Atelier Tipografic 2008 by ioan olteanu

The Atelier Tipografic Paper 2008 workshops excursions exhibitions lectures discussions Universitatea Nationala de Arte, Bucuresti Romania 16-22 November 2007

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by Mrs. R. Demetrescu, Rector of the National University of Arts, Bucuresti Romania

by Piet Gerards, graphic designer; initiator of Atelier Tipografic

Within the framework of the academic space, the artistic

This paper is the conclusion of an exiting six months.

teaching is placed under the sign of a happy exception,

Together with Dinu Dumbravician I layed the basis for what

Atelier Tipografic 3

thanks to the distinctive vocational profile, where the

expanded to an extensive project. This was in April 2007.

accent is put on the individual development of creativity.

The initial idea was to have a lecture, it then became a

by Dinu Dumbravician

The balance between tradition and innovation must be, there-

workshop and subsequently a collaborative project between

fore, dynamic by excellence, since the space of the artistic

six Dutch Art Academies and twelve Romanian students of the

teaching lives from the inciting tension between the two

Universitatea Nationala de Arte. And once we had begun, we

components and their adepts, between the creative models

added an exhibition – The Favourites – and an excursion to

they consider. From icon to the digital printing, the show of

Brancusi’s ‘Coloana infinitului’ in Targu Jiu. The paper

the young contemporary art in Romania may be infinite and

and www.ateliertipografic.eu give a very detailed account

unpredictable, and represents more than just a maturing

of the different program parts.

crisis. It’s a well-assumed risk. The visual demonstration

I would therefore like to express my thanks to all who have

offered by the art students (re)presents, in this respect, a

made this project possible. Firstly my co-organizers: col-

convincing illustration of our artistic reality. Thanks to

leagues Maud van Rossum and Dinu Dumbravician and intern

them, the risk is transforming into a happy certitude.

Hanna Donker. Secondly Warren Lee, Hans Oldewarris and David

A convincing sign of this certitude are the international

Quay who all provided an important contribution to the

projects and workshops organized in our departments. One of

program. Also the seven academies who entrusted us with their

the most successful is the project ‘Atelier tipografic’:

students – especially our guest academy for their large

initiated by Piet Gerards, well known Dutch graphic designer

hospitality – and Renske Brinkman (Premsela Foundation) who

with his team, Maud van Rossum and Hanna Donker together with

adopted this project adjacent to the travelling exhibition

Dinu Dumbravician, designer and lecturer in the Design

Golden Age. For that matter it is a real shame that the

department of the National University of Arts, Bucharest.

Favourites won’t be travelling, in spite of the fact that

The project which took place in November 2007 had three

there was interest from different capitals in Central Europe.

focuses: a round table discussion on ‘The Economy of

The large amount of visitors and media attention in Bucharest

Design’, a workshop and an exhibition were three projects

showed us that the exhibition supplied a need.

by Cerasela Barbone,

could be seen: ‘The Favourites’, ‘010’ and ‘Students’work’,

Lastly I am indebted to the sponsors and subsidizers: you

Luminita Batali,

where the works of Dutch and Romanian design students

will find their names on page 38.

reflected the results of the workshop.

Atelier Tipografic’s intention was ‘exchange’. That term has

Alexandra Pompiliu and

The concept of the workshop was the cooperation: a Dutch and

not completely been made satisfying. The students and acade-

a Romanian student worked during a week together in a small,

mies involved are now the ones to make the next move: what

efficient artistic group. They were supervised by David

will they do with their experiences, what is of further

Quay, Bogdan Dumitrache and Dinu Dumbravician.

interest, where do they see new possibilities?

The events organized in our academic space were a part of a greater project which also included the exhibition ‘Golden

The Atelier Tipografic Paper 2008

A Romanian and a Dutch go into a workshop 5 by Catalina Zlotea

Results of the workshop 6-29 Cover competition 30 by Marina Theodorescu

Romanian Graphic Design and Typography 31

Mihai Plamadeala

After the Golden Age 34 by David Quay

Age – Highlights of Dutch Graphic Design (1890-1990)’, organized by Premsela, Dutch Platform for Design and Fashion, Amsterdam and De Beyerd Graphic Design Museum, Breda. The inclusion of an academic project in a larger cultural one is a convincing argument for the role of the art school and the place of the young generation in the artistic Romanian space.

Golden Age: highlights of Dutch Graphic Design 1890-1990 37 by Renske Brinkman

The cooperation between the Dutch and the Romanian designers is the best argument of a European presence in our country, recently integrated in the European family. ‘Atelier tipografic’ is a second step of a project initiated by Piet Gerards in 2003; this continuity gives us hope of a third act

The Economy of Design 38 by Stefan Ghenciulescu

in the future. Our thanks to all the involved partners: Koninklijke Academie Den Haag, Willem de Kooning Academie Rotterdam, Hoge-

Thank you! 38

school voor de Kunsten Utrecht, Academie Beeldende Kunsten Maastricht, Gerrit Rietveld Academie Amsterdam and ArtEZ Arnhem. My gratitude goes to the teaching staff and the students of our Design department involved in the project: without their interest and competence, the project would have remained just a promising intention.

25 Years 010 Publishers 1983-2008 40 by Hans Oldewarris

My special thanks go to Piet Gerards, who had both the artistic competence and the knowledge to materialize the project into a successful reality.

Exhibition The Favourites 45 by Warren Lee

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by Dinu Dumbravician, graphic design teacher at the University of Arts, Bucuresti Romania; supervisor workshop Last April I made a mistake, a big one.

gested as a starting point the ‘Golden

the ‘chemistry’ worked between the

The mistake was that I said yes to Piet

Age’ book. David Quay’s involvement in

groups of students. Another topic sub-

Gerards. To what did I say yes? To his

the workshop was crucial, he is the one

mitted by David was the question if it

proposal to organise a small something

who put the assignments on paper and

was possible to recognise a place

(workshop was it?) with Dutch and Roma-

fostered them. The students from Roma-

(country, region, town or street) by

nian students (Dutch design students

nia and Holland were paired together in

its type and typography? Each student

and Romanian design students, come on…)

small teams, each of them consisting of

was asked to make 12 photographs in

You don’t know Piet. He looks very

one Dutch and one Romanian student.

their immediate environment. During

peaceful, he also seems to be a very

Each pair had to choose one piece of

the workshop all photographs were ran-

quiet, decent man. It is true that he

work from the book ‘Nederlands grafisch

domly projected to determine if the

always declares he is a troublemaker,

ontwerp’ (Dutch Graphic Design) by

proposition was realised.

but, unfortunately, I was sticking in

Purvis/De Jong.

In the end it all worked quite well and

my judgements to the appearances.

The reason for choosing the work could

you can all see the resulting pieces of

I don’t know how Piet had arrived at

have been a detail, use of colour,

each of the 12 teams on the following

this idea… Was it because of my com-

choice of letter, illustration (tech-

24 pages. The Dutch Design Colleges –

plaints? About not having a proper

nique), photography, thematic, use of

a big ‘thank you’ – for having the

typographic department … or it was the

material, etc. The chosen subjects

courage to put themselves in this ven-

spring? I don’t have the scarcest idea,

were used as a starting point for the

ture and for sending to Romania such

but the important thing was that the

new creations that were produced

interesting and very co-operative stu-

proposal was made and I said yes.

during the workshop.

dents.

The planning started. At the beginning

I was a little bit scared at the idea

I’m fully aware now of how important

it was, as I previously said, a small

of putting students together coming

this kind of workshop can be and what

workshop. Then we found out about the

from such different backgrounds; the

a great thing it would be to transform

Premsela ‘Golden Age’ exhibition and

Dutch students coming from their rich

this connection into a permanent one.

we thought we should join. Then the

and sound tradition and the Romanian

I also very much hope that the Dutch

Dutch designer’s exhibition idea popped

ones coming from a tradition of perma-

counterparts will keep their interest

up and then the round table, and the

nent changes, if this can be called a

in ‘atelier tipografic Olanda Romania’

010 presentation and…,thank God, at a

tradition. At the beginning of the

and that we will be able to keep things

moment, probably due to the lack of

workshop each of the 24 students had to

going on.

time, things stopped growing…

choose and present his best design, in

My wholehearted thanks to Piet Gerards

I was already desperate, but kept

order to introduce oneself. These

and to the extremely efficient Dutch

moving on… I had already said yes, so

works were also a part of the exhibi-

team, to Catalin Balescu, to the people

what else could I do?

tion in the UNArte gallery. When the

from La Strada+Lectura Form, to Janos

In the end lots of things happened in

students started to present their

Kurko from Brand Tailors and, last but

November. They were by far the most

favourite works I saw that the Dutch

not least, to Linotype GmbH - their

important Dutch Design events in Roma-

students, although they were coming

Linotype Collection is an extremely

nia until now and each of them deserves

from 6 different academies, were

important tool that will help us build

our attention… unfortunately, not

clearly focused on certain ideas and

what we need: a typographic speciali-

having too much space, I have to limit

concepts while their Romanian counter-

sation.

myself to the workshop.

parts were more preoccupied by the look

Finally I must accept the evidence that

We had to start from this impossible

of the artworks. At the beginning I was

making this mistake, I told you about,

connection: Dutch and Romanian typo-

wondering if the teaming would work and

was the best thing that happened to me

graphic design, and we thought that the

it was great to see, after they started

in 2007. But only because I made it

Premsela idea could work; they sug-

fulfilling their assignments, how nice

with the right people.

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by Catalina Zlotea, graphic design student at the University of Arts, Bucuresti Romania

Bianca Albu UNA, Bucuresti

Julien Arts Willem de Kooning, Rotterdam

On Friday November

very natural; they had

approaching an assign-

though, that the

16th, I was sitting on

a lot of questions and

ment and I realized

workshop was so short.

a bench in the school

we tried to find a lot

what my high points

There were lots of

yard with a few of my

of the answers. These

are and what my lows

things that had to be

ABK, Maastricht

colleagues. We were

debates continued at

are. I think the Dutch

said and even more to

Rémi Bouwer

waiting for ‘the

the dinner offered by

also had the opportu-

be shown.

Dutch’ to come from

the Dutch ambassador

nity to find out more

I also learned that

the airport. Nobody

and actually went on

about Romania and its

being aware of the

Sarah Charalambides

knew exactly what to

for the entire week.

situation.

things happening in

Rietveld Academy, Amsterdam

expect from this work-

The result of the

I personally think

other corners of the

Beer Damen

shop. We all had read

whole project is actu-

that great works came

world is extremely

the program, the

ally reflected by

from this dialogue and

important. Communica-

Willem de Kooning, Rotterdam

assignments and we all

these cultural differ-

I’m sure that this was

tion is the key of

Sanne van de Goor

had seen the pictures

ences and you can see

because in the end, in

good design and these

Rietveld Academy, Amsterdam

of our Dutch col-

this in all of our

every team, there

kind of projects can

Titus Grigor

leagues, but we knew

works. Even if it is

were only two design

help us students to

that there was going

about the differences

students working and

grow as better profes-

Royal Academy, The Hague

to be a lot more than

in language, in feel-

putting all their

sionals.

Kim Hoyer

this.

ings we express on

knowledge together in

I hope this will only

HKU, Utrecht

The first moments were

blogs or in our design

order to make one good

be the first typo-

very awkward, every-

heritage, we can’t

design. We all under-

graphic design event

body was shy and

deny that this meeting

stood that good design

in our school and that

UNA, Bucuresti

nobody talked to any-

was deeply influenced

has sometimes nothing

others alike will

Esther Lögers

body. I guess that was

by this cultural

to do with industry,

follow.

