PORTFOLIO

KUNI PART

After gaining my Bachelor degree (BA) in April 2010 I continued to join the Masterprogramme (MA) of space&designstrategies, which was es-tablished at the University of Art & Design Linz as an European novelty. Key elements of the programme directed by Professor Elsa Prochazka are cross-disciplinary projects that investigate the interface of art, ar-chitecture, design and digital media. It teaches fundamental knowledge and skills in space-related design ranging from art, interventions in space to complex space-related concepts, realizations in space, virtual space systems as well as in-depth material science and implementation of techniques.Within this course I have the possibility to analyse, define and mate-rialize phenomena in both real and virtual space. The programme en-courages - in a high level of individual flexibility - my ability to develop solution strategies for a rapidly changing art, architecture and creative scene while at the same time imparts profound knowledge of materials science and process techniques. Since 2006 until now I got the chance to develop my own creative models for a higher range of possible appli-cations, especially in the area of Media, Spacial Design and Communi-cation Design and to distinguish myself through various co-operation projects within the public sector and business community.

UNIVERSEDIMENSIONS

IMPERFECTION IS BEAUTYMADNESS IS GENIUS

AND ITS BETTERTO BE ABSOLUTELY RIDICULOUS THAN

ABSOLUTELY BORING

[Blend Mag.#7: Marilyn Monroe]

B.A. Laura Krokis studying space&designstrategies

(head of departmentUniv.-Prof. Mag.arch. Elsa Prochazka)

at the University of Arts in Linz since 10/2006

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WE HAVE TO FALL INTO A NEW HOLE IN THE ROAD EVERYDAY

AND WE DON'T WANT TO FALL INTO THE ONESWE HAVE FALLEN INTO BEFORE. Gilbert & Georg

Nachdem ich meinen Bachelor-Abschluss (BA) im April 2010 mit Auszeichnung erhielt, setzte ich auch den Master im Bereich raum&designstrategien fort, eine in Europa in dieser Form vollkommen neue Studienrichtung, die sich an der Kunstuniversitt Linz etabliert hat. Die im Studium projektorientierten Aufgabenstellungen, geleitet von der Universitts-Professorin Elsa Prochazka, setzen an der Schnittstelle von Kunst, Architektur, Design und den digital Medien an. Im Rahmen des Studiums werden Kenntnisse und Fhigkeiten im Zusammenhang mit raumbezogenen, thematisch fokussierten Fragestellungen, von knstle-rischen Interventionen im |ffentlichen Raum bis zu komplexen raum-bezogenen Konzepten, Rauminszenierungen, virtuellen Raumsystemen sowie profunde Material- und Umsetzungstechniken gelehrt. Innerhalb des Studiums werden sowohl Phnomene im realen als auch im virtuellen Raum analysiert, definiert und realisiert. Ziel meines Stu-diums ist es, eine hohe individuelle Flexibilitt an Lsungsstrategien in der sich vehement verndernden Kunst-, Kreativ- und Architekturszene zu erwerben und diese gleichzeitig mit einer profunden Kenntnis sowohl digitaler als auch materialbezogener Verarbeitungstechniken zu ver-knpfen. Seit 20006 habe ich die Mglichkeit meine eigenen, kreativen Strategien fr eine Bandbreite von Anwendungsbereichen zu entwickeln, die vor Allem im Bereich der Medien, rumlichen Designs und Kommuni-kationsdesign angesiedelt sind, und mich durch einige Kooperationspro-jekte mit der |ffentlichen Hand und der freien Wirtschaft zu profilieren.

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UNIVERSEDIMENSIONS

UNVOLLKOMMENHEIT IST SCHNHEIT WAHNSINN IST GENIE UND ES IST BESSERVLLIG LCHERLICH

ZU SEIN ALS VLLIG LANGWEILIG

[Blend Mag.#7: Marilyn Monroe]

B.A. Laura Krokstudiert raum&designstrategien

(Leitung Univ.-Prof. Mag.arch. Elsa Prochazka) an der Kunstuniversitt Linz

seit 10/2006

PROJECTS

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Zuckerflug, 200 Space Installation | Rauminstallation

Max Hbner, Gita Ferlin, Dsire Hailzl, Laura Krok, Helene

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one. ZUCKERFLUG EXHIBITION

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Well I sometimes wonder about what has actually happened to the future that had been promised us? Nike print commercial, 2002

