http://www.penguin.com/ Frutiger
TABLE OF CONTENTS Kang sanKim.................................4 SungAm Paik ..............................12 Hearan Lee .................................20 Youngji Chae ..............................28 u min moss .................................36 Hyelim Park .................................44 Miran Baek .................................52 Sooyeon Song..............................60 Sae Bom .....................................68 Kwon Mihye ...............................76 Mi-Young Lee .............................84 Rae Lee .......................................92
Kangs Kangs anKim anKim
http://www.basedesign.com/ Dotline, Gotham Rounded http://www.basedesign.com/ Dotline, Gotham Rounded
G IN EN R OPOO EEN V DER 9 IE NT 8.0 PU -0 .09 06 UM TR KE EN DE LO KC BIJUZIE M ENT .BE OKE G IJL EB
.D W W W
SIOEN IL FONDAMENTO DEFILHARMONIE RONALD BRAUTIGAM RYE JEHU DJ JERBOA KONINKLIJK HARMONIEORKEST VOORUIT TINEKE POSTMA QUINTET EDDING KWARTET GRAINDELAVOIX B’ROCK
23-24.02
BACH+ JEAN-GUIHEN QUEYRAS
Design Design Manuscript Manuscript
DE BIJLOKE PUUR MUZIEK
Losse kaarten € 15 Reductie € 12,5/5 (-191) WWW.DEBIJLOKE.BE T. 09 269 92 92 Jozef Kluyskensstraat 2, 9000 Gent
v.u. Yves Rosseel, Bijlokekaai 7, B-9000 / ontwerp: Base DESIGN www.basedesign.com
v.u. Yves Rosseel, Bijlokekaai 7, B-9000 Gent – Base Design
CELLOSUITES J.S. BACH DANN JANSSENS I STEPHANE PRINS
GRATIS MUZIEKFESTIVAL, bijlokekaai 7, 9000 Gent reserveren verplicht vanaf 16 augustus via www.debijloke.be — tickets@debijloke.be — 09/269 92 92
3
2010 Springsemester semesterDesign DesignProject Project 2010 Spring 11
JULY 24 AT LUXX W/ DEER PARK DOORS AT 8PM
http://www.dmitrisiegel .com/ Eurostile LT Std http://www.zone-imaginaire.ch/ Univers LT 45 Light
4
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http://www.basedesign.com/ Akzidenz-Grotesk Next, 윤고딕350 http://www.whynotassociates.com/ Gotham Rounded
07 연례 보고
On the Road 제안 끼워넣기
08 2008광주비엔날레 GWANGJU BIENNALE
L E H AV R E
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http://www.apeloig.com/ ITC Franklin Gothic Std http://www.apeloig.com/ Helvetica LT CondensedBlack
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일년동안의 전시
Exhibitions
Kangs Kangs anKim anKim
http://www.wkrm.kr/ Futura LT Book, 윤고딕350, 윤고딕360 http://www.wkrm.kr/ Futura LT Book, 윤고딕350, 윤고딕360
Design Design Manuscript Manuscript
금호미술관 20주년 기념전
KUMHO MUSEUM OF ART 20TH ANNIVERSARY EXHIBITION
ARCHIVE 1 금호미술관의 역사 및 주요 전시 소개 / 소장품
ARCHIVE 3 금호미술관 전시 도록 도서관 프로젝트
ARCHIVE 2 금호미술관 중견작가 인터뷰 영상 인터렉티브 영상 설치
ARCHIVE 2 금호미술관 전시 해체 자료 저널 라운지 프로젝트
2009 12.17 2009 2.28
서울시 종로구 사간동 78 T. +82 2 720 5114, F. +82 2 720 6474 78, SAGAN-DONG, JONGNO GU, SEOUL, 110-190, KOREA
HELVETICA STORY HELVETICA WAS DEVELOPED IN 1957
BY MAX MIEDINGER WITH EDUARD HOFFMANN AT THE HAAS’SCHE SCHRIFTGIESSEREI
HAAS TYPE FOUNDRY OF MÜNCHENSTENI SWITZERLAND. HAAS SET OUT TO DESIGN A NEW SANS-SERIF TYPEFACE
THAT COULD COMPLETE WITH AKZIDENZ-GROTESK IN THE SWISS S MARK MAR MARKE MARKET.
ORIGINALLY CALLED DIE NEUE HAAS GROTESK IT WAS AS S CREATED REATED EATED TED BASED BAS O ON
SCHELTER-GROTESK. GRO ROTESK. OTESK. TESK TESK. ES ESK THE AIM OF THE EAACCCEN NEW NE EW WHAHADADDDESIGN DESIG ESI ESIG WAS TO CREATE A NEUTRAL TYPEFACE EFFFA E TTH THAT HA ATT H GREAT REAT EAT AT CLA CL C CLAR CLARI CLARIT CLARITY
MEANING EA E AN A NIIN N NG N G IN IN ITS IITTS S FORM ORM RM M AND AN COULD COUL C CO COU BE B EU US USED SEE S ED DO ON NAW WI WIDE IDE DEE VARIETY ARIETY RIETY IETY ETY TY Y OF O S SIGM SIG SIGMAGE SIGMAGE. SI SIGMAG SIGMA HAD NO O INTRINSIC INTRIN INTRI NTR NTRI TR R C MME
WHEN HEN EN N LINOTYPE INOTYPE NOTYPE OTYPE TYPE YPE PE EA AD ADO ADOPTED D TTHE HE N NEUE EEU UE H HAAS AAS AS S GROTESK GROTES GROTE GR GRO GROT
WHICH HICH CH H WAS AS S NEVER EVER VER ER R PLANNED LANNED ANNED NNED NED ED TO T B BE A FFULL RANGE GE G EO OFF M MECHANICAL EEC CH C HA H AN NIIC CA ALL A A AND ND D HOT-METAL OT-METAL T-METAL -METAL METAL ETAL TAL TTYPE TYP TY TYPEFA TYPEF TYPEFAC TYPEFACE TYPEFACES
ITS TS S DESIG DESIGN DESI ES ESI S N WAS WA AS S REWORKED. RE R EW E WORKED WORKED. W ORKE ORKED RK RKED. RKED RKE KED KED. KE D.. AFTER FTER TER ER R THE HE ES SU SUC SUCCESS SUCC SUCCE ESS ES SS OF O UNIVERS UN NIV NI N IV VE V ER EERS RS ARTHUR RS ART A AR ARTHU ARTH RTHU RTH R RT TTHUR TH HUR HU H UR U R RITZE RITZEL R RIT RITZ TZEL ZEL ELL
EUE UEE HAAS AAS G GROT GROTE GR GRO GROTES GROTESK K OFF STEMPEL O STEMPE STEMP TEM TEMP EM R RE REDESIGNED ED ED DESIG DESIGN DESIGNE DESIGNED SIG S SI IIG GNE GN G NED NE N EED DNEUE INTO NTO TO O A LARGER FA FFAM FAMI FAMILY FAMILY. Y.
IIN N 1960 960 60 0 THE TH HEE TY TTYP TYPE TYPEF TYPEFACE’S YPE YP PEF EFFA AC AC CE E’S NAME E’ ME E WAS W WA AS S CHANGES HANGES ANGES G BY B
HAAS HA HAAS’ H AA AAS’ A AS AS’ A S’ GER G GE GERMAN GERM RM M N PARENT AREN ARENT REN COMPA COMPAN COMPANY OM ANY S OMP OMPA STEMPEL TO
DERIVED FROM CONFOEDERATIO HELVETIA HELVETICA HEL HELV HELVE HELVET HELVETI E THE LATIN NAME FOR SWITZERLAND Digital versions
Helvetica Textbook
2010 Springsemester semesterDesign DesignProject Project 2010 Spring 11
Helvetica Textbook is an alternate design of the typeface. Some characters such as 1, 4, 6, 9, I, J, a, f, j, q, u, µ, and ¶ are drawn differently from the original version.
Hevetica Futura
Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas'sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage.
Helvetica Insert
Helvetica Inserat is a version designed in 1957 primarily for use in the advertising industry. Sharing similar metric as Helvetica Black Condensed, the design gives the glyphs a more squared appearance, similar to Impact and Haettenschweiler. Strike with strokes in $, ¢ are replaced by non-strikethrough version. 4 is opened at top. Cyrillic characters were added in 1970s at D. Stempel AG, then critiqued and redesigned in 1992 under the advice of Jovica Veljovic.
Helvetica Compressed
Designed by Matthew Carter, they are narrow variants that are tighter than the Helvetica Condensed. It shares some design elements with Helvetica Inserat, but using curved tail in Q, downward pointing branch in r, tilde bottom £.
Helvetica Rounded [1978] Helvetica Rounded is a version containing rounded stroke terminators. Only bold, bold oblique, black, black oblique, bold condensed, bold outline fonts were made, with outline font not issued in digital form by Linotype.
Helvetica Narraow
Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed. However, the width is scaled in a way that is optically consistent with the widest width fonts. The font was developed when printer ROM space was very scarce, so it was created by mathematically squashing Helvetica by 18% (to 82% of the original width), resulting in distorted letterforms and thin vertical strokes next to thicker horizontals. OpenType version was not produced by Adobe under the distortion reasoning, and recommended Helvetica Condensed instead. However, in Linotype's OpenType version of Helvetica Narrow, the distortions found in the Adobe fonts are non-existent.
Neue Helvetica [1983] Helvetica World Neue Helvetica is a reworking of the typeface with a more structurally unified set of heights and widths. It was developed at D. Stempel AG, Linotype's daughter company. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was René Kerfante. Erik Spiekermann was the design consultant and designed the literature for the launch in 1983. Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers. Neue Helvetica uses a numerical design classification scheme, like Univers. The font family is made up of 51 fonts, which includes 9 weights in 3 widths (8, 9, 8 in normal, condensed, extended widths respectively), and an outline font based on Helvetica 75 Bold Outline (no Textbook or rounded fonts are available). Linotype distributes Neue Helvetica on CD. Neue Helvetica also comes in variants for Central European and Cyrillic text.
Also called Helvetica Linotype, Helvetica World supports Arabic, Cyrillic, Greek, Hebrew, and Vietnamese scripts. The family consists of 4 fonts in 2 weights and 1 width, with complementary italics. The Arabic glyphs were based on a redesigned Yakout font family from Linotype. Latin kerning and spacing were redesigned to have consistent spacing. John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family, as well as the Cyrillic, and Greek letters.
6
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http://www.cascoprojects.org/ TheSansMono http://www.cascoprojects.org/ TheSansMono
Annika Lundgren The Power & Illumination Project in the European Union
1 July - 6 August 2006 Opening: Saturday 1 July, 8pm Casco Office for Art, Design and Theory
For further information about Casco’s Reality TV programme see www.cascoprojects.org
Oudegracht 366, 3511 PP Utrecht the Netherlands T/F +31(0)30 2319995 info@cascoprojects.org Opening hours: Tuesday-Sunday, 12am-6pm
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Discussion: Alternative Economies and Artistic Practice Tuesday 11 July, 7pm
FROMTHEGUY WHOBROUGH TYOUFUTURA. THE ART INSTITUTEOF CALIFORNIA PRES ENTS. PA UL RENN E R JU NE19 2011. WHO CARES? Created in the Bauhaus movement, Futura is one of the oldest type faces and not only that but its about as popular and important as Obama before he became president.
PAUL RENNER I w o n d e r. . . d o e s Paul Renner like his women like he likes his type? Fat and large, or skinny and tilted.
1 t1cetcjoerjPorPngnisgeisDeDrertestesemmeessggnnirirppSS 00102
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Futura Helvetica
Kangs Kangs anKim anKim
http://www.studiofmmilano.it/FM/ Gill Sans MT Pro
3.4.2004 il museo, le collezioni
3.4.2004
inaugurazione del museo di fotografia conttmporanea e mostra delle collezioni
il museo, le collezioni inaugurazione del museo di fotografia conttmporanea
Villa Ghirianda via Frona. 10 Cinisello Balsamo - Milano
il museo
le collezioni
Some weeks ago I had the opportunity to visit the Anzio Beachhead museum. Opened in January 1994, in the 50th Anniversary of the Allied landings, the Anzio Beachhead Museum is hosted at the ground floor of Villa Adele, a 17th Century mansion house located at Anzio, 57 kilometers to the SW of Rome. The Museum, made by voluntary and no-profit members is diveded into four sectors (American, British, German and Italian), contains exhibits with authentic uniforms, patches, badges, documents, pictures, articles, etc all generously donated by other Museums and by Veterans’ Associations and, of course, veterans and their families. Many exhibits come from sea in front Anzio where
Armani Collezioni (formerly Giorgio Armani Le Collezioni) is another high-end Armani sub-label. The line is more expensive than Emporio Armani, Armani Jeans, Armani Exchange lines, but less expensive than the high-end, ready-to-wear line, Giorgio Armani and the haute couture line, Armani Privé. In addition to being sold in freestanding boutiques (which feature the Collezioni line exclusively), Armani Collezioni is sold in high-end department stores including Holt Renfrew, Bloomingdale's, David Jones, Harvey Nichols, Harrods, Neiman Marcus, Nordstrom and Saks Fifth Avenue.
