Born in 1976 in Katowice. In 2002 graduated with distinction from the Academy of Fine Arts in Katowice, majoring in graphics, specializing in graphic design.
Since 2003 employed at her alma mater at the Applied Drawing and Illustration Studio of professor Tomasz Jura. Since 2013 head of the Illustration Studio. In the years 2008-2012 head of part-time studies at the Faculty of Design. In 2010 received her PhD degree in the area of visual arts, discipline of fine arts. Since 2012 Dean of the Faculty of Design at the Academy of Fine Arts in Katowice.

Repeatedly performed the function of curator and organizer of various events associated with the Academy of Fine Arts in Katowice, including AGRAFA and the accompanying conference. Since 2008 she is the curator of the international competition “A well-designed book – let’s start with children” and conference “Books for children – how is it done?”.

She has published articles in 2+3D, Biuletyn Sztuki Projektowej, and TUBA among others.
She has spoken at international conferences, including European Illustration Art in Warsaw (2009), Illustration Research in Kraków (2012) and Think (in) Visual Communication in Warsaw (2014). Repeatedly ran workshops and lectures on illustration, including at North Wales School of Art and Design in Wrexham (UK) and the Royal Academy of Fine Arts in Antwerp (Belgium).
She participated in reviews and competition poster exhibitions in Poland and abroad, including in Ogaki (Japan 2002 and 2004), Colorado (USA 2003), Trnava (Slovakia 2003 and 2006), the Polish Poster Biennale (Katowice 2004), International Poster Biennale (Wilanów 2004, 2006, 2008), as well as a number of satirical drawing competitions – awarded twice at the 1st and 2nd Forum of Young Caricaturists organized by the Museum of Caricature and Cartoon Art in Warsaw.

www.asp.katowice.pl

Graduate of classical archaeology, since 2012 Director for Development of the National Library in Warsaw. He is responsible for digitization and modernization, including cataloguing and sharing models in the era of the Semantic Web. In October 2014 he launched e-ISBN Service – a unique web-based tool for publishers to manage ISBNs and related book metadata. He directly supervises Polona, one of the most modern and fastest growing digital libraries in the world.

www.bn.org.pl

www.polona.pl

Designing new features for Polona: object- or user-oriented?

POLONA is an innovative digital library – a portal that provides online access to digitized collections of the Polish National Library. It is a tool that allows opening its treasury and warehouses to readers. The new interface of Polona was received enthusiastically. “National Digital Library project up to Google standards”, “Polona is user-oriented and does not prohibit the use of collections” are just some excerpts from press coverage.

The presentation will take us behind the scenes of Polona project, which was begun from scratch in 2011. It was a process involving various specialists: designers, UX-designers, librarians and programmers. How did it manage to move away from the model of institution-oriented site (database) and focus on the needs of the user? What were its sources of inspiration? How does the digitization strategy of a national cultural institution impact specific interface features and user experience design? To what extent it reflects the formal characteristics of the presented materials?

Since the launch of Polona in June 2013 we have been working on the next version of the portal and the mobile site. Improved interface will take into account user feedback and introduce completely new features. Polona new release will take place in mid-May, but conference participants will be able to ‘preview’ the current state of development a few weeks before the premiere.

Co-founder and director of Zamek Cieszyn, the first regional center in Poland for promoting good design among entrepreneurs and the public sector. Zamek supports innovative projects in many areas of life, not just in business, itself being a unique combination of history and modernity.

Ewa Gołębiowska actively participates in several European cooperation networks such as SEE Platform, DME Award and EIDD Design for All. Since 2013 she is Vice-President of the latter organization, which works to improve the quality of life through the implementation of the principle of inclusive design.

She has coordinated and participated in a number of EU projects related to the implementation of design and new technologies, such as “Design Silesia” (2010-2013) and “Silesian Design Cluster” (since 2011).

An active promoter of design, author of many articles and lectures, runs workshops, writes a blog.

Nominated by the Polish Radio 3 for the Kulturysta Roku title awarded to supporters of equal access to culture, winner of Pearl of the Polish Economy award and Honorary Consul of the Free Republic of Žižkov.

www.zamekcieszyn.pl

Dr. Hilary Kenna is a designer, entrepreneur, researcher and teacher with twenty years experience.

Hilary lectures part-time in Design and Digital Media at the Institute of Art, Design and Technology Dun Laoghaire, (IADT), Dublin, Ireland where she was previously Programme Chair of the BA(hons) in Visual Communication. At IADT, Hilary raised over €1 million in commercialisation research funding as Principal Investigator of two data visualization and user interface research projects. One of these projects was spun out into a campus start-up called Vizolve for which Hilary is now CEO/Co-founder. In July 2014, Vizolve, a design-led technology company, launched its beta product SeeSearch – a visual search and discovery platform.

