Shenkar College of Engineering, Design and Art
School
Published: 02.08.2026
- Mail:
- office
jshenkar.com
- Management:
- Uri Samet
The Alice Gottesman Jewelry Design Department at Shenkar was established with an innovative vision and objective: to bridge the gap between art and industry. We believe that design is a language, which our students have to master, from its most basic structures to its most refined conceptual expressions. At the same time, we are obligated to provide our students with a firm understanding of the industry’s operation, mass-production methods, marketing and skills in classic metalworking, as well as in advanced technologies in this field.
We believe that the contradictory terms “art” and “industry” are not mutually exclusive. Strategies of mass production and replication play a significant role in art, and the line between commercial art and “higher” art is blurry at best, and may even be hard to define.
The department’s curriculum is divided into three categories:
Click here >> for more information about The Department of Jewelry Design.
Click here >> for Student Exchange Program.
Academic counselling:
Academic advisors at Shenkar’s Information Center provide personal counselling on all of the opportunities for study at Shenkar. Applicants interested in counselling can meet with academic advisors at the Information Center and/or coordinate a meeting with the department heads through these advisors.
Click here >> for more information about academic counselling.
Head of Department - Ms. Yael Ouliel.
Academic Coordinator: Ms. Drora Gibson.
The department’s curriculum is divided into three categories:
- Theoretical studies: academic courses in the humanities and in technical subjects such as metallurgy and gemology, as well as computer courses in basic graphics software and 3D design software.
- Practical studies: teaching of metalworking techniques, casting, wax, inlaying and rendering, as well as industrial projects and enrichment courses in fields such as photography, sculpture and sketching.
- Conceptual studies: thematic projects, philosophy, literary and academic writing, industrial processes, the history of the art of design and metalworking.
Click here >> for more information about The Department of Jewelry Design.
Click here >> for Student Exchange Program.
Academic counselling:
Academic advisors at Shenkar’s Information Center provide personal counselling on all of the opportunities for study at Shenkar. Applicants interested in counselling can meet with academic advisors at the Information Center and/or coordinate a meeting with the department heads through these advisors.
Click here >> for more information about academic counselling.
Head of Department - Ms. Yael Ouliel.
Academic Coordinator: Ms. Drora Gibson.
Events 
Publications
School facilities of Shenkar College of Engineering, Design and Art.
© By the author. Read Klimt02.net Copyright.
School facilities of Shenkar College of Engineering, Design and Art.
© By the author. Read Klimt02.net Copyright.
School facilities of Shenkar College of Engineering, Design and Art.
© By the author. Read Klimt02.net Copyright.
Necklace: 1:3, 2026
Leather, aluminium, Jerusalem stone, hair, alpaca, silver, Mylar paper
Photo by: Achikam Ben Yosef
From series: 1:3
© By the author. Read Klimt02.net Copyright.
Albi by Yara Shehsdeh
The project explores family dynamics as a tapestry of memories, customs, and traditional crafts that guide daily life.
As a designer, I operate within the social and cultural fabric of the Arab society to which I belong.
At the heart of the project is the use of Palestinian embroidery, specifically the cross-stitch and the color red.
Through this, I embroider the thread of familial and social continuity, shaping the project's identity in a colorful and dynamic way that is rooted in a continuous legacy passed down from generation to generation.
From the diverse array of motifs characteristic of Palestinian embroidery, I chose to work with the star and the heart-headed tree.
The star, which always appears in multiples, symbolizes unity, while the heart motif speaks to continuity and fertility.
The project explores family dynamics as a tapestry of memories, customs, and traditional crafts that guide daily life.
As a designer, I operate within the social and cultural fabric of the Arab society to which I belong.
At the heart of the project is the use of Palestinian embroidery, specifically the cross-stitch and the color red.
Through this, I embroider the thread of familial and social continuity, shaping the project's identity in a colorful and dynamic way that is rooted in a continuous legacy passed down from generation to generation.
From the diverse array of motifs characteristic of Palestinian embroidery, I chose to work with the star and the heart-headed tree.
The star, which always appears in multiples, symbolizes unity, while the heart motif speaks to continuity and fertility.
© By the author. Read Klimt02.net Copyright.
40 grams per square meter by Ron Kachko
The project critiques media consumption by treating a newspaper, a material whose content is valuable and whose worth decays within a day.
Through an operation of freezing the material in time, the work gives the newspaper volume and rigidity that contradict its ephemeral nature. It reasserts its value, turning it from a time-sensitive information medium into a present physical object.
