COVER STORY What You Don’t Know About Typography TABOO Let’s Talk About Sex EXPLODED DESIGN Miles Ahead 74 | November 2020
It’s time, the first edition of Turn The Page of the academic year 2020-2021. It is my honour to write this for the first time. Ten weeks ago, eight enthusiastic members of ID were given the oppor tunity to take place in the board of the most magnificent study association of Delft: ID study association. We star ted a vibrant year which will offer us a lot of oppor tunities to grow, both personally and professionally. The star t of this academic year was challenging for ever yone, with the coronavirus being the main reason, of course. The virus brings many obstacles, but ever y step forward is a victor y to be celebrated. We as IDE students see many oppor tunities and are happy to accept these challenges! We have been working at ID for ten weeks now and the first quar ter has passed at lightning speed. About a month ago, most of the committees star ted. Together with them and our other members, a lot of challenges are awaiting us, many of which we have already taken on. Have you heard? ID is open for you, so don’t hesitate to come by soon! Of course you are also welcome to join all the other activities that our committees are working hard on. Keep in touch and see you soon!
Lonneke Orij Chairman of ID
TA B L E O F C O N T E N T S 06
RECURRING BABE+
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INTERVIEW VOLUME THROUGH VALVES
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COVERSTORY WHAT YOU DON’T KNOW ABOUT T YPOGRAPHY
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TABOO LET’S TALK ABOUT SEX
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ID PAGES HAVE A TEA , LOVE
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EXPLODED DESIGN MILES AHEAD
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IDEXPO LINOLEUM
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DESIGN EVERYWHERE HELLO, YELLOW
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ID PAGES UPCOMING EVENTS
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COLUMN PLANT IN POT
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ADVERTORIAL BRIGHTBIRD
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ADVERTORIAL WACOM
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STORY BEHIND [UN]PREDICTABLE DESIGN
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FEATURE ALIVE & KICKING
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ADVERTORIAL FROM RENDER TO READY-TO-USE
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ADVERTORIAL EXPERIMENT DESIGN: ONLY FOR THE BRAVE?
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IDEXPO THE FICTIONS OF FILM
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RECURRING HUTSPOT
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ADVERTORIAL DESIGNING A NEW WAY OF COOKING
November 2020 | turn the page
EDITORIAL
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EDITORIAL
What actually drives us to learn? I personally think that it comes from curiosity and amazement and that we should have an open mindset to be able to keep learning. By diving into one topic, we are able to take a different look at others, motivating ourselves to learn more about those, too. It can work like a positive feedback loop, comparable to putting experiences and insights on a pinboard with thumbtacks. We use other ideas and perspectives, see connections, and develop our own, unique points of view. This curious mindset has been the star t for a lot of this edition’s ar ticles. In an inter view with Edwin van der Heide, one of the few graduates of the Academy of Music with a physics degree as well, he proves that having exper tise in multiple fields can actually lead to interesting ar tworks. The Stor y Behind shows us the value of cross pollination. The two founders of Filip Studios tell us how they combined two different specialities to set up a successful ar t and design company. In the Taboo rubric ‘Let’s Talk About Sex’, an even more loaded topic is covered by Klara Bilić.
turn the page | November 2020
One of my personal experiences of going through this cycle of learning was the star ting point for this edition’s Cover Stor y. Two years ago, I followed some Swedish lessons for my minor program in Sweden. Since then, I’ve become extremely interested in languages in general, and recently decided it was time to learn another: Japanese. The thing with this language was that it was so different from any thing I knew, I was forced to think in a whole new way, which also made me see other languages in a new light. This brings me back to the thumbtack metaphor that I used above. Using ‘imaginar y thumbtacks’ to add more notes and information to the pinboard in our minds and forming new perspectives.
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BABE+
by Maartje Roggeveen and Juwe van Vliet
DOMESTIK A COURSES Since we’re all getting ver y familiar with online lectures, presentations and meetings, here’s another way to make good use of your laptop. Domestika offers online courses ranging from calligraphy and watercolour painting to the launching of your own business and the programming of video games. If you’re always using a similar style and technique when using Illustrator, a bunch of courses in Domestika will amaze you with tools you never knew even existed. The same ofcourse goes for ever y other ser vice of Adobe and other interesting software.
