Product Design (BA)

Zunehmende Digitalisierung und Vernetzung von Produktionsprozessen bieten vielfältige Chancen, Ressourcen effizienter zu nutzen und schädliche Umweltauswirkungen zu reduzieren. Die Studierenden sollen befähigt werden, nachhaltige Materialien und Fertigungstechniken zu identifizieren und zu nutzen, wie beispielsweise den Einsatz von 3D-Druckverfahren zur Minimierung von Materialverschwendung oder die Verwendung biologisch abbaubarer Materialien bei Einwegprodukten. Die vielfältige Einbindung der Thematik der Circular Economy im Studium soll die Studierenden befähigen, den Designprozess nachhaltig im Sinne eines Circular Designs zu denken. Dies betrifft beispielsweise einen effizienten und suffizienten Umgang mit Materialien sowie eine Orientierung an Konsistenz und Regeneration. Das Produktdesignstudium soll dazu befähigen, zur gesellschaftlichen Zukunftsfähigkeit beizutragen und die Möglichkeiten zukünftiger Gesellschaften nicht einzuschränken.

Das zeitgemäße Produktdesignstudium soll die Studierenden außerdem ermutigen, langlebige Produkte zu entwerfen, die leicht zu warten und zu reparieren sind, um einen nachhaltigen Gebrauch zu ermöglichen. Hierzu tragen etwa modulare Designs bei, die es Nutzer*innen ermöglichen, einzelne Komponenten auszutauschen, anstatt das gesamte Produkt zu ersetzen. Produktdesign soll zum Handeln im Sinne eines Werteerhalts beitragen. Um eine Transformation der Gesellschaft voranzutreiben, braucht es nicht nur Produkte, sondern vielmehr Gestaltungsprojekte, die Lebens- und Konsumverhalten nachhaltig verändern. Gesellschaftliches Umdenken im Sinne von Nachhaltigkeit kann nur gelingen, wenn eine strukturelle Änderung des Konsumverhaltens schon im Design angelegt ist.

Die physische und digitale Welt sind sowohl in unseren Artefakten als auch unserem gestalterischen Handeln eng miteinander verwoben. Physische Produkte stellen die Schnittstelle in digitale Welten dar und gleichzeitig entstehen unsere Produkte in eben diesen digitalen Räumen. Zum einen müssen wir uns mit neuen technischen Möglichkeiten auseinandersetzen, wie neuen Formen von Mechanik, Sensoren und Computerchips, und wie diese sinnstiftend in unsere gebaute Welt integriert werden können. Zum anderen müssen wir im Digitalen neue Formen der Gestaltung, wie die kooperative Zusammenarbeit mit künstlicher Intelligenz, reflektiert in unsere Arbeitsprozesse überführen. Es ist an den Designer*innen, neue Gestaltungswerkzeuge und Prozesse zu konzipieren, um innovative Produkte an der Schnittstelle der physischen und digitalen Welt zu entwickeln. Ebenso wichtig, wie die Potenziale der neuen Datentechnologien zu nutzen, sind jedoch Kompetenzen für einen kritischen Umgang mit künstlicher Intelligenz. Die Studierenden sollen befähigt werden, ethische und soziale Auswirkungen von KI im Design einzuschätzen und im Design- und Produktionsprozess zu reflektieren.  

