"Joep Frens, Designer/Researcher and Assistant Professor in the 'Designing Quality in Interaction' group at Eindhoven University of Technology, the Netherlands. Joep's work explores how to design for (growing) systems and the power of 'making' as a physical way of thinking. He takes a 'hands-on' approach to design based in the research-through-design method and regularly gives workshops on cardboard modeling.
Joep is a designer/researcher from the Netherlands. He holds a master degree in Industrial Design Engineering from Delft University of Technology and a doctoral degree from Eindhoven University of Technology on a thesis called: 'Designing for Rich Interaction: Integrating Form, Interaction, and Function' (2006). Currently he is assistant professor in the 'Designing Quality in Interaction' group at the same university. He teaches several courses at bachelor and master level and supervises several PhD students.
In his teaching and research Joep tries to bring together two of his fascinations: the question of how to design for (growing) systems and the power of making as a physical way of thinking. He takes a hands-on approach and is well versed in the research-through-design method. He regularly gives workshops on cardboard modeling and runs a website around the technique.
Before his doctoral research he spent a year at the Swiss Federal Institute of Technology in Zürich (ETH), and after he has been invited to teach and lecture in the USA (CMU), Germany (HFGSG, FHD), South-Korea (KAIST), China (Tsinghua University, Jiangnan university), Belgium (UA) and at several universities in the Netherlands.
Joep's lecture occurred Wednesday, October 1st at 5:00pm in MMCH A14."
Diploma Work created by industrial design student Kateřina Pražáková at the Czech Technical University, Prague in 2014.
"Tento malý přítel je určen jako dárek pro ženy trpící stresem. Může se pro nás stát blízkým tak jako hračka v dětství či pouze nástrojem, který nás nenásilnou formou dokáže uklidnit. Povrch si každý může vytvořit sám podle svých sympatií a tím se stává osobnější. Při uchopení tohoto křehkého dýchajícího stvoření můžeme příjemně relaxovat a na chvíli zapomenout na chaos kolem nás. Díky svojí velikosti jej můžeme mít stále u sebe."
And as translated from Czech to English using Google Translate: "This little friend is designated as gift for women suffering from stress. It may become for us so close like a toy in childhood or just tool that nonviolent us form can soothe. Surface everyone can create by himself their sympathy and becomes personal. In this gripping brittle breathing creature we can relax and moment, forget the chaos around us."
(Kateřina Pražáková, 2014)
[The project set out to address the problem of everyday stress through creating a stress relief ball called Breathing Friend. In doing so various materials were considered because of their significance for the target user group. The project has an anthropomorphistic aspect through its use of subtle vibration and physical warmth.]
"Design should not dominate things, not dominate people, it should help people".
(Dieter Rams, Gestalten)
"I believe that design education, at the most fundamental level, views complexity as a problem to be overcome through reductivist artifacts, not as an inevitable and pervasive attribute of life in the post–industrial community. So if the future is about an ever–expanding web of connectedness, how are we preparing students for meaningful work in this complex world? I'd like to suggest that we're not. Despite the obvious emotional impact of Glaser's poster, he belongs to a generation in which the goal of design was to make things simple. Negroponte, on the other hand, is a technologist for whom the design goal is to render the complex manageable and to make complicated things meaningful.
Almost everything about today's graphic design education is matched to Glaser's worldview. We structure both curricula and projects in craft–based progressions from simple to complex, from the abstract to the contextualized. In typography classes, for example, we begin with the letter, and then advance to the word, sentence, paragraph, and page. Sequences of typography courses are built on this simple to complex progression, when opening InDesign demands that students address the formal and interpretive issues of publication design simultaneously; how do you defer a discussion of leading, of column width, of the modernist preconceptions of software, of language? The only option is default, and what kind of typographic lesson is that?
The reality is that our strategy for teaching typography is residue from how students could comp type in predigital times; by drawing. It is the organizational structure for every type book since James Craig's 1970 Designing with Type, but it holds less relevance for what students need to know about communication in a digital world. Typography today is a complex relational system that depends on the interplay of formal, technological, linguistic, and cultural variables. Yet we persist in teaching this progression of scale, isolating such variables within their own distinct conceptual frameworks and rules.
The same strategy exists for how students progress in other studies of form. Foundation lessons begin with abstraction: point, line, and plane; color wheels; and paper–folding exercises. We defer discussions of meaning and context until later levels of the curriculum and beginning students learn these abstraction principles only through patterns in what makes their teachers smile. Nothing about these studies resembles what students know about in the real world, and as a colleague recently suggested, what the clients of design see in our work. So what if we begin with the familiar and complex?"
(Meredith Davis, 4 April 2008, AIGA Boston Presentation)
Presentation made at W/Here: Contesting Knowledge in the 21st Century, Emily Carr University of Art+Design, Vancouver, Canada, 7–9 December 2011.
"Made in Mind was founded in 2009 by Matthew Judkins and Min–Kyu Choi. The duo met on the campuses of Imperial College and the Royal College of Art and formed the company to commercialise the Folding Plug design concept that Min–Kyu developed during his studies. Numerous individuals and organisations joined Matthew and Min–Kyu along the way to contribute to the development, funding and marketing of the concept which was realised in 2012 with the launch of the Mu. Made in Mind, now consisting of a diverse team of industry and technical professionals, are in the process of extending the product pipeline and placing the Mu on the global stage."