STORY M ACH I N E One might say ‘time spent waiting, is time spent wasting’. So, why wait? Satisfy your restlessness by grabbing a (free) stor y instead of another overpriced coffee or chocolate bar. 300 shor t stor y dispensers have already been placed on a variety of locations. Choose your stor y length and move your hand across the ‘corona free’ sensor to make a tangible, randomly chosen, piece of literature roll out. Indulge yourself with inkless words on recyclable paper, you already checked all the Instagram stories. www. ilfu.com
www.domestika.com
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November 2020 | turn the page
BABE+
Triggered by rap lyrics and George Condo album covers, the founders of Avant Ar te felt the need to make contemporar y ar t more accessible. They star ted a blog which resulted in one of the biggest online communities in ar t today. They collaborate, sell, amaze. Let your grandpa take a look at their collection. www.avantar te.com
AVANT ARTE
Kaleidoscopic par ticles gently fall on your face, you’re surrounded by light and sounds and while time slows down, it gets harder to distinguish the two. How can something that doesn’t exist feel closer to reality than reality itself? Nxt, the first media museum in the Netherlands, just recently opened her doors. The power of collaboration between ar tists and scientists is affirmed by large, interactive, digital installations. ‘Expect your senses to be refracted, your perceptions rewired and your bodies engaged.’ www. nxtmuseum.com
NXT MUSEUM turn the page | November 2020
‘Woad’ is a colour, ‘mummy’ and ‘madder’ are too. And what came first? The orange or orange? Ever wondered what the science is behind fluorescents? In The Secret Lives of Colour, Kassia St.Clair ties connections between colours and culture- war, ar t, politics and fashion. Did you know that ‘when two scientists discovered that the universe, taken as a whole, is a shade of beige, they immediately sought a sexier name. Suggestions included ‘big bang buff ’ and ‘skyvor y’, but in the end they settled on ‘cosmic latte’? Well, now you do. www. kassiastclaire.com This photograph is made by Stephanie Gonot. Check out her ar twork ‘Space Food’ for WIRED .
SECRET LIFES OF COLOUR 7
BABE+
DECODING SUPER HUMAN
Boomer Anderson, host of this biohacking and health podcast, has been reviewed as a skilled inter viewer and does an excellent job in breaking down complex topics. Anderson discusses subjects as insomnia, spirituality, transhumanism, the keto diet, brain mapping and environment optimization, all with top notch exper ts. Over 150 episodes dive into the latest science and technology, tools and theories about health optimization. ‘It’s like having a health coach in your pocket.’
Too many options to choose from? VPRO KOOS selects the juiciest the Dutch media (not just VPRO) has to offer for you. A television and radio guide that provides extra insight about what to read, listen or watch: a soundtrack for working from home, a repor t about sub renting gone wrong, a photoseries made by the Gay Rodeo Association, a podcast about money laundering or an adventuristic documentar y. Five recommendations per day. Ever y morning at eight o’clock.
www.decodingsuperhuman.com
V PRO KOOS G I R L S O N L AW N S The crispy feeling of ruffled underwear on my bum, the smell of freshly mowed grass. Ah I hope mum won’t notice the grass stains on my white socks. Maira Kalman based her illustrations on pictures by unknown photographers out of the archive of the Museum of Modern Ar t. All of which are images of girls, standing on lawns. Her ar tworks are accompanied by the perky poems of Daniel Handler: ‘Perhaps she stood there, so she could stand still’, ‘My whole life, I have not known where to put my hands.’ This collaboration entices readers to imagine the lives of others. The per fect medium for nostalgic kitchen and coffee table conversations.
