Hochschule Trier
School
/
MunichJewelleryWeek2023
Published: 25.05.2023
- Mail:
- es.sekretariat
hochschule-trier.de
- Management:
- Theo Smeets

Young in years, rich in experience. The Department of Gemstones and Jewellery was founded in 1986. Since then the study program has developed continuously. The adjustment to the European study standard Bachelor/Master of Arts has now existed since the winter semester of 2008/2009. The Master course in Gemstones and Jewellery has been offered since the summer semester of 2008. The Master program is taught in English only. Since the winter semester of 2013/14 the department has developed three unique Fine Arts degrees within Europe. A Bachelor of Fine Arts a Master of Fine Arts and a Master of further education of Fine Arts which is for vocational qualified people.
Responsibility: The 3-P-Modell as leitmotiv
Three closely interlaced goals lead our activities:
- Developing Professionalism: The basis of each successful achievement is professionalism. Therefore we aim at a high level - in the theoretical knowledge, in practical being able, in the creative development. Thus for example the studying in cooperation with enterprises become acquainted with professional yardsticks for Design quality.
- Designing Projects: A condition for lasting learning effects is own doing. Therefore we cooperate in projects, which promote selfinitiative, self-assertion and team spirit. To mention is for instance the common conception of exhibitions or the participation in fairs with own collections.
- Supporting Personalities : The training of the personality needs a development area - straight within Design and Art. Therefore we offer a study with high degree of freedom and many perspectives. The participation on competitions, scholarships, study trips or foreign terms promote the development of artistic personalities.
Studying in the department for Gemstones and Jewellery in Idar-Oberstein
Data and facts
- Jewellery is not craft. There is a cross section with the masterly craftsmanship, but the contemporary Jewellery-focus is another
- Jewellery is not design. There is a cross section with the fashionable aesthetic and commercialization, but the contemporary jeweller focus is another.
- Jewellery is not art. There is a cross section with „existing out of itself“, but the contemporary Jewellery-focus is another. But the goal is not to create or sharpen boundaries.
As an object of personal use, jewellery needs without any doubt a distinctive or connecting level of meaning. This is also reflected in consumer needs. The Faculty ties in these levels and asks questions about art, social and intercultural life, ethnology and history.
The Program is orientated at some qualification goals which include artistic competences, commitment in civil societies, and personal development. According to those competences, we also foster communication competences, coordination and organisation competences. The central approach of the Program is to develop design structures and thinking structures of artistic action which are orientated at the social and cultural requirements of the 21st Century. The field of learning is specifically dedicated to evolve the students own artistic identity. It is coined by a profoundly intercultural environment and a highly communicative teaching and study situation. The graduates of our school should be enabled during their studies to focus first on the different roles of wearer and beholder and also on their role as creators.
Art should ask questions in a way of abstraction. Jewellery enables us to raise a connection between our roots and our current surrounding. Because of this possibility, we can notice changes in our surrounding and react appropriately.
The Creator of Art has to be aware of his own positioning concerning their own symbolism, semantics, and Iconography. He has to question and evaluate their own creation and artistic strategies, and, if necessary, to rework and actualize them, to have a social meaning in a contemporary context.
To say it a little easier: The Artist reflects the surrounding society, processes and sensitivities by creating a piece of art. This piece of art gains a place within society and changes it. The society reacts, the artist registers the reaction and creates a new piece of work based on those reactions and experiences. This circuit means a permanent update of pieces, a permanent change, a mental evolution. That way jewellery stays in contact with society. Not controlled by Marketing strategies mercantile Values or fashionable ephemerality. No aesthetical blunting but making the mental, emotional or social evolution ascertainable. This process generates identity for the creator and the recipient.
Three closely interlaced goals lead our activities:
- Developing Professionalism: The basis of each successful achievement is professionalism. Therefore we aim at a high level - in the theoretical knowledge, in practical being able, in the creative development. Thus for example the studying in cooperation with enterprises become acquainted with professional yardsticks for Design quality.
- Designing Projects: A condition for lasting learning effects is own doing. Therefore we cooperate in projects, which promote selfinitiative, self-assertion and team spirit. To mention is for instance the common conception of exhibitions or the participation in fairs with own collections.
- Supporting Personalities : The training of the personality needs a development area - straight within Design and Art. Therefore we offer a study with high degree of freedom and many perspectives. The participation on competitions, scholarships, study trips or foreign terms promote the development of artistic personalities.