Hilary is an internationally published and award-winning designer with specialist expertise in user interface, user experience (UX) design and data visualisation. Previous design projects include the DVDROM title ‘Mind Reading – the interactive guide to emotions’, authored by the University of Cambridge and published by RGB Company, which received a Bafta nomination in 2002. More recently she designed the interface for Making Modernity: Media Explorer, a touch screen installation of the Periodic Table of Elements at the Chemistry Heritage Foundation Museum in Philadelphia, July 2008. In 2011, she designed the multiple award-winning iPad App, The Waste Land, for publishers Faber & Faber and Touch Press UK.

Previously, Hilary worked at US multinational, Vivendi Universal Games, as a Senior Producer for Games and Education consumer titles. In 2012, Hilary completed a practice-based PhD in Design Principles for Screen Typography at the London College of Communication (LCC), which is part of the University of Arts London. Since January 2014, Hilary has acted as consultant Head of Design & UX at Independent News and Media where she recently re-designed Ireland’s largest online newspaper www.independent.ie including their mobile apps and other products.

www.linkedin.com/in/hilarykenna

www.myseesearch.com

Matthias Laschke is a post-doc research fellow in Prof. Dr. Marc Hassenzahl‘s workgroup at the Folkwang University of the Arts. He focuses on the design and aesthetic of transformational objects (i.e. ‘Pleasurable Troublemakers’) and persuasive technologies addressing diverse topics such as sustainability, procrastination, willpower, adherence or mindfulness in traffic.

Matthias is supervisor of different lectures, theses and research projects (BA and MA level). Moreover he is head of various third-party funded research projects. For instance, former projects addressed topics such as mobility (BMW Research and Technology), traveling (Deutsche Bahn), healthcare (Siemens) and sustainable consumption and behavior change (Wuppertal Institute for Climate, Environment and Energy; HRW University of applied sciences). His work has been published in various national and international blogs, books and magazines.

www.matthiaslaschke.com

www.marc-hassenzahl.de

www.folkwangid.com 

Pleasurable Troublemakers and an Aesthetic of Friction

There are plenty of ways to make coffee. Some of them are effortless and require not much more than the press of a button; others are more demanding and involve grinding, dripping, or pulling. Of course, different people prefer different practices, none of them is inherently „right” or „wrong”. Nevertheless, the way we do things, certainly impact our experience. Consequently, each practice has experiential benefits and costs. Brewing coffee provides feelings of competence and stimulation. Operating the vending-machine is less meaningful.

While brewing coffee can be experientially rich, it is also time consuming and demanding. Not everything that is meaningful and beneficial to us is at the same time convenient and unambiguously fun. This is at the heart of a eudemonistic perspective on designing for experiences and wellbeing. For instance, becoming more physically active is a process „littered” with demanding activities. A recommendable practice is commuting by bike. Unfortunately, using the warm and cozy car can be much more pleasant. And to make it even more difficult, some people do not even know all the practices available to them. Products can help here. They can embody beneficial practices and shape routines through interactivity. The talk presents our Pleasurable Troublemakers. Based on the ‘Aesthetic of Friction’, a particular aesthetic to design for change, troublemakers confront users with situated, behavioral alternatives. However, in order to counteract reactance, troublemakers are also forgiving, humorous and even ironic. Finally, Pleasurable Troublemakers are companions on the long, sometimes unpleasant and bumpy way of behavior change.

Patrycja Rudnicka, PhD, is Assistant Professor at the Faculty of Pedagogy and Psychology at the University of Silesia in Katowice, Poland. With background in work and organizational psychology and cyberpsychology she investigates issues of user experience (UX) and technology acceptance in organizations. Also she explores psychological aspects of Internet use, focusing on social media engagement and e­learning. She introduces cyberpsychology and ICTs into psychology curriculum, and points up prospects of interdisciplinary collaboration and Human Centered­Design for psychology students. Since 2008 she has been a lecturer during international summer school LLP/Erasmus Intensive Programme Psychology of Entreprenurship in Madrid, Prague and Rotterdam. Patrycja also consults for representatives of many disciplines ­ engineers, computer scientists, doctors and designers – to support them excel in their work with a help of psychology.

www.linkedin.com/in/patrycjarudnicka
www.us.edu.pl

Design and values

In recent years, the concept of value has occurred increasingly often with relation to products, services and their design process. Value is referred to by project descriptions, advertising slogans, and critical texts. Due to their constant presence in social discourse, values ​​seem to be something intuitive and easy to understand, but usually it only persists until the moment when we begin to reflect deeply on them. So, what are values ​​and how they relate to design?

