About the Doctoral Programme
The aim of this doctoral programme is to provide an academic degree (Ph.D.) for artists and designers who have already completed a master's or diploma degree at an art or design university. Per exam regulations, the four-year study programme is completed with a Ph.D. thesis, which consists of a scientific and an artistic or design component, evaluated in equal measure. The Faculty of Art and Design thus offers a dual qualification with a practical and academic degree, which is unique in Germany. Both qualifications can be used in teaching and research as well as in curatorial practice, cultural and scientific management, institutional education and culture, and similar fields. In addition, the doctoral program offers the opportunity to pursue a doctorate in collaboration with the University of Music FRANZ LISZT Weimar.
Mentoring system and study programme
Per study regulations a, each student is personally supervised by at least two university professors (or senior lecturers) for the entire duration of their studies, with one mentor representing the academic methods and the other the artistic or design methods. One of the two mentors must be from the Bauhaus-Universität Weimar, the second mentor may come from another university. No renumeration is available for external mentors. In certain cases, particularly interdisciplinary ones, where external expertise is required, additional mentor(s) may be brought in. The four-year study programme (curriculum) primarily serves to accompany and support the research at highest academic standards, and, ultimately, to develop foundational research competences and skills in the field of artistic research or design research. The curriculum primarily consists of graduate seminars, graduate colloquia, and key qualifications, including workshops, conferences, and continuing education.
Application and start of studies
Admission to the study programme is stipulated in the Entrance Examination Regulations and requires close artistic or creative and academic involvement with the teaching and research activities of the Faculty of Art and Design in general and the teaching and research focuses of the respective mentors in particular. The application deadline is usually 31 March of the year. The doctoral programme begins in the winter semester.
Contact
You can reach out to the PhD programme contact partners by e-mail at: phd.kunst-und-gestaltung[at]uni-weimar.de.
First to fourth years of study: research, reflection and qualification
Over the course of eight semesters, you will develop and work on your doctoral project independently. Your dissertation combines academic research with artistic or creative practice – both areas are given equal weight. At least two supervisors will guide you throughout your studies, contributing different disciplinary perspectives.
Graduate seminars provide specialisation in theoretical and methodological issues. In colloquia, you will regularly present your progress, discuss findings and refine your research project through academic exchange.
At the same time, you will acquire key skills such as academic and creative writing, presentation techniques, University didactics training and the principles of good academic and artistic practice. As part of a tutorial, you will also plan and lead your own or a collaborative course.
Final stage: dissertation and oral defence
To complete the programme, you will submit your dissertation, which brings together your academic and artistic or creative findings. Following the assessment, you will present and defend your work at a public defence open to the university community. Upon successful completion, the faculty will award the academic title of Doctor of Philosophy (Ph.D.).
Application process
The application process for the practice-based doctoral programme in Art and Design with the degree Doctor of Philosophy (Ph.D.) can only be submitted online via the Bauhaus.CampusPortal.
Admission to the doctoral programme generally requires a successful artistic diploma, State Exam, Magister or Master's degree (with at least a final grade of »good«) from a German university or an equivalent degree from a foreign university that corresponds to the profile of the Faculty of Art and Design.
Applicants from other disciplines who are aspiring to a doctoral degree at the interface between the respective discipline and art or design can be accepted into the doctoral programme, provided that supervision and assessment is ensured in the relevant specialist discipline. The Ph.D. graduate admissions committee decides on a case-by-case basis regarding possible additional requirements in the artistic field.
The Ph.D. programme at the Bauhaus-Universität Weimar does not automatically assign professors as mentors. Applicants are requested to directly contact professors at the Bauhaus-Universität Weimar based on their research profile and specialist expertise along with a short letter of motivation and a summary of the research project. For inquiries to artistic/creative mentors, please also include your portfolio.
