

world through good design. He was one of

refugees in Poland, to get to know each other

Workshops & lectures: France, Belgium, Poland, Germany,

workshops were planned for the 2015 winter

my heroes when I grew up in Finland in the

better to avoid fear. Fear is creating racism.

Slovenia, Czech Republic, USA, Mexico, China. Real life

and spring. At that time, nobody could foresee

70's. Graphic designers create visual culture

I also wanted us to get to know other cultures

projects with students: Common responsibility campaigns,

how the situation would progress in Europe.

that makes ideas and information accessi-

with a positive twist; we had a wonderful food

Blue1 airplanes, Hello and goodbye Nokia book, Resolutions

In the autumn confrontation sharpened in

ble and through visual communication we

workshop called bread and memories with

book project, Unicef International students’ poster exhi-

most European countries because of the

contribute to social well-being and justice.

students and immigrant women. Thank you

bition. A jury member among others: Mexico International

refugee crisis. The topic became relevant

The amount of information is bigger than ever

Satsita from Chechnya, Mieber from Nigeria

Poster Biennale, Warsaw International Poster Biennial, Best Annual

and media coverage was huge; horrible

and visual communication is the tool to make

and Vinh Cao Hong from Vietnam! You made

Reports in Finland, Best Finnish film posters.

events on the Mediterrania between Greece

that information understandable and arouse

our day a memorable occasion.

and Turkey came to our homes showing

discussion in society. Fear is provoking racism

people drowning. Students were also shocked

and an open dialogue is needed.

by the terrorist attack in Paris.

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Thank you Jan, Anil, Katarzyna and Mariia for your Sweet home? mobile refugee camp

We organized many inspiring lectures during

management game! Thank you Natalia,

In 1994, Andrew Howard wrote in the Eye

one whole week in order to give students as

Maciej, Adela and Livia for your campaign

magazine that We cannot separate our work

many points of views as possible. After the

proposal Pocisk – I will never forget that day!

from the social context in which it is received

lectures, students applied creative design

Thank you Julian, Marta, Małgorzata and Julia

and from the purpose it serves. If we care

proposals in various formats and they were

for your game concept. Thank you Zuzanna,

about the integrity of our design decisions,

asked to work in teams. Four teams provided

Joseph, Krystyna and Mateusz for you Live

we should be concerned that the relations

research, analyzed the information, creat-

movement dance concept! I had a great time

implicit in our communications extend active

ed communication concepts and produced

staying with you in Warsaw.

participation in our culture. If what we are

campaign proposals. The objective of this

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Liwia Furga Natalia Łajszczak Adela Madej Maciej Połczyński

The aim of the project is to create – through the web platform – a community of people who experienced migration. We want to show that the phenomenon of migration is universal and it may concern people from different backgrounds. The name of the project (Przejścia graniczne – borders checkpoint) no I refers both to the physical and psychological aspects of crossing borders.

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Sweet Home? is a fundraising campaign built around a mobile refugee camp management game. The aim is to help refugees who are placed in camps in neighboring countries of Syria. In this world filled with smart devices people spend more real life resources on their non-existent garden in a digital world than they do on their relationships and world around them. The reality of today is that we do not even care for our neighbour next door, so it is no surprise if we are not sensitive to terrible things happening in a far away country.

Sweet Home? is another response to this problem, it may not be an absolute solution but it is a solid step. Mobile gamers all around the world from every age group will be growing their own “garden” which in this case is a refuAnil Demir Mariia Kozhukhar Katarzyna Płocińska Jan Szczepanik-Dzikowski

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gee camp, while we will use the monetization techniques like advertisement or in-game purchases to help to solve real problems of real people.

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Three plagues, three contagions, threaten the world.

The first is the plague of nationalism.

The second is the plague of racism.

The third is the plague of religious fundamentalism.

All three share one trait, a common denominator - an agressive, all-powerful, total irrationality. Anyone stricken with one of these plagues is beyond reason. In his head burns a sacred pyre that awaits only its sacrificial victims. Every attempt to calm conversation will fail.

Ryszard Kapuściński, 1993

The concept is based on body language.

We connected dance, sound and typography in order to comment on the issue of refugees and migrants and raise awareness among Polish people. We used Ryszard Kapuściński’s wise words from Imperium which refer to current migration movements.