ABK, Maastricht

because we didn’t

shock.

infrastructure or

really know what to

I learned a lot about

economy and that it

expect from one

how things work in

mainly depends on your

UNA, Bucuresti

another. All this

Holland, about the

brain and heart. It is

Anca Mateescu

changed during our

good and bad things

first of all a matter

walk to The National

designers there have

of talent, thinking,

Theater, the place of

to deal with, but most

sensibility and sensi-

‘The Golden Age’ exhi-

importantly I had the

tivity.

UNA, Bucuresti

bition. Bucharest can

chance to meet amazing

The week was really

Madalina Pavel

be a very confusing

professionals like

amazing.

city and it can raise

Piet Gerards, David

I learned a lot and in

a lot of questions to

Quay, Maud van Rossum,

the end, everything

Eefje van den Berg

Royal Academy, The Hague

Vlad Butucariu UNA, Bucuresti

ArtEZ, Arnhem

Merijn van Essen

UNA, Bucuresti

Laure van den Hout

Paul Janse HKU, Utrecht

Horia Lazureanu

Radu Manelici UNA, Bucuresti

Dan Marhau

UNA, Bucuresti

Daniël Melse ArtEZ, Arnhem

Stefan Mihailov

UNA, Bucuresti

Catalina Raileanu UNA, Bucuresti

foreigners and so, the

Warren Lee and Hans

became more than a

UNA, Bucuresti

dialog between Dutch

Oldewarris. I saw a

professionally experi-

Catalina Zlotea

and Romanians became

different way of

ence. It is a pity,

Ana Tilca

UNA, Bucuresti

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It was a pleasure to meet you: Kurt Schwitters, K채te Steinitz, Theo van Doesburg, J.L.M. Lauweriks, Cesar Domela, H.P. Berlage, A. Oosterbaan, Jan van Keulen, Jurriaan Schrofer, Ben Bos, Gielijn Escher, H.N. Werkman, Max Kisman, Wim Crouwel, Bianca Albu and Julien Arts. Visual experimentation searching for a new direction of looking at the history of Dutch graphic design. A collaboration between two people holding the same vision about graphic design but coming from an entirely different background.

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E TI BUCUR / I AM A FOUNDER OF BUCHAREST Dan Marhau & Merijn van Essen

The city of Bucharest has many faces, as you discover Bucharest it becomes part of you. A founder of Bucharest, a Bucur. Our concept was to create some kind of dynamic identity for the city. An identity which can change everyday, according to the way the city breaths and to You. With one typeface you should be able to send out your message. We designed a stencil typeface because the Romanian local authorities mostly use a stencil-like signage system. It’s inspired by the dutch typefaces from ‘De Stijl’, because it’s a very constructive typeface which fits in the landscape of the city today.

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OMG I TALKED TO HIM XDDDDD DDDDDDDDDDDDDDDDDDDDD DDDDDDDDDDDDDDDDDDDDD DDDDD gah i feel so much better i missed him soo much its like i dunno i feel in love alllllll over again :3 cheesy i kno xP “Xen- i think about you all the time. i had a mug of ness coffee after, that made me feel better. I hope you are feeling much better than me!

Overall Overa of hap happ Novemb Novembe

i feel so full of energy and i think clear i feel so full i feel so full and so empty. I feel good about this LJ actually. I want to use my body and apperance as an expression of who I am and what I feel as opposed to trying to fit in with a certain unfortunate social group I feel at home with you and Bebe This time I woke up on my back again Staring up at the sky I don’t care about his confidences I don’t wanna feel that slow I don’t care about these permanencies When you wannna stop, just go. I feel smothered by love, and responsibility. Xen- i think about you all the time. i just wish you were here, it would make things so much I want to hurt in the way where I am aware of why I’m feeling this way I felt no ways of describing the pain that I feel now I want to feel like I once did before. i don’t feel the need to eat right now I could never feel this wayI could never feel this way

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Romania

i can almost feel it.

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Holland

i am feeling all bored and blah at work seriously whats new

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I wish that I could have seen them at Paradiso because I have the i feel crappy, old and and.....and.... feeling that they’d come over even i feel dead better in a smaller venue. I come home completely drained, legs shaking, eyes heavy and feelI would clean the house or put on ing dizzy till I clonk to bed and some pretty clothes to make me pass out feel better, but noooooo, it has to be bloody cold winter. I can’t exactly put to words what I want or what I feel. Yeah, it’s I feel like shit easy to rant in a blog like this, I feel shit because I’m not trying to make it look pretty, or not writing about I wanted to feel. I wasn’t certain characters of anything anymore. I like the rural focus that the poems have, and the way that the I FEEL LIKE STAYING IN BED diction feels familiar even when I AND CRYING FOR WEEKS do not know exactly what Stanford is saying I do feel down a bit or alot for that I feel fine matter i think of those times and a Honestly I feel guilty afterwards But I lost smile comes back on my face. I have figured I only truly feel the the pride of not asking, of being to proud to ask need to let things out when I am feeling down. I feel blood gushing from my mouth I’m totally obsessed with them, it’s love :D I marvelled at myself the first & If you guys like/love them too, day of school when I got up and feel free to join it! introduced myself without stammering or feeling my head grow i should do, my skate-shoes> I obscenely red will be sure to feel good in them im feeling helpless cause i cant :o help her but i still want your opinion ;o; <3 I feel like screaming and kicking and destroying the bathroom with plz ??? a huge oversized hammer, I’m so pissed I still feel rather good about what know I’m not, but I still feel infeltitle I did today, because it did spawn a new character to deep out rior when I’m around them I feel humbled by their love and I never wanted it to close and I do trust not like the fact so many people I feel lonely and for reason incred- feel lost and torn now just because I criticized things ibly stupid I feel like a motherless child I began to feel the net was being Madrugada tightened around me when police security outside my home in KaI encourage you all to take a deep rachi was reduced, even as I was breath every time that you feel a told that other assassination plots bit overwhelmed with all that is where in the offing taking place Spahi was feeling, when all at I need someone out of my life once, amidst the perfect silence because he always ends up makthat followed each of the soldier’s ing me feel terrible but i cant get groans, a slight shivering sound myself to it was heard, which was at once succeeded by a loud scream of pain i feel so terrible and terror from the prostrate man, of horror from the other. I mean with the jackets, hats and all that… I know your parents I hope that it gets better, but at don’t mind but still I feel a little the moment I am feeling tempted weird leaving it like that.” to make it one of my rare reading desertions I know It’s not much, but some i can, I can think for myself I’m fucked up tired of this

I’m such a worrywart and I always imagine the most horrible diseases, but it’s quite achey and I feel like it’s spreading through my leg o__0; Also I get woozey and tingly, like that feeling you get when your leg goes asleep and wakes up, but then all over the side of my body where the lumpthing is i am feeling stressed I didn’t have a bad feeling about it, but 5,7 is only barely enough to even pass, my goal is to get at least a 7 for each subject... I have always wondered why the creationists feel so threatened by this theory that they need to denounce it i do not feel triumphant I was married and I said, feeling myself getting all warmed up with happiness, nearly hehehe i am, and if u got a problem wit dat u can stop reading rite here and never visit dis page again, dats fine, i dun feel like wasting this typing on ignorant fucks anyway I already owned HL2 and Ep1 and didn’t feel like buying the whole box just for Ep2 and Portal. I always thought my mum would get this feeling but no i guess I have thought wrong seeing my friends this little is NOT ENOUGH and I DON”T have to pay for retout tickets cuss I have FREAKIN OV.. i coulnt sleep all night and apparently i also have a fever now and i feel even worse than i did yesterday so i called in sick

Stefan Mihailov and Laure van den Hout

I feel like…” the blonde trailed off as she began to sob quietly

I feel as though I can review poetry, and other times that I am left at a loss for word I feeling sorry for Elle? I was feeling kind of like a muppet because of all the erudition spread around in its participants

The idea of a comparisation between the two countries came from the ‘brochure for Van Berkel scales’, an image made by Paul Schuitema in 1930. We ended up using a more abstract form of a scale.

I hope you don’t feel bad.

I feel so fucking rejected and useless

We chose this kind of reaction, because we wanted to make a comparisation between the feelings of the Dutch and the Romanian people. In the beginning we thought it would be the Romanian people who be more negative, but it turned out to be the other way round. That surprised us as the Dutch people are so much richer.

im looking forward to acting weird with friends i doo feel a bit weird though

Atelier Tipografic, November 2007

all state ppiness ber 2007 I totally feel like giving up -_-” Optimista mode: “I hope I will draw better next time” :3 *sigh* too bad the cheesy lyrics and random sentences do not camouflage the piece enough xD And omg... I really want to vomit now.. they’re waayy.. WAYYY too juicy ew.. omg..

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struggling is useless struggling is not useless not struggling is useless not struggling is not useless useless struggling is useless useless struggling is not useless not useless struggling is useless not useless struggling is not useless

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once when it was still the day before yesterday once when yesterday was not yet today

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We’ve chosen the work of H.N. Werkman, ‘The Next Call’. We picked this one because we both were inspired by the rough texture and the use of only two basic colors. So in our work we used the handmade texture and typeface to recreate the same feeling. The composition was made by arranging different kinds of rectangles. We wanted to show the interaction between Bucureṣti and Nederland. The dark rectangles represent the two countries, and the yelllow one represents the combining of the two of us. We also were inspired by the text that the author wrote, because it reflects the events and feelings we’ve experienced together in these last days.

Eefje van den Berg Vlad Butucariu

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Two typical Dutch stories and one typical Romanian story: ‘De vliegende Hollander’, ‘De Bokkenrijders’ and’Greuceanu’. Together they make one Labyrinth of words. They find their way in another language influence by work of Theo van Doesburg. Rémi Bouwer and Titus Grigor

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HALLO ˘ TA ˘ LINA CA It’s interesting to see how we are working together Het is interessant om te zien hoe wij samenwerken E interesant cum lucram ˘ împreuna˘

How are you doing? Hoe gaat het met jou? Tu ce mai faci?

Good Goed Bine

In this week it was very interesting to see how we made contact with each other. Not only as two individual persons, but also the way we work. The time here in Bucharest was a learning process. We decided to put all these aspects in our work. In general the ﬁrst thing that somebody notice in meeting a foreigner is that he speaks such a different language. So you have to ﬁnd a way of communication. Our work is not only about Romania and Holland but also about a personal interaction between two people.

Do you like it here? Vind je het leuk hier? Ît‚i place aici?

Good Goed Bine

Hello, how are you? Hallo, hoe gaat het? Bun˘a, ce mai faci?

I think it’s good that we can learn from each other Ik denk dat het goed is om van elkaar te leren Cred ca˘ e bine ca˘ putem sa˘ învat ˘ ‚ am ˘ unul de la celalalt ˘

It’s very different here Het is hier heel anders Este foarte diferit aici

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I think that our language is not a problem Ik denk dat onze talen geen probleem zijn Cred ca˘ limba noastra˘ nu e o problema˘

You will see, in the end, we know what we have learned Je zult het wel zien, op het eind, weten we wat we hebben geleerd Vei vedea la sfârs‚it ce am înva˘ t‚ at

I hope that everybody can read this Ik hoop dat iedereen dit kan lezen Sper ca tot‚ i sa˘ poata˘ sa˘ citeasca˘ asta

I hope so too Ik hoop het ook S‚i eu sper

Our work is a conversation. A conversation in two languages. But what if a Romanian writes Dutch and what if a Dutchman writes Romanian. How does it work? What is the result? It looks very strange. It becomes a totally new language. Both writings look almost the same, but if you read it loud, people will understand. Our inspiration was partly taken from the work of Walter Nikkels. He also used two languages which stand in opposition. This was our starting point but we changed it, we mixed it and we tried to make it more personal by using handwriten letters that we made ourselves. Ca˘ta˘lina Ra˘ileanu Paul Janse

Do you think we understand each other? Denk je dat we elkaar begrijpen? Crezi ca˘ ne înt‚ elegem?