Please apply up to and including 31 March of the year via our Bauhaus.CampusPortal with the following details and documents:
- A convincing exposé describing an innovative doctoral project with a specific research question and a corresponding methodological positioning at the intersection between an artistic or creative and academic discourse;
An exposé is considered convincing if it is recognisable that there is an intensive artistic or creative and scientific examination of the teaching and research focus of the respective mentor. - Work plan and timetable that shows that the project can be expected to be completed within four years;
- Documentation of a selection (portfolio) of previous artistic or creative work and, if applicable, exhibition catalogues, a list of exhibitions and public presentations, press and project reports;
- publication list of own publications;
- Proof of successful completion of a appropriate university degree by uploading the relevant certificates. Certificates and documents that are not issued in German or English must be submitted together with an official translation;
- complete curriculum vitae in tabular form with list of educational and professional achievements;
- proof of language proficiency (see above);
- stating your specialisation in art or design;
- nomination of at least two mentors, one of whom must be a professor of the Bauhaus-Universität Weimar, and their written confirmation (declaration of mentorship)
- optional: A short cover letter explaining the motivation to apply to the Ph.D. programme of the Faculty of Art and Design at the Bauhaus-Universität Weimar can optionally be attached.
Admission to the Doctoral Programme in Art and Design is decided by the Ph.D. graduate admissions committee based on a set of quality criteria. After the first round, a selection of applicants will be invited to a fifteen-minute interview with the Ph.D. graduate admissions committee. Generally, 12 to 15 applicants are accepted each year. Criteria for selection include excellent professional qualifications, high visibility, willingness and ability to work on a long-term research project, innovative methods, a clear depiction of the relationship between theory and practice in own work, and a high degree of critical reflection especially regarding overarching research interests of the Bauhaus-Universität Weimar.
We kindly ask for your patience during the admissions process.
For further information concerning the application, please contact:
phd.kunst-und-gestaltung[at]uni-weimar.de
or Katarina Steinbiß: katarina.steinbiss[at]uni-weimar.de
Application deadline:
The digital application can be uploaded from 2 February until 31 March of the respective year.
Language requirements
Teaching in the doctoral programme is conducted in German and English. With the publication of the new study and examination regulations , the following language requirements apply:
Either
- very good knowledge of the German language (at least level C1 GER)
- Proof of native language proficiency (acquisition of the higher education entrance qualification or a higher education degree in a German-speaking country) or
- Proof by means of one of the following certificates:
- DSH-2 or TestDaF, at least 4 x TDN 4
- or equivalent proof
- and good knowledge of the English language (at least level B2 GER)
- Proof of native language proficiency (acquisition of higher education entrance qualification or a 1st professional qualification in an English-speaking country) or
- Proof by means of one of the following certificates:
- IELTS Band 6,5
- TOEFL Internet-based Score 85 or better
- Cambridge Certificate B2 First (FCE)
- or equivalent proof
or
- very good knowledge of the English language (at least level C1 GER)
- Proof of native language proficiency (acquisition of a university entrance qualification or a university degree in an English-speaking country) or
- Proof by means of one of the following certificates:
- IELTS Band 7,0
- TOEFL Internet-based Score 108 or better
- Cambridge Certificate C1 Advanced English (CAE)
- or equivalent proof
- and good knowledge of the German language (at least level B2 GER)
- Proof of native language proficiency (acquisition of a university entrance qualification or a university degree in a German-speaking country) or
- Proof by means of one of the following certificates:
- DSH-1 or TestDAF, at least 4 x TDN 3
- or equivalent proof
- Proof of native language proficiency (acquisition of a university entrance qualification or a university degree in a German-speaking country) or
Important: Please submit a current language certificate with your application documents which shows that you will reach the required language level by the time of your matriculation at the latest.
Schwerpunkt Kunst (Ph.D.)