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Zuzanna Zielińska Joseph Fakhoury Mateusz Nowak Krystyna Engelmayer-Urbańska

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Katerina Antonaki & Rossetos Metzitakos warsaw

pjatk

–

tei

ile

city and/or home, connect them to an issue related with the refugees crisis (i.e. history of immigration, notion of dislocation, uprooting, formation of new communities, mobility real or imaginative, threats to survival, causes of migration, notions of home, ethical issues involved) and explain their concept using a short text (a poem, an article, their personal opinion, sayings of refugees). Based on the ideas of lost and found, message in a bottle, this photograph is a proof, students were asked to index their thoughts and choose one on which they would work thoroughly and design a book spread.

After choosing the object, they wrote a short

athens

text explaining their idea. The students were also responsible for designing the book with Designing a book based on a collection of

the outcomes of the workshop: think of its title,

Katerina Antonaki is an independent graphic designer,

Rossetos Metzitakos, born in Athens in January 1974.

researcher and visiting tutor at Graphic Design Department,

He graduated from the Graphic Design Department of the

objects. Empirical investigation through making

create meaningful concepts collectively, work

Technological Educational Institute of Athens. Throughout

Athens TEI Faculty in 1996, then S.G.T.K.S, today S.K.S School

semantic connections. A displacement from

with texts and images. By working both individ-

the years she has worked in advertising and design industry

of Art and Science. Rossetos Metzitakos holds Master of

theory to real objects. Using objects to simplify

ually and in teams to produce the final design,

and has collaborated with a variety of teams and individuals

Arts in Visual Communication from in U.C.E. Birmingham

complex social issues.

they were able to, within a short time, analyse

on diverse projects from brand identity, book design, to

University of Central England since 1998, and doctorate from

environmental design. Currently she is interested in the role of

the same university and major in “Visual Communication

Humans understand life through its materiality,

the 5 days of the workshops, they managed to

visual communication in building brand identities and she is

and Interactive Media” since 2006. Thesis “Design of

through the physical space, its apparatus and

identify strong meanings and create powerful

investigating the links and the interferences between graphic

Interactive Media for People with Low Vision, as part of

the semantic connections they make. Based on

compositions.

design and urban space. She also explores the active role of

Graphic Design”. Research associate in the department

this simple thought, we could bring to con-

Graphic Design (the visual and textual aspects of communi-

of Graphic Design since 2001 and appointed in the same

sciousness and comprehend complex issues

The final step included the design of posters,

cation) at the social and political level. Her research interests

section in 2009 in vacant organic Teaching Faculty Position

more easily; such as the refugee crisis through

based on the ideas from the spreads, for the

focus on the visual identity of public space, the role of spon-

as Assistant Professor with discipline in Graphic Design with

objects. The experiment was simple: What if

exhibition.

taneity in design process as well as design methodologies and

Multimedia. At present, he is Director of Graphic Design

we try to re-locate the refugee topic in physical

mapping. She holds an ma in Critical theory and practice of

section. He has carried out many graduate projects mostly in

space? The main instruction was the following:

Special thanks to Aspasia Barda and Christos

Design from Goldsmiths University of London.

graphic design and multimedia topics.

Try to find an ordinary object and link it in such

Makopoulos for their help with the photo

a way with the refugee crisis that next time I

shooting. I also thank all the students of the two

see it, it will remind me of your idea. Students

workshops for the great collaboration and the

were asked, after reflecting on the lectures, their

unexpected ideas.

a crucial social issue and reflect upon it. During

personal research and after a discussion in the classroom, to collect ordinary objects from the

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It was a pleasure to work with you. Thank you!

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I am a refugee The forced dissociation of a person from his homeland and the consolidation in one place, to create new life, relationships and ties.

I am a refugee – Elpida Koulouridi Without keys – Dionysios Siamagkas The Path – Panagiotis Tsironis

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No Exit – Nefeli Orfanou-Negka Home sweet home – Maria Bougioukou Who's next in line? – Eleni Anysia Moustaka Golden water – Marianna Koulouridi

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s ) e v i ( t c e bj

o

s ugee f e r and ants r g i m SE on im OUR C N G D E S I / P J AT K L A I S O C AW 2 01 5 S WA R

