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NUMERO 1, 6 luglio 2007

IUAV, fDA, clasVEM - Laboratorio di design editoriale

A proposito di sostenibilità...

La tipografia sperimentale tra caos e biologia

Milton Glaser: “Le 10 cose che ho imparato sul design”

Intervista allo studio svizzero Büro Destruct

Estate 2007: tutti gli eventi da non perdere

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Nasce il Consiglio nazionale del design Selezionate 25 personalità. Spiccano: De Lucchi, De Michelis, Fuksas, Giugiaro, Mari, Meda, Mendini, Paruccini, Piano, Sottsass. È stato insediato ieri ufficialmente dal ministro dei Beni Culturali Francesco Rutelli il primo Consiglio Nazionale del design. L’organismo, con sede a Milano, avrà i compiti, secondo quanto dichiarato dal ministro, di “ricerca, divulgazione, promozione, sperimentazione e l’obiettivo di costituire un incubatore volto a promuovere la cultura del design nella pubblica amministrazione, nelle aziende e nell’opinione pubblica”. Si tratta dunque di un importante passo da parte delle istituzioni per la promozione delle potenzialità progettuali italiane e per il riconoscimento del valore economico che il design contribuisce a produrre nel paese. Certo, ancora si sottolinea, nelle parole

del ministro, il famigerato termine “creatività”, piuttosto che “progetto”, ma lo imputiamo ad un difetto di vocabolario che, speriamo, l’attività del Consiglio stesso aiuterà a superare e a meglio descrivere. Sogniamo un politico che sappia distinguere tra creativo e designer, tra comunicazione e pubblicità. Vogliamo invece credere fortemente che l’istituzione del Consiglio, e l’attività che da questo deriverà, possa evitare in futuro gravi passi falsi come quello accaduto a proposito del marchio turistico dell’Italia: la promozione della cultura del design passa anche attraverso la trasparenza e la correttezza dei bandi di gara indetti dalle pubbliche amministrazioni.




Consider Chaos Theory to make a better design

Ellen Lupton, “Thinking with type”

This day in type

An essential book for graphic designers

A contest where the prize is fame, not money

Thinking with Type is definitely not a book about fonts. Instead it is, as stated on the cover, a critical guide for designers, writers, editors & students. The book is rich in information and examples which extensively help to visualize the various styles, theories, and methods discussed throughout. The book helps you to answer questions about the kind of font to use, how big it should be, alignment details (down to letters, words, and paragraphs) as well as taking into consideration the order, spacing, and shape of the text. There are sporadic details about specific type faces throughout the book, but they’re used to support the surrounding ideas. You learn more about character design as opposed to font face design.

There is a new wicked typography website that allows designers to submit an original design using a font of their choice for a specific date. After submitting the artwork, public voting determines the winning entry which is then added as part of a month’s calendar and appears in the homepage. This Day in Type is a collaborative venue for typography that uses the day’s date as its subject. As the community grows, the site will build stronger community tools to create a hub of type discussion and veneration.

have operative force. Find the relevant ones and use them. Look for attractors that offer opportunities because they are neglected. There are often unspoken attractors like values that can affect a project and put blinkers on evaluation. Formal structure in organization can be a key factor of attractors, but isn’t often Thoughts after spending an the primary one. afternoon with Dan Saffer If something is becoming more stable, that usually means it’s working. At what The discipline of design is changing its level do you begin looking? You need to face because design thinking is being zoom in and out during the design proapplied to more complex challenges, cess so that you can see multiple levels challenges with multiple intents and of the project. Zooming can break down many stakeholders that have to deal the scope of the project. If you are too with experiences, products and services, high, you get scope creep. If you are too processes, technologies, and people. The low, you get lost in the weeds of detail. bigger the system you are dealing with, Encourage people to push towards inthe more design needs different tools stability. Non-linear and techniques. shifts can lead to new There are currently innovations and invenseveral ways of worktions. Design for the ing with this complexrare 1% of the time, ity: strategic conversanot just the 99% nortion, systems thinking, mal times. You have to systems mapping and design for sub-optimal modeling, manageenvironments. Not efment theory, complexficiency, but redunity theory (systems dancy. By understandof many agents), and ing chaos theory and what John discussed: Lorenz Attractor (above), its implications, you chaos theory. It could chaos in font design (below): can design so that the be shown over time system continues to be that small changes successful, not just one have large conseproduct of the system. quences to systems Chaos theory helps us (the famous butterfly understand how you effect). can sustain a system Working at extremes, over a long period of too high or too low, time: by getting the isn’t very effective. You right balance of order can either get locked and chaos, by working with attractors, into categories or else get out of control. by looking at multiple levels of the projYou need to dip in and out of chaos and ect, and by expecting the unexpected. order. Sometimes a design team needs We can use chaos theory to support what to stir things up, sometimes it needs to we already know. But we can also use it provide order. You need to know which to add something extra. In all systems, one is required and use different stratethere are a whole lot of elements workgies for each. If a product is too stable ing randomly, but somehow all working and at the end of its useful life, it might together. Everything is interconnected, need to be disordered. In any project, therefore unpredictable things happen. define the attractors. Seek out what attractors have been missed and which

