GRIDNIK
http://www.designculture.it/interviews/img/crouwel/crouwel-portrait.jpg
1 1
2
House of Gridnik
Publisher Kentaro Crockett
Printer Adam Boudaoud
Designers Jackie Koon
Brandon Shields
Amy Rose Oechsler
Toni Sorrentino
Jennifer Osaki
3
4
Copyright 2015 House of Gridnik
This design publication embodies the arguments between Wim Crouwel and Jan van Toorn as well as found literature to supplement the main points stated by Crouwel during the Debate between the two designers on November 9th, 1972.
ALL RIGHTS RESERVED. NO PART OF THIS BOOK MAY BE REPRODUCED, STORED IN A RETRIEVAL SYSTEM, OR TRANSMITTED IN ANY FORM, BY ANY MEANS, INCLUDING MECHANICAL, ELECTRIC, PHOTOCOPYING, RECORDING OR OTHERWISE, WITHOUT THE PRIOR WRITTEN PERMISSION OF THE PUBLISHER.
Printed through Blurb Typeface used: Bauhaus 93, Helvetica, Univers
DESIGNED WITH CARE IN RICHMOND, VIRGINIA
5
Introduction: Kentaro Crockett
3
Technology: Amy Rose Oechsler
10
Subjectivity: Adam Boudaoud
24
Architecture: Brandon Shields
1
30
Table of Contents Elements: Jennifer Osaki
50 Grids: Jackie Koon
62 Type:
Toni Sorrentino
74 Conclusion:
Adam Boudaoud
86
Compiled by 7 designers, this publication reestablishes Wim Crouwel’s design views in his debate against Jan van Toorn. The following chapters emphasize the components that typify Wims’ work.
2
3
My first remark is a generalizing one. When as a designer you respond to a topical social or cultural pattern, this may give rise to, first, an analytical approach, in order to arrive at an objective participation in a process of communication; this is an approach, in my view, of lasting value and longevity. And, second, it may give rise to a spontaneous approach that strongly appeals to current opinion and therefore has powerful communicative “The function of a graphic designer is to convey information.
80 20 100: Wim Crouwel, Nijhoff and Lee, November, 2008
4
A
A In my opinion, these are the two
Further, Designer A will be inclined
things that move us, and I would
to position themselves professional-
like to clarify them. Designer A,
ly, without surrendering their sense
who favors the analytical approach
of responsibility vis-a-vis society,
to arrive at a maximally objective
and therefore they will refrain from
message, will be inclined to make
engaging in specialties that are not
use of solidly tested means only
theirs. Through their specific work,
and will not be easily tempted to
they will provide a contribution to
experiment for the sake of novelty.
the problem articulated.
For this reason, he is also likely to end up in a place that is sometimes characterized as rather dry.
5
A
designer
A Our colleagues know which side I’m on, for I believe that as a designer I must never stand between the message and its recipient. Instead, I try to present the issue as neutrally as possible.
6
A
A
W In my opinion, these are the two
to position themselves professional-
like to clarify them. Designer A,
ly, without surrendering their sense
who favors the analytical approach
of responsibility vis-a-vis society,
to arrive at a maximally objective
and therefore they will refrain from
message, will be inclined to make
engaging in specialties that are not
use of solidly tested means only
theirs. Through their specific work,
and will not be easily tempted to
they will provide a contribution to
experiment for the sake of novelty.
the problem articulated.
For this reason, he is also likely to end up in a place that is sometimes characterized as rather dry.
7
Further, Designer A will be inclined
things that move us, and I would
B
By contrast, Designer B is more
their expertise by resorting to an
likely to make use of trendy means,
amateurish contribution to the
and he will not reject experiments
problem at hand.
in order to arrive at new results.
I think that Designer B, based on their large sense of responsibility towards society, will tend to become so absorbed by the problem posed that they enter into specialties that are not theirs. They runs the risk of wasting
8
9
wim crouwel technology
10
J I think that as a specialization graphic design, just like other forms of design, has begun to fall short under the pressure of industrial developments in our society and all their various consequences. The designer falls short not only because through their use of form they program rather than inform, but also because they no longer questions their goal and responsibility. Their design influences and conditions users, rather than supporting its content.