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November 2020 | turn the page
BABE+
FAC E TO FAC E BY DEZEEN “The design industr y is slow, boring and bullshit.” With bold views and in-depth talks about architecture and design, the Face to Face podcast gives its listeners a peek inside the brain of the most prominent designers. They not only discuss their projects and insights, but dive deep into their personal life as well. What’s the stor y behind these successful people? What road did they take to get where they are today and what makes them tick? www.dezeen.com
DIPSEA Gina Gutierrez, former brand & design strategist, and Faye Keegan, software engineer & researcher, created an app filled with sexy audio stories. It is based on the fact that (especially) women are more likely to be turned on by mental framing (imagining a scenario) than by the visual content of for example porn. The stories ‘ground fantasy in reality and show all kinds of preferences and interests.’ Let’s talk about sex a little more. Take a look on page 35. www.dipsea.com
‘If you would die today and reincarnate one generation later, what would the world ideally look like? ’ NEST T V ’s collections consist of different fragments of film that guide you through a variety of ar t exhibitions and projects while raising questions related to the ar tist’s vision. Free your eyeball by watching these sometimes disturbing yet beautifully assembled shor t films with titles such as ‘How Ar t Things? ’, ‘Histor y in His Stor y’, ‘A Fair Share of Utopia’ and ‘Free the Eyeball’. www.nestruimte.n/nesttv/
NEST TV turn the page | November 2020
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COVERSTORY
活版に就いて 知ら無い事 What you don’t know about typography
カッパン ニツイ テ シラ ナイコ ト
kappan ni tsuite shiranai koto
November 2020 | turn the page
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かっぱんについて しらないこと
COVERSTORY
The way these words are printed on paper will most likely be taken for granted by many readers. Even the people writing the words, letters and sentences, will often apply countless rules and principles without even being aware of it. But when you have to take into account the distance between the letters, lines and words all by yourself, this could be a substantial challenge. Choosing the perfect font requires paying attention to properties like serifs, cap heights and thickness. Even the choice for an ‘all caps’ font would be possible. Hence, finding the right balance is not always the easiest job. Now imagine you would have to pay attention to completely different facets. For example, if you worked with characters that were all shaped like squares. A lot of spacing rules could then be ignored and a whole new set of possibilities would arise. These characters could maybe allow you to put them all in a grid, or even to put whole blocks of text vertically without it looking unnatural. by Stein van Veggel | special thanks to Marlies Peeters and Tienmin Liao | illustrations by Stein van Veggel and Tienmin Liao
turn the page | November 2020
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林
A complete explanation of how to design with these scripts, would unfor tunately require more than the six pages available for this ar ticle. Simply too many aspects have to be taken into account. Besides, to be able to get a full understanding, one should dig deeper into the language itself first. The intention of this ar ticle, however, is not to provide a ‘user manual’. It is in fact about creating amazement in seeing how another ‘toolbox’ leads to new perspectives.
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As I am having a coffee in Utrecht with Marlies Peeters, she enthusiastically tells me about her time in Japan. “I mainly focused on the different perceptions in the Netherlands and Japan of graphic design as a professional field.”. She briefly explains that the way the language is written, can already influence Japanese designs quite directly. “Japanese can be read both from left to right as from right to left, even ver tically. This already influences, for instance, the way you open a book.”
It makes you wonder: what is the strategy to design with this language? What kind of underlying rules have to be followed when putting something on paper? And besides, how would you integrate all scripts in one design without them conflicting? To investigate this, I approached two different exper ts, who both have a unique relationship with Japanese design. Marlies Peeters, who studied graphic design in Japan for two years, will tell us more about the underlying rules of designing with the Japanese script, mainly focusing on working with the kanji, katakana and Hiragana characters. Next, Tienmin Liao, typography exper t from Taiwan, will elaborate more on how to find systematic design principles that can be applied to multiple scripts, to be able to let them all coexist in one design.
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Making a forest with the kanji charac ters for ‘ forest’ and ‘ tree’
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“Japanese designers have to be extremely aware of the area as a whole and how they can divide it.”
This is actually how a par t of the Japanese script works. I am deliberately writing ‘a par t of ’, because the language actually works with four scripts simultaneously, and these can all be used in one single sentence. Ever y script ser ves its own ‘ function’ in the language. The earlier mentioned box-shaped characters are called kanji characters, these were adopted from the traditional Chinese script and are mostly used for nouns. hiragana and katakana, two phonetic scripts, are used for grammatical endings and loan-words, respectively. Also, since Japan star ted interacting with Western cultures, even the Latin script is taught to Japanese children. This means that the Japanese language works with four coexisting scripts, each having another purpose. Still, almost ever y word can be written in all four scripts. This gives graphic designers a whole different set of possibilities and conventions as a star ting point, which leads to other rules for layout and typography.