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BUNA PAUL

Do you like to read it like this? Vind je het leuk het op deze manier te lezen? Ît‚ i place sa˘ cites‚ti asta?

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Observing the decaying process in Bucharest. Admiring the shapes that simply happen without being conscious of. We experimented with techniques to let the decaying process create our forms, like the the city of Bucharest is creating its own typeface.

Madalina Pavel & Kim Hoyer

1,2

2,3

3,4

4,5

5,6

6,7

7,8

8,9

9,10

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10 )

ANCA MATEESCU & SANNE VAN DE GOOR Atelier Tipografic November 2007 Our startingpoint was the collaboration between Romania and Holland, we were interested in the idea of communication, and how this exchange works when you both speak a different language. We focused on the personal aspect of association, and how this can be translated into another form (words/image). Is it possible to read a different language as an abstract image and will this lead to another form of translation?

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23-01-2008 10:56:26

HORIA LAZUREANU AND SARAH CHARALAMBIDES AFTER EXCHANGING OUR FIRST IDEAS WE DECIDED TO DO SOMETHING PHYSICAL OR HANDMADE INSTEAD OF IMMEDIATELY STARTING TO DESIGN ON SCREEN. DESIGNING A TYPEFACE WAS SOMETHING WE BOTH NEVER DID BEFORE SO THIS WORKSHOP SEEMED A GOOD OPPORTUNITY TO CREATE OUR VERY FIRST FONTS. WE CHOOSE TO WORK WITH ONE SPECIFIC WORK FROM THE DUTCH GRAFIC DESIGN BOOK : MAX KISMAN, COVER FOR THE MAGAZINE `TYP/ TYPOGRAFISCH PAPIER DE LETTER LEEFT" (THE LETTER LIVES), STICHTING TYP, AMSTERDAM, 1986. AS YOU CAN SEE WE USED THE SAME TECHNIQUE AS KISMAN DID FOR HIS COVER: WE CUT OUT THE LETTERFORMS AND SCANNED THEM. THE UPPER FONT IS `HORIA TYPE", THE ONE UNDERNEATH IS `SARAH FONT". ON ONE HAND OUR TYPEFACES LOOK SIMILAR, BECAUSE WE USED THE SAME TECHNIQUE OF CREATING THEM. BUT ON THE OTHER YOU CAN DISTINGUISH A LOT OF INTERESTING DIFFERENCES WHICH MAKES EACH FONT UNIQUE. DURING OUR COLLABORATION WE GOT TO KNOW EACHOTHER REASONABLE WELL. LOOKING BACK AT ALL THE CONVERSTATIONS WE HAD WE DECIDED THAT ALSO OUR TYPEFACES HAVE TO INTERACT WITH EACHOTHER. WE CREATED A TWO-IN-ONE TYPESPECIMEN AND PLACED OUR TYPEFACES AS IF THEY ARE EACHOTHERS REFLECTION OR SHADOW. |N TIMPUL COLABOR]RII NOASTRE AM AJUNS S] NE CUNOA}TEM DESTUL DE BINE }I UIT[NDU-NE |NAPOI ASUPRA CONVERSA{IILOR NOASTRE AM DECIS S] FACEM CA TIPURILE DE LITER] CREATE S] INTERAC{IONEZE |NTRE ELE. AM CREAT UN SPECIMEN DE LITER] DOI-IN-UNU, CA }I CUM UNUL AR FI REFLEXIA SAU UMBRA CELUILALT. FONTUL DIN PARTEA DE SUS SE NUMESTE `HORIA TYPE" IAR CEL DE SUB EL `SARAH FONT". TIPURILE NOASTRE DE LITER] ARAT] SIMILAR PENTRU C] AM FOLOSIT ACEEA} I TEHNIC] DAR SE POT OBSERVA MULTE DIFEREN{E INTERESANTE, ACEST ASPECT FAC[NDU-LE UNICE. AM ALES S] PORNIM DE LA O LUCRARE DIN CARTEA DE GRAFIC DESIGN OLANDEZ : MAX KISMAN, COPERTA REVISTEI“`TYP/ TYPOGRAFISCH PAPIER - DE LETTER LEEFT" (LITERA TR]IE}TE), STICHTING TYP, AMSTERDAM, 1986. DUPA CUM SE POATE VEDEA AM FOLOSIT ACEEA}I TEHNIC] CA }I KISMAN : AM TAIAT FORMELE LITERELOR DUP] CARE LE-AM SCANAT. DUP] CE AM FACUT SCHIMBURI DE IDEI, AM DECIS S] FACEM CEVA LUCRAT DE M[NA, NU DIRECT PE CALCULATOR. NICIUNUL DINTRE NOI NU A CREAT PANA ACUM UN TIP DE LITER] }I CU OCAZIA ACESTUI WORKSHOP NE-AM G[NDIT C] AR FI O BUN] OPORTUNITATE S] EXPERIMENT]M. HORIA L]ZUREANU }I SARAH CHARALAMBIDES

by Marina Theodorescu, Lecturer, Graphic Design Department, University of Arts, Bucharest It was a real pleasure

same images, familiar

for the Atelier

This is an example of

connections with the

to choose the winning

to their Romanian

Tipografic Paper

working together, com-

workshop projects, one

cover for the Atelier

coleagues, were trans-

reflected more or

munication and creat-

in terms of color, the

Tipografic Paper. It

formed by them into

less, in different

ing a coherent common

other one in distrib-

was also a pleasure

converted signs. Other

ways, the concept of

image. Each of the two

uting the graphic ele-

to make this choice

works were created

the projects. Hans

authors created a

ments.

together with Hans

with a more personal,

Oldewarris and I

typeface font, in the

Besides deciding who

Oldewarris.

symbolic or cultural

noticed that the

workshop project, that

won the cover competi-

The works reflected

approach.

authors transferred

they used afterwords

tion, it was for Hans

the students’ enthusi-

In the end, when the

the main ideas and

to create the cover.

and for myself the

asm for working in

projects were pre-

images of their

There was a natural

interest and joy to

Dutch-Romanian teams

sented, we thought

projects to the image

continuity between the

discover the message

and the curiosity to

that the purpose of

of the covers. We

two projects.

and ingenuity of each

explore both the

the workshop was

established the order

The second** and

project and to appre-

common points and the

accomplished: 24 young

of our preferences and

third*** places were

ciate, once again, the

differences.

people took pleasure

we were very pleased

taken by the projects

potential of these

Many of the Dutch stu-

in exploring each oth-

to totally agree on

proposed by the teams

young people, who only

dents were impressed

er’s views and ways of

this.

Catalina Raileanu –

have to take advantage

by the image of Bucha-

working and under-

We chose the project

Paul Janse and Eefje

of it!

rest and wanted to

standing, exchanging

of Sarah Charalambides

van den Berg – Vlad

find a way to intro-

their experience and

and Horia Lazureanu as

Butucariu. These cover

* See the cover of this

duce their impressions

knowledge.

the winning project

projects had also very

paper.

in the projects. The

The covers proposed

for the paper cover*.

interesting and subtle

16-22 NOVEMBER 2007

ATELIER TIPOGRAFIC

Romania Olanda

Second place: Paul Janse

and Catalina Raileanu

***

Third place: Eefje van

den Berg and Vlad Butucariu

Berend Damen, Radu Manelici,

Sanne van de Goor and

Daniël Melse and Catalina

Anca Mateescu

The Atelier Tipograﬁc Olanda Romania Paper 2007

Julien Arts and Bianca Albu

Zlotea

30 ATOR.Paper def.indd 30

23-01-2008 10:56:27

by Cerasela Barbone, art historian / Luminita Batali, art historian / Alexandra Pompiliu, art history student / and Mihai Plamadeala, art history student The passing from the Slavonic to the

There are different opinions about the

important Romanian visual artists,

Latin alphabet

moment of introduction the Cyrillic

such as Stefan Luchian, who, together

The printed book appears in the Roma-

alphabet and the Slavonic language in

with other artists, Artakino, Nicolae

nian space at the beginning of the 16th

the Romanian Principalities. Initially

Vermont, Kimon Loghi, designed the

century, as a result of some printing

introduced and used in the church,

logo of the review, as well as many

houses that are founded due to the

the Slavonic language will be replaced

decorative patterns, images and they

princely initiative. There is an inter-

gradually by the Latin letters, between

also especially conceived new works as

dependent relation between the church

1830-1860, when we have the late italic

illustrations for it.

and the ruler in the way of mutual sup-

transition writing, a combination of

By 1912 The Symbol, another poetical

port. In an historical context where

Cyrillic characters and italic writing

review, appeared, this time dedicated

the manuscripts are very expensive and

using Latin alphabet. After this period,

especially to poets and only accompa-

more and more rare to find, the appear-

the replacements of the characters

nied by illustrations made by some of

ance of the printing houses is encour-

happen quickly and in a definitive

the soon to be famous such as Marcel

aged and the first books are the

manner in our country.

Iancu.

religious one in Slavonic language,

In the northern part of Romania, lost

the official language of the religious

The Romanian Graphic Design before

during the WWII, in Cernauti, in 1920

worship. Although, around the middle

1948, a Glimpse

there was started the issuing of a

of this century, we assist at an impor-

In Romania between 1900 and 1948

review especially dedicated to good

tant event in the typographic history,

appeared around 3800 periodicals,

printing called The Graphic Archive

such as the printing of the books in

including in this figure the ones pub-

The publication, dedicated ‘to the

Romanian language, still using the

lished in Hebrew, Hungarian or German.

development of modern graphic arts’

Cyrillic alphabet and still related to

In the following presentation we’ll

was very professional from the begin-

the religious benefits. We can say that

leave aside a strong chapter of the

ning. A very important figure of the

during the 16th century the typographic

history of the Romanian graphic design,

Romanian typography and graphic

activity in Wallachia and Transylvania

the one represented by the books, and

design, Victor Molin, a genuine

is based on the local manuscript tradi-

we’ll also give up the idea of present-

craftsman who later became director of

tion and on the European experience in

ing, now, aspects from the Communist

the The Graphic Archive and very active

the Cyrillic print domain.

period, since visual communication of

in the artistic life, later being also

In the 17th century, beside the conti-

that time is a very complicated issue,

part of the first professional review

nuity in printing the religious books,

on one hand we had propaganda, on the

dedicated to advertising Reclama

the first books with a laic content are

other, true artistic expressions.