11
12
The Digital Designer
13
The Impact of New Digital Technology on the nature of Graphic Design
The late 70’s saw the advent of
ing card prints (fig two) were devel-
the Macintosh. From there was an
oped. It is the techniques of printing
explosion of technological advance-
and designing simple designs such
ments which have greatly helped
as these which have evolved into the
in this field. Such advancements
kind of computer-generated imag-
include the invention of the 3.5 inch
ery that we all see today. Fig three
floppy disc, which was launched in
shows a combination of fine colour
1980. This has given the means for
print, 3D design and computer-aided
graphic designers to be flexible and
design that we are al now used to
distribute and archive their work. Fig
seeing every day. Even with the use
one shows an early computer aided
of computer technology, let us re-
design of a hospital bed designed to
member that the computer has been
a systematic design specification. It
developed; edging towards a per-
was produced using newly devel-
fection – but they are just tools and
oped computer technology. As can
it is the role of the designer which
be seen it is simple and precise. As
confirms a good design.So what is
computer technology developed and
the role of the graphic designer?
printmaking techniques have im-
Well, there are roles in which graphic
proved, colour designs such as play-
designers take part. Not only do
14
they choose to design, they have to
but instead reassures. In my opinion
be aware of such matters as currant
the nature of the graphic designer
affairs and peoples attitudes towards
is fundamentally to produce design
design. Also, they are employed as
work that is worthwhile, appreciat-
strategists, conceptualists and aes-
ed, responds to the target audience
theticisms and work in management. and is original and different. The
15
Currant affairs can greatly affect the
desire to create work that is differ-
direction of a designers’ work. For
ent, I feel, is the greatest challenge
example, if a British designer was
of all requirements. After all, not
asked to promote British beef for
all work is aimed at a certain target
France after the ban was lifted, the
audience, therefore cannot respond
designer would have to incorporate
to everyone. In light of this, graphic
many factors in his/her thought to
design work which reaches further
produce a good and appropriate de-
into originality has the greatest
sign. There would need to be a factor
impact within some areas. Obvious-
of sensitivity towards the attitudes
ly, sometimes an original, pleasing
of the French people towards British
design is not always appropriate,
beef – not to mention the political
such as designs for elections (such
issues involved. A design must then
as America now), designs need to be
be devised which does not offend
able to be punchy and easily under-
stood – which have their basis on
forms of technological applications
simplicity. Unlike previous gener-
at the designers’ disposal. Graph-
ations, designers now have digital
ic designers and artists can use
technology as an allie and tool.
graphical computer programs such
Designers can now interface with
as Adobe Photoshop, Adobe Illus-
various forms of technology in many
trator and many other professional
different ways. Digital technology is
applications to create images. There
now the way forward in the field of
are literally endless possibilities of
graphic design. ‘Digital’ language is
what a good and talented designer
the language of computers. Digital
can use programs such as these
technology is now practically used
for. There are other collectives of
in every form of machinery; from
computer programs such as pub-
mobile phones to car engines. One
lishing applications (such as Quark
of the most useful ways in which to
Express and Adobe Indesign) and
utilise digital technology is through
also 3D programs, such as 3D Studio
the use of computers. Digital ap-
Max and Rhyno. There are Internet
plications used on computers give
applications (such as Dreamweaver
designers to means to create, erase,
and Adobe Go Live!). These applica-
manipulate and experiment with
tions are utilised using a Macintosh
design.There are many different
or Personal Computer.
16
17
W I start from more or less the same two types of designers as Wim. But what you call the analytical designer, I call the technologist-designer, because they work with methods derived from technology and science.The analytical strand, of which you are a characteristic exponent, is determined by a technological-organizational attitude. I do not believe that a designer can adopt, as you put it, the position of neutral intermediary. The acts you perform take place through you, and you area subjective link. But you deny this subjectivity, meaning: you view your occupation as a purely neutral one.
18
19
W Wim says that he uses a partic-
1961 Christmas issue(1). The first
ular graphic means as a neutral
thing you say there about design
thing, but in my view it is always
is that form is determined by
used subjectively. Its use, after
content. But in the remainder of
all, has social meaning. It has a
this short article I did not read
social goal and that is why it is
a single word on the relation
subjective. It is there that your
between content and form, yet
influence lies, be it your personal
there is an awful lot about formal
influence or your influence as a
options, techniques, and technol-
group. It all depends on how you
ogy, so about means in general.
use your means. Those in graphic
But today, I feel, the relationship
design, just like people in other
between form and content is in
specialties, are inclined not only
fact highly relevant. It is per-
to exaggerate their own value,
haps more so than in 1961, for it
but also to start seeing their deal-
comes with a responsibility. And
ings and their means as a goal in
maybe we should adventurous
itself, thus losing sight of the ac-
in facing the challenge, without
tual goal. This is why I once again
perhaps sufficiently knowing the
looked up what you wrote in the
means we have at our disposal.