BUILDING BLOCKS “During my time in Japan, I followed a course on typography, for which I translated my name to kanji, hiragana and katakana characters. This process of sketching, digitizing and printing them, taught me a great amount about their underlying structures and design principles You are actually dividing a square box in a different way ever y time, depending on the stroke shape and order. The stroke shapes and order you use, define the character.” She continues. “The building blocks, in a literal sense, of this language, create new challenges. Japanese designers tend to be extremely aware of the design area as a whole and how they can divide it. They make use of the block structure of Kanji by sometimes alternating between horizontal and ver tical text blocks in the same design, resulting in a grid-like effect.”
COVERSTORY
November 2020 | turn the page
つせろゅゃてにきや等 遊根御ふと魔御個りけ 個氏たむよるりすイヌ
つせろゅゃてにきや等 遊根御ふと魔御個りけ 個氏たむよる りすイヌた絵 き舳列無列たやての区 そいふふまムレつせろ
つせ御個 き舳列無列たやての
turn the page | November 2020
Marlies concludes. “At a first glance, many people perceive written Japanese as chaotic or scribbly. But our own Latin characters come with challenges too. For example, the letter b shoots to the top of the line, the g shoots downwards, and the i is smaller than a w. We have overcome these challenges by creating rules that improve our script’s readability. Since working with Japanese, I star ted using these rules more consciously. For example, I became much more aware of how to use whitespace in my own designs. In a broad sense, I became more aware of conventions, and how to play with expectations within those conventions.”
つ個りけ個氏たむよる りすイヌた絵
The choice to write something in another script can also have different effects. “Hiragana tends to come across as friendly and accessible, whereas katakana has a sharper aesthetic. Writing something in katakana can have a comparable effect to when we, users of the Latin script, write something out in capitals. It creates a cer tain emphasis. Even using the Latin alphabet is not uncommon. A designer can have many different reasons for using one script rather than another, even ones counter to the ones I just mentioned. But the fact that it is possible is remarkable to me, since we don’t have this possibility in the visual culture of our language.”
東京
とうきょう
トーキョー TOUKYOU
Tok yo writ teni n four dif ferent scripts
写真
PL AY ING WITH ME ANING Marlies explains that, as ever y letter of our Latin alphabet solely contains an indication for a sound, a word’s meaning arises only after combining multiple letters. However, the components of which the Kanji characters consist can actually contain a meaning in itself. “These components are called radicals. For example, the Kanji character for ‘looking or seeing’ consists of the radical for ‘eye’ placed on top of the radical for ‘human legs’. The fact that the characters work in such a way, creates room for designers to apply typography in a more figurative sense.” She clarifies this by showing some pictures in which commonly used Japanese verbs are displayed. However, each time, one radical of the verb is replaced by a person por traying its meaning. “In this picture, the Japanese verb ‘kiku’, which means ‘hearing or listening’, is shown. Normally, this verb consists of the radical for ‘ear’ placed in between the radical for ‘gate’. Now, the ear component is replaced by a person that visualizes the definition. I really like the fact that this language provides these kinds of possibilities.”
ロロャミフもけいとしにほちく二遊二津 阿派すんつせ ろゅゃてにきや等遊 根御ふと魔御個り け個氏たむよるりすイヌた絵 き舳列無列たやての 区そいふふまムレキ夜保巣阿露もとうし なねぬさひいい擢ろ巣絵雲都。 せねき以名されな課夜 すのテヌメヨ課無 根うむりえ 課なえ手 夜他みと
Play ful use of the charac ter for ‘rain’
つせろゅゃてにきや等 遊根御ふと魔御個り
Making use of the block struc ture of the kanji charac ters
写真
イブストニ 頼ちない
オ ト ハフン
いた
デザイン
馬鹿野郎 COVERSTORY
つせろゅゃてにきや等 遊根御ふと魔御個りけ 個氏たむよる りすイヌた絵 き舳列無列たやての区
DESIGN CHOICES
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COVERSTORY
It can be concluded that ever y script contains a different ‘manual’ for how to work with it. Tienmin Liao, typography exper t from Taiwan, currently based in New York, focuses on finding systematic rules and principles that apply to all. She points out that “Graphic designers tend to apply the traits from one script to the other directly without considering the fundamental rules of foreign typography. This may make one of them look stiff or even unrecognizable.” With Tienmin’s extensive typographic knowledge of both languages, she is able to combine them in the same design, making it seem like they were written by the same hand. Tienmin explains that our Latin alphabet is constructed ver tically with three layers on top of one another. These layers are divided by an x-height and a baseline. Kanji characters, on the other hand, are constructed two dimensionally. There is no such thing as x-height in Kanji, but the concept called ‘central box principle’ can be looked at similarly. “Like x-height, a Kanji with a contracted center can give a more traditional expression, while an expansive center looks more modern. However, unlike the x-height, which can be absolutely determined, the central box principle can not be looked at in specific values. It is more a perceptual concept.” “The contour of a word in Latin script can be viewed as a horizontal rectangular shape. Most strokes used in the script’s characters are ver tical and most characters consist of only two to three strokes. Overall, it makes the texture of Latin script look pretty even. Kanji, however, is totally different. Some characters are assembled with just a few strokes while some others may go up to twenty or more. Also, the stroke thickness in Kanji varies from one to another. The difference of their density, shapes and the visual rhy thm makes it challenging to create bilingual letterings. Usually, I will make Kanji a little bit thinner and lighter. So the amount of the ‘ink ’ will appear the same. If the two scripts were written with the same amount of ink, it would make the Kanji characters look too heavy.” She elaborates on some of the approaches that she uses herself. “For instance, you could treat some charasteristics of one typeface, such as the endshape of a stroke, as a decorative element to apply to the other one. Also details like the angle of cut and serifs can be transferred from one script to the other.”