| Name | Mentoren | Arbeitstitel |
|---|---|---|
| Dilşad Aladağ | Dr. Alexandra Toland, Assoc. Prof. Dr. Aslıhan Şenel (İstanbul Teknik Üniversitesi) | Weaving Reeds: Practice-based Approaches to Reclaiming Indigenous Nomadic Pastoralist Knowledge in the Çukurova Wetlands |
| Elisa Balmaceda | Dr. Valentina Montero Peña (Universidad Finis Terrae), Prof. Ursula Damm, Dr. Mário Gomes (Universidad de Concepción) | Andean Cosmotechnics |
| Tatjana Bergelt | Prof. Dr. Christof Windgätter, Prof. Sabine Golde (Burg Giebichenstein Kunsthochschule Halle) | Objects, Rituals and Signs in Practices of Forgiveness. |
| Philipp Bieronski | Prof. Dr. Jan Willmann, Prof. Dr. Georg Trogemann (Kunsthochschule für Medien Köln) | How to shape artificial creativity? Creating an AI design methodology |
| Jörg Brinkmann | Prof. Dr. Stephan Günzel (Technische Universität Berlin), Prof. Ursula Damm | Post Physical Playgrounds |
| Jenny Brockmann | Prof. Dr. Henning Schmidgen (Fak. M), Dr. Tom Sanya (University of Cape Town) | (Un-)Gleichgewichts-Organ – BALANCE |
| Yvon Chabrowski | Prof. Dr. Matthias Bruhn (Staatliche Hochschule für Gestaltung Karlsruhe), Prof. Jörn Hintzer, Jun.-Prof. Dr. Sabine Wirth (Fakultät Medien) | MY AVATAR AND I Digitale Körper, ihre Formen und Bewegungen sowie ihr Verhältnis zu physischen und sozialen Körpern |
| Christian Dähne | Prof. Dr. Rolf Bader (Universität Hamburg), Prof. Maximilian Marcoll | Musikarchive auftauen! Vom Nachleben musikalischer Praktiken mittels Generativem Deep Learning |
| Christian Doeller | Dr. Yvonne Volkart (Hochschule für Gestaltung und Kunst Basel FHNW), Jun.-Prof. Kerstin Ergenzinger | Vegetal Diaries: Eine künstlerische Untersuchung energetischer Transduktionen von Ruderalpflanzen im urbanen Raum |
| Regine Elbers | Prof. Dr. Sabine Sanio (Universität der Künste Berlin), Prof. Nathalie Singer | Vorstellung im Dunkeln. Möglichkeiten der dreidimensionalen Hörspiel-Inszenierung mit zeitgemäßen Mitteln der elektroakustischen Kunst. |
| Luisa Eugeni | Prof. Dr.-Ing. Mona Mahall (Fak. A + U), Prof. Asli Serbest (Hochschule für Künste Bremen) | Pellegrina, Reimagining Landscape – Gender, Performativity, and the Politics of Representation |
| Vanessa Farfán | Prof. Dr. Henning Schmidgen; Prof. Hannes Brunner (Kunsthochschule Berlin Weißensee) | Maschinen mit Organen. Unberechenbare Prozesse in Zeiten der Digitalisierung |
| Xenia Fink | Disputation erfolgt | Falten-Wurf: Figurationen und Feminismen |
| Teresa Fischer | Prof. Mag. Dr. Elke Gaugele (Akademie der bildenden Künste Wien), Prof. Christine Hill, Prof. Dr. Birgit Wudtke | Femme Erasure from the 1920s until the 1950s: Queering the lesbian amateur photograph archive |
| Daniel Franke | Prof. Dr. Henning Schmidgen; Prof. Ralf Baecker (Hochschule für Künste Bremen) | Der Rückschlag Generativer KI auf unser Bewusstsein |
| Margarita Cristina Garcia | Prof. Liz Bachhuber; Prof. Ruben Zaiotti (Dalhousie University, Halifax, Canada) | Beyond Borders / Subverting Global Imag(e)ning |
| Franzi Goralski | Prof. Dr.-Ing. Mona Mahall (Fak. A + U ), Prof.in Ruth Noack (Kunstakademie Düsseldorf) | The Olfactory Pasts of Queer Spaces |
| Rico Graupner | Prof. Dr. Martin Supper (Universität der Künste Berlin); Prof. Ursula Damm | Input controlled Composition for Environments: Mittler zur ästhetischen Regulierung von öffentlichen Soundscapes. |
| Matthias Grund | Prof. Dr. Lasse Scherffig (Köln International School of Design), Prof. Dr. Birgit Wudtke | (Non-)Arbitrary Images – Generative AI and the Standardisation of Visual Culture |