20
W When you say that my approach
a particular technology may offer
is technological and observe that
a solution, if you apply it well. To
I constantly talk about technology,
apply technology well, I once made
this is an effect of my fondness for
a proposal for a new basic alphabet.
technology. I was at times strongly
And this imposed larger freedom
influenced by technological innova-
for the designer than before, when
tions. But I do not have the sense
alphabets were forced upon us and
of being led by technology to such
handed down to us from the Renais-
a degree that I’ve ever become an
sance, the baroque, and neoclassi-
extension of the machine. Technolo-
cism. To be sure, the designer has
gy is a source of wonder to me, and
freedom, but it also comes w certain
I have long believed that it would
formal restrictions. For restrictions
be able to free us from great many
can be stretched according to your
difficulties. After all, the amount
needs. So when I show admiration
of information fired at people has
for technology, this does not auto-
grown so large that it can no longer
matically lead to technological work.
be processed. In this predicament
21
22
23
I would like to cite a recent statement by Jan from the newspaper: “The function of a graphic designer is to convey information. “ Wim Crouwel “This should happen in a way that makes it possible for the reader or viewer to arrive at a view of his own, rather than imposing the mind-set of the messenger.” When Jan says that design is a subjective activity, he adopts , as a designer, the role of intermediary.
I’m afraid, however, to adopt such a subjective role, and rather try to take an objective stance.
24
W At first glance, Jan van Toorn, as he put it in
with Jan, because he
the newspaper quote,
does not operate with-
views the designer as
out taking a position
a coordinator who,
between sender and
without defining views
receiver. Jan quite
of his own, merely
consciously par-
provides assistance in
ticpates subjectively in
realizing some commu-
that process.
nication of information.
25
But this is not the case
Design Discourse: History, Theory, Criticism Victor Margolin
26
In a world which is product of arti-
Graphic design, because it deals
fice, design more and more explicit-
with signs brings the objects back to
ly seeks to render the image of that
the state of what they are, tool or
world equivalent with the use proj-
functions of behavior. In this way,
ect the individual may apply to it:
the design of the environment con-
It is in this equivalency that it finds
veys a social expressiveness.
the measure of its success. It takes into account volumes sur-
27
Wanting a legible world, design
faces, angles, and contours, and it
seeks to transform visibility to
acquires from them a certain visual
legibility, that is, into that operation
reality which standardizes, this is to
of the mind that arranges things in
say universalizes, in order to make it
the form of signs into an intelligible
as easy as possible for the active
while in order to prepare a strategy
person, the actor, to take this reality
for action.
into account.
J Let us talk briefly about this sub-
You are afraid of it, and you use the
jectivity. In my view, there are two
word ”fear.” You do not want to
important issues. To convey content
inflict harm onto either the content
does not mean that the design
or the identity of the message),
itself does not represent particular
which is why you always design in
values. Any design has a certain
the same way, this, at least, is what
content, an emotional value. It has
I think your work will show over a
specific features. It has a clear goal.
longer period. By giving the same
You have to convey something
design response in all situations,
to somebody. Perhaps a political
you produce work of great uniformity,
conviction, perhaps only a report on
in which any sense of identity is
a meeting. Any design is addressed
lost. In my opinion, however, iden-
to someone. The double duty of
tity is a most essential feature of all
the messenger, the designer, is to
human contact, including the com-
convey the content without interfer-
munication of any kind of message.
ing with it. On the other hand, there is the designer’s inescapable input and subjectivity. You cannot deny this dialectic, and you should rather see it as an advantage.
28
29
Architecture Architecture Architecture Architecture Architecture Architecture Architecture Architecture Architecture Architecture Architecture Architecture Architecture Architecture Architecture Structure and Design
“Unexplored constraints are just excuses. Understand the problem and look to reframe your
constraints—the outcome — Zeke Franco may surprise you.”
30
W I agree with you when you say
way, because they then choose a
that you can never step outside
perspective. They will shape this
yourself. As the designer of the
perspective through their own
message, you stand in-between the
personal input in order to get
sender and the receiver. And when
their point across as optimally
I claim to be afraid to put myself
as possible. This implies that a
in-between them, that is because I
designer would only do work that
feel it’s never productive for me to
they can fully agree with. Well, it is
add a vision of my own on top of it.
impossible for me to concur with
I believe you can separate the two.
that position. In particular with regard to work involving a political
When a designer works for a
dimension, I say “It’s okay to do it
political party or wants to promote
subjectively
their own political convictions, they go at it in a very
subjective
31
But then you run the risk of ending
position and I’m constantly aware
up with a rather narrow range of
of it, this automatically visible
assignments.
in my designs. However, this is possible in specific cases only, and
When you take a position like
not in a very broad area, or you
mine, I say: “Guys, I do not want to
risk lapsing into that amateurism I
contribute to what the man says,
mentioned previously, something I
because I want to be able to offer
do not believe in. At the time I had
my services as a designer in a wider
an extensive conversation with
area.� After all, when as a designer
Rene(2) about a program aimed at
I adopt a
doing something about educational
subjective
materials for developing countries. In this context, one designer felt motivated to immerse himself completely in the problem of educational materials, and subsequently he began to design based on that
32
knowledge. My response would be:
Come on, boys, ss Come on, boys, Come on, boys, s Come on, boys, s Come on, boys, s Come on, boys, s Come on, boys, s Come on, boys, s
33
stop it! stop it! stop it! stop it! stop it! stop it! stop it! stop it!