First of all, values are a multi-dimensional and ambiguous construct understood differently by the representatives of philosophy, psychology, sociology, economics, and management. Furthermore, in the design process we usually have to deal with at least two, and typically more systems and hierarchies of values, ​​which are not always fully conscious or compatible. This means that part of the design process is the search for knowledge about values ​​and then compromise between the values ​​of the designer and the other people involved in the project, to finally ‘contain’ certain values in the product.

In this lecture I want to present the understanding of values in terms of psychology, which deals with defining individual and social values, their study and explaining how they affect our behaviour and actions. Then I will show how to learn about and understand the value of the parties in the project, citing specific methods and tools. I will present examples of the possible consequences of designing despite of unresolved conflicts or erroneous interpretation of the values of each of the parties, as well as show positive examples of taking value into account in the design process and the positive changes it brings. Finally, I will consider how to speak and write about values, ​​to help all participants in the process to understand their key role in creating better products and services.

Ingrid van der Wacht works an independent project manager and concept developer. The focus of her work has been on initiating projects for the development of creative industries to bring social and economic change. Since 2005 she particularly works on projects that bring together industry, knowledge institutes, policy makers and designers on a regional and national level like Food4Future, Design4TheFittest, Old=In. On a European scale she coordinated the Design Management Europe (DME) project in the framework of FP 6. She now works on – INTERREG IVB- PROUD (People Researchers Organisations Using Design for co creation and innovation). The overall aim of PROUD is to employ design as driver for social innovation, economic growth and sustainable development by creating cross sectoral partnerships between public authorities, industries & businesses and designers working with new methodologies focused on co designing (with end users) in order to create competitive products, services and spaces.

It is Ingrid’s belief that the creative power of design- when well managed and well understood- can help us solve problems the world faces today. To promote this, she speaks often on national and international congresses about the developments and results in Brainport, the region of Eindhoven. As a connector she facilitates congresses, workshops and events.

She received a Master of Arts degree from the University of Tilburg.

www.capitald.nl
www.proudeurope.eu

Designing a city for all, by all!
The energy and power that arose from the small village Eindhoven more than 100 years ago, made it grow into the versatile and dynamic city of today. It has proven to be able to overcome economic downfall, to create relevant opportunities and scout new possibilities. And this always connected to the entire world: bringing innovation to far over the country’s borders.
What makes Eindhoven move? First and foremost: people!
The expansion started once with the brothers Philips: the entrepreneur and the technological genius. Their company brought prosperity and welfare to the city. A social company taking good care of its (future) employees, building schools, leisure centers, sport clubs and good housing. Things changed as the world changed rigorously over the 20th century in the slipstream of globalization. Eindhoven started reinventing itself as a region – in partnership with the regional councils, the industry and knowledge sector. The triplex helix as it was called. They established a new identity for the Eindhoven region, Brainport: a region with a distinct DNA: design and technology.
Meanwhile this partnership transformed into a quadruple helix. The 4th collaboration partner is the citizen: from senior to school kid, from resident to care volunteer, from operator to academic, from designer to business man.
How does Eindhoven involve citizens in changing the city, designing it to be a good place for all? The European project PROUD brought new insights to the city council, as one of the partners, in how to co-create policy and engage citizens in the making of the city. Eindhoven took up multiple co-design projects with lead partner Design Cooperation Brainport and of course: the design community – facilitating the projects with people in schools, businesses, care centres, farms, industries and so forth.
It is a about an equal relationship and favoring grass root initiatives with the goal to create new opportunities and relevant innovation for people. Let’s share this in Katowice!

Manuel Wijffels (1977) is co-owner and designer at Denovo Design, a design studio based in Eindhoven, the Netherlands. In 2001, he graduated from the Design Academy Eindhoven. Public space fascinates him, and he defined the baby-boom generation as his target group. His goal is to develop sustainable concepts and well thought out products that make people feel proud, especially when little handicaps start to appear.

Beside an eye-catching beachwalker, Denovo’s best known product is the Vivanti seniors bench, that started of locally and is now taking over many parks and walkways across Europe.

In close collaboration with colleagues in Strasbourg the Tango was developed. This revolutionary walking cane stays upright on its own. One of his latest co-design projects is the KWIEK exercise route, that uses available street-furniture in a neighbourhood. KWIEK stimulates health and social interaction.

Wijffels co-founded the Otherthings Design Festival and teamed up in 2011 to develop the Zona Ventosa concept during Dutch Design Week.

www.denovo.nl

Product innovation for the upcoming baby-boom generation

Giving insight in human-centred design and how to approach social issues like ageing.

Society is ageing and in 2040 about 25% of Europe’s population will be over 65.