The Graphic Archive (1920-1923) con-

published and there is an important

In our fragmentary study we’ll present

tinued, after Cernauti, to be printed

proportional change regarding the

especially periodicals with an art or

in Bucharest and Craiova as Romanian

language used – almost 60% of the book

architecture profile, but we’ll take

Graphics, until 1934.

production is in Romanian.

into account great accomplishments

Marcel Iancu issued, in 1925, the first

The last decades of the 18th century

some especially dedicated to advertis-

Romanian review dedicated to urban

and the next century represents the

ing or to graphics and typography.

planning – Art and the City, April –

decisive period for the laic book and

On the threshold of the new century,

July 1925. He was the one who intro-

elimination of the church monopole

exactly in 1900, the review Ileana

over the printing activity.

appeared, lead by some of the most

duced the International Style in Bucharest, but he also involved

31 ATOR.Paper def.indd 31

23-01-2008 10:56:43

himself in painting, scene designs and

Victor Brauner proclaimed that picto-

tion and editing that lead to the

in the creation of a review such as

poetry is not painting, pictopoetry is

establishment of an original concept

not poetry, pictopoetry is pictopo-

and make a publication attractive.’

etry, which also proved to be an essen-

This kind of criticism, very fair con-

tial description of the narrative

sidering the average conditions,

maybe recalled also as one the most

substance of the Surrealist imagery.

either aesthetics or technical in pro-

elegant Romanian reviews between the

The last publication we are going to

ducing graphical objects in that

wars. The review was communicating an

refer to in our glimpse is the small

decade, should be quite shaded in

image of prestige and of conservatism,

and playful avant-gardist review

present because of the constant preoc-

an attitude prolonged to other publi-

Algae

cations such as Simetria.

art’, which appeared in two series

achieving a top self-image. Even more,

Let us note also the very modest publi-

in 1930 and then in 1933.

we think that those arguments are more

cation, but with a extend longevity,

These avant-garde Romanian reviews

appropriate now, when graphic design-

Arts and Crafts that, like its English

were pivotal not only because they con-

ers, after experiencing and learning

model, was indeed an affordable

stantly promoted and therefore made

in another historical context, are apt

magazine for workers, on cheap paper,

accessible to a larger public in our

to create improved icons of visual

with advice on technical matters. It

country the accomplishments of the

world.

appeared until 1940, in Galati.

international art and architecture but

The mentioned Design Buletin magazine

From the point of view of the graphic

also because, through their entire

was one of the first Romanian maga-

design, The Advertising, which

appearance – where images of a liber-

zines, dedicated to design. The project,

appeared only between 1929 and 1930,

ated aesthetics convey simplicity but

started in 1997, belonging to a team

bears an indeed gratifying testimony

also a strong sophistication of mind –

of professionals, also graduates of

of the resources of crafted people of

they expressed a new attitude towards

this university, was conceived to make

the time.

culture seen less as a means of the

a difference on the market, at both

As far as we know, advertising graphic

establishment but as an open, dynamic,

formal and informal levels. The local

design was not an object of academic

democratic process. This spirit of an

graphic design was best reflected at

study but efforts to disclose impor-

open approach towards culture was

the section concerning the advertising

tant principles of this field were done

shared with all other important move-

companies and their achievements and

by the professional team of the review

ments in Europe.

some of the important graphic design-

Contimporanul

4, appearing, with

pauses, between 1922 and 1932. The review Arhitectura

5 (1916-1938)

9, entitled ‘review of modern

The Advertising. This team reunited

cupation of some publishing houses in

ers like Ioan Cuciurca

10, Gabriel

well-known and appreciated architects

Considerations on contemporary graphic

Decebal Cojoc, Bogdan Dumitrache,

such as Duiliu Marcu, avant-garde art-

design field

Bogdan Lazar, Lucian Marin, Cristian

ists such as Max Hermann Maxy, another

To begin talking about graphic design

renowned female sculptor Cecilia

after 1989, we would like to quote the

11, Alexe Popescu 12, Dan Moldovan 13, and Bojan Spasic 14

Cutescu-Storck, a professor at the

first paragraph of a presentation of

There was a very good collaboration

Fine Arts Academy in Bucharest, Victor

a Romanian graphic designer, written,

with the advertising agencies as well

Molin, Director of the Graphic Archive,

in 2000, by Cristina Sabau, the editor-

as with other Romanian companies active

and also many typographers and busi-

in-chief at that time of the Design

in the corporate identity field, like

nessmen.

Buletin magazine:

Branzas Design (Cluj-Napoca)

‘Style less, without a well defined

Grapefruit Design (Iasi)

appeared between 1926–1930. The

image, the publications in the nine-

Brandient (Bucuresti), Brand Tailors

designs were all original, while also

ties were often characterized to be

(Bucuresti) and Chrysopeea Design

promoting publicity made by the pro-

found in the transition “gray” zone of

(Cluj-Napoca)

ducers of cars, important statistics

the graphic design. Even though the

Design Buletin can be considered as a

appeared in the review. Somehow eclec-

access to the computer facilitated the

magazine of its time, publishing the

tic the review had though a predominant

information editing, this “technical

most important news, events and

art deco style.

revolution” wasn’t always related to

achievements regarding graphic design

the design. Newspapers with pages in

and not only. It is an item of refer-

issued also by Romanian avant-garde

which the information “flows” without

ence in the recent history of theme

artists had even a much more impressive

brakes, stifling the reader’s concen-

publications, acting as a support for

modern presentation. Integral was

tration, big titles packed in the body

various creative ideas and personali-

experimenting much more than Contimpo-

text of the articles or “precious” book

ties within this artistic frame. It

ranul in the field of graphic design.

covers with golden letters, caved in

is important to emphasize the assumed

Another review which deserves to be

the indispensable glossy surface of

challenge of the team in trying to

mentioned, especially for one of the

the cover, point out a combination of

define and establish the limits for

most original manifestos of the Roma-

fake elegance and an obvious lack of

what design should represents in our

skills in using the elements of pagina-

lives, according to the characteristic

The review Automobile and Sport

The review Integral

7 1925-1928,

nian avant-garde is 75 HP

8. Here

Petre

15,

16,

17.

32 ATOR.Paper def.indd 32

23-01-2008 10:56:43

rules of efficiency and aesthetics, and not to offer just another lifestyle magazine about furniture and decoration. There are other examples of art magazines, this time regarding more architecture and interior design, such as

The Ileana Magazine, frontispiece by Kimon Loghi, no. 2, Bucuresti, 1900

Logo Novensys

Logo Extratempo

site design Mazda

Broschure Design Elis

Marius Ursache ad absolut

RDS Link Packaging

Igloo and Arhitext Design or art in general such as Idea, art and society.

Cover of the first issue, the magazine Automobil si sport, Bucuresti, 1926, author A. Behrmann

Many of the publishing houses have their own renowned identity and therefore still continuing to invest in the quality of the image. Just to name some of them – Humanitas, EST, Brumar, Nemira or Rao, all of them having already several book collections. These publishing houses, alongside with many others, are participating at the book fairs

Pages from Arhiva Grafica, no. 20, Bucuresti , 1922, author Virgil Molin

with international participation either in Romania or abroad, taking the opportunity to present their offer. Between

Pages from the magazine Integral, Bucuresti , no. 5, July 1925, author: probably Marcel Iancu

1992 and 2005, in Bucharest was organized at the 3/4 Floor gallery in the National Theatre maybe the most important such event called the Bucharest International Book Fair, known as BOOKAREST for some editions. The main organizer, the Artexpo Foundation, has conceived, from the very first edition, this event to be more like a cultural than a commercial one. Having a central

Cover of the first issue, the magazine Reclama, no. 1 April, Bucuresti , 1929, author: probably S. Maur

theme or a country as guest of honor,

Pages from the magazine 75 HP, author Victor Brauner, Bucuresti 1924

this book fair has succeed to diversify the proposals from meetings, round tables, and conferences to graphic design exhibitions, concerts and antiques shops. Another manifestation, this time concerning more the commercial aspect of creativity, is an important advertising festival, AdPrint, which started in 1998 as a competition for Romanian agencies, then became regional and,

Cover of the magazine Contimporanul, the November 1924 issue, Bucuresti, author M. H. Maxy

Cover of the third issue, the magazine Algae, Bucuresti, 1930, author: probably M. H. Maxy

since 2005, became ‘the only European festival that rewards creative teams for great print advertising’, as is declared on the festival’s website. This is the dynamic ambience of nowa-

days that characterize the Romanian

Cuciurca Book Design Maramures

graphic design of which, both creators and promoters, tries to enrich the local cultural market by constant reinvention of the visual context that still leads the rules of communication.

Cover of the magazine Arhitectura, the 1931-1933 issue, Bucuresti , author: probably E. Marvan

Alexe Popescu

33 ATOR.Paper def.indd 33

23-01-2008 10:56:44

by David Quay, type designer and teacher; supervisor workshop So what do you thing of Hol-

describe ‘how the national

a pile of old drawers found

Dutch design is a clash of

land – a small country on

character of the Dutch was

in the street waiting for

egos, with some designer

the far edge of your Europe?

formed by the eternal battle

the dustmen, or old rags can

trying to stamp their per-

What impressions do you have

against nature’. This helped

be utilized and turned into

sonal signature on every

– a country of clogs, tulips

to produce a very self-

something useful and attrac-

piece of work. This some-

and windmills or drugs, sex,

reliant, independent and

tive.

free lifestyle and tolerance

confident people. From the

or designland which one of

twelfth century onwards eve-

The graphic designer René

the client message is

the images we are trying to

rything has been designed,

Knip is a case in point for

totally sublimated to the

bridges, dykes, storm barri-

him vernacular lettering is

designers wishes. A jokey

ers and canals. So all these

full of inspiration.

project?

1/2

times leads to very interesting results and sometimes

6/7

comment I heard several

Erik Spiekermann the German

windmills which have now

designer once said that the

become a cliché at one time

The Dutch are very practi-

directors of DieTwee, Those

Netherlands is the most over

kept us dry. Now we use elec-

cal, they are not great

Two, a very successful

designed country in the

tric pumps but if we stopped

inventors but re-invent and

graphic design company in

world! The Dutch say of

pumping half the land would

interpret what is already

Utrecht, ‘In America the

themselves, ‘God made the

be under 30cm of water in

there. Allied to a very Cal-

designer does what the

world, but the Dutch made

48 hrs.

vinistic outlook, the Dutch

client wants, in the UK the

reject anything that is

designer does what the

3/4

the Netherlands’. Which is

years ago from one of the

certainly true, with a large

In the Dutch ‘Gouden Eeuw’

trivial or superfluous.

client needs and here we do

percentage of the land

the golden years of the sev-

Dutch design is not flashy

what the designer wants’.

reclaimed from the sea and

enteenth-century, the Dutch

or flamboyant; the products

This is of course not true

all the rivers in the south

were masters of the sea and

of Alessi the Italian manu-

in every case but the com-

heavily contained by dykes,

the greatest traders in the

facturer are far too self-

ment does show a general

the hand of man has left

world where today’s wealth

consciously designed and

attitude of the designer/

little to chance. Nature has

was founded. The patrician

styled for a luxury market

client relationship; and

been circumscribed. With a

class invested heavily in

to go down well with the

most clients are very happy

population of 16 million, in

culture, In Amsterdam there

Dutch public. Conspicuous

with what their designer

a land one-twelfth the size

was one painter to every

wealth is frowned upon,

does for them.

of Romania, Holland is ten

1000 people, that is 24.000

better scruffy old battered

times more populated than

painters in a city of

brogues than shiny leather

In a conversation with

Romania! For all of us to

240.000, With few natural

Italian shoes!

Jacques Koeweiden he told me

have a car would be impossi-

resources heavy industriali-

ble so we have to use other

zation was impossible,

To quote the ‘Premsela Stich-

only work on cultural and

forms of transport.

trade, fishing and agricul-

ting’ website, ‘Nederlands

government sponsored project

ture were and still are the

design heeft goede inhoud en

sit in their ‘ivory towers’

Twenty-seven percent of the

mainstay of the economy.

fantastische functionaliteit,

and look down on designers

land is under sea level and

Today the Dutch export 97%

maar is niet sensueel en niet

who work for commercial

another thirty-three percent

of our agricultural produce

esthetisch’ – ‘Dutch design

clients. A young designer

is seriously threatened by

abroad, the other 3% is made

has good content and fantas-

recently said to him, ‘How

flooding. In the recent book

up by exporting design!

tic functionality, but is not

can you work for HEMA, its

sensual and not aesthetic.’

such commercial work’.

on graphic design, ‘A Cen-

that many designers here who

tury of Innovation’ Alston

The Dutch designer does not

That is also only a point

Jacques replied, ‘That

Purvis and Cees de Jong

look far for inspiration,

of view.

design is seen by millions

34 ATOR.Paper def.indd 34

23-01-2008 10:56:55

of people a year, whereas

answer was that the connec-

culturally sponsored work is

tion between industry and

only seen by an elite few and

design is on a much higher

the designers who do such

level. Talking to Hans Olde-

work have no real connection

warris later he commented

with everyday people and

that we have no industry to

without the heavy subsidies

connect to!

would not be able to survive in the real world. Adding

And of course small projects

that in England designers

do need to be subsidized,

have the versatility to work

books about culture, artist

for both a museum and a

architects, promoting

supermarket, and that they

exhibitions abroad all bring

must do as there aren’t any

revenue back into the

subsidies and design must

country.

stand on its own two feet! Jacques Koeweiden is against

I have also lived and taught

all forms of subsidy.

in Germany, there design is

often controlled through A good designer should be

advertising agencies who

able to work in both the

have their own in-house

cultural and commercial

design teams, the work is

sector, and what is the def-

often commercial and market-

inition of culture design?

ing-orientated leading to

A museum or a theatre group

very conservative and dull

is also trying to sell

design. Design in Holland,

itself, to attract as many

as in England, is a profes-

visitors, even more so today

sion in its own right, sepa-

in the competition for the

rate from the advertising

publics leisure hours.

industry.

