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Eunice Kim Graphic Design II Spring 2014


Contents

Hierarchy Exercise Metamorphosis Exercises CD Packaging Poster and Ticket Stamp Design Beverage Project Extension / Reflection 2D/3D Magazine


This assignment deals with the use of typography to create an organized visual informational hierarchy. Graphic design involves communicating and presenting conceptual or practical information in visual form. This requires, in part, an understanding of the information in order to present it in an organized and understandable manner. One way to do this is to build a hierarchy of the material in order of importance. One can delineate these different kinds of information typographically with the use of layout, graphic elements, font choices and variation, point size, placement and spacing.

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to chance the order in which the viewer perceives the items in the layout. Unity/Harmony lustration, and photos into the style/mood of the layout. Contrast Contrast is achieved through differentiation in size, color, and shape. Giving the same graphic emphasis to several elements will make them compete for attention. Symbolism A symbolism is a representation, verbal or visual, of a concept, object, idea, etc., the meaning of which is mutually agreed upon. In graphic design, the effective use of symbolism, combining and relating symbols enhances the expression of ideas. It creates recognition, association and meaning.

Layout involves the following set of interrelated basic design principles: Balance Balance is created by moving around “optical weights”, big and small items, dark and light items, varieties of shapes. Proportion Good proportion is achieved by deciding on space between image and type, between type and the edge of the paper, between columns of type, between type-size, line-length and leading, between different visual elements, etc. Sequence Sequence is created by directing the viewer, for example, through the use of lines, real or implied; by arranging images in such a way that an

Typography is designing with type, not the designing of type. It involves 1)choosing and using type, and 2) the application of design principles to the setting of type: the arrangement, style, and general appearance of matter printed with type. Spacing Letters and words need to be spaced in a logical, consistent manner to appear optically correct, and achieve optimum readability. In letter-spacing there are three standards. -Minimum space is used between cursive (oo) letters, -or between inclined (xy) letters. -Medium space is used between vertical and cursive letters (lo). Between vertical letters (ll) maximum space is used. Good word-spacing is achieved by making all space intervals between words “look” the same. Words must not appear to run together or be spaced so widely as to appear to be separate units. One system is to imagine a lower case “n” between words. This gives a moderate wordspacing. The Grid The grid is an underlying structure organizing data. It articulates space according to a pattern of oppositions: -vertical and horizontal, -top and bottom, -rectangular and diagonal, -and left and right. If used well it provides perceptual organization, coherence and consistency. A well-conceived grid alone will not ensure effective design. It is an organization tool, and must be used creatively to maximize communications potential. Grids can help answer compositional questions such as balance, proportion, sequence, unity/harmony, and contrast.

Layout: Comp o si tio n with Typ e an d Images

vision. Design is the product of feeling and awareness, of ideas that originate in the mind of the designer and culminate, one hopes, in the mind of the spectator.”

“To design is much more than simply to assemble, to order, or even to edit; it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry. Design brooders

Paul Rand , F o rm + Co n ten t

The process grows by constantly checking backwards. In the design process, the establishment of priorities is essential. Designers must be able to judge and gauge the relative importance of factors as they relate to one another. Priorities set the functional and visual criteria in communications.

-Analysis of roughs, -Selection/decision, -Implementation (and preparation for print).

-Production of many preliminary sketches (thumbnails),

sible visual solutions. The process to generate alternate visual solutions to a problem can be described as follows:

The Graphic Desig n Pro cess

Typ og raph y

in by the brain.

a whole rather than a collection of unrelated parts. Continuity

Closure

a ground. Similarity Similarity facilitates grouping: Objects which resemble one another tend to be seen as belonging together. Proximity Proximity facilitates grouping: Objects placed close together tend to form

Figure-Ground

Visual perception involves a complex interplay of both inborn and learned responses to visual stimuli. The Gestalt laws of perception summarize tendencies that appear to be innate or inherent in our biological heritage and which undoubtedly serve as the basis for our concept of composition in visual art.

Percep ti on and Co mp o siti o n

Graphic designers communicate and express themselves in four distinct ways. They need to have a working knowledge of: typography, illustration, photography/video, and symbolism.

within the limitations of the problem.

It enhances communication; it helps people to understand a given message

Design may be considered as an instrument of organization. It must perform in response to human needs. Design is an urgent requirement, not a cosmetic addition. Graphic design can save time by presenting information more clearly.