Villa Ghirianda Sgersfslf lkjwsgjdfi Gwoisfsdfkneo (23)23984751 (23)23984753
Design Design Manuscript Manuscript
MUSEO ROIASFJSA CONCSRRUOASL
Cinisello Balsamo Milano
“Opuraas anchilasduifaj wich ancher la urasprodukorer rli uma bernika, fasrlfksskmr midjfelwru mille piors
ESPOSIZCME PEAMAIENTE DEL MADE IN ITALY E DEL DESIGN ITALIANO
groumuirla murnsuiha akiglu chenmanli clausdri drill’ arcno e drille columnu”. Giio Pearli Chiupiah Jcjilu phdkij L’Enlk Crils Ja chua
2010 Spring Springsemester semesterDesign DesignProject Project 2010 11
is “Larmre della Sau’, d waugger 1919
http://www.studiofmmilano.it/FM/ Georgia
8
ssggnnaaK K m i K n miKnaa
http://www.esmog.org/ Helvetica LT Compressed http://www.esmog.org/ Bauer Bodoni Std 2, Gotham
LES ils pl端 bels
MOST BEAUTIFUL
cudeschs svizzers 2008
BUECHER SVIZZERI 2008
7.-9. auost 2009 Bistro staziun Lavin
Kunsthaus Z端rich
www.shifting-identities.ch
Intro 14.3. 8.6.2008 Heimplatz, 8001 Z端rich Sa/So/Di 10-18 Uhr, Mi/Do/Fr 10-20 Uhr www.shifting-identities.ch
Shifting Iden (Schweizer)
Kunst heute
Swiss Re
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http://adearfriend.com/
1 t1cetcjoerjPorPngnisgeisDeDrertestesemmeessggnnirirppSS 00102
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Kangs Kangs anKim anKim
http://www.projectprojects.com/ DTLProkyonTMedium
MUSEO TAMAYO Estacionamiento Pida su boleto Lunes a domingo: 8:30 a 18:00 horas
Design Design Manuscript Manuscript
Cuota general: $50.00 Con boleto sellado del museo: $15.00
O
John Gill Oakes Co-publisher OR Books 917 549 4754 john.oakes@orbooks.com www.orbooks.com
R John Oakes and Colin Robinson Ragither with Mischief & Magchem (Lisa Dierbeck, Joshua Furst, DW Gibson, Dale Peek and Choire Sicha)
O
invite you to discuss the lausch of a new publishing company OR Books, LLC
R
Monday, November 9th, 2009 10:30 to 8:30 pm 130 West 24th Street, 15A New York, NY RS/VP to info@orbooks.com or 212 468 0316
2010 Spring Springsemester semesterDesign DesignProject Project 2010 11
A new esproade to publishing for the new writing
http://www.projectprojects.com/ Helvetica LT ExtraCompressed, Gill Sans
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ssggnnaaK K m i K n miKnaa
http://www.mnd.go.kr/
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정치
http://adearfriend.com/
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개성공단 입주 기업 자체 요청이 영향준 듯
SungAm Paik
http://www.basedesign.com/ Modern no. 20 http://basedesign.com/ Smirnof, Corbel
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KAZUSHI ONO / GUYJOOSTEN 4,5,6,7,9,11,12,14,15,16,18,20,21&23 DECEMBRE |DECEMBRE 2007
LA MONNAIE DE MUNT Design Manuscript
LaMonnaie De Munt
070 23 39 39 www.lamonnaie.be | www.demunt.be D’aprea la production originale de | Naar de originele productie van KlangBogen Wien Remerciements au | Met dank aan Det Kongelige Teater/ Royal Danish Opera
Eidgenosslsch Preistragerin
Wettbewerb for Design 2004 – and Preistrager
Concours fed Laureates et
de design 2004 –
Swiss Design 2004
NR
GRATIS MUZIEKFESTIVAL, bijlokekaai 7,9000 Gent reserveren verplicht vanaf 16 augustus via www.debijloke.be – tickects@debijloke.be – 09/269 92 92
’
Swiss Feder Design Competition 2004 – Prizewinners
Innivation – Textes z?n?Theme
LES VISAGES DE L’INDUSTRIE
Innovation – Textes sur ce theme Innovation – Textes on the topic
S 30.08 – 29.11.09
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MUSEE DES BEAUX-ARTS
MUSEE DES BEAUX-AERTS LE LOCLE
2010 Spring semester Design Project 1
WWW.MBAL.CH
IE
MUSEE DES BEAUX-ARTS, LE LOCLE FERME JUSQU'AU 13 MARS 2010 GESCHILOSSEN BIS ZUM 13, MARZ 2010 WWW.MBAL.CH
Elektrosmog Bell MT, Helvetica
http:/www.onlab.ch/ Helvetica nue thin
v.u.Yves Rosseel, Bijlokekaai 7, B-9000 Gent - Base Design
WERTHER JULES MASSENET
E.R. | V.U. Peter de Caluwe – BaswDESIGN www.basedesign.com–Photo ¦ Foto Guido Mocafico
W WW
SIOEN IL FONDAMENTO DEFILHARMONIE RONALD BRAUTIGAM RYE JEHU DJ JERBOA KONINKLIJK HARMONIEORKEST VOORUIT TINEKE POSTMA QUINTET EDDING KWARTET GRAINDELAVOIX B'ROCK
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mAgnuS kiaP
www.experimentaljetset.nl Helvetica75
http:/www.studiodumbar.com/ Helvetica67 condensed medium
Stedelijk Museum CS
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T H E AT E R A A N H E T S P U
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A n n e A f f o u r t i t & D e r r i ck B r ow n
Nederlands Dans Theater 3
Lanonima Imperial
C o m p a g n i e F ra n c o i s R a f f i n o t
346 52 72
Lanonima Imperial
Jeugddans
FESTIVALKASSA (070)
Hermans’ Hand
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16. 17. 18
Dick Raailnakers
19. 20. 21
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Aria
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SungAm Paik
13th IAFF World Championship Athletic Poster Ageone Serif
www.studiodumbar.com Helvetica
Sprint To g e t h e r for 1. studio dumbar _ ARTAIDS(http://www.studiodumbar.com/main.php) To m o r r o w
adas s sadasdas
13th IAAF Wo rd l Championship in At h l e t i c s 27 Aug-4 Sep. 2011
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Design Manuscript
Daegu Stadium Daegu Metropolitan Korea
Ausstellung im Helmhaus Zurich 17.Sept.-17.Okt. 1971 geoffnet taglich 10-12 Uhr, 14-18 Uhr Mittwoch auch 20-22 Uhr Montag geschlossen
Dinsdah 30 maart 20:00 uur
De Unie Mauritsweg 34-35, Rotterdam Debatserie door afdeling Debat van de Rotterdamse Raad voor Kunst en Cultuur; Kosmopolis Rotterdam en Kunstenaars&CO.
2010 Spring semester Design Project 1
KUNSTENAARS&CO
Geschichte des Plakates
das illustrative, sachliche, konstruktive und experimentelle Plakat Eine Veranstaltung der Prasidialabteilung der Stadt Zurich
www.almostmodern.com Juniper, Helvetica65 medium
Josef Muller BrockmannPlakat Affiche Poster www.blanka.co.uk Arial
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Unix Timestamp www.blanka.co.uk Gulim
Proud www.blanka.co.uk
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Two lane bricktop www.blanka.co.uk Proud www.blanka.co.uk
1 tcejorP ngiseD retsemes gnirpS 0102
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SungAm Paik
London design Fesrival www.pentagram.com Calibri Work Room Theater www.blanka.co.uk Helvetica53 extended
THE LONDON DESIGN FESTIVAL 2007
Di 29. 8. Landestheater Darmstadt Bleiwe losse von Wolfgang Deichsel Inszenierung: Wolf Seesemann Bild: Walter Schwab
Mi 30. 8. Do 31. 8. Theater am Neumarkt Zurich Der Ritt uber den Bodensee von Peter Handke Inszenierung: Horst Zankl Bild: Ambrosius Humm
fr 1. 9. Sa 2. 9. Buhnen der Stadt Essen Kaspar von Peter Handke Inszenierung: Andreas Gerstenberg Bild: Herbert Stahl
So 3. 9. Mi 6. 9. Werkraumtheater Munchner Kammerspiele Berthold Brecht Abend mit Therese Giese Mitarbeit: Peter Fischer
Mo 4. 9. Di 5. 9. Theater der Courage Wien Wildwechsel von Franz Xaver Kroetz Inszenierung: Dieter Berner Wolfgang Quetes Werner Prinz
Do 7. 9. Fr 8. 9. Die Komodianten, Wien Der 24. Februar von Zacharias Werner Inszenierung: Conny Hannes Meyer Bild: Gerhard Jax
So 10. 9. Ulmer Theater Die Trauung von Wiltold Gombrowicz Inszenierung: Friedrich Beyer Bild: Gisela Spahlinger
Woche der Werkraumtheater
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CIHPA RG TYPO PORNO CIHP ARG CIHP ARG PHOTO CIHPLITHO ARG CIAUTOBIO HPARG ‘GRAPHIC’ by Paul Winter, 1 – An Exhibition in Mono, 21of 28 Designs for Blanka 09/06, Edition of 100 only.
Graphic-Paul Winter www.blanka.co.uk Helvetica Black Proportion www.blanka.co.uk
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Design Manuscript
Mo 28. 8. Sa 9. 9. Werkraumtheater Munchner Kammerspiele . . . endlose Spiele bereiten sich vor Max Frnst – Bilder, Texte, Szenen, Filme auf die Buhne gestellt von W. Spies und P. Schamoni
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We are delighted to invite you to a presse conference to announce plans for the London Design Festival 2007 Tuesday 3 April
2010 Spring semester Design Project 1
Sa 26. 8. So 27. 8. Theater am Goetheplatz Bremen Bremer Freiheit von R. W. Fassbinder Inszenierung: R. W. Fassbinder Bild: Wilfried Minks Musik: Reer Raben
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Archotectural league of New York www.pentagram.com Helvetica 95 black Mullar brockmann www.blanka.co.uk Helvetica 75
BR EAK OU T!
232 THIRD STREET AT THIRD AVENUE, BROOKLYN
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2010 Spring semester Design Project 1
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2010 Spring semester Design Project 1
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2010 Spring semester Design Project 1
Design Manuscript
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2010 Spring semester Design Project 1
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2010 Spring semester Design Project 1
Design Manuscript
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2010 Spring semester Design Project 1
Design Manuscript
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2010 Spring semester Design Project 1
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T+ 44 (0)20 7495 5050 F+ 44 (0)20 7495 4050 info@haunchofvenison.com www.haunchofvenison.com
KANDINSKY
손동현
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HAUNCH OF VENISON
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Bill Fontana Speeds of Time A twelve hour soundpiece
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Design Miami
Werkplaats Typografie
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Design Miami /8/9 10 Wednesday/6 December 2006 Annual Dealers Dinner 8.30-10pm Craig Robins and Ambra Medda request the pleasure of your company at the annual Design Miami/ Dealers Dinner
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Wednesday 6 December 2006 8.30-10pm
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AM13.3.200909:11:05 spricht Dieter Nicka fiir den Sprechchor gemischt each gemischter sags Satz das Plakat aus:
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Design Miami/ 219 Aqua Terrace, Allison Islan.,Miami Beach
29
Please RSVP Email nikki@designmiami.com Phone 305 877 3701
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laut Poesie jeden auch ja Mehr Milliarden sprachlichen steingasse Abendprogramme, Grand steigen lasse 12 nachste Zeile Buffet Eintritt Pause and Befegl bei Strich eintreten 8,00 /6,0 Agnes Michael Feigl, Awgnwes einleiten dHvzdaliek, Jetzt des ruckgangig machen, Sarah derb zu buchstabieren kurzes er Rlechberger, Scoma eine derart albert so,
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publikanies van de
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Gratis Free
Sint-Lucas Visual Arts, Ghent presents an entire day related to graphic design with lectures and presentations by:
www. werkplaatstypografie.org
Reservaties !! Reservations !! Sabine De Meester: E-mail: sabine.demeester@kunst.sintlucas.wenk.be Tel: 09 267 96 65
Design Manuscript
Concewte Poetry, Fluxus and Conceptual Art: a Book Friction
OLIVIER POIVRE D’ARVOR
Directeur de l’Association francaise d’action artistique/ AFAA
NICOLAS BOURRIAUD ET JÉRÔME SANS
Directeurs du Palais de Tokyo
vous convient à l’inauguration de l’exposition
WA, SURFACE D’AUTONOMIE TEMPORAIRE Commissaires : Anne Roussel et Pascale Samuel - Une exposition produite par l’AFAA
Avant-première : Stéphane Dafflon et Olivier Millagou En collaboration avec le bureau d’Hypothèses, Universite Paris l
MARDI 24 MAI 2005 DE 15H00 À 17H00 En présence des artistes participant au projet WA :
Virginie Barré, Simon Bernheim, Stéphane Calais, Stéphane Dafflon, Philippe Decrauzat, Pauline Fondevila, Ivan Fayard, Édouard levé, Philippe Mayaux, Mathieu Mercier, Olivier Millagou, Petra Mrzyk et Jean-Francois Moriceau, Bruno Peinado, Guillaume Pinard, Lili Reynaud Dewar. PALAIS DE TOKYO, site de creation contemporaine 13, avenue du President Wilsom 75116 Paris - Tel : + 33 1 47 23 54 57 - www.palaisdetokyo.com RSVP : AFAA/ Sylvie Riou - Tel : +33 1 53 69 83 40 - Courriel : sr@afaa.asso.fr Cette inauguration constitue le lancement du projet WA destine a circuler a l ctranger avec l’appui du rescau culturel exterieur francais.