Zuckerflug ist eine begehbare, raumgreifende Installation aus Wrfelzu-cker, die sich dem Betrachter durch die Bewegung im Raum schrittweise erschliet. Trotz der fragilen Struktur der im Raum schwebenden Wrfel bildet ihre Gesamtheit einen komplexen K|rper. Die Subtilitlt der Ver-strebungen und die dynamische Ausrichtung verleihen einen Eindruck der Schwerelosigkeit. Der prozesshafte Aufbau der Arbeit weist in seinem Verlauf eine Paral-lelitt zur deterministischen Chaostheorie auf. Die Chaostheorie unter-sucht das zeitliche Verhalten eines Systems: Die Struktur des Systems wird vollstndig von ihrem Ausgangspunkt bestimmt, der abhngig von seinen Bedingungen kontinuierlich neue Bedingungen hervorbringt, um das System weiter zu bestimmen. Mit anderen Worten ist es ein irre-gulr erscheinendes, nicht einfach durchschaubares Verhalten, welches jedoch den Regeln einer deterministischen Dynamik folgt.

ANMERKUNG

ZUCKERFLUG EXHIBITION Erffnung mit SPECIAL GUEST Prof. Dr. Hilde-gund Amanshauser, Direktorin der internationalen Sommerakademie fr Bildende Kunst Salzburg, 05/2009

Zuckerflug is a walkable, room-filling space installation made out of sugar cubes, which gradually becomes accessible to the viewer by the movement in space. Despite the fragile structure of the floating cubes, the installation forms a complex body in its whole. The subtlety of the bracings and the dynamic alignment gives an impression of weightless-ness.The process-based structure of the work points in its course to a parallelism to the deterministic chaos theory. Chaos theory examines the temporal behavior of a system: The structure of the system is com-pletely determined by its starting point that produces new conditions depending on its own conditions to develop the system further. In other words, it is an irregularly appearing, not easily understandable behavior, which follows the rules of a deterministic dynamic.

NOTE

ZUCKERFLUG EXHIBITION Opening with SPECIAL GUEST Prof. Dr. Hilde-gund Amanshauser, Director of the international Summer Academy of fine Arts Salzburg, 05/2009

Foto: Laura Krok, Josef Pausch

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Foto: Laura Krok, Josef Pausch

Sugar finds its use not only as an abstract material in this work, but also refers in terms of content to the insidious presence in our food. According to Statistics Austria the national average of sugar consumpti-on was around 38kg/head in 2008. It may be added that the actual con-sumption is approximately 85% of consumption and thus was 32.4kg/head/year. The installation embodies the sweet sides of the stimulant that seem to dissolve into the white crystals.

Zucker findet in der Arbeit nicht nur als abstraktes Material Verwendung, sondern verweist auch inhaltlich auf die zunehmende Prsenz in unse-ren Nahrungsmitteln. Laut Statistik Austria lag der Zuckerverbrauch in sterreich im Jahr 2008 bei 38kg/Kopf/Jahr. Dem ist hinzuzufgen, dass der tatschliche Verzehr in etwa 85% des Verbrauchs entspricht und somit 32,4kg/Kopf/Jahr betrug. Die Installation verkrpert die Zuckerseiten des Genussmittels die sich in den weien Kristallen aufzul|sen scheinen.

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Also ich frage mich manchmal, was ist eigentlich aus der Zukunft geworden, die man uns versprochen hat?Nike Printwerbung, Mrz 2002

CLICK FOR MORE INFORMATION: www.zucker ug.beautyparlour.at

Retrofuturefood, 2010 Videoinstallation | Videoinstallation

Laura Krok - Bachelorarbeit | Bachelor Thesis

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two. BACHELOR THESIS SPACE&DESIGNSTRATEGIES

Cinema has taught me that cooking is an art form and later on I found out that cooking is the oldest form of art ever and goes back to a time when there havent even existed no other kinds of arts yet. Peter Kubelka