You go too far as a designer. This is something you really shouldn’t do, because in this instance you’d better engage an educational specialist to supply the specific know-how. Instead, based on your know-how, you start tackling the problem from your professional attitude and approach, after you’ve been given a thorough briefing. And this is the part someone else should stay away from, because this is your territory. Of course there has been an ongoing conversation, unquestionably, but I strongly believe in specialties.
... 34
www.archrecord.construction.com
office for metropolitican architecture
cctv headquarters
clifford a. pearson
35
Too Big To Fail?: Long awaited and much debated, the enormous headquarters for CCTV finally opens, already a symbol of the new Beijing. But what does it actually say about architecture and China today?
Promising to “kill the skyscraper,”
to build ever taller, his scheme bent
Rem Koolhaas and his colleagues
the high-rise into a loop of intercon-
at Office for Metropolitan Architec-
nected activities. Four years after it
ture (OMA) grabbed international
was originally scheduled to open—
attention in 2002 when they won
in time for the network to broadcast
the competition to design a huge
the Beijing Olympics from its new
headquarters in Beijing for Chi-
home—CCTV is finally moving
na Central Television (CCTV), the
employees into the controversial
state-run news and entertainment
building, a 5.1 million-square-foot
network. Polemical and hyperbolic
structure that even before it was
as usual, Koolhaas said the sky-
completed had imprinted its swag-
scraper had become “corrupted” by
gering form on the fabric of the city
its proliferation around the world
and the mental map of its citizens.
and “negated by repetitive banality.” So instead of joining the race
36
The building shares a 45-acre
months before the hotel was set
site with a low-rise, ring-shaped
to open. It is being repaired and
service structure and a 31-story
should be complete in 2013.
tower called the Television Cultural
37
Center (TVCC), both of which
The site anchors a new central
OMA also designed. The service
business district emerging from an
building provides power to the
industrial area built during the Mao
entire complex and houses security
era. Plans call for about 300 high-
personnel, while TVCC will have a
rises there, which is one reason
Mandarin Oriental hotel, a public
why OMA took a different approach
theater, restaurants, and shops.
with CCTV. According to Koolhaas,
TVCC famously burned in February
three of the four other firms
2009 when fireworks celebrating
competing for the job (KPF, SOM,
the lunar New Year engulfed
and Dominique Perrault) proposed
the building’s skin in flames just
skyscrapers, while only Toyo Ito
offered something different (a
headquarters in Los Angeles and
disc-shaped structure with a small
learned that media companies often
tower). “The form of our building
suffer from being fragmented.
was attractive to the client,” says
So the firm connected CCTV’s
Koolhaas. “It set us apart.”
operations—including broadcasting, production, and administration—
That form derived from OMA’s
along a circulation loop that moved
program-driven approach to design.
from the building’s base up a
“We presented the building as
sloping tower, across a right-angled
a diagram of all the company’s
bridge (called the overhang), and
components and made the
down a second sloping tower. The
argument that it was important
underground podium and large,
that they confront each other,“
right-angled base provided much
says Koolhaas. Earlier, OMA had
more contiguous space for studios
worked for Universal Studios on a
and production facilities than a
38
skyscraper would have, which
From the beginning of the design
appealed to the client’s technology
process, OMA collaborated with
people, reports Koolhaas.
Cecil Balmond and a team of engineers at Arup. To resist the
The OMA team was led by
huge forces generated by two
Koolhaas, Ole Scheeren (a partner
towers—each sloping six degrees
until he left the firm in 2010),
in two directions—as well as
partner David Gianotten, and
significant potential seismic
project manager Dongmei Yao. The
and wind events, Arup devised
firm worked closely with East China
a scheme that turns the entire
Architectural Design & Research
exterior into a continuous structural
Institute, which provided both
tube. This system is formed by a
architecture and engineering input.
web of diagonal steel braces that expresses the pattern of forces
39
acting on the building and serves
OMA had considered canting these
as an important visual element on
elements as well, but the cost of
all of the facades. Where structural
angled elevators made it unfeasible.
forces are greater, the web of
In addition to the cores, vertical
braces is denser; where the forces
columns support the towers’ floor
are less intense, the web is looser.
plates. Because the towers slant,
As a result, the exterior surfaces
these vertical columns can’t rise the
read as a kind of engineering map
full height of the building. So two-
with a formal beauty of its own.
story-deep trusses transfer loads at roughly halfway up the structure,
While the towers and exterior
and a two-story-deep transfer deck
braces are angled, the interior
in the overhang carries loads from
cores’ housing elevators, stairs,
vertical columns to the external
and risers are vertical. Arup and
tube structure.
