Dieter Rams & Experimental Jetset by Kevin Ng

dieter rams & experimental jetset

A RESEARCH JOURNAL BY KEVIN NG , BADC2C (17483)

DESIGN RESEARCH METHODS 24 MARCH 2016

Dieter Rams

Foreword

Part I The Theory of Reduction

08 10 16 22

Part II Life of Dieter Rams Dieter Rams Joins Braun Dieter Rams’ Introduction to Vitsoe The Ten Principles of Good Design

26 28 30

Part III Birth of Experimental Jetset Design and Ideology Reduction in Experimental Jetset

34 38

Part IV Dieter Rams and Experimental Jetset – Similarities Dieter Rams and Experimental Jetset – Differences

42 44

Making A Mark References

Experimental Jetset

CONTENTS

Dieter Rams

Foreword The theory of reduction is tied to the argument that conceptual contents presents us the same things in different ways and having specific properties. (Van Riel, R., 2014, pg. 3) Reduction is concerned with parts and that the nature of an object not only determines what it is, but also, what determines its behavior. (Van Riel, R., 2014, pg. 197-198) This research journal is a compilation of documentations on industrial designer Dieter Rams and independent graphic design studio, Experimental Jetset both of which are relatively big names in the design industry. This journal will look deeper into how the theory of reduction is being portrayed in their works.

Dieter Ram Experimen Theory Of 4

Experimental Jetset

ms & ntal Jetset Reduction 5

Dieter Rams

Part I The Theory of Reduction

REDUCTIO 6

In the book ‘The Concept of Reduction’ by philosopher Raphael van Riel, provides an analogy about the theory of reduction. Riel describes an object in terms of its constitutive structure, which contains law or law-like statements about the connection between properties that constitute the property-structure, under which the entity is described by the theory.

In the case Dieter Rams, we can see how he used the theory of reduction very evidently in his products and his philosophical approach towards design. (Lovell, S., 2011, pg. 354-355) As for Experimental Jetset, they may not be applying the theory of reduction intentionally in their graphic works but based on the guiding principles of reduction, I would like to suggest that they may be doing so unknowingly.

*Diagram 1.1 P (high level) = P1 (low level) - Pn (low level)

Experimental Jetset

Assuming that frequently, constitutive structures of such, reveal properties of proper parts of the target entities. Referring to Diagram 1.1, property P is re-described in terms of its instances’ parts and called P1 - Pn. These parts make up laws that cover and account for the behavior of instances of P. Hence, under normal circumstances, in a state of reduction, we would get access to events happening on the level of parts. With this, it expands the range of possible explanations. (Van Riel, R., 2014, pg. 198)

Even after reduction, the explanatory power of the reduced concept is retained. Adding on, there is relevant information on the object’s parts and its properties. (Van Riel, R., 2014, pg. 198) The theory of reduction provides resources to account for the entities and events which are selected and redescribed from high-level descriptions to lower-level terms, under different property structures. (Van Riel, R., 2014, pg. 200)

Part II Life of Dieter Rams

Born on 20 May 1932 in Wiesbaden, Germany, Dieter Rams was a child that was conceived during the period of World War II. His parents separated when he was at a young age, leaving him to be shunted between them and his grandparents. (Lovell, S., 2011, pg. 17)

Dieter Rams

One of the few people who had a great influence in his life was his paternal grandfather, Heinrich Rams. Heinrich Rams was a master craftsperson who was well-versed in making traditional furniture with polished finishing. Through the practices of his grandfather, giving great attention to details and the idea of keeping things simple, was one of the ideologies which inspired Rams at a young age. (Lovell, S., 2011, pg. 17) In 1946, Rams enrolled in the Handwerker-undKunstgewerbeschule (Arts and Crafts College) in Wiesbaden. Rams was fifteen years of age then, studying Architecture and Interior Design with many war veterans and survivors. Rams was taught by Professor Hans Soeder. He also did three years of practical apprenticeship as a carpenter and completed it as the ‘best of year’ in the entire state in 1951. Returning to Wiesbaden for another four semesters, Rams began to learn about German modernism in art, architecture and design. (Lovell, S., 2011, pg. 18) At twenty-one, in July 1953, Rams graduated with a Diploma in Interior Design with Honors. At the start, Dieter Rams worked in the field of architecture, taking up a job with Otto Apel, one of the leading representatives of the “International Style’ of architecture in Frankurt during that time. (Lovell, S., 2011, pg. 18) Rams worked at Apel for two years. (Lovell, S., 2011, pg. 44)