Studying in the department for Gemstones and Jewellery in Idar-Oberstein
Data and facts
- Jewellery is not craft. There is a cross section with the masterly craftsmanship, but the contemporary Jewellery-focus is another
- Jewellery is not design. There is a cross section with the fashionable aesthetic and commercialization, but the contemporary jeweller focus is another.
- Jewellery is not art. There is a cross section with „existing out of itself“, but the contemporary Jewellery-focus is another. But the goal is not to create or sharpen boundaries.
As an object of personal use, jewellery needs without any doubt a distinctive or connecting level of meaning. This is also reflected in consumer needs. The Faculty ties in these levels and asks questions about art, social and intercultural life, ethnology and history.
The Program is orientated at some qualification goals which include artistic competences, commitment in civil societies, and personal development. According to those competences, we also foster communication competences, coordination and organisation competences. The central approach of the Program is to develop design structures and thinking structures of artistic action which are orientated at the social and cultural requirements of the 21st Century. The field of learning is specifically dedicated to evolve the students own artistic identity. It is coined by a profoundly intercultural environment and a highly communicative teaching and study situation. The graduates of our school should be enabled during their studies to focus first on the different roles of wearer and beholder and also on their role as creators.
Art should ask questions in a way of abstraction. Jewellery enables us to raise a connection between our roots and our current surrounding. Because of this possibility, we can notice changes in our surrounding and react appropriately.
The Creator of Art has to be aware of his own positioning concerning their own symbolism, semantics, and Iconography. He has to question and evaluate their own creation and artistic strategies, and, if necessary, to rework and actualize them, to have a social meaning in a contemporary context.
To say it a little easier: The Artist reflects the surrounding society, processes and sensitivities by creating a piece of art. This piece of art gains a place within society and changes it. The society reacts, the artist registers the reaction and creates a new piece of work based on those reactions and experiences. This circuit means a permanent update of pieces, a permanent change, a mental evolution. That way jewellery stays in contact with society. Not controlled by Marketing strategies mercantile Values or fashionable ephemerality. No aesthetical blunting but making the mental, emotional or social evolution ascertainable. This process generates identity for the creator and the recipient.
Brooch: Mushrooms (Newspaper Clipping), 2019
Silver, gold, stainless steel, fabric.
8.7 x 6.2 x 2.2 cm
Photo by: Franziska Lusser, Katerina Smirnova
© By the author. Read Klimt02.net Copyright.
Body piece: Animus, 2019
Steel, stone, portable projector.
MFA
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Object: Light Matter, 2019
Aluminium, fluorescent color.
MFA
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Object: Light Matter, 2019
Aluminium, fluorescent color.
Detail view.
MFA
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Necklace: Vom Auffinden, 2019
Lapis, textile, silver.
MFA
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Necklace: Untitled, 2018
Marble, rubber, textile.
BFA
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Installation: Untitled, 2018
Mixed media.
BFA
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Installation: Untitled, 2018
Mixed media.
Detail view.
BFA
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Brooch: Drawing Movement, 2018
Silver.
8 x 8 x 5 cm
Photo by: Nima Ashrafi
MFA
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Brooch: Drawing Movement, 2018
Silver.
8 x 8 x 5 cm
Photo by: Nima Ashrafi
On Body.
MFA
© By the author. Read Klimt02.net Copyright.
Object: Hidden secrets, 2018
Clear quartz.
5.3 x 2 x 2.5 cm
Photo by: Gina Nadine Müller
BFA
Mouth object, to be held between the lips.
Mouth object, to be held between the lips.
© By the author. Read Klimt02.net Copyright.
Object: Hidden secrets, 2018
Clear quartz.
5.3 x 2 x 2.5 cm
Photo by: Gina Nadine Müller
On Body.
BFA
Mouth object, to be held between the lips.
Mouth object, to be held between the lips.
© By the author. Read Klimt02.net Copyright.
Pin: Untitled, 2018
Ebony
Photo by: Qi Wang
MFA
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Object: Untitled, 2018
Pink ivory.
Photo by: Qi Wang
MFA
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Brooch: Swing C, 2018
Agate, steel.
Photo by: Nima Ashrafi
MFA
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Brooch: Swing C, 2018
Agate, steel.
Photo by: Nima Ashrafi
Alternative view.
MFA
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Necklace: Lilu, 2017
Mirrors, glue, silver, textile.