40
The architects clad the building
seems almost to disappear. Yet
in fritted glazing that reduces
seen from other angles and at
solar loads inside and creates a
other times of the day, it looms
monolithic surface that mimics
aggressively over apartment
Beijing’s notoriously gray skies.
blocks. “From wherever you look
Most curtain-wall buildings in big
at it, it keeps changing in form,“
Chinese cities look dirty almost
says Scheeren. “It escapes a
immediately, but CCTV’s glazing
singular definition.“
handles the pollution by blending
41
in. Combined with the irregular
“In a city with a strong and
pattern of the external bracing that
permanent identity, it introduces
obscures floor levels, the glass skin
a degree of uncertainty,“ says
makes it hard to grasp the building’s
Koolhaas. “It changes from every
scale. In certain light and at certain
angle—sometimes looking robust,
distances, the 768-foot-tall structure
sometimes fragile.“ Although
gigantic in square footage, it would
While big-name architects usually
have been almost three times as tall
design only the shell and core on
(about 2,300 feet) if it had been a
high-rise projects, OMA did the
single tower—nearly 700 feet taller
CCTV interiors too. Because of
than the Shanghai World Financial
the complex’s vast size, the firm
Tower, currently the tallest building
approached the interiors as a
in China. Its ambiguous scale
combination of generic and specific
informs even the nickname local
spaces. Entering from a plaza
residents have given it: da kucha, or
between CCTV and TVCC, visitors
“big undershorts.“ For many years,
are dwarfed by the unstable-looking
its radical design alienated the
forms, then get a visual jolt from
local architectural establishment,
the dynamic lobby with its angled
which complained that OMA and
ceilings and imposing skylights.
other foreign firms use China as a
People arriving by subway emerge
laboratory for alien experiments.
here too, ascending an escalator
42
43
into the dramatic space. A public
Koolhaas has been attacked by
loop takes visitors past broadcast
some people for working for
studios identified by colored
the mouthpiece of the Chinese
panels set behind glass, through
Communist Party. But he says,
halls made grand by steel arcades,
“We are part of a generation of
and eventually to the spectacular
architects that for the first time
overhang, where, if they dare,
is able to work on a global scale,
they can walk over clear glass
and that means engaging different
discs set in the floor and look
kinds of regimes. Our work is based
37 stories down. Throughout,
on a longer engagement, as these
OMA used a simple palette of
countries change.“
materials to help with navigation,
Has CCTV killed the skyscraper?
wrapping one tower’s core in Cor-
Of course not—a fact made clear
Ten and the other in aluminum,
by the towers starting to crowd
and cladding floors in public
around it. But it offers an intriguing
spaces with creamy travertine.
alternative, one that uses its odd
geometry to provoke questions
clients are willing to assume high
of architectural etiquette, such
levels of risk. CCTV represents a
as how to fit into (and stand out
remarkable moment in Beijing’s
from) a context in flux. Its awkward
history, one that may already be
form, though, grows on you, like a
slipping away as China’s radical
geeky classmate who might seem
transformation slows.
strange at first but increasingly smart as you get to know him. The audacity of the building’s structural gymnastics and its innovative approach to scale and expression could only happen right now in China, a country trying hard to convert its cash reserves into global prestige and one where
44
Completion Date: May 2012 Size: 5.1 million square feet Cost: $795 million–$900 million Architect: Office for Metropolitan Architecture (OMA) Heer Bokelweg 149 3032 AD Rotterdam Netherlands T: +31 10 243 82 00 F: +31 10 243 82 02
45
ISAORA. No Title. 2015. isaora.com. ISAORA. Web. October 26, 2015.
46
... W I fear, then, that for instance standard typography, meaning book typography, cannot be done by someone who adopts such a
subjective stance, for a book, any book, will never become a better one just through its typography. Never ever. Even the admirable achievement of the Nieuwe Zakelijkheid(3), a typography that follows the text closely and emphasizes it, is way too subjective to my taste already. I find it altogether wrong. But let me not exaggerate the word “
subjective
.”
The
subjective designer has a much more limited scope of work, and they’d better accept it. Their talents will never be done full justice while there is a demand for designers in many more domains.