| Leopold Haas | Prof. Dr. Jan von Brevern (Fak. A + U), Prof. Adrian Sauer (Hochschule Bielefeld) | THINKING WITH MODELS. Fotografische Bildkonstruktion und Objektimagination architektonischer Tragwerke |
| Miriam Hamel | Disputation erfolgt | Stadtfinden – Künstlerische Forschung im Kontext urbaner Transformation |
| Vaclav-Karel Harsa | Prof. Dr. Dennis Göttel (Freie Universität Berlin); Prof. Ursula Damm; Prof. Peter Benz | Die perspektivisch dispersive Leinwand und die daraus hervorgehenden neuen Möglichkeiten der filmischen Narration und Rezeption |
| Tim Helbig | Prof. Dr. Christiane Voss (Fak. M), Prof. Robin Minard | Das musikalische Experiment. — Zusammenhang zwischen technischer Entwicklungen und elektroakustischer Klangsprache. Neue Produktions- und Rezeptionsformen der elektroakustischen Komposition, Klangkunst und Live-Elektronik – Unter Einbezug neuer künstlerischer Arbeiten |
| Lisa Hoffmann | Prof. Dr. Elke Bippus (Zürcher Hochschule der Künste), Prof.in Dr. Almut Linde (Muthesius Kunsthochschule), Prof. Dr. Christiane Voss (Fak. M) | RESONATING TRAUMA Zur dokumentarischen Vernehmbarkeit von Traumaerleben |
| Tatiana Ilichenko | Jun.-Prof. Dr. Jasmin Degeling (Fakultät Medien); Prof. Mathilde ter Heijne (Kunsthochschule Kassel); Dr. Alexandra Toland | The Queer Subversion of Mourning Practices – How to restore the personhood of erased social agents |
| Samuel Peter Johnstone | Associate Prof. Dr. Sanne Krogh Groth (Lund University), Jun.-Prof. Kerstin Ergenzinger | Copper Ecologies: following material(s) and sounding field(s) |
| Magdalena Kallenberger | Disputation erfolgt | Working in/with/of MATERNAL FANTASIES: Artistic Research as Connective Practice |
| Paula Kaniewska | Jun.-Prof. Dr. Sabine Wirth (Fak. M), Prof.in Antje Majewski (Muthesius Kunsthochschule) | Bordering Things: Material Agency and Entanglement with Boundaries |
| Nastasja Keller | Prof. Dr. Andrea Dreyer, Prof. Monika Brandmeier (Hochschule für Bildende Künste Dresden), Prof. Dr. Christian Grüny (Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart), Prof. Wolfgang Heiniger (Hochschule für Musik Hanns Eisler Berlin) | Notation als epistiemisches Werkzeug im Kunstunterricht |
| Remi Chloe Koebel | Prof. Dr. Verena Kuni (Goethe-Universität Frankfurt am Main), Prof. Dr. Birgit Wudtke | Die synthetische Frau: Queering the Effigy |
| Marie Köhler | Prof. Dr. Lilian Haberer (Kunsthochschule für Medien Köln), Prof. Dr. Birgit Wudtke, Dr. Ibou Diop (Stiftung Stadtmuseum Berlin) | Normierte Gestaltungspraktiken? Zur Dekolonisierung visueller Medien in der gestaltungsrelevanten Lehre – eine theoretisch-künstlerische Anwendungspraxis |
| Be Körner | Prof. Dr. Rebekka Ladewig (Fakultät Medien), Prof. Samuel Nyholm (Hochschule für Künste Bremen), Dr. Alexandra Toland | Dancing on the Edges of Sanity |
| Eleftherios Krysalis | Prof. Dr. Leah Bassel (Coventry University), Prof. Nathalie Singer | Soundscapes of Western Thrace through the Politics of Listening |
| Isabella Lee Arturo | Jun.-Prof. Dr. Maurice Jakesch (Fak. M), Prof. Ursula Damm | From Screen To Flesh: Generative AI, Social Media, and Political Discourse During Armed Conflicts. |
| Janna Lichter | Disputation erfolgt | Feminist Artistic Research (FAR): Agencies, Spaces, and Conversations |
| Roman Liška | Dr. Nina Wakeford (Goldsmiths University of London), Prof. Jana Gunstheimer | CONTENT MACHINE how contemporary painting practices and internet culture intersect to form hybrid entities |
| Yutaka Makino | Prof. Dr. Henning Schmidgen; Prof. Christopher Lloyd Salter (Concordia University); Baltimore Professor Shinsuke Shimojo (California Institute of Technology) | Towards Uncertainty: Exploratory Experimentation on Perception |