I ntro d uctio n

Basic Concepts and Principles

Graphic Design

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Metamorphosis Exercises this assignment considering that the produced images are dependent on each other and should work together to achieve the serial component of the project. This is an exercise in working with abstractions and identifying the visual elements that are going to be key during your process.

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integrating typography, imagery and composition principles are used to design a CD for an artist/group of my choice. Another learning objective of this assignment is to to design a multi-page piece in a small size and scale and all the limitations the sizeand the shape of the layout will impose.

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Track List 01. Radioactive 02. Tip Toe 03. It始s Time 04. Demon 05. On Top Of The World 06. Hear Me 07. Amsterdam 08. Every Night 09. Bleeding Out 10. Underdog 11. Nothing Left To Say 12. Rocks

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Nothing Left To Say

Amsterdam

Who knows how long I've been awake now? The shadows on my wall don't sleep They keep calling me Beckoning... Who knows what's right? The lines keep getting thinner My age has never made me wise But I keep pushing on and on and on and on

I'm sorry, mother... I'm sorry, I let you down Well, these days I'm fine - No these days I tend to lie I'll take the West train, just by the side of Amsterdam Just by my left brain, just by the side of the Tin man I'm sorry, brother... I'm sorry, I let cha down Well, these days you're fine - No these days you tend to lie You'll take the West train, just by the side of Amsterdam Just by your left brain, just by the side of the Tin man

There's nothing left to say now... I'm giving up, giving up, hey hey, giving up now... There's nothing left to say now... I'm giving up, giving up, hey hey, giving up now... Below my soul I feel an engine Collapsing as it sees the pain If I could only shut it out I've come too far To see the end now Even if my way is wrong I keep pushing on and on and on and on

Your time will come if you wait for it, if you wait for it It's hard, believe me... I've tried But I keep coming up short

But the rain won't fall for the both of us The sun won't shine on the both of us Believe me when I say, that I wouldn't have it any other way Your time will come if you wait for it, if you wait for it It's hard, believe me... I've tried But I won't wait much longer 'cause these walls they're crashing down And I won't wait much longer 'cause these walls they're crashing down And I keep coming up short

So this is what you meant When you said that you were spent And now it's time to build from the bottom of the pit Right to the top Don't hold back Packing my bags and giving the academy a rain check I don't ever want to let you down I don't ever want to leave this town 'Cause after all This city never sleeps at night It's time to begin, isn't it? I get a little bit bigger, but then I'll admit I'm just the same as I was Now don't you understand That I'm never changing who I am So this is where you fell And I am left to sell The path to heaven runs through miles of clouded hell Right to the top Don't look back Turning to rags and giving the commodities a rain check

I'm sorry, lover... You're sorry; I bring you down Well, these days I try and these days I tend to lie Kinda thought I was a mystery and then I thought I wasn't meant to be You said yourself fantastically, "Congratulations you were all alone"

There's nothing left to say now... I'm giving up, giving up, hey hey, giving up now... There's nothing left to say now... I'm giving up, giving up, hey hey, giving up now...

Underdog

Itʼs Time Your time will come if you wait for it, if you wait for it It's hard, believe me... I've tried Your time will come if you wait for it, if you wait for it It's hard, believe me... I've tried

I keep falling, I keep falling down... If you could only save me I'm drowning in the waters of my soul

I don't ever want to let you down I don't ever want to leave this town 'Cause after all This city never sleeps at night It's time to begin, isn't it? I get a little bit bigger but then I'll admit I'm just the same as I was Now don't you understand That I'm never changing who I am It's time to begin, isn't it? I get a little bit bigger, but then I'll admit I'm just the same as I was Now don't you understand That I'm never changing who I am This road never looked so lonely This house doesn't burn down slowly To ashes, to ashes It's time to begin, isn't it? I get a little bit bigger, but then I'll admit I'm just the same as I was Now don't you understand That I'm never changing who I am

Early morning take me over Father, father, father Take me to the top Early morning wake me up Father, father, father This is not enough Hey, that sounds like my luck I get the short end of it Oh I love to be I love to be the underdog Hey, that sounds like my luck I get the short end of it Oh I love to be I love to be the underdog Early evening settle down Father, father, father Who am I to blame? Early evening hush me over Father, father, father Are we just the same?