Das Erforschen regionaler, historischer Eigen- und Gegebenheiten im Studium stellt eine Verbindung zu regionalen Produktionen her, sei es im Handwerk, Manufaktur oder Industrie. So erfolgt eine Sensibilisierung für zirkuläre ökonomische Modelle und Konzepte, die Objekte, Nutzer*innen und Distribution in ein neues Verhältnis bringen können. Die Kooperation von Hochschule und Praxis stellt einen großen Mehrwert für Studierende dar. Sie schafft einen Diskurs vom Hochschulexperimentierraum zur „pragmatischen“ Realität. So kommt die Rolle des Produktdesigns bei der Schaffung von Identität und Kultur zum Tragen. Die Studierenden sollen ermutigt werden, Produkte zu entwickeln, die individuellen Bedürfnissen und kulturellen Kontexten gerecht werden. Die Reflexion von Traditionen und Werten einer Gemeinschaft und globaler Austausch und Vielfalt sollen sich dabei nicht ausschließen, sondern wechselseitig fördern. „Produkt & Craft Design“ bezeichnet in diesem Zusammenhang die Gestaltung von Objekten und Produkten an der Schnittstelle von Handwerk und Produktgestaltung. Im Gegensatz zum Kunsthandwerk setzt das „Produkt & Craft Design“ nicht nur auf tradierte Verfahren, sondern auch auf deren Transformation durch Experiment, wissenschaftliche Methoden, die Einbeziehung neuster Technologien und digitaler Manipulationen von Material und Herstellungsprozessen.

Die Studierenden sollen dazu ermutigt werden, bei der Entwicklung von Produkten ungerechten Geschlechter- und sozialen Verhältnissen entgegenzuwirken. Die Reflexion der Benachteiligung von Gruppen und Personen aufgrund von deren Geschlecht, Hautfarbe oder anderen Merkmalen im Produktdesign ist für gesellschaftliche Transformation zu mehr Diversität und Inklusion zentral. Bei der Gestaltung müssen unterschiedliche Bedürfnisse und körperliche Unterschiede berücksichtigt sowie Chancengleichheit und Teilhabe gefördert werden, beispielsweise durch den Entwurf barrierefreier Produkte, die Menschen mit unterschiedlichen Fähigkeiten und Bedürfnissen mehr Zugang und Nutzung ermöglichen. Ebenso könnten Produkte entwickelt werden, die erschwinglich und zugänglich sind, um sozioökonomische Unterschiede zu überbrücken.

Das Konzept Do-It-Yourself (DIY) gewinnt immer mehr an Bedeutung, da Menschen zunehmend ihre eigenen Produkte gestalten und herstellen möchten. Ein zeitgemäßes Produktdesignstudium sollte die Studierenden dazu befähigen, professionelle Unterstützung und Anleitung in diesem DIY-Prozess anzubieten. Beispielsweise könnten Designvorlagen, Tutorials und digitale Tools entwickelt werden, um den Nutzer*innen bei der Gestaltung und Herstellung ihrer eigenen Produkte zu helfen. Gleichzeitig ist Design eng mit Ästhetik verbunden und kann als stilistische Ressource dienen, um Emotionen, Identität und Markenwerte zu vermitteln. Ein zeitgemäßes Produktdesignstudium sollte die Studierenden dazu ermutigen, eine breite Palette von stilistischen Ausdrucksmöglichkeiten zu erkunden und zu verstehen. Beispielsweise könnten Produkte entworfen werden, die unterschiedliche ästhetische Vorlieben und kulturelle Trends ansprechen.

Im Master-Studiengang nähern sich Studierende konkreten Berufsfeldern und Anwendungen in Wissenschaft und Forschung. Die Rolle von Design ist im Rahmen von Forschungsprojekten jüngst deutlich in den Vordergrund getreten, der Bedarf an qualifizierten Produkt- und Industriedesigner*innen in angrenzenden Wissenschaftsbereichen gestiegen. Im Master-Studiengang können sich Studierende mit Forschungsfragen beschäftigen und arbeiten teilweise aktiv in Forschungsprojekten mit. Das Masterstudium ermöglicht die theoretische oder angewandte Vertiefung eines bereits an der Hochschule entwickelten Bachelorthemas. In Projektteams sind Gestalter*innen insbesondere dafür qualifiziert, Szenarien zu entwickeln und zu visualisieren. Aufgrund ihrer holistischen Betrachtungsweisen von Fragestellungen und ihren ausgereiften Kommunikationskompetenzen sind sie in diesem Kontext ideale Vermittler*innen, welche interdisziplinäre Teams bereichern. Die Kooperation mit Partner*innen und Unternehmen ist ein wesentlicher Bestandteil des Masterstudiums. Die Studierenden werden darin unterstützt, sich mit eigenen Arbeiten, Ideen oder Materialentwicklungen an Institutionen für angewandte Forschung, wie beispielsweise Fraunhofer, zu wenden und gegebenenfalls im Rahmen der Beantragung von Drittmitteln die eigenen Projekte weiterzuverfolgen.