Experimental Jetset

(Lovell, S., 2011)

(Bielefeld, 2016)

Part II Dieter Rams Joins Braun

Braun Logo (Commons, W., 2016)

Dieter Rams

A colleague of Rams found an advertisement in the newspaper, regarding a vacancy for an in-house architect at Braun. Rams went for the interview with Erwin Braun and was shortlisted to present a design for the company guest room. (Lovell, S., 2011, pg. 44) Rams did a simple sketch which impressed the design team at Braun. He was given the job and a space in the graphic design department. The role of an industrial designer did not exist then, hence Rams was involved in a little of everything. (Lovell, S., 2011, pg. 45) The first appliance that was solely designed by Rams was the PA 1 automatic slide projector. This product was released in 1956 and it attracted a huge interest in the market. (Lovell, S., 2011, pg. 45) In the same year, Rams started working on products which boosted Braun tremendously. The super phonograph, which is nicknamed ‘Snow White’s Coffin’, is a combined radio and record player. One of the interesting stories behind the SK4 goes that Hans Gugelot suggested using a metal casing for the player but the idea was dropped because that would affect the acoustics. That left the design of SK4 hanging as The Braun brothers were still unsure about the design. Soon after, Rams proposed using a transparent lid from a new plastic material that had just arrived in the market then. Gradually, that set the standard for all record players even till today. (Lovell, S., 2011, pg. 46) In 1961, Rams became the Chief Designer and Head of Braun Product Design Department. (Lovell, S., 2011, pg. 47) His simple motto ‘Less but better’ paved the way for striking results that appear as light and effortless as possible. (Lovell, S., 2011, pg. 356) For this instance, the theory of reduction is already starting to be manifest in the way Rams worked. (Van Riel, R., 2014, pg. 19)

Ram's Sketch for Braun (Julie, V., 2011)

PA 1 Slide Projector (Designophy, 2010)

Experimental Jetset

SK4 'Snow White's Coffin' (Polster, B. 2009)

Part II Dieter Rams Joins Braun

(Left)

Artur and

Erwin Braun

and a range of Braun

Dieter Rams

Products (Right)

(Julie, V., 2011)

Experimental Jetset

(Julie, V., 2011)

Dieter Rams

Part II Dieter Rams Joins Braun

AB1 Alarm Clock (Julie, V., 2011)

Experimental Jetset

4004 'Sixtant' Shaver (Julie, V., 2011)

Part II Dieter Rams’ Introduction to Vitsoe

Dieter Rams

Vitsoe Logo (Behind The Hustle, 2014)

During this time a young physics student called Otto Zapf approached Rams to ask him to design some furniture for his father’s furniture business. (Lovell, S., 2011, pg. 187) Rams agreed and also asked Erwin Braun for permission to design furniture in addition to his work at Braun. Erwin Braun thought it was a good idea as he felt it was important to have a holistic approach towards modern life and design. (Lovell, S., 2011, pg. 187-188) When designing furniture, Rams intention is to omit every unnecessary element to produce a longer lifespan. (Lovell, S., 2011, pg. 189) As Otto Zapf’s Father’s workshop had limited manufacturing systems, Zapf introduced Rams to Vitsoe and soon after Vitsoe + Zapf was formed. (Lovell, S., 2011, pg. 190)

Experimental Jetset

(Julie, V., 2011)

Dieter Rams

Part II Dieter Ramsâ&#x20AC;&#x2122; Introduction to Vitsoe

Sketches and Drawings of the 606 System (Julie, V., 2011)

Experimental Jetset

606 System, Aluminium E Profile (Julie, V., 2011)

One of the most successful products Rams ever designed was the RZ 60, later renamed the 606 Universal Shelving System. The shelf was hung between tracks at different heights and the system was simple and easy to install. By 1980, more than 150 different positions for the 606 system was created, from cabinets, to sliding doors, to desk modules, to LP record racks etc. (Lovell, S., 2011, pg. 191) The revision of the 606 system by constantly re-constructing new ways to improve the product, clearly depicts the concept of reduction on many parts, under one entity.