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November 2020 | turn the page
COVERSTORY
“Another approach is to imagine that both scripts are written with the same tool. This approach would work great in calligraphic or brush-drawn typefaces, for example. However, since the scripts are traditionally drawn with different tools, their weight distribution often differs. It sometimes tends to deviate from the traditional distributions and can make it seem too informal or over-stylized.”
“Designers tend to apply the traits from one script to the other without considering the fundamental rules of foreign typography.” “If we want to create a more expressive lettering that does not really fit into existing categories, it is more convenient to treat the whole type as one graphic. Here, it is crucial to make sure that all the letters are distinguishable. In this illustrative approach, the focus is not really on the strokes themselves anymore. The recognizability of the complete form is now more impor tant, as native users identify characters based on the shape as whole, rather than stroke structure.” Tienmin clarifies that there is never only one approach to create bilingual lettering. “The solution can be completely different depending on the intent of your design. But the most impor tant thing to keep in mind throughout the process of bilingual lettering is that both scripts should convey the same message and personality rather than limiting to only similar appearance.”
SHIFTING OUR PERSPECTIVE It can be a lot to take in. The direction in which we read, the amount of space we put in between words and letters and the way we deal with stylizing the letters. These conventions are often so inherited we don’t even consciously think about them anymore. After investigating a completely different script, we were able to take a step back and see the bigger picture. This leads to some interesting insights. The key message to remember is that the principles we apply in layout and typography, didn’t just pop out of nowhere. They actually originated from a language as a star ting point.
turn the page | November 2020
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ID PAGES
WE ARE NOT SO SURE... Due to COVID-19, our planning is never certain. However, we are working on organising physical activities at ID! These activities always follow the measures of RIVM. If you would like to know all our online and physical activities, check the ID Website!
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November 2020 | turn the page
I D PAGES
Drinking beers at ID Kafee? If you have been missing the Wednesday evenings at ID Kafee, we have some good news! We are working on organising ID Kafee at least once a week. You can reserve a spot on the ID website.
A cup of tea at ID Kafee? If you would like to have a cup of tea at ID Kafee during your break, you are welcome! Several chill spots are created in ID Kafee at 1,5 meter distance from each other.