Hey, that sounds like my luck I get the short end of it Oh I love to be I love to be the underdog Hey, that sounds like my luck I get the short end of it Oh I love to be I love to be the underdog Living the low life Low life... Living the low life Hey, that sounds like my luck I get the short end of it Oh I love to be I love to be the underdog Hey, that sounds like my luck I get the short end of it Oh I love to be I love to be the underdog

It's time to begin, isn't it? I get a little bit bigger, but then I'll admit I'm just the same as I was Now don't you understand That I'm never changing who I am

There's nothing left to say now... I'm giving up, giving up, hey hey, giving up now... There's nothing left to say now... I'm giving up, giving up, hey hey, giving up now...

Tip Toe

Hear Me Try to hear my voice You can leave, now it's your choice Maybe if I fall asleep, I won't breathe right Maybe if I leave tonight, I won't come back I said it before, I won't say it again Love is a game to you, let's not pretend Maybe if I fall asleep, I won't breathe right Can nobody hear me? I've got a lot that's on my mind I cannot breathe Can you hear it, too? You kiss and you kiss And you love and you love You've got a history list and the rest is above And if you won, you can't relate to me From the floor to the floor And the sky to the sky You've got to love and adore and the rest is a lie And if you won, then you can't relate to me

I said it before, I won't say it again Love is a game to you, let's not pretend Maybe if I fall asleep, I won't breathe right, right, right Can nobody hear me? I've got a lot that's on my mind I cannot breathe Can you hear it, too? Leave your shoes at the door, baby I am all you adore, lady Come with me and we will run away Can nobody hear me? I've got a lot that's on my mind I cannot breathe Can you hear it, too? Can nobody hear me? I've got a lot that's on my mind I cannot breathe Can you hear it, too?

Radio Active I'm waking up to ash and dust I wipe my brow but I sweat my rust I'm breathing in the chemicals I'm breaking in, shaping up, Then checking out on the prison bus This is it, the apocalypse Whoa I'm waking up, I feel it in my bones Enough to make my systems blow Welcome to the new age, to the new age Welcome to the new age, to the new age Whoa, whoa, I'm radioactive, radioactive Whoa, whoa, I'm radioactive, radioactive I raise my flags, don my clothes It's a revolution, I suppose We're painted it red, to fit right in Whoa I'm breaking in, shaping up, Then checking out on the prison bus This is it, the apocalypse Whoa I'm waking up, I feel it in my bones

In the morning light let my roots take pride Watch me from above like a vicious ghost They donʼt see me come, who can blame them? Never seem to catch my eye but I never wondered why

Higher, donʼt let ʻem know weʼre coming Higher, tiptoe higher Take some time to sip it down, keep your head down low Higher, tiptoe higher

I wonʼt fall asleep I wonʼt fall asleep

Nobody else, nobody else Nobody else, you take me higher Nobody else, you take me higher Nobody else, you take me higher Nobody else

Higher, donʼt let ʻem know weʼre coming Higher, tiptoe higher Take some time to sip it down, keep your head down low Higher, tiptoe higher From your slender dream see the morning dream Sink into the soul, watch the water go They wonʼt feel it like who can blame them? They never know if they see me fly, so I never have to run I wonʼt fall asleep I wonʼt fall asleep

Higher, donʼt let ʻem know weʼre coming Higher, tiptoe higher Take some time to sip it down, keep your head down low Higher, tiptoe higher Higher, donʼt let ʻem know weʼre coming Higher, tiptoe higher Take some time to sip it down, keep your head down low Higher, tiptoe higher

All systems go, the sun hasn't died Deep in my bones, straight from inside I'm waking up, I feel it in my bones Enough to make my systems blow Welcome to the new age, to the new age Welcome to the new age, to the new age Whoa, whoa, I'm radioactive, radioactive Whoa, whoa, I'm radioactive, radioactive

If you love somebody Better tell them while they're here 'cause They may just run away from you You'll never know what went well Then again it just depends on How long of time is left for you I've had the highest mountains I've had the deepest rivers You can have it all but not til you prove it Now take it in but don't look down

Then again I couldn't have 'cause I've traveled all this way for something Now take it in but don't look down ʼCause I'm on top of the world, ʻay I'm on top of the world, ʼay Waiting on this for a while now Paying my dues to the dirt I've been waiting to smile, ‘ay Been holding it in for a while, ‘ay Take it with me if I can Been dreaming of this since a child I'm on top of the world.

ʻCause I'm on top of the world, ʼay I'm on top of the world, ʻay Waiting on this for a while now Paying my dues to the dirt I've been waiting to smile, ʼay Been holding it in for a while, ʻay Take it with me if I can Been dreaming of this since a child I'm on top of the world.

