Fabio Vogel: Cutlery. 2012. stainless steel (Photo Robert Markus Gisler)
Elena Steinmetz: Space object Solid Material Mind. material iconological design in steel_Bachelorthesis 2019. steel. 40 x 60 x 18 cm (photo Elena Steinmetz)
Cathleen Kämpfe: Necklace - The first moment. Master's degree 2018. bronze. Diameter 25 cm, height 9 cm (photo Anneke Wulf)
Patrick Amato: Objects Symbiogenesis_Bachelorthesis_2017. Aluminum, fruit woods (Photo Patrick Amato)
Carolin Gottwald: Brooch - crabs slip out of the wet sand_ Bachelor's thesis 2020. silver-plated brass, gouache (Photo Carolin Gottwald)
Lars Junker: Object. 2015. copper green patinated, glass (photo Lars Junker)
Tim Udvardi-Lakos: Brooches - The border to nothingness. Bachelor's thesis 2020. silver, steel, lacquers, 6 x 6 x 3 cm (Photo Tim Udvardi-Lakos)
Carolin Gottwald: Brooch - Crabs slipping out of the wet sand. Bachelor thesis 2020. silver-plated brass, gouache (Photo Carolin Gottwald)
Lennart Lohmann: Object. 2013. woods (Photo Lennart Lohmann)
David Müller: Easter candlestick. 2014. brass mounted and burnished. Height 124 cm (Photo Markus Robert Gisler)
Cathleen Kämpfe: Necklace - The first moment. Master's degree 2018. bronze. Diameter 25 cm, height 9 cm (photo Anneke Wulf).
Julian Steimer: Sculpture_War, Destruction, Reconstruction. The sculpture reacts to the broken edge of the sacristy ruin and transfers the forms to a space-occupying object.
Cathleen Kämpfe: various brooches. Bachelor study 2017. beech veneer, mahogany veneer, maple veneer, stainless steel (photo Cathleen Kämpfe)
Lilli Gruber: Knives made from new scrap as a potential for environmentally conscious metal design_ Bachelor thesis 2020. steel (Photo Lilli Gruber)
In the competence field of metal design, we link the contexts of art, design and craft. Jewelry and body-related objects, table culture devices and vessels, as well as architecture- and space-related works are the areas in which our students move.
The creative basis for this is a comprehensive understanding of the effect and significance of materials and forms. Here, the aesthetic, cultural and physical aspects are addressed and practiced and used both analogously and digitally.
Central intentions for design processes are our constantly changing environment, the current events of culture, and individual needs. The resulting questions are reflected upon together and the developed motifs can become profile-forming for our students.
The artistic forms of expression are free, the possibilities very diverse. Therefore, the goal of our teaching offer is to accompany and encourage you to find your own expressiveness and form of expression in your work and to develop a sense of authenticity. A vessel, a piece of furniture, a piece of jewelry, an object in relation to the body or to space, can stand for an artistic position. Thus, the tasks and results between use-oriented, applied and free, artistic orientations show.
We design objects of applied art in relation to the body and space.
Our students bring with them different levels of prior knowledge in working techniques and an understanding of materials. In our workshops, they receive correspondingly individual offers of techniques and use them creatively, innovatively and professionally.
So you can study the multiple dimensions and the interaction of space, body and material, apply them creatively in exercises and projects and develop your individual profile in the field of metal design.
According to this view, you can combine the following teaching areas or specialize in one teaching area:
Interdisciplinary exchange between faculty teaching areas and across departments and universities is encouraged.
Building on the six-semester Bachelor's program, we promote the further development of your individual design skills as well as your leadership and management skills in the four-semester Master's program.
