Meta Public Design Festival
esdmadrid First International Week
The Escuela Superior de Diseño de Madrid is now working on the redefinition of the physical space that it has occupied in its first five years and reinventing its methods for design education.
With the aim to learn from others who have faced the same challenges before us, we have invited some colleagues from other countries to join us on this trip for a few days and to share with us their experiences and knowledge.
Together we are looking for ways to provide the best education possible to young designers, so that they can face the uncertainties of the future and contribute to the generation of better, more interesting and sustainable alternatives to respond to human needs.
La Escuela Superior de Diseño de Madrid está trabajando en la redefinición del espacio físico que ha ocupado en sus primeros cinco años y reinventando sus métodos de educación en diseño.
Con el objetivo de aprender de otras personas que han afrontado los mismos desafíos antes que nosotros, hemos invitado a algunos colegas de otros países a unirse a nosotros por unos días y a compartir con nosotros sus experiencias y conocimientos.
Juntos buscamos formas de ofrecer la mejor educación posible a los jóvenes diseñadores para que puedan enfrentarse a las incertidumbres del futuro y contribuir a la generación de alternativas mejores, más interesantes y sostenibles para responder a las necesidades humanas.
Coordination / Coordinación
Belén González Riaza
Team / Equipo
Monday 24th and Tuesday 25th/ Lunes 25 y Martes 26/Esdmadrid
Preparatory meetings/Reuniones de preparación
Wednesday 26th/Miércoles 26/ Matadero Madrid
10 h. Welcome/Bienvenida
10,15 h. Changes in Design Education/Cambios en la educacion en Diseño
Glasgow School of Art
Academy of Visual Arts, Frankfurt
Presentation of the Glasgow School of Arts
Challenges from a multi-faceted example of change in the start-up story of establishing a new department and campus at The Glasgow School of Art.
Presentación de la Escuela de Arte de Glasgow
Desafíos de un ejemplo multifacético de cambio en la historia de puesta en marcha de la creación de un nuevo departamento y campus en la Glasgow School of Art.
11,15 H. Estrategias de educación experimental/Experimental education strategies
Presentation of experiences related to change management in relation to educational institutions
Presentación de experiencias relacionadas con la gestión del cambio en relación con instituciones educativas.
Análisis de diferentes modelos pedagógicos contrastando el aprendizaje experimental respecto a la educación convencional “académica” o la profesional. Desarrollo de estrategias para un aprendizaje orientado al desarrollo de personas con capacidad creativa.
12,15 -14 h. Talk with coffee /Charla con café
Thursday 27th/Jueves 27
10 h. Methods for Design Education/Métodos para la educación en diseño
Academy of Visual Arts, Frankfurt
Presentation of the Academy of Visual Arts
Narrative Integration. A method for design education that focuses on personal experiences.
Presentación de la Academia de Artes Visuales de Frankfurt
Integración narrativa. Un método para la educación del diseño que se centra en experiencias personales.
11 h. Coffee break/Café
11,30 -14 h. Workshop. Narrative Integration in Action/Taller Integración narrativa en Acción
Friday 28th/Viernes 28
10 h. Spaces for Design Education/Espacios para la educación en diseño
Academy of Visual Arts, Frankfurt
Relation between “space” and “ethics“. Its relevance for the conception of spaces of education.
Relación entre “espacio” y “ética”. Su relevancia para la concepción de espacios de educación.
Ravensbourne School of Design, London
Presentation Ravensbourne School of Design
Buildings for Design Education. Imperatives and processes behind moving to a new building.
Presentación Ravensbourne School of Design
Edificios para la Educación del Diseño. Imperativos y procesos detrás de trasladarse a un nuevo edificio.
11,30 h. Coffee break/Café
12-13,15 h. Round table with the three professors, debate with the participants/ Mesa redonda con los tres profesores, debate con los participantes
13,30 h. Conclusions/Conclusiones
14 h. Farewell Lunch
Tomaso Cornetto, born 1961, studied from 1984 to 1989 Art and Communication Design in Frankfurt/Main, Germany.
He works as a free artist and author and is also committed as a teacher and head of the Academy of Visual Arts, Frankfurt.
From 1993 to 2001 he runs an agency for Communication and New Media. In this time he headed a group of designers and programmers who worked on the development of various Internet-Applications.
From 1999 until 2004 he was Chairman of the Board of the German Albert Schweitzer Association. In this position Tomaso was primarily active in the education of ethics as core of Social Design.
He started teaching in 1990. Parallel to numerous lectures in design theory and practice, Tomaso developed the basis of the didactics of the Academy of Visual Arts, Frankfurt, where he has been in charge of the artistic direction since 2007 together with Seyyal Carnetto. The approach is determined by the transfer of language (poetry, literature) into interdisciplinary design processes.
Tomaso Carnetto is author of numerous publications; “Sprachkörper I / Language Body I – the Proportionality of Thinking and Designing” (2012), “Sprachkörper II / Language Body II, Fashion”, together with Seyyal Carnetto (2014), “Lectures” (2015), Drawing (2015), “Gedichte” (2015), “Manifest / Manifesto for the giant writing machine”, together with Lisa Kränzler (2016).
„After school, first I took an apprenticeship as a carpenter, then I studied Design and Visual Arts.