Mobile phones, iPods, window-shopping in HEMA are

Government support and

also part of our culture so

financial funding from vari-

why in Holland designing

ous cultural foundations for

for this market is seen as

many cultural projects puts

getting your hands dirty.

Dutch designers in a unique

What gives us the right as

position. Sheltered from the

designers to discriminate

harsh reality of the market

between what we perceive as

place, designers have more

high or lowbrow activities?

creative freedom and oppor-

We are supposed to serve all

tunity for experimentation

people not just the cultural

resulting in a rich, diverse

elite.

and sometimes self-indulgent

10 4

visual culture. That is not A comment by one of the

to say that designers from

Dutch students here with us

other countries are less

today is that this elitist

creative, but lack the

this attitude is already

greenhouse conditions and

evident in his academy

tradition of experimentation

that are unique to Holland, Last night I asked the Dutch

a visual Silicon Valley!

minister of cultural cooperation, what he meant at

At a recent gallery opening

the round table discussion,

of Dutch design in Tokyo,

‘that the English were far

the organizer, Margo Konings

more advanced than the Dutch

said at the opening, ‘Het is

in promoting design’, his

de bedoeling dat we Neder-

12 6

7 ATOR.Paper def.indd 35

35 23-01-2008 10:56:55

land als designland interna-

most important elements of

With all manner of styles in

worldwide even though it’s

tionaal op de kaart zetten’,

design are the interesting

all directions it is often a

now fallen into mannerism

‘We mean to set Holland on

use of typefaces and typog-

confusing visual landscape;

and its new showroom has

the world map as the inter-

raphy. Holland provides me

with some graphic designers

become an up-market souvenir

national designland’.

with a rich typographic

digging up retro typefaces

shop for chic tourists. The

from old American ITC cata-

Academy in Eindhoven still

logues and others into

attracts many international

landscape. Many graphic design companies exist by working only

Every Dutchman is an indi-

baroque typography and pat-

students, as does the

in the government/cultural

vidual, especially true of

terns. In the last few years

Rietveld in Amsterdam.

sector. Public awareness of

the Dutch designer, each has

we had the rise and success

Masters students from this

what designers do is also

a unique ego, often result-

of a new design company

year’s Sandberg Institute

high. When a newspaper

ing in a clash of egos,

Experimental Jetset who

ask difficult and critical

changes its design, often

(Dutch designers are not

recently designed the new

questions about our graphic

many pages or a special sup-

very prone to complimenting

corporate identity for the

design and communication

plement are devoted to this.

each others work) this

temporary Stedelijk Museum

profession. Many are con-

If a new font is specially

antagonism tends to produce

in Amsterdam. They believe

cerned about the way graphic

designed this is also heav-

work of outstanding variety

they are the heirs of Crou-

design and media is being

ily discussed and the type-

and quality.

wel, by re-visiting ‘the

increasingly used as a mar-

international style’ with

keting and propaganda tool.

9/10

face designer also gets a lot of exposure. We’ve even

Students are expected to

clarity, freshness and open-

That design, which in Hol-

had an hour long documentary

experiment as much as possi-

ness, their work has created

land for a long time has

on one of our major TV chan-

ble. The end result is not

a new design dialogue.

been used for social bene-

nels about the type designer

always so important as the

Bram de Does and his work.

process. After finishing

All this work is supported

people but working against

Design is part of the public

their education the best

by a handful of very fine

them. This shows that many

debate.

students are highly sought

printers, probably some of

young Dutch design students

after and are often given

the best in the world who

are concerned with the moral

The Dutch government is

very important commissions.

are incredibly dedicated to

issues of what we do. A very

committed to financially

Irma Boom one of the most

achieving the highest possi-

healthy state of affairs

supporting design and inno-

important designers started

ble quality.

vation.

of with this commission from

The exhibition, the ‘Golden

the Dutch post office over

Age – Highlights of Dutch

20 years ago.

Graphic Design (1890–1990) on

fit, is no longer helping

here still exists.

Many Dutch graphic designers

Even after the ‘Golden Age’

say that the great days of

Holland is still one of the

Dutch graphic design are

best visual laboratories in the world.

tour through eastern Europe

Students in Holland work

over, that in a society that

and ending in Madrid, is

together in one room, criti-

has everything, there is

supported and organized by

cism by their teacher is

nothing more to do, and that

the ‘Premsela Stichting’.

held together. Students soon

design is slowly being

According to the organizers

learn to talk openly about

eroded by marketing. In some

the ‘Golden Age of design’

their work in front of their

instances this is true, but

ends in the 1986 with the

colleagues and give con-

Dutch designers still have

work of Walter Nikkels and

structive criticism of their

many new avenues to explore.

Max Kisman.

fellows work the work. This

With the link between all

open dialogue can often lead

the arts becoming increas-

Our cities are very crowded,

to the teacher being no more

ingly more blurred designers

therefore we have no space

than a mediator. Through

are seeing themselves as

for the gigantic billboards

this process students learn

communicators in whatever

seen in other cities. Along

to be more self-critical.

field they wish to express

the highways, distracting

When I taught in Germany

themselves in, whether

posters and clutter are

this did not happen; students

that’s furniture, sculpture

forbidden. For this reason

came individually to see

or dance and they will

our cities are full of small

their tutor, left and went

continue to do this with

round poster sites where

back home to do what their

energy, humour and irony.

posters both commercial and

professor had told them to

cultural are pasted. They

do and the German student

Dutch design still inspires,

provide a rich and varied

hardly ever challenged what

Droog has influenced furni-

playground, where often the

his professor said.

ture and product design

36 ATOR.Paper def.indd 36

23-01-2008 10:57:02

by Renske Brinkman (Premsela); project manager Golden Age History books invariably call the 17th century the Netherlands’ Golden Age. But when it comes to graphic design, there’s a lot to be said for giving that title to the 20th century. A retrospective exhibition at the The National Museum of Contemporary Art in Bucharest shows why. Golden Age: Highlights of Dutch Graphic Design (1890-1990) covers ten decades of key developments, from the renewal ushered in by De Nieuwe Kunst to designers’ recent emphasis on subjectivity. After Bucharest the exhibition will travel to Sofia, Budapest, Madrid and other capitals in Europe through 2009. Cees de Jong and Alston Purvis curated the exhibition, designed by COMA with Vaclav Pozarek. As the 20th century dawned, De Nieuwe Kunst (Dutch art nouveau) rejuvenated the arts in the Netherlands. Playful, provocative book designers Theo van Hoytema, Jan Toorop and Chris Lebeau made their foreign colleagues look boring. And in the First World War era, even the neutral Netherlands had its avant-garde. Theo van Doesburg propounded a harmonic ideal in his magazine De Stijl. Its contributors included architects Jan Wils and Gerrit Rietveld and painters Piet Mondriaan and Bart van der Leck. In later years, designers Paul Schuitema and Piet Zwart brought typography and collage to new heights. Graphic designers began to be taken more seriously as professionals. In the ’60s and ’70s, their field split into two schools: rationalism and a new expressionism. Late 20th-century designers and studios like Anthon Beeke, Studio Dumbar and Wild Plakken shunned tradition and emphasized subjectivity. The 20th century in the Netherlands was a whirlwind period for design that leaves a legacy of unprecedented quality and diversity. ‘In Eastern Europe in particular, there is great demand for exhibitions of Dutch graphic work,’ says Premsela director Dingeman Kuilman. ‘The Netherlands has a marvelous heritage, which we don’t promote as much as we should.’

More information www.premsela.org/goldenage

Cover and spread of catalogue Golden Age exhibition

37 ATOR.Paper def.indd 37

23-01-2008 10:57:02

by Stefan Ghenciulescu, publisher, Arhitectura Magazine; chairman round table Supporting and promoting design.

Initiative Piet Gerards (Graphic Designer, Amsterdam) in

A round table at the National University of Arts, Bucuresti

cooperation with Dinu Dumbravician (Teacher at UNA), Maud

The round table was not actually about design itself (there were no

van Rossum (Graphic Designer at Piet Gerards Ontwerpers) and Hanna Donker (Trainee Piet Gerards Ontwerpers) with contri-

designers on the panel), but rather on its context, on how to create

butions of David Quay (Type Designer, Amsterdam), Warren Lee

conditions for good practice. As there was no free market in Eastern

(Nijhof & Lee, Amsterdam), Hans Oldewarris (010 Publishers,

Europe during communism, the very base for design was not present. We

Rotterdam) and Cerasela Barbone (Art Historian, Bucuresti)

have a free market developing (wildly) in these countries today, but

Participants Universitatea Nationala de Arte (Bucuresti),

this is clearly not sufficient.

Koninklijke Academie (Den Haag), Willem de Kooning Academie

During the discussion, two essential ideas emerged. First, there needs to be a goverment strategy for subsiding and promoting design. For one thing, people in administration must acknowledge that design is a cultural phenomenon, and not only a commercial one, and that investing as

(Rotterdam), Hogeschool voor de Kunsten (Utrecht), Academie Beeldende Kunsten (Maastricht), Gerrit Rietveld Academie (Amsterdam) and ArtEZ (Arnhem) Made possible by National Committee for International Cooperation and Sustainable Development (Amsterdam), Premsela

a nation in design is worth it. The Dutch exemple shows that the results

Dutch Platform for Design and Fashion (Amsterdam), De Beyerd

are impressive, even if thinking only in very pragmatic economical terms:

Graphic Design Museum (Breda), Lily Balmaekers/Managerial

design is a perfect advertising tool for an industry and the country

Office Groucho’s (Maastricht), Universitatea Nationala de Arte (Bucuresti) and the Dutch Embassy (Bucuresti)

itself, good design means better products, especially when you aim to conquer niches or establish brands on the general market. Subsidies help fresh people and ideas to come out and, in a longer term, these financ-

Atelier Tipografic Olanda Romania wouldn’t have been possible without the generous support and effective help of the following organisations and individuals from both Holland

ing supports the emergence and development of a ‘design culture’ of the

and Romania. Our gratitude to all of them:

whole society.

Exhibition The Favourites Van den Brandhof Interior Design

Not everything can be done by a cultural policy and anyway, this policy

(De Meern), Drukkerij Rosbeek (Nuth), RIWI Color (Amsterdam), La Strada (Bucuresti), Lectura Form (Bucuresti), MGT Educa-

has to be clearly focused. Hans Oldewarris, director of the prestigious

tional (Bucuresti), Peter Kasprzyk (Amsterdam), Frans van

010 Publishing house and Warren Lee, co-manager of Nijhof & Lee interna-

den Wijngaard/Galerie Godá (Amsterdam), Alexandru Boros CIT

tional booksellers, talked about the importance of daring to concentrate

(Bucuresti) and Grapefruit Design (Iasi) The Atelier Tipografic Workshop La Strada (Bucuresti),

on quality (and even alternative) architecture and design. One has to

Lectura Form (Bucuresti), MGT Educational (Bucuresti),

be ‘willing to stick their neck out’ and bet on quality rather than just

I-Style (Bucuresti), Uitgeverij Terra Lannoo (Arnhem) and

following what seems to be the broad market.