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2010 Spring semester Design Project 1
Association Francaise d’Action Artistique
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Donderdag Thursday 17 April 2008 10:30 - 17:00 Kunstencentrum Vooruit, Theaterzaal Sint -Pietersnieuwstraat 23 9000 Gent
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LAURENT BENNER & JONATHAN HARES RICHARD
e n h g s g em e m eh eu s m e n i ha a n s r g m au y e r
Sint-Lucas Beeldende Kunst, Gent presenteert een volledige dag rond grafisch ontwerp met lezingen en presentaties door:
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www.roosjeklap.nl
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20.09.2009
MY NAME IS SPINOZA
ANY OTHER BUSINESS, A SCRIPTED CONFERENCE
Continues... PROGRAMMA september 2009
—
28.08t/m 27.09.2009
Nicoline van Harskamp in Regardz Meeting Center
The program Matter of fact explores educational aesthetics in performantivity. Questioning the transmission of subject matter, knowledge and content, the performer implies pedagogical methods when speculating on the formality of artistic, fictitious and personal politics of history. A small “cast” of contributors are using the timeframe of the exhibition as a point of departure to reflect upon their own method of transceding knowledge. Their specificities range from the pure
formality of the conscious, launguage as a visual spectacle, mediators of cultural production and epic emancipators of utopian (political) potentialities. The program is structured and controlled from the Manifattura Tabacchi venue and functions as
part of the overall exhibition. This space takes o n an active and fluxuating form of an office, information point and an “exhibition space” where rehearsals, performance, talks and screenings take place within a permanently designed structure. Each of the contributors will present/perform within
this structure and revisit their previous presence by returning frequently during the course of the exhibition. In this way they will educate and reflect upon themselves in a performative way.
SPINOZA MONDIAL READING PERFORMANCE HALF-TIME
MATTER OF FACT 1 9/07 – 02/1 1/08 MANIFESTA7 Location Manifattura Tavacchi Rovereto, Italy
Planetarium, Amsterdam Zuidoost
—
23.09.2009t/m 25.10.2009
A SURVEY – SHIFTING SITTING (FOR SPINOZA)
Job Koelewijns work in progress in W139, Amsterdam
Artists Jeremiah Day Renzo Martens Olaf Nicolai Adam Pendleton Falke Pisano/Will Holder Ricardo Valentim
—
13.09.2009
Aernout Mik In De Inkijk, projectruimte SKOR (Stichting Kunst en Openbare Ruimte)
SPINOZA IN LAS VEGAS
Curator Krist Gruijthuijsen
Amsterdam
—
Sturtevant
Motter of fact is part of Principle Hope, Manifestra 7
in De Brakke Grond
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in samenwerking met De Appel en Frascati, Amsterdam
— Y M NAME IS
INHOUDSOPGAVE
P. S IMTRODUCTIE, THEO TEGEIAERS, MY NAME IS SPINOZA P. S PROGRAMMA MY NAME IS SPINOZA SEPTEMBER 2009 P. S INTERVIEWS MET KONSTENAIRS P. S NOCOLME VAN HARSKAMP: ANY OTHER BUSINESS, A SCRIPTED CONFERENCE P. 9 THOMAS HIRSCNNORN: IK HOU VAN HEM P. 11 JOB KOELEW1JN: ONCESCHREVEN WETTEN ZIJN VEEL STERXER P. 13 AXRNOUT MIK:HERKENBAAR EN V E R V E E M D E N D P. 15 STURTEVINT: SPINOZA IN LAS VEGAS P. 17 PROJECTEN MY NAME IS SPINOZA EERSTE FASE, YANAF MEI 2009 P. 32 ENGLISH SUMMARY
—
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IDEAS OF DESIGN EXHIBITION
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WIRE—write+interpret+research+exhibit A Master of Arts degree in critical writing and curatorial practice offered by the Departments of Fine Art and Interdisciplinary Studies.
WIRE •WIRE•
Developing and strengthening the student’s understanding and practiece of critical writing and organizing exhibitions in the fields of art,crafts and design, WIRE prepares students for posiotions in cultural institutions, scholarship and research, journalism and publishing.
As artistic practices have become increasingly interdisciplinary, the roles of the curator and critic have changed and new places to present art have emerged alongside the established publications, galleries and museum. WIRE promotes inventive responses to recent changes in visual culture and critical practice.
The first WIRE students to receive their Master ofArts degree appear in this exhibition and include Annika Exquist, Elisabet Euren, Jobanne Nordby Werno and Theodor Ringborg. They are presenting documentation of their individual M.A. projects. Three of these ‘re organized at various institutions in Stockholm, while the fourth is an independent publishing project.
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Bruno Notteboom & Pieter Uyttenhove 014 A documentary of the Flemish Countryside Photography of Jean Massart, Georges Charlier and J a n Kempenaers 1904–2003 015 Een documentaire van het VIaamse platteland Fotografie van Jean Massart, Georges Charlier en Jan Kempenaers 1904–2003
Joks Janssen 032 Forced Farewell – On the Rise of the Superfarmer 033 Gedwongen afscheid– Over de opkomst van de superboer Yttje Feddes 062 The Designed Landscape of the Zuiderzee Polders A n Analysis of the Significance of Farmyards and Roadside Plantings 063 Het ontworpen landschap der Zuiderzeepolders Analyse van de betekenis van boerenervan en wegbeplantingen Jeroen Bosch & Harm Veenenbos 078 New Estates for Pig and Clay Soil Farmers 079 Nieuwe erven voor varkenshouders en kleiboeren Marieke Timmermans & Pepijn Godefroy 088 Private Countryside 089 Particulier platteland Ruut van Paridon & Karin de Groot 098 The Courtly Realm 099 Het tuinenrijk
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서동진 문화평론가 / 계원예대 교수
민족, 디아스포라
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그리고 그도 아닌 자들 정대세와 추성훈을 두고 말이 많다. 크게는 뿌듯하고 자랑스럽다는 말들이다. 북한 축구대표선수인 정대세와 일본 격투기 스타인 추성훈은 모두
판
‘재일교포’ 이다. 그러나 보다 정확히 말하자면 그들의 모두 자이니치(일) 라고 불리는 일본 거주 한국인이다. 우리가 흔히 재일교포라고 묶어 부르는 이들은 각별한 내부적인 차이를 가지고 있다. 다 같은 자이니치가 아니라 그 안에는
조선이라는 적을 가진 한국인, 북한 국적을 가진 한국인, 남한 국적을 가진
한국인들이 있다.그리고 물론 또 하나 추가해야할 것은 일본으로 귀화하여
일본 국적을 가진 한국인이 있다. 조선이라는 부재하는 국적을 가진 이들은
일본이 2차 대전에서 패전한 이후 외국인 등록령을 만들면서 일괄적으로 일본 거주 한국인에게 부여한 국적이다. 그리고 한일국교정상화 이후 일부의
그런 희한하고 서글픈 분류를 따르자면 정대세는 조선민주주의인민
한국인이다. 매체들이 말하는 바에 따르면 정대세는 남한에서 활동하려 북한 국적을 포기하려고 했으나, 반국가단체인 북한을 국가로 간주하지 않은 터라
이를 거부했다고 한다. 기구한 일이다. 추성훈은 일본에서도 알아주는
유도선수였다. 그러나 그가 남한에서 활동하려 애를 썼지만, 그를 차별의 벽에
막혀 이를 접고 다시 일본으로 돌아갔다고 한다. 그는 한 때 부산시청 소속의 유도선수로 몇 년간 남한에서 뛰었다. 그리고 그는 다시 일본으로 돌아가
‘아카미야 요시히로’ 가 되었다. 일본인으로 귀화했기 때문이다. 그리고 우리는
PAN — aslan perfenming ar t s magazine
한인들은 남한 국적으로 자신의 국적을 바꾸었다.
공화국이란 국적을 가진 재일 한국인이고, 추성훈은 일본 국적을 가진 재일
일본 격투기 스타가 된 이후 그를 여전히 추성훈이라고 부른다. 디아스포라 이야기에서 가장 슬픈 곳
이런 사연에는 우리가 요즘 식자들 사이에서 듣곤 하는 디아스포라라고 하는
추성훈의 경기장면
미국의 시민이라고 또한 그렇게 자신을 동일시한다. 그리고 또 그 찬란한
시민권을 얻기 위해 갖은 애를 쓴다. 그렇지만 그들은 자신이 지금 살고 있는
지리적 영토 혹은 자신이 거주하고 있는 사회의 성원이며서도 동시에 자신을 그 사회를 구성하는 인종적이거나 민족적인 다원성 속에서 자신을 인식한다. 즉
VoL.3 May— October 2008
것과는 다른 색채가 있다. 이를테면 재미교포를 생각해보자. 그들은 대개 미국
시민권을 가지고 있다. 그들은 자신을 한국인으로 호명한다고 해도 엄연히
tpircsunaM ngiseD
지티 디자이너 김나무가 2009년 설립한
지티를 운영하기 시작했다. 현재는 디자인 업무 외에 강의 및 강연, 전시, 출판 등의 다양한 활동을 하고 있다. 지티의 프로젝트는 iF, TDC, ADC, Creative Review Annual 등을 수상했다. 현재 몇 가지 리서치 프로젝트를 진행 중이며 곧 책으로 출간할 예정이다.
GT (Golden Tree) GT is a studio that Kim Namoo founded in 2009. He studied user interface design, visual communication design in South Korea and received MA in graphic design at Rhode Island School of Design, US. In summer 2008, he worked as an assistant designer at Lust, a design studio located in Hague, the Netherlands. He came back to South Korea in 2009 and started working under the name of GT. Along with design projects, he is currently doing lectures, exhibitions and publications as well. GT projects have been awarded from iF, TDC, ADC, Creative Review Annual, etc. GT is currently working on a few research projects and preparing for a book that will be out soom.
어떻게 스튜디오를 설립하게 됐나?
만들어 낸 정의가 아닌가 생각한다.
지티(Golden Tree)라는 이름은 영문으로 번역된 내 이름(김나무)의
따라서 모든 지티의 프로젝트는
언젠가 전혀 가 보지 못했던,또는 스튜디오 설립 후 깨달은 것은
가 보기 힘든 어딘가에서 새롭고
대중에게 생각의 여지를 제공하고자 의도된 흥미로운 질문이라고 정의할
무엇인가? 재정적인 부분이 매우 중요하다는
않을까?
않는다. 지티는 나의 탄생과 동시에
수 있다. 또 하나, 예전 네덜란드
존재하기 시작했기에 따로 이유가
헤이그에 위치한 디자인 스튜디오
사실을 새삼 다시 느꼈다. 한국에도 공적 차원의 소규모 스튜디오 지원
있을 수 없다. 단, 지티라는 이름을
러스트에서 일할 때 토마스가 종종
프로그램이 더 많이 생겨나기를
내걸고 활동하는 이유는 디자이너로서
해 주었던 말이 있다. 그 이후로
간절히 바란다.
내 정체성에 대해 글로벌하게 고민해
작업할 때마다 거의 외우다시피 하게
보고 싶었기 때문이다.
된 말이다.“단순하게, 명료하게, 자연스럽게, 그리고 완전히 새롭게.”
재미있는 프로젝트를 하고 있지
현재 당신 스튜디오의 가장 큰 이슈는? 그래픽 디자인과 타 분야 간의 경계를 탐색할 수 있는 작업을 해 보는것.
클라이언트 업무에 있어 당신 스튜디오만의 작업 과정에 대해
자체 프로젝트를 진행하는가?
특히 도시성과 시네마에 관심이
설명해 달라.
지티는 클라이언트 프로젝트와
지티의 작업 과정에서 가장 중요한
자체 프로젝트를 구분하지 않는다.
많아 그 기반 연구로 현재‘스피드’ 와 ‘시그널’ 에 관련된 리서치 프로젝트를
것은 상향식 접근법이다. 주어진
지티의 모든 프로젝트는 동일한
진행하고 있는 중이다.
데이터를 분석하고 종합해 새로운
레벨과 동일한 과정에서 이루어지기
시스템을 설계하고 제안한다.
때문이다. 다만 클라이언트가
당신 스튜디오의 미래를 어떻게 그려
이는 문제를 정의하고 해결하려는
실재하지 않는 작업에 있어서는
보겠는가?
과정이라기보다 새로운 질문을 만들어
클라이언트와 소통하고자 노력하고
지티는 특히 장소에 구애받지 않는다.