Die Bereiche, in denen Gestalter*innen in Wissenschaft und Forschung tätig sind, sind vielfältig, etwa im klassischen Produktdesign oder der nahen Materialforschung zur Entwicklung, Erprobung und Verwendung neuartiger Materialien, um nachhaltigere, klimafreundlichere Produktionskreisläufe zu erreichen. Die Erforschung und Umsetzung neuer Produktionsverfahren, beispielsweise in der Erforschung von Mensch-Roboter-Interaktions-Systemen gehört ebenso dazu wie Designforschung, bei der Gestalter*innen über für und durch Design, mittels Designmethoden und Artefakten wissenschaftlich
arbeiten. Ob an Hochschulen, Forschungsinstituten oder Unternehmen, Gestalter*innen sind an der Gestaltung von Zukünften aktiv beteiligt. Nach dem Abschluss des Masterstudiums steht der Weg zur Promotion offen.

All seminars in the area of Design Fundamentals take place across courses and semesters, i.e. together with students from Interface, Communication and Product Design who are in their first three semesters. We recommend completing the seminars in this module group at the beginning of the course.

The seminars in the area of "Foundation Classes" are about teaching elementary, i.e. decidedly not (yet) applied, design basics through the development of representational and technical skills (101 Basics = basic representation techniques), through the development of an understanding of formal-aesthetic-content interactions (102 Context = perception and differentiation) as well as the creative and methodical ability to act for designing (103 Process = design processes and methods).

Our professors for Elementary Design Prof. Klaus Keller, Prof. Alexandra Martini (focus on "3D") and Prof. Myriel Milicevic (focus on "Form and Process") teach here.

In the "Studio" area of the design basics, artistic presentation techniques are practiced and creative explorations are undertaken. In the studio area, students draw, paint and collage on location - the focus is on the experience of composition, proportion, situation, body, space, body, light, color ...

Our academic staff Maria Kleinschmidt and Anna Rosinke teach here. 

In "Design I", job-related knowledge and qualifications are thematised and the most important tools, processes and methods of product design are taught.

Due to the open study structure, you already have the opportunity to follow your own interests here. You can already set content-related focal points or study in different subject areas.

In this module group, you must complete 5 assessments in the first part of the programme, at least 3 of which must be from product design. The other assessments can then be completed in interface and communication design. Not all four product modules necessarily have to be taken.

For orientation purposes, the course offerings are briefly structured and described here: 

Entry (recommendation for the 1st and 2nd semesters):

• Prof Jörg Hundertpfund, ‘Starter Kit’ in Module 231 Object + Intention: ‘What is product design?’. In addition to dealing with objectification, the materialisation process of an object, in which 2D and 3D visualisation techniques are presented, among other things, aspects of the ‘actual state’ of an object are comprehensively examined.
• Prof. Hermann Weizenegger, ‘Line, Surface, Body & Function’ in Module 234 Synthesis + Product: Designing requires methods for developing a repertoire of forms and knowledge of materials and production processes. In weekly exercises, low-complexity objects are designed from semi-finished products in ad-hoc modelling.
• Prof. Silvia Knüppel, ‘soft objects’ in module 234 Synthesis + Product: The course examines the relationship between traditional textile techniques - such as knitting and embroidery - and their possible applications in a spatial context, works out concepts and develops a repertoire of textile artefacts.  

