New Students Application Procedure Autumn 2021

Dear international applicants please note:

All international applicants have to register at Uniassist first to have their documents, diplomas and certificates checked before handing in their application documents to Muthesius directly.

The Uniassist platform is open from 25th August 2021 to 25th of October 2021 for the start of study in April 2022.

Further information on the next steps for your application at Muthesius Kunsthochschule are available on the website.

If you have any questions please use the listed contacts.

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New release: Ephemer.

new release

 

With contributions from: Barry Bermange, Gabriele Brandstetter, Danica Darkic, Martina Dobbe, Martin Dornberg, Hinderk M. Emmrich, Daniel Fetzner, Yael Kaduri, Annette Le Fort, Angela Melitopoulos, Petra Maria Meyer, Hannelore Paflik-Huber, Jürgen Partenheimer, Felix Schackert, Claus-Arthur Scheier, Michael Schirner, Georg Christoph Tholen, Hagen Verleger, Michael Wetzel, Martin Zenck.

Editor: Petra Maria Meyer
Wilhelm Fink Verlag
ISBN: 978-3-7705-5755-4

Download: Verlags-PDF ansehen Related Links: www.fink.de/view/title/51826

10.08.2020 • , (...)

Weitere Meldungen

Just arrived: Sensing the Ocean. A Collaboration between Art, Design and Science

“Sensing the Ocean. A Collaboration between Art, Design and Science.”

Tom Duscher, Stephan Sachs, Manfred Schulz (Editors)

“Sensing the Ocean” is based on the collaboration between the Kiel Marine Research Cluster of Excellence The Future Ocean and the Muthesius University of Fine Arts and Design. The book shows how artists, designers and scientists can complement each other creatively, what differentiates artistic and scientific research, and illustrates how the interplay of competence gives rise to new insights.

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Aktuelle Arbeiten

Constructive Design

Seen historically, industrial design is a relatively young term. However, products have not only been produced in series since the Industrial Revolution. In the course of industrialisation, design defined itself as a service of economics and society and was wrongly reduced to an instrument of wealth creation. However, product design is largely independent of economic interests, moreover it can be seen under artistic and creative, but also social and eceonomic aspects. With the change from an industrial to an information society, industrial design finds itself in a radical change. The general theses of good form have become old, the professional image of an industrial designer is emancipating itself from industry and mass production, and the boundaries between art and design are more open than ever. The globalisation of information and aesthetics via new media but also the shift of production sites to low-income countries is forcing designers – above and beyond the pure design of a product – to think in complex contexts and to act not only as a problem-solver but also to create identity independently. Irrespective of the continuous discussion between mass-produced and unique piece, between functionalism and formalism, design is continuously and inseparably linked to human history. However, for the first time since the industrial age, design is about to move away from the doctrine of the purely facutal and not place itself at the service of all and sundry.  .  . A point of contact between Art and Design.