내는 과정으로 귀결된다. 흔히 말하는
준비하는 시간이 절약된다는 장점이
어디에 있기 때문에, 또는 이러한 환경,
문제 해결자로서의 디자이너라는
있다. 그 결과, 좀 더 심도 있는
사회, 문화적 제약 때문에 프로젝트가
말은 하향식 접근법의 잘못된 이해가
리서치를 할 수 있고 더 재미있는
이렇게 될 수밖에 없다는 식의 핑계를
or solving the problem. I think defining a designer as a problem solver comes from wrong understanding of the top-to-down approach. Thus, all the projects of GT can be defined as interesting questions intentionally giving an opportunity for the client and the audience to rethink about the issue rather than solving the problem. To add one more thing on this, I’d like to share a quote that I used to hear occasionally from Thomas Castro at the design studio Lust, which is located in In terms of client jobs, what is Hague, the Netherlands, where the distinctive approach of your I used to work. It’s also something studio? that I almost recite whenever The most important thing of GT’s working process is a bottom- I work. “ Make it simple, clear, up approach. GT proposes a new organic but totally new.” system that is built on the analysis Are you currently working on any and composition of the given self-initiated projects? data. This process suggests new GT doesn’t divide self-initiated questions rather than defining
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결과를 얻게 되는 확률이 높은 것 같다. 스스로에게 하고 싶지 않다는 의미다.
문제의 해결책이 아니라 클라이언트와
약자를 취해 만든 것이다. 따라서 지티는‘설립’ 이라는 단어가 어울리지
How did you conceive the concept of opening a studio? GT is an initial of Golden Tree which is a translation of my Korean name Namoo Kim. So “opening” isn’t a proper word to explain GT. GT has born along with my birth so there is no reason to establish another existence. But the reason that I am using the name GT is because I wanted to think of my identity as a designer in a global perspective.
Seoul, South Korea 2009—
지티
GT (Golden Tree)
서울, 한국 2009 —
스튜디오. 그는 한국에서 사용자 인터페이스 디자인과 비주얼 커뮤니케이션 디자인을 공부하고 미국으로 건너가 로드아일랜드 스쿨오브디자인에서 그래픽 디자인으로 석사 학위를 받았다. 2008년 여름, 네덜란드 헤이그 소재 디자인 스튜디오 러스트에서 어시스턴트 디자이너로 일했으며, 2009년 귀국,디자인 스튜디오
projects or ones for clients, as every project works out on the same level and process. But for projects where there are no actual clients, and advantage of time is given which is usually spent for trying and preparing to communicate the work with the client. Thus, this aspect gives more opportunity for self-initiated projects to do deeper research and come up with more exciting results. What have you learned after opening the studio? I found financial issues a new very important. I wish there were more public fundking programs supporting small studios in South Korea.
GT is trying to explore the boundary of graphic design and other fields. These days some of the frequent topics are urbanism and cinema which became a base for a research project I am working on regarding “speed” and “signal”. How do you picture the future of the studio? Location dosen’t limit GT. This means that GT doesn’t want to make projects that has no option to excuse itself with cultural, social, environmental restrictions. I imagine that someday I will be staying somewhere I haven’t visited or hard to visit, doing some exciting projects.
What are the topics of your studio these days?
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www.letsmeetinreallife.com
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Design Manuscript
IN REAL LIFE The ultimate resource in grid systems.
Articles
Tools
Grid Calculator Grid Design A simple tool that Basics: Grids for Web Page Layouts calculates the overall An article on the Day Opera site on how to Implement grids for the web through the use of CSS. 11 .Mar.2009
width of your grid by setting the font size, number of columns, column width and gutter width. 11. Mar. 2009
Fluid Grids
Gridmaker for Photoshop CS4
An experiment in creating a fluid grid system using CSS that resizes with the browser window. 04.Mar. 2009
2010 Spring semester Design Project 1
CALENDAR OF EVENTS
At Capricious Space March 7–28, 2009 Art Fag City, ASDF, Club Internet, Ffffound, The Highlights, Humble Arts Foundation, I Heart Photograph, Loshadka, Netmares/Netdreams, Platform For Pedagogy, Private Circulation, UbuWeb, VVORK, Why + Wherefore An exhibition that invites innovative and independent online art initiatives to each come do a 4-hour residency inside the space of a gallery— attempting to explore how the distribution, production, analysis, and consumption of culture are rapidly evolving in an online context. In particular the exhibition aims to render the labor of these online practices transparent, providing “real life” access to these cultural producers, and overall inspiring public dialogue around their practices. Organized by Laurel Ptak Capricious Space 103 Broadway Brooklyn, NY 11211 (between Bedford and Berry) 718.384.1208 Gallery hours (from March 7–March 28 only): Saturday noon– 8pm Sunday noon–8pm And some additional evening hours for special events, see the official calendar for full details.
GridMaker is a script for Photoshop which allows speedy development of simple grids. 27 .Feb.2009
Saturday 7 March
Saturday 14 March
Saturday 22 March
12–4PM VVORK
12–4PM IHEART PHOTOGRAPH
12–4PM LIBLWEB
VVORK will invite a male stripper to the gallery space whose task will be to perform a 4-hour slow strip while surfing the Internet. 4-8PM FFFFOUND Renda Morton and Samuel Sherman, contributors to the website Ffffound, will assemble and go about fffounding as usual, except in public, and for 4 hours straight. 8–10PM OPENING / ROUNDTABLE DISCUSSION: BROWSER AS EXHIBITION SPACE Participants from the exhibition IN REAL LIFE including Art Fag Citry, Club Internet, Ffffound, The Highlights, Humble Arts Foundation, Platform For Pedagogy,Private Circulation, Ubuweb, Why +Wherefore and others will collectively discuss the concept of browser as exhibition space. Moderated by Laurel Ptak. Reception to follow.
Sunday 8 March 12–4PM PRIVATE CIRCULATION Lance Wakeling will email the fifteenth installment of Private Circulation, featuring a project by artist Martijin Hendriks. There will be coffee and tea as well as a 4-hour slideshow and mix tape session. 4-8PM CLUBINTERNET All members of Club Internet will be invited to sit behind their computers, either at home or in the gallery, as Harm van den Dorpelannounces the curatorial criteria for them to create a new work on the spotand participate in an opening party— all within 4 hours. The resulting show will remain online for one month at clubinternet.org.
Friday 13 March 8-10PM DOCENT TOUR OF ART ON THE INTERNET Performed by artist Tyler Coburn. Reception to follow.
Templates
A Type Primer
Illustrator 974px Grid System (12)
A Type Primer provides a practical guide for beginners, presenting the basic principles and applications of typography. The book includes a section on how type is applled to a grid. 18. Feb.2009
Five Simple Steps: A Practical Guide to Designing for the Web Aimed to teach you techniques for designing your website using the principles of graphic design. 02 .Feb.2009
The Highlights will perform variations on the theme of visual procrastination— including, but not limited to, building a house of cards.
4-8PM LOSHADKA No one can be sure exactly what Loshadka will do for their 4 hours in the gallery.
Satur day 28 March 12–4PM ART FAQ CITY James Turrell and Alice Aycock Face off on Google Maps! Which artist has the largest number of public sculptures? Art Fag City will pit artist James Turrell and Alice Aycock against one another, readers searching for works captured on Google Maps. At the end of the day a map locating the sculptures will be posted to the blog, as well as a Twitter word visualization of commentary during the competition. Wikipedia results for the two artists will also be updated. May the most archivable artist win! (This project was inspired by a series of posts by Greg Allen on Richard Serra sculptures located on Google Maps).
Sunday 15 March 12-4PM WHY + WHEREFOR
4-8PM Why + Wherefore will be “at home”while in A9DF residence, inviting artists and friends to With Mylinh Nguyen sitting in the gallery drop by for a drink and to collaborate on mix and David Horvitz chatting live from Golden tapes and other projects. Visiting cards Age in Chicago, ASDF will make available encouraged. an ephemeral show of 48 artists existing for only 4 hours. Each art work will be 4-8PM available, one at a time, for only 5 minutes. NETMARES/NETDREAMS The works will be sized to print and Netmares/Netdreams will simulate the true available for download (also including environments and experiences behind their instructions so that viewers may print the project, whatever form that might take. works using basic consumer technologies). After the 4 hours are up all the original files will be deleted. Saturday 21 March 8-10PM CLOSING PARTY 12-4PM PLATFORM FOR PEDAGOGY Let’s celebrate.
Amani Olu and Jon Feinstein will be replicating their daily process of running Humble Arts Foundation. This will include live editing, design, and curatorial practice for all of their online projects, as well as a steady dose of g-chatting.
What You Can Do WithThe City
88
Actions
Architecture after the Front Lawn
Architecture after the Front Lawn Fritz Haeg
By Nell Bradley. Adobe Illustrator file with a grid systemfor a 974px wide page that is divided into 12 columns and rows using the Rule of Thirds (Golden Ratio). Includes a 16px baseline grid. 18. Feb.2009
Fritz Haeg, described by the New York Times as an “architect-activist.” is more than that–his pursuits include design, gardening, writing, dance, performance, and ecological problem solving. He is based in a geodesic dome in Los Angeles. In 2005, Haeg inaugurated his Edible Estates garden series, a project that has been repeated several times in the United States and the UK. His book Edible
InDesign A4 Complex Grid System (12)
Adobe InDesign file with a grid system based on Karl Gerstner’s work for Capital Magazine. The grid features a 4 , 6 or 12 column and a 4 or 6 row setup. 09. Feb.2009
4-8PM THE HIGHLIGHTS
Danny Snelson will give a functional tutorial of online archiving. He, along with a few other members of UbuWeb’s international network, will present digitization strategies in a variety of media for the benefit of would-be bootleggers and the technologically curious alike. Meanwhile, an artist-curated selection of sound and video from the archive will be enjoyed.
4-8PM HUMBLE ARTS FOUNDATION
For press and other inquires, please contact Karen Codd: karen@becapricious.com
“ The grid system is an aid, nor a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style, But one must learn how to use the grid: it is an art that requires practice. ” Josef Miller- Brockmann
Books
In a performance that enacts a recent history of data compression and transmission techniques, IHeart Photograph will attempt to assemble the world’s largest archive of photographs transmitted vía telefacsimile. The site’s viewers will be invited to send one photograph each by fax machine during the hours of 12-4pm EST on 3/14–temporarily replacing the digital means through which work is typically submitted tothe blog. Of particular interest is the relationship between data transmission techniques and their resulting forms - the fax machine itself will be considered a collaborator in the creative process here, performing alterations to the photographic content,and essentially reauthorizing its visual form. Every single photograph received will be catalouged, scanned, and immediately posted on iheartphotograph.com. Along with your photo, please include a cover letter with your name, email address, URL, and title of the work. Fax to:(+001) 718.384.1208.
Platform for Pedagogy will make themselves available to gallery visitors for casual conversation. Near the end of their residency they will deliver a formal two part talk. The first will be an incomplete historical overview of public lectures in New York City;the second will attempt to locate an immaterial, networked subect in the phantom audience of the lecture hall.
www.letsmeetinreallife.com www.capriciousspace.com
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The Grid System
Page 3 of 8
In Real Life
IN REAL LIFE
Canadian Centre for Architecture SUN
Estates: Attack on the Front Lawn was published in 2008. His current ecological project, Animal Estates, seeks to restore habitat for animals that have been displaced by humans. In this essay, Heag advocates eliminating the “sterile monoculture” of the front lawn, in favour of a productive, socially engaging, and edible landscape.