Extension (recommended for the 2nd and 3rd semesters): 

• Prof Holger Jahn, ‘one planet design basics - urban transformation’ in Module 231 Object + Intention: Product design not only focuses on the object to be designed, but also sees itself as a driver of transformation. The course teaches the basics of sustainability, climate crisis and planetary boundaries (ecological footprint) and a sound understanding of sustainability.

 • Prof. Dr Sebastian Meier, ‘Parametric Design’ in Module 232 Idea + Plan: We not only design for the computer, but of course also with the computer. This course therefore teaches the basics of designing with computer code. Digital designs are realised in 2D and 3D on the basis of JavaScript.

In the module group "Theory I", the basic professional-scientific knowledge is taught and tested. The goal is a basic knowledge of analytical, historical, contextual as well as operational (strategic, economic, procedural, legal) methods, practices, facts and theories. The seminars are offered across all degree programmes.

The subject canon of the theory module group offers an analytical approach with the modules Design Theory and Design Research (301), a historical-sociopolitical approach with History of Design and Culture (302) and an operational approach with Design Management and Media Law (303).

In this module group, our colleagues Prof. Dr. Marion Godau (History of Design and Culture), Prof. Dr. Helga Schmid (Design Theory and Design Research), Prof. Dr. Nico Heise (Media Law) and Prof. Dr. Enrico Sass (business start-up and management techniques) teach full-time.

Our workshops – like the entire degree programme – are interdisciplinary per se, but there are, of course, workshops that are strongly associated with the respective degree programmes and teaching areas. Here, the technical and craft basics of the respective trades are taught. Each student can take an individual workshop portfolio that also extends beyond the boundaries of their own subject area.

From this module group, 12 ECTS credits are required.

The Product Design degree programme places great emphasis on workshop practice and offers students a comprehensive infrastructure that is supervised by workshop teachers.

The ‘3D Digital Model Making’ and ‘3D Analog Model Making’ modules are basic workshops that support the seminar work. These modules teach the basics and skills of model making. The spectrum ranges from classic analogue model making to digital CAD (computer-aided design) and CAM (computer-aided manufacturing). 
The safe handling of machines, production tools and materials is taught using a wide variety of working models and deepened through practical implementation. In addition to practical work - usually with different materials and manufacturing processes - students experience the complex process of design, planning and realisation. The aim is to gain confidence in dealing with the workshop situation and the machines in order to successfully realise prototypes.

In ‘3D Manufacturing’, the use and properties of materials (material library) are at the centre of teaching. The focus is on the introduction to basic manufacturing processes and material-appropriate design. Various materials such as wood, metal, plastic and textiles are presented in seminars and workshops on the basis of traditional and contemporary/new materials and techniques. The relevant design aspects and manufacturing processes are also taken into account.

The module group "Perspectives" includes the module Project Weeks (501 + 502), which is the first course for students in the first semester as one of the few compulsory courses at the beginning of the winter semester. In addition, events are developed and carried out in interdisciplinary teams in the Project module (503). The Flex module (Flex 01-13) enables students to participate in university-wide, interdisciplinary courses – i.e. also from other departments of the university of applied sciences.

The "Reflection" module plays a special role in the degree program. In a discussion with lecturers, students present their career to far, draw up a summary and plan their further studies. The quality of the presentation, reflection and documentation is particularly important.  The module therefore focuses on personal discussions between students and lecturers. The aim is to reflect critically and constructively on previous studies and to develop ideas for the further course of studies.

The content of the module is largely developed independently. However, the department organizes an information event in preparation. The discussion is held with three lecturers from the Department of Design and lasts approximately one hour.

In the module group "Design II", the skills learned so far are applied and deepened within the framework of larger projects and designs. We understand "designing" as a cultural practice that allows different approaches through design: Product design as problem solving, as speculation, as design research and as artistic practice. All four design approaches move thematically in the domains of "Society and the Public Sector", "Mobility and Urbanism", "Culture and Transformation", "Consumption and Production", "Science and Technology" or "Economy and Trade". This allows students to focus their own course portfolio on specific areas of knowledge.