47
J
First, let me address your
and their corresponding means. It
specialties and the reference to
is about one’s attitude regarding
the New Objectivity. A specialist
social relations. This is what should
attitude such as yours, whereby you
be center stage, but you see it only
get in touch with other disciplines
once in a while.
but do not want to immerse yourself in their backgrounds and expect to
You impose your design on others
be briefed, produces a proxy. You
and level everything. You were
create a disconnect, whereas there
at the forefront, and now our
are in fact connections. Moreover,
country is inundated by waves
general human experience, which
of trademarks and house styles
can’t be reduced to a single
and everything looks the same.
operational denominator, spans
Yet there are challengers as well,
more territory than that covered
and they come from designers
by the rational disciplines. Still it is
who take a much more sensitive
quite possible to approach, to come
approach. To me, your approach is
nearer to such a human dimension,
not relevant, and in my view you
and this is something you ignore.
should not propagate it as the only possible solution for a number of
The designer should approach
communication problems, because
their vocation from the angle of
it’s not true. What your approach
the artist and the origin of their
does is basically confirm existing
metier, and from an industrial-
patterns. This is not serving
technological angle. For me,
communication—it is conditioning
however, it is not relevant at all to
human behavior.
articulate the different methods
48
49
Of course design is about problem solving, but I cannot resist adding something personal. Wim Crouwel
elements in design Pictures, abstract symbols, materials, and colors are among the ingredients with which a designer or engineer works.
To design is to discover relationships and to make arrangements and rearrangements among these ingredients. Paul Rand
50
W
I think you’re right on
respond in yellow, and
would sadden me if a
respond in blue.” Frankly,
many points, and it
designer’s contribution
came across as a pulp of
uniform corporate identity programs. When you
work on a company’s or organizations identity,
the package of demands
you analyze proves to be the same in most cases. I translate “responding subjectively to it” as:
“when I am cheerful, I
51
when I am dejected I
I don’t believe in it. After all, the communication
of many businesses and organizations and the
information on which you collaborate tend to be
quite similar, and it is not necessary to disguise
this fact or to put a gloss on it.
52
W
Subjective design leads
The latest Spruijt
to results that in my
calendar by Van Toorn
view seem just as over-
is as pretentious as a
blown or that are even
piece of so足called good
uniform as well, except
design, or as a clean
that they are uniform in
piece of design.
the short run compared to the things that also come across as uniform in the long run.
53
54
J
A client’s package of demands is rational, and you can sum it up straightforwardly in a list of points. But how identity is determined is not the same overtime, nor are you a neutral intermediary.
55
J
Several weeks ago I read an article
My calendar for Spruijt is an exper-
by Brecht (5) about the epic theatre.
iment and a thing to look at, not a
He writes about being an actor.
thing to read. It does have order, yet
You’re standing there, and still
it is order with a twist to it. You con-
you’re playing a role. You shouldn’t
tinue to feel that something’s hap-
want to deny the ambiguity. Engage
pening. And with a calendar that is
with it! It will not truly function until
fine, while in the case of typography
you manage to find the right bal-
you might not do it. In typography
ance. I suspect that you need to train you will perhaps be more cautious yourself in it, but in my view you
to break rules because there are
should not try to evade it.
so many of them. But in fine art, experiments have been done for centuries, and perhaps we should pick up more from that tradition and use more from it.
56
57
W In my view it is nonsense to use a calendar as a vehicle for such stories, even when they interest you and many others, myself included. I consider a calendar an object in which you can express time as an element—an object such as a clock.I have great affection for the artist, but at the same time I do not claim to be one—I do not have as much freedom as an artist. Many designers are living with the dilemma of wanting to be a visual artist rather than a good graphic designer.
58
W Let me go back to that calendar and your issue of identity. You state that it is possible to list everything neatly in a package of demands and clarify it all, but that identity cannot be made intelligible. But scientists in psychology and philosophy are looking for it; they in fact try to quantify identity, so that it becomes comprehensible. The same is true in aesthetics, which is perhaps one step further along. Notably Max Bense (6) is quite far already in developing quantification methods for all elements of aesthetics, so that these things can be applied better and in a ore goal足oriented fashion,
59
Your calendar, Jan, your story about it is fine. But that calendar is not a vehicle for selling your story, or is it? That cannot be the motivation for making a calendar, can it? You would be better off publishing it in a book.
60
61
arrange configure
anatomy
build
align
form organize
shape
foundation
structure
constitution
order
framework
system
fabricate
construct
”Working with the grid system means submitting to laws of universal validity.”
the importance of a grid
62 -Josef-Müller Brockmann
J
Grids
are highly effective for conveying a message, but that is merely a starting point. You should not promote their use as the only way of design, or the only solution for arriving at great communication for the future.
63
W You say that I promote grids as the one true thing. I say that graphic design consist of a process of ordering forthe benefit of the clarity and transparency of information. This needs to be founded on particular principals, because clarity and transparency on their own do not lead to quality information. There has to be an underlying principal as well.
64
W My basic principals may have been characterized at times as subjective, but to me they are objective. When I depart from modular structures, then this is an underlying principal to me. These structures can be simple, but they can also be extremely complex. And I believe that design—not just graphic design, but also spatial design, architecture, and industrial design—benefits from a cellular approach, from a highly structural approach.
