PORTFOLIO2017

Jonas PietschDiplom-Designer

Bödikerstraße 3010245 Berlin

0176 20 70 37 75mail@jonaspietsch.netwww.jonaspietsch.net

Grafik im Raum → Seite 2

Grafik/Buchgestaltung → Seite 7

Illustration → Seite 23

AUSBILDUNG: Kunstgeschichte Friedrich Schiller Universität Jena 2004 – 2005 Visuelle Kommunikation Bauhaus-Universität Weimar 2006 – 2012

ABSCHLUSS: Diplom-Designer

AUSLAND: Concordia University Montréal, QC Herbst/Winter 2009/10

VERÖFFENTLICHT IN: Output Year Book 2013 Port-Magazin 2013 Sommernachtstape 2008 & 2009 RuN – Über die Bewegung Some Magazine 2

KENNTNISSE: Adobe InDesign, Illustrator, Photoshop, AfterEffects, MXWendler (Videoprojektion), PureData, HTML und CSS, Stacey CMS, Siebdruck, Buchbindung

INTERESSEN: Kunst, Architektur, Radsport

KONTAKT SCHWERPUNKTE

JONASPIETSCH

GRAFIK IM RAUM

Kunde: GoodbabyAgentur: Milla & Partner BerlinMesse: Kind + Jugend 2015

2015

Für die Firma Goodbaby wurde ein neuer Messe-stand entworfen um die Marke erstmals auf internationalen Messen präsentieren zu können.

Meine Aufgabe war es, die Aussenhülle des Standes grafisch zu gestalten und die Typografie, gemäß der Gestaltungsrichtlinien, auf die Architektur zu übertragen.

GRAFIK IM RAUM

Kunde: CybexAgentur: Milla & Partner Messe: Kind + Jugend 2015

2015

Highlight-Inszenierung der Platinum Produktgruppe von Cybex.

Auf dem Messestand wurde die Platinum Gruppe aufwendig mit 24 Screens in Szene gesetzt. Dafür entwickelte ich eine Animation, welche die Schmetterlingaplikationder Modelle zum Leben erweckt und den Imagefilm von Cybex, entsprechend der Architektur als Tryptichon, präsentiert.

GRAFIK IM RAUM

Kunde: Mercedes-BenzAgentur: Milla & Partner

2015

Entwurf für das Keyvisual des Merceds-Benz ServiceGipfel 2016.Durchspielung als Anwendung in der Außen-kommunikation und diverser Printsachen für die Veranstaltung.

Bespielung der Außenfläche

Keyvisual Gipfelkommunikation

Banner und StelenBereichskennzeichnungen

GRAFIK

Projekt: Solution FarmAgentur: Dreinull

2017

Konzeption Logo / Keyvisual und Anwendungs-beispiele für das Projekt »Solution Farm«.

SOLUTION FARMCULTIVATING NEW IDEAS

GRAFIK

Produkt: Mondialab ProKunde: ÆSD Research & Development

2017

Grafische Anleitung für die Benutzung des Mondi-alab Pro. Ziel war es, die Einfache und sich stehts wiederholende Handhabung zu verdeutlichen. Hierfür wurde ein Layout erstellt, welches den prin-zipiell immer gleichen Ablauf betont und wichtige Handlungsschritte hervorhebt.

KIT CARDIAC

User Guide

see App for further instructions

GRAPHIC USER INSTRUCTIONS 5 PREPARE 5COLLECT 7APPLY 13WAIT 19MEASURE 21INTERPRET 23CONNECT 25

TECH SHEET 27

5

PR

EP

AR

E

kPlex

Cardiac

2 × plaster2 × alcohol pads 2 × lancets 2 × dropper

buffer

4 × pipettes

ISO

PR

OP

YL

ALC

OH

OL

ISOPROPYL ALCOHOL

ISOPROPYL ALCOHOL

ISOPROPYL ALCOHOL

ISOPROPYL ALCOHOL

ISOPROPYL ALCOHOL

ISOPROPYL ALCOHOL

ISOPROPYL ALCOHOL

ISOPROPYL ALCOHOL

9

3. Prepare lancet. Rotate the

safety pin, then pull it out.

4. Hold lancet horizontally and prick

fi nger, preferably at the side of the fi nger.

ISOPROPYL ALCOHOL

CO

LL

EC

T

21

ME

AS

UR

E

Wait until the LED lights simultaneously light

up and then swiftly extract the kPlex.

15

Add full content of one pipette to

sample-well ▲. Add 1 drop of dropper buffer to

sample-well ▲.Rotate kPlex when test strip

starts fl ooding.