Above: front cover. Below: spread of pages 56-57.

Ellen Lupton Thinking with type - A critical guide Princeton Architectural Press New York, 2004 17 €



6 luglio 2007

Green Design Dialogues: A Round Table Discussion with Green Designers The paper industry is one example of a growing consciousness of green practices. Paper companies are big contributors to pollution and greenhouse gases, and they’re slowly realizing it. There are now many sustainable paper options designers need to be aware of as greener papers evolve. Sustainability is becoming a pressing concern to the graphic design community. Designers are buzzing about it as they try to green their own practices and make sense of it all. In order to tap into this buzz, I organized a round table virtual discussion with several people involved in the design industry to chat about green design and the growing sensibilities of sustainability in our field. “Green Design Dialogues” was born as a way to build the green design community and learn from each other. Our first discussion, via instant messaging, was May 25th. We touched on a broad range of topics relating to green design, which I will report on in a series of “Green Design Dialogues” posts in coming weeks. This week, I’ll introduce the crew involved with our first Green Design Dialogue and relay each designer’s experience with green design before summarizing our discussion. Involved in the chat were designers from various backgrounds. Bryn Mooth joined us from HOW magazine, a wonderful graphic design magazine that has recently started covering more green topics. Dani Nordin, founder and principal designer at The Zen Kitchen, brought to the discussion her experience with running a small design studio that

Il Lohas Design Award espone la sostenibilità del design italiano A simple contest which prizes is fame, not money All’interno dell’incantevole cornice dei Giardini Nazionali Shinjuku Gyoen di Tokio ha avuto luogo dal 12 al 20 maggio la seconda edizione del LOHAS Design Award, un concorso che gode di grande importanza in Asia e che mette in competizione prodotti di tutto il mondo ritenuti eccellenti rispetto ad un tema di design scelto, che cambia ogni anno. Nel 2007 l’evento ha approfondito le potenzialità di un design attento alla sostenibilità, capace di incentivare modelli di vita ecocompatibili per i consumatori, in grado di sensibilizzare il mercato al rispetto dell’ambiente. Tra gli oggetti in mostra sono stati selezionati per la loro praticità, il loro stile e la cura alla sostenibilità con cui sono stati concepiti anche 10 pezzi individuati a partire da TOKIO 2007 MILANOMADEINDESIGN, la mostra itinerante che dal 2006 sta facendo conoscere in tutto il mondo l’eccellenza del design milanese, con i suoi luoghi, i suoi uomini e le sue imprese. Boffi, Caimi Brevetti, Candy, CIAL Consorzio Imballaggi Alluminio, Cimbali, Danese, De Vecchi, Fusital Valli & Valli, San Lorenzo sono le imprese che hanno avuto l’opportunità di esporre i propri prodotti nell’ambito di questa importante vetrina, che ha ottenuto anche quest’anno un rilevante riscontro di pubblico con circa 50.000 visitatori negli otto giorni di apertura. La tappa di Tokio è stata visitata da 11.200 persone,