65
Typography, for instance, is a pre-Weminent example of such a process of ordering. Every form or shape in typography that wants to be more is one typo- grapher you merely arrange information clearly so as to convey it in an easily readable way. That a clear arrangement may lead to incredible monotony is not issue here; what matters is that you order things according to a specific point of view, from basic principal. This is what determines form, and such form might well lead to a style as well.
66
W In my view, typography does not have to be determined by tradition and history at all. It is time, I believe, that we throw overboard all those dos and don’ts that have kept typography in a straightjacket for so long.
67
When as an alternative I advocate my structural approach, my cellular approach, which culminates in the use of grids for typography or spatial grids for architecture, I really have a different idea in mind. This needs to be founded on particular principals, because clarity and transparency on their own do not lead to quality information. There has to be an underlying principal as well.
68
J By traditional form I mean what you refer to as something determined by tradition. It does not so much pertain to style, but our way of reading, the way of reading we have grown accustomed to. It does not just emerge out of the blue, but has a history. It is a case of historically determined human behavior. And you cannot simply act as if it doesn’t exist. Working with grids, it seems to me, is a tremendous refinement of our tools, but it is not essential andonly of interest to fellow professionals. We saw where systematic ordering ad absurdum leads us in the protests against the closing of the Hochschule in Ulm: banners with perfectly clean typography. But in this way of protesting you do not see any identification with those you address, and this is a crucial problem for which a designer has to find a solution.
69
W Jan, I don’t believe in that at all. The lively concern of these people and their involvement—their angehauchtheit, as they call it in Germany—is equal to that of people who protest in more amateurish ways. Look at Paris ’68 ! The posters they made there are all obvious cases of amateurism; not a single one of them has any value. Not one of them is a good piece of design that really tries to convey an idea. It is all clumsy work that comes across as sweet, pleasant, full of feeling, but not as tough. Good designers could have conveyed the content much more strongly and this could have brought the movement more success.
70
Why then did those designers fail to contribute? Because they are incapable of giving adequate answers. So all that remains is amateurism. The people in our profession have no answer..
J Why then did those designers fail to contribute? Because they are incapable of giving adequate answers. So all that remains is amateurism. The people in our profession have no answer.
71
72
73
“Creating order is typography”
74
Wim Crouwel
W Human beings are able to recognize themselves better in typography that
need to tell the museum’s story,
relies on very simple, transparent
rather than that of the artist. For this
principals that define the matter
reason, they should be recogniz-
clearly, without veiling or obscuring
able in their design as coming from
it, rather than on the basis of Jan’s
an institution that takes a specific
much more subjective story. This is
stance vis-a-vis contemporary art.
why I believe that what Jan claims
This has led to catalogs of which
to do is not in fact what he does. In
people said:”We can’t recognize the
the catalogs we make for museums.
artist in it.”
I have always taken the view that these catalogs should have a kind
75
of magazine format, because they
76
W Jan, before the break let’s briefly
77 77
story, when conveyed clearly and
return to the typography in the
in a readable fashion by means of
catalogs we make for museums.
well-placed illustrations according
I have always taken the view that
to a certain principle, should be so
these catalogs should have a kind
powerful that he is always stronger
of magazine format, because they
than me. What I add to it is at most
need to tell the museum’s story,
the specific objective of the museum
rather than that of the artist. For this
involved. In your catalogs for the Van
reason, they should be recognizable
Abbemuseum I recognize first and
in their design as coming from an in-
foremost the voice of Jan van Toorn,
stitution that takes a specific stance
while that of the artist becomes per-
vis-a-vis contemporary art.This has
ceptible only if I put in some more
led to catalogs of which people
effort. As “pieces of art” (9) these are
said:”We can’t recognize the artist in
great contributions to what is cur-
it.” But the artist was present in the
rently possible in free typography,
reproductions, and I have nothing
but they are outright unreadable. I
to add to his story. The artist’s own
simply get stuck.
J At the Van Abbemuseum we wanted
thinking up designs. Usually we [the
to do things differently. Our muse-
director and I] have a conversation,
um was not something that needed
if possible with artists joining in—a
to be sold;at stake was a program
joint discussion in which I am not
made by people and also one that
told how I should do something, but
evolves. This policy, which is discern-
in which we look at the historical
ible in its exhibition and activities,
considerations that should be in the
had to be center stage, not the insti-
catalog. It is a matter of seeking an
tution. Through their activities and
identity collectively, a concern I then
connections, the staff determines
try to respond to, using the tools of
the museum’s identity. And this does
my profession.
not take place while I sit at home Cap height X - height
78 78
Cap height
X - height
Baseline
79 79
Kerning
Although typesetting is very old, the computer revolutionized it. Now, with advanced technology, that was non-existent ten years ago, we can typeset using computers and a laser. In addition, nowadays, anyone with a good computer can easily typeset. This means that newsletters, posters, even books, can now be “published� from a decent home computer.