ʻCause I'm on top of the world, ʼay I'm on top of the world, ʻay Waiting on this for a while now Paying my dues to the dirt I've been waiting to smile, ʼay Been holding it in for a while, ʻay Take it with me if I can Been dreaming of this since a child

I've tried to cut these corners Try to take the easy way out I kept on falling short of something

And I know it's hard when you're falling down And it's a long way up when you hit the ground Get up now, get up, get up now.

I coulda gave up then but

Every Night

Where do we go from here? Where do we go from here? I threw some rocks up at your window I broke some rocks right through your window

I'm coming home to you Every night...

Timber, timber We're falling down Let the forest hear our sound Boom ba boom ba boom Ah ooo ah ooo Boom ba boom ba boom Ah ooo ah ooo Why can't I see What's right in front of me? We We We We We We We We

fall fall fall fall fall fall fall fall

I'm coming home to you Every night... Coming home to you Every night... My mind is made up Nothing could change that I'm coming home to you Every night...

apart apart apart

Searching to find myself But all I find is you I can hardly stand myself So what am I to you? If you can find a reason You could let me know I won't blame you I'll just turn and go

apart

To fill the night with hollering When your eyes are red And emptiness is all you know With the darkness fed I will be your scarecrow

When the day has come But Iʼve lost my way around And the seasons stop and hide beneath the ground When the sky turns gray And everything is screaming I will reach inside Just to find my heart is beating

ʻCause Iʼm bleeding out Said if the last thing that I do Is to bring you down Iʼll bleed out for you So I bare my skin And I count my sins And I close my eyes And I take it in And Iʼm bleeding out Iʼm bleeding out for you (for you)

You tell me to hold on Oh you tell me to hold on But innocence is gone And what was right is wrong ʻCause Iʼm bleeding out Said if the last thing that I do Is to bring you down Iʼll bleed out for you So I bare my skin And I count my sins And I close my eyes And I take it in And Iʼm bleeding out Iʼm bleeding out for you (for you)

And the wolves all cry

I'm coming home to you Every night... Coming home to you Every night... My mind is made up Nothing could change that I'm coming home to you Every night... No matter, no matter No matter what we're facing It don't matter, don't matter 'Cause the reason that I'm here Is the same through all these years Not changing, not changing Anything at all I'm coming home to you Every night... Coming home to you Every night... My mind is made up Nothing could change that I'm coming home to you Every night...

Demon

Iʼm bleeding out Said if the last thing that I do Is bring you down Iʼll bleed out for you So I bare my skin And I count my sins And I close my eyes And I take it in And Iʼm bleeding out Iʼm bleeding out for you (for you)

When the hour is nigh And hopelessness is sinking in

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I'm the colorless sunrise That's never good enough I'm the wind that's in your hair That ruffles you up If you can find a reason You can let me know I won't blame you I'll just turn and go

Bleeding Out

On Top Of The World Enough to make my systems blow Welcome to the new age, to the new age Welcome to the new age, to new age Whoa, whoa, I'm radioactive, radioactive Whoa, whoa, I'm radioactive, radioactive

Rocks

You tell me to hold on Oh you tell me to hold on But innocence is gone And what was right is wrong

Iʼm bleeding out for you (for you) Iʼm bleeding out for you (for you) Iʼm bleeding out for you (for you) Iʼm bleeding out for you ʻCause Iʼm bleeding out Said if the last thing that I do Is to bring you down Iʼll bleed out for you So I bare my skin And I count my sins And I close my eyes And I take it in And Iʼm bleeding out Iʼm bleeding out for you (for you)

When the days are cold And the cards all fold And the saints we see Are all made of gold

Don't want to let you down But I am hell bound Though this is all for you Don't want to hide the truth

When your dreams all fail And the ones we hail Are the worst of all And the blood's run stale

No matter what we breed We still are made of greed This is my kingdom come This is my kingdom come

I want to hide the truth I want to shelter you But with the beast inside There's nowhere we can hide

When you feel my heat Look into my eyes It's where my demons hide It's where my demons hide Don't get too close It's dark inside It's where my demons hide It's where my demons hide

No matter what we breed We still are made of greed This is my kingdom come This is my kingdom come When you feel my heat Look into my eyes It's where my demons hide It's where my demons hide Don't get too close It's dark inside It's where my demons hide It's where my demons hide When the curtain's call Is the last of all When the lights fade out All the sinners crawl So they dug your grave And the masquerade Will come calling out At the mess you made

They say it's what you make I say it's up to fate It's woven in my soul I need to let you go Your eyes, they shine so bright I want to save their light I can't escape this now Unless you show me how When you feel my heat Look into my eyes It's where my demons hide It's where my demons hide Don't get too close It's dark inside It's where my demons hide It's where my demons hide


this project complements the CD you have just finished by designing a poster and a general admission ticket for the same artist.