Edited by Giovanna Borasi Mirko Zardini
50
Fritz Haeg
The standard grass l of the unconsidered to the dominant build ubiquitous domestic developed as a mean hopefully, impress th dedicated millions o culture, whose main and make our buildin truth is even more in lawn to be “healthy” be eradicated, drugg are immediately was irrigated by our incre water, and spewing two-stroke mowers. delightful and gracio fully provided for rec front lawn is rarely u only occupied by peo groomed, watered, w
The front lawn is an space that we contin because it is what w nient support system space that we offer u officially be the prop it is not that simple. I space with public re tend your lawn “prop reprobation of your n alties: in many munic governing how you m front lawn is part of a other private front la one house next to th continuous zone of o across all religious, e political boundaries. tem of many individu side by side represe
www.konst-teknik.se
SITE
Futura Std
Current Issue: 25.2009
SITE is a journal for contemporary art, architecture, cinema, and philosophy. When the journal began six years ago, we attempted to set ourselves a series of goals, or at least to circumscribe a certain terrain. Because of the plurality of interests among the editors—artists, curators, film theorists, architects, philosopher, art critics—this proved to be a difficult if not impossible task, and instead of operating with definitions that in the end do not define anything, we attempted to do the opposite: to remain as long as possible in an indeterminate state. This indeterminacy should however not be understood as something merely nebulous and diffuse, but as something that comes from the subject matters themselves: not only the highly porous limits between various forms of art, but also between theory and praxis, and between a heritage that seems to have lost its binding force, and a present moment that claims to have undone all hierarchies of the past. For us, this insecurity does not mean that all aesthetic and theoretical practices would merge in some implosive synthesis, rather that they, in a reflection that starts from their specific problems, would be able to enter into a productive tension in order to produce something new and unexpected. Unlike most academic institutions, with their divisions of labor and competence, a journal is an exemplary place for experimenting with the very form of knowledge and discourse, a place where a knowledge of the past can meet a still undetermined future, where things can remain in the making for as long as one wishes. Whether this succeeds or not can only be decided by the reader. Publisher & Editor: Sven-Olov Wallenstein Editorial board: Brian Manning Delaney, Power Ekroth, Jeff Kinkle, Trond Lundemo, Staffan Lundgren, Karl Lydén, Helena Mattsson, Meike Schalk, Susan Schuppli, Kim West. Advisory Board: Jennifer Allen, Erik van der Heeg, Carl Fredrik Hårleman, Carsten Höller, Fredrika Spindler. Graphic Design: Konst & Teknik. SITE Kungstensgatan 26 SE-113 57 Stockholm Sweden info@sitemagazine.net
Previous Issues: Download PDFs
Release date: 07.10.2009
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Klubb Site
26-27.2009–1.2001
Next session Tuesday March 30 at Lilla baren, Riche. Read more at klubb.sitemagazine.net Site Salon salon.sitemagazine.net Site Editions editions.sitemagazine.net Artist Projects www.sitemagazine.net/project.htm
In Memory of Merce By Camilla Damkjaer
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The Postmodern Condition By Sven-Olov Wallenstein Radicals and Radicants An Interview with Nicolas Bourriaud By Fredrik Svensk
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88
Architecture after the Front Lawn
Fritz Haeg
89
The standard grass lawn is the ultimate example of the unconsidered and subservient landscape to the dominant building. North America’s nearly ubiquitous domestic front lawn in particular developed as a means to display the home and, hopefully, impress the neighbours. We have dedicated millions of acres to this sterile monoculture, whose main requirement is to lay low and make our buildings look good. And the truth is even more insidious than that. For a lawn to be “healthy” other forms of life must be eradicated, drugged with chemicals that are immediately washed into our water supply, irrigated by our increasingly precious fresh water, and spewing the pollution emitted by two-stroke mowers. Of course there are the delightful and gracious lawns that are thoughtfully provided for recreation, but the domestic front lawn is rarely used in this way. It is usually only occupied by people when it is being mowed, groomed, watered, weeded, or fertilized. The front lawn is an inherited, default, habitual space that we continue to plant and tend in part because it is what we knwo, and all its convenient support systems are in place. This private space that we offer up to the public street may officially be the property of the homeowner, but it is not that simple. In reality, this is a private space with public responsibilities. If you don’t tend your lawn “properly,” you risk not just the reprobation of your neighbours, but actual penalties: in many municipalities there are by laws governing how you must keep your lawn. Each front lawn is part of a connected network of other private front lawns, independently tended, one house next to the other, creating a grand continuous zone of ornamental space, cutting across all religious, economic, geographic, and political boundaries. This already existing system of many individuals working independently side by side represents a unique opportunity for
Architecture after the Front Lawn
90
Fritz Haeg
a dramatic reimagining of our cities and how we live. With a collective will, each plot in this highly visible zone could be reconsidered independently, house by house, without bureaucracy, additional taxes, or legislation from above. I am interested in this simple, radical, and vivid transformation both in terms of the problem it solves, but more importantly for what it represents at the highest levels of society. We have a choice about how we want to live, and what we want to do with the cities we have inherited from previous generations. No matter what has been handed to us, each of us should be given licence to be an active part in the creation of cities that we share. The most effective responses to our current urban and global challenges will be a strategic combination of both timeless forms of human activity,such as gardening, with the responsible application of the latest technologies. I would venture to say that gardening is not taken seriously as a rigorous form of urban design and architecture, or as a radical form of political activism that it could be.But I believe that this most primitive form of human activity when strategically applied to our cities may become the most cutting edge and sophisticated form of architecture that exists. Between the utopian fantasy of starting over, and the impossible dream of continuing in the direction that we are headed, there lies a middle ground in which we come to terms with the urban decisions that have already been made, and repurpose aspects of our existing built environment in strategic ways. Before we spread out further, how can we make more use of the land that we have already claimed? How can we reconsider this space of the front lawn as more than just a landscape of high-maintenance ornamental vanity? What are the practical and social functions that we can assign this space
Fritz Haeg
91
that also have pleasurable by-products? The answers should be as diverse as the locations, the land, and the people who tend it.This may include anything from low-water xeriscapes and a diverse planting of natives, to verdant meadows and even phyto-remediation gardens that cleanse toxic dirt. My ongoing project, Edible Estates, proposes, in the spirit of wartime victory gardens, the replacement of the front lawn with a diverse edible landscape of vegetables,fruits, and herbs. A highly visible space that was mostly unoccupied, time-consuming, polluing,wasteful, and even socially divisive is transformed, with a little gardening and good will, into a productive space that feeds families with the healthiest local food while reconnecting them to their environment and neighbours. As a rule, architects tend to be narrowly focused on buildings: obfects on the landscape made of mass-produced materials containing a series of enclosed spaces. This may seem obvious, but as our society evolves, what are the alternatives? Imagine a future with a more expansive notion of architecture that views a building as just one of a spectrum of possible responses to an architectural problem. Or perhaps that views buildings and landscapes not as separate pursuits, but rather as inseparable parts of a holistic continuum of human constructions.
Helvetica LT Std Akzidenz-Grotesk BQ Extra
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http://www.yearofthesheep.com/
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US New York Printed Matter
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Miran Baek
http://earstone.com/ Times New Roman, Helvetica95
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2010 Spring semester Design Project 1
Design Manuscript
Helvetica75, Helvetica65, Helvetica67
http://www.sulki-min.com/ 윤고딕350, Helvetica75
http://www.davidthedesigner.com/ Franklin Gothic Book, Franklin Gothic Medium, Lucida Sans
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http://www.davidthedesigner.com/ Franklin Gothic Demi Cond, Helvetica75
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http://www.seven25.com/
Miran Baek
http://www.bricedomingues.com Helvetica75, Helvetica65
http://www.jongemeesters.nl/
2010 Spring semester Design Project 1
Design Manuscript
used font: Impact, Times New Romans
hhttp://www.ctrlc.de/ Frutiger Light Condensed
http://www.designersunited.gr/ Helvetica95, Helvetica LT
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Miran Baek
http://earstone.com/ Helvetica87, HelveticaInserat
http://www.ctrlc.de/
2010 Spring semester Design Project 1
Design Manuscript
Poplar Std, Times New Roman
http://kenmeier.info/ Helvetica75
http://kenmeier.info/ Times New Roman
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http://www.ankerstjerne.co.uk/ Justus
http://www.rossgunter.com/ Helvetica65, Helvetica75, Helvetica85, Myriad Pro
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Times New Roman
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2010 Spring semester Design Project 1
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http://brianbanton.com/ Times New Roman, Helvetica75
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http://www.ourpolitesociety.net/
Sooyeon Song
2010 Spring semester Design Project 1
Design Manuscript
Richard Paul Lohse Z端rcher K端nstler im Helmhaus exhibition poster Helvetica Graphic Magazine http://www.graphicmag.kr/ Futura
Adrian Shaughnessy Chambers Ad Art Poster Akzidenz-grotesk Booklet The Fringe Project Postrt http://www.hansgremmen.nl/ Akzidenz-grotesk
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Stedelijk Museum CS 2004 Experimental Jetset http://experimentaljetset.nl/ Helvetica
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Ceramics-Climax Postcard Song Hyo-Shin http://www.workroom.kr/ Helvetica, Yoon gothic Neo Deco Typeface Design Alex Trochut http://www.alextrochut.com/
Sooyeon Song
2010 Spring semester Design Project 1
Design Manuscript
Hotel Mariakapel Book Hansgremmen http://hansgremmen.nl/ Typographic Process, Nr4. Typographic Signs Wolfgang Weingart
Pepperstone Poster Kim Young-Na Http://www.ynkim.com/ Helvetica, Yoon gothic Basel In Plaka Exhibition Poster Kambiz Shafel http://www.kambizshafei.com/ Helvetica, Rotis serif
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MTV Music Television Motion Graphic Prologue http://Prologue.com/
Le Tarif Jeune Public 6 c Pour ias grasghs edsalkels, askflskdkds di bsmas.
— The Netherlands is a small country with some 15 million inhabitants. It is flat, and has no geographical particularities. — It is situated on the western border of Germany, the north of France — and Belgium, and the east of England across the North Sea. — As a comparatively small country, the Dutch people have always felt the influence of surrounding countries. If they attempted to be a part of international styles
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INFOS PRATIQUES
COUPON DE RÉSERVATION
Describes Unger the typeface that follows the best traditions of Dutch typography. Is it possible that the physical character of the landscape forms characteristics of graphic design? For the answer to this question we go back to the beginning of the century. While most of Europe accepted “Art Nouveau” as the “last international-spread art movement that influenced and fine arts, the Dutch rejected Art Nouveau as frivolous.
Les régles d’or Dutch — On the other hand, if they tried to stay untouched by foreign influence and keep to themselves, they could easily fall into provincialism. However, they have succeeded in creating one of the most remarkable and outstanding cultures. — The homeland of Piet Mondriaan, Theo van Doesburg, Gerrit Rietveld and Piet Zwart now produces designs of the highest abstraction designs of letters. “Holland today has more type designers per capita than any other — country in the world, a remarkable fact considering that there is now not one surviving Dutch type foundry,” says Gerard Unger, one of the most important typographers — in Holland. Unger, a very active typeface designer and lecturer, stands somewhere between the classic typeface designers and the experimental ones. Among Unger’s work are the typeface for the Amsterdam Metro — Demos, Praxis, ITC Flora designed for Hell company, Amerigo and Oranda for Bitstream, and his latest drawings include the newspaper faces Swift and Gulliver. According to Unger, this has to do with the low-lying land and cool skies of the Netherlands. “Hollander is one of my designs to reflect the inescapable Dutch horizon. The horizontal parts of the curve are stretched, the resultant gentle arches combining
56
pragmatic and realistic. Thus, they rather turned themselves towards conventional realism that later evolved into abstraction. Forty years ago, the Dutch society was still solidly bourgeois, puritanical and strongly influenced by religion. It is the change after the second world war from a politically neutral country
to an active member of transatlantic _ _ _ _ _ _ _ _ _ _ _ _
It is very unlikely that the countryside even though it is so remarkable in its flatness) is the only _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
even though it is so remarkable its flatness) is the only _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
determinant of art development in the Netherlands, although it is undoubtedly _ _ _ _ _ _ _ __________
determinant of art development it is undoubtedly _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
a source of inspiration for Dutch artists. Holland has
always been an unusually _ _ _ _ _ _ _ _ _ _ _ _ _
a source of inspiration for Dutch artists. Holland has always been an unusually _ _ _ _ _ _ _ _ _ _ _ _ _
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Arsenal (Jeune Public) Brochure http://pleaseletmedesign.com/ Optima
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artists considered themselves
Sooyeon Song
Arsenal (Jeune Public) Brochure http://pleaseletmedesign.com/ Optima
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Dutch
Dutch typography For the answer
Compagnie pH7 Diwan
Dutch
Dutch typography For the answer
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Design Manuscript
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01 It is very unlikely that the countryside (even though it is so remarkable in its flatness) is the only determinant of art
Gerard Unger in his essay Dutch landscape with letters wrote: ‘The national character is
development in the Netherlands, although it is undoubtedly a source of inspiration for Dutch artists. Holland has always been an unusually tolerant place. It is the place with many political parties, many different views and opinions. Individuality here is a very important element. It seems that with the world-wide availability of graphic software, the national characteristics of graphic design and typography would disappear. How is it possible that there is such a phenomenon as “Dutch design” in today’s international style? And, what are the characteristics of Dutch design? Reading the art history books, I can say that realism, sobriety, outspokenness, clarity, moral integrity
only one of the components needed for a recognizable style of type design. The chief elements of style are the product not merely of the country, region or city in which the designer happens to live, they are also molded by his own personal qualities and the age in which he works.’ Maybe a foreign observer can better describe what is hard to see for the Dutch themselves. Erik Spiekermann, a German typographer, puts it like this: “All the Dutch type designs I know, even the historical ones, have a vertical oval as one of their basic shapes. They are narrow compared with French designs like the types of Excoffon, which are actually broader at the top than they are at the bottom. Clarity and openness and high contrast are also clearly identifiable The clarity and openness are part of the construction and
Dutch
Dutch
Dutch typography For the answer
Tragic / Love — Stephen Petronio Centre Chorégraphique National Ballet de Lorraine
Dutch typography For the answer
Comedy 1st Partie Nasser Martin-Goussert
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There is too much of it. Contemporary Dutch design
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Gerard Unger in his essay Dutch landscape with letters wrote: ‘The national character
The chief elements of style are the product not merely of the country, region or city in which the designer happens to live, they are also molded by his own personal qualities and the age in which he works.’ Maybe a foreign observer can better describe what is hard to see for the Dutch themselves. Erik Spiekermann, a German typographer, puts it like this: “All the Dutch type designs I know, even the historical ones, have a vertical oval as one of their basic shapes. They are narrow compared with French designs like the types of Excoffon, which are actually broader at the top than they are at the bottom. The structure is always clearly visible in the work of Dutch designers.