Want to know the latest updates? Check our social media! | ID Website: www.studieverenigingid.nl | ID Instagram @idstudyassociation | ID Facebook @idstudyassociation
turn the page | November 2020
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INTERVIEW
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November 2020 | turn the page
INTERVIEW
The moment we choose our college major, we are automatically pushed in a certain direction. This choice also means we have to exclude a lot of other directions we may have had an interest in. There are of course ways to make these interests still meet. In this ever-changing world, new interdisciplinary areas are popping up everywhere. But for some disciplines, there is a more obvious overlap than for others. Still having an expertise in multiple fields can be desirable, since it can create new perspectives on certain concepts. But how can this be reached? by Beate Verbeek and Juwe van Vliet | special thanks to Edwin van der Heide
For this ar ticle we spoke with Edwin van der Heide, an ar tist, composer and researcher in the field of sound, space and interaction. He is also a lecturer at the Media Technology MSc programme of Leiden University and spends a good amount of time in his ar t studio, an old warehouse in Rotterdam. With a background in musical composing as a Conser vator y graduate and meanwhile in the possession of broad knowledge in Physics, he challenges himself to look for new common ground between these different worlds. For him this largely expresses itself in the form of interactive installation ar t - a 3-dimensional ar t work, designed to transform the perception of a space. This is reflected in how he treats his interest in music, which he calls the ‘ultimate abstraction’. “The fascinating thing about music is the fact that it exists of tones that don’t have to be meaningful, imitate or represent any thing. However, almost ever ybody can experience and understand music. It is human nature.” Because of his exper tise in physics he can look at the other aspects of sound that go outside the borders of music. This would however be meaningless without the knowledge of the other end. “Even if you could understand the physics behind sound, but cannot understand how it’s experienced, you would not know much in the end...”
turn the page | November 2020
One of the installation ar tworks Edwin has done is ‘Pneumatic Sound Field’. In the installation, a continuum is being created between rhy thmical and spatial perception of sound, and the perception of pitch. A horizontal grid of pneumatic valves hung up in the air is used to produce wind, pressure and sound. The result is a breathing sound environment above the audience. The sound is almost eer y like it lives it’s own life. But how does he create this from two ver y different fields? Where does he star t? One of the installation ar tworks Edwin has done is ‘Pneumatic Sound Field’. In the installation, a continuum is being created between rhy thmical and spatial perception of sound, and the perception of pitch. A horizontal grid of pneumatic valves hung up in the air is used to produce wind, pressure and sound. The result is a breathing sound environment above the audience. The sound is almost eer y like it lives its own life. The valves have the ability to make an equally loud sound a box can produce. And because these valves are ver y small it creates the possibility to not make them a visible element within the installation ar t. Therefore the relation can be explored between the experience of the environment and the sound of which you cannot see where it’s coming from.
“It was the basic principle sounds are just waves of pressure - that set off his train of thought.” So that’s the star t. How does he go on from there? The two disciplines do not have to be applied at the same time. “Especially don’t do it,” Van der Heide says, “When developing new ideas, it really helps to limit yourself to just think about one topic. You might want to add a whole lot of things but the main idea loses its excitement.” Next, the project is approached from the perspective of physics. He researches what the absolute limit of possibilities are. This requires doing experiments to discover what his options are in cer tain aspects. 1
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INTERVIEW
For ‘Pneumatic Sound Field’, he discovered the values of the frequencies and acoustic intensity of the valves. Consecutively, if he has a broad over view of what is possible, he chooses to impose a number of limitations. “Accepting that cer tain aspects do not work allows you to find alternatives and to discover new things. For example, I chose continuous sound instead of compiling all possible frequencies. The only difference now is whether they are open or closed”. In other words, not including creates space.
“Music is the ultimate abstraction.” “Keep seeing the bigger picture”, Edwin insists. You have to know when to stop. “When you cross a cer tain line you are no longer discovering but undiscovering.” How to avoid the destruction of ideas? Long- and shor t-term deadlines can be a way out. Van der Heide strives to give meaning to his work. To achieve this, it’s needed to seek for the optimal interaction between the installation and the visitors. For this, it’s needed to form perspectives of other disciplines. “If we change something here, what will happen on the other side? ” This curiosity is the treasure for a designer or creator nowadays. Then, the technical par t of the installation stops and the focus shifts to how it is experienced. Edwin compares this par t to composing the whole thing, something that he is experienced with from his background as a musician. In ‘Pneumatic Sound Field’, the self-composed sound program which flows through the valves is something that he could never have done without his past education. Van der Heides oeuvre shows that having exper tise in multiple fields can create new perspectives in cer tain concepts. It allows a deeper understanding to form. ‘Knowledge of a topic is impor tant when there is a desire to be creative with it.’ Knowledge is like a language, something you develop and improve over the years. “The people, environment and ar twork are the contexts, the structure of the sentence. Physics is the instrument, the grammar. The music is the language itself, the overarching tool.” 3
