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Bunte quadratische Objekte (ohne Flächen) aus dem Studiengang Produktdesign

The master's program in design at the University of Applied Sciences  Potsdam has a thesis- and research-oriented study structure. This enables you to acquire complementary and in-depth knowledge in various areas of communication, product or interface design following your first degree.

Degree:
Master of Arts
Type:
Full time
Course language:
German
Standard study period:
2 semesters
Start of study:
Summer semester
Winter semester
Registration for the qualifying examination:
bis 15.06. für das Wintersemester / bis 15.12. für das Sommersemester
Application deadline:
15.06. – 15.08. und 15.02. – 15.03. (NC program).
Admission requirements:
First university degree with professional qualification, passed qualifying examination
Credits:
60 ECTS credits
Module Manuals & Regulations
The Study

New design solutions

With the aim of grasping complex interrelationships of the subject and being able to develop appropriate conclusions and reactions, taking into account consequential effects, the student is given the opportunity to qualify in a research-oriented field to a special degree. The in-depth study of the subject is fundamentally embedded in higher-level transdisciplinary issues. This takes into account the continuous expansion of the sphere of influence of design on social transformation processes (e. g. in the contexts of climate change, energy and mobility transition, digitalization).

Wand voller Zettel, davor ein Monitor

The focus of the master's program in design is the extensive design project of the master's thesis in terms of content as well as design. It offers students the opportunity to deal intensively with a topic and to carry out a complex design project to a high degree of independence. Whether the master's thesis focuses more on a concrete design issue or a content-related theoretical issue can be decided by the students as part of the application process. The respective project should lead to new insights or new design solutions in its problem definition and thus contribute to the expansion of the current state of the relevant field or a transdisciplinary question. A disciplinary or transdisciplinary relevant problem as such is to be dealt with comprehensively, systematically and in detail within the framework of the studies and to be analyzed and critically justified in detail with regard to the state of development and knowledge.

Is this course of study a good fit for you?

You would like to deepen your knowledge in the different areas of communication, product or interface design? Are you a creative problem solver? Do you want to gain a special qualification in a research-oriented field? The Master's program in Design at the University of Applied Sciences Potsdam offers you these opportunities. You will be in close contact with teachers of the department and your fellow students.

In the Master Design program, you plan and design according to a vision. You solve problems on a formal and aesthetic level and are enabled to penetrate and carry out extensive design, development and transformation processes in terms of form, content and structure. The systematic consideration of ecological necessities and socio-economic framework conditions is an integral part of the design studies.

Showcase

Let yourself be inspired! In our virtual showcase you will find current projects and works from the study programs of the Design Department.

Showcase of the design department

Projects of the Design Department

Weitere Projekte
No content available.

Contact

The colleagues of the Student Counselling Service inform prospective students, first-year students, parents, teachers and students on all general questions about the study. For specific questions and concerns about the master's program, please contact the Student Counselling Service for Design.

Prof. Dr. Frank Heidmann
Forschungsprofessor für Design of Software Interfaces
Studiengangsleiter für Design (M. A.)
Anouk Meissner, M.A.
Wissenschaftliche Mitarbeiterin und Pro-Dekanin für Studium und Lehre
Geschäftsstellenleitung/Finanzen am Fachbereich Design
FB-Entwicklung/Studienreformprozess & Qualitätsentwicklung
Wissenschaftliche Koordination für das Masterprogramm
Departmental Exchange-Coordinator

These degree programs might also interest you

Weitere Studiengänge
Degree program Teaching language Start of study Application deadline
MA Design German Summer semester, Winter semester
15.06. – 15.08. und 15.02. – 15.03. (NC program).
Registration for the qualifying examination: bis 15.06. für das Wintersemester / bis 15.12. für das Sommersemester
MA European Media Studies German Winter semester
until 01.06. at the University of Potsdam
Career Prospects

Career Prospects

The Master's degree in Design is internationally renowned. In addition to access to management positions or to the higher service, the entitlement to acquire a doctorate also opens up the path to an academic career for them.

Business and public institutions

In particular in business and public institutions, designers are no longer just experts  for solving specific formal, aesthetic problems. Increasingly, they are taking on the leadership of interdisciplinary teams because of their ability to plan and design in a visionary and integrative way across different technologies and media formats 

Possible career fields:

  • Leadership, planning and coordination
  • Project management
  • Organization and monitoring of efficiency assurance, evaluation and controlling systems
  • Development of appropriate regulations

Science and research

In recent years, the role of design in research projects has changed significantly. Especially in related sciences (such as computer science for interface design), a significantly increased demand for qualified interface designers can be noticed. But designers are also playing an increasingly important role in other scientific disciplines. 

Possible career fields: 

  • Communication of complex research results using interactive technologies (Public Understanding of Sciences)
  • Visualization of data
  • Construction and implementation of qualitative and quantitative user studies

These degree programs might also interest you

Weitere Studiengänge
Degree program Teaching language Start of study Application deadline
MA Design German Summer semester, Winter semester
15.06. – 15.08. und 15.02. – 15.03. (NC program).
Registration for the qualifying examination: bis 15.06. für das Wintersemester / bis 15.12. für das Sommersemester
MA European Media Studies German Winter semester
until 01.06. at the University of Potsdam
Study Contents

Course of Studies

The two-semester master's degree program in design is designed as a full-time, face-to-face program and concludes with a Master of Arts degree.

Students who have to fulfill requirements (with less than 240 ECTS) will have their study time extended accordingly. Similarly, students who, for example, are caring for their children or working can apply for individual part-time study.

 

1st semester Specialization, reflection, science methodology + design research, tutoring/mentoring
2nd semester Design discourse + argumentation, master's thesis (thesis and presentation)

The one-year master's program focuses on a specialization in the areas of communication, product, or interface design.

Learn more about the concept, design fundamentals & theory of our design degree programs.

Master Design Studienverlauf
Beispielhafter Studienverlauf für den Master Design

The 1st semester of the master's program includes two design projects. The projects optionally address specialization with regard to technological, methodological as well as social issues of design or reflection as an analytical and critical examination of design-specific - technological, aesthetic, ecological, economic, social and ethical - issues. Both variants of the design project take up a current - often transdisciplinary - social problem and place design as a researching practice at the center of design. In this context, the practical application of design can take the form of speculation, artistic practice, or science-oriented problem solving. As a rule, the design project allows for a connection to the individual questions of the master's thesis and in this way enables an initial iteration of design and reflection within the framework of the thesis. The connection with the respective master thesis is thus possible, but not a must. Likewise, the design project can be used to acquire deeper knowledge and practical experience in the design application of new technologies - e.g. in the context of Mixed Reality, AI, IoT - or to sharpen critical and analytical thinking skills in connection with the design documentation and staging of the research process.