focuses on green design. Eric Benson is a Professor at the University of Illinois and the creator of the wonderful green design resource renourish. My interest with green design began in college while I was studying art and graphic design and trying to meld what I was learning with my love of nature and my inner environmentalist. I wrote many a paper about design ethics and my thesis topic was socially and environmentally conscious design. However our interests in green design began, we are all now seeing an awakening in the industry and a focus on sustainability and change, which makes us green designers very happy! Over the past few years, green designers have started out by doing their own research. Most of us had jumped into green design by simply immersing ourselves in it. Dani noted the importance of reading a lot for her, so that she knew a lot about the subject before getting started. Several of us have noticed that there are more resources about green graphic design now than just a couple of years ago, and, as Jess said: “With so much out there (some good, some junk), we’re going to see a few places rise to the top. I just hope they’re good ones” like renourish and Design Can Change. Two moments of debate at an AIGA encounter about sustainability and typography.

Cosa intendiamo quando parliamo di sostenibilità Assicurare la continuazione della vita umana sul pianeta e soddisfare le necessità delle persone e’ un elemento fondamentale nella creazione di una società sostenibile. Il termine ‘sostenibilità’ negli ultimi anni e’ entrato nell’uso comune. Per meglio comprenderne il significato si puo’ riflettere su cosa significhi il suo opposto, in-sostenibilità, ovvero l’impossibilità per un dato sistema economico, sociale, ambientale di continuare a svolgere le proprie funzioni. Per assicurare la sostenibilità delle attività umane si devono

creare e adottare nuovi stili di vita, si deve ridefinire il concetto di ‘successo’ in modo da assicurare un futuro equo e prospero per le persone e per il pianeta. Sviluppare soluzioni durature a molteplici problemi, anziche’ cercare di alleviare soltanto i molteplici sintomi dei problemi ambientali e sociali del nostro secolo.

A Londra è stata organizzata la World Naked Bike Ride in segno di protesta alla poca attenzione data alla sostenibilità


Tipografia biologica La storia è ricca di grafici che si cimentano anche in altri ambiti artistici. Oded Ezer, classe 1972, diplomato alla Bezalel Academy of Art & Design di Gerusalemme, ha trasformato la propria passione per la tipografia in arte. Ezer, nel suo laboratoio di Givatayim, un sobborgo di Tel Aviv. Da sei anni sta lavorando a un progetto da lui ribattezzato Biotypography (biotipografia) che, un po’ come nella biotecnologia, parte dagli organismi viventi per creare o modificare i fenomeni tipografici. Dopo avere manipolato le lettere dell’alfabeto ebraico per dare vita a caratteri tridimensionali e dotati di movimento nello spazio, il versatile designer di font è ora alle prese con un nuovo capitolo: Typosperma dove i caratteri sono un ibrido: metà spermatozoi e metà lettera.


6 luglio 2007

Capire il passato per comprendere il futuro: tipografia sperimentale e teoria del caos


Per riuscire a comprendere quali strade stia percorrendo la moderna tipografia sperimentale è giusto prima fare un sunto delle ispirazioni a cui si sono rifatti i designer tipografici negli anni precedenti e in che direzione esse ci stanno portando. Diamo un breve scorcio al periodo della New Wave. Il movimento New Wawe (USA/UK/ Germania/Francia/Olanda) ridefinisce la tipografia in base alla tecnologia anticipano esteticamente la tipografia digitale riflettendo la libertà espressiva sul disegno delle lettere e caratteri da stampa, rompendo l’inviolabilità storica della leggibilità introducendo l’emotività. Le sue origini stanno nella Germania anni 20 e nella New Tipography -Scuola svizzera - composizione lineare e senza grazie. Intorno agli anni ‘80 con l’avvento della tecnologia digitale avviene il declino della tipografia tradizionale, si passa dal disegno del carattere fatto da specialisti al disegno realizzato da grafici (fonderie) attraverso il computer da tavolo (desk-top), con dei software per la manipolazione di caratteri.

