Information
Contact
_Head of Studio
_Students
_Studio - Space for creative freedom
The broad field of design today encompasses not only the creation of products and the enhancement of their aesthetic and functional dimensions but also the design of innovative structural solutions and systems—ranging from production and sales to disposal. Design now extends into shaping the broader framework of society through design thinking, shifting from product to service. Furthermore, the impact of digital technologies cannot be ignored, as they challenge conventional thinking about design across the realms of creation, production, and user interaction.
Another dimension is its often controversial perception. On one hand, there is the idea that the role of design is to improve the world and provide solutions; on the other, we speak of the 'designer’s paradox'—the attempt to better the world through innovations that inevitably consume resources and energy, causing environmental pollution. These are often merely partial solutions within an inherently unsustainable system.
Furthermore, we observe a simplified perception of design as a 'pop' discipline primarily oriented toward profit and increased consumption, which affects its status in the cultural hierarchy as a 'lesser' form of art. Conversely, design can serve as a powerful medium for personal and cultural expression, potentially exceeding the reach of traditional art.
Recently, there has been an intensifying discussion about the necessity of a paradigm shift and the re-evaluation of design's seemingly fixed positions in a world slowly migrating into intangible digital spaces against the backdrop of the looming climate crisis.
The studio or school represents an 'incubator' that provides students with a space for free creation. However, this does not imply an isolated environment. Reflecting on and critically re-evaluating the state of the discipline, as well as perceiving the broader social, cultural, political, and ecological context, is a vital factor in the educational process.
The conceptual framework of assignments evolves from thinking in fundamental terms—material, form, function, technology—through resolving the relationship between object and environment, to more complex tasks. This means following the entire process associated with design creation, its function in relation to the user, and its role in society. It is a matter of research into design and through design, with an emphasis on an authentic authorial vision and stance.
In addressing these assignments, the keyword is PROCESS. Here, process is not merely a means to an end but an end in itself. Learning within the process means having the courage to experiment, make mistakes, discover, and progress, as well as to stagnate. The result may or may not be a materialized object; what matters is the extent of knowledge, experience, and competencies gained. Naturally, the presentation of one's own research and its results is linked to the development of communication skills, argumentation, and critical thinking.
Emphasis is also placed on the development of craftsmanship—not only in the traditional sense but also in handling digital tools. As Juhani Pallasmaa states in his book The Thinking Hand: 'In today's culture, the emphasis is on the virtual and the visual. The importance of the body in the development of creative intelligence is neglected.' Contact with material (whether real or virtual) and its processing through tools acts as an important catalyst in the creative process for finding and discovering new solutions.
doc. Mgr. art. Sylvia Jokelová
head of Studio of Experimental design