The design project is flanked by a theory and methods seminar that focuses on teaching and discussing relevant theoretical approaches, methods and procedures in the design process. The application to the student's own research question ensures the continuous development of the thesis and reflection on the scientific-methodological foundation of the work. The theory and methods seminar must be taken a total of two times. The colloquium character of the thesis development courses ensures the continuous monitoring of the master's thesis and supports the students in reflecting on their research practice and argumentation for specific design decisions in the circle of fellow students.

Parallel didactic experience is to be gained in the "Tutoring/Mentoring" module in the form of the student's own condensed teaching proposal. The offers can take place under the supervision of teachers in the form of workshops or block courses accompanying regular courses or in the context of the project weeks at the beginning of each winter semester.

In addition to discussing current developments in design research, the second thesis development course offers the opportunity to practice scientific writing and argumentation for the master's thesis. Typical exercise formats aim to collaboratively develop short scientific papers for submission to design conferences in the course.

Parallel to this, the 2nd semester also focuses on working on the master's thesis. Six months are available for the research, design, documentation and staging process.

The university-public presentation of the research results of the master's thesis and the defense in the professional discourse form the conclusion of the master's program.

Study contents

Teaching formats

  • Lectures
  • Seminars
  • Workshops
  • Reading Group

Design project

  • Specialization regarding technological, methodological as well as social issues of design

    or 
  • Reflection as an analytical and critical examination of design-specific - technological, aesthetic, ecological, economic, social and ethical - issues

Thesis development I

  • Providing and discussing relevant theoretical approaches, methods and procedures
  • Continuous thesis development and reflection on the scientific methodological foundation of the thesis through application to the student's own research question
  • continuous supervision of the master's thesis

Tutoring/mentoring

  • Supervision of teachers in the form of workshops or block events accompanying regular courses or as part of the project weeks at the beginning of each winter semester 

Thesis development II

  • Discussion of current developments in design research
  • Scientific writing and argumentation for the master thesis
  • Short scientific papers for submission to design conferences (collaborative development in course)

Thesis

Whether the master's thesis in the design program focuses more on a concrete-creative or a content-related-theoretical issue can be decided by the students in the course of the application.

  • Six months for the research, design, documentation and staging process
  • Free choice of topic or tie-in to current research and development projects of the University of Applied Sciences
  • University public presentation of research results
  • Defense in professional discourse

Modulhandbücher & Ordnungen

Eine detaillierte Beschreibung der Studieninhalte, Studienverlaufspläne und Beschreibungen einzelner Module des Studiengangs Design finden Sie im Modulhandbuch sowie in der fachspezifischen Studien- und Prüfungsordnung.
Weitere Dokumente können in den Amtlichen Bekanntmachungen recherchiert werden.

Contact

Student Counselling Service

Anouk Meissner, M.A.

Anouk Meissner, M. A.

Wissenschaftliche Mitarbeiterin und Pro-Dekanin für Studium und Lehre
Geschäftsstellenleitung/Finanzen am Fachbereich Design
FB-Entwicklung/Studienreformprozess & Qualitätsentwicklung
Wissenschaftliche Koordination für das Masterprogramm
Departmental Exchange-Coordinator

Student Counselling Service for Design

Prof. Dr. Frank Heidmann

Prof. Dr. Frank Heidmann

Forschungsprofessor für Design of Software Interfaces
Studiengangsleiter für Design (M. A.)
Application

Qualifying Examination & Enrollment

The registration for the qualifying examination is possible from 01.11. to 15.12. to the next summer semester and from 01.05. to 15.06. to the next winter semester.
Subsequent enrollment is always possible from 15.12. to 15.02. to the next summer semester and from 15.06. to 15.08.to the next winter semester. 
If you meet the entry requirements and passed aptitude test, you can submit an enrollment application. Please note the following, program-specific information:

Access Requirements

For enrollment in the admission-restricted master's degree program in design, you need a first degree qualifying you for a profession with a total of 240 ECTS-credit points or at least 180 ECTS-credit points in a design degree program or a design-oriented degree program at a university of applied sciences, university of applied sciences or university of the arts.
Another requirement is the successful participation in the course-related aptitude test in the form of a digital presentation of the proposal for the master's project and the digital presentation of a portfolio, as well as the submission of a maximum of ten work samples, if applicable.

The proposal can be a topic of the student's own choice or can be linked to a project topic or research project specified by the Design Department. For more information, see Proposal.

Registration for the qualifying examination

The aptitude test is conducted each winter and summer semester. Currently, you can register until 15.06. for a study start in the winter semester.

You can apply online in the registration portal for the qualifying examination.

In addition, the following documents must be submitted digitally to the registration portal by the deadline along with the application:

  • Letter of motivation of 1.5 to 2 pages
  • Tabular curriculum vitae
  • Certificate(s) of graduation or current transcript of records with ECTS credits earned to date and grade earned to date, if degree program has not yet been completed
  • Abstract from the proposal, 1 DIN A4 page with the following information: 1. title, 2. brief description, 3. central question, 4. design project
  • Topic proposal for the Master's project (Proposal), in detail 
  • Portfolio with your previous work
  • If applicable, references/contracts of internships and/or professional work
  • if applicable, list of awards and prizes, projects and publications as well as further education and training relevant to artistic design 
  • if applicable, application for disadvantage compensation for the qualifying examination

The documents can be submitted in German or English language.

Registration portal of the qualifying examination

Suitability test

The qualifying examination usually takes place at the university's facilities. It can be conducted in a university-public event as an individual examination of approximately 20 minutes in length or as a group examination with an appropriately adjusted total duration.

The qualifying examination is structured as follows:

  • digital presentation of the  proposal for the master project combined with an interview in front of the responsible commission,
  • digital presentation of a portfolio and, if applicable, submission of recent work samples and/or projects and publications upon request of the commission.

For detailed information on the evaluation criteria and instructions for theproposal, please click here.

After the Qualifying Examination

The determination of artistic suitability for the course of study is generally valid for the enrollment period immediately following the determination procedure for the winter or summer semester, which must be stated in the application for the aptitude test. In individual cases, the Master's Commission decides.

After successfully passing the aptitude test, you can apply for the degree program via the portal MyCampus .

Application via MyCampus

Enrollment Application

The enrollment application is submitted online at MyCampus University Portal of the University of Applied Sciences Potsdam and must then be submitted in paper form together with the supporting documents listed in the application. Please see our further information on enrollment. The date of the enrollment deadline (receipt of mail at University of Applied Sciences Potsdam) applies to the submission of documents.