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November 2020 | turn the page
COLUMN
p l a n t i n pot When you hear the word ‘bonsai’, you might think of tiny trees, grotesque forms and oddly shaped branches. Of an old karate master clipping away with the smallest scissors you’ve ever seen. However, behind the bonsai (‘plant in tray’ in Japanese) lies an art form that goes back as far as seventh-century China. by Imara Stemvers
As gifts for the elite, Chinese bonsai were much like pictures; an ar tist would collect specimens from a landscape and recreate the diorama in miniature. The smaller and more precise these ‘pun-sai’ were, the more magical and beautiful they were considered to be. The Japanese adopted the ar t form, but instead of landscapes they began to concentrate on the tree itself. The earliest works were a traditional form of bonsai that is still practiced today, where they would take a sample, a small branch for example, from a full-grown tree in the wild and then cultivate it in a shallow tray. In the modern ar t form, instead of being a tree in itself, a bonsai is seen as just the idea of a tree. A bonsai
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master shapes and designs his tree to illustrate what life it might have had, what challenges it might have faced and how it has found a way to sur vive. This may result in trees with endlessly intricate shapes, or ones that look more like a person than a plant. Throughout the centuries, many styles have developed regarding general shape and form, but ever y tree is designed with balance in mind. Maybe next time you hear ‘bonsai’, you think of the ar t form instead. You might now know why they are shaped in such peculiar ways. You might better understand the numerous people who put so much time and effor t in their really tiny trees. 3
November 2020 | turn the page
CHECKLIST HUTSPOT
by Isa Jorritsma
BY JOHANNA GAUDER Almost unrecognizable as a knife, the ‘One-Piece Knife’ designed by Johanna Gauder, is crafted from just one single sheet of stainless steel. Besides the fact that the design is aesthetically pleasing, the absence of any rivets, handles or glued par ts makes it more sustainable as well. www.johannagauder.com
Imagine going to a restaurant for dinner and seeing this cutler y. Pretty hard to eat your soup, right? Non-profit organization ‘Smile Asia’ wants to create awareness about how difficult it is to eat for children with a cleft lip. www. tanyuanling.com
BY NENDO
We use it several times a day and it is hard to live without: cutlery. Spoons, forks and knives are designed in many shapes and forms. In this Hutspot we show some of the most remarkable designs and their background stories.
BY SMILE ASIA
HU TSPOT
This cutler y set is so thin, it resembles a skeleton. Designer Nendo created this set, consisting of a spoon, fork, knife and teaspoon. The goal of the design was to limit the amount of material used, while still retaining its functionality. Photographed by Akihiro Yoshida. www.nendo.jp
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November 2020 | turn the page
COLOFON
Of ficial body of ID Volume 18 / Issue 74 November 2020 Turn The page is issued four times a year.
BY JINHYUN JEON
Contact ID study association Landbergstraat 15 2628 CE Delf t +31 (0)15 2783012 www.studieverenigingid.nl Comments, questions, compliments and remarks can be sent to: turnthepage-svid@tudelf t.nl Issues 7500 Copies
Designed by Jinhyun Jeon, these spoons might give your senses an extra boost. The shape, texture and colour of this cutler y set change the way we taste our food. Would you give it a tr y?
Press Quantes - Rijswijk T TP Thanks
www.sstimuli.com
Marc de Kool, Henk Jan Oudenampsen, Marlies Peeters, Tienmin Liao, Flore Paumen, Floris Priester, Edwin van der Heide, Beate Verbeek, Roos Meerman, Tom Kor tbeek, Pascal Tersteeg, Debbie Rouw, Klara Bilić, Mar tijn Baller, Marijn Driesen, Gaby Jacobs
BY GREG LYNN
Subscribe/ad Members of ID receive Turn The Page free of charge. A yearly subscription costs â‚Ź9,50 (4 issues). Want a subscription or publish an advert? Please contact turnthepage-svid@tudelft.nl Copyright The committee has strived to own the copyrights of the included texts and images. However, if you believe you own the rights to
This floral cutler y is produced with a 3D printing technique and each piece is created by layering liquid metal on top of one another. Architect and designer Greg Lynn wanted to create unique flowers, since each piece differentiates from one other with subtle mutations.
a piece that has been used, we request you to contact us. Nothing from this issue can be reproduced. The committee claims the right to shorten, alter or refuse submitted pieces. The Communication department of the IDE faculty and the Alumni Association have
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turn the page | November 2020
contributed to this Turn The Page.
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Art is work Milton Glaser