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Bachelor Arbeit 2010. Retrofuturefood handelt von der Vision einer zuknftigen Nahrungsaufnahme und hat die Beschreibung und Analy-se der daraus resultierenden gesellschaftlichen Strukturen zum Inhalt. Zwischen Science und Fiktion pendelnd, widmet sich die Arbeit der kri-tischen Auseinandersetzung unserer Esskultur, die im Allgemeinen das Verhlltnis zwischen Gesellschaft und Individuum in den dafr vorgese-henen Rumen widerspiegelt.Die knstlerisch-praktische Arbeit zeigt eine vor diesem Hintergrund ge-wonnene Interpretation der Nahrungsmittelaufnahme, bei der sich die Elemente des Videos bewusst sowohl auf Situationen aus dem Alltag, als auch wissenschaftlich bis jetzt unerklrbare Phnomene unserer Esskul-tur beziehen, welche besonders in Science-Fiktion-Filmen diskutiert und zum Ausdruck gebracht werden. Die Art und Weise des Aufbaus der ein-zelnen Elemente im Film, ihrer Beziehungen zueinander und scheinbare Endlosigkeit sind bewusst gewhlt und ergeben sich aus einer gewissen Unberechenbarkeit, die dem Betrachter nicht selten berraschende Er-gebnisse einer mehr und mehr mechanisch funktionierenden, automati-sierten Lebenswelt bringt.

Bachelor Thesis 2010. Retrofuturefood deals with the vision of a pro-spective food intake, focusing on the description and analysis of its re-sulting social structures. Oscillating between science and fiction, this work dedicates itself to the critical exploration of our eating culture, which commonly reflects the relationship between society and individu-als within its designated spaces. The artistic output of this work attempts to show an against this back-drop developed personal interpretation of a food intake, in which the elements of the video consciously relate to situations of everyday life on one hand as well as to scientifically inexplicable phenomena of our eating culture - which are particularly debated and expressed within science-fiction movies - on the other hand. The mode of use of the individual elements of the work, their relation to each other and the infinity of the movie was chosen deliberately and arises from a certain unpredictability which generates the observer sur-prising results of a more and more mechanically functioning, automated living enviroment.

ANMERKUNG

RETROFUTUREFOOD wurde am TAG DER OFFENEN TR der Kunstuniversi-tt Linz am 04/2010 prsentiert

NOTERETROFUTUREFOOD has been presented at the OPEN DAY of the University of Art and Design Linz on 04/2010

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Das Kino hat mich gelehrt, dass Kochen eine Form der Kunst ist und spter fand ich heraus, dass Kochen die lteste Kunstform ber-haupt ist auf eine Zeit zurckgeht, als noch keine anderen Arten von Kunst exisistierten. Peter Kubelka

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WATCH MY VIDEO:

http://vimeo.com/11984118

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video screenshots

Details: nine black video monitors each 70x60x60cm, nine DVD-playersoutcome: PAL 02:11min video-loops

Details: Neun schwarze Fernseher je 70x60x60cm, neun DVD-PlayerAusgabe: PAL 02:11min Videoloops

Foto: Laura Krok

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Foto: Laura Krok

Abhngen, 2010 Space Intervention | Raumintervention

Konzept: Laura Krok - Ausfhrung: Studierende r&d

three.ANTI INSTALLATION FREIRAUM LENTOS

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We never look at just one thing - we are always loo-king at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around its-elf, constituting what is present to us as we are. John Berger: Ways of Seeing

ABHbNGEN ist eine mehrdimensionale rlumliche Intervention im |f-fentlichen Raum, die gleichermaen verspielt und radikal die bergnge zwischen musealem Raum und Auenraum thematisiert. Auf 1500 m2 verdichten sich Drainageschluche, Licht- und Soundfragmente zu ei-nem groen Gesamtkunstwerk, in welchem aufgebrochene, sichtbar ge-wordene Kommunikationswege einer Institution mit dem Auen gekonnt in Szene gesetzt werden. Die Arbeit bezieht sich nicht nur rein auf eine selbst-referentielle Skulp-tur, sondern stellt in ihrer Thematik einen deutlichen Ortsbezug her indem es auf die Wahrnehmung des Kunstmuseums Lentos als repr-sentative Institution der Stadt kritisch reagiert. Die Auseinandersetzung mit den zum Einsatz kommenden Lichtquellen rund um den Hauptplatz herum gibt den Blick fr das sonst Selbstverstlndliche frei. gffentliches wird nach Innen geholt. Privates nach Auen gekehrt. Ein, durch die pltzlich herausbrechenden und -fallenden, energiegeladenen Dimensi-onen, ausgel|stes Gefhl von Irritation entlarvt die unscharfe Grenze des Wissenswerten.

ABHbNGEN is a multi-dimensional spatial intervention that similarly fo-cuses on the transitions between museum space and public space in a playful as well as in a radical way. On 1500 m2 drainage tubes, light- and sound fragments merge into a large installation, where the breaking-out, uncovered communication systems of the institution are set into scene with the public space.The work is not purely a self-referential sculpture, but rather produces in its subject a site-specific reference by responding critically on the perception of the art museum Lentos as a representative institution of the city. The examination of the use of different light sources around the main square releases the view to an elsewise self-evident issue. Public affairs are internalized. Private things are turned inside out. A feeling of irritation, caused by the sudden breaking-out and falling-apart of the energetic dimensions, unmasks the blurred boundaries between what is and what is not worth knowing.