I nuovi designer sperimentano caratteri leggibili e illegibili, tra questi spiccano come autorevoli voci del modernismo tipografico Zuzanne Licko-Emigree con il carattere Citezen, Jefery Keed-in california con font rivisitate e Barry Deck in america con lettere lineari e trasparenti. Neville Brody e Jonathan Barnbrook in Inghilterra, Max Kisman in Olanda realizzano font personalizzate per magazine e identity corporate. Brody disegna carattere per The Face magazine di cultura e look contemporaneo. Max Kisman e Brody realizzano lettere con forme sessuali e perverse con un’interpretazione ambigua e personale delle font. Contro la leggibilità ed eleganza lettere si propone alfabeti personalizzati con identità narrativa arbitraria. Jonathan Barnbrook mette in campo il polimorfismo, l’ibridismo e la satira con Fudoni bold, remix Futura and Bodini, che si ispirano al carattare Bembo, di origine italiana (inciso da Francesco Griffi per Aldo Manuzio - 1499), Perpetua di Eric Gill, 1929.

Biotypographer’s strange laboratory In an interview who Oded Ezer released us in his laboratory located into Tel-Aviv suburbs, he explains his activity and experiments of biotypography. The interview took place at his home, in the city of Givaataim (a sleepy suburb of Tel-Aviv), July 4th, 2006. It evolved in way that required directioning rather than questioning, and therefore it is quasi-uncut, rather free-flowing. “On my business card it says...” I studied graphic design in Bezalel design academy in Jerusalem. Graphic design studies in Bezalel was a war for me. The system was very Israeli...the Israeli mentality of achieving the goals at all costs was foreign for me, difficult for me to digest. There was something very Spartan in there: driven by force, prestige, the desire to concur. I took a semester at Middlesex university, and only then I realized how fun design could really be. It was the first time I enjoyed design. It wasn’t like if you put something on the wall than YOU are hung on the wall. I hardly graduated, although all along I was quite a good student Q:How do you label yourself professionally? A:I have no idea. On my business card it says “Typography”. It’s not an adjective. I’m oded ezer, and I do typography. I’m not a Typographer. it’s like a garment I’m wearing. I don’t like it but people do and so it’s necessary. Basically I’m working in two parallel paths. The first is the natural path of a working designer. I do quite well in that respect. I make a good living, I’m getting published, I do well in competitions, I do every-

thing I’m “supposed” to do to be successful. I’m doing that, but this is so boring for me. I’m not cut out for that. I know I will do well, and this predictability is killing me. I know it sounds bad, but this is who I am. Also, being Israeli, the desire to fuse the Israeli with the European, with London, Amsterdam, Milano, Barcelona, is something I don’t like very much. So my solution to this conflict was to divide myself into two, otherwise I would have gone crazy. I told myself this: during the day I’ll be a whore, a bitch, but at night, then I become a son-of-abitch. I work extremely fast in my commercial work. My typographic skills are excellent. I can do in one day what others do in a week.

Works with insects and typography

La strategia della decostruzione nata in Europa viene applicata con l’ausilio del computer e ispirata delle avanguardie artistiche del 900 (studio Dumbar); mentre in California la rivista del Serfing “Beach Culture”, realizzata da David Carson, dove il design delle font e l’mpaginazione diventa celebre per essere la “Bete Noir” della decostruzione, con applicazioni parossistiche, deliranti e frenetiche. A Londra Why Not Associated smantellano la tipografia nel contenuto della pagina “headline e testo” e realizzano una tipografia usata per riviste e compagnie di abbigliamento, usano un visual delirante, cancellato e divertente. Emigre Magazine, e il suo fondatore Rudy Vanderlans, sperimenta un approccio radicale alla struttura della pagina e alla gerarchia dei caratteri utilizzando un numero font non convenzionali. Émigré Magazine usa una tipografia incompatibile con corpi variati, ad epigrafe, con misure extra, con colonne diverse misure, il testo dentro le colonne di testo tutto a discapito della leggibilità.

That allows me to earn my bread and also make the time for the truly important stuff. Most of my work doesn’t come from tradition of graphic design or typography. I know all the design giants I’m supposed to know, but my work does not come from the Israeli graphic or artistic culture. The people who influence my work are musicians, biologists, scientists, not necessarily designers. Ok, so what do I do, you ask? I do classical commercial graphic design work. I do logos, image design, graphic print etc., then I design fonts. It’s nice, because I work like an artist, I sit at home, design new fonts, sell them, and feel very good about myself, but it’s just font design, nothing more...ahh, I do also “corporate fonts”, which pays nicely. Q:Let’s talk about Biotypography. What the hell is it? How did it start? What? Why? Where? A:These are Ant-letters, of course... it’s a natural move that I made to see what will happen to typogra-

