Andreas Ingerl’s teaching understands design as a form of perception and process research rather than mere problem solving. In his studios and lectures he combines artistic‑experimental practice with prognostic future research, media theory and a dual‑use ethics informed by DFG and Leopoldina: students explore how emerging technologies reconfigure perception, authorship and responsibility – and how design can make these shifts visible, negotiable and experienceable. Futures are treated as a prognostic, not speculative, field: using scenario methods, hype‑cycle models and custom prognostic techniques, students analyse which developments are foreseeable, desirable or dangerous and what this implies for the futures they design.

Epistemologically, his teaching is grounded in radical constructivism: students construct their own concepts of image, medium, technology, future and responsibility within concrete experimental setups, supported by impulses from media studies, perception psychology and philosophy of science. Artificial intelligence and emerging technologies are not introduced as toolkits, but as artistic‑experimental media through which questions of perception, authorship and ethics are worked through in practice.

TRULY NEW BAUHAUS

is a studio for reformulating the foundations of design under the conditions of AI and emerging technologies. Students develop prognostic “new foundations” in which material, perception, digital systems and algorithmic processes are considered together, asking what a “new Bauhaus” might look like when roles of human, machine and medium are reconfigured and ecological as well as social transformation are addressed. The studio is accompanied by the public lecture “Emerging Technologies for Designers”, which discusses technologies such as AI, physical computing and agentic systems as cultural and epistemological challenges rather than mere tools. Projects from this studio are regularly selected for the Ars Electronica Campus Exhibitions.

CRAVING FUTURE REALITIES

was a recurring main studio that has since been succeeded by TRULY NEW BAUHAUS. Each year, students developed alternative future scenarios based on current technological, social and political developments and translated them into visual, spatial and media formats. A public lecture on futures and scenario methods in design introduced and critically discussed approaches from futures studies and narrative modelling. Numerous works from this studio were presented at the Ars Electronica Campus Exhibition.

CINEMIRACLE

explores experimental image spaces between historical film processes and contemporary media practice. Starting from a panoramic projection technique of the 1950s, the studio re‑situates it in a current technical and conceptual context: three separate projection surfaces create a triptych‑like multi‑projection, enabling parallel narrative strands, temporal shifts and contradictory scenarios to be experienced simultaneously as a spatial form of montage. The studio is accompanied by an open lecture in film theory that links theories of cinematic perception, space and spectatorship to these installative experiments.

IMPROVING FUTURIUM

is a short‑term studio in cooperation with Futurium – House of Futures in Berlin. Students critically analyse existing exhibition and mediation formats at Futurium and develop interventions that reconfigure interfaces, spatial settings and participation formats in response to the question “How do we want to live?”. The project connects curatorial and design practice with futures research and treats exhibition design as an artistic‑experimental laboratory for public negotiation of futures.

NEW CANVAS

creates a “digital Petersburg hanging” of screens and treats them as open, non‑fixed image carriers. Each student receives a digital “canvas” and develops a work that deliberately escapes established categories such as painting, photography, animation, video or digital signage, becoming “something else”. In collective discussions the studio negotiates the medial identity of these works and their impact on perception, attention and spatial relations, asking what a contemporary “canvas” in the context of digital media might be.

HOLOGRAPHIC THEATER

uses holographic and illusionistic imaging techniques to develop contemporary readings of theatre and literary texts. Starting from selected plays, the studio translates narrative and dramaturgical structures into spatial and performative setups that work with layered projections, reflections and audience positions, extending the tradition of expanded cinema into an expanded theatre of images.

AUDIOVISUAL MEDIA

The foundational course introduces students to the basics of audiovisual and digital media, combining media theory, screen design and interaction design with a UX/UI project for the Apple Watch. The course links information architecture, situated use (mobility, sensors, proximity to the body) and novel interface forms, and prepares students to understand media as evolving conditions of their own practice rather than static tools.

STUDIO ENVIRONMENT

Within these Studios, Andreas Ingerl works in a hybrid teaching and production environment for communication design and digital media. The studios include a computer studio organised as a bring‑your‑own‑device environment with high‑resolution workstations, and an experimental computer studio with dedicated systems for AI‑based and generative design workflows. These spaces support iterative prototyping, data‑driven visual experiments and the development of installation‑ready media works.

The dedicated BCI lab extends this environment towards neuro‑media and human–machine interfaces. Here, students and researchers work with EEG‑based brain–computer interfaces to explore how cognitive and affective states can be translated into visual, auditory or spatial feedback. The lab provides the technical and methodological framework for projects that critically investigate emerging neurotechnologies, from consciousness visualisation to implicit interaction and biometric inference scenarios.[1][3]

This hybrid teaching and research space is dedicated to exploring contemporary forms of audiovisual expression, media art and creative technologies. It extends beyond traditional screen‑based work and supports experimental projects across moving image, sound, interaction and spatial installation. The studio functions as a platform for prototyping and staging media‑based experiences – from prognostic design scenarios to exhibition‑oriented pieces – and is equipped to host collaborative studio courses, project‑based seminars and research experiments that investigate how media can be choreographed across space, bodies and devices.

Through the KI‑Werkstatt at HTW Berlin, his studios are connected to a university‑wide infrastructure for AI research and education. The KI‑Werkstatt provides access to GPU clusters, virtual machines, LLM‑based systems and modular teaching blocks that support AI‑driven design and research projects. It enables students to work hands‑on with current AI technologies while critically examining their social, ethical and epistemic implications in the context of artistic and experimental design processes.