Dieter Rams

Part II Dieter Ramsâ&#x20AC;&#x2122; Introduction to Vitsoe

606 Shelving System, originally designed as the RZ 60 (Kietzmann, N., 2015)

Experimental Jetset

Part II The Ten Principles of Good Design

Dieter Rams

Rams has always worked with a set of principles which govern the way he formulates his ideas. Many of these principles were part of his lectures and writings between 19751984. By 1985, the list of principles grew to ten simple statements. (Lovell, S., 2011, pg. 353-355)

THE TEN PRINCIPLE OF GOOD DESIGN 22

2. 3. 4.

Good design makes a product useful A product is bought to be used. It has to satisfy certain criteria, not only functional, but also psychological and aesthetic. Good design emphasizes the usefulness of a product whilst disregarding anything that could possibly detract from it.

Good design is aesthetic The aesthetic quality of a product is integral to its usefulness because products we use every day affect our person and our well-being. But only well-executed objects can be beautiful.

Good design makes a product understandable It clarifies the productâ&#x20AC;&#x2122;s structure. Better still, it can make the product talk. At best, it is self-explanatory.

Experimental Jetset

Good design is innovative The possibilities for innovation are not, by any means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself.

Part II The Ten Principles of Good Design

Dieter Rams

5. 6. 7. 24

Good design is unobtrusive Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.

Good design is honest It does not make a product more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.

Good design is long-lasting It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years – even in today’s throwaway society.

8. 9.

Good design is environmentally-friendly Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and visual pollution throughout the lifecycle of the product.

Good design is as little design as possible Less, but better â&#x20AC;&#x201C; because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity!

To summarize these principles up, Dieter Ramsâ&#x20AC;&#x2122; motto is to keep reducing, testing and condensing over and over. In short; Less but Better. (Lovell, S., 2011, pg. 356)

Experimental Jetset

10.

Good design is thorough down to the last detail Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the user.

Part III Birth of Experimental Jetset

Dieter Rams

Experimental Jetset is a small, independent graphic design studio that is based in Amsterdam. (Jetset, E., 2016) The studio consists of Marieke Stolk, Erwin Brinkers and Danny Van Den Dungen. The three of them were students at the Rietveld Academy. (Butler, A., 2013) Experimental Jetset is one of the studios that are highly regarded for their exceptional work. (MoMA, 2016)

Gerrit Reitveld Acadamie (Rietveld, G., 2016)

Founded in 1997, the studio was named after the eighth album Experimental Jet Set, Trash and No Star by American rock band Sonic Youth. (Cornell, A., 2010) The band has always been a favorite among the three even though sometimes their name may come across as tacky, the studio embraces the fact that it reminisces the birth of the studio, bringing them back to their roots. (Jetset, E., 2008) As a studio that has been around for the past 19 years, they have worked on a variety of projects. A visit to their webpage would confront you with a massive amounts of work dated all the way back to their first project. (Jetset, E., 2016) Believing that every object should function with specific contexts, they felt that it was important to include a short write-up of each individual project, so as to enhance the viewer’s experience when they look through their portfolio of works. (Jetset, E., 2006)

One of the fonts seen frequently in the works of Experimental Jetset is Helvetica. (Design Is History, 2016) Growing up influenced by late-modernist graphics, inevitably the three have made fonts like Helvetica their mother tongue. (One, A., 2008) However, the studio also uses various typefaces for specific conceptual reasons as well. (Jetset, E., 2003) There are two projects which the studio is pretty satisfied with. They are the ’Two or three things I know about Provo’ exhibition and the graphic identity of the Whitney Museum. They involved writing, reading, researching, designing for printed matters and signage for both projects. (Butler, A., 2013)

Experimental Jetset

Marieke Stolk, Erwin Brinkers and Danny Van Den Dungen (Butler, A., 2013)

Part III Design and Ideology

y log g n

Dieter Rams

IDEOLOGY AS DESIGN DESIGN AS IDEOLOGY

The studio feels that there are two ways by which they approach design and ideology.