In UK esponente del design Font è Phil Baines, intellettuale impegnato, si ispira ai manoscritti mediovali, a McLhuan “galassia Gutenberg” e alle cartoline del Bauhaus. Propone nell’impaginazione dei libri un modello alternativo e dell’organizzazione testuale, combina rigore editoriale e sensitività linguistica ed estetica a un linguaggio tipografico giocoso. Tibor Kalman applica la teoria del caos ad una tipografia estrema distorta stressata con disintegrazione del testo in particelle, bold e corpi piccoli, font spruzzato, randomizzato e imperfetto. I caratteri sono abusivi, erronei, metaforici con cambio in altezza, con titoli ad angolo, con fondi neri e fuori gabbia e registro, si ispira all’elenco telefonico. Richard Eckersley usa la fotografia erosa, la frammentazione e gabbia libera , il modello del sistema telefonico, anche Emigre Magazine si ispira al “Telephone Book”. Tutti questi autori si ispirano alla tradizione sperimentale delphy in the future. So I sit at my desk, and I set myself some working rules (like not using anything typographical that is around me), and I essentially ask: “What would a typographer be in 50 years?” Q:So you create an animal, an ant, which is a letter. where does it live? A:The first and most truthful answer is that I don’t know. I can speculate, but I don’t know. The “F” by itself cannot do much. But together with its friend, the “U”, the “C”, the “Y” and the “K”, it can say “FUCK YOU”, for example. Or imagine my ants, the mutated letters, gathering, as a collective, and express a message that we can understand, like “food”, or something…wers, I’m trying to create an experience, with nonsense words, I’m canceling the meaning of the word, and getting in return a gift, the reaction of the viewer to the material, the form, the space, the atmosphere. As a viewer you might reject it, and it’s fine, I don’t care, but you will probably feel something. This is typography that creates an expe-

la tipografia futurista, dadaista, Bauhaus anticipata da Robert Massin, Wolfang Wiengart e Wanner Lehrer. Rinnovano lo stile delle avanguardie storiche, questi designer, influenzano lo stile per decenni soprattuto nell’editoria e nei poster, rappresentano la continuità della New Tipography (ITS - International Typography Style) e i precursori della New Wave. I principi sono di questo movimento di creazione di font sono: la decostruzione fascinante, il design produttivo e fattibile; la funzione del visual designer/ editore e tipografo, come nei casi emblematici di Emigre Magazine e Octavo Magazine.

rience, and if I can do that, that’s a good enough reason for me to go on living... Q:Why do you attach yourself to a letter? Why letters? A:It’s a good question that I have been asked a lot. The true answer is that I don’t know and I don’t want to know. Look, I could have worked with just a simple circle, or a glass, or whatever just the same. But a letter is both the content and the object that carries it. Is it a “thing” or a “symbol of a thing”? Or both? I relate to these places because for me, when I make a hairy circle, it is a hairy circle. But if I write the word “circle” in a hairy way, it opens up a whole new field for interpretation.




The 10 things I learnt designing

Per molti, Milton Glaser è la personificazione del design grafico americano della seconda metà del secolo scorso. Immensamente creativo e articolato, è il moderno uomo rinascimentale: una rara razza di designer a metà tra l’intellettuale e l’illustratore, che eleva ad un certo spessore comprensione e pensiero concettuale, combinati con una notevole richezza di linguaggio visivo, il suo lavoro inventivo e individualistia. Nato nel 1929, Milton Glaser si diplomò alla High School of Music and Art and Cooper Union School a new York e grazie alla brillante carriera scolastica poté laurearsi all’Accademia di belle Arti di Bologna, in Italia. È stato co-fondatore dei rivoluzionari Pushpin Studios nel 1954, fondò il New York Magazine con Clay Felker nel 1968, creò la Milton Glaser Inc. nel 1974 e lavorò a stretto contatto di Walter bernard nel 1983 per formare la pubblicazione WBMG. Attarverso la sua carriera, Glaser fu un creatore prolifico di poster e stampe. Tra le altre occupazioni da lui svolte vi son sia redesign grafici e architettonici, con un lavoro che complessivamente spazia dal logo-icona sino all’immagine coordinata e all’allestimento di interni per il ristorante al World Trade Center di New York. Glaser è una figura influente in qualsiasi comunità di designer, notevole è il suo contributo saggistico e alle esaustive interviste riguardanti il design.

