Eyal Weizman is the founder and director of Forensic Architecture and professor of Spatial and Visual Cultures at Goldsmiths, University of London, where in 2005 the founded the Centre for Research Architecture. In 2007 he set up, with Sandi Hilal and Alessandro Petti, the architectural collective DAAR in Beit Sahour/Palestine. He is the author of many books, including Hollow Land, The Least of all Possible Evils, Investigative Aesthetics, The Roundabout Revolutions, The Conflict Shoreline and Forensic Architecture. Eyal held positions in many universities worldwide including Princeton, ETH Zurich and the Academy of Fine Arts in Vienna.

He is a member of the Technology Advisory Board of the International Criminal Court and of the Centre for Investigative Journalism.

In 2019 he was elected life fellow of the British Academy. In 2020 he received an MBE for ‘services to architecture’ and in 2021 the London Design Award. Forensic Architecture is the recipient of a Peabody Award for interactive media and the European Cultural Foundation Award for Culture.

Eyal studied architecture at the Architectural Association, graduating in 1998. He received his PhD in 2006 from the London Consortium at Birkbeck, University of London.

Forensic Architecture  is a research agency based at Goldsmiths, University of London. Our mandate is to develop, employ, and disseminate new techniques, methods, and concepts for investigating state and corporate violence. Our team includes architects, software developers, filmmakers, investigative journalists, scientists, and lawyers.

We are an interdisciplinary agency operating across human rights, journalism, architecture, art and aesthetics, academia and the law; in 2022, the Peabody Awards programme wrote that we had co-created ‘an entire new academic field and emergent media practice’.

Irma Boom is a bookmaker based in Amsterdam. She has created over five hundred books. Her experimental approach often challenges the conventions of traditional books in both physical design and printed content. Since 1992, Boom has been senior critic at Yale University, New Haven, Connecticut, and she gives lectures and workshops worldwide. She has received many awards for her book designs and, in 2001, was the youngest person ever to receive the Gutenberg Prize.

Boom’s books are in the permanent collections of the Museum of Modern Art, New York; Art Institute of Chicago; Vatican Library; and Centre Pompidou, Paris, among other institutions. The Special Collections of the University of Amsterdam collect her complete oeuvre. In 2014, Boom received the Johannes Vermeer Award, the Dutch state prize for the arts. In 2019, she received an honorary doctorate from the Royal College of Art, London.

The Survival of the Book or The Renaissance of the Book!

The distribution of information has always been dependent on its changing form. The classic book can’t escape that and is now feeling it acutely. The digital book is decidedly on the rise. But its appearance in the form of flat, digital images need not threaten the three-dimensional book. The new competition even encourages us to explore the intrinsic characteristics of the printed book more intensely.

I think we stand on the verge of a new flourishing of the classic book. Perhaps it has even begun already: the Renaissance of the book. For the printed book, preconceived layouts are a thing of the past. The book designer must first become thoroughly familiar with the content before beginning the actual task at hand: conceiving a structure and a form. One can compare designing a book to performing a piece of music: a conductor explores the music and interprets it. The book designer is an editor and director of texts and images.

The result of this effort is the freezing of time and information, which is a means of reflection; compare it to a photograph or a painting. An image at a given moment serving as a reference of time and place. The flux inherent in the internet doesn’t allow you that kind of time. The printed book is final and thus unchangeable. Moreover, the extra use of base materials and man-hours (with printing and binding) forces you, to some degree, to make conscious choices.

I make books where content and form are closely connected. The content of the material very much determines the design. This makes each book unique: never the result of routine treatment. My books have a physical presence through their dimensions, scale and weight. Their form may be emphatic, but it is always determined by the content. The need for the book’s intimacy – the paper, the smell of ink – is certainly not nostalgia or false sentiment.

The printed book is a fundamental and integral part of our tradition and culture, of published and public knowledge and wisdom. The book is dead. Long live the book!

The aim of the workshop is to create a graphic object that interacts with wind and will be able to generate energy. During the workshop the participants will develop their own Wind Thing. These objects should unite the artistic appearance of a kinetic object with the function of a small scale wind turbine.

Sonja Stummerer and Martin Hablesreiter founded the interdisciplinary studio honey & bunny in Vienna in 2003. They developed and built several loft conversions, stores and apartments, directed “food design – the film”, created the exhibitions “food design” for the Designforum MQ in Vienna, “food | design | humanity” in Lodz and “eat | body | design” in Zurich, among others. Their installation “EAT DESIGN” is part of the permanent collection of the Vienna Museum of Applied Arts.

Honey & bunny have taken part in numerous international solo and group exhibitions as designers and Eat Art artists. Most recently, they created the installations “room 333” for the Museum of the Image in Breda/ NL, “food design objects” for the Palazzo Triennale in Milan, “table manners” for the Gwangju Biennale and “eat VALUE design” for the Victoria and Albert Museum in London. Honey & bunny developed and presented design and eat art performances at Paris Design Week 2015, Expo Milan 2015 and Republic in Salzburg, among others.

Continuing the construction game, the aim of the workshop is to imagine a simple system for constructing cellular kites. To add a very specific constraint to kite flyers, these kites will need to be foldable and relatively large when built.
At the end of the workshop all the kites must be hung in the school entrance hall. These kites must be aesthetic and poetic but also well thought in their construction system. The aim of the workshop is to explore repetitive geometric shapes with specific kite materials such as the spinnaker or structures. It is also important to think about kites that tell a story and create a coherent volume common to all participants.

Victor Guerithault (born in 1993, Paris, FR) is a designer specialized in kites and aerials structures graduated in EESAB Rennes (European School of Arts) in 2018. Passionate about lightweight structures, architectures and kites he found a way to dust off the aerodynes systems in a fun way. Kites are thousand-year-old objects that have the power to create interactions, social links, dreams and memories. The goal is not simply to fly your kites but to build it from A to Z and also to be able to transform it in a few minutes. This game based on 3d parts specially created for these kites, allows the construction of more than 300 different shapes.

Guided by basic but equally complex geometries, these aerodynes are 100% customizable, making them it’s first quality. Indeed, all the projects, collaborations or requests on which I worked saw the light of day thanks to this system. I already worked for Louis Vuitton, Hermès, Le Coq Sportif and Burberry.
This building game allow me to work with different structures like schools, brands and festivals.
Kites are serious children’s objects, several recognized designers or architects have become passionate about these age-old objects, such as the couple Charles and Ray Eames.

Join us for an immersive one-week course tailored for designers, where we’ll explore the integration of AI into the creative process. This professional program offers a hands-on experience with the latest AI tools, empowering you to innovate and elevate your design work. Perfect for those looking to stay ahead in the ever-evolving world of design, our course is a blend of practical skills and cutting-edge knowledge. Because everybody is afraid of losing their jobs to AI.

Meet a dynamic duo Thinh Truong (Artificial) and Vero Gryshchuk (Intelligence) in the world of design and AI education. Vero, a graphic design grad from Elisava and speculative design aficionado. Thinh Truong, a playful yet insightful multidisciplinary designer, a motion graphic grad from IED Barcelona. Together their fates twisted at Domestic Data Streamers where they began the AI journey diving deep into AI research and its application in creative industry. 

They’re not just teachers but fun-seekers, blending design expertise with generative AI. Their classes? A creative journey at the exciting crossroads of design and experimental prompting.