Documents to be submitted

  • Officially certified copy of the university entrance qualification or university degree certificate
  • Health insurance certificate of the statutory health insurance for students or proof of exemption from the statutory insurance obligation via the electronic student registration procedure
  • Deposit slip/confirmation of semester fee and other fees, if applicable 
  • If applicable, certificate of exmatriculation from the last university attended
  • if applicable, further documents according to enrollment application or enrollment notification
  • Image for the issuance of the Campus.Card

General information on application and enrollment procedures

There are various application procedures at the University of Applied Sciences Potsdam. General information on application and enrollment procedures as well as information on part-time studies, guest auditorships, and second degree studies can be found on the general application pages.

General information about the application

International Applicants

You would like to apply for studies from the first or a apply for a higher semester and have obtained your school and/or university degree abroad? If so, you can have degrees and achievements obtained abroad recognized and study with us.

International Applicants

Proposal

Current proposals for the master project

The proposal is an admission requirement for the master's degree in design. It may be a topic of the student's own choosing or it may dock with a project topic or research project specified by the Design Department. A selection of project topics for Master's theses of the department and contact person can be found on this page. 

Our research and development topics can be found on the pages of our departmental labs IDL: Interaction Design Lab and UCLAB: Urban Complexity LabIn addition, you can use the filter function to search specifically for other projects of the Design Department 

Our projects

The virtual extension of the visual reality that surrounds us has begun and will spread in the coming years through the use of increasingly inconspicuous and intuitive tools such as AR glasses.

We are interested in projects that address the role of graphic design at this intersection of real space and the virtual interface. Proposed projects can be application-oriented and realistic but also artistic and speculative. However, the focus of all projects should be on changing visuality and graphic design. What will our world look like in the future? How will we remember our daily visual experiences in the near future and will we still be able to distinguish which of them were real and which were not?

Contact: Prof. Sven Völker

We are looking for projects at the intersection of art and design. Our focus is on the graphic designer as author and visual storyteller as well as on the exploration of new graphic techniques and the invention and discovery of new images and undiscovered visual worlds.

We do not distinguish between art and design and are interested in projects that would benefit from this position and furthermore support our mission to bring both disciplines back closer together. This aspect is also gaining momentum in the increasingly socially critical roles and functions of design and the designer.

Contact: Prof. Sven Völker

Concept & design of system, services and system components for an intermodal, in operation climate neutral, resource efficient logistics system for metropolitan areas.

Studies and pilot projects on last mile logistics suggest that the combination of bicycle logistics, micro-depots, micro-hubs, novel container systems, new forms of parcel delivery, bundling of transports, novel vehicles, and shifting transports to rail vehicles can reduce the negative impacts of inner-city traffic to a very large extent.

The ICL project will develop a system design study for an effective, environmentally friendly logistics system for the Berlin and Potsdam regions. This will combine the potentials of digitalization, automation, bicycle logistics, electric drive and rail transport, making them tangible.

Background

Besides private cars, logistics and parcel delivery contribute significantly to pollutants, noise emissions, and land consumption and accidents in urban transport.

To meet the urgently needed 1.5 degree climate target agreed in Paris, all German transport must become climate neutral within 10-15 years. However, according to the Federal Environment Agency, greenhouse gas emissions from transport rose by 0.7 percent from 2018 to 1019.

A study by the International Council on Clean Transportation (ICCT) research institute found that air pollution from traffic is responsible for about 13,000 premature deaths annually in Germany.

Today's common, rapidly growing city logistics have a significant footprint, and parking, loading and unloading in particular significantly impede the expansion and use of bicycle infrastructure and contribute to accidents and traffic disruptions.

Germany is just beginning to selectively shift commercial transportation to small, light emission-free vehicles such as cargo bikes and light electric vehicles. The WIV-RAD study published by the BMVI puts the shift potential from commercial transport to cargo bikes (reduction of trips by cars, vans, trucks) at 22.6 %.

Currently, inner-city transport of goods by rail vehicles using the infrastructure available for passenger transport is still almost without significance. However, previous studies at FHP have shown that existing inner-city rail systems can be a very good basis for low-emission, space-saving and efficient supply and disposal in urban areas. This finding is supported by various stu-dies.

Supply and disposal in urban areas today is done almost exclusively by vans and trucks with diesel engines. These are usually so dimensioned that they can take up the maximum quantity of goods which are to be transported on a route, usually on a working day. This means that a package weighing a few hundred grams is driven to the door of the recipient's home in a large 3.5 ton transporter. To a large extent, transport vehicles are basically used as rolling warehouses, which are completely oversized for point-to-point delivery.

Mobility Design Lab

Intermodal City Logistics (ICL) is a project of the Mobility Design Lab (MDL) which focuses on the conception, design of novel systems and vehicles which are suitable to give impulses for the short-term change to low-emission and climate-neutral mobility. For research, testing and prototyping, the MDL has state-of-the-art 3D technology such as a BigRep large-format 3D printer and an Artec Leo handheld scanner

Contact: Prof. Holger Jahn

Even though the basic principles of Machine Learning have been known for a long time, the power of this approach has massively increased in recent years due to the vast amount of data available and due to massive computing power of today's machines and networks. What does that mean for design?

We welcome applications which explore the potentials of this technology for design, be it using ML to improve the design process or be it designing for systems which are based on ML.

Contact: Prof. Reto Wettach

There has been a lot of discussion in popular media (as e.g. "Ready Player One") and in the academic world about the potentials of VR/AR. However, this industry has still a long way to go to reach the promised millions of users. Just recently rumors came out that the startup 'magic leap' missed their target of selling 100,000 headsets in 2019 by far: they only sold 6000 units (www.digitaltrends.com/cool-tech/magic-leap-in-trouble-weak-sales/)!

On the other hand, just the rumor of Apple launching their own AR/VR platform in 2022 keeps a lot of experts and creatives excited. Under the umbrella of this broad subject, we would like to explore in a designerly way all kind of aspects of VR/AR: new physical and virtual interaction paradigms, new services, application areas and business models, new forms of social interactions etc.. We also would like to encourage applications which approach this topic in a critical way and e.g. suggest a new moral for the VR/AR world or show how to hack this system ('red pill').

Contact: Prof. Reto Wettach

Platform businesses as e. g. Youtube, UBER or AirBnB turned out to be one of the strongest economic successes of the current digital transformation. How to design these platforms became a major research topic within the design community and many methods have been developed to empower innovators to build successful, user-centric platforms. Within this research topic we do not only want to explore the potential of platforms for various industries and areas of life, but also discuss and improve current approaches to the design of such platforms. One main focus lies on platforms, which rely on connected hardware. Furthermore we - as an academic institution - would like to examine criticism of this business model and design its successor!