ANMERKUNG

ABHNGEN entstand im Rahmen des Jahresthemas ANTI der Studienrich-tung raum&designstrategien. Prsentation im Freiraum LENTOS. Projekt-management von heri&salli / SPLITTERWERK. 09/2010

NOTE

ABHNGEN has been developed within the annual topic ANTI by space&designstrategies. Showcase in the Free Space LENTOS. Projectma-nagement by heri&salli/SPLITTERWERK. 09/2010

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lange nacht der museen 2.10.2010

mit freundlicher untersttzung vonObersterreichische Nachrichten / Dietzel Univolt / Gutenberg Druck / Aigner /Kunstuniversitt Linz

raum&designstrategien in kooperation mit LENTOS www.strategies.ufg.ac.at

kunstuniversitt linzinstallationen im freiraum LENTOS

ANTI 30.09.2010bis 7.10.2010 erffnung 19h

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Wir sind nie auf der Suche nach nur einer Sache - wir suchen immer nach der Beziehung zwischen den Dingen und uns selbst. Unsere Vision ist stn-dig aktiv, stndig in Bewegung, fngt die Dinge stndig in einem Kreis um sich selbst auf, um zu begrnden was fr uns gegenwrtig ist da wir sind.John Berger: Sehweisen

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CLICK FOR MORE INFO:

www.lentos.at/de/108_2514.asp

Foto: Laura Krok

On Transtemporal Travel, 2012 Poster | Plakat

Florian Aistleitner, Daniel Mandel, Laura Krok, Eva-Maria Pribyl

four. MASTERS OF SPACE & TIME WORKSHOPIf you see space and time as objects of cognition, they play a very special and distinguished role: inside the cognition of architecture, they are the two corners-tones on which everything else is based. Ernst Cassirer

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Der Seminar-Workshop widmet sich der kritischen Auseinandersetzung der Zeitreise, die im Allgemeinen als das beliebige Vor- und Zurckbe-wegen in der Zeit definiert ist, anaolog zum Vor- und Zurckbewegen im Raum, also entweder das Senden von Objekten oder Informationen in der Zeit zurck zu einem Moment in der Vergangenheit, oder das Ver-senden von Gegenstlnden nach Vorne aus der Gegenwart in die Zu-kunft, ohne der Notwendigkeit die Zwischenzeit zu erleben. Vor diesem Hintergrund prlsentiert diese Arbeit in Form eines Posters, anhand exemplarischer Beispiele aus Film und Wissenschaft, ein illust-ratives Archiv der Zeitreisen, um zu einer berraschenden Verschmel-zung von Wissenschaft und Fiktion zu fhren. Details: Collage, Format: 57 x 83 cm

The seminar-workshop dedicates itself to the critical exploration of the concept of time-travel, which is commonly defined as moving between different points in time in a manner analogous to moving between dif-ferent points in space, either sending objects or just information back-wards in time to some moment before the present, or sending objects forward from the present to the future without the need to experience the intervening period. Against this backdrop this work in form of a poster presents by means of examples from physics and movies a surprising mergence of science and fiction in equal terms, in order to create an illustrative archive of time-travels. Details: Collage, Format: 57 x 83 cm

ANMERKUNGTITEL: EPISODE ONE: When Science meets Fiction/ Dr. Whos Space Odyssey/ Back to the Controllroom. Organisation von Prof. Mag. art. Lukas Feireiss

NOTETITLE: EPISODE ONE: When Science meets Fiction/ Dr. Whos Space Odyssey/ Back to the Controllroom. Workshop organized by Prof. Mag. art Lukas Freireiss

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Raum und Zeit nehmen schon, wenn man sie lediglich als Objekte der Erkenntnis fasst, eine besondere und ausgezeichne-te Stellung ein: sie bilden innerhalb des architektonischen Bauens der Erkenntnis die beiden Grundpfeiler, die das Ganze tragen und das Ganze zusammenhalten. Ernst Cassirer

POLI PART

During the period of one academic year within the Post Graduate Design Program at the Politecnico di Milano, opened to creative students from all over the world, I had the chance to experience a lot of new design strategies in a variety of different fields, such as Architecture, Product Design, Communication Design, Service Design and Interior Design. Working in a team with international students of different backgrounds was totally profitable as I got to know other motivated people, diverse ways of solving a problem, innovative working tools and technologies. The courses offered at Politecnico di Milano incorporated the principles of these varying design fields and challenged me as a student to develop innovative solutions combining different aspects of creativity, all based on a specific topic or target. This education enhanced my ability to pro-duce some cutting-edge projects and prepared me a little bit futher for the future of integrated design and applied art. Now, after finishing ten months in Milan, Im determined not to let my designs grow stagnant, but rather transgress, work with love and detail and let all improve with time.