Thus, 40 grams per square meter reexamines the concept of “hyper-reality” and forces the viewer to stop and reconsider mediated reality and the media we consume.
I worked on techniques for 3D pattern printing, pressing and hand- and machine-sewing.
All work was made from brass, newspapers and sewing threads.
The project critiques media consumption by treating a newspaper, a material whose content is valuable and whose worth decays within a day.
Through an operation of freezing the material in time, the work gives the newspaper volume and rigidity that contradict its ephemeral nature. It reasserts its value, turning it from a time-sensitive information medium into a present physical object.
Thus, 40 grams per square meter reexamines the concept of “hyper-reality” and forces the viewer to stop and reconsider mediated reality and the media we consume.
I worked on techniques for 3D pattern printing, pressing and hand- and machine-sewing.
All work was made from brass, newspapers and sewing threads.
© By the author. Read Klimt02.net Copyright.
Hey sister by Oli Beery
Braid my hair
She lets down my hair, her fingers moving in those familiar motions combing, pulling, tightening; gently, so it doesn't hurt, but firmly enough to hold.
The pleasant feeling, the intimacy that is formed, and how it helps me feel beautiful. Strand after strand, and my braid is complete.
Throughout history, women have devoted a lot of time to arranging and styling their hair, and from the shared time, spaces of closeness, sharing, and female sisterhood were created.
Today, presented to you, four objects are the product of those feelings that occur during the handicraft of gathering and braiding hair.
In the process of working, I explored the actions and accessories that create connections and encounters within the hair, and simultaneously, between one another I found new ways to merge form and action, creating new expressions in women's hair.
Braid my hair
She lets down my hair, her fingers moving in those familiar motions combing, pulling, tightening; gently, so it doesn't hurt, but firmly enough to hold.
The pleasant feeling, the intimacy that is formed, and how it helps me feel beautiful. Strand after strand, and my braid is complete.
Throughout history, women have devoted a lot of time to arranging and styling their hair, and from the shared time, spaces of closeness, sharing, and female sisterhood were created.
Today, presented to you, four objects are the product of those feelings that occur during the handicraft of gathering and braiding hair.
In the process of working, I explored the actions and accessories that create connections and encounters within the hair, and simultaneously, between one another I found new ways to merge form and action, creating new expressions in women's hair.
© By the author. Read Klimt02.net Copyright.
In-Side by Li Levy
The project deals with revealing the internal structure of an object. Driven by curiosity to understand the inner world that leads to object design, I created a series of jewelry that offers a glimpse into the elements that compose and sustain the existence of the piece.I chose a solitaire ring, based on the characteristics of a classic jewelry piece. I established a familiar starting point from which I re-examined the tension between what is visible to the eye and what is hidden, the tension between the core and its outer shell.
The project deals with revealing the internal structure of an object. Driven by curiosity to understand the inner world that leads to object design, I created a series of jewelry that offers a glimpse into the elements that compose and sustain the existence of the piece.I chose a solitaire ring, based on the characteristics of a classic jewelry piece. I established a familiar starting point from which I re-examined the tension between what is visible to the eye and what is hidden, the tension between the core and its outer shell.
© By the author. Read Klimt02.net Copyright.
I Want You to Stay Close to Me by Noa Yankovitch
My project emerged from a period of physical and emotional separation from my partner, who was called up for military reserve duty immediately after October 7th. From this experience, essential questions arose around intimacy, longing, and the feeling of loneliness. Through a series of jewelry pieces—objects of personal documentation—I explored the tension between presence and absence. The jewelry preserves traces of touch, body, and movement, and at times creates symbolic, substitute contact that attempts to bridge the gap. The work addresses intimacy as a creative act: how jewelry can serve as a tool for emotional mediation between two people. Through material language and both physical and metaphorical connections, I aimed to give form to the abstract experience of longing.
My project emerged from a period of physical and emotional separation from my partner, who was called up for military reserve duty immediately after October 7th. From this experience, essential questions arose around intimacy, longing, and the feeling of loneliness. Through a series of jewelry pieces—objects of personal documentation—I explored the tension between presence and absence. The jewelry preserves traces of touch, body, and movement, and at times creates symbolic, substitute contact that attempts to bridge the gap. The work addresses intimacy as a creative act: how jewelry can serve as a tool for emotional mediation between two people. Through material language and both physical and metaphorical connections, I aimed to give form to the abstract experience of longing.
© By the author. Read Klimt02.net Copyright.