Contact: Prof. Reto Wettach

In public discussions, the secure processing of personal data using digital tools in a way that is comprehensible to people is a particularly hotly debated topic. With the European Data Protection Regulation (GDPR), a first step has been taken in the interest of users of digital applications. However, the implementation of the specifications at the human-technology interface still holds a particularly large amount of creative potential.
For example, new forms of interaction between humans and technology should be developed to ensure understanding and control over data use. Furthermore, the design of human-technology dialogues conducive to learning is required, which strengthens human competence in the use of digital systems and media. The conception of DataDashboards to control one's own data or the conception of visualizations and forms of interaction on DataDonationPlatforms to provide, pass on and donate data are approaches that should be examined more closely.

With this in mind, a research project in the Interaction Design Lab of the Design Department is investigating how concepts for forms of interaction and visualizations should be designed so that people can obtain or retain their digital sovereignty.

Several master's theses will accompany the research topic and deepen selected aspects in the respective master's thesis. In doing so, the integrated research will focus on a consistent involvement of users as well as on the reflective and formative handling of ethical, legal, and social implications.

Contact: Prof. Constanze Langer

In the studies of the various health insurance companies, the trend has been apparent for some time. Now it is officially proven by a government report with long-term observation: In Germany, more and more employees are absent due to mental illness. The resulting absenteeism is increasing dramatically. Of the 668 million working days that employees were absent from work due to illness in 2018, 107 million were due to mental ailments such as depression, burnout, anxiety and obsessive-compulsive disorders.

With this in mind, an interdisciplinary research project funded by the BMBF at the Interaction Design Lab of the Department of Design will investigate over the next three years how people with Social Anxiety Disorders can be enabled to feel a greater sense of social inclusion and participation. To this end, designers, psychologists and media scientists will work together with those affected in a Makerspace to investigate how new technologies - including virtual reality, augmented reality, IoT/smart objects - can contribute to a better life with this disorder or to overcoming social anxiety. The project invites sufferers to link digital media with physical space and its social contexts.

.

One or more master's theses are to accompany the research project and to deepen selected aspects in the master's thesis. On the one hand, this can be the focus on a specific technology and the prototyping and testing of artifacts in a participatory design process with those affected in the makerspace. On the other hand, methodological questions can also be the focus of the master's thesis, e.g. on the conception and physical design of a makerspace or on the further development of design thinking methods for a target group that needs a lot of confidence to engage in a collaborative design process due to their medical condition.

Master's students are expected to work closely with the interdisciplinary project team in the Interaction Design Lab. The call is open to designers* with a product design/industrial design background as well as interaction/UX/service designers* and related disciplines with an interest in the issue outlined above.

Information about the project

Contact: Prof. Dr. Frank Heidmann

Climate change is one of the great global challenges of the 21st century. If we do not curb greenhouse gas emissions and keep global warming well below two degrees Celsius, the world will change permanently. We are already seeing global impacts such as shifting vegetation zones, rising sea levels and increasingly extreme weather periods.

An important aspect of combating climate change is education and information. It is necessary to show how the climate has already changed over the past 250 years - how the climate is likely to change based on our actions today.

The spectrum of possible design projects in the context of environmental data and climate change is very wide. From visualization of systems (global warming mechanism, CO2 trading, ocean currents) to datasets (emissions, citizen science), many things are conceivable.

Information and data visualization offer very promising approaches to vividly present and communicate these topics. The willingness to deal with complex scientific topics is necessary here.

Contact: Prof. Boris Müller

The focus of the education for the Master's program in Product Design lies in the interdisciplinary orientation of the studies and the work on projects from the very beginning. In particular, from the link to materials research, materials technology and various production technologies, new fields of activity arise, as well as fundamentally new impulses for questions of product design. The job profile to which the training relates is currently undergoing change. This development is taken into account in the new focus of the subject as it is pursued at the FH Potsdam. In addition to the classic design of manufactured goods, product designers are increasingly expected to provide conceptual services that take into account and critically represent the diverse conditions of our industrial culture. One focus of polycentric education is on the study of materials and process technologies. The aim is to create an awareness among students of the importance of the interplay between material selection, engineering performance and design, so that they can later synergistically combine the existing competencies of designers, material manufacturers, developers, engineers and producers. Here, the focus is on the interaction of materials and process engineering through multidisciplinary cooperation with institutes of materials research and production fi rms. Starting from the occupation with new materials, the student acts as a "networker" who learns to design production scenarios at the interface to material/production under consideration of technical, social and economic aspects and to participate in the development of new materials and their application in close cooperation with industry as well as with research. As a mediator of a permanent exchange process between material research and product design, new opportunities for design and intervention in existing structures constantly arise for product designers from the increasing integration and dissemination of new production scenarios and advanced material technologies, but also from the observation of changing patterns of action and sociocultural changes. Students should be given the opportunity, through the introduction to traditional manufacturing processes and the processing of materials, to make their own reflections on the application of new processes or alternative transfers of materials . The transfer and processing of new materials to existing manufacturing techniques will open up to the student a yet to be explored field of linkage possibilities from which innovative design can result. The designer thus becomes the initiator of a reactivation of lost and re-learnable solid production practices as well as a researcher and material inventor. In this sense, the designer sees him/herself as a project coordinator of a sustainable social process design, in which processes and materials are strategically interlinked. The idea of "think global, but act local" can also be realized through the global networking of process technologies, research sites and materials. The de-localized and networked conception and production of goods is part of a utopia designed and implemented by designers.

Contact: Prof. Hermann Weizenegger

1.  "I want!" - Need horizon / need situation and reality experience (of the situation of things)


The basic hypothesis: all needs have an object reference. Culture in this context means the translation (projection), representation and organization of the (differentiated) needs in (binding) formal codes. (Where part of these "forms" are not exclusively object but subjective thus e.g. social nature / cf. Gestalt theory / psychology) 

Subject of the master thesis ...

is the question of
1. the general needs of individuals in our society, the differences and the commonalities. How are these needs individual and socially reflected, formulated (constructed) and communicated?

2. the cultural (formal) correspondences. How do these present themselves according to importance, bindingness? Are there typifications, milieu-spanning or general liabilities (standards related to a generally binding measure of minimum equipment, for example)

3. the relationship between need (set) on the one hand and correspondence (supply) on the other. How does the correlation between desire and reality present itself?

4. (For example, against the background of new media and their general spread, are there significant changes in the assessment (appreciation) of objective need.equivalents versus virtual?) What is the focus of attention? Is there a change regarding the hierarchy of needs (cf. Maslow's pyramid of needs)?

5. Do object and object scenarios function in a timely (appropriate) manner? For example, does the need for (continued) movement correlate with the individual or generally available (locomotion) media provided for this purpose? (e.g. Is the so-called individual transport still so successful only due to the lack of alternatives?) In principle, the relationship between need and satisfaction should be examined and presented in relation to the cultural situation.