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AUDITORIO NACIONAL, MEXICO CITY, MEXICO

TUESDAY 25 MARCH 2014

INTO THE NIGHT TOUR


9PM

INTO THE NIGHT TOUR TUESDAY 25 MARCH 2014 AUDITORIO NACIONAL, MEXICO CITY, MEXICO

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AUDITORIO NACIONAL, MEXICO CITY, MEXICO

TUESDAY 25 MARCH 2014

$ 70

GENERAL ADMISSION Event Code EK1223

SECAA

INTO THE NIGHT TOUR

INTO THE NIGHT TOUR

ROW09 SEAT20


This project is to desing a stamp for a designer. I chose a designer that is part of graphic design history. Working with the stamp format requires careful attention to scale. Similar to issues involved in designing a mark or logo, the final image is small. How does one create a powerful design with limited graphic elements that works on a small scale?

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49¢

USA

GUSTAV KLIMT

USA 49¢

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GUSTAV KLIMT

GUSTAV KLIMT

USA

49¢


This project is to develop the graphic pieces for an alcoholic beverage. I came up with a name for the beverage and design the pieces for it. The graphic pieces that are part of this project are: The label/cap of the piece and a packaging for it.

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Alcohol by volume

E N E R G Y

D R I N K

12% ALC/VOL

10.5 FL OZ (311mL)

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+

V O D K A


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This project deals with issues involved with designing page spreads. I found photographic images that are appealing and then found areas of the images that resembles letterforms. For the “extension” I looked for something in the image that resembled part of a letternform and extend or complete it with an actual letter. For the “reflection” i found something that resembled an entire letterform and reflect it with an actual letter.

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Y

Extension

Y

Y Y Y

Y Y Y Y

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X


Reflection

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o o o s


This project is to design the new design magazine named 2D/3D. I Designed the logo, 2 options for the cover (front and back), the masthead, the contents page and the articles for the 2D and for the 3D Designer. One of the chosen designers is chosen as the main article. .

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C=0 M=0 Y=0 k=100 C=70 M=15 Y=0 k=0 C=0 M=100 Y=100 k=0 26


Today is the 68th birthday of the great French architect and

calmness and complexity come together with a program of ex-

designer, Jean Nouvel. The winner of the Wolf Prize in 2005 and

hibit halls, bookstores and cafes; each function is contained in

the Pritzker of 2008, Nouvel has attempted to design each of his

an accretion of orthogonal volumes and sheltered by the monu-

depends on the moment.

projects without any preconceived notions, resulting in a variety

mental and perfect radiating geometry of shadows punctuated

of projects that – while strikingly different – always demonstrate

by bursts of the sun. of the structure, jean nouvel stated:

of things. I must say that I love the human voice. I like opera, religious

Where do you work on your projects?

an interesting use of light and shadow as well as a harmonious

‘a microclimate is created by drawing on sensations that have

songs, for example french 11th century polyphony -the ‘chante de

in my bed, around the table in restaurants with everyone talking, and

balance with their surroundings. This can be seen in such ac-

been explored countless times in great arab architecture, which

claimed works as the Institut du Monde Arabe and the Fonda-

is based on the mastery of light and geometry . . . a structure

alive in this contrast between big meetings of brainstorming and after,

tion Cartier and is also notable in his proposals for future proj-

made up of shadows, of movement and discovery.’

What is the best moment of the day?

I guess that you notice how women dress, do you have any

I am a night bird so I prefer the evening and the night.

preferences? sometimes it has to be casual sometimes it has to be more elegant. it

What kind of music do you listen to? I listen to the music my girlfriend prefers because I can discover a lot

l’ecstase’. but also singers, for me the human voice is the most emotional thing.

alone in the silence. I spend a lot of time in silence.