AP

PL

Y

37

taken either too early after thrombus formation, if testing

is delayed for several days or if the sample was collected

too late after the occurrence of thromboembolic infarction,

since the D-Dimer concentration may decrease to normal

values already after one week. Additionally, a treatment with

anti-coagulants prior sample collection can render the test

negative because it prevents thrombus extension3,4.

Some specimens containing unusually high titers of

heterophile antibodies or rheumatoid factor (RF) may affect

expected results. Even if the test results are positive, further

clinical evaluation should be considered with other clinical

information available to the physician.

There is a slight possibility that some whole blood

specimens with very high viscosity or which have been

stored for more than 2 days may not run properly on the

MONDIALAB kPlex. Repeat the test with a plasma specimen

from the same patient using a new MONDIALAB kPlex.

EXPECTED VALUES

Increased D-Dimer concentrations above the widely

accepted cut-off value of 500 ng/ml FEU (fibrinogen equivalent units) are a sign of an active fibrinolysis and have been verified at patients with disseminated intravascular coagulation (DIC), deep venous thrombosis

(DVT) and pulmonary embolism. You will find such increased

concentrations as well after surgery and injury and during

sickle cell anaemia, liver disease, heavy infections, sepsis,

inflammation, malignant disease or in older people. The concentration of D-Dimer rises also during a normal

pregnancy.

PERFORMANCE CHARACTERISTICS

positive negative total

D-Dimer

Test

positive 52 1 53

negative 5 27 32

total 57 28 85

sensitivity: 91,23 %

specificity: 96,43 %

Precision

The precision of the tests was assessed with control

solutions. Control solutions with a D-Dimer concentration

of 0 ng/mL did not lead to line development. Control solutions with a D-Dimer concentration of 500 ng/mL always developed visible lines.

19

WAIT

Wait 10 Minutes

BUCHGESTALTUNG / ILLUSTRATION

Titel: We Love Code! Das kleine 1 0 1 des ProgrammierensVerlag: Koehler & AmelangAutorinnen: Julia Hoffmann Natalie Sontopski

2016

Format: 215 mm ×135 mm Seiten: 192

»Programmieren ist etwas für soziophobe Jungs? Überhaupt nicht! In diesem Buch erfahren die Leser auf leicht verständliche Weise, was Programmiersprachen sind, wie diese funktionieren und was sie mit uns allen zu tun haben. Die Autorinnen erklären die einfachen Grundlagen des Digitalen und zeigen, was sich hinter den schicken Oberflächen von Websites und Apps verbirgt. Sie schreiben über das Programmieren, über Datensicherheit und Hackerparties, über die nötige Hardware und die wichtigste Software. Beide sind Gründungsmitglieder der Code Girls, Leipzig.«

Aus dem Verlagsprogramm

Umschlagsgestaltung, Illustrationen, Layout und Satz.

Nominiert für den Publikumspreis »The beauty and the book« der Frankfurter Buchmesse 2016

BUCHGESTALTUNG

Titel: Reise nach Westen Diplomarbeit

2012

Geprüft und betreut von Prof. Markus Weisbeck und Dipl.-Des. Ricarda Löser

Reise nach Westen wirft einen Blick auf die kultu-rellen Beziehungen zwischen der westlichen Welt und China.

Basierend auf Arjun Appadurais Modell der »Scapes« und Wu Cheng En’s Roman »Reise nach Westen« enthält die Arbeit Texte verschiedener Personen, sowohl aus der Geschichte als auch aus unserer Zeit, welche ihre Eindrücke zur Beziehung dieser beiden Erdteile wiedergeben. Jedes der fünf Kapitel wirft den Blick auf einen Aspekt des kulturellen Austauschs in einer jeweils eigenen Textform, von Gedichten bis Interviews. So werden Texte und Eindrücke von Roland Barthes, Kang Youwei, Ti-Anna Wang und anderen gegenübergestellt.

Ausgewählt von:

Format: 245 mm ×165 mm Seiten: 88

BUCHGESTALTUNG

Titel: Ein Raum für die Radiokunst Das Medium des Radios im musealen KontextAutorin: Maxie Götze

2013

Format: 240 mm ×168 mm Seiten: 288

Maxie Götzes Arbeit untersucht die Möglichkeiten, Radiokunst im musealen Kontext zu präsentieren. Das Buch beginnt mit einer ausführlichen his-torischen Betrachtung der Klangkunst, gefolgt von der Aufarbeitung einer ausführlichen Feld-forschung. Im letzten Kapitel werden, daraus abgeleitet, Präsentationskonzepte vorgestellt.

Formal entwickelt sich das Buch von einer recht klassischen Gestaltung, unterbrochen von Text-fragmenten, zu einem immer freier werdenden Layout hin.