Generally speaking, my work relates to the tension between the individual being (the individual history) and the common being (the common history), with close relations to the philosophy of someone like Baruch Spinoza, Gilles Deleuze, Giorgio Agamben or others which are situated in the relation between individual experiences and their literary or artistic transformation, which has to be described as a reality of pure immanence.
To understand my history in relation to the common history, I had to collect three kinds of content: first what has been told to me about history (of the past of power, social relations, art, literature and so on), second the historical facts in relation to what not had been told, third my own history. All three kinds had to be understood and grasped as concrete experiences (as Existential Notations).
In addition, I needed the appropriate grammatical and artistic tools to do so. Because of the fact that those tools only partly exist, some I had to complete, others I had to create. To get the tools for collecting and evaluating the collected material (concerning its structural identities), I needed many years.
One of the important impulses for building own tools (and methods) was my identification of the Honigpumpe (as it was installed at the Documenta in 1977) as a potential tool for narrative recoding.
For me the Honigpumpe seemed much related to a Vitruvian Machine, a construction which directly produces an inseparable combination of words and images out of the movements of the author’s body.
My motivation for working as a lecturer (I started in 1990 with courses in computer based design) was, from the beginning, the definition and creation of the needed grammatical, artistic and technical tools for the collecting and storing of Existential Notations.
With the elaboration of the tools during the following years, we saw that they are outstandingly useful for the teaching of knowledge about design, art or visual communication and for its practical use.“
My work focuses on giving form to and being part of ‘small-groups’ and networks that enable start-up, development and creative leadership of change; the settings through which this is materialized and continually refined are creative interactions in diverse contexts. The starting out point was strategic partnerships within the creative industries with a particular attention on creatively leading diversification within independent businesses.
During this time I also began to progress working at the interface between business and education; by practically exploring through project-partnerships how the experimental principles of higher education can enable meaningful change with a business context. The capabilities nurtured through this work have been adapted and refined to develop new research and teaching ventures within Higher Education Institutes, with the focus on projects with business and civic partners that are motivated to effect real world change. These diverse and practical contexts have allowed me to actively contribute to strategic networks in industry, public sector and government on innovation and enterprise, with a focus on imaginative interactions between creative education and the socio-economy.
My work is inspired by finding ways to enable new ‘ways of organizing’ that are more relational, adaptable and imaginative and are able to rise to the complex challenges of now and the future. I am motivated by the role we play together in bringing about hopeful change in the world, and how we collectively challenge the status quo.
These capabilities and inspirations are happily being brought together in my work at the Academy of Visual Arts, Frankfurt and provided the framework of my portfolio at The Glasgow School of Art.
Whilst at The Glasgow School of Art my role was as co-lead in the start-up of the Institute of Design Innovation – a distributed research institute focused on pioneering new models of research and teaching that integrate holistically with global complex challenges. For example, leading the Creating Cultures of Innovation programme; run in partnership with the Institute of Directors and Glasgow University Business School. This research programme worked with organizations to actively explore how design approaches could transform their ways of working and develop their innovation capacities. As co-developer of the business model for the Digital Health Institute – a Government sponsored Innovation Centre – which launched in 2013 and explores new ideas for health and care services. At the same time I played a leading role in the development of the GSA’s new campus in the Highlands and Islands, in partnership with the Government development agency, as a space to redefine how we live, work and study. This multimillion-pound campus opened at the end of 2016.
• External Examiner, Institute for Creative and Cultural Entrepreneurship, Goldsmiths, University of London
• Co-developer of joint MSC in Management and Entrepreneurship in the Creative Economy with Audencia Management School
Layton Reid is the Associate Dean of the Department of Architecture with cross-institutional responsibility for student experience, international liaison, and special projects.
Layton is the founder and director of Desitecture, a research based practice, which has been published internationally for its work on future and sustainable prototypes, with a focus on high density and ultra tall buildings. Desitecture exhibits internationally and the practice’s work is presented at international conferences on a regular basis. He has extensive experience as an external examiner and validator, both in the UK and internationally in architecture, interior architecture and design at undergraduate and postgraduate levels and has formerly been a visiting professor of design.
Layton is Chair/President of Trustees of the Interior Educators, the national academic subject group, and a vice Chair of the RIBA Schools of Architecture visiting panels. He travels extensively promoting architecture, design and its benefits and the need for greater links and engagement between the public, users and the academy.
Layton’s work sites itself alongside the debates on the use of technology and the need for the city to reinvent itself and as a result received numerous invitations to present through lectures and presentations internationally including London Culture Exchange 2015, Vertical cities symposium Hong Kong 2013, High density mass housing housing symposium Singapore 2014, MIPIM shortlist 2015.
Las plazas disponibles son limitadas, te rogamos que antes de inscribirte te asegures que puedes participar en las horas previstas para el taller.
Para obtener el certificado de participación se tendrá en cuenta la asistencia a las sesiones programadas.
Talleres/ conferencias/ diálogos
Los talleres son gratuitos y se desarrollan en los horarios indicados en el programa. Están abiertos a todos los interesados, a estudiantes de la ESD y a otros participantes. Debe realizarse inscripción previa a través de la web del Festival (http./pdf.esdmadrid.es ) y se habilitarán listas de espera para aquellos talleres en los que la demanda exceda la oferta. Los asistentes obtendrán un certificado por su participación en los talleres.
Las conferencias serán de acceso libre hasta completar el aforo de la sala en la que se celebren.
Los diálogos serán de acceso libre hasta completar el aforo de la sala en la que se celebren.