Denovo’s fascination with the greying population started 10 years ago, when walking aids for seniors were mainly technical solutions instead of well-designed extensions of the body. When you have just graduated, it is tempting to design another fancy table or chair, but we found our niche in designing intuitive tools that help seniors to enjoy life, be independent and even feel proud.

We have a very hands-on approach, develop in close collaboration with the target group and always try to observe and listen carefully, especially when we bring our first prototypes around. Input from specialist helps as well to get to a meaningful result. For example for KWIEK (exercise route), the local physiotherapist of the neighbourhood provided important input and feedback as she had knowledge about training seniors and their (dis)abilities.

Nowadays designers seem to become more and more ‘social workers’ too, that connect people, communities, institutions and corporations. An inviting design and well thought concept helps to communicate, enhance social interaction and create a change. We will give you insight in this process thanks to several examples like the Vivanti seniors bench.

Severin Wucher (* 1976) is a Berlin-based designer. He is working as a Professor for Communication Design at the Dessau Department of Design at the University of Anhalt. Being the co-founder of Plural, an association of innovative communication experts, he is working in the areas of branding, information design, corporate communication as well as design research.

Beyond his former job as an Art Director for Integral Ruedi Baur Berlin, he taught Information Design as a Guest Professor at the Berlin University of the Arts (Universität der Künste Berlin, UdK) and at the Burg Giebichenstein University of Art and Design in Halle/Saale.

Severin plays piano and pipe organ, loves good food, coffee houses, literature, music and travelling. Whenever he returns to Berlin and sees the warm and bright »Blutorange« color (RAL 2002) of the Berlin underground line U2, he is assured that working as a designer is almost the best thing one can do.

www.pluralnet.de
www.severino.de
www.design.hs-anhalt.de

Medx DX: Design as a process of constellative thinking

Medx DX is a diagnostic tool which will extensively change the work of physicians: It displays a comprehensive and dynamic diagram, visualising the relations of a patient’s constellation of symptoms as well as the physician’s working hypotheses. By proposing further feasible symptoms and diagnoses in real-time, medx fosters a constructive and critical dialog between the tool and the user. The software aims on preventing so-called “premature closures” of cases as well as detecting rare diseases at an early stage. The tool’s data basis consists of textual descriptions of disease patterns which are being edited by medical experts.

The usability concept of Medx DX combines the visual display of causal relations (reasoning) and an iterative enquiry of symptoms (check list). The user interface mainly consists of a comprehensible diagram which is constantly re-configurating during the diagnosis process. The workflow features the basic idea of “dragging” diagnosis, respectively symptoms that are listed on the margins, into the central workspace and match them there.
Credits:
Medx DX Client, winner of the Usability Award 2014
Client: Medx GmbH, Munich
Design: Professor Severin Wucher, Kilian Krug

Every good is created by “the application of competences (knowledge and skills) by one entity for the benefit of another”, according to Vargo and Lusch. And this means that every good is a service. They also argue that “goods are a distribution mechanism for service provision”, which is always extended over a period of time and requires interaction between the provider and the beneficiary. Awareness of this makes us think about the service not as a single act of purchase, but as a number of contacts / interactions between the service provider and the client which derive value over time – when they are used (use value). Regardless if we take a closer look at public services (e.g. marriage at the registry office), transport services (e.g. train travel), educational services (e.g. higher education), health care (e.g. consulting a doctor), there is always a range of interaction points, creating a path of customer experience. Only the sum of these experiences provides a basis for assessing the value of the service.

It should also be noted that the value of the service arises at the time when the client benefits from the service and can be assessed only by them. This means that one cannot determine the value of the service without the customer, who is always a co-creator of value. Without their active use the service would not have value (if someone did not come to the station and board the train, the transport service would not take place).

So, the answer to the question what is primary – provision of the service or its experience, seems obvious. But how, in practice, to put yourself in the customer’s shoes and look at the service with their eyes? Rafał Kołodziej of GreenHat. Service Design studio will guide the workshop participants through the process of service design, on the example of a public institution.

Type design workshop for medium/advanced young designers, who already are working on a particular font (text or display).

Under the guidance of Verena Gerlach, the participants will work hands on on their own typeface in progress, to learn how to take it to completion.

Short plan

Review and correction of the typeface design, character shapes and spacing.

Workflow in Glyphs (if possible).

Learning about evaluation of how many design ideas can you really keep within one typeface.

Adding weights and variants, to work on the family structure by judging weights and widths.

How to take part in the workshop?

Submit your portfolio with type specimen (pdf) till 6th of March to the address: agrafa2015@asp.katowice.pl

What should you bring for the workshop?

The font datas of one typeface in progress, significant print outs, old sketches, and earlier state versions + a computer (if possible with Glyphs).