1:You can only work for peoplethat you like. This is a curious rule and it took me a long time to learn because in fact at the beginning of my practice I felt the opposite. Professionalism required that you didn’t particularly like the people that you worked for or at least maintained an arms length relationship to them, which meant that I never had lunch with a client or saw them socially. I am talking about affection. 2:If you have a choice never have a job. One night I was sitting in my car outside Columbia University where my wife Shirley was studying Anthropology. An irritated voice said ‘Why is everyone asking me about old age these days?’ I do know how to prepare for old age’ he said. ‘Never have a job, because if you have a job someday someone will take it away from you and then you will be unprepared for your old age. For me, it has always been the same every since the age of 12. 3:Some people are toxic avoid them. This is a subtext of number one. There was in the sixties a man named Fritz Perls who was a gestalt therapist. Gestalt therapy derives from art history, it proposes you must understand the ‘whole’ before you can understand the details. And the important thing that I can tell you is that there is a test to determine whether someone is toxic or nourishing in your relationship with them. Here is the test: Whether you are tired or whether you are exhilarated. If you are more tired then you have been poisoned. 4:Professionalism is not enough or the good is the enemy of the great. Early in my career I wanted to be professional, that was my complete aspiration in my early life because professionals seemed to know everything - not to mention they got paid for it. Later I discovered after working for a while that professionalism itself was a limitation. I suppose if you needed brain surgery you wouldn’t want the doctor to fool around and invent a new way of connecting your nerve endings. Please do it in the way that has worked in the past. Professionalism as a lifetime aspiration is a limited goal. 5:Less is not necessarily more. Being a child of modernism I have heard this mantra all my life. Less is more. One morning upon awakening I realised that it was total nonsense, it is an absurd proposition and also fairly meaningless. But it sounds great because it contains within it a paradox that is resistant to understanding. You cannot prove to me that a solid blue rug is in any way superior. However, I have an alternative to the proposition that I believe is more appropriate. ‘Just enough is more.’

6 luglio 2007


6 luglio 2007


Clockwise starting from the top of this page: The poster for the exhibition of the Third American Cello Congress; an illustration made for a one-man exhibition in Arezzo; a poster for an exhibition; a poster for the advertising of the “Quaderno” ultra-slim laptop. Below: A Milton’s sketch.

6:Style is not to be trusted. I think this idea first occurred to me when I was looking at a marvellous etching of a bull by Picasso. It was an illustration for a story by Balzac called The Hidden Masterpiece. I am sure that you all know it. It is a bull that is expressed in 12 different styles going from very naturalistic version of a bull to an absolutely reductive single line abstraction and everything else along the way. So every ten years or so there is a stylistic shift and things are made to look different. And how to respond to that desire in a way that doesn’t change your sense of integrity and purpose. 7:How you live changes your brain. The brain is the most responsive organ of the body. Actually it is the organ that is most susceptible to change and regeneration of all the organs in the body. I have a friend named Gerald Edelman who was a great scholar of brain stuvvavies and he says that the analogy of the brain to a computer is pathetic. I was fascinated by a story in a newspaper a few years ago about the search for perfect pitch. Thought changes our life and our belief. Drawing also makes you attentive. It makes you pay attention to what you are looking at, which is not so easy. 8:Doubt is better than certainty. Everyone always talks about confidence in believing what you do. Of course we must know the difference between scepticism and cynicism because cynicism is as much a restriction of one’s openness to the world as passionate belief is. Blind pursuit of your own ends which excludes the possibility that others may be right does not allow for the fact that in design we are always dealing with a triad – the client, the audience and you. 9:On aging. Last year someone gave me a charming book by Roger Rosenblatt called ‘Ageing Gracefully’ I got it on my birthday. If you were having a bad hair day or a no hair day or if your boss looks at you cockeyed or your boyfriend or girlfriend looks at you cockeyed, if you are cockeyed. A butcher was opening his market one morning and as he did a rabbit popped his head through the door. The butcher said ‘This is a meat market – we sell meat, not vegetables.’ 10:Tell the truth. The rabbit joke is relevant because it occurred to me that looking for a cabbage in a butcher’s shop might be like looking for ethics in the design field. It may not be the most obvious place to find either. Everyone interested in licensing our field might note that the reason licensing has been invented is to protect the public not designers or clients. ‘Do no harm’ is an admonition to doctors concerning their relationship to their patients, not to their fellow practitioners or the drug companies. If we were licensed, telling the truth might become more central to what we do.