Do you have any advice for the young? no I do not like to give advice. every person has his ownreasons,

Museum of China.

repeat the same vocabulary or to do the same architecture on every

Everyone knows Piet Mondrian, so why is it that almost nobody knows the equally Dutch, equally abstract Theo van Doesburg, subject of a forthcoming exhibition at Tate Modern? Why is Mon-

Could you describe your style as a good friend of yours might?

drian the celeb while Van Doesburg is a mere footnote to 20thNouvel has been selected to design the new National Art Mu-

century art, a name that keeps cropping up while never taking centre stage? It can’t be the paintings, because if you’re honest

spot on the earth. I always research good reasons to do one thing in

nouncement isn’t due until November, Architectural Record has

you’ll admit that the two men – almost direct contemporaries

brain, the same feeling behind the work so I research every opportu-

to create something unique. matter and light is the big question of the

If the reports are true, the French architect will have beat out

friends – did virtually the same thing in paint, although I suppose

nity to do something in one way and not in another but I always have

epoch and the meaning of the world. you have to work and every work

projects to the present day? I am not in the best place to see that. I think it is always the same

has to ask a question in these dimensions. or long periods, to create a kind of ‘little world’ at the same time to extend the known world.

Are there any architectural works from the past that have

What books do you have on your bedside table?

I am very sensitive to the ‘architectures of light’, the many cathedrals

‘the book of disquiet’ by fernando pessoa, because it’s so peaceful. it

and the churches of the 11th and 12th centuries, for example, the

is a permanent lesson of philosophy and when you are a little bit too

‘saint chapelle’ chapel in paris, or much later, the ‘maison de verre’ by

busy like me, a little bit excited, it is necessary to have this kind of let

pierre chareau.

go.

So you don’t teach? Do you listen to the radio?

I refuse to teach, always. I am the son of two teachers and for me to

in the car. very well and to push them to their own epanouissement (blossom-

Is there anything that you’re afraid of regarding the future? I am not afraid of the future, no. I don’t care about the future. I care

effective way to teach a little bit, is in a workshop - to have people

about the present. on a political level there are some issues which are

working with me. afterwards they can use their acquired knowledge

important and some which are not, but I am optimistic. I think that the

with their own judgment and choose their own working relationships.

story of humanity can go in the right direction and it does not always need to go in the worst way.

What kind of clothes do you avoid wearing? I am always in black so it is very easy. I avoid everything else. black in spring, autumn and winter, but in the summer months, when I am in the south of france, I wear completely white.

Do you have any pets? not really. some mosquitos! (laughs)

Do you discuss your work with other designers? I discuss architecture with a lot of my friends because I work with a lot of consultants and I organise advisors with whom I have recurrent

fellow Pritzker Prize-winning architects Frank Gehry and Zaha

some commentators, Van Doesburg’s daring introduction of the

In a post-2008 Olympics attempt to attract more visitors to the

two men. We live in days when an artist would have to bottle his

area, the massive, 1.3 million square foot structure will be built next to the Herzog & de Meuron-designed Bird’s Nest. It will be

diagonal into his work was enough to cause a rift between the grandmother in urine before anyone would be mildly shocked, so it’s refreshing to know that in the 1920s an argument over the

one of three buildings planned for the area – the others being a museum dedicated to arts and crafts and a Sinology museum. n the early eighties Jean Nouvel in conjunction with Architecture-Studio won the competition to design what would become the Institut du Monde Arabe. It was conceived during the Grands Projets, a major development initiative headed by the French government. The IMA was produced through collaboration with the countries of the Arab League and the French government. Upon its completion in 1987, it quickly became a popular destination for the local populace as well as tourists. More details

Presumably another reason for Mondrian’s greater fame is those little dresses that Yves Saint Laurent created in the 60s, which elevated the reclusive Dutch artist to the status of a design icon. But perhaps the major reason is that Mondrian tive tradition into complete abstraction at exactly the same time, but while Mondrian remained with his bleak, geometric painting throughout his life, Van Doesburg had other ideas, dozens of them. You reach out to grab Mondrian and what have you got?

after the break.

An abstract painter, rather solitary, rather austere. You try the

a light-allowing, latticed double dome will be the central architec-

Painter, poet, art critic, designer, typographer, architect, perfor-

tural gesture of jean nouvel‘s design for the ‘louvre abu dhabi‘. in the spirit of architecture that belongs to its history and place, the design draws from the time-tested passive cooling techniques of regional buildings in form of a long network of pools as well as the woven palm frond roofs characteristic of the region. as both a parasol and diffused lighting device. the dome, 180 meters in diameter, also formally references a madrasa, mausoleum and mosque while helping maintain a succession of light-dappled spaces that frame the sea and garden. stone, steel and glass render three spatial typologies that vary

same thing with Van Doesburg and he’s as slippery as an eel. mance artist – he was all those things and more. Proteus himself. A fox to Mondrian’s hedgehog. So who was he? Born Christian Emil Küpper in 1883 into an artistic family in Utrecht, he only became “Theo Doesburg” when he started painting – his adopted name being borrowed from his stepfather. The “van” was added later, in much the same way that Ludwig Mies added “van der” when he merged his mother’s maiden name, Rohe, with his own paternal surname. One detects a similar feeling of social insecurity in the two men.