27 x 15 x 1.5 cm
Photo by: Nima Ashafiri
MFA 2017
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Necklace: Untitled, 2017
Aventurine, metal nets, silver, malachite powder, cement, resin.
Photo by: Nima Ashrafi
MFA 2018
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Pendant: Stone Solder, 2016
Stone solder, crystal, silver.
Photo by: Qi Wang
MFA
Tasting, is a ritual finished by human, just like soldering. Stone is a kind of material that could also be soldered just like metal. Teeth chew to merge the taste into the body, metal solder merges different pieces together, stone as well.
Tasting, is a ritual finished by human, just like soldering. Stone is a kind of material that could also be soldered just like metal. Teeth chew to merge the taste into the body, metal solder merges different pieces together, stone as well.
© By the author. Read Klimt02.net Copyright.
Pendant: Stone Solder, 2016
Stone solder, crystal, silver.
Photo by: Qi Wang
On body.
MFA
Tasting, is a ritual finished by human, just like soldering. Stone is a kind of material that could also be soldered just like metal. Teeth chew to merge the taste into the body, metal solder merges different pieces together, stone as well.
Tasting, is a ritual finished by human, just like soldering. Stone is a kind of material that could also be soldered just like metal. Teeth chew to merge the taste into the body, metal solder merges different pieces together, stone as well.
© By the author. Read Klimt02.net Copyright.
Pendant: Mold D1, 2016
Granite, Silver, stone cutting, CNC maschining, electroforming.
© By the author. Read Klimt02.net Copyright.
Object: Injection, 2015
Ready mate object, stone.
Photo by: Qi Wang
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Neckpiece: 60233040, 2014
Stone, magnets.
40 x 35 x 10 cm
Photo by: Stephie Morawetz
© By the author. Read Klimt02.net Copyright.
Course on “basics of art” for Bachelor of Fine Arts students, photo by Hochschule Trier.
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Detail view on a drawing by Vesal Bahmani Nik, photo by Yuxi Sun.
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Wood and metal workshop at Campus Idar-Oberstein, photo by Carolin Denter.
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Wood and metal workshop at Campus Idar-Oberstein, photo by Hochschule Trier.
© By the author. Read Klimt02.net Copyright.
Stonecutting workshop at Campus Idar-Oberstein, photo by Carolin Denter.
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Stonecutting Wheels in the Workshop, photo by Carolin Denter.
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Stonecutting workshop at Campus Idar-Oberstein, small stone drill, photo by Carolin Denter.
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Working bench for the work on stones, photo by Carolin Denter.
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Student at work in the Stone Workshop, photo by Elvia Golombosi.
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Detail view on a cut stone at the lapidary bench, photo by Cornelia Wruck.
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Goldsmithing workshop at Campus Idar-Oberstein, photo by Carolin Denter.
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Goldsmithing workshop at Campus Idar-Oberstein, two students use the draw bench, photo by Carolin Denter.
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Galvanik room attached to the Jewellery workshops, photo by Carolin Denter.
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Wachs injection at the silversmithing workshop, photo by Carolin Denter.
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3D printer at the computer laboratory, photo by Carolin Denter.
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Theoretical courses on “humanities” in the context of Jewellery, photo by Hochschule Trier.
© By the author. Read Klimt02.net Copyright.
Theoretical courses on “humanities” in the context of Jewellery, photo by Hochschule Trier.
© By the author. Read Klimt02.net Copyright.
- Mail:
- es.sekretariat
hochschule-trier.de
- Management:
- Theo Smeets
-
Sint Lucas Antwerpen
Antwerp, Belgium -
Beijing Institute of Fashion Technology
Beijing, China -
PXL-MAD School of Arts
Hasselt, Belgium -
Hochschule Trier
Idar Oberstein, Germany -
Le Arti Orafe
Florence, Italy -
Royal College of Art, Jewellery and Metal
London, United Kingdom -
Algures Escola de Joalheria Contemporánea
Sao Paulo, Brazil -
Alchimia Contemporary Jewellery School
Florence, Italy -
Glasgow School of Art
Glasgow, United Kingdom -
K2 Academy of Contemporary Jewellery Ltd
London, United Kingdom -
West Dean College of Arts and Conservation
Chichester, United Kingdom -
Universiteit Stellenbosch University
Stellenbosch, South Africa -
Royal Academy of Fine Arts Antwerp. Artesis Plantijn University College
Antwerp, Belgium -
EASD València
Valencia, Spain -
Central Saint Martins, BA (Hons) Jewellery Design
London, United Kingdom