Kolding School of Design
Kolding School of Design
Teaching at Kolding School of Design (DSKD) is based on research and practice. Comprehensive knowledge of materials, techniques, methods, and theory are combined with the ability to place design and products in societal and business contexts.
Artistic development work within a frame of design professionalism is pivotal. A substantial part of this work takes place within the framework of The LAB which is an innovative room for experiments where education, business and cultural institutions meet to create new ideas using design as a tool. Business collaboration enables students to focus on real cases and the real problems facing globalised society. This results in aware, capable and grounded students who receive great recognition and deal with meaningful issues even while they are still studying, and when they graduate as designers continue to work in exciting and important international settings.
Objectives for learning accomplishments are considered within an international context. The school gives priority to international exchange of students and employees and affiliating high-profile international visiting faculty to its already internationally oriented staff. Each year the school “exports” classes to universities in places such as Shanghai and Ghana to collaborate with local students on designing creative solutions to local or common challenges. DSKD’s much respected annual DesignCamp is a master-class for students from selected design schools and universities around the world, who gather to develop design solutions assisted by international designers and educators.
What you can study here
The fashion discipline focuses primarily on designing clothing which decodes, mirrors, and reflects the present. The students are given time and space for thoughts, experiments, reflections, and intuition to roam freely in the constant slipstream of trends, which also characterises fashion. Form development and materials knowledge are part of the core subjects of the curriculum, and the students learn to build entire collections aimed at target groups and production facilities.
Graphic design creates the required contexts, and tells the good story in such a way that it will be noticed, absorbed and remembered. Material as well as immaterial contacts between the user and the communicator are designed, and development, planning and production of communication are approached from a theoretical practical angle. The output includes publications, identity design, typography, layout, branding, film, animation, and script design.
Here, the unique story is designed by means of personal imagery, inclusive storytelling, the touching presentation, and the vibrant stroke. The story of the plot is illustrated through drawings in books, animations on the Internet, patterns on the walls, photos displayed in the street scene, games on the mobile phone, or films in the cinema, and they acquire that additional dimension and perspective which adds relevance and meaning to the message. People’s curiosity is roused, and associations enhance their comprehension and experience.
Industrial design focuses on design solutions which incorporate function, form, and production possibilities into one collective design solution. Industrial design students study classic design disciplines such as sketching, 3D programming and model making, but they also spend more and more of their time on overall concepts focusing on the future of the users as well as immaterial values and aspects of the products. Hence, user studies and mapping of consumer behavioural patterns have become core subjects in the teaching.
Interaction design, the third branch of Communication Design, designs the dialogue between people, objects, systems, media, and space with the incorporation of technology as a fascinating new design material for experimentation. The point of departure is the individual and its sensory experiences along with other experiences and needs. The individual is at the centre of an interdisciplinary approach to designing the interactions, experiences, and dialogues of present, everyday life as well as the future, in the form of concepts, services, software, user interfaces, objects, furniture, robots, and spatial concepts.
In the textile discipline the students work with the classic tools of the textile fields: weaving, knitting, and print. The focus is on developing new design within the design areas fashion and interior design. However, there is an increasing emphasis on transforming textile values into new contexts and technologies. Hence, digital instructional tools have gained a footing at the department and are now considered equally important as the analogue techniques.
Head of International Office: Anette Flinck, email@example.com / +45 4021 1100
Head of Student Administration: Birgitte Bjerrum Hjerrild, firstname.lastname@example.org / +45 7630 1142