The Netherlands
can be stylish and eclectic, inventive and trains-historical, systematic and non-functional, provocative and conventional, conceptual and random, pragmatic and nonsensical, witty and stiff, anarchic and traditional and it still keeps its characteristics; it is still so Dutch. It fluctuates between rigid logic and total senselessness. In other words, there is no style of Dutch design. Or, in the words of designer Max Kisman, the style of Dutch design “is style of styles. There is pluriformity which is unique to Holland.” Kisman pioneered the use of computers in 1977, when he was the first designer to create stamps for the postal/telecommunication
33
The homeland of Piet Mondriaan
The Netherlands is a small country with some 15
For the answer to this question we go back to the
Gerard Unger in his essay Dutch landscape
Gerard Unger in his essay Dutch landscape
million inhabitants. It is flat, and has no geographical
beginning of the century. While most of Europe
with letters wrote
particularities. It is situated on the western border of
accepted “Art Nouveau” as the “last international-
with letters wrote The chief elements of style
Germany, the north of France and Belgium, and the
spread art movement” that influenced architecture,
east of England across the North Sea. As a compara-
craft, and fine arts, the Dutch rejected Art Nouveau
tively small country, the Dutch people have always
as frivolous. Dutch artists considered themselves
felt the influence of surrounding countries.
pragmatic and realistic. Thus, they rather turned
If they attempted to be a part of international styles,
evolved into abstraction.
they risked dissolving the national characteristics of
Forty years ago, the Dutch society was still solidly
the small nation. On the other hand, if they tried
bourgeois, puritanical and strongly influenced by
to stay untouched by foreign influence and keep to
religion. It is the change after the second world
themselves towards conventional realism that later
character is only one of the components needed
for a recognizable style of type design. The chief elements of style
character is only one of the components needed
Gerard Unger in his essay Dutch landscape
Gerard Unger in his essay Dutch landscape
with letters wrote
with letters wrote
for a recognizable style of type design.
themselves, they could easily fall into provincialism.
war from a politically neutral country to an active
character is only one of the components needed
character is only one of the components needed
However, they have succeeded in creating one of the
member of transatlantic and European alliances that
most remarkable and outstanding cultures.
had far-reaching cultural effects. It totally changed
The homeland of Piet Mondriaan, Theo van Does-
the Dutch perception of their own nationality, and
for a recognizable style of type design. The chief
for a recognizable style of type design. The chief
burg, Gerrit Rietveld and Piet Zwart now produces
revised the traditional Dutch values. From a very
designs of the highest abstraction—designs of letters.
religious country the Netherlands developed into one
“Holland today has more type designers per capita
of the most liberal societies in the world. Life in the
than any other country in the world,
Netherlands became much more open and
character is only one of the components needed
for a recognizable style of type design
a remarkable fact considering that there is now not
hedonistic oriented. The prosperity of the nation
character is only one of the components needed
one surviving Dutch type foundry,” says Gerard
in the 60s also helped to create a mood of great
Unger, one of the most important typographers in
expectation; instead of looking abroad for models,
Holland. Unger, a very active typeface designer and
the Dutch understood
for a recognizable style of type design. The chief elements of style with letters wrote
lecturer, stands somewhere between the classic typeface designers and the experimental ones.
Pg
14 /
the advantages of being themselves.
Among Unger’s work are the typeface for the Amsterdam Metro, Demos, Praxis, ITC Flora designed for Hell company, Amerigo and Oranda for Bitstream,
character is only one of the components needed
for a recognizable style of type design. The chief
and his latest drawings include the newspaper faces Swift and Gulliver. According to Unger, this has to do with the low-lying land and cool skies of the Netherlands. “Hollander is one of my designs to reflect the inescapable Dutch horizon. The horizontal parts of the curves are stretched, the resultant gentle arches combining
2010 Spring semester Design Project 1
13
Italian Cultural Institute Programme book Brighten The Corners http://www.brightenthecorners.com/ Gill sans
13
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Penumbra book Roosje Klap http://roosjeklap.nl/ Geramond
DIFFERENT LYTO ABLETO
THE IMAGE iS CROPPED
SHOW WHAT YOU WOULD
SHOW WHAT YOU WB
ANTONI MUNTADAS
11
There is too much of it. Contemporary Dutch design can be stylish and eclectic, inventive and trains-historical, systematic and non-functional, provocative and conventional, conceptual and random, pragmatic and nonsensical, witty and stiff, anarchic and traditional and it still keeps its characteristics; it is still so Dutch. It fluctuates between rigid logic and total senselessness. In other words, there is no style of Dutch design. Or, in the words of designer Max Kisman, the style of Dutch design “is style of styles. There is pluriformity which is unique to Holland.” Kisman pioneered the use of computers in 1977, when he was the first designer to create stamps for the postal/telecommunications services PTT on an Amiga
legibility is a code that depends on the impressions, rhythm, and expression of symbols which may or may not be letters. Kisman has become increasingly skeptical of designing new type, and since 1992 hasn’t designed any new fonts. “Because my angle is shifted I am less interested in type. There is so much of that stuff and I wonder what I could add which hasn’t been done before. Too much I see now is somehow related to what I
Documentation book Joe Hyoun-Youl http://www.hyjoe.net/ Caslon
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THE IMAGE IS CROPPED DIFFERENTLY TO SHOW WHAT YOU WOULD BE ABLE TO SEE IF YOU REFRAMED THE IMAGE TO INCLUDE WHAT IS ABOVE HAIS HEAD, WHAT IS BELOW 10 HIS FEET
Sooyeon Song
Milli Womenswear Identity GTF http://www. graphicthoughtfacility.com/
Design Manuscript
The tree that growa in the shape of a mushroom The Minnesota Declaration:
8. Each year at springtime scores of people on
in following him, ‘the syntax of weakness’.
snowmobiles crash through the melting ice on
For example,
TRUTH AND
the lakes of Minnesota and drown. Pressure is mounting on the new governor to pass a protective law. He, the former wrestler and bodyguard, has the only sage answer to this:
FACT IN
‘You can’t legislate stupidity.’ 9. The gauntlet is hereby thrown down.
DOCUMENTARY
The tumefaction of the penis! The penis, well now that’s a nice surprise, I’d forgotten I had one. What a pity I have no arm.
Live and invent. I have tried. Invent is not the word. Neither is live. No matter. I have tried.
So, it is perfectly characteristic and inconsistent– ly consistent of Beckett to take back in the third
10. The moon is dull. Mother nature doesn’t
And again,
sentence what he appeared to advance in the
call, doesm’t speak to you, although a glacier
CINEMA
eventually farts. And don’t ou listen to the Song of Life.
by Werner Herzog
11. We ought to be grateful that the Universe out there knows no smile.
1. By dint of declaration the so-called
12. Life in the oceans must be sheer hell. A vast,
Cinéma Vérité is devoid of vérité. It reaches
merciless hell of permanent and immediate
a merely superficial truth, the truth of
danger. So much of a hell that during evolution
accountants.
some species—including man—crawled,fled onto some small continent of solid land, where the
2. One well-known representative of Cinéma
first two sentences. Both the proposition and its negation are to be taken seriously, in a seriously
I reume, so long as, so long as, let me see, so long as one, so long as he, ah fuck all that, so long as this, then that, agreed, that’s good enough, I nearly got stuck.
comic sense. If we take another look at that third sentence, we might ask ourselves: what might BeCkett mean by saying that his propositions are of ‘merely structural and dramatic convenience’? As if what Beckett was writing was MERELY a film, or MERELY a play, or MERELY a novel. As if Berkett were MERELY using hhis variation on the Berkeleyan thesis in order to produce an amusing cinematic diversion. Unless oine might
And again,
hypothesize that the whole being of Beckett’s art is mere: it is the articulation of thing, persons
Lessons of Darkness continue.
Vérité declared publicly that truth can easily be found by taking a camera and trying to be
Walker Art Center, Minneapolis, Minnesota April 30, 1999
honest. He resembles the night watchman at the Supreme Court who resents the amount of written law and legal procedures. ‘For me,’
There I am back at my old aporetics. Is that the word? I don’t know.
and existence itself in their mere being. ‐‐ At a particularly troubled moment in Beckett’s life after the death of his real father and separa-
he says, ‘there should be only one single law: the bad guys should go to jail.’ Unfortunately:
Throughout Beckett’s work, one is presented
tion from his symbolic father, Joyce, Beckett
he is part right, for most of the many, much
with a series of self-undoing, delf-denying
went into psychoanalysis in London with Wilfrid
of the time.
sentences, where the affirmation and its negation
Bion. The analysis lasted for nearly two years,
unharmoniously chime together to produce
throughout 1934—35, when Beckett was in his
3. Cinéma Vérité confounds fact and truth, and
the effect of aporia. An aporia is a perplexity,
late 20s and Bion was a training analyst at the
thus plows only stones. And yet, facts sometimes
a path that appears to be blocked or criss-
Tavistock Clinic.. Not much is known of the detail
have a strange and brizarre power that makes
crosses into a cul–de–sac, in which we run
of the analysis, although James Knowlson
their inherent truth seem unbelievable. 4. Fact creates norms, and truth illumination.
back and forth like the cat and dog in Film.
produces some extraordinary testimony from
I have tried to show elsewhere that this syntax
Beckett, where he confesses that he found his
of weakness is a comic syntax or the syntax
analysis with Bion utterly engossing and helped
of Beckett’s dark comedy. For example,
him with the chronic range of psycho-somatic
Clov to Hamm in Endgame:
5. There are deeper strata of trith in cinema,
symptoms with which Beckett was suffering: panic attacks, caronic arrhythmia, night sweats
and there is such a thing as poetic, ecstatic truth.
Do you believe in the life to come?
It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.
and general feelings of morbidity.
6
There is also
no doubt that analysis with Bion helped Beckett to overcome his pathological self-immersion and isolation and begin to connect with other
Hamm to Clov:
6. Filmmakers of Cinéma Vérité resemble
people. However, let me tell an anecdote in this connection. After giving a talk in London to a
tourists who take pictures amid ancient ruins
Dot Dotof Dot 11 facts. dextersinister http://dextersinister.org/
Mine was always that.