The courses in the module group "Design II" are taught across all degree programs. At least 4 modules from Product Design must be taken - up to three modules can be taken from the Interface or Communication Design degree programs.

In the "Theory I" module group, theoretical and scientific knowledge is expanded and deepened. The aim is to acquire a sound knowledge of analytical, historical, contextual and operational (strategic, economic, procedural, legal) methods, practices, facts and theories. The seminars are offered across all degree programs.

The canon of subjects in the theory module group offers an analytical approach with the modules Design Theory and Design Research (801), a historical-socio-political approach with History of Design and Culture (802) and an operational approach with Design Management and Law (803). The module “Advanced Studies” (804) enables students to realize more extensive theoretical-scientific projects.

This module group is taught full-time by our colleagues Prof. Dr. Marion Godau (History of Design and Culture), Prof. Dr. Helga Schmid (Design Theory and Design Research), Prof. Dr. Nico Heise (Design Law) and Prof. Dr. Enrico Sass (Business Start-up and Management Techniques).

A 6-month internship is integrated into our curriculum; however, the time within the second degree program and the internship location can be chosen freely. For quality assurance purposes, the internships are supervised by the respective internship supervisors.

The Bachelor’s thesis, the individual final thesis, is represented by a cluster: the conception and design as part of the Bachelor's thesis itself, the overview of the work as part of the Bachelor’s portfolio and the presentation and argumentation as part of the Bachelor’s colloquium.

"Design and Attitude"

"Design and Attitude" poses the question of the ethical dimension in design. In this sense, designing the future means designing perspectives. Design is always geared to the future and, in order to be taken seriously, must be "appropriate" in time; it must detach itself from a monovalent optimism of progress and understand the signs of the times.

By means of design, paradigm shifts become visible and liveable. But the applied design itself must also readjust. The development horizon has expanded. An isolated understanding of problems and issues is not compatible with a global perspective. Questions of the development context, development perspectives and possible effects beyond the design object move to the centre of the discourse. "Product & Perspective" understands the product as standing in context, as part of an option, but also as part of an issue: design as the result of a transformational process of negotiating technology, application and social perspective.

"Design and Transformation"

"Design and Transformation" deals with the role of product design against the background of new development, communication and manufacturing scenarios. On the one hand, this refers to the exponential development of new materials and technical processes and the effects on the classic product development and production context. On the other hand, it refers to corresponding, mostly web-based developments that describe new design, production and distribution horizons (e.g. open source, internet of things, manufacture 4.0, space lab, construct lab, co-working, digital prototyping). These processes in particular, which are emerging alongside traditional development contexts, outline a space of possibilities that is already becoming concrete, both culturally and economically, and which has a considerable influence on product design. In this context, among other things, the resources of industrial and artisanal production are renegotiated in relation to technical-semi-craft approaches. The classic service provider designer in the expert debate is being replaced by a new type of designer. This new type of designer is no longer confronted with users, but with critical prosumers who first want to be convinced of a special design competence. Designers must be able to recognise the possibilities of the new conditions and translate them into modern design statements through the use of contemporary media and technologies. By taking up initiatives, recognising avant-gardes, not only in product development, they must prove themselves to be experts in cultural development, as well as in communication and the use of current strategies of product conception.

"Design and process

The understanding of problem solving usually associated with the term design process is no longer sufficient against the background of current development scenarios. The development of new materials and technical processes have an impact on the classic product development and production context. In addition, web-based developments describe new design, production and distribution horizons that suggest new methods and instruments for controlling product development processes. Designers, as the ones who are supposed to translate a project into a product, increasingly have the role of linking multi-process aspects of a development and translating them across disciplinary and communication boundaries - away from a doctrine of feasibility towards a discourse of plausibility. They must be in a position to formulate, organise, integrate or themselves perform many aspects of development, from post-industrial production to critical reception. They have the role of mediating contemporary product development.