Thames & Hudson Publishers (London) The Atelier Tipografic Paper 2007 Design Studio/Radu

Finally, there were strong recommendations for students and young

Teodorescu (Bucuresti), Piet Gerards Ontwerpers (Amsterdam)

designers to start promoting themselves, taking their work out in the

and Frank Nijhof (Nijhof & Lee, Amsterdam)

public and hunting for opportunities.

Linotype Collection Linotype GmbH (München) and Brand Tailors (Bucuresti) Others Bogdan Dumitrache, Daniela Ghitescu, Janos Kurko,

Participants

Rodica Popescu, Alexe Popescu, Ileana Stanculescu (Bucur-

Jaap Werner, Ambassador of the Kingdom of the Netherlands in Romania

esti), Peter van Kester, Helen van Ruiten and Nienke van

Jan Hennemans, Director General in the Ministry of Foreign Affairs of the Netherlands and

Beers (Amsterdam)

Ambassador for Culture

UNArte (Bucuresti) Nicu Arnautoiu, Catalin Balescu, Marius

Andreea Grecu, Director of the Administration of the National Cultural Fund, Bucuresti

Barb, Marcela Constantin, Georgeta Damalan, Maria Dumbravi-

Hans Oldewarris, publisher, 010 Publishers, Rotterdam

cian, Alexandru Ghildus, Cristian Ionescu, Ioana Olteanu,

Warren Lee, bookseller, Nijhof & Lee, Amsterdam

Mariuta Oprea, Liliana Padureanu, Doru Vladimir Setran,

Arpad Zachi, Publisher, Arhitext Foundation, Bucuresti

Gabriel Stan, Tache Stanciu, Mariana Tene, Anca Ungureanu

Ovidiu Morar, bookseller and publisher, NoiMediaPrint, Bucuresti

and Marina Theodorescu

Stefan Ghenciulescu, publisher, Arhitectura Magazine, Bucuresti

38 ATOR.Paper def.indd 38

23-01-2008 10:57:11

16-11 Departure from Schiphol Airport, Amsterdam

17-11 Designing The Favourites

19-11 Visit to the Romanian Academy Library

Opening Golden Age exhibition, ArtExpo

Dinner offered by the Dutch Embassy

18-11 Excursion to Horezi Monastery and Brancusi’s ‘Coloana infinitului’ in Targu Jiu

Round-table discussion on The Economy of Design, Auditorium UNA

Opening exhibition The Favourites, UNA Gallery

20-11 Impressions of Bucuresti

21-11 Visit to Museum of Modern Art

ATOR.Paper def.indd 39

Last dinner in UNArte Gallery

22-11 Farewell to the Academy Leaving to Otopeni Airport, Bucuresti

23-01-2008 10:57:19

by Hans Oldewarris, publisher 010 Publishers was launched in April 1983. Our interest in

telings, Ben van Berkel, Cepezed, Liesbeth van der Pol,

architecture goes back a long way. During our student days

Adriaan Geuze, Hans van Heeswijk, Winka Dubbeldam, Chris-

at the Faculty of Architecture at Delft University of

tian Rapp, DKV, Kas Oosterhuis, Kees Christiaanse and Marc

Technology, we had published Utopia, a ‘bi-monthly magazine

and Nicole Maurer. In each case it was the first monograph

for scientific entertainment’. In 1982 the Rotterdam Arts

dedicated to their work. It was always our intention to

Foundation (RKS) organized the festival ‘Architecture

present these architects internationally as well as nation-

International Rotterdam’ (AIR). Publications issuing from

ally – hence the fact that the books are bilingual, in Dutch

this event, which featured the Kop van Zuid project in

and English. The 010 catalogue has consistently been in

Rotterdam, were produced by us.

both Dutch and English too. Having our own stand at the

Once the festival was over, the publications passed from

annual Frankfurt Book Fair was to further underpin that

the RKS to us. They were joined by books by the Architec-

intention.

tural Association (portfolios of Daniel Libeskind, Zaha

1989 saw publication of the first volume, on Wim Quist, in

Hadid, Franco Purini and Eduardo Paolozzi), screen prints

the bilingual series of fifteen ‘Monographs of Dutch Archi-

by Rem Koolhaas (a Rotterdam triptych and ‘The Floating

tects’. Its primary aim was to document the built work of

Pool’) and Aldo Rossi (De Kop van Zuid), books by what was

architects who had clearly influenced the course of Dutch

then the Rotterdam Physical Planning and Urban Renewal

architecture. In each case we commissioned a photographer

Department (on Mecanoo’s competition-winning Kruisplein

to capture the work afresh and an architectural critic to

housing) and three new publications of our own. This was

pen the introductory essay. Reynoud Homan’s design for the

to constitute 010’s first catalogue of titles.

series would attract awards like a magnet. It was a monograph on the interior and industrial designer

Topics Those first three official 010 books from 1983

Kho Liang Ie that occasioned 010 to join forces with the

straightaway set the tone for the range of topics we have

Association of Dutch Interior Architects (bni) on the

addressed since then: architecture and urban planning,

series ‘Monografieën van Nederlandse interieurarchitecten’.

design (in this case modern Chinese graphic design) and

It would eventually run to ten volumes devoted to Dutch

Rotterdam (on this occasion its docks and quays).

interior and furniture designers from the first half of the

In 1984, 010 Publishers launched the series ‘Vorm & Indus-

20th century. This concern for design went on to spawn a

trie in Nederland’, edited by design historian Renny Rama-

string of books each charting the history of a company or

kers. Its subjects varied from household articles, furniture

organization that has figured prominently as a maker of

and shoes to office furnishings and corporate identity. The

thoughtfully designed products. Examples include Weverij De

series was prompted by the renewed interest in the impor-

Ploeg, Artifort, Metz & Co., My Home / Bas van Pelt, Gero

tance of design. Architecture was another area subject to

and ’t Spectrum.

a revival of interest. This was expressed in publications

A major portion of the 010 catalogue is devoted to architec-

celebrating the then newly established Rotterdam-Maaskant

tural guides. The most important of these is the Guide to

Prize for Young Architects. These began in 1985 with a

Modern Architecture in the Netherlands, first published in

modest volume on John Körmeling, but two years later Meca-

1987 and still obtainable today. With its array of exhaus-

noo would seize this opportunity to give vent to their

tive indexes, it is now an essential work of reference.

ambitions. The series of monographs on gifted young Dutch

During its 25 years on the scene, 010 has produced many

architects with its lavish format of 30 x 30 cm had well and

books at the behest of foundations and educational institu-

truly arrived. Over the years we would publish 15 in this

tions. Notable among these are annual bilingual publica-

series: after Mecanoo came Wiel Arets, Willem Jan Neu-

tions by the Archiprix Foundation featuring the cream of

40 ATOR.Paper def.indd 40

23-01-2008 10:58:18

talented architects, where a single format of 30 x 30 cm each time gets an entirely different visual and typographical treatment. We get in touch with Thonik if a concept is required that is to serve as a leitmotif for the book’s further development, and for complicated atlases we phone Joost Grootens. The Netherlands is awash with top-flight graphic designers and many of them have designed a book or two for 010. Among these are established figures such as Wim Crouwel, Karel Martens, Anthon Beeke and Jan van Toorn, but it is designers of our own generation who have collaborated with us on most occasions. Of these, besides Homan, Gerards, Vermeulen, final-year projects by architecture students, the Academy of

Thonik and Grootens, many have designed more than one book

Architecture in Amsterdam (a/s/l) and the English-only

for us. We mention Haico Beukers, Irma Boom, Arlette Brou-

year-book by the Architecture Faculty of the TU Delft (The

wers, Simon Davies, Marianne Elbers, Gerard Hadders, Felix

Architecture Annual).

Janssens, Samira Ben Laloua, Mevis & Van Deursen, Roelof

It would be a tall order to treat all our publications

Mulder, Minke Themans, Jaap van Triest and Erik Wong.

individually at this point. There have been so many, in

Many of our books have been awarded prizes, particularly in

planning, landscape architecture, urbanism, architecture,

the selection made yearly by the cpnb (Foundation for the

interior design, industrial design, photography and graphic

Collective Promotion of the Dutch Book) for the Best Dutch

design. They vary from monographs and documentation of

Book Designs, but also internationally, for example by

buildings to historical studies, collections of essays and

Stiftung Buchkunst in Leipzig in the category ‘Best World

dissertations. We would like to make an exception for

Book Design’.

Herman Hertzberger’s extraordinarily successful Lessons for Students in Architecture. It has now been translated into

Services and funding The type of book we publish brings its

German, Italian, Portuguese, Japanese, Chinese (with a

fair share of production costs. Texts need intensive edit-

separate edition in simplified Chinese), Dutch [!], Greek

ing, in many cases because their authors are making their

and French, making it a source of inspiration for countless

literary debut. Again, the complex nature of such texts

students throughout the world. Just as successful are Rem

makes careful copy editing indispensable. Photographers and

Koolhaas’s influential S,M,L,XL – perhaps the most important

draughtsmen are often specially commissioned. Rights need

late 20th-century book on architecture – and MVRDV’s

obtaining for the use of visual material, not just from the

FARMAX, an international favourite among students.

makers of the work or object in question but from the photographer who caught its likeness and the archive that made

Graphic design We have always regarded good, competent

the material available. If the graphic design is subject to

design as a sine qua non for our books. Good ideas, good

the most stringent requirements, so too is the lithography,

architecture and good architects deserve well-designed

printing and binding. Lastly, the entire production process

publications. This is why we collaborate with a graphic

needs overseeing from start to finish.

designer on each and every book. Graphic design is a calling

By contrast, print runs are often small. These vary from 500

that architects tend to consider to be within their capa-

to 2500 copies, with the occasional foray into higher figures.

bilities – and there are indeed isolated cases of 010 books

The average print run is something like 1200 copies. In all

that have been designed by an architect. Usually, though,

these cases, profits from sales are insufficient to cover

it misfires as soon as a knowledge of typography is called

costs and so additional funds are required. The time-hon-

for. Architects just don’t have this knowledge and invaria-

oured method is that the person or organization working

bly lapse into sans-serif and justified columns. You can of

with us on a book agrees beforehand to buy a specific number

course work wonders with these means but legibility may

of copies. This strategy is frowned upon at times, yet it is

suffer as a result. It’s an old discussion that raged back

a necessary component of publishing books like ours. Fortu-

in 1918 when the architect H.Th. Wijdeveld stunned the

nately, it is generally accepted in the Netherlands that

typographers of the day with his magazine Wendingen.

talented architects and designers and important ideas

If asked, all graphic designers will claim that in princi-

needed supporting if the architect, designer, researcher,

ple they can do the lot, from house styles to photobooks.

historian, critic or publisher is unable to do the financing

Our experience is that the one designer is more at home with

themselves.

photobooks and the other better with complicated typograph-

Thanks to the many government bodies, foundations and

ical briefs: so we approach Reynoud Homan for a photobook

trusts, we at 010 have been able to produce books that would

and Piet Gerards for more text-oriented books, for example

otherwise have never seen the light of day.

Dat is architectuur. Rick Vermeulen is our man when the book’s topic demands an individual design within a fixed framework, such as the above-mentioned monographs of young

> Hans Oldewarris illustrated his lecture with his 25 favourite 010-books. This selection was also part of the exhibition The Favourites in UNArte Gallery. See next pages.