in their admittance of light and create a variously translucent

discussions with over long periods. we think similarly and understand different things, … but in france we don’t have a ‘salon of architec-

and reconstituted stone is the tectonic mechanism by which the

a material palette comprised of stucco, pristine plaster, glazing

ture’. it’s a pity. I think the spirit of everyone is to be alone.

cultural objects of myriad civilizations are put into dialogue. the

Where do you get your news from?

house replete with cultural capital and instead become a haven

every week all the weekly magazines because I travel a lot.

(Van Doesburg was eight years younger) and, for a while, close

Hadid for the highly coveted commission.

programmatic gradient.

I am a paper eater! everyday I buy the daily newspaper.

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ects, such as the New Louvre in Abu Dhabi and the National Art

overall aim of the museum is to supersede the functions of a of greenery on the coast– all situated at the end of an urban promenade.

tive painter, his work reminiscent of Van Gogh in early, potatopainting and in 1916 met Mondrian, newly returned from Paris. The devotion of both men to the creation of a purely abstract art led to the formation of the De Stijl group in 1917 and the publication of its magazine, De Stijl, which Van Doesburg edited and published from its foundation that year until its demise following his early death in 1931.


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Do you discuss your work with other designers?

So you don’t teach?

I discuss architecture with a lot of my friends because I work with a

I refuse to teach, always. I am the son of two teachers and for me to

lot of consultants and I organise advisors with whom I have recurrent discussions with over long periods. we think similarly and understand

very well and to push them to their own epanouissement (blossom-

different things, … but in france we don’t have a ‘salon of architec-

effective way to teach a little bit, is in a workshop - to have people

ture’. it’s a pity. I think the spirit of everyone is to be alone.

working with me. afterwards they can use their acquired knowledge with their own judgment and choose their own working relationships.

Where do you get your news from? I am a paper eater! everyday I buy the daily newspaper.

Can you go more into detail?

every week all the weekly magazines because I travel a lot.

it is important is to consider that each place is a stage in a mutation. but there is also a geographic and historic continuity.I pre-

I guess that you notice how women dress, do you have any

What is the best moment of the day?

What books do you have on your bedside table?

I am a night bird so I prefer the evening and the night.

‘the book of disquiet’ by fernando pessoa, because it’s so peaceful. it is a permanent lesson of philosophy and when you are a little bit too

What kind of music do you listen to?

busy like me, a little bit excited, it is necessary to have this kind of let

I listen to the music my girlfriend prefers because I can discover a lot

go.

of things. I must say that I love the human voice. I like opera, religious songs, for example french 11th century polyphony -the ‘chante de

Do you listen to the radio?

l’ecstase’. but also singers, for me the human voice is the most emo-

in the car.

tional thing.

Is there anything that you’re afraid of regarding the future? Do you have any advice for the young?

I am not afraid of the future, no. I don’t care about the future. I care

no I do not like to give advice. every person has his ownreasons,

about the present. on a political level there are some issues which are important and some which are not, but I am optimistic. I think that the story of humanity can go in the right direction and it does not always need to go in the worst way.

projects to the present day? I am not in the best place to see that. I think it is always the same

What kind of clothes do you avoid wearing?

brain, the same feeling behind the work so I research every opportu-

I am always in black so it is very easy. I avoid everything else. black

nity to do something in one way and not in another but I always have

in spring, autumn and winter, but in the summer months, when I am in the south of france, I wear completely white.

or long periods, to create a kind of ‘little world’ at the same time to extend the known world.