C hildhood Anastasia Buialo

Jus t Write Huber t Wencel

Two S ides Katar z yna Mazek

R un Daria Lukasz ynska

Tradition Jakub Wilczak

Hospitalit y Michal Mier zejewsk i

Wate r Bar tek Staszczak

The D ragon Anna Chr zanowska

W ide r S e e ing Magdalena Wawr zonek

Trave l Mar ta Dziedzic

S hoe Aleksandra Leksz ycka

Now Agata Juszk iewicz

We lcome (NOT ) Aleksandra Walent ynowicz

Attitude Aleksandra Czarnojan

Hanger Julia Piasecka

Immigrant Song Arseniy B rilov

Pe rception Wojtek Pludowsk i

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May in Athens July in Wrexham November in Warsaw November in Cracow

itkonen antonaki & metzitakos martini & voudouri williams & cooke bessemans & vandebosch

Social Design Course

Ελλά∂α/Great Britain/Polska

E E

INTERNATIONAL EXHIBITIONS 2016

E F

www.refugeespja.edu.pl

Marta Zofia Myszewska

s ) e v s i ) ( e t v c i ( oobbje ject es fuge ees e r d an ug ants s and ref r g i m E nt o n i mi m m i g r a N C O U R SR S E on K OTU SIG L D ED E1S5I G/ NP JCAJ AT K A I C L 20 S O CA / P O S I AW W 2 0 1 5 S R A W ARSA W

Jus t Write Hub er t Wencel JusTradition t Write Hub er t Wencel Jakub Wilc zak Tradition Jakub Wilczak The D rago n An na Ch r zanowska

Two S ide s Katar z yna Mazek Two ide s Katar z ynaMier Mazek HosSpitalit y Michal zejewsk i Hos pitalit Michal Mier zejewsk W ide r S eye ing Magdalena Wawrizonek

TheS ho D ragon An na Chr zanowska e Aleksandra Leksz ycka e Aleksandra Leksz ycka TraveWe l Mar ta Dziedzic Aleksandra Czarnojan lco me (NOT ) Aleksandra Walent ynowic z S hoAttitude Attitude Aleksandra We lcome Pe rception Wojtek Czarnojan Pludowsk i I mmig(NOT rant )SAleksandra o ng Arseniy Walent B rilov ynowic z

WNow ide r S e e ingJuszk Magdalena Agata iewic z Wawr zonek Now Agata Juszk iewic z Hanger Julia Piasecka

C hildho o d Anas tasia Buialo C hildhoo d Anas tasia ynska Buialo R u n Daria Lukasz

R u n Daria Wate r Lukasz B ar tekynska Staszczak WateTrave r B ar ltek MarStaszczak ta Dzie dzic

I mmigrant Song Arseniy B rilov

Pe rception Wojtek Pludowsk i

Hanger Julia Piase cka

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Before Before Before Before

he he he he

Now Now Now Now

has nothing. is nowhere. has no one. is no one.

had was had was

something. somewhere. someone. someone.

HE IS A BAKER SHE IS A STUDENT HE IS A TAXI DRIVER SHE IS A DESIGNER HE IS A SOLDIER SHE IS A HOUSEWIFE HE IS A FATHER SHE IS A MOTHER HE IS THEIR SON SHE IS A REFUGEE HE IS A REFUGEE

he he he he

Now he is a refugee.

Run – Daria Łukaszyńska Now – Agata Juszkiewicz Screw – Aleksandra Czarnojan

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Childhood – Anastasia Buialo Travel – Marta Dziedzic Hang on – Julia Piasecka

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i grate

Yadzia Williams & Adam Cooke warsaw

pjatk

– helsinki

a alto

Yadzia Williams is Senior Lecturer at the North Wales School

Adam Cooke studied Fine Art at UCA, University for the

The theme of this workshop is migrate. Students

1. Somewhere in the college;

of Art and Design, Glyndŵ r University in North Wales.

Creative Arts, and completed his Masters in Interactive

must include the word migrate in their final im-

2. Outside of the college; 3. On-line via tumblr.

She was born in a Polish Camp in North Wales to Polish and

Multimedia Arts at John Moores University, Liverpool.

age, in any language they choose. The theme

Czech immigrants. Yadzia is an Illustrator and image maker

He is currently Senior Lecturer in Design Communication

is open to interpretation. The end result must

working mainly through the medium of printmaking with

at North Wales School of Art & Design. His research ex-

communicate to an international audience.

These sites should be active spaces and

a passion for creating handmade books.

plores open technologies in a community context. Adam has

Students are introduced to the five point design

the images should rotate on a weekly basis.

worked for a diverse range of clients from across the public

process to follow for this project.