Different objectives can be pursued with the research work:

  • theoretical groundwork of a phenomenology of the needs culture of our society with regard to the development of time-appropriate strategies of product development
  • theoretical, practical groundwork: a selection of given (traditional) need satisfaction scenarios are juxtaposed with concrete alternatives (strategic / design) (cf. "elsewhere")

2. "Thing & You" - Living with things

Subject/object relationship / a psychology of thing reference (set and setting / object world / interactions / mechanisms of action in relation to design practice) Hypothesis: each object presupposes a gesture of use appropriate to it. Each culture can be determined by its typical "choreography of life". An object-centered view of things excludes living with things. It is in the nature of product development to focus only on the product to be developed. In (private) everyday life as well as in working life on the other hand, things are organized in a canon of use and are more or less based on use scenarios / operations that are meaningfully connected in sequence. Promises of use increasingly imply a high advantage of use through functional differentiation (here, among other things, shifts the relationship of competence in use in favor of the optional - automated / discrete - range of functions inherent in the things ), the more functions on offer tends to mean a higher expenditure of time in dealing with the object - even if simple handling is suggested and it thereby collides with all other things vying for the same attention.

Subject of the master thesis

1. It is to be investigated to what extent immediacy and mediation are perceived in the reception/perception of the material environment, i. e. seen as "natural" or problematic.

2. Measured against various contemporary need scenarios, it is to be investigated to what extent the needs associated with the use of an object on the one hand and the linkage of action sequences on the other, correlate.

3.  "Living in a box" object culture and behavioral conditioning (Skinner) 

"Set up" - about the conventions of living / setting up / boundaries, play spaces and openings
 Hypothesis: in the furnishing reflects the individual location in the society and the world. In this respect, furnishing represents a reconciliation between individual paradigms of need and taste and social norms - furnishing is always based on conventions.

Subject of the master thesis

Modes of operation, control circuits and conditions of the phenomenon of housing. How open / closed are the systems of private living environments? To what extent do social changes present themselves in the private environment (can be communicated about it - conditioning / deconditioning)? Which options for action and "leeway" arise for designers and which social standards are contemporary?

Ansprechperson: Prof. Joerg Hundertpfund

 1.  "Dream body" - the beautiful in postmodernity

The focus of the master topic is not by chance on the stylistic aspect of cultural change. What is striking is, first, that the bulk of things in general typological and functional terms behave relatively "stable" vis-à-vis change in stylistic manifestations. In other words, we are confronted with a development that does not so much question the scenarios/conventions of social life as formally reinterpret them. The role of the individual is to equip himself in a world of offers of the Multible Joyce with the identification worlds / -objects that fit him.

This is increasingly a challenge (identity / acceleration crisis). In contrast, secondly, the fundamental criticism of product design and design education is that still almost exclusively functional conceptual issues are addressed and formal aspects play no or hardly any role. Signifi cant in this respect is a global stylistic "refl ex", a, in the sense of a lack of critical reflection, "discrete" formal dictum of product design that, with few exceptions, shows itself to be more or less immune to the stylistic but also content-related signs of the times.

Subject of the master thesis ...

is the question of aesthetic leitmotifs in design (in design education) - what is considered "contemporary"? How do the different object aspects relate to the specific formal expression in each case? Can trends be anticipated and instrumentalized on the basis of methods? An inventory and description of aesthetic aspects in design and a didactically, methodologically oriented basic development regarding a stylistic toolkit for design education and design practice.
 

2.  "Brave New World - Perspective Design" - Design as the Language of Utopia

The basic hypothesis: every development requires a development horizon. This horizon can develop from individual different or a bundle of motives. The cause of motives can be: a utopia, a lack, an imbalance, an emergency situation. The development horizon in the context of product development is very narrow (problem-centeredness). It is usually about questions that revolve directly around the development problem and in this sense are predominantly of economic and technical nature. Not least due to dramatic ecological developments it becomes obvious that a product culture without reference to a broader context, such as the consideration of sustainability in globalized economic and ecological development scenarios has hardly any chance of survival. The aspect of taking into account a context that does not directly affect product development has, in addition to an economic and ecological dimension, also a social (political) and therefore generally cultural one. The question of the social consequences of (product) development has not been of concern so far. Although an obvious connection can hardly be overlooked. In particular, the technical developments of the last twenty years entails a hitherto unprecedented change in our communication behavior, with consequences that today are still hardly foreseeable.

Subject of the master thesis

1. Can consequences of developments be anticipated(to what extent) (cf. scenarios and measures in the context of pandemic epidemics)?

2. Are today anticipatory comprehensive (holistic) development scenarios as they have produced modernity (cf. constructivism / futurism / Bauhaus) still conceivable or conceivable again today in postmodernity? (In this context the question arises about the success of historical future scenarios)

3. can of design, understood as an intracultural instance (in the sense of an interdisciplinary catalyzer) and as a modern linguistic medium of differentiation and creation of meaning (cf. Marshall Mc Luhan: "Letterpress tended to change language from a means of perception to a portable commodity. Printing is not only a technology but itself a natural occurrence or raw material like cotton or wood or the radio; and like any raw material it shapes not only personal sense relations, but also patterns of communal interaction."  The Gutenberg Galaxy, 1962), with the description and mediation of controlling role (perspective design)(cf. In the Designer Park - Life in Artificial Worlds)

4. development and presentation of appropriate design-based scenarios.

3.  "The thing without a model" the (pre/post) modernity and the revolutionary object

The development of the world of things went until (the beginning of the modern era / protomodernism) about the 1600 century (Renaissance) evolutionary from, things emerged and changed in a barely perceptible degree. With the beginning of the modern era and the tremendous growth especially in technical knowledge and the accompanying development of markets changed this fundamentally. In addition to a creeping differentiation of use and development - until then use and development competence lay in one hand - increasingly things emerged without a (direct) model, i.e. the thing no longer transformed itself in relation to itself, no longer developed in relation to a handed-down referential model.

Hermeneutically, things were previously consistent in a generally binding sense knew every child). In fact, it may be assumed that also because of the limited repertoire of things, the child already knew and was able to designate all artifacts of culture at about the completion of the preoperational stage of development (J. Piaget). (In this context, it would be interesting to know whether the knowledge of the object was also linked to action competence and knowledge of the assignment to certain groups of persons or status. Moreover the situation of a closed, persisting and considered unchangeable pool of objects represents an extraordinary difference from the present situation of "thing-flow."

Even in the age of mechanization, a "natural" resource of (Gestalt-)development formed the physical technical conditions such as the functional adaptation / application of the laws of leverage. A readability / interpretability was given insofar as an analogy conclusion was possible by the forms, shape and movement processes to be presupposed as (generally) known. Through the development of electronics and the successive replacement of mechanical functions by electronic ones, respectively the miniaturization (micro- / nanomechanics) and integration of mechanical components, as well as the accompanying (partial) automation of production and everyday life finally led to the loss of the concrete (reference and experience) object. In this context the question of the human-object interface is of particular importance as an accompanying shift from action / use competence (human) to functional competence (machine).