| Barbara Marcel | Prof. Dr. Michael Lüthy; Prof. Dr. Livia Flores Lopes (Universidade Federal do Rio de Janeiro); Dr. Alexandra Toland | Ciné-Cipó // Cine Liana: Ecologies of the expanded garden |
| Angela Matthies | Prof. Dr. Michael Lüthy (Staatliche Akademie der Bildenden Künste Stuttgart), Prof. em. Alexander Roob (Staatliche Akademie der Bildenden Künste Stuttgart), Prof. Dr. Jan Willmann | Digital und real - Gemälde in Museen |
| Teresa Mayr | Prof. Dr. Friedrich von Borries (Hochschule für bildende Künste Hamburg), Prof. Björn Dahlem | Horizon Disappearing: Wer Hilma af Klint gewesen sein wird |
| Irène Mélix | Disputation erfolgt | Raw Diamonds, Dust and Splinters — Artistic Practices of Queering Historiographies |
| Julia Verónica Mensch | Dr. Alexandra Toland, Prof. Claire Pentecost (School of the Art Institute of Chicago SAIC), Dr. Yvonne Volkart (Hochschule für Gestaltung und Kunst Basel FHNW) | Amaranth as Political Agent |
| Anna Mészáros | Prof. Dr. Jasper Cepl (Fak. A + U), Prof. Manfred Pernice (Universität der Künste Berlin), Jun.-Prof. Dr. Grischa Bertram (Fak. A + U) | SHIFTING REALMS: Public Space, Urban Memory, Bodies, Transformation and Dramaturgies of Interruption — hybrid objects, assembled spaces, and collaged places in courses of presentation |
| Gabriel S Moses | Prof. Dr. Timon Beyes (Leuphana Universität Lüneburg); Prof. Ursula Damm | The Crisis of Knowledge Representation: Digital Culture Festivals as Spectacle and Performance |
| Ann-Kathrin Müller | Prof. Dr. Michael Lüthy (Staatliche Akademie der Bildenden Künste Stuttgart), Dr. Frances Robertson (The Glasgow School of Art), Prof. Jana Gunstheimer | Entwurf des Bildes als eigenständiger Bedeutungsträger in der Ko-Genese mit dem geschriebenen Text |
| Elias Müller | Jun.-Prof. Dr.-Ing. Grischa Bertram (Fakultät Architektur und Urbanistik), Prof. Nicole Vögele (Hochschule für Bildende Künste Dresden) | Borderless Borderlands. Filming changing landscapes of inner-European borders from a social-ecological perspective |
| Christian Andrés Parra Sánchez | Prof. Dr. Andrea Dreyer, Prof. Stephan Schulz (Hochschule Wismar) | So weit das Auge reicht… Erforschung postvisueller und transsensorischer Dimensionen anhand gestalterischer und künstlerischer Strategien zur Förderung eines Begreifens von Hyperkomplexität im gesellschaftlichen, künstlerischen sowie pädagogischen Kontext. |
| Evelina Rajca | Prof. Dr. Michael Lüthy; Prof. Ute Hörner (Kunsthochschule für Medien Köln); Prof. Dr. Jan Willmann | Architekturen der Mü(n)digkeit |
| Vanessa Maia Ramos-Velasquez | Disputation erfolgt | Anthropophagy! Who Is Eating Who? |
| Robert Rehnig | Prof. Dr. Christiane Voss (Fak. M), Prof. Ipke Starke (Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig), Dr. Louis d'Heudieres | Klangkunst der Stille - Über das Wesen der Stille und eine Systematik nichtklingender und stillbezogener Klangkunst |
| Natalia Irina Roman | Prof. Dr. Frank Eckardt; Prof. Christine Hill; Prof. Ellen Driscoll (Bard College) | Along the Lines: An art space at the city scale in former signal towers |
| Esther Rosiny-Wieland | Prof. Dr. Christiane Voss (Fakultät Medien), Prof. Monika Rinck (Kunsthochschule für Medien Köln), Prof. Tina Tonagel (Kunsthochschule für Medien Köln) | Sound of Writing |
| Felix Sattler | Prof. Dr. Sharon Macdonald (Humboldt-Universität zu Berlin), Prof. Christine Hill | Das Flechtwerk des Wissens. Vom Künstlermuseum zum transversalen Kuratieren |