The typeface to be used is Activ by Daalton Mag. Students read about their trial license

and private sector. From interactive installations for the BBC to service design solutions for Jaguar Land Rover to public

Limitations: Students investigate the possibilities

offer for students and academic work be-

sector clients such as North Wales Police (Community

of image making (poster design). They are lim-

low (https://www.daltonmag.com/download/

Cohesion and Engagement) and Wrexham Borough

ited to one typeface (thay can use any weights

damaTrialLicenceAgreement.pdf.0)

Council’s Housing Division.

they wish). The size of the image (poster) they produce is 90×60 cm; portrait. Students can

The project is 5 days long. By the end of Day 3

print only black/white and grey tones.

we should have ideas finalized and have a crit.

Day 4 we should have the artwork finished and

Students aim to produce three images that will

printed for a final crit. On Day 5, for the final

be displayed in various environments. They can

crit, the images can be printed 45×30 cm.

be individual ideas or work as a triptych.

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Fish – Aleksandra Miąskiewicz Migrate – Maja Biskupska Hang on – Julia Piasecka Migrating Ants – Minh Ha Arrows – Aleksandra Miąskiewicz

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Monkeys – Olga Kulish

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Migrate – Megan Roberts

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Migrate – Ivana Milchanska & Sam Keating Migrate – Carrie-Anne Migrate Migrate – Rosie Haghighi Migrate – Jane Thomas Migrate – Mariusz Borzyszkowski

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Migrate – Sandra Chmielewska

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immigrating

Ann Bessemans & Johan Vandebosch warsaw

pjatk

–

mad

Ann Bessemans has an ma in graphic design, receiving an

words, a Guinness World Record. She has designed several

With the typographic workshop Immigrating

award for her typographic project. In October 2012, she de-

books for the series of monographs Vlees & Beton/Voids

Identities, Ann Bessemans and Johan Vandebosch

fended her PhD (Type Design for Children with Low Vision),

& Borders published by the department of Architecture and

(pxl-mad) collaborated in the Social Design Course

under the supervision of Prof. Dr. Gerard Unger. For this PhD,

Urban Planning of the University of Ghent and posters for

at the Polish Japanese Academy of Information

she was granted two scholarships by Microsoft. She works as

the tennis club tc de Born. Her research/design interests:

Technologies in Warsaw, curated by Ewa Satalecka.

a postdoctoral researcher at pxl-mad (Media Arts & Design),

typography, type design, legibility, reading, graphic design,

Immigrating Identities was a workshop where the

where she also teaches (since 2006) graphic design, typo and

book design, letter press and modular systems.

experience and influence of refugees and immi-

Johan Vandebosch (born 1966) studied Graphic Design at

aimed at changing people's point of view about

on visual prosody. Ann was a finalist in the ‘New Scientist

the PXL-MAD in Hasselt. After an internship at the adver-

immigration.

Wetenschapstalent 2015’ competition, which recognises early

tising agency Conquest Europe / Fast in Brussels, he joined

grants is visualised in typographic matter, and

type design. Recently she was awarded a major grant from Microsoft Advanced Reading Technologies usa for a project

career researchers in the sciences. Recently Ann set up a

the graphic studio of the faculty of Architecture at the

research Institute called readsearch (pxl-mad). readsearch

University of Hasselt. In 1994 he started his own graphic

Starting from Latin lowercase letters, firstly stencils

focuses on reading research. Type design and/or typography

studio ‘ziezo’, where he designed, for over twenty years,

were created, and then the students were asked

is looked at from a multidisciplinary and scientific perspec-

the visual communications for the cultural centre de velinx

to enrich the stencils with letters characteristic of

tive, but always with a practical attitude. The research topics

in Tongeren and where he worked with national and inter-

Non-Latin script, thus creating new hybrids. In this

are: Rhythm and Legibility/Reading Comfort (with assistance

national artists from various disciplines. He designed the

way, two different cultures visually interacted with

and PhD student Maarten Renckens), Visual Prosody (with

identities for numerous companies and institutes such as

each other. During the third phase, posters were

Microsoft usa Advanced Reading Technologies + assistance

the fashion label les hommes and mad-faculty, as well as

designed with the stencils and the students had

and PhD student Kevin Bormans), Regularity/Distinctiveness

books for publishers Lannoo and Borgerhoff & Lamberigts.