UNIVERSETOPOLOGIES

ETERNITY IS IN LOVE

WITH THEPRODUCTION

OF TIME

[William Blake, Proverbs from Hell]

B.A. Laura Krokjoined the Erasmus Mobility Programm

from 01/10/2010 to 14/02/2011at the Politecnico di Milano

Facolta del Design

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IF A TREE FALLS DOWN IN THE FOREST AND THERE I NO ONE AROUND IT

DOES IT MAKE A SOUND? Maurizio Cattelan

PROJECTS

CLIENT

PSSD / CUT IT OUT EXHIBITION / SALONE DI MOBILE 2011

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Exfolie is a simple yet delicate Coffee table, strinking a balance bet-ween functionality and style. Inspired by the needs of the eating habits from different cultures, this design combines the most ap-propriate issues of eating and living whilst enhancing its curiosity. The aim was to develop a product related to the topic of food, using one of three different technologies: water jet, laser cut and chemical etching. It consists of two different modules each made out of one single flat laser cut metal sheet so that the loss of work space is minimized. The tabletop surfaces provide a subtle graphical pattern which seems to come to life when moving the tables away from each other. Therefore the smaller panel is defined to be taken away to finish your dish wherever you like.

EXFOLIEdesign for food

Field: Product System DesignTime: 20/10/2010 to 07/01/2011

Coordination: Prof. Norman Mc Nally, Siliva GirardiContext: Cut It Out Exhibition, Salone di Mobile 2011

in Collaboration with Danieli & UBOLDI s.r.l.

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PSSD PRODUCT DESIGN GROUP MEMBERS:

Viola de Marzi/ Laura Krok/ Wu Yunshan/ Xia Rui

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This product has been shown at the Cut It Out Design exhibition. The name of the exhibition refers to the nature of the process for which the product has been ma-nufactured. The exhibition reflec-ted the interior of an apartment, where you could find objects that are both functional and poetic, ob-jects that demanded curiosity and objects that surprised.

HAVE A CKLICK:

www.polimi.it/uploads/media/CUT_IT_OUT_ENG.pdf

STATOXLa Penombra

Field: Interior DesignTime: 15/10/2010 to 10/01/2011

Coordination: Prof. Andrea Branzi/ Michelle De LucchiContext: Showcase at Galeria EXISTS

This project dedicated itself to the critical exploration of the culture of the penumbra, which is commonly defined as the intermediate state between light and shadow, a grey area where the boundaries are blurred and flow into different areas. A condition of this type can elicit two opposing reactions: a feeling of relaxation or anxiety and uncertainty. This condition inspired us to create a parallel to the idea of contem-porary mankind who live constantly under extremes. Individualism is poor today, dominated by self-interest, forced by ideology. Indivi-dual search, to quote the words of Ulrich Beck, means a biographi-cal solution to systemic contradictions, the contradictions of the system which is targeted. Against this backdrop this project attemp-ted to create an illustrative model of the rhythm of our hectic rush of modern life; the hectic of consumption, trends, success, identity.

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GALERIA EXISTS / MILANO

GO AND VISIT:

www.facebook.com/La Cultura della Prenombra

INTERIOR DESIGN GROUP MEMBERS:

Giulia Cattaruzza/ Laura Krok/ Viola Saccani/ Giulia Vivaldi

As a result, cuts of uneven light, which change in time depending on the source of light, invade the space and filter with different light variations and effects. This pro-ject establishes a new language of contemporary design combining passion and chaos with controlled elegance to create communica-tion between people and generate movement in the city. It attempts to cause new emotions due to their interaction with light.

1 DAY FARMERYes, Weekend

Field: Master of Producct Service DesignTime: 06/05/2011 to 08/06/2011

Coordination: Anna Meroni, Franois Jgou, Francesca PireddaContext: Showcase at Nutrire di Milano

in Cooperation with Cascina Cappuccina

Set on a small hill in Melegnano, on the path of the Sentiero dei Gi-ganti, Cascina Cappuccina is a natural oasis right off the Via Emilia highway. Surrounded by the Ambro river and a lush green forest, theres a feeling of peacefulness that washes over you as soon as you enter its premises.On our first visit, we were welcomed by three men. Antonio is a retired man with a passion for farming who, together with some of his friends, started a volunteer garden on the grounds of the farm. Ismael is a Tunisian immigrant who brings his local knowledge and love of the land to his daily farming activities. The Director is a de-termined man who wants to turn the farm into a platform for social activism. Collectively, in this small heaven, they plant heirloom fruits and vegetables, experiment with fruit grafting, raise animals and ho-neybees. They also produce craftwork, provide transportation servi-ces for the disabled and deliver fruits and vegetables to consumers. However, many of their projects remain unfinished. This is why we came to see Cascina Cappucina as a farm under construction.

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Our aim was to turn the experi-ence of the activities we made on the farm into a service design that is both practicable and desirable for both, the potential visitors of Milan and the farm. Firstly we created an idea for a solution of how we could bring needs and wi-shes together. Then we turned the idea into a prototype and put it into the specific context in order to design a real service for real people. We put in place as far as possible the activities of the farm that are required, testing the ma-jority of the activities in a real life situation. What couldnt be tested could be simulated.

CLIENT

NUTRIRE DI MILANO / CASCINA CAPPUCINAThe final result of the process is a simple but workable and ready-to-use service called ONE DAY FARMER that has been posted on the Nutrire Milano webplatform, so that the farm can implement it right away and the citizens can access it. By providing an enab-ling 0 Miles tourism-service the various Milanese potential users can gain specific farming skills in fresh air while helping he farm to sustain their various productions of food.

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PSSD SERVICE DESIGN GROUP MEMBERS:

Giselle Chajin/ Matteo DAmanzo/ Elie El Kahawagi/ Laura Krok/Masha Mitrova

FEEL FREE TO VISIT OUR WEBSITE:

www.facebook.com/cascinacappuccinawww.nutriremilano.it/one day farmer

PSSD SERVICE DESIGN GROUP MEMBERS:

Giselle Chajin/ Matteo DAmanzo/ Elie El Kahawagi/ Laura Krok/Masha Mitrova

Come to us and try to bea farmer for one day.Discover the beauty to stay in contactwith the Nature, learning and enjoy someecological products.To work in the fields

we will provide your TOOLKIT

between a lesson and working inthe fields we will have simplelunch together rediscovering thepleasure of the healthy cooking with typical product.

Melegnanovia Niccolo Paganini

Cascina Cappuccina in

shoes cover

gloves

agricultural implements

helmet

more info at cascinacappuccina.org

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Come to us and tr y to b ea farmer for one da y.Discover the beauty to stay in contactwith the Nature , learning and enjoy som eecological product s.We will provide your

TOOLKIT

to work in the fields

more info at cascinacappucci na .org

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This work, a published project carried out at university, is dedicated to investigate the multi-faceted world of photography, trying to find out how this environment has experienced and still is undergoing the transition from analogue to digital. With this insight, a group of three people have created a practical and theoretical discussion around the phenomenon that has touched the photographic atmosphere both in daily practice and its artistic variation. To investigate these various aspects, we decided to ask those who, di-rectly or indirectly, were the protagonist of this change, or have suffered under it. The characters we chose to interview are well known profes-sionals who shared their experiences, stories and anecdotes with us, claiming more or less explicit their expectations. Not only professional photographers, but also critics and managers of new phenomena related to the world of digital photography.

WORDS OF LIGHTfrom analog to digital

Field: Editorial DesignTime: 21/03/2011 to 27/06/2011

Coordination: Prof. Mauro Panzeri/ Antonio Pier Zanniniin Cooperation with ten photographers of Milan

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Moreover, this workshop aimed to train in the use of the implementa-tion of themes and techniques of editorial design: texting, editing, image analysis, layouting, structu-ring and understanding the format within the context. The final out-come is an published book based on the analyses and historical arti-facts of analogue and digital pho-tography, transforming and inter-preting the entrance of digitalism into photography.

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CLIENT

WORLD OF PHOTOGRAPHYEDITORIAL DESIGN GROUP HEROES:

Lab Sieben: Tiziana Alocci/ Laura Krok/ Sara Porco

final book result

THE END