Lecturer:
Prof. Jörg Hundertpfund

"Material & Material Culture"

Material culture refers to the totality of devices, tools, weapons, buildings, clothing, jewellery and other material things produced by a culture or society. Historical artefacts give us information about ways of life and cultural techniques. Material creates identification for people, e.g. in professions and regions. Material must be thought of holistically, i.e. its origin, properties, processing possibilities and recyclability should be included. In particular, it is about which atmospheres and which old and new aesthetic qualities can be created by material. Material is always an indicator of a social mood and should be seen as anthropological. Material has narrative qualities and appeals to all the senses.

"Object/Series & Production Society" or "Autonomy of Production".

Objects and products can be created in different contexts - in the studio, start-up, craft, manufacture, in industry and research institutions. Production takes place in a wide variety of social and cultural spaces. Objects and goods are created by hand, with 3D printers, robots and CNC-controlled machines. A cultural space is attached to productions, they are subject to a production atmosphere and are guided and judged by experts. Questions need to be asked about this: How are production and production relations changing in the age of digitalisation? Which new production strategies and tools are available to designers and which do they have to reinvent (maker culture)? In which interdisciplinary constellations can innovation take place without values? What new spaces for action and experimentation must be developed for the future? What new understanding of the role of designers will result from this?

Lecturer:
Prof. Hermann Weizenegger

"Experimental Design"

Experimentation is an indispensable tool in the laboratory kitchen of contemporary design education. It opens up new spaces and creates new expressive possibilities to see or do things in a way they have never been seen or done before. Experimental design methods offer the opportunity to develop new forms, perspectives and their combinations, to put the forgotten and the traditional into a new context and to overcome known boundaries to explore new fields.

"Textile & Design"

Contact with textiles is an integral part of our everyday lives. In a product design degree, the examination of and knowledge about textiles cannot be missing. Textile products have always been an important area of product design as well as an important economic factor with great potential and many future-oriented dimensions.

Healthy Materials & Circular Economy

As designers, we have a special influence on the manufacturing processes and thus also on the sustainability of products. Cradle to Cradle is a design concept in which products are always returned to the cycle, thus saving CO₂ and producing as little waste as possible. Healthy materials are the prerequisite for a functioning circular economy. Material compositions and manufacturing processes of our everyday consumer goods must be made more transparent to enable self-responsible purchasing decisions.

Lecturer:
Prof. Silvia Knüppel

Mobility

The car and other fossil-based mobility solutions have left a lasting mark on our society and our built environment. In the sense of a holistic mobility turnaround, we need radical solutions that rethink mobility from the ground up. For a mobility that is oriented towards people and the environment, we need innovative concepts that range from new means of transport to mobility platforms to social change and are dedicated to a holistic mobility turnaround.

Sustainability

What does it mean to design products - especially in times of climate change, conflicts over raw materials and environmental pollution through waste? Design has made a significant contribution to the emergence of our current consumer culture. How can we as designers show new ways of producing and using products? What do concepts like cradle-to-cradle or the circular economy mean for the design process? How can we promote sustainable user behaviour through the design of products and services?

One Planet Design

The artefacts and processes we designers are involved in shape our physical world and our society. The lifestyle of industrialised nations is pushing the planet to its limits (planetary boundaries). Not only on an ecological level, but also socially, we are facing major global challenges for an inclusive and sustainable future.

How can we as designers take a stance in this discourse and contribute to the path towards a better future through our work?

Lecturer:
Prof. Holger Jahn

»Digital design process«

Modern design processes are completely digitalised. The digital presents itself to us as a space of endless innovative possibilities. But the real potential of the digital is reserved for those who know how to shape the space through data and code. Digital sovereignty in design is based on a deep understanding of digital structures, limitations of the digital and an empowerment to shape the digital space in a self-determined way.

»Knowledge transfer in form and space«

In times of abstract topics like climate change, financial crises and globalisation, we need new forms of knowledge transfer - formats that go beyond unidirectional educational offers, holistically designed mediation offers that address us humans with all our senses and needs. How can we, as designers, make a positive contribution to the conception and design of innovative mediation formats and techniques?