to translate, in an abstract manner, the immigra-

in letters (with Reading University), Details in Letters (with

Since 2001 Johan is part of Design Flanders, an organization

tion/refugee routes. In the final phase students

Gerard Unger). Ann is also involved in European cost Action

of the Flemish Governement who promotes contemporary,

were asked to design a flag, using a transnational

that studies the evolution of reading in the age Of digitisation.

high-quality and innovative design. In 2009 he received

language with parts of their stencils, as a powerful

She has presented papers and gave workshops on several

the Plantin-Moretus Prize for the best designed book in

symbol of new and blended identities.

occasions both in Belgium and abroad. Beside her task as

Flanders in the category children books. In 2008 and 2009

a teacher and design researcher Ann is (since 2013) also

Johan was nominated twice for the ‘Cobra Power of Print’ for

This workshop enhanced the typographic design

an independent designer. She is an award winning (typo)

his designs for the cultural centre de velinx. Johan regularly

skills and wanted to increase the students’ confi-

graphic designer. From the tdc she received a Certificate

participates in solo and group exhibitions in Belgium and abroad.

dence in typography beyond their expectation.

of Typographic Excellence. In 2014 she designed a postage

Since 2000 he teaches Graphic Design at the pxl-mad School of

stamp for the Belgian postal company that contained 606

Arts in Hasselt.

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57

1. Kasia Mazek, Aleksandra Lekszycka, Bartek Staszczak, Hubert Wencel 2. Anastasia Buialo 3. Michał Mierzejewski, Jakub Wilczak, Šukasz Zubilewicz

58

59

Lecturers

students PJAIT Adela Madej

Ivan Kosenko

Marta Myszewska

Agata Juszkiewicz

Jan Szczepanik-Dzikowski

Martyna Byrka

Aleksandra Czarnojan

Joseph Fakhoury

Mateusz Nowak

Aleksandra Miaskiewicz

Julia Chlastacz

Małgorzata Pisarska

Aleksandra Walentynowicz

Julian Kondej

Michał Mierzejewski

Anastasiia Buialo

Julia Piasecka

Minh Ha

Ania Fifielska

Julia Potocka

Natalia Padzińska

Anil Demir

Katarzyna Płocińska,

Natalia Łajszczak

Anna Chrzanowska

Krystyna Engelmayer-Urbańska

Nikita Osadchuk

Anna Martowska

Liwia Furga

Nina Krol

Arina Sizova

Maciej Połczyński

Olga Kulish

Bartek Staszczak

Magdalena Wawrzonek

Zuzanna Zielińska

Daria Łukaszyńska

Maja Biskupska

Hai Duong Minh

Mariia Kazhukhar

Hubert Wencel

Marta Dziedzic

Adam Cooke Agata Szydlowska Ann Bessemans Aspasia Voudouri David Skully Eleni Martini Elżbieta Kielak Johan Vandebosh Kasia Jarecka Katerina Antonaki Krzysztof Dębski Łukasz Turkowski Maja Łysienia Marcin Drabek Mariela Nestora Marjatta Itkonen Marta Rawłuszko Martyna Wawrowska

TEI of Athens

Wrexham

Alberto Martinez

Carrie-Anne Migrate

Anggelina Mertziou

Ivana Milchanska

Anthi Tsiouri

Jane Thomas

Chrysoula-Nefeli Kourkoulou

Mariusz Borzyszkowski

Dionysios Siamagkas

Megan Roberts

Eleni-Anysia Moustaka

Rosie Haghighi

Elpida Koulouridi

Sam Keating

Laredina Karaj

Sandra Chmielewska

Marysia Złonkiewicz Monika RogowskaStangret Pawel Polit Rossetos Metzitakos Tomasz Duda Yadzia Williams

founder of yelp danceco

Special thanks to: Omoye Akhagba

Assuming that dance is every

Satsita Khumaidova

movement, our aim is to inves-

Vinh Cao Hong

tigate physical languages that

Klaudiusz Ślusarczyk

Mariela Nestora choreographer,

arise from the corporeal and the intellectual- reflecting on the world that surrounds us, raising questions concerning our culture and our relationship to it. The work lies between theatre, dance and performance, while it extends into video installation

Thank you Anastasiia Buialo, Julia Piasecka, Aggelina Mertziou, Eleni Moustaka and Dionysis Siamagas for the editorial design.

and site-specific work.

