The following 0.5 vacancy is available at the weißensee kunsthochschule berlin as of 01.01.2018, initially for a limited period of two years:
project coordination and start-up consulting in design
Remuneration grade 13 TV-L Universities of Berlin –
Code: 01/2018
The DesignFarmBerlin / Design-in-Tech Accelerator is an initiative of the weißensee kunsthochschule berlin, funded by the European Social Fund and the Senate Administration for Economy, Energy and Business.
Field of work: consulting and support for the Designfarm funded innovative start-ups, especially with regard to design and design-in-tech issues including business models and marketing strategies. Further development of the DesignFarmBerlin strategy for our innovative start-ups as well as promoting the DesignFarmBerlin within the international design scene. Establishing cooperative relationships and networks in the interests our start-ups with the special focus on creative industries. Fostering the acquisition of competence on the part of the Designfarm fellows.
The Weissensee school of art and design berlin stands for diversity, inclusion and equal opportunities and that is why we invite people who are willing to actively support these values to apply. Applications of persons with special needs and the same qualifications will be considered first (please attach a corresponding certificate).
Requirements: Applicants must have a degree in Design or Creative Entrepreneurship or a relevant three-year professional experience. Experience in the field of design-in-tech ideally also abroad is desirable. Strong networking and communication skills are expected, especially in social media, as well as excellent ability to cooperate and work in a team. Understanding of the special interests of an art school and business start-ups at the interface between design and technology is required, as well as and the ability to work conceptually with fellows and mentors. Knowledge of the design software Adobe Creative Suite is mandatory. Very good English language skills are expected. Existing networks in Berlin’s creative scene are an advantage.
Applications with all relevant documents are to be sent by mail to the president, Ms. Leonie Baumann, Weissensee kunsthochschule berlin, Bühringstraße 20,13086 Berlin, stating the reference number by 31 January 2018, and digitally as a pdf file to: job. designfarm at kh-berlin. de (max. 5 MB).
We ask for your understanding that documents submitted can only be returned if a sufficiently stamped envelope is enclosed. Otherwise, the documents will be destroyed after a period of three months, taking data protection regulations into account. Digital data will be deleted after completion of the procedure.

We are happy to invite you to our next Meet&Pitch in cooperation with Factory Berlin:

Farmer Yolanda Leask will share her Cloudwool™ vision, Konstantin Laschkow & Laura Krauthausen will introduce their ‘Case Studies’ venture and Kristin Dolz will share her innovative software tool concept based on ‘Erosive Modeling’. 


The talks will be accompanied by an exhibition: Yolanda Leask, Cloudwool™ 
Kristin Dolz, Erosive Modeling 
Konstantin Laschkow & Laura Krauthausen, Case Studies
 Babette Wiezorek & Dawei Yang, Additive Addicted Johannes Grune & Oleg Pugachev, OSW Møbel  
Sara Diaz Rodriguez, Hilo   Looking forward to see you there + join us and support the Farm 🙂 venue: Factory | 1st floor Rheinsberger Straße 76/77 Berlin >>> for more information on current ventures:

This summer ADDITIVE ADDCITED supports the project TON STEINE ERDEN (CLAY STONES EARTH) that takes place at Art Academy Berlin Weißensee and which is part of the greenlab. Currently, the greenlab deals with the manifold relations between Berlin and Brandenburg, in particular it concentrates on a region in the south-east called Oder-Spree. For a long time the natural resources of this region have been sand, wood, coal and clay – by using these natural resources, countless brickyards around Berlin produced construction materials for the flourishing capital. In view of promoting a sustainable building culture, the TON STEINE ERDEN project would like to once again emphasize those cultural and material resources and attempts to develop suitable and sustainable positions referring to the architectural structures that constitute a space: Ceramic and modular surfaces, tiles, bricks and building blocks of all kinds are under examination and are reconsidered in their manufacturing procedure and design.

“The project will give an introduction into working with ceramic materials and technologies from traditional and manual techniques to industrial ones, and it will deal intensively with the potentials of digital tools associated with design and manufacturing procedures of architectural ceramics. An important module in the project will be ceramic 3D-printing, its tool-free and additive procedure allows easily complex undercuts, coiled structures, and even the realisation of only one item becomes efficient with that technology.”
Prof. Barbara Schmidt

In that context, ADDITIVE ADDICTED is responsible for imparting the whole process of ceramic 3D-printing and we support the students in the planning and execution of their concepts. In May 2017 we began with an intensive workshop that inducted the students into ways of working with a ceramic 3D-printer: They learned more about the process itself and the characteristics of the semi-fluid ceramic paste. We’ve expanded on different strategies of generating data and have explored a wide range of examples to expose the potential as well as the limits of this technique. Further, we gave an well-founded introduction to the slicing-software Repetier Host. Repetier Host is not only the printer’s virtual desktop but it also provides different slicing tools which offer a basis to generate the Gcode and to control the printer’s settings. In the second part, the students started to print their own designs. By doing so, they experienced how they can adapt their digital CAD files according to material and technological properties and they realize that even the post-processing of slicing offers a wide range of creative possibilities. In the workshop we used a non-industrial clay that originally came from a forest in Brandenburg near the little village Sauen. To achieve a printable material, the clay was cleaned and processed in such a manner that it finally had the right properties and consistency. In the following weeks we will continue to support the project with our ceramic 3d-printing expertise. We will help to optimize the ceramic materials and we’ll give support to adapt designs to the restrictions of the printing process.

Authors: Babette Wiezorek & Dawei Yang

More information: