Annika Frye *1985, is a german designer based in Offenbach and Berlin. Annika’s interest concerns the aesthetic qualities of serial production, experimental processes and the design process as source of innovation. She has just completed her Ph.D. project at the school of Design Offenbach (HfG Offenbach). The thesis is a research about improvisation in the design process. The project has a focus on design theory, but it also has a practical part that is focussed on improvisation in serial production processes.
Her projects have been exhibited in the New Museum in New York, at the NAI in Rotterdam at the MAK in Vienna and at the Design Museum Holon, she gave lectures and workshops at design schools and museums, has worked as a teacher at HfG Offenbach and she is co-founder of the design office »teilchenbeschleuniger«, a collaborative platform for young designers and design professionals. Her work was published in FRAME Magazine, ELLE, form and in various design blogs. She was nominated twice for the German Design Award as well as receiving a honorable mention from the Raymond Loewy Foundation.
At the moment, Annika is researching the possibilities of post-industrial production at BigRep in Berlin.
Oct. 2015: My Doktorvater Bernhard E. Bürdek updated his book »Design: The History, Theory and Practice of Product Design« and included my work.
Oct. 16th-17th: Reassembling Relationships. People, Systems, Things.
I am doing a lecture on post industrial production and its impact on the design process at the annual conference of the german design research society (DGTF) in Potsdam.
Oct 10th 2015 – Feb 14th 2016: My works on the design process are part of the »forum for an attitude« project by Depot Basel at Vitra Design Museum. I will also do a lecture/workshop in Basel in february in the category »tools«.
Sept. 2015: A video presenting BigRep, the 3D-printing company I designed for during the last months was released. It gives insight into the design process and into the goals and ideas of BigRep.
The video was made by Berlin partner.
Aug. 4th, 2015: I defended my dissertation.
July 2015: I am happy to announce that I am nominated for the German Design Award in the newcomer section. One young designer receives the award for his portfolio. The nomination is already an honour.
April 2015: I handed in my thesis. It still has to be reviewed by the profs, I need to defend and publish it, but I am proceeding to new projects since the major writing process is done.
April 14th – April 19th, 2015 : The glass pieces I made for the BIO50 biennial in Ljubljana in october are now on show during milan design week 2015, at Palazzo Clerici. Find out more about BIO50 here: http://bio.si/en/features/46/bio-50/
Jan. 2015: French furniture editor and producer Hartô, who is now since one year editing my lamp Claude will be present at both Imm Cologne and Maison et Objet Paris. Hartô will show new designs that have been added to the collection plus the again the Claude light.
Dec. 3rd, 2014: Lecture about Improvisation in the Design Process at University of Vechta.
Nov. 2014: DDC Award for re/set. The design conference re/set received a DDC-Award in the Newcomer Category for its graphic concept. Together with Sophia Preußner, the graphic designer of the conference, we developed a ci that was used in various media: print, online and even for the event itself. The conference that was inititated by Prof. Peter Eckart of HfG Offenbach took place in may 2014, it is part of my research on the design process.
Sept 18th – Dec 7th, 2014: New project Pre-Mould lamps with glass factory Steklarna Hrastnik at BIO 50 (Biennial of Design in Ljubljana). I was selected amongst other european designers to participate in the BIO50 design biennial in Ljubljana, Slovenia. The biennial has a collaborative and participatory approach, and I am part of the group »Hidden Craft« that is mentored by Tulga Beyerle. The task is to make a design for a local producer.
Statement by Jan Boelen, director of BIO:
Fifty years ago, it was the changes in everyday life that led to the foundation of the Biennial of Industrial Design. The driving force behind BIO’s foundation was the ambition to establish design as an integral part of the industrial production of objects for a better everyday life. At the first edition of the biennial, architect Marjan Tepina called industrial design an indispensable discipline of the socialist social order and designing objects for a better everyday life thus became a part of the (socialist) modernization project. For the next fifty years, BIO exhibitions tried to present the best in design and the best in industrial production. With international selection, comparison and evaluation of exhibits, BIO strived to highlight the outstanding within the average. Early on in its history, there were also discussions on what BIO should be, as well as calls for a more direct approach to questions on the role of design in society (BIO 5, BIO 7). New industrial products helped make life more comfortable, but it soon became clear there is also a downside to industrial production and consumerism. Can life really be made better with more new, albeit well-designed consumer products – the question appeared, so to speak, of its own accord.
Sept 6th – Sept. 10th 2014: Maison et Objet Paris. Hartô is presenting its new collection including my big and small CLAUDE lamps (Hall 8 B37).
Sept. 2014: I am putting together the pieces of my thesis.