Work is shown in a variety of contexts, ranging from theatres, to empty buildings, foyers and public spaces. We are committed to working in a collaborative manner, the group equally involved in the creative process.

Presenting, transforming and discussing the (im)possibilities of sustaining our humanity in our nature. Mariela studied contemporary dance and choreography at the London Contemporary Dance School

Maria Bougioukou Marianna Koulouridi

and Visual Design for Dance at

Nefeli Orfanou-Negka

the Laban Centre, London. She

Panagiota Prokopiou

is also a Feldenkrais practitioner.

Panagiotis Tsironis Spyros Chandrinos Stefani Constantinou

60

Migrate – Adam Cooke

61

PROJECT CREDITS Organizers / Publishers: AALTO

Curators:

Marcin Czerniawski

Directors:

Ewa Satalecka

Marjatta Itkonen

GGDA: Tzanetos Petropouleas

Aalto University

Katerina Antonaki

Marry Kozhukhar

Wrexham gallery: Estelle Thompson

Lämpömiehenkuja 2,

Rossetos Metzitakos

Olesia Pankiv

+358 947001 Finland

Eleni Martini Aspasia Voudouri

Web publication

TEI of Athens

Marjatta Itkonen

Marta Myszewska

Department of Graphic Design

Yadzia Williams

Agiou Spiridonos str.

Adam Cooke

12243 Aigaleo

Studio Sztuki: Agata Cholewińska-Romero znaczy się Foundation: Beata Czajkowska

Exhibition designers: (poster design, design and project

Proofreading

management of promotional material)

Alicja Gorgoń

Athens: Aggelina Mertziou, Dionisis Siamagkas,

+30 2105385403 Greece

CATALOGUE CREDITS Editors:

Book Print

Wrexham Glyndŵ r University Mold Rd, Wrexham LL11 2AW, Great Britain +44 1978290666

Ewa Satalecka

Petit Skład – Druk – Oprawa

Eleni Moustaka, Maria Bougioukou Wrexham:

ul. Tokarska 13 20-210 Lublin

Warsaw: Marta Myszewska

Marta Myszewska

Paper

Katerina Antonaki

Blue Book 60 vol 1.5

DANCE WORKSHOP Director:

Editorial coordinators:

Mariela Nestora (YELP danceco)

Adam Cooke

PXL-MAD Media, Arts & Design Elfde-Liniestraat 25

ISSUE 400 copies Warsaw/Wrexham/Athens, 2016

Publication manager: Marta Myszewska

Polska ABC i D (Poland ABC and D)

Project Designers:

12th–15th May 2016 Athens, Romantso

album: Karabin 2016

visual identity

2nd–8th July 2016 Wrexham

prints design,

10th–13th November 2016 Warsaw PJAIt,

greek translation: Vassiliki Dimou english translation: Ewa Satalecka, Beata Czajkowska

B-3500 Hasselt Belgium

pjait

Music: EXHIBITION CREDITS Exhibitions:

Polish-Japanese Academy

layout, typesetting

Studio Sztuki

of Information Technologies

Marta Myszewska

18th–24th November 2016 Cracow,

ul. Koszykowa 86

znaczy się Foundation

02-008 Warsaw

layout sketches

Poland

Liwia Furga

author: Maria Peszek

Video clip: art direction, typesetting,

Exhibition coordinators:

graphic design:

Katerina Antonaki

Aggelina Mertziou,

Print:

Set in

Marta Myszewska

Dionisis Siamagkas,

ISBN: 978-83-63103-83-5

Szymborska typeface – Radosław Łukasiewicz

Adam Cooke

Eleni Moustaka,

ISBN E-Book: 978-83-63103-84-2

(courtesy of znaczy się Foundation)

Maria Bougioukou

Museo font – Jos Buivenga

Curators:

Social Design Course

Photos

Wrexham: Estelle Thompson

Project:

Athens: Katerina Antonaki,

workshops

Anastasia Buialo

Warsaw: Marta Myszewska

Warsaw/Wrexham/Athens

Ewa Satalecka

Cracow: Beata Czajkowska

19.10.2015 – 15.05.2016

Katerina Antonaki

idea of dance workshop: Mateusz Nowak

© AALTO © TEI of Athens © Gryndŵ r University © pxl-Mad © PJAIT

63

www.refugees@pja.edu.pl ISBN: 978-83-63103-83-5

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