IMAGINARIUM by Jwana Ghanadry
Like a muffled voice in the sea, inspiration calls the artist to dive in to leave the safe shore and dive into the depths of the soul. And all that is needed is the first act, one move is enough to create something out of nothing, to awaken an entire world from the void, to shed fear and contemplation from the soul and surrender to the process. To direct the heartbeat to the flow.This collection expresses a celebration of liberation, pride and rebirth. It is colorful, layered and full of movement. Through it, I made sure to combine material and technique, rigor and intuition, clear lines and free splashes of color. In this project, my experience and inner voice emerged into a creative work and an expression as a creator and a person.
Like a muffled voice in the sea, inspiration calls the artist to dive in to leave the safe shore and dive into the depths of the soul. And all that is needed is the first act, one move is enough to create something out of nothing, to awaken an entire world from the void, to shed fear and contemplation from the soul and surrender to the process. To direct the heartbeat to the flow.This collection expresses a celebration of liberation, pride and rebirth. It is colorful, layered and full of movement. Through it, I made sure to combine material and technique, rigor and intuition, clear lines and free splashes of color. In this project, my experience and inner voice emerged into a creative work and an expression as a creator and a person.
© By the author. Read Klimt02.net Copyright.
Made To Be Held by Adar Nimni
The bag series I created stems from a desire to explore the relationship between the body and the accessories it carries. Combining jewelry-making techniques with vegetable-tanned leather, I developed a collection where the gesture of the hand emerges as a central element: sometimes as a material trace, sometimes as a three-dimensional form, and at times as a symbol of the act of grasping itself. For me, a bag is more than just a functional object—it has an intimate, personal dimension, much like jewelry, as it comes into close contact with the body. This collection expresses the dialogue between bag and jewelry, emphasizing the direct connection between the object and the wearer.
The bag series I created stems from a desire to explore the relationship between the body and the accessories it carries. Combining jewelry-making techniques with vegetable-tanned leather, I developed a collection where the gesture of the hand emerges as a central element: sometimes as a material trace, sometimes as a three-dimensional form, and at times as a symbol of the act of grasping itself. For me, a bag is more than just a functional object—it has an intimate, personal dimension, much like jewelry, as it comes into close contact with the body. This collection expresses the dialogue between bag and jewelry, emphasizing the direct connection between the object and the wearer.
© By the author. Read Klimt02.net Copyright.
Neckpiece: Crafted Tension, 2024
Silver, 18k gold, wood, spring stainless steel
Photo by: Shai Franco
From series: Threading Generation
Craftwork plays a complex role in the social construction of women and the expectations placed upon them throughout history. The contemporary craftswoman explores her identity in this space.
My grandmother embroiders, my father is a carpenter, and I am a goldsmith and designer. This project explores traditional crafts while highlighting the dissonance between masculine and feminine crafts. The use of traditional materials and techniques, positions the jewelry as a bridge between the past and the present, between the feminine and the masculine, and prompts a renewed discussion about the place of women in society.
My grandmother embroiders, my father is a carpenter, and I am a goldsmith and designer. This project explores traditional crafts while highlighting the dissonance between masculine and feminine crafts. The use of traditional materials and techniques, positions the jewelry as a bridge between the past and the present, between the feminine and the masculine, and prompts a renewed discussion about the place of women in society.
© By the author. Read Klimt02.net Copyright.
Neckpiece: Birth, 2024
Copper, glass, and embroidery threads
Photo by: Shai Franco
My project explores the experience of pregnancy and birth, a unique process that brings physiological, emotional, and mental changes to a woman's body. This work addresses these changes and their impact on women. In this collection, I designed jewelry from copper structures containing bodies of glass, reflecting the values of childbirth. Inspired by personal experience, this project promotes social dialogue
© By the author. Read Klimt02.net Copyright.
Glasses: In Other Eyes, 2024
Plastic, 925 silver, cubic zirconia, and lenses
Photo by: Shai Franco
Throughout the last year, my perspective on things has changed. The familiar became unknown.
In the project "In Other Eyes," I deepened this perceptual change in my designs. I chose to challenge the concept of glasses as an object that serves as a buffer between the wearer, the viewer, and their surroundings. This involved rethinking function, structures, and the new perception of space created on the face. The series of glasses explores the relationships between symmetry and asymmetry by using different compositions, colors, and materials.
In the project "In Other Eyes," I deepened this perceptual change in my designs. I chose to challenge the concept of glasses as an object that serves as a buffer between the wearer, the viewer, and their surroundings. This involved rethinking function, structures, and the new perception of space created on the face. The series of glasses explores the relationships between symmetry and asymmetry by using different compositions, colors, and materials.
