Graphic Design, Concept, Urban Intervention
2025

Supervision: Prof. Gerald Christ, Cecilie Behr

Parasitic Design – A Design Tactic for New Perspectives
BA Thesis

In my bachelor thesis I took an in-depth look at what defines the parasitic figure and its tactics and how this can be translated into a (critical and speculative) design practice.
Parasitic design uses the tactics of parasites as a model for a critical and subversive design practice. A parasitic tactic offers tools for intervening in existing systems from within, questioning structures, and opening up new perspectives. Parasitic Design thus becomes a means for change, criticism, and transformation. The printed documentation includes the research, the method developed from it, interviews with specialists, the process and the resulting design. During the process I created a glossary containing terms that describe the parasitic figure and practice. The terms are visually supported by scans from the environment, made with a mobile scanner. The Glossary was printed with a Risography printer. This printing method underlines aspects of the parasitic figure: traces happen by touching the ink and the structure and inconsistency in print. The glossary itself functions as a parasite by infiltrating books through its binding (Elastic Band and Draw). I also carried out an intervention in the urban space: the temporary meeting place (Temporärer Treffpunkt). A roundabout in Dessau temporarily became a social space for gathering friends and the people of Dessau. Viewers are confronted with an idea of what an alternative use of selected locations could look like. Thus it becomes a parasite in the cityscape.

Film, Graphic Design, Exhibition
2025

Supervision: Cecilie Behr, Christian Kirchner

An Interpretation of Blue

An Interpretation of Blue is an experimental approach to display the poetic dimension of the color blue. The color portays closeness and distance. This contrast evokes feelings of peace but also uneasiness. It reveals that we are limeted beings which is both terrifying and freeing at the same time. Through an installation I wanted to enhance and portray this ambivalent feeling. The installation consists of curtains and mirrors and a film, in both close-up and distant. The close-up scene is projected onto curtain fabric and the distant-shot scene is projected onto a small white cube. It is a multilayered installation with a play in material and perspective. The observer can walk through and move the curtain fabric to immerse her*himself in it completely. In addition the lyrical interpretation of blue is part of the installation. It can invite observers to indulge in the idea to discover blue as a poetic color with deep rooted meaning. Furthermore I designed two posters that were hanged up in the building to communicate where and when the installation could be seen during the Dessau Design Show 2025, one hanging infront of the room inviting people in, the other hanging at the entrance of the building giving people information about the whereabouts.

Product Design, Porcelain, Exhibition
2025

Supervision: Maria Volokhova

Kehricht

Kehricht is a translation of scrap into what was once called „white gold“, porcelain. I was interested and inspired by the contrast in material value and the intuitive form-finding process at the scrapyard. At the scrapcard I looked for shapes that could work as vessels to hold liquid, handles and other finds. Afterwards the collected pieces were then curated and assembled like a collage. This resulted in a server set made of oil and balsamic vinegar vessels. Each vessel has its own pouring experience and character in terms of shape. They originate from scrap like old pipes and similar items and are experienced now in a different light in porcelain. These were exhibited at the Dessau Design Show 2025 on a table served with oil, balsamic vinegar, bread and grapes to invite people to try out the server set.

Film, Graphic Design, Typography
2024

Supervision: Radim Pesko
Collaboration: Štěpánka Petrželová

Interplay

The Collegio del Colle in Urbino, PU was the foundation of this project. When we visited we got a feeling for this contrast of organic and geometric. There is the contrast of the static nature and material of architecture and contrary the movement and organic material of the human body and natural surrounding. The inbetween, the interaction, the interplay of these two evoked our interest. We documented our observations of this interplay through film which was then the basis for all resulting designs: two typography experiments, a short artistic film and a poster. The organic typeface resulted out of the interplay between spots of light created by architecture and the human body creating shadows. By tracing either the negative or positive space from the film stills through transparent paper we could build the letters one by one. The constructed typeface is inspired by the oval, circular, and sharp-edged shapes found in the architecture of Collegio del Colle. Thus we chose to build it in sqaures, starting to sketch on checkered paper. The poster combines the films asthetic and both experimental typefaces. It showcases the typefaces in use and how they can work on the medium of a poster.

Editorial Design, Typography
2024

Supervision: Tony Brook
Collaboration: Elisabetta Silveri

Stripped

Stripped is a pilot magazine showcasing fashion and specifically fashion designers work. The intention of this pilot magazine is to portray the designers work as what it is: art. It can therefor inspire and inform people interested in this topic. It emphasizes their work as a work of art including concept and representation of time. The design for the magazine resultes out of an interest in the receipt and archive style due to them being key elements of the fashion world itself. The font emerged from collected receipts and was put together to form a simple font (with additional elements like the code to scan, numbers) to be used as display typeface. The archive style was used in form of the archival-style staple binding with long wire staples. Furthermore the style was accented by the usage of handwritten notes giving further information.

Graphic Design, Concept
2024

Supervision: Stuart Bertolotti Bailey
Collaboration: Štěpánka Petrželová

Intangibility of Time

The project dealt with timelines. As part of the project we designed a book that explores the intangibility of time demonstrating different aspects of time being abstract and intangible: time is subjective, all there is is change, time is irrelavant to a static object. To illustrate this abstract understanding of time, we deliberately chose the orange as an ironic object of illustration. This timeline is depicted in the format of a book to emphazise the passing of time through flipping the pages and moving forward while „changing“ the object, the book.

Graphic Design, Exhibition
2023

Collaboration: Joris Graba, Moritz Michael, Charlotte Gwendoline Quandt, Lucy Dökel, Jonas Bader

What does the poster do?
Was macht das Plakat?

The poster communicates. Information as well as design are always in relation to another and can underline, comment or contradict each other. Both need to be well done and trained. In this project we worked 15 weeks to come closer to the function and understanding of posters. By a lot of designing, workshops, challenges and group discussions we designed over 335 posters together that helped us come closer to answers, reduce fear of beginning and better our skills in the adobe suit. It helped me reflect on my work and learn. We printed 50 catalouges containing all 335 posters, explanation of our work approach, challenges and personal learnings. In the end we exhibited a selection of 50 posters at the Bauhaus Mensa. To support and guide visitors we created a flyer containing a desription of our work approach, as well as explanations for each task we have undertaken and why we chose to work the way we did. Furthermore it contains the posters names, the posters designers, aswell as the exhibition poster on the back. The exhibition marked the conclusion of the project. It featured 50 selected posters in total, a few from each participant. We constructed frames for the posters that could display them on both sides. This made it easy to view the exhibited posters as you walked through the rows.