| Karoline Schneider | Jun.-Prof. Dr. Jasmin Degeling (Fakultät Medien), Prof.in Antje Majewski (Muthesius Kunsthochschule) | Kauri – Grenzobjekt, Gefäß, Vampir und Verwandte |
| Diana Sirianni | Prof. Dr. Andrea Dreyer, Prof. Dr. Ute Schlegel-Pinkert (Universität der Künste Berlin), Univ.-Prof. Mag. PhD. Elke Krasny (Akademie der bildenden Künste Wien) | The Artists’ Liberation Workshop: Radical Care as Aesthetic Form? |
| Selene States | Prof. Dr. Kristin Marek; Dr. Amy Holroyd Twigger (Nottingham Trent University) | A Suite of Changes–A Political Timeline of the Pantsuit 1919–1946 |
| Katarina Strasser | Prof. Dr. Kristin Marek, Prof. Till Ansgar Baumhauer (Hochschule für Wirtschaft und Umwelt Nürtingen-Geislingen HfWU), Prof. Veronika Aumann (Staatliche Akademie der Bildenden Künste Stuttgart) | Materielles und Immaterielles gemeinsam denken. Digitale Bilder und textile Praktiken zwischen Materialität, Zeitlichkeit und Wahrnehmung. |
| Caroline Streck | Prof. Dr. Kristin Marek, Prof. Katharina Hinsberg (Hochschule der Bildenden Künste Saar) | Fragmentierte Körper, feministische Refraktionen: Eine Untersuchung sakraler Glasmalerei und ihrer zeitgenössischen Transformation |
| Mikhail Tolmachev | Prof. Dr. Lorenz Engell (Fak. M), Prof. Clemens von Wedemeyer (Hochschule für Grafik und Buchkunst Leipzig) | The Feat: the iconography of the Grekov’s war painting studio |
| Lena Trost | Disputation erfolgt | Embodiment of the Volatile. The Ability to notice that a Substance is present. Or: How Glass becomes Odor. |
| Julius Voigt | Prof. Dr. Joseph Imorde (weißensee kunsthochschule berlin), Prof. Jana Gunstheimer, Gastprof. Antje Engelmann (Universität der Künste Berlin) | AesthEthics of Reproduction. Die Farbreproduktionen und Wanderausstellungen der UNESCO von 1946-1979. (Kunst- und Kulturwissenschaftliche Kritik / Künstlerische und Kuratorische Forschung) |
| Katja Marie Voigt | Disputation erfolgt | Szenarien autonomer Fremdbestimmung – Erlebniszentrierte Forschung in der Kunst |
| Harriet von Froreich | Disputation erfolgt | Porosität annehmen: Scores for Earthly Survival. Eine künstlerisch-forschende Untersuchung zu Event Scores und ökologischer Verbundenheit |
| Anja Vormann | Prof. Dr. Michael Lüthy; Prof. Ursula Damm | Ästhetische Oszillationen zwischen Heterotopien erster und zweiter Ordnung |
| Claire Waffel | Prof. Dr. Ines Weizman (Royal College of Art London), Prof. Danica Dakic (Kunstakademie Düsseldorf), Dr. Alexandra Toland | At the Edge of Retreat: Artistic Research in Villages Facing Sea-Level Rise |
| Louise Walleneit | Prof. Giaco Schiesser (Zürcher Hochschule der Künste, ZHdK); Prof. Alba D’Urbano (Hochschule für Grafik und Buchkunst Leipzig); Prof. Dr. Christof Windgätter | Interface Textil |
| Melina Weissenborn | Prof. Dr. Christof Windgätter, Prof. Clemens von Wedemeyer (Hochschule für Grafik und Buchkunst Leipzig) | Galateas Schwestern ‐ Visuelle Strategien zur Verlebendigung von Social Robots |
| Jakob Margit Wirth | Prof. Dr. Gregory Sholette (City University of New York), Prof. Luzius Bernhard (Universität für angewandte Kunst Wien), Prof. Dr. Kristin Marek, Florian Malzacher | Parasite Art: needed research on a subversive practice on the edges of art |
| Lea Maria Wittich | Prof. Dr.-Ing. Mona Mahall (Fak. A + U), Prof. Danica Dakic (Kunstakademie Düsseldorf), Dr. Alexandra Toland | Postgenial ‐ über die Möglichkeit einer nichtmenschlichen Genialität |
| Ulaş Yener | Prof. Dr. Frank Eckardt (Fak. A + U), Prof. Ursula Damm | Fremde Türen: Interactive Media Archive as Realm of Memory Focusing on 60 years History of Turkish Immigration in Germany |
Schwerpunkt Design (Ph.D.)