KATALOG / WEBSITE

Titel: Nina Röder Fotografien 2008 – 2012Kunde: Nina Röder

2013 – 2016 (Website Redesign)

Format: 210 mm ×154 mm Seiten: 64

BUCHGESTALTUNG

Titel: The Spaces of Sofia: From Community to CommerceAutorin: Diliana Daskalova

2013

Format: 240 mm ×160 mm Seiten: 54

The Spaces of Sofia: From Community to Commerce

1.0 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2.0 From Utopia to Paradise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3.0 Ideology and Emblematic Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3.1 Socialist Ideology and Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

4.0 Utopia: Sofia’s Socialist Spaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

4.1 Communal Living: The Micro-region . . . . . . . . . . . . . . . . . . . . 27

4.2 The People’s Palaces: New Living Rooms

and Universities of Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

5.0 Paradise: Space after Socialism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.1 Post-Socialist Transformation of Socialist Spaces . . . . . . . . 34

5.2 Housing Dissociation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

5.3 The Commercialization of the Socialist Club . . . . . . . . . . . . . 39

5.4 Paradise: Mall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

6.0 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Table of Contents

3332

5.0 Paradise: Space after Socialism

The shift from a party-state and a command economy to parliamen-

tary democracy and a market economy required very rapid and far-reaching

privatization and deregulation. The road to capitalist “paradise” demanded

the transfer of national assets to private parties in an increasingly globalized

market system. This was coupled with financial integration into Western

institutions.46

Market-led, private investment was the new, superior mechanism to

determine values and distribute opportunities, as is consistent with classical

economic theory of supply and demand. This ideology is in direct contrast to

socialism where land, wealth and opportunities were controlled and distrib-

uted by the state. It was assumed that if and when perfect deregulation and

privatization were achieved, public social goods and services, such as educa-

tion and healthcare, previously allotted by the party-state, would be distrib-

uted efficiently, that resources would be optimally distributed and quality of

life would improve.

This socio-economic and political transition changed the basic

tenets of spatial production in the Bulgarian capital (as well as in all other

cities in the former Eastern bloc). This led to private preying on previously

social assets and the proliferation of uneven landscapes. The attempt to

implement a standard blueprint for development inspired from Western

experiences resulted in different outcomes than promised indeed.

It can be argued that that the market liberalism that replaced social-

ist planning has led to the neglect of essential life needs and a widening social

hierarchy: great wealth became concentrated in the hands of a small portion

of the population, whereas the masses were impoverished. Often it was for-

merly socialist elites that benefited most from the privatization of formerly

public assets.47

Social services that were previously funded by the state have also

had to conform to the new business environment. Consequently, these

46 Vesselinov, Elena and John R. Logan. “Mixed success: Economic Stability and Urban Inequality in New Sofia,” In Transformation of Cities in Central and Eastern Europe: Towards Globalization, United Nations University Press: Tokyo. 2005. P. 366

47 Harloe, Michael. „The Socialist City.“ in Cities After Socialism. Cambridge: Blackwell. 1996. P. 8

In Sofia, the grandest socialist club of all was the National Cultural

Palace (NDK). It was finished in 1981 after a construction period of just three

years (although initially the construction was forecasted to last twelve years).

This building was constructed to be a multifunctional congress center and

provide an integral part of Sofia’s downtown experience, for visitors and resi-

dents alike. The scale of NDK certainly fulfilled “the task of new technology to

make sure that … volumes produce new relationships.”45

NDK was erected on the site of old caserne to commemorate the

1,300-year anniversary of the Republic of Bulgaria during the 12th congress

of the Bulgarian Socialist Party. Demolition of central city space was autho-

rized by a state decree. This was a monument to the celebration of a nation

as well testament to the collective greatness of party-state.

NDK is still the largest conference center on the Balkan Peninsula.

The massive building has a footprint of 18,300 square meters and a volume

of 576,800 cubic meters. It is built primarily by steel and concrete. There

are eight above-ground and five underground stories and it is rumored to

be the safest place on the Balkan Peninsula during an earthquake, even

during an earthquake of 10 on the Richter scale. The building has been a

member of the international association of congress centers since 1980

and received the Apex award for best congress center in the world in 2005.

The Palace was the invention of Ljudmila Jivkova, daughter of long-

time head of state, Todor Jivkov. Unsurprisingly, the resources for its con-

struction were generous. NDK was and still is architecturally unique and

expensive, constructed with state-of the art technology and materials

for its time. It is surrounded by an equally expensive and impressive park,

landscaped by the best landscape architects of the time.

In summary, the most emblematic spaces of socialism in Sofia — the

pre-fabricated housing districts and NDK — were constructed to transmit

values key to the survival and legitimacy of socialist ideology: uniformity

and egalitarianism and the power of the party-state. These spaces were of a

noncommercial, public and ceremonial nature. They were made to foster a

set of values very different of those that prevail today.