The first notion is that of ideology as design. This refers to the exploration of ideas as designed entities in themselves. For example, movements such (Surrealism, Dadaism, Futurism etc.) often consists of crafted manifestos which offer complete views of the world.

d e s ide

IDEOLOGY AS DESIGN DESIGN AS IDEOLOGY

To conclude, they believe every designer is an ideologist, regardless of their preference. (Jetset, E., 2008)

Experimental Jetset

The second notion, design as ideology, links to the ideology of â&#x20AC;&#x2DC;makeability.â&#x20AC;&#x2122; It supports the idea that we are living in a world where we are commonly understood and interpreted by people. Hence, we can also be shaped by the people around us. Based on this ideology, we are shaped by material environment and we are also able to shape this material environment.

Part III Reduction in Experimental Jetset

Dieter Rams

The fact that Experimental Jetset sees ideology as design, clearly reiterates that the theory of reduction influenced in their way of thinking. They may not have explicitly claimed to be inspired by this theory or perhaps are even unaware of this theory but much can be seen in the following works that they have done.

public address system

The Public Address System was the name of a group exhibition that took place between 9 January and 14 February 2004. The studio was tasked to design a poster based on the interpretation of a speech. Inspired by the screening of an old Dutch television documentary entitled 'Stefan Themerson en de Taal' (Stefan Themerson on Language), featuring him reciting a paragraph from his novel 'Bayamus and the Theatre of Semantic Poetry' (1949). (Jetset, E., 2003)

In this case, the novel is the initial property and the law here is the paragraph of text. The transition from a novel to a screening and eventually a poster, shows the theory of reduction from a higher to lower level of parts. (Van Riel, R., 2014, pg. 200)

dtc / vrouw van vroeger

Experimental Jetset

The De Vrouw van Vroeger was a piece played by De Theatercompagnie between April 18 and April 29, 2006. The whole concept behind the poster revolved around the idea of taking two quotes from the play, and dividing these quotes over two posters; two posters reacting to each other, almost like two actors engaged in a dialogue. A few lines were chosen from the play, by the Beatles: "You know I love you still / love you with all my heart" ('I Will', White Album, 1968). (Jetset, E., 2006)

Similarly, from the lyrics by The Beatles, to a play and a set of posters portraying a visual dialogue, clearly supports the notion of reduction. (Van Riel, R., 2014, pg. 197)

Dieter Rams

Part III Reduction in Experimental Jetset

mmx shepley bulfinch Tasked to designed a poster based on the given year (2010) and theme of architecture, the studio explored angular shapes of Roman numerals on buildings. With further reference to movements such as De Stijl and Bauhaus and their use of geometric shapes and primary colors, the numerals MMX transformed into a composition of brightly colored triangles. (Jetset, E., 2010) Once again, reduction is reinforced from Roman numerals, infused with geometric influence and translated into letter forms on the poster. (Van Riel, R., 2014, pg. 198)

Experimental Jetset

Part IV Dieter Rams and Experimental Jetset – Similarities

When Dieter Rams was schooling in an arts college in Wiesbaden, he learnt about German modernism in art, architecture and design. (Van Riel, R., 2014, pg. 18) Similarly, when the trio were growing up, late-modernist graphics had a big influence of them, and this became their natural tone of voice throughout their work. (Hewitt, C., 2016)

Dieter Rams

When creating a new product or designing a new graphic, both Rams and Experimental Jetset have specific rationales behind every move. This can be seen in the many details of the Braun and Vitsoe products (Van Riel, R., 2014, pg. 18) and also a visit to Experimental Jetset’s website where you are able to see individual projects with short write-ups. (Jetset, E., 2016)

(Commons, W., 2016)

24 products designed by Dieter Rams between 1956-1980 and 41 works designed by Experimental Jetset between 1999-2007 are featured in the Musuem of Modern Art (MoMA). (MoMA, 2016) Dieter Rams and Experimental Jetset were featured in Indie Filmmaker Gary Huswit’s Films: Helvetica and Objectified in 2009. (Hustwit, G., 2016) (Hustwit, G., 2016)

RAT AP

FEA

ODERNISM

ATURES 35

Experimental Jetset

ATIONAL PPROACH

Dieter Rams

Part IV Dieter Rams and Experimental Jetset â&#x20AC;&#x201C; Similarities

SK4 'Snow White's Coffin', Collection at MoMA (Polster, B. 2009)

Experimental Jetset

Artimo Poster, Collection at MoMA (Jetset, E., 2003)