»Product as interface«

Physical and digital space are ubiquitously interwoven. The devices we use, the vehicles that transport us or even the buildings we enter are equipped with sensors, displays and controls. How can we shape the interplay between the physical and the digital? What influence do the two dimensions have on each other?

Lecturer:
Prof. Dr. Sebastian Meier

Online registration for the qualifying examination

• Registration for the artistic-design aptitude test is possible from 01 January to 01 April.
• No proof of university entrance qualification (e.g. certificates) is required for registration. This is only required upon enrolment.

After registration

• You will receive the date of the examination and the topic of the homework assignment. You should work on the assignment independently and present it during the qualifying examination.
• Fill out the enclosed application form and upload it digitally. You will receive the upload link by e-mail.
• For the aptitude test, create a portfolio with a maximum of ten of your own creative works or recent work samples.
• Work on the homework assignment. Be creative , avoid clichés and convince with your concept. Formalities are important, but your innovative ideas are of particular interest.

Note on the portfolio

In order to get to know your creative abilities and get a clear idea of your interests, your portfolio should present an authentic picture of you and show that you are able to communicate your ideas effectively. The following are accepted as work samples:

• Visual material up to DIN A0 format or digital: drawings, sketches, photographs, paintings
• Three-dimensional visual objects: Models, sculptures, installations
• Computer representations: Renderings, web designs, websites, computer codes, graphic software
• Films, games, videos, animations, music pieces, stories

Insights & Tips

On the website of the campus ambulance you will find many helpful tips and answers to questions about the aptitude test in the field of design: What should be considered for the homework? What are the requirements for the portfolio? How does the examination proceed?

The campus ambulance team, consisting of students, offers you advice and is on site during the exams to ensure a pleasant atmosphere between all the new impressions.

The artistic-design aptitude test takes place online. You can find the dates for the aptitude test on the page about the organisation of studies at the design department. In the aptitude test, you will have an interview with the responsible examination board and present your homework as well as the portfolio with your work samples.

Assessment criteria

• Creativity, intensity
• Ability to reflect and abstract, problem orientation
• Technique and craft
• Motivation and identification
• Communicative skills
• Design-specific talent

After the aptitude test

After the aptitude test, the individual examination boards will confer and decide whether aptitude has been established. In the following weeks, you will receive a letter informing you of the result. If you have successfully passed the aptitude test, you can apply for enrolment.

For detailed information on determining the artistic aptitude for the bachelor's degree programmes in interface design, communication design and product design, please refer to the statutes for determining the aptitude for the degree programme, which you can find on the page of the module handbooks and study and examination regulations of the design department.

Do you have a university entrance qualification and have passed the aptitude test? Then you have the opportunity to submit an enrolment application for the upcoming winter semester from 15 June to 15 July on the MyCampus university portal of the University of Applied Sciences Potsdam.

Once you have submitted your online application for enrolment, please submit the printed and signed application together with all required documents in paper form by the deadline. The day of the enrolment deadline is decisive for the submission of the documents, whereby the date of receipt by post at the University of Applied Sciences Potsdam is decisive.

Documents to be submitted

Submit the following documents with your enrolment application:

• Officially certified copy of the university entrance qualification or the university degree certificate
• Proof of health insurance coverage for students or proof of exemption from compulsory health insurance coverage: Information on health insurance for applicants
• Proof of payment or order confirmation of semester fees
• Photo for issuing the Campus.Card
• Exmatriculation certificate from the last university attended, if applicable

Please refer to the enrolment application form to find out whether you need to submit any further documents.

Do you have questions about the enrolment process at the University of Applied Sciences Potsdam? We have compiled frequently asked questions and answers regarding enrolment and admission.

Start your studies

After you have successfully completed the application process, we recommend that you take a look at the start of studies page of the design department. There you will find important information and dates regarding the start of your studies at the University of Applied Sciences Potsdam.