Subject of the master thesis ...

is the question of the special developmental conditions of "objects without model" on the one hand, and their reception / integration into the working and everyday world on the other hand.

In addition to formal-aesthetic questions, the focus is on the quality of the interface. We are looking for adequate methods of design mediation / development.
 

 4.  "the good form" - design and quality

Hypothesis: The "good form" of the future is characterized solely by the fact that it is still differentiated to the extent that it is still recognizable as a form at all.

The question of the quality of an object today is essentially decided by whether it is of meaningful significance (has a meaningful perspective ).

Loss of substance, loss of form, and the reduction of experiential potential through interaction with the object due to highly integrated product concepts without a role model, as well as exponential variant formation, lead to the crisis of reception / perception ("You have to hurry if you still want to see something . Everything disappears." Paul Cézanne). The consequences are essentially the loss of the object as a medium of social communication (representation / distinction) but also as a medium of direct experience of the world. If an object cannot (any longer) be "read", i.e. understood if it has no binding connotations,i.e.in the context of the reality of life it fails as a binding communicator, it functions merely as a mirror of self-reflection in a hyperindividualistic autistic world.(...man a narcissistic monad, enclosed in his bubble, incapable of community. Sloterdijk)
The situation: the thing aspect of being the object of communicative processes changes to the extent that the distinction quality of an object remains increasingly trapped in self-reflection (I and the object), insofar as the milieus lose the quality / task as a (more or less ) unambiguous reference equivalent / reagent . The role of the object in intersubjective communication decreases and in contrast to that in intrasubjective increases (rocker clubs versus netcommunity / product examples MP3 player / smartphone in this sense as hermaphrodite product: monadic retreat and proclamation)

The substitution of the concrete use which is characterized by physically differentiated manipulation / interaction with the object by shifting of (partially)automated / integrated functional processes whose consequence is a universal and reduced gesture of operation (rudimentary gesture) moreover prevent an essential appropriation of the world by means of the object.
. The physical world is experienced by means of the objects. The informal world no longer needs the objects, or separates object and concept - the object survives as an image object, whose physical model/representation appears obsolete or at least questionable.What remains is the insecure subject of an in-between world that cynically also disappears due to the development of the communication media as it is for society (the counterpart) only medially (thus also mediated, not concrete and immediate)represented real.(oversext and underfuckt)

There is good and bad design. Good or bad, however, cannot be referred to a binding standard and are only a partial aspect of an object that consistently eludes a binding qualification insofar as it is always subject to different contexts of perception or evaluation in the reception/perception.

"the good form" - from the idea of a universal, generally binding quality standard to the idea of the special situational object-related quality concept or an expanded contextual quality concept that takes into account the relevant describable references and conditions.

Subject of the master thesis

Examination of an object-related concept of quality (probably an extended context-based approach is useful with regard to e.g. social /ecological criteria - cf. Lucius Burckhardt "Design is invisible") - and the central question of the necessity of binding criteria in design on the one hand (development / distribution) and cultural mediation on the other hand.

Ansprechperson: Prof. Joerg Hundertpfund

Questions in design usually refer to the general conditions or the narrower context of concrete product development. The Master's focus Design Research, on the other hand, asks about more general conditions of product design. In addition to basic research interest, which is aimed at the development of a time-appropriate, well-founded education, it is essentially about an understanding of possible effects of specific action, taking into account causal conditions, and thus about a (new) understanding of responsible action, i.e. about the question of the relationship between design and ethics.

Roughly 2 (topics / context) -fields can be derived:

1. design and aesthetics

Design is language and design changes language. Design is time-based - there s consequently no binding formal code. It is about an understanding of the dynamics, the conditions of syntactic, semantic development and about the critical refl exion of formal criteria or formal quality in relation to / dependence on contemporary issues and conceptions. Furthermore, the focus "Design and Aesthetics" tries to occupy a thematic field that usually does not play a role in design education so far.

2. Design and Society / Participation / Reception

Product culture changes society . The interest of product development is on the market and stops with the product as a commodity. Society  is abbreviated as a target group phenomenon. In contrast, there is a need to deal with the effects of product development. The topic is the product in the context of use. It is about everyday culture (culture of use) and about a differentiated view of society, the socio-cultural framework that the product experiences in everyday use and plays a decisive role in shaping.

Ansprechperson: Prof. Joerg Hundertpfund

The term Digital Humanities represents a growing interest in data and computer-supported methods in the arts, humanities, and social sciences. The methods of information visualization play a particular role as they can support the interpretation and exploration of complex cultural and social relationships. A broad range of InfoVis methods have already been devised to aggregate complex and comprehensive datasets and reveal spatial, temporal, relational, and conceptual patterns for visual analysis. These techniques already offer promising possibilities for iterative analysis of data throughout the research process as well as the accessible communication of the findings. However, there is a surprising lack of an epistemological perspective on or within information visualization.

This research project is intentionally open to invite the creative interrogation of the epistemic promises that are associated with information visualization. In collaboration with partners from the humanities, the aim is to critically and creatively examine the role that visualization can play in research areas such as libraries, social media, fictional narrative, and cultural collections. The main aim of this project is to expand what we know about how we can generate and communicate knowledge with information visualization. In close collaboration with research disciplines that have more elaborate epistemologies, the project will involve the conception, design, protyping, and evaluation of visualizations in pursuit of humanities scholarship.

The research is tied into ongoing and planned collaborations with scholars in social science, art history, literature studies, cognitive science, and information science. The project is embedded in the Urban Complexity Lab, a joint research space between the design department and the urban futures institute for applied research.

Ansprechperson: Prof. Dr. Marian Dörk

The mobility industry is in the midst of a fundamental transformation process: comprehensive digitization is also affecting our conventional understanding of individual and urban mobility.  How will we use autonomous vehicles and our new "free times"? How does an autonomous car interact and communicate with the outside world, for example with other road users? What novel services can the autonomous car play in the digital lifestyle? How does a car welcome its passenger? Will we own cars in the future, share them with each other or only drive them "on demand" - and what does this mean for the design of an automobile? Is the autonomous car a "new mobile personal living space and retreat" (Mercedes), a mobile "companion device" (BMW / Vision Next 100) or a self-learning, adaptive driving robot with "cognitive interaction" (IBM)?

Question:

Radical technological change always raises questions about trust in technology and its social acceptance. A key factor for success on the road to the autonomous vehicle will therefore also be the intensive examination of interfaces, operating concepts and intermodal services. A number of design and exploratory questions can be developed from this topic area. The focus of the considerations and solution approaches should not be primarily on technical questions, but on developing concrete, new and evolving forms of application and use of urban mobility under the aspect of UX design for autonomous driving.