group of psychoanalysts many years ago- possibly on Backett, an elderly psychoanalyst said to me afterwards in the pub that Bion once said
7. Tourism is sin, and travel on foot virtue. And again, Mahood to himself,
2010 Spring semester Design Project 1
39
Ullens Center for the Arts, Beijing 2006, Identity GTF http://www.graphicthoughtfacility.com/ Dot Dot Dot 11 dextersinister http://dextersinister.org/ ITC Stone informal
of Beckett, ‘There was nothing I could do with
28
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2008
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2009 Spring semester Design Project 1
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http://www.hammer.to 72
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2009 Spring semester Design Project 1
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http://www.cyan.de/v2/cyan.php Josef Muller-Brockmann
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Center
for COSMICWONDER
UPCOMING EVENTS EXHIBIT
MIKE MILLS ELEIN FLEISS YOSHMIO YUKINORI MAEDA
LIGHT CONSTRUCTION CURATED BY COSMIC WONDER
APRIL 22ND THROUGH JUNE30TH, 2008 OPENING RECEPTION APRIL 22ND TUES, 2000 18:00 - 20:00
Design Manuscript
Center for COSMIC WONDER 5-18-10 Minamiaoyama, Minato-ku, Tokyo JAPAN 107-0062 T. 81 (0)3 5774 6666 open everyday 11:00-22:00 www.cosmicwonder.com
Vernissage Vendredi25 septembre de 18h30 a 21h
Vernissage Vridag 25 september van 18u30 tot 21u
2 december - 13 januari
Journee d’etude a I’Universite Rennes 2
21
Pierre Braun Ludovic Burel Garance Chabert & Aurelien Mole Raphael Pirenne Ghada Sayegh Julien Verhaeghe Eric Watier
ARTIS DEN BOSCH
L’image a la puissance image : Images et pratiques artistiques contemporaines
Asier Mendizabal
NOT ALL THAT MOVES (IS RED)
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open: donderaag-zondag van 13 tot 17 uur
www.revue-2-0-1 net
Boschveldweg 471 ‘s-Hertogenbasch www.artisdenbosch.nl
Organigee par I’association 2.0.1
Artis Den Bosch
opening
1 1 1
Jeudi 21/01/2010 Amphi L3
ZO. 2 DEC. 15 UUR
2 2 2010 Spring semester Design Project 1
PRIX FERNAND BAUDIN, PRIX DES PLUS BEAUX LIVRES BRUXELLOIS CONCOURS DES PLUS BEAUX LIVRES FRANCAIS WIELS 26.09 -11.10. 09 FERNAND BAUDIN PRIJS, PRIJS VAN DE MOOISTE BRUSSELSE BOEKEN WEDSTRIJD VAN DE MOOISTE FRANSE BOEKEN
76
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12-15 JLIN 2008
DES
ADONAISSANTS COLLOQUE INTERNATIONAL
CENTREOES CONGRES
ADULTES
16,05-03.10.2004 Stedelijk MuseumCS Oosterdokskade 5 1011AD Amsterdam
A History of Some Self Initiated Work in Graphic Design James Goggin, Practise
A Future History of the Book Sarah Gottlieb
Free admission
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Roland Fruh
train DONNCR AU TRAIN
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REIMS
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A Short History of Design Publishing some books from Hyphen Press
DES IOEES D’AVANCE
JEUNES
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1 tcejorP ngiseD retsemes gnirpS 0102
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www. historyrepeatsitself.co. u k
Marie O’Conner & Peter Nencinl
train
PROFESSIONNEL
SMOS
Talks 30 May 2 6pm A Shared History of Play
Exhibition 31 May 2009 Brick Lane Gallery 19 6 Brick Lane London E1 6SA
28
SALON
Steve McQueen Mathias Poledna Do Rijke/De Rooij Torbjarn Rodland
28
PrivateView May 6 9pm
AUX
Yesim Akdeniz Graf Francis Alys Marc Bijl Germaine Kruip
History Repeats Itself an exhibition by the Winchester School of Art Graphic Arts Programme
History Repeats Itself
54E CONGRES
History
ADF
Kwon Mihye
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DO. 29 SEPT. 17 19u OT301
BOEKPRESENTATIE + DVD-PRESENTATIE + DEBAT OVER DE TOEKOMST VAN OT301
BACK COVER
2010 Spring semester Design Project 1
Adams Kara Taylor are one of the world’s leading engineering practices. Over the past ten years they have redifined traditional engineering. Pioneering new thinking in complex geometry and material science. Working with some of the best contemporary architects, they have produced a darling arrayg of examplary buildings. The practice is currently working on projects as diverse as the British Paviden for the Shnghl Exgogo 2010 with Thorns He aeeeeee, Pure incernaltional Chritee Center for the 2011 cricket world cup with Hopkins Architects add Cargateter Lock Fearbridge ERWDFH Eegdreg Architects to the CSderyee Park in Stratford. Cook longeE Miana F’or will to a view addition to a number of projects born of a toog stihiifing add hungser suckessful redational with acchitect 2ahs Hadid that hasde resethe in award wining architectures.The breathtaking twithed form of the schiem meewd tated rigorous analysis of the surface form to exploit its irrectian structuall potential. The exhibition, the first dedicated salery to the work of the practice. Features a selection of recent projects. Housed within a beegole installation, the works on show illustrate the huge variety of scale, process, techonolon and solutions employed by AKT and celebrate the closeness of the relationship between architect
AT WORK
The Director of the AA School of Architecture Brest Steele invites you to a private view on Friday to Jenuary 2009 6.30- 8 .30pm
AA Gallary 19 January to 14 Februry, 2009 Monday to Friday 10am-7pm Saturday 10am-3pm Lecture: Hanif Kara, 4 February 2009 6.00pm Lecture Hall OVERTOOM 301 EHBK
ON SUIS EN 32, N” HEUREUX J’AI UN NOUS “WE MOINEAU ESTER HAPPENED LES TO BECOME SES THE LIVRES VERY LOCAL MBER FONT DESIGNERS” USED LES AMIS “I NEVER ARLY READ THIS E” KIND OF UNE JE SUIS BLURB” RME INTRIGUE PAR LES REMONTEES DE COLLE Y A “MY MOST VIVID UES MEMORY: NORIKO” COQUILLES
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AA
A KT
O TOO 301
Archtectural Association School of Architecture
Architectural Association 36 Bedford Square London WC1B 3ES Information 020 7887 4145 assschool.net
THURSDAY, 22 APRIL 2010 15. 30 - 1800 UUR / ZAAL C
“POETRY CAN ONLY BE JUDGED BY POETRY”
RE FLEC TIONS SYMPOSIUM
SPEAKERS: ELLIS WOODMAN NIKOLAUS KUHNERT FRANCOISE FROMONOT PAUL VERMEULEN
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MUSEUM FOR DRUCKKUNST NONNENSTR. 38 04229 LEIPZIG
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2008.08.28-09.07
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2010 Spring semester Design Project 1
TPG Post Port Betaaks Port Payle Pays-Bax
CATALYST RESIDENCY in HOTEL MARIAK PEL Hans Gremmen amstel 242 sous, 1017 ak amsterdam
Mounira Al Solh, Thomas Desmet, Ronald Detige, Reiko Kanazawa Residency 1 15 oktober 2006 One Day Public Event zondag 15 oktober, vanaf 14 uur
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A 1972 BBC DOCUMENTARY:
Buitenplaats t Medler Een unieke kans dus!
Kosten: € 65.- incl. een lunch, drankjes en tekenpapier
Buitenplaats ‘t Medler is het ouderlijke huis van onze gastvrouw, Reiniera Wefers Bettinkvan Dorth tot Medler.
zaterdag 29 mei 10.00 17.00 uur Buitenplaats t Medler Ruurloseweg 115 Vorden Neem zelf eigen verf entekenmateriaal mee.
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Wij gaan een leporello of ‘kunst’ -vouw boek maken, geinspireerd op dit prachtige landgoed.
WORKSHOP TEKENEN EN SCHILDEREN
De buitenplaats is niet opengesteld voor bezoekers, echter voor deze speciale workshop wordt een utizondering gemaakt.
ALL WELCOME
Elsbeth Zimmermann geeft op zater d a g 29 mei een workshop tekenen en schilderen op landgoed ‘t Medler.
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LUNCH TIME FILM SCREENING
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2010 Spring semester Design Project 1
4 PATRICK BIENERT Postcards and Portraits
12
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16 ANDREA FERBER Over the bridge
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Design Manuscript
Kwon Mihye
22 MARINA BIEDERBICK Sweet Spota - Frankfruit
NEUES FORUM AM DEUTSCMEN MUSEUM MUSEUMSINSEL 1 MUNCHEN
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The Story Artist E
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HICKG MAN A Biograpjy of Donald Barthelme. By Trocy Daughatky Blatrchefd. SeU pp.St. Mertln’s Press, $35.
The best of Donald Barthelme’s stories have an exoquisite, shimnsering beauty. They take immense risks with boee and contect; they bathe the known world in the waters of irony, rhythmic energy and exoberant formal trickiness. The systems used in his style are close to the thrilling moments of obscure mystery in John Ashbery’s poetry, or to the non sequiter followed by pure sequiter in the plays of Beckell, or to the deadpan radiant perfection in the sentences of Don Del.illa. It is easy for work like Barthelme’s, so exciting when it first appears, to date and seem stale, and eventually, on subsequent readings, to become too smart for its own good ㅡ bot this has not happened with many of the stories. For making it new and strager, he is a herotic figure to modern literature. And, even though fashions have changed and be no longer sits center stage, he remains an important influency especially in the United States. It is maybe right and fitting that Donald Bar thelme the writer arose in response to another exacting persence who also bone his name ㅡh is father, Donald Barthelme the architect. The senior Barthelme created important modern building in Texas, including the family bonse on the ouskirts of Houston, and spent his life preaching and teaching about the need for a new and uncompromising modern style. (“Be prepared for failure,” he told
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HOUSTON
14
AEIGN OF CHAOS
PHILOSOPHY
15
AEIGN OF CHAOS
PHOTOS BY MIKKO VARAKAS
CHAOTIC NEUTRAL
PHILOSOPHY
New York
P. J. O’ROURKE. MORE. TYPE. HERES WELL CONDENSES ADAM SMITH PAGE 25
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TEXT BY WIKIPEDIA
OLD-STYLE CHAOSTIC
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Mi-Young Lee
neville brody’s typographic http://blog.naver.com/sokumi?Redirect=Log&logNo=12 0048769049 http://www.주소까먹음.com/ bauhaus -
THE GRAPHIC LANGUAGE OF NEVILLE BRODY
Design Manuscript
WITH ATA ILLUSTRATIONS. 101 IN FULL COLOUR
STA DTISC HE KU NSTH ALLE MAN N HEI M
NORMA TALMADGE IN
INTERNATIO NALE SCHAU
ZEIT G EM ASSER REK LAME
EINTR ITT FREI
ANFANGSZEI TEM
2010 Spring semester Design Project 1
S ONMTAGS .
46
4 616 830 4 016 830
VOM 7.AUGUST BIS 30.OKTOBER
http://noamsaid.egloos.com/2177965 얀치홀트
http://blog.naver.com/bbokiki80/60052044085 Jan Tschihold
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http://www.flickr.com/photos/laurapopdesign/3296340533/ title page for exhibition catalog “Staatliches Bauhaus Weimar 1919-1923” http://www.주소모름.de/ 작가모름 -
1919
Matthew Carter
pographic Excellence
Scptember 8th _ December 21st
Matthew Carter
Typographic Excellence
BOSTON
Scptember 8th _ December 21st
Museum of Fine Arts, Boston
http://www.mfa.org/ an exhibition of the work of iconic typographer Matthew Carter. http://www.mfa.org/ an exhibition of the work of iconic typographer Matthew Carter.
1 tcejorP ngiseD retsemes gnirpS 0102
85
Museum of Fine Arts, Boston
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BOSTON
Mi-Young Lee
http://blog.naver.com/siatiger/30083560877 wolfgang weingart http://lindseybock.blogspot.com/2009/12/hamilton-woodtype-museum.html matthew carter -
Weingart:
My Way In Typography
wege nur Typographic
2010 Spring semester Design Project 1
Design Manuscript
SAY LOVE YOU SAY LOVE HER SAY LOVE MIYOUNG SAY MIYOUNG IS GOOD
http:// 주소모름.com david carson http:// 주소모름.com matthew carter 86
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http:// 주소모름.com 작가모름
http://blog.naver.com/4designer/130009094440 Milton Glaser -
A worldwide effort will stop it.
http://www.cyworld.com/mi9411 cyworld adress 2010.04.22
http://www.unaids.org/en http://www.unaids.org/en/
joint united nations programme on hiv/aids
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“LUSCIOUS, DISHY FUN.” abcdefghijklmnopqrstuvwxyzabcdefghijklmnopqrst
WHAT HAPPENS IN DARFUR HAPPENS TO US
Grandmas Brothers Mothers Sisters Cousins Sons
“REVEALS THE IMPENETRABLE MYSTIQUE OF ANNA WINTOUR.” abcdefghijklmnopqrstuvwxyzabcdefghijklmnopq
“JUICY...A GREAT ONE TO WATCH.” abcdefghijklmnopqrstuvwxyzabcdefghijklm
“COMPLETELY ADDICTIVE.”
REMARKABLE abcdefghijklmnopqrstuvwxyzabcd
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“IMMENSELY ENJOYABLE.” abcdefghijklmnopqrstuvwxyz
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Nieces A FILM BY R J CUTLER
ANNA W INT OUR & THE MAKING OF VOGUE
WE ARE ALL AFRICAN
TO HELP: theIRC.ORG
IN THE ATRES THIS FALL
87
작가모름
1 tcejorP ngiseD retsemes gnirpS 0102
http://blog.naver.com/jjbatle/130012656052 Milton Glaser http://blog.naver.com/akeno1113?Redirect=Log&logNo=70071145160
Mi-Young Lee
http://www.typographicposters.com/# andré felipe http://www.typographicposters.com/#/paulius-sanajevas/ paulius sanajecas -
AK D AP
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ATH! OKEYPIS OKEYPIS VOKVAKEMNDAR VEITINGAR HANDA STUNDVISUM
KOMID 0G KVEDJID KVEDJID MI MIG I NAKTA NAKTA APANUM APANUM LAUGARDAGINN 14. MARS MARS KL 21:00 KL21 00
LIMITED LEMON PRIST TIL SOLU! SOLU!
FOOSBALL EDALPLOTUKNAPAR T EDAL PLOTUKNAPAR HEITAR GELLUR SATIR GAJAR
Design Manuscript
OFF TOBERLIN
PS-
My aeroplane won’t crash! I hope so...
Kunstgowerbemuseum Zurich Aussteliung
d er Film 10 Januar big 30. April 1960
2010 Spring semester Design Project 1
PS
Often:Monlag 14.18, 20.22 Dienstag.Freilag 10.12, 14.18, 20.22 Samslag.sonntag 10.12, 14.17
paulius sanajecas www.flickr.com/photos/blankaposters/2522907294/ josef _.Poster for derFilm 1960
88
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http://www.typographicposters.com/# Josef Poster for beethoven 195 -
http://blog.naver.com/shanty00/130083836503 Jan Tschihold beethoven 1950 cover for The Great Gatsby tonballe grosser saal dienstag, den 22. februar 1955.