| Name | Mentoren | Arbeitstitel |
|---|---|---|
| Nawar Alhusari | Prof. Dr. Frank Eckardt (Fak. A + U), Prof. Ulf Aminde (weißensee kunsthochschule berlin); Prof. Markus Weisbeck | The Visual Identity of the Political and Social Poster in the Middle East |
| Lisa Borgenheimer | Disputation erfolgt | Informing Information. |
| Yin Wisanukorn Boribun | Prof. Dr. Eva Hornecker (Fak. M), Prof. Dr. Frank Heidmann (Fachhochschule Potsdam) | Searching as a Learning Process (SAL) – The Potential of Transforming Learning through Immersive Technologies and Intelligent Systems |
| Rolf Brändle | Prof. Dr. Jörg Petruschat (weißensee kunsthochschule berlin), Prof. Wolfgang Sattler, Prof. Dr. Jan Willmann | Epistemologie der Modelle – Forschung durch Design am Beispiel transformativer Nachhaltigkeitsforschung |
| Johannes Buchner | Prof. Dr. Andrea Dreyer, Prof. Bernd Rudolf (Fak. A + U) | Ein Medium der Umweltgestaltung: Der Scripted Space der Clubarchitektur untersucht mit dem Game-Study-Konzept der Involvierung |
| Timm Burkhardt | N.N., Prof. Wolfgang Sattler | Entwicklung eines niederkomplexen Bausteines für homogene modulare selbst konfigurierende Robotersysteme |
| Clara Sofia Fernández Rodriguez | N.N., Jun.-Prof. Dr. Thomas Pearce, Prof. Barbara Schmidt (weißensee kunsthochschule berlin) | Digital Mycelium |
| Lynn Harles | Dr. Alexandra R. Toland, Prof. Kora Kimpel (Universität der Künste Berlin) | Design. Research. Laboratory. Mapping the epistemic landscapes of design: critical historiographies, knowledge cultures, institutional innovation, and the geopolitical. |
| Julia Heinemann | Prof. Dr. Andrea Dreyer; Prof. Peter Benz, Bauhaus-Universität Weimar | Wieviel Raum braucht das Denken? |
| Josha Helmchen | Prof. Dr. Jan Willmann, Prof. Dr. Volker Helm (Fachhochschule Dortmund) | DESIGN BY RESOURCES: Potenziale KIgestützter Entwurfsprozesse in der zirkulären Architektur |
| Maren Klamser | Prof. Dr. Jan Willmann, Jun.-Prof. Dr. Thomas Pearce, Prof. Dr. Luise Göbel (Fak. B + U) | Design für das Anthropozän: Nutzungspotenziale anthropogener Ressourcen unter der besonderen Berücksichtigung von Urban Mining-Prinzipien am Beispiel des hochwertigen Recyclings von Ziegel- und Mauerwerkbruch. |
| Anna Lukasek | Prof. Dr. Susanne Hauser (Universität der Künste Berlin); Prof. Axel Kufus (Universität der Künste Berlin); Prof. Dr. Jan Willmann | Das Kuscheltier im Zeichen des Animal Turn. |
| Marjolein Mulder | Prof. em. Dr. Uta Brandes (Köln International School of Design), Prof. Wolfgang Sattler | Zwischen den Stühlen: Zu Gender-Einflüssen bei der nutzerischen Interaktion mit Sitzmöbeln |
| Mira Müller | Prof. Dr. Katrin Köppert (Humboldt-Universität zu Berlin), Jun.-Prof. Dr. Thomas Pearce | Posthumanistische Re-Fabrikation. Ansätze für eine nicht-menschzentrierte Gestaltungs- und Herstellungspraxis anhand des Holzbiegens und der Praxis des Reverse Design |
| Elias Naphausen | Prof. Dr. Jan Willmann, Prof. Andreas Muxel (Hochschule für angewandte Wissenschaften Augsburg) | Die Stimmen der Anderen - ein prototypisches Gestaltungswerkzeug für das akustische Design nicht-anthropomorpher Roboter am Beispiel kollaborativer Robotik |
| Christina Pouss | Prof. Dr. Eva Hornecker (Fakultät Medien), Prof. Betty Schimmelpfennig (Hochschule RheinMain HSRM), Prof. Dr. Claudia Felser (Max-Planck-Institut für chemische Physik fester Stoffe in Dresden) | Layers of Understanding: Designing and Evaluating Interactive Installations |