© By the author. Read Klimt02.net Copyright.
Head piece: The Contradiction, 2023
Textile, Brass
Photo by: Shai Franco, Shlomi Bernthal
© By the author. Read Klimt02.net Copyright.
Head piece: Viberation, 2023
Silver 925, enamel, 3D printing, and sewing threads linked to a speaker
Photo by: Shlomi Bernthal, Shai Franco
From series: Viberation
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Set: Ancient Present, 2023
Photo by: Shai Franco, Shlomi Bernthal
From series: Ancient Present
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Pendant: Harris, 2017
Plastic, silver, zircon.
From series: Journey to Jibbiard
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Piece: My Tribe, 2019
Brass, optical lenses, Perspex.
Photo by: Shay Arbel
Mask.
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Brooch: As a Ballad, 2016
925 silver, enamel, tablecloth, textile dye, cotton threads.
Photo by: June Shor
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Necklace: Connectionary, 2016
Porcelain, silver, textile, gemstones/pearls.
Photo by: June Shor
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Set: Loop de Loop, 2018
14k gold, silver, copper, steel, baroque pearls.
Ring, earring and necklace.
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Set: SEQUENCE: 2.0, 2019
Plastic, metal, resin.
Photo by: Shay Arbel
Necklace and earrings.
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Necklace: Re-born, 2018
Silver, brass, cold enamel, cotton threads, oxide.
Photo by: Ido Lavi
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Set: STRATA, 2017
Silver, Cordora fabric.
Photo by: Daniel Sheriff
Necklace and rings.
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Set: Carnivorous Femininity, 2019
PVC, epoxy, silicone tube, silicone moulds, Plexiglas, German silver, silver 925, canvas, optical lenses .
Necklace and bag.
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Brooch: System malfunction, 2019
German Silver, copper, birth control pills.
Photo by: Shay Arbel
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Head piece: Contemporary Gods, 2019
Plated copper, enamel, acetate, cubic zirconia, pearl, opal.
Photo by: Shay Arbel
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Object: Joints & Joys, 2018
Brass, polymer.
Photo by: Ido Lavi
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Piece: Tondo, 2018
Polymer.
Photo by: Ido Lavi
Eye wear.
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Set: Between handcraft and advanced technologies, 2019
Silver 925, copper.
Rings and bangle.
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Necklace: Fusiform, 2016
Silver.
Photo by: June Shor
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Piece: Hiding place, 2016
Silver.
Photo by: June Shor
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Bangle: Jeweled Cells, 2017
Silver, copper, brass, enamel, polymers, crystal Swarovski.
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Necklace: Gleaning, 2016
Photo by: June Shor
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Set: The Yellow, 2018
Silver, cold enamel.
Eye wear and earrings.
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Necklace: A Fringe of Her Own, 2017
German silver, silver, woven textiles, printed textiles, thread, enamel, paper.
Photo by: Daniel Sheriff
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Set: Personal Flora, 2018
Brass, silver plating, cold enamel, citrine, peridot, pearls, zircons, textile threads.
Photo by: Ido Lavi
Ring and bangle.
© By the author. Read Klimt02.net Copyright.
- Mail:
- officejshenkar.com
- Management:
- Uri Samet
-
The Goldsmiths’ Centre
London, United Kingdom -
Le Arti Orafe
Florence, Italy -
Escola Massana Centre d'Art i Disseny
Barcelona, Spain -
Assamblage Contemporary Jewelry School
Bucharest, Romania -
PXL-MAD School of Arts
Hasselt, Belgium -
Universiteit Stellenbosch University
Stellenbosch, South Africa -
Alchimia Contemporary Jewellery School
Florence, Italy -
Düsseldorf University of Applied Sciences, Peter Behrens School of Arts, New Craft Object Design
Düsseldorf, Germany -
Vilnius Academy of Arts, Telsiai Faculty
Telsiai, Lithuania -
Venice Academy of Fine Arts
Venice, Italy -
Royal Academy of Fine Arts Antwerp. Artesis Plantijn University College
Antwerp, Belgium -
Central Saint Martins, BA (Hons) Jewellery Design
London, United Kingdom -
Sint Lucas Antwerpen
Antwerp, Belgium -
K2 Academy of Contemporary Jewellery
London, United Kingdom -
The 92nd Street Y Jewelry Center
New York, United States