Globalization and networking welcome - there are literally no limits to collaboration. Google Drive and Skype are useful and now commonplace, a veritable overabundance of project management tools, sharing platforms and messaging services obscure the lack of user-friendly, charming and aesthetic cues about social and structural artifacts that also make for good collaboration. 

Question:

The master's thesis aims to investigate which factors influence creative processes in online collaboration and how, whether and how these are currently implemented and mapped in technical systems, and how/if the visual representation of these enhances the effectiveness of the collaboration.

Contact: Prof. Constanze Langer

Data visualization offers the possibilities to present large amounts of data in a vivid way, to make patterns visible and to experience them interactively. Each data set presents designers with new conceptual and design challenges. It must always be examined anew what the data is "about" and in which contexts it can be relevant for whom. 

One aspect of data visualization often gets short shrift - namely, the question of the interface design of visualizations. Often the interface is developed separately from the visualization and does not get the same design attention as the visualization itself. But if visualizations are actually to be used, the user interface and the visualization must be related to each other. This is still a great field of research for interface design. 

Contact: Prof. Boris Müller

Sensor technology has made great strides in recent years. Sensors that measure and record all kinds of values are not only found in smartphones, cars and medicine - they are penetrating all areas of our living environment. This gives rise to two contrasting future scenarios: one in which sensors make our lives safer, more mobile, more sustainable - and one in which the state, the economy, and all of us monitor each other.

Dealing with this sensor technology is not just a technical and political question - it's also a design one. How can sensors be used in a meaningful way - and how will our lives change if everything we do is recorded? Very different design strategies can be pursued here. From dystopian-narrative to constructive-optimistic interface designs.

Contact: Prof. Boris Müller

The last decades of human-computer interaction were very much characterized by technical developments. The central question was: What is technically possible? Moore's law of regular doubling of storage capacities still holds true. But now that ubiquitous computerization and digitization have swept all areas of society, the next meaningful question is coming into focus: What do we do with these technical possibilities? How can digital products and services be designed and used in such a way that a "good life" (ecologically sustainable, socially compatible, health-promoting, etc.) is permanently possible even in an accelerated, highly technological society? The title "Slow Technology" is used to summarize concepts and attitudes that do not view technology development solely in terms of efficiency and performance aspects (cf. www.slow-media.net/manifest).

Question

In this master thesis we want to investigate how human-computer interfaces - as interactive products, applications or services - should be designed in the future to offer users* the best possible support for their lifestyle, not in terms of ever new features and apparent simplifications and increases in efficiency (Quantified Self) but much more as a reflection aid for meaningful interactions in private as well as professional contexts. The goal is to regain digital self-mastery as the ability to master digital technology instead of being mastered by it. A current example of Slow Technology approaches is the "Digital Occupational Safety" project by TÜV Rheinland and the Slow Media Institute, in which a procedure is being developed to protect against digital information overload in the workplace. The Master's thesis can, for example, work out the challenges for Slow Technology approaches in interface design as a theoretical thesis and develop a framework model for sustainable interaction forms and services in the above sense. As empirical-experimental work, it can conceive Slow Technology exhibits and interventions, implement them prototypically and evaluate them with potential users.

The interface design program at University of Applied Sciences Potsdam has been researching for several years how to design future-proof, sustainable forms of interaction and digital services and how people can be animated by design artifacts to change their attitudes and behavior towards a sustainable lifestyle and work style. The research work is carried out in interdisciplinary teams with psychologists, sociologists, social workers, and computer scientists.

Contact: Prof. Dr. Frank Heidmann

At the University of Applied Sciences Potsdam (FHP) we have a tradition of investigating taboos in UX/Interaction Design: Why don't we deal more roughly with our digital devices and, for example, hit them when they are annoying (Fabian Hemmert et al.: Slapping, Project work at the FHP, 2007)? Why do we not identify ourselves by kissing security doors and the like (Miriam Roy: KISS, 2009)? Why does death hardly play a role in the context of digital technologies (Eva Burneleit: M. A. thesis at the FHP, 2011 and Max von Elverfeld: B. A. thesis at the FHP, 2012)? Why are romantic feelings like jealousy not seriously discussed when thinking about new tactile interfaces (Eva Lechner: 'Eifersuchtsarmband', project work at FHP, 2010)? How do we as designers relate to the topic of 'censorship' in augmented realities, for example (Nikita Jerschow: Real-Life Copyright Glasses, TEI-Student Design Competition, Project work at University of Applied Sciences Potsdam, 2014).

Such and similar questions that challenge the unspoken boundaries in today's use of digital technologies are welcome as objects of investigation in Master's theses.

In the tradition of "Research through Design", this topic area will be investigated in the context of several master theses. Methodically, the principles of co-creation (according to Liz Sanders) will be applied. Thereby, hypotheses and design approaches will be conceived, evaluated and further developed by prototypes in different depths of elaboration. 

Contact: Prof. Reto Wettach

The tactile abilities of humans are criminally neglected in the common interfaces between humans and computers; in research, on the other hand, there are already some interesting approaches that show that in many areas humans can act more successfully (and possibly even with more pleasure) with tactile interfaces - for example, in dealing with complex data sets (Yvonne Jansen et al.: "Evaluating the Efficiency of Physical Visualizations", 2013), in the context of navigation (Anita Meier: "You can't miss it - Orientation in public space with integration of digital technologies", M. A.thesis at University of Applied Sciences Potsdam, 2014) or in gaming (Patrick Oswald, et al.: "The Real Augmented Reality", TEI Best Teich Award, project work at University of Applied Sciences Potsdam, 2014). The basic considerations of this have been known for many years (Hiroshi Ishii et al.: "Tangible Bits: Towards Seamless Interfaces between People, Bits and Atoms", 1997)(Scott Klemmer et al.: "How Bodies Matter: Five Themes for Interaction Design", 2006) - and yet there is enough room for design exploration!

In the tradition of "Research through Design", this topic area will be explored in the context of several master theses. Methodically, the principles of co-creation (according to Liz Sanders) will be applied. Thereby, hypotheses and design approaches will be conceived, evaluated and further developed by prototypes in different depths of elaboration. 

Contact: Prof. Reto Wettach

In its early days, the Internet was characterized by the empowerment of participation, copying and further development: to this day, for example, "view source" is a central component of browsers - and thus enables the "hackability" of HTML code. The "Internet of Things", on the other hand, is characterized by a certain magic and - associated with it - closedness. This master thesis will investigate which tools are necessary to encourage participation in the Internet of Things as well. The University of Applied Sciences Potsdam (FHP) sees (academically trained) designers in the responsibility to provide tools for the increasingly active consumer/prosumer: Stefan Hermann: MidiBricks, BA thesis at FHP, 2012; André Knörig: "Design Tool Design", M. A. thesis at FHP, 2008; Jonathan Cohen et. al: "Fritzing: a tool for advancing electronic prototyping for designers", research result FHP, 2009.