| Masihne Rasuli | Prof. Dr. Christof Windgätter, Prof. Dirk Wachowiak (Hochschule Trier) | Gestalterisches Schaffen und Erbe von Arno Drescher (1882–1971). Eine Aufarbeitung des Nachlasses sowie der Versuch der designhistorischen Einordnung der gestalterischen Arbeit des Grafikers und Typografen Arno Drescher im Kontext wechselnder politischer Systeme. |
| Klea Marie Schlimm | Prof. Dr. Jan Willmann, Prof. Gerrit Babtist | Al and the Transformation of Creative Practice in Product Design - Developing a Designer-Centred Framework for the Methodological Integration of Generative Processes into the Design Workflows |
| Martin Schmidt | Prof. Dr. Jan von Brevern (Fak. A + U), Jun.-Prof. Dr. Thomas Pearce | Photoplastese: Über die Konstruktion einer parametrischen Kamera zur Beobachtung und Materialisierung von Punktwolken |
| Nele Seifert | Prof. Dr. Christiane Voss (Fakultät Medien), Prof. Jakob Hüfner | >> Teens on Screen << Filmische Szenografien jugendlicher Räume im ostdeutschen Kino der 2000er Jahre – Codierung von Klasse, Repräsentation und ästhetische Verantwortung |
| Lin Sheng | Prof. Dr. Friedrich Weltzien (Hochschule Hannover), Prof. Martin Hesselmeier, Prof. Dr. Berit Greinke (Universität der Künste Berlin) | Alle Dinge sind naive freie Verse – die Animismus interpretieren durch die Kombination der smarten Textilen und Interface-Design |
| Szandra Tebbe | Prof. Dr. Andrea Dreyer, Prof. Wim Westerveld (Weißensee Kunsthochschule Berlin) | Visual activism: Gestaltung als Werkzeug der Teilhabe. Auseinandersetzung mit ausgewählten Fotografien der deutschen Kolonialzeit. |
| Jordi Tost Val | Prof. Dr. Eva Hornecker (Fak. M), Prof. Dr. Frank Heidmann (Fachhochschule Potsdam) | Mediating Irritations – A Practice-Based Approach to Criticality and Speculation Towards Alternative Design Spaces |
| Natascha Tümpel | Prof. Dr. Michael Lüthy; Prof. Michael Renner (HGK FHNW, Basel); Prof. Dr. Jan Willmann | Dialogische Handlungsstrategien des digitalen grafischen Entwerfens |
| Rosa van Koningsbruggen | Prof. Dr. Eva Hornecker (Fak. M), Assistant Professor dr.ir. Bart J. Hengeveld (Eindhoven University of Technology) | Physicalising the personal everyday: exploring dynamic data physicalisations that represent personal data in the everyday life |
| Lara Wilkin | Prof. Dr. Jan Willmann, Prof. Andreas Mühlenberend, Prof. Dr. Thomas Felderhoff (Fachhochschule Dortmund) | Die anatomische Verschmelzung von Körper, Medizintechnik und Design – Entwicklung eines leichten modularen Unterarm-Prothesensystems mit integrierter Störfrequenzfilterung |
Alumni
Absolventinnen und Absolventen Ph.D. »Kunst und Design«
Absolventinnen und Absolventen Ph.D. »Freie Kunst«
Absolventinnen und Absolventen Ph.D. »Medienkunst«
Working Titles - Journal for Practice Based Research
Working Titles is an online journal for practice-based and led research initiated by students enrolled in the Ph.D. program Art and Design. By ‘working titles’ we hint at the journal’s main objectives: To serve as a platform for the presentation of research carried out through any practice – from oil painting to anarchist urban plumbing – and to facilitate self-publishing. Contributors submit their papers to a non-blind peer review by those they deem suitable, regardless of their academic affiliation, and based on friendship and trust.
Dr. Enrica Fantino
Quality Management and Degree Programme Development Officer