Do you have any pets? not really. some mosquitos! (laughs)

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-

preferences?

necting from the context.

sometimes it has to be casual sometimes it has to be more elegant. it

my attitude is not modest. I always wish to do a project

depends on the moment.

full of simplicity, delicacy, depth. projects which maintain the spirit of the location, the desire of people, of the city or countryside, of the

Where do you work on your projects?

buildings that came before it.

in my bed, around the table in restaurants with everyone talking, and

Where is ethics in architecture? alive in this contrast between big meetings of brainstorming and after,

there is the desire to analyze and understand the world.

alone in the silence. I spend a lot of time in silence.

but this should not prevent us from expressing something, from inventing, and in that sense ‘utopia’ is a part of our work. I think

Could you describe your style as a good friend of yours

now with all the cloning and repetition of the same buildings across

might?

the world, the world has become smaller and smaller. I think we have to evolve if it’s possible to create differences. not for the sake of it, but

repeat the same vocabulary or to do the same architecture on every spot on the earth. I always research good reasons to do one thing in to create something unique. matter and light is the big question of the epoch and the meaning of the world. you have to work and every work has to ask a question in these dimensions.

Are there any architectural works from the past that have I am very sensitive to the ‘architectures of light’, the many cathedrals and the churches of the 11th and 12th centuries, for example, the ‘saint chapelle’ chapel in paris, or much later, the ‘maison de verre’ by pierre chareau.

‘differences’ as signs of deeper understanding.


Today is the 68th birthday of the great French architect and designer, Jean Nouvel. The winner of the Wolf Prize in 2005 and the Pritzker of 2008, Nouvel has attempted to design each of his projects without any preconceived notions, resulting in a variety of projects that – while strikingly different – always demonstrate an interesting use of light and shadow as well as a harmonious balance with their surroundings. This can be seen in such acclaimed works as the Institut du Monde Arabe and the Fondation Cartier and is also notable in his proposals for future projects, such as the New Louvre in Abu Dhabi and the National Art Museum of China.

the news. If the reports are true, the French architect will have beat out fellow Pritzker Prize-winning architects Frank Gehry and Zaha Hadid for the highly coveted commission. In a post-2008 Olympics attempt to attract more visitors to the area, the massive, 1.3 million square foot structure will be built next to the Herzog & de Meuron-designed Bird’s Nest. It will be one of three buildings planned for the area – the others being a museum dedicated to arts and crafts and a Sinology museum. n the early eighties Jean Nouvel in conjunction with Architecture-Studio won the competition to design what would become the Institut du Monde Arabe. It was conceived during the Grands Projets, a major development initiative headed by the French government. The IMA was produced through collaboration with the countries of the Arab League and the French government. Upon its completion in 1987, it quickly became a popular destination for the local populace as well as tourists. More details after the break.

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“We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a color, a surface.� 32


Everyone knows Piet Mondrian, so why is it that almost nobody knows the equally Dutch, equally abstract Theo van Doesburg, subject of a forthcoming exhibition at Tate Modern? Why is Mondrian the celeb while Van Doesburg is a mere footnote to 20thcentury art, a name that keeps cropping up while never taking centre stage? It can’t be the paintings, because if you’re honest you’ll admit that the two men – almost direct contemporaries (Van Doesburg was eight years younger) and, for a while, close friends – did virtually the same thing in paint, although I suppose some commentators, Van Doesburg’s daring introduction of the diagonal into his work was enough to cause a rift between the two men. We live in days when an artist would have to bottle his grandmother in urine before anyone would be mildly shocked, so it’s refreshing to know that in the 1920s an argument over the

Presumably another reason for Mondrian’s greater fame is those little dresses that Yves Saint Laurent created in the 60s, which elevated the reclusive Dutch artist to the status of a design icon. But perhaps the major reason is that Mondrian tive tradition into complete abstraction at exactly the same time, but while Mondrian remained with his bleak, geometric painting throughout his life, Van Doesburg had other ideas, dozens of them. You reach out to grab Mondrian and what have you got? An abstract painter, rather solitary, rather austere. You try the same thing with Van Doesburg and he’s as slippery as an eel. Painter, poet, art critic, designer, typographer, architect, performance artist – he was all those things and more. Proteus himself. A fox to Mondrian’s hedgehog. So who was he? Born Christian Emil Küpper in 1883 into an artistic family in Utrecht, he only became “Theo Doesburg” when he started painting – his adopted name being borrowed from his stepfather. The “van” was added later, in much the same way that Ludwig Mies added “van der” when he merged his mother’s maiden name, Rohe, with his own paternal surname. One detects a similar feeling of social insecurity in the two men. tive painter, his work reminiscent of Van Gogh in early, potatopainting and in 1916 met Mondrian, newly returned from Paris. The devotion of both men to the creation of a purely abstract art led to the formation of the De Stijl group in 1917 and the publication of its magazine, De Stijl, which Van Doesburg edited and published from its foundation that year until its demise following his early death in 1931.

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