In the tradition of "Research through Design", this topic area will be investigated in the context of several master theses. Methodically, the principles of co-creation according to Liz Sanders will be applied. Thereby, hypotheses and design approaches will be conceived, evaluated and further developed by prototypes in different depths of elaboration. 

Contact: Prof. Reto Wettach

The University of Applied Sciences Potsdam was one of the first universities to establish a course of study in interface design. But since when can we even speak of interface design (or interaction design, UX design or service design) as the interface between humans and computers? Who were the relevant personalities and what outstanding achievements shaped the further development of human-machine communications? How can different developments in interface design be brought into a context and thus evaluated in terms of design history?

The aim of the research focus is to collect a history of interface design and thus make it readable.

Contact: Prof. Dr. des. Marion Godau-Deekeling

With the founding of the Bauhaus as well as the professional association Bund der Deutschen Gebrauchsgraphiker (from 1968: Bund Deutscher Grafik-Designer, since 2009: Berufsverband der Deutschen Kommunikationsdesigner), an institutional caesura in the development of design in Germany was set in 1919. Together with the Deutscher Werkbund, which had already been founded in 1907, weighty forces had formed for the modernization of design, which exert a decisive influence on its development to this day.

Objective

In the master's thesis, selected strands of development in the fields of communication design, product design or interface design will be used to examine historical contexts in relation to current development perspectives of design. In particular, the manifold links of design development with technological, scientific, ideological, cultural and political developments shall be elaborated in their multiple mutual interdependencies. The often encountered history teleology, in the context of which selected phenomena of the present are declared to be goals in history, which have been achieved by the course of history in a pseudo-natural way, is to be avoided. 

The results of the master thesis are to be incorporated into the preparation of a comprehensive exhibition "100 Years of German Design" to be held in Berlin in 2019. 

The topic of the master's thesis is to be narrowed down/precised in consultation with Prof. Godau and Prof. Dr. Funke.  

Requirement

Bachelor's degree in design or in humanities or cultural studies.

Contact: Prof. Dr. des. Marion Godau-Deekeling, Prof. Dr. Rainer Funke

Whether perestroika, digitalization, or Dolly the Sheep - the rapid transformation of our world today picked up speed after 1989, and many political, social, and technological courses were set in the 1990s. Nevertheless, there is currently little literature that describes and evaluates the design of the period from 1989 onwards in design-historical terms.

Master's theses in this area address the social changes and their impact on product, communication, or interface design, thus helping to fill the gaps in design history from the 1990s onward.

Contact: Prof. Dr. des. Marion Godau-Deekeling

In the annals of design history they are neglected: women like Melitta Bentz, Lotte Reininger or Eileen Gray. There are quite a few female designers who have had a strong influence on communication, interface, and product design throughout design history and/or have helped shape design today. Master's theses in this regard could conduct biographical research, deal with the topic discourse-analytically, or examine a historical period. 

The goal is to use the results to build an archive to showcase and honor outstanding women designers and their work.

Contact: Prof. Dr. des. Marion Godau-Deekeling

Material is an important forward-looking impulse generator for design innovations. If you develop your own material as a designer, you have a great potential of possibilities at your disposal.

Material can open the door to new topics and be the basis for long-term product developments to potential manufacturers, especially for young designers.

In the field of "Material & Production", designers are increasingly in demand as practice-oriented researchers and designers. Designers have the appropriate methods to develop complex material developments and to design applied products from them.

Question

In the master thesis it should be about which interaction of material and process engineering can arise through a multidisciplinary cooperation with institutes of material research as well as production companies? The focus is on experimentation and the analysis of production processes, i.e.: How do you develop your own material? How can material be parasitically produced in existing productions?

The main focus of the training for the master's program in product design lies in the interdisciplinary orientation of the study and the work on projects from the beginning on. In particular, from the link to materials research, materials engineering and various production technologies, new fields of activity arise, as well as fundamentally new impulses for questions of product design.
. The job profile to which the training relates is currently undergoing change. This development is taken into account in the new focus of the subject, as it is pursued at the FH Potsdam. In addition to the classic design of manufactured goods, product designers* are increasingly expected to provide conceptual services that take into account and critically represent the diverse conditions of our industrial culture.
One focus of the polycentric education is on the exploration of materials and  process technologies. The aim is to create an awareness among students of the importance of the interplay between material selection, engineering performance and design, so that they can later synergistically combine the existing skills of designers, material manufacturers, developers, engineers and producers. The focus is on the interaction of materials and process engineering through multidisciplinary collaboration with both material research institutes and production companies. Starting from the study of new materials, students act as "networkers" who learn to design production scenarios at the material/production interface, taking into account technical, social and economic aspects, and to participate in the development of new materials and their application in close cooperation with industry as well as research. As mediators of a permanent exchange process between material research and product design, product designers are constantly presented with new opportunities for design and intervention in existing structures as a result of the increasing integration and dissemination of new production scenarios and advanced material technologies, but also as a result of observing changing patterns of action and sociocultural changes.
Students will be given the opportunity to engage in their own reflections on the application of new processes or alternative material transfers by being introduced to traditional manufacturing processes and the processing of materials. The processing and the transfer of new materials to already existing manufacturing techniques open up to the student a field of linkage possibilities yet to be explored, from which innovative design can result. The designer reactivates production practices that have been lost and becomes a researcher* and material inventor*. In this sense the designer sees him/herself as a project coordinator of a sustainable social process design, in which processes and materials are strategically interconnected. The idea of "think global, but act local" can also be realized through the global networking of process technologies, research sites and materials. The de-localized and networked conception and production of goods is part of a utopia designed and implemented by the designer.

Contact: Prof. Hermann Weizenegger

Contact

Student Counselling Service

Student Counselling Service for MA Design

Anouk Meissner, M.A.

Anouk Meissner, M. A.

Wissenschaftliche Mitarbeiterin und Pro-Dekanin für Studium und Lehre
Geschäftsstellenleitung/Finanzen am Fachbereich Design
FB-Entwicklung/Studienreformprozess & Qualitätsentwicklung
Wissenschaftliche Koordination für das Masterprogramm
Departmental Exchange-Coordinator

Student Counselling Service for MA Design

Prof. Dr. Frank Heidmann

Prof. Dr. Frank Heidmann

Forschungsprofessor für Design of Software Interfaces
Studiengangsleiter für Design (M. A.)