41 ATOR.Paper def.indd 41

23-01-2008 10:58:21

Reference Work

plans, industrial and public-

Architects Books

Richard Koek (eds.)

ning and art history to

0 20 Jaar/Years 010, 1983-2003

utility buildings, private

6 Lessons for students in

736 p / 21 cm / paperback /

philosophy, literary criti-

Hans Oldewarris,

houses and interiors all

architecture

Design Roelof Mulder

cism and cultural theory.

Peter de Winter (eds.)

feature in this, the first

Herman Hertzberger

# In the pages of FARMAX,

11 Mart Stam’s Trousers. Sto-

2003 / 296 p / 25 cm / hardcover / Design

monograph on the Mecanoo

1991 / 272 p / 27 cm / paperback /

MVRDV seeks to ascertain the

ries from behind the Scenes

Piet Gerards

practice. An introductory

Design Reinout Meltzer / Japanese edi-

extent to which consolida-

of Dutch Moral modernism

# This book contains the

essay examines Mecanoo’s

tion, 1995; German edition, 1995; Ita-

tion of the city (Farmax),

Crimson (eds.)

complete catalogue of all

position on architectural

lian edition, 1996; Portugese/Brasilian

paired with an inversely

Photography Gerard Hadders, Mischa

books published from 1983-

design in relation to its

edition, 1996; Chinese edition, 1996;

proportional dilution of the

Keijser / 1999 / 296 p / 21 cm /

2003. Taken as a whole, a

working methods and a second

Dutch edition, 1996; Greek edition,

landscape (Farmin), is the

paperback / Design Gerard Hadders

realistic end-of-century

essay pits Mecanoo against

19??) / American Institute of Architects

solution for a country (the

# Mart Stam’s Trousers looks

picture is given of the state

the Rationalism of Durand

(AIA) International Architecture Book

Netherlands) getting fuller

at the way the new image of

of play in Dutch architec-

and the functionalism of the

Award 1992

all the time. The book con-

contemporary Dutch architec-

ture and design, the issues

Moderns.

# These ‘Lessons’ are an

tains a mix of designs, des-

ture has been constructed by

informing it and the over-

3 Wiel Arets, architect

expanded version of lectures

criptions, density tests,

carefully revisiting the

whelming international

Anthony Vidler

given by Herman Hertzberger

social-spatial investigati-

image of Dutch Modernism on

success enjoyed by Dutch

Photography Kim Zwarts / 1987, 60 p /

since 1973 at Delft Univer-

ons, statistical phenomena

which it draws. The title

architects and designers.

30 x 30 cm / paperback / Design Rick

sity of Technology. It pre-

and traffic hypotheses.

refers to a photograph of

In their introductory essay

Vermeulen (Hard Werken) / Best Dutch

sents a broad spectrum of

FARMAX. Excursions on

Mies van der Rohe and Le

Ed Taverne and Cor Wagenaar

Book Design 1989

subjects and designs, with

Density

Corbusier in which a myste-

outline Dutch publishing

# This first monograph on

practical experience and

9 At Work. Neutelings Riedijk

rious form is purported to

practice in the provinces

Wiel Arets surveys his built

evaluation of the use of his

Architects

be the trousered leg of Mart

of architecture and urban

work, including medical

own buildings serving as

2004 / Design Joost Grootens

Stam, the rest of whose body

design and the role 010 has

centres in Weert and Hapert,

a leitmotif. By arranging

# Clear geometric forms

has been successfully erased

played in it. In 2008, to

a men’s fashion store in

texts and designs into a

become sculptural buildings

from the picture. It is such

mark its first quarter cen-

Maastricht and designs for

number of themes, Hertzber-

when given a thin skin of

manipulation of the histori-

tury, 010 is to publish a

a villa and penthouse in

ger has managed to direct

decorative patterns by Neu-

cal picture of Modernism

supplement covering the past

Miami. It also examines the

his broad practical experi-

telings Riedijk Architects.

that is the book’s subject.

five years.

design he and Wim van den

ence into a fascinating

Their buildings are icons

12 ‘Dat is architectuur’.

(first dummy)

Bergh made for the railway

theory.

whose facades give surpri-

Sleutelteksten uit de

Architecture Guides

tunnel ground strip in

Lessons for students in

sing views inwards. Inside,

twintigste eeuw

1 Guide to modern architec-

Rotterdam.

architecture

the space is captured as a

Hilde Heynen, a.o. (eds.)

ture in the Netherlands

4 Wim Quist, architect

2005 / fifth edition / Design Piet

formgiving element tantali-

2001 / 896 p / 25 cm / hardcover /

Paul Groenendijk,

Auke van der Woud

Gerards

zing the senses. In this

Design Piet Gerards

Piet Vollaard

Photography Kim Zwarts / 1989 / 144 p /

Lezioni di Architettura

book the reader is taken

# This 900-page overview

Photography Piet Rook / 1987 / 304 p /

28 cm / hardcover / Monographs of Dutch

Laterza / Rome-Bari 1996 / Italian

through the many layers in

brings together for the

15 x 22 cm / landscape, paperback /

architects; 1 / Design Reynoud Homan /

edition / Design Laterza

their work, past competition

first time key 20th-century

Design Arthur Meyer, Rudo Hartman

Best Dutch Book Design 1989; Best World

7 S, M, L, XL. Small, Medium,

entries and by way of reali-

texts on architecture in a

# This compact guide with

Book Design, Leipzig 1991, bronze medal

Large, Extra-Large

zed to unrealized projects.

single standard work acces-

its practical layout and

# Wim Quist is known chiefly

Rem Koolhaas, Bruce Mau

Arranged into themes, the

sible to Dutch readers. It

extensive indexes serves

for the many museums he has

Photography Hans Werlemann / 1995 /

book presents texts on skin

includes influential mani-

both as a source of inspira-

built, including the exten-

1376 p / 24 cm / hardcover /

and patterns, hollows and

festos and programmes

tion and as a reference work

sion to the Kröller-Müller

Design Bruce Mau

patios, model studies of the

advocating a particular

on Dutch modern architecture

Museum in Otterlo, the

# This massive book is a

sculptures and silhouettes,

architectural stance as well

and urban design in the 20th

Museum of Education in The

novel about architecture.

cartoons, photos and plans

as more general theoretical

century. In the first edi-

Hague, and the Maritime

Conceived by Rem Koolhaas,

in this enlightening over-

writings on the role and

tion of 1987, 500 buildings

Museum in Rotterdam. Even

author of Delirious New York,

view of the past ten years.

meaning of architecture in

give a representative pic-

his early work, such as the

and Bruce Mau, designer of

At Work. Neutelings Riedijk

society. Over 150 texts by

ture of all the movements

water purification plant at

Zone, as a free fall in the

Architects

architects, poets, artists,

and developments. In the

Berenplaat, demonstrates

space of the typographic

2006 / Design Joost Grootens.

theorists and philosophers

fifth revised and expanded

Quist’s gifts as an inventive

imagination, the book’s

10 The Urban Condition.

each have a brief introduc-

version of 1998, this figure

structural engineer who

title, Small, Medium, Large,

Space, Community, and Self

tion. An extensive section

has doubled to 1000.

manages to reveal the essence

Extra-Large, is also its

in the Contemporary Metropo-

of themed critiques by the

Guide to modern architecture

of the task by expressing

framework: projects and

lis

editors and an integrated

in the Netherlands

both function and construc-

essays are arranged accor-

Ghent Urban Studies Team

index round off this essen-

Fifth revised edition / 1998 / 372 p /

tion in an exemplary manner.

ding to scale. The book com-

(GUST) (eds.)

tial work of reference.

Design Piet Gerards

5 Koen van Velsen, architect

bines essays, manifestos,

1999 / 448 p / 23 cm / hardcover /

13 The Body in Architecture

Architectural Guide to the

Janny Rodermond

diaries, fairy tales, trave-

Design Piet Gerards

Deborah Hauptmann (ed.)

Netherlands (1900-2000)

Photography Michel Boesveld / 1995 /

logues and a cycle of medi-

# The Urban Condition seeks

2006 / 384 p / 23,5 cm / paperback /

2006 / 584 p / 22 x 15 cm / portrait /

124 p / 28 cm / hardcover / Monographs

tations on the contemporary

to interfere in current

Design Piet Gerards

of Dutch architects; 10 / Design Reynoud

city with work produced by

debates over the future and

# Issues surrounding the

# After six printings a new

Homan / Best Dutch Book Design 1995

Koolhaas’s Office for Metro-

interpretation of our urban

human body, with its intel-

format, a new layout, a new

# The main focus of Koen van

politan Architecture over

landscapes by reuniting stu-

lectual and sensory capaci-

title and up-to-date photo-

Velsen’s work is the impact

the past twenty years. This

dies of the city as a physi-

ties are recurring themes in

graphy in a full colour edi-

of space. Material applica-

accumulation of words and

cal and material phenomenon

architecture theory. Central

tion. A complete overview of

tion, construction and

images illuminates the con-

and as a cultural and mental

to the project of humanism

the twentieth century.

internal arrangement he

dition of architecture

(arte)fact. GUST is an inter-

was the organizing of the

subordinates utterly to

today, its splendours and

disciplinary research team

body, its most spectacular

Architecture Monographs

functional use and spatial

miseries, exploring and

of young academics consis-

achievement being the crea-

2 Mecanoo Vijfentwintig

experience. Among the works

revealing the corrosive

ting of Kristiaan Versluys,

tion of a mathematics of

werken (25 works)

featured are Van Velsen’s

impact of politics, context,

Dirk De Meyer, Kristiaan

seeing for the eye through

Sjoerd Cusveller (ed.)

earlier houses, the library

the economy, globalization,

Borret, Bart Eeckhout,

perspective. Consequently,

1987 / 84 p / 30 x 30 cm / paperback /

in Zeewolde and the conver-

the world.

Steven Jacobs and Bart

architectural discourse has

Design Rick Vermeulen (Hard Werken) /

sion of a cavalry barracks in

8 FARMAX. Excursions on

Keunen. Their collective

dealt with a static concept

Best Dutch Book Design 1988

Amsterdam dating from 1863

Density

expertise ranges from archi-

of the body, an ideal

# Housing projects, urban

into a fine arts academy.

Winy Maas, Jacob van Rijs,

tectural theory, urban plan-

‘whole’, for which sensory

42 ATOR.Paper def.indd 42

23-01-2008 10:58:25

and intellectual capacities do not correspond to present-day research in the sciences and aesthetic theories. Departing from these traditional notions, the theoretical disposition of the collection posits that in a contemporary reading on the very notion of ‘body’ it is necessary to understand that there are many bodies:

individual, collective,

5 8

mystical, corporate, insti-

tutional, animal, even the prosthetic body and the ethological body made up of movements of slowness and speed. 14 Mediapolis. Popular Culture and the City

2006 / Design Simon Davies

Atlases 15 Limes Atlas Bernard Colenbrander & MUST

(eds.) 2005 / 208 p / 28,5 cm / hardcover / Design Joost Grootens / Best Dutch Book

12 8

Design 2005

# This atlas shows the significance today of the northern border zone of the Roman Empire in the Netherlands. 16 Metropolitan World Atlas Arjen van Susteren 2005 / 312 p / 21 cm / hardcover / Design Joost Grootens / Gold medal in the ‘Best Book Design from all over the World’ competition 2006; Best Dutch Book

13 9

Design 2005; Red dot award: best of the best and grand prix 2006; Dutch Design Prize 2006

# Despite the burgeoning interest in metropolitan growth and globalization there has been no way of directly comparing metropolises – until now, that is. This atlas offers a unique survey of global trade networks and their impact on

metropolitan space. It docu-

9 14

ments a total of 101 metropolises, analysing them in easy-to-read ground plans. It also includes index numbers and tables regarding such aspects as population, density, pollution, travel time, data traffic, air and water travel and the size of Central Business Districts. Its unexpected combination

3 7

of ground plans and statistics makes this atlas a

unique work of reference

where for the first time metropolitan areas like Beijing, Lagos, London, Los Angeles, Rio de Janeiro and Tokyo can be compared with one another and in terms of their position in the global urban network.