Part IV Dieter Rams and Experimental Jetset â&#x20AC;&#x201C; Differences

Dieter Rams

Dieter Rams background was in architecture but he eventually started designing products when he landed in Braun. (Van Riel, R., 2014, pg. 18,45) The trio from Experimental Jetset were trained in Visual Communication at The Gerrit Rietveld Academy. (Jetset, E., 2006)

Rams was inspired by his grandfather who was a carpenter and that sparked his interest in the area of craftsmanship, spurring him on to pursue his studies in architecture. (Van Riel, R., 2014, pg. 17) Before establishing the graphic studio, the trio worked on small projects together before they enrolled into art school. As teenagers, there were immersed in all kinds of post-punk movements and modernism. They were often drawn to music, especially the graphic manifestations of records sleeves, t-shirts, patches, band logos, posters, among others. (Jetset, E., 2003)

Braun and Vitsoe, the two main companies that Rams worked for are relatively large and established brands which have thousands of employees. (Van Riel, R., 2014, pg. 23) Experimental Jetset however, never had employees or interns because they never understood the point of expanding. To them, they only feel comfortable working with each other because of the singular vison and language they all speak. (Jetset, E., 2008)

EDU

INF

CO MA

UCATION

OMPANY ANPOWER 39

Experimental Jetset

FLUENCES

Dieter Rams

Part IV Dieter Rams and Experimental Jetset â&#x20AC;&#x201C; Differences

606 Shelving System, Collection at MoMA (Julie, V., 2011)

Experimental Jetset

DTC / Season 2005â&#x20AC;&#x201C;2006, Collection at MoMA (Jetset, E., 2005)

Dieter Rams

Making A Mark Dieter Rams and Experimental Jetset

MAKING A MARK MAKING A MARK 42

When comparing Dieter Rams and Experimental Jetset, Rams accomplishments definitely outweigh those of Experimental Jetset. However, if we were to consider how a small team of three gained prestigious recognitions internationally and worked on big scale projects, it is extremely commendable. The form of minimalism may or may not be evident in the theory of reduction and their works but the emphasis is on the connection between properties that constitute the property-structure, in parts. Regardless, both industrial and graphic practitioners have paved the way in inspiring the next generation and improving the lives of others through good design.

Experimental Jetset

MAKING A MARK MAKING A MARK

Image References Behind The Hustle, 2014, Vitsoe Planner, Available from: http://behindthehustle.com/2014/10/vitsoe-planner/ [Accessed on 23 Mar 2016] Bielefeld, 2016, April 24, 1924: The German sewing machine mechanic school opens in Bielefeld, Available from: https://www.bielefeld.de/de/biju/stadtar/rc/rar/01042009.html [Accessed on 23 Mar 2016] Commons, W., 2016, File:Braun Logo.svg, Available from: https://commons.wikimedia.org/wiki/File:Braun_Logo.svg [Accessed on 23 Mar 2016]

Dieter Rams

Commons, W., 2016, File:Moma-1-Logo.jpg, Available from: https://commons.wikimedia.org/wiki/File:Moma-1-logo.jpg [Accessed on 23 Mar 2016] Designophy, 2010, Dieter Rams, Available from: http://www.designophy.com/designpedia/design-designer-1000000070-dieter-rams.htm [Accessed on 23 Mar 2016] Hustwit, G., 2016, Institutional DVDS and Digital Site Licenses Available from: http://www.hustwit.com/urbanized-institutional-dvd/ [Accessed on 23 Mar 2016] Jetset, E., 2003, Artimo Poster, Available from: http://www.experimentaljetset.nl/archive/artimo-poster [Accessed on 23 Mar 2016] Jetset, E., 2005, DTC / Season 2005â&#x20AC;&#x201C;2006, Available from: http://www.experimentaljetset.nl/archive/dtc-season-0506 [Accessed on 23 Mar 2016] Julie, V., 2011, A Dieter Rams Design, Stays Designed, Available from: http://blog.archpaper.com/2011/05/a-dieter-rams-designstays-designed/#.VvF8DpN96Rs [Accessed on 23 Mar 2016] Kietzmann, N., 2015, Method in the Madness: System Design Exhibition at the Makk in Cologne, Available from: http://www.uncubemagazine.com/blog/15285367 [Accessed on 23 Mar 2016] Polster, B., 2009, Fifty Years of Design and Innovation, London: Edition Axel Menges, Stuttgart Rietveld, G., 2016, Buildings, Available from: http://www.gerritrietveldacademie.nl/en/buildings [Accessed on 23 Mar 2016]