45 El Lissitzky. Russia: An Architecture for World Revolution. Cambridge: MIT Press. [translated from German by Eric Dluhosch] 1970. P. 6

1918

Space was emphatically non-exclusive and non-consumptive. Socialist

planners replaced the “the individual, private client … by the so-called “social

commission … emphasis was shifted from the intimate and the individual to

the public and the universal”16 Thus, space was systematically produced in

order to nurture the new individual as a part of the new collective in the con-

text of new social relations. In short, space emphasized collective identity

rather than individual expression.

16 El Lissitzky. Russia: An Architecture for World Revolution. Cambridge: MIT Press. [translated from German by Eric Dluhosch] 1970. P. 29

fit to participate in the collective building of the new communist order, which

involved both new individuals and new space. As Wilhelm Reich pondered,

“will the new socio-economic system reproduce itself in the structure of the

people’s character? If so, how?” Socialist planners believed that technological

advancement, industrialization and the application of egalitarian social prin-

ciples would annihilate the former capitalist context, resulting in “social con-

ditions [wherein] … New Man and New Woman [could] develop with qualities

reflecting surrounding circumstances of post-scarcity and unprecedented sci-

entific development.”14

In this context, they rejected even the possibility of gradual urban

reconstruction. Rather, writing in the context of war destruction, Lissitzky for

instance argued that the new modern era necessitated a fresh and revolution-

ary architectural enterprise unburdened by history: “the term ‘reconstruction’

is therefore not applicable to (our) case, since there is no building precedent

in the past that by virtue of its social significance would provide us with a pro-

totype solution” He further believed that in cities, “both internal and exter-

nal form must become the concrete expression of our concept of the spiritual

condition and the aesthetic life of social man.”15 Socialist architects, planners

and sociologists thus merged the disciplines of architecture and social psy-

chology. Their analysis led to a spatial method to produce the desired social

structure, communism, applicable universally at all scales and in all national

contexts, in spaces for recreation, working and living.

Specifically, the spaces of socialism, built on the revolutionary and

idealistic principles of Marxism-Leninism, were meant to communicate

the ideals of collective ownership of wealth. The generous public spaces

between buildings, the vast parks and the plazas, the emphasis on pedes-

trian traffic, wide access to public transit and services was meant to influ-

ence the conscience of the community, to teach new values for a “new

socialist man.” Advertisements, commercial spaces and private enclosures

were removed in order to foster a feeling of comradely and restrict oppor-

tunities for individual and differentiation. Space and perceptions of space

were meant to reinforce collective identity by engendering a daily routine,

which was to be shared by all (or at least most) citizens.

14 Berdyaev, Nicolas. The Origin of Russian Communism. P. 182

15 El Lissitzky. Russia: An Architecture for World Revolution. Cambridge: MIT Press. [translated from German by Eric Dluhosch] 1970. P. 45

Barburov, p. 46

BUCHGESTALTUNG

Titel: SpaceKidHeadCup 20x Das Buch zu 20 Jahren Weimarer Seifenkisten rennen 2011

Format: 245 mm ×165 mm Seiten: 288Druck: Offset, Siebdruck

Zusammen mit:Konrad Angermüller, Adrian Palko, Jelka Kretzschmar, Jan Köpsel und Felix Wetzel.

Herrausgegeben von:Benjamin Dahl und Moritz Walter.

Aufgaben:Bildredaktion, Rasterentwicklung, Satz und Layout, Druck des Umschlags

GRAFIK

Kunde: Kiosk.6

2011 / 2012

Verschiedene Drucksachen für den Kiosk.6 – Sattelit der Galerie Marke.6

BROSCHÜRE

Titel: City of XKunde: Radio Lotte Weimar 2010

Format: 220 mm × 148 mm (geschlossen) 440 mm × 592 mm (geöffnet)Seiten: 16Druck: 3-Farb Offset

GRAFIK

Titel: Everything in BetweenBetreuung: Gastprofessor Eike König 2008

ILLUSTRATION

Titel: We Love Code! Das kleine 1 0 1 des Programmierens

Illustrationen der Autorinnenen, verschiedener Persönlichkeiten aus der Computer geschichte und Computerhardware für das Buch »We Love Code!«

2016

ILLUSTRATION

Titel: Reise nach Westen Diplomarbeit

Illustrationen aus dem Kapitel »Chinoiserie«.

2012

ILLUSTRATION

Titel: Space in Time

Grafische Repräsentation von Wohn- undLebensräumen

2009

ILLUSTRATION

Freie Illustrationen