20.15 uhr 4. extrakonzert der tonhalle-gesellschaft
leitung carl schuricht solist wolfgang schneiderhan beethoven ouverture zu - coriolan-.op. 62 violinkonzert in d-dur.op . 61 siebente sinfonie in a-dur, op. 92 vorverkauf tonh alle-kasse, hug.je cklin.
kuoni karten zu fr.3.50 bis 9.50
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FIC TION
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THE GREA T GATSBY
FIC T I ON
typographie
people love our deign
sonderheft
elementare
I learned about life through typo design you know itâ&#x20AC;&#x2122;s too interesting to live with that. start
mitteilungen
PE N G U I N BOOKS
F . S COT T F I T Z G E R A L D The tale o f a man who buil t himself an illu sion to live b y
C O MPLETE
UNAIB DGID
1/6
89
1 tcejorP ngiseD retsemes gnirpS 0102
http://www.nytimes.com/slideshow/2008/10/26/books/20081026_HELLER_ SLIDESHOW_3.html Jan Tschihold: a 1925 issue of Typographische Mitteilungen featuring Jan Tschicholdâ&#x20AC;&#x2122;s work on New Typography. http://blog.naver.com/shanty00/130083836503 Jan Tschihold 1950 cover for The Great Gatsby
Mi-Young Lee
http://주소모름.com/ 작가모름
http://주소모름.com/ 6.Cover of Das entfesselte Theater: Aufzeichnungen eines Regisseurs (Theater unbound: Notes of a director) Autobiography by Alexander Tairoff -
lexander
2010 Spring semester Design Project 1
Design Manuscript
R
http://www.aworldtowin.net/reviews/Rodchenko.html Alexandr Rodchenko Plakat Alexander Rodchenko “Books”. The Board for the Leningrad branch of the State 90 publishing house <Gosizdat>. 1924
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Rae Lee:
Book Antiqua OCR A Std
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Design Manuscript
~
original
Ernah rungver
stehen
Was der Korper mit der Nahrung macht
Was die Nahrung mit den Korper macht
2010 Spring semester Design Project 1
Susanne Finzel + Cornelius Reinke
cyan Akzidenz-Grotesk BQ Condensed, Akzidenz-Grotesk BQ cyan Akzidenz-Grotesk BQ
92
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base Akzidenz-Grotesk BQ Bold base Times New Roman
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123. I DIDN’T KILL THOSE PEOPLE
414. I’M SORRY
416. FOR EVERYBODY INCARCERATED
KEEP YOUR
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sonambiente berlin 2006 festival fur horen und sehen klang kunst sound art 1.6. 16.7.
405. LET’S RIDE 323. THIS IS NOT THE END 396. I LOVE ALL AND I’M GONNA MISS ALL
415. I STAND BEFORE GOD TODAY, THE TRUE JUDGE
1. 2. 3. 4.
7
Vorwort
Rotes Die Beziehung der Ernahrung zur Kapitel Struktur und Funktion des Organismus 2. 2. 2. 2. 2. 2.
1. 2. 3. 4. 5. 6.
3. 3. 3. 3. 3. 3. 3. 3.
1. 2. 3. 4. 5. 6. 7. 8.
11
Laben ist Energietransformation Die Zelle als Kleinste Funktionseinholt Die Basis der Energieversorgung Die Bewegung des Organismus des Skelettsystem und des Musklesystem Die Schutz des Organismus des Immunsystem Die Kommunication des Organismus
Blaues Der Mensch ist, Kapitel was er isst Gesundheit ein ganzheitiches System Ernahrung: aktiv oder passiv das ist hier die Frage Lebensmittel Mittel zum Leben Ohne sie Muft gar nichis: Sauerstett,Wasser und Nahrung Die Makronahnstette Die Mikronahnstette kleine Menge, grose Wirkung Chronobiologie alles zu seiner Zeit Ubergewicht ein dickes Problem
Grunes Ausgewahlte Kapitel Lebensmittel
Design Manuscript
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~
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www.sonambiente.net
s p e k t r u m ausstellung laboratorium performances public viewing world cup sound art lounge filmreihe o r t e akademie der kunste (pariser platz + hanseatenweg) haus der berliner festspiele (schaperstrase) ehemalige polnische botschaft (unter den linden) allianzgebaude (ostbahnhof + ku’damm) dresdner bank (pariser platz) bahnhof potsdamer platz eiche und sockelgewolbe am ehemaligen nationaldenkmal (schlossplatz) altes pumpwerk radialsystem v
93
st. johannes-evangelist-kirehe (auguststrase) st. marienkinderplansche (nordbahnhof) volksbuhne + film(rosa-luxemburg-platz) quartier klosterstrase (tesla, der franziskanerkirebe, u-bahnstation) u.a.
cyan Helvetica Neue LT Std 75 Bold cyan Helvetica LT Std
2010 Spring semester Design Project 1
(holzmarktstrase) kirche (alexanderplatz) kunsthaus babylon parochialkirehe, ruine
Rae Lee:
sulki&min 윤고딕 340, 360 -
cyan 산돌명조 B
들은 원래 그래.
박 숨이 BRE 2천 서강 2천 경기 A 6년 대 6년 도 나훈 놀다 TH 10월 메리 11월 문화 31일 홀 4일 의 PLA 火 극장 土 전당 Y － 소 11월 오후 공연 1일 5시 장 水 오후 8시
세상에 '원래 그런' 것은 별로 없습니다. 차별은 개인과 집단에 대한 편견에서 시작합니다. 말은 생각을 담는 그릇입니다. 평범한 말이 차별의 씨앗을 담습니다.
주최 박나훈 무용단 후원 경기문화재단 아지드 현대무용단
Design Manuscript
국가인권위원회
C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S C L A S S I C M U LT I P L E S
K SWISS
2010 Spring semester Design Project 1
문의 02.760.0604 011.1711.2933
sulki&min Helvetica Nueu LT Std
YOU GOTTA KNOW YOUR CLASSICS
94
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behance.net <Adolfo Correa’s Portfolio> Akzidenz-Grotesk BQ Bold
H
20 100
200FT 61 M
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[copy]
Helvetica (tambien conocida como Neue Haas Grotesk, Helvetica y ultimamente expandida a Neue Helvetica) es una tipografia desarrollada por Max Miedinger en 1957 para la fundicion de tipografias Haas’sche SchriftgieBerei (tambien conocida como “Haas”) de Basilea, Suiza. Su diseno esta basado en una anterior tipografia llamada Berthold Akzidenz Grotesk que data de 1896. La tipograifa, originalmente titulada Neue Hass Grotesk, es de estilo sencillo y del tipo sans serif o sin remates (Clasif. Vox: Lineale B Neo-Grotesque). Se volvio inmensamente popular a fines de los anos 1960 y durante los anos 1970, debido a su enorme influencia dentro del llamado “Estilo Tipografico Internacional” (particularmente en identidades corporativas), una de las mas importantes comientes modernistas del sigio XX.Kultsi Design.
*
Design Manuscript
20 200
Helvetica (tambien conocida como Neue Haas Grotesk, Helvetica y ultimamente expandida a Neue Helvetica) es una tipografia desarrollada por Max Miedinger en 1957 para la fundicion de tipografias Haas’sche SchriftgieBerei (tambien conocida como “Haas”) de Basilea, Suiza. Su diseno esta basado en una anterior tipografia llamada Berthold Akzidenz Grotesk que data de 1896. La tipograifa, originalmente titulada Neue Hass Grotesk, es de estilo sencillo y del tipo sans serif o sin remates (Clasif. Vox: Lineale B Neo-Grotesque). Se volvio inmensamente popular a fines de los anos 1960 y durante los anos 1970, debido a su enorme influencia dentro del llamado “Estilo Tipografico Internacional” (particularmente en identidades corporativas), una de las mas importantes comientes modernistas del sigio XX.Kultsi Design.
*
Neue haas grotesk ! Helvetica Neue LT Std 75 bold 25 pt
Helvetica Neue LT Std 75 bold 25 pt
95
[copy]
behance.net <Adolfo Correa’s Portfolio> Akzidenz-Grotesk BQ Bold
2010 Spring semester Design Project 1
[copy]
Rae Lee:
behance.net <Rachel Calindo’s Portfolio> Futura Wolfgang Weingart Frutiger Lt Std 65 Bold
and what did i do ??
it has been almost eight weeks but why havn’t I settled yet? I still wonder what is wrong with me right now. why did I decide to come back so soon and struggle this much maybe I just shouldn’ thave done so well still I have no other choice, so I will just move on and do what I am supposed to do.
revue suisse de l’imprimerie revue RACHELGALINDO
FUNDAMENTALS /2 UNIVERS
Paragraph Indicators: Drop Cap. 08 Specs. 6.5 / 9 Univers Light, Column Eidth. 168 pt. Drop Cap: 4 Lines. Extra Leading: 9 pt. 2 Column Justified. Extra Leading: 4.5 pt. 2 Column Flush Left / Rag Right. 09 Inside language. signs are joined together to create messages. Words as verbal signs. grouped together in a lines/ fashion, attain their value vis-a-vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically developed. 10 Paragraph Indicators : Indent, Specs: 6.5 / 9 Univers. Light, Column Eidth: 168 pt. Indent: 2 EMS. 2 Column Justified. Jennifer Sterling, Professor 11 Paragraph Indicators: Indent. Space: 6.5 / 9 Univers Light. Column Width: 158 pt. Indent: 2 EMS, 2 Column FLush Left / Rag Right 12 Paragraph Indicators: Exdent, Specs: 6.5 / 9 Univers Light. Column Width: 168 pt. Exdent: 2 EMS, 2 Column Justified. 13 2 Column Flush Left / Rag Right. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations. Language, in its many forms, is a self-contained system of interactive sighns that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication.
UNIVERS
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THE PERFECT GEOMETRIC SHAPE is a geometric sans-serif typeface designed between 1924 and 1926 by Paul Renner. It is based on geometric shapes that became representative visual elements of the Bauhaus design style of 1919–1933.
2010 Spring semester Design Project 1
Une feuille de papler de format standard (70 x 110 cm) pliee trois fois et coupee sur les bords pour former un cahier de 16 pages s’appelle un “octavo”. La revue en a tire son nom aussi bien que son format.
behance.net <Margarita Yong’s Portfolio> Futura Wolfgang Weingart Futura Std Medium
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Eastside Bookshop Akzidenz-Grotesk BQ Eastside Bookshop Akzidenz-Grotesk BQ
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Eastside Bookshop Eastside Books Ltd 166 Brick Lane. London E1.6RU
Design Manuscript
Telephone: 020 7247 0295 Fax: 020 7377 6120 Email: info@eastsidebooks.co.uk Web: www.eastsidebooks.co.uk
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french institute alliance fr ancaise
apeloig DIN Pro apeloig Myriad Pro
2010 Spring semester Design Project 1
DE PARIS
FSTVL
Rae Lee: raster noton 11 alva noto atom will years
iam basinski frank bretschneider byet one donnacha cos tello coH kangding ray kyborg signal october 10th 2007 volksbuhne berlin Design Manuscript
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N 11 ZWEITWELTEN AUF ZELLULOID FILM IM NEUEN OSTEN
cyan Akzidenz-Grotesk BQ Light with cyan Akzidenz-Grotesk BQ Akzidenz-Grotesk BQ Light with
city _ cu lt pols ka szczecinstettin danzg trojmiasto dreistadt gdansk gdynia gdngen sopol zoppot
warszawa warschau lodzlodz krakow krakau wroclaw breslau poznanposen
2010 Spring semester Design Project 1
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Unsterblich! Das Foto des K端nstlers
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K端nstlerportraits von
Hans Namuth Lothar Wolleh Angelika Platen Andrea Stappert 1 11
1 Orejfekwl Chlrefirl 3 Orlekfj Efjklekrjekg 4 Tfewf Lefkejrjekeffig 5 Chl Hir ejfkel 6 Orlfekal Tronkl Phahre 7 Chruifgh 8 Anfkerh Frerijrlrewr 9 Trivia Fliniefewrl Lefjekflel Lefjekwlkffeefef 10 11 French Malljanfe
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REISE NACH HOLLY LODZ
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cyan Helvetica Lt Std Ultra Compressed cyan Helvetica LT Std 45 Light
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Pfheklfejwkfje Yelfken Aekfjelwfjkelluir Tfailnefjall Platt Nest Aenra Pletral Exrjelte Dream Estellarel Lrjewnrellal Translilr Dragonerd Rangrovl Allan Pilgrimaeral Sanderer Wirnerl
Andrew Summerdn Liliannel Larnekflfwjwn Andrel Beandrly Wagner De Maller Transert ll Chronelr Trrelsfne Trjekfl Pleatejelr Aneril Alert Parefel Jefff Andrel Hurbert Cremeoret
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hallmark Helvetica Lt Std Bold hallmark Times New Roman
LOLAMEP!
LOVE /’luv/ (noun, verb, and everything in between)
1: Snuggling up in our usual spots on the couch for a movie marathon 2: That irresistible look you give me 3: Your happy dance 4: A bottle of wine and a night for just us 5: Being okay with being a little cheesy 6: The way you root for me, no matter what 7: Dreaming big dreams for our future
Design Manuscript
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SON, YOUR DAYS ARE SO FULL, AND THE WAYS YOU’RE NEEDED ARE MANY. EVEN TODAY, THERE’S
SURE TO BE MORE ON YOUR
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hallmark Akzidenz-Grotesk BQ Condensed A
2010 Spring semester Design Project 1
PLATE THAN JUST BIRTHDAY CAKE.
Design Ssal Print Booktory Typeface Frutiger Helvetica YDIYGo Software Adobe InDesign CS3 Handong Global University, Industrial and Media Design 2010 spring semester, Design Projecr 1