References Besse, E., 2003, Experimental Jetset: Interview, Available from: http://large.la/journal/experimental-jetset-interview/ [Accessed on 23 Mar 2016] Butler, A., 2013, Experimental Jetset Interview, Available from: http://www.designboom.com/design/experimental-jetsetinterview/ [Accessed on 23 Mar 2016] Cornell, A., 2010, Experimental Jetset Interview, Available from: http://blog.iso50.com/13625/experimental-jetset-interview/ [Accessed on 23 Mar 2016] Design Is History, 2016, 2000 â&#x20AC;&#x201C; Experimental Jetset, Available from: http://www.designishistory.com/2000/experimental-jetset/ [Accessed on 23 Mar 2016]

Hustwit, G., 2016, Gary Hustwit, Available from: http://www.hustwit.com/ [Accessed on 23 Mar 2016] Jetset, E., 2016, About, Available from: http://www.experimentaljetset.nl/misc/about [Accessed on 23 Mar 2016] Jetset, E., 2008, Interview / Studio Culture, Available from: http://www.experimentaljetset.nl/archive/studioculture-15148 [Accessed on 23 Mar 2016] Jetset, E., 2016, Experimental Jetset, Available from: http://www.experimentaljetset.nl/ [Accessed on 23 Mar 2016] Jetset, E., 2006, Design and Art Reader, Available from: http://www.experimentaljetset.nl/archive/documents [Accessed on 23 Mar 2016] Jetset, E., 2003, Helveticanism, Available from: http://www.experimentaljetset.nl/archive/helveticanism [Accessed on 23 Mar 2016]

Experimental Jetset

Hewitt, C., 2016, Experimental Jetset, Available from: https://collection.cooperhewitt.org/people/18065251/bio [Accessed on 23 Mar 2016]

References Jetset, E., 2008, Design and Ideology, Available from: http://www.experimentaljetset.nl/archive/design-ideology [Accessed on 23 Mar 2016] Jetset, E., 2003, No Poetry To Recite, Available from: http://www.experimentaljetset.nl/archive/publicaddress [Accessed on 23 Mar 2016] Jetset, E., 2006, DTC / Vrouw van Vroeger, Available from: http://www.experimentaljetset.nl/archive/dtc-vrouw-van-vroeger [Accessed on 23 Mar 2016]

Dieter Rams

Jetset, E., 2010, MMX Shepley Bulfinch, Available from: http://www.experimentaljetset.nl/archive/mmx-shepley-bulfinch [Accessed on 23 Mar 2016] Jetset, E., 2003, Q&A Design Museum, Available from: http://www.experimentaljetset.nl/archive/design-museum [Accessed on 23 Mar 2016] Lovell, S. 2011, Dieter Rams: As Little Design as Possible, United Kingdom: Phaidon Press Limited MoMA, 2016, Experimental Jetset, Available from: http://www.moma.org/collection/artists/32472 [Accessed on 23 Mar 2016] MoMA, 2016, Dieter Rams, Available from: http://www.moma.org/collection/artists/8451 [Accessed on 23 Mar 2016] One, A., 2008, Intervista: Experimental Jetset, Available from: http://www.aisleone.net/2008/02/04/intervista-experimental-jetset/ [Accessed on 23 Mar 2016] Van Riel, R. 2014, The Concept of Reduction, United States: Springer International Publishing

Dieter Rams & Experimental Jetset Theory of Reduction Unit Editions Published in Singapore in 2016 by Whataboutkevin 1 McNally Street Singapore 187940 Tel: (65) 9825-8274 Fax: (65) 9825-8274 enquiries@whataboutkevin www.whataboutkevin.com Territory rights: Singapore First published in 2016 by Unit Editions Sponsored by LASALLE College of the Arts Edited and produced by Unit Editions Book design, concepts & art direction by Unit Editions post@uniteditions.com www.uniteditions.com ISBN 978-981-4394-47-5 All rights reserved. No part of this publication may be reproduced, stored in any retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission in writing from the publisher. For information, contact Whataboutkevin. Printed and bound in Singapore.

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