43 ATOR.Paper def.indd 43

23-01-2008 10:58:26

Graphic Design

leader among museums of

tion of simplicity and cla-

17 Wim Crouwel. Mode en

modern art. This book gives

rity with the unpolished

module

a kaleidoscopic picture of

directness of their pro-

Frederike Huygen, Hugues

Sandberg as the designer of

ducts.

Boekraad

almost all the Stedelijk’s

24 Lightness. The inevitable

1997 / 432 p / 23 cm / paperback /

posters, catalogues and

renaissance of minimum

Design Karel Martens, Jaap van Triest /

other printed matter and

energy structures

Best Dutch Book Design 1997

also shows the decisive

Adriaan Beukers, Ed van

# Monograph on the life and

influence he had on the

Hinte

work of Wim Crouwel (Gronin-

modernizing of the museum

1998 / 192 p / 23 cm / paperback /

gen, 1928) who began his

building. The atmosphere

Design Eric Wong

career in 1952 as a designer

pervading Sandberg’s Stede-

# Professor at the Labora-

of stands and exhibitions

lijk could be attributed to

tory of Structures and

but is now internationally

his zestful personality, his

Materials of the Faculty of

recognized as a graphic

talents as a designer and

Aerospace Technology at the

designer and organizer. Fea-

his tireless efforts on

TU Delft, Adriaan Beukers

turing a number of themed

behalf of artists and art,

has done quite a few pionee-

essays, the book concludes

driven by a firm social

ring projects in the realm

with an illustrated list of

commitment.

of composite technology. Their implications for pro-

more than 1000 works.

18 24

19 25

18 Otto Treumann

Design

duct design and architecture

Toon Lauwen

21 Eternally Yours. Visions

reach far into the future of

1999 / 144 p / 24 cm / paperback /

on product endurance

our world. Lightness contains

Graphic design in the Netherlands; 1 /

Ed van Hinte (ed.)

many examples, good as well

Design Irma Boom

1997 / 256 p / 17cm / paperback /

as bad, that show the way to

# Otto Treumann (1919-2001)

Design Gonnissen & Widdershoven

building minimum energy

was a major pioneer in the

(Thonik) / Best Dutch Book Design 1997;

structures. They can be found

modernization of graphic

The International Design Magazine (ID)

in industrial design, archi-

design in the Netherlands.

Graphic Awards 1998, Best of Category.

tecture, bridge constructi-

Premised on Swiss typography,

# Products are entitled to

ons, sports equipment and

Treumann’s oeuvre is distin-

dignified ageing. Their

vehicle technology. Among

guished by its combination

contribution to waste needs

the cases described here are

of visual elements and use

drastic reduction. Eternally

a small airplane, a cooling

of colour. He worked for

Yours is an inspiring guide

trailer, a bicycle and even a

various industrial clients

to achieve this goal, sug-

flexible beer container.

and designed house styles

gesting strategies for their

25 Richard Hutten

and logos.

design, as well as for the

Ed van Hinte

19 Dutch Type

organization around them.

Photography Maurice Boyer a.o / 2002 /

Jan Middendorp

The book goes all the way,

208 p / 25 cm / paperback / Design Thonik

2004 / 320 p / 27,5 cm / hardcover /

from aesthetic wear to

# Richard Hutten is one of

Design Bart de Haas, Peter Verheul /

upgrading services and

the most successful of the

Best Dutch Book Design 2004

advertising.

new generation of Dutch

# In this best-seller Jan

22 Eternally Yours. Time in

designers that developed its

Middendorp presents a com-

Design

reputation through the pio-

prehensive overview of old

Ed van Hinte (ed.)

neering work of Droog Design.

and new type design in the

2004 / 530 p / 17 cm / paperback /

He works according to a very

Netherlands. There is proba-

Design Thonik (Gonnissen & Widdershoven)

strict method, inventing

bly no other country that

# Time in Design is about

playful constraints and

boasts a type design culture

one of those ideal future

limitations that he applies

as dense as that of the

products and simultaneously

ruthlessly. That makes him a

Netherlands. Middendorp

about all of them. It tells

conceptual designer. Hut-

traces its origins in the

the story of Vivian, a name

ten’s objects typically pos-

groundbreaking work by

representing any product.

sess extreme clarity of form.

punchcutters, type designers

Vivian’s story and projects

and lettering artists from

are richly illustrated with

the 15th to the 20th century.

examples to clarify the

This book also gives insight

basic theme: design for

into the motives and methods

lifespan extension and sus-

of the current type design

tainability of product

community, showing published

value.

and unpublished typefaces as

23 Droog Design. Spirit of

well as sketches, studies

the Nineties

and samples of unfamiliar

Renny Ramakers, Gijs Bakker

lettering work.

(eds.)

20 Sandberg, designer and

1998 / 144 p / 28 cm / paperback /

director of the Stedelijk

Design Roelof Mulder

Ad Petersen

# This is a showcase for the

2004 / 192 p / 27 cm / paperback /

products of Droog Design,

Design Jan van Toorn

whose showings in Milan and

# W.J.H.B. Sandberg

New York caused an interna-

(1897-1984) was a highly

tional sensation. Founded in

individual graphic designer

1993 by art historian Renny

as well as director of the

Ramakers and industrial

Stedelijk Museum in Amster-

designer Gijs Bakker, Droog

dam, which after the Second

Design adds a new dimension

World War he elevated to a

to the Dutch design tradi-

44 ATOR.Paper def.indd 44

23-01-2008 10:59:01

by Warren Lee, bookseller Nijhof & Lee, Amsterdam; Curator The Favourites When Piet Gerards asked me to assist in putting together an

Piet Gerards’ catalogues for the exhibition ‘i10 Sporen van

exhibition of contemporary Dutch graphic design as part of

de avant-garde’; and Baer Cornet with his Letter Calendars

the ‘Atelier Tipografic’, my first idea was that it must be

commissioned by Jac.Eyck Paint Factory.

diverse and reflect on the wide range of graphic design

Visual communication and poster design is strongly repre-

talent that the Netherlands rich is.

sented in the ‘Favourites’ by Jacques Koeweiden with his

Knowing that the Premsela sponsored exhibition ‘Golden Age:

work for the Ramadan Festival; Lex Reitsma’s brilliant opera

Highlights of Dutch Graphic Design 1890–1990’ was made-up

poster ‘The Love of Three Oranges’; Martin Pyper’s series of

of a series of iconic images which designate what the world

posters for the Dutch National Ballet; and Gert Setola’s

knows as ‘Dutch Design’ we thought it fitting to make a

humorous poster for a peasant opera.

satellite exhibition loosely based around the 18 years since

Three exceptional pieces of spatial and printed typographical

1990. Budgetary and spatially it had to be limited, so we

design are included in the exhibition: René Knip’s cast-iron

chose to select 25 contemporary Dutch designers and we asked

fire basket with its poetical text; Ewald Spieker’s three

them each to choose their favourite ‘own’ design project for

dimensional imagery using his ‘halfabet’ to create the word

exhibition and to assist in the making of a digital projec-

YOU, where the letter O represents eternal friendship; and

tion about themselves and their work. We consciously asked

Melle Hammer’s powerful silk-screen print ‘A voor Ada’.

designers working in varied disciplines of graphic design

Chin-Lien Chen & Chris Vermaas have presented their ideas on

and typography there by hoping to get a diversified mix. The

communication through the work they did for the California

result is that ‘The Favourites’ consists of type design,

based Good Magazine. Richard van der Laken & Pepijn Zurburg

book design, exhibition design, corporate identity, spatial

(The Designpolitie) working under the pseudonym ‘Gorilla’

typography, poster design, and branding.

present several of their political and social commentaries which appear daily on the front page of de Volkskrant.

As type designer, Gerard Unger exhibits his highly success-

In the area of corporate identity and branding the design

ful Gulliver typeface, an ecologically and environmentally

bureau of Thonik has chosen it’s extensive identity program

friendly letter which saves on so much space that it makes

for Museum Boijmans Van Beuningen; Edo van Dijk’s branding

a substantial difference in paper use. Luc(as) de Groot

of the Transport Fleet for the Department of Waterworks; Opera

presents his typeface TAZ 2004 (commissioned by EMZIN), and

Ontwerpers’ product catalogue for Lensvelt Office Furniture;

Fred Smeijers his self-commissioned SANSA 2000.

and the humorous ‘tongue in cheek’ advertising campaign

The master typographer and letter designer Bram de Does

created by Erik Kessels for the Hans Brinker Budget Hotel.

exhibits his letter-press book production Typefoundries in the Netherlands – from the Fifteenth to the Ninetheenth

The accompanying digital projection photographed and edited

Century (published for the 275th anniversary of the printing

by Hanna Donker, trainee at Piet Gerards Ontwerpers, clearly

house of Joh. Enschedé, Bram de Does oversaw and supervised

brings together the exhibited works with their creators.

every aspect of the design and realization of this monumen-

The reception of ‘The Favourites’ was enthusiastic and we can

tal book). A diverse presentation of other book designs

be very content that it was a success, but one which sadly

includes Reynoud Homan (My work is not my work; Pierre Ber-

had to be limited to the happening in Bucharest.

nard Design for the Public Domain); Hans & Sabine Bockting

The cooperation and hospitality that we got from the Univer-

(UNA Desk Diary 2001); Richard Niessen & Esther de Vries

sity and it’s staff was heart warming and it is therefore

(Ad de Jong – Start a new art world); Mieke Gerritzen (Crea-

all the more gratifying that 15 of the exhibited works have

tivity for All); Frits Deys (Catalogue for the Prix de Rome

been donated by the designers to the design collection of

1997); Lies Ros (Hannes Wallrafen – Verhalen vertellen);

the Universitatea Nationala de Arte, in Bucharest.

45 ATOR.Paper def.indd 45

23-01-2008 10:59:16

01 Hans Bockting / Sabine Bockting 02 Baer Cornet 03 Frits Deys 04 Edo van Dijk 05 Bram de Does 06 Piet Gerards 07 Mieke Gerritzen 08 Lucas de Groot 09 Melle Hammer 10 Reynoud Homan 11 Opera / Schoutsen 12 Erik Kessels 13 RenĂŠ Knip 14 Jacques Koeweiden 15 Richard van der Laken / Pepijn Zurburg 16 Richard Niessen / Esther de Vries 17 Martin Pyper 18 Geert Setola 19 Lex Reitsma 20 Lies Ros 21 Fred Smeijers 22 Ewald Spieker 23 Thonik 24 Gerard Unger 25 Chris Vermaas /

46 ATOR.Paper def.indd 46

Chin-Lien Chen

23-01-2008 10:59:22

ATOR.Paper def.indd 47

23-01-2008 10:59:40

Credits Publisher

Universitatea Nationala

Design Studio / Radu Teodorescu,

de Arte

Bucuresti

Str. General Budisteanu 19 010773 Bucuresti 1

Number of copies

Romania

1000

0040 21 3125791 www.unarte.ro

www.ateliertipografic.eu

Design Maud van Rossum, Amsterdam (www.pietgerardsontwerpers.nl) Photography Hanna Donker, Amsterdam Ioana Olteanu, Bucuresti Maud van Rossum, Amsterdam

ATOR.Paper def.indd 48

23-01-2008 11:00:22