80 80
W In my view, typography does not have to be determined by tradition
advocate my structural approach, my
and history at all. It is time, I be-
cellular approach, which culminates
lieve, that we throw overboard all
in the use of grids for typography or
those dos and don’ts that have kept
spatial grids for architecture, I really
typography in a straightjacket for
have a different idea in mind.
Cap height X - height
81 81
so long. When as an alternative I
Baseline
J By traditional form I mean what you refer to as something determined by tradition. It does not so much pertain to style, but our way of reading, the way of reading we have grown accustomed to. It does not just emerge out of the blue, but has a history. It is a case of historically determined human behavior. And you cannot simply act as if it doesn’t exist.to
82 82
83
In the infancy of digital typogra-
images in fairly large pixels,
phy—as lead type, set by hand in
making traditional curvilinear
heavy lead blocks or by machines
letterforms difficult to reconstruct,
that generated lines of metal type,
and so Crouwel set out to redesign
was giving way to text set on
the alphabet using only horizontal
screens—Crouwel saw an opportu-
lines. New Alphabet is, in Crou-
nity for an interesting experiment.
wel’s words, “over-the-top and
Early computer screens—cathode
never meant to be really used,” a
ray tube (CRT) monitors—rendered
statement on the impact of new
Baseline
Cap height
X - height
technologies on centuries of typographic tradition. In 1988, however, Peter Saville Associates used a stylized version of the font on the cover of Substance, an album for the band Joy Division. New Alphabet was digitized for contemporary use in 1997 by Freda Sack and David Quay of The Foundry, closely based on Crouwel’s original studies.
84
85
societal importance
wim crouwel
“I am not a politician�
conclusion
uknown rene de jong victor margilin wim crouwel 86
ukn. What are the things
The choice involved is
you choose as a human a much more essential being and as a design-
one. What matters is
er with your specific
the effective attack on
capabilities? For God’s
the social structures
sake, choose the right
that prevail today. We
objective and cut down
should make a choice,
on consumption. Don’t
but not one for the
work for any other
industry or capital-
lousy business. It does
ism, because that is
not make a hell of a
pointless. All night the
difference whatsoever
discussion has been
whether it is a muse-
about nice places,
um or a peanut butter
such as museums,
company, or some
but not about work in
margarine producer lo-
less attractive corners
cated in the far corner
such as Shell Oil and
of the country.
the like. That issue is a much more fundamental choice. This has not yet been addressed. Let us talk about that.
87
RDJ I would like to narrow down the con- Talking about a socially committed versation somewhat, not because
stand in its ultimate implications
of a lack of problems to discuss, but
seems to be a big story about
because it is a discussion that we all
which strategy or tactics you use to
have been in many times within nu-
achieve social change. What is far
merous fields and in many places,
more interesting to me is this: if you
namely: if you want to change the
share the view that your profession
world, where should you begin?
is also a means for bringing about changes in society, you should start talking about how you can do so as an individual while belonging to a professional group. Which means need to be developed? Which assignments should you accept? Should you be actively looking for specific assignments or not? It is one thing to go look for work as a designer in places where social relevancy would be useful; it’s another thing to not walk away from the places you do work.
wim crouwel These two people claim that they find such commitment, or such a concept of commitment, much more important to discuss tonight than that which we originally had in mind. As if we have to put our social commitment into words. But when someone asks me how I, being the person I am, wish to put my talent at the service of society, I don’t mind articulating it. I am not afraid to do so, not at all in fact.
88
W I believe that if you follow the
After all, our clout is incredi-
tendency that I sense from
bly limited. Politicians in
the question about commit-
parliament can respond
ment, ninety percent of our
directly to our society and
colleagues would have to be
introduce bills that our gov-
advised to leave their profes-
ernment may subsequently
sion. In fact, this is somethin-
implement. We do not find
gI keep telling my students.
ourselves on that side. I’m
I say to them,
not a politician, and I also made a conscious decision
“Above all, make sure you
to stay away from that world.
know what you are doing.
I love my profession, and
If this is incompatible with
I try to make a contribution
what you aspire to do, get
from there.
out of it today and rather embark on a study such as political science or philosophy or psychology; or go into politics, because from there you have much more influence on people and you may achieve whatever you aspire faster than through our vocation.”
89
Graphic design’s
They encounter them,
mode of access to
accept them, or reject
the individual is the
them. On that contin-
contingency. Humans
gency is based all the
wander through
talent of the creative
space-time, whether of
person, that user of
the city or the print-
fleeting moments,sal-
ed page, where the
vager of an interstitial
graphic messages of
availability of the
the visualist appear.
individual in the spaces and times in which he or she acts and lives.
90
trait.jpg Portrait of Wim Crouwel, 1976 (Source: 107 Graphic Designers http://www.designculture.it/interviews/img/crouwel/crouwel-porof AGI). All rights reserved. 91