BÜRO DESTRUCT We interviewed the Swiss studio Büro Destruct “Should you ask us today, who we are, we shall say: We are the people you don’t see. The people from the woods. The people with short arms and short legs. The people that visit you at night, that pull the cover over your head, to stop you from breathing. We are the people that send you on a long journey. Should you ask us today, who we are, we shall reply: We are the people that are really always there for you (Quoted from Foreword in Buro Destruct II).” With the aim to encourage and promote young artists, HGB Fideljus created the «Destruct Agentur» in 1992. Teaming up with graphic-designer Lopetz in 1994, the «art agency» changed into the graphic design bureau destruct or «Buro Destruct», as it is known today. The current crew counts 5 members: (MBrunner (70), H1reber (71), Heiwid (67), Moritz (75) and Lopetz (71). A speciality of Buro Destruct is creating typefaces since 1995. The fonts can be accessed on the Buro Destruct font foundry website called typedifferent. com opened in february 2002. 1999 the book «Buro Destruct», published by «Die Gestalten Verlag» in Berlin, Germany, offers a sort of retrospective on the bureau’s work from 1994 to 1999. The ever so popular «Electronic Plastic» book in 2000 is followed up in 2001 by the project: «Narita Inspected» a roundup of contemporary graphic designers in Japan, researched and designed by Lopetz/BD. 2002 Buro Destruct launched «» an internet project where visitors can upload logos from the streets all over the world into loslogos city to protect them from disappearing. Also in 2002 Buro Destruct opened their small but nice graphicdesign-shop called «Buro Discount» in Zurich. 2003 the follow-up book «Buro Destruct II», again published by The sketchbook officially accompanied the same called exposition at the gallery of Lucy Mackintosh in ausanne and shows the bureau’s work unplugged.

Q: Please introduce yourself. A: With the aim to encourage and promote young artists, HGB Fideljus created the Destruct Agentur in 1992. Teaming up with graphic-designer Lopetz in 1994, the “art agency” changed into the graphic design bureau destruct, or “Buro Destruct”, as it is known today. The current crew counts 5 members: (MBrunner, H1reber, Heiwid, Moritz and Lopetz). The design work of BD consists to a larger part of print matter with a range from corporate identities, logotypes, ads, books, recordsleeves/cd-covers, posters to flyers... A speciality of Buro Destruct is creating typefaces. They can be accessed on the buro destruct fontfoundry-website called “” opened in february 2002. The 1999 book “Buro Destruct”, published by “Die Gestalten Verlag” in Berlin, Germany, offers a sort of retrospective on the bureau’s work from 1994 to 1999. The ever so popular “Electronic Plastic” book in 2000 is followed up in 2001 by the project: “Narita Inspected” a roundup of contemporary graphic designers in Japan, researched and designed by Lopetz/BD. In summer 2003 buro destruct is releasing their second book with works from the last four years. In 2002 Buro Destruct launched “Loslogos. org” an internet project where visitors can upload logos from the streets all over the world into loslogos city to protect them from disappearing. Also in 2002 Buro Destruct opened their small but nice graphic-design-shop called “Buro Discount” in Zurich. An online-shop is ready to follow in 2004. Even though the Buro Destruct often seems weird and precise enough to be Japanese, they’re still located in Berne, the small and unsuspecting capital of Switzerland. We all have a designer background, means study in the art school and jobbing at advertisement agencies. We were schoolmates and are still all friends, doing what we like.

6 luglio 2007


Q: What kind of activities are you usually doing? Please tell us projects you have recently done. A: Recently we released our second Buro Destruct book which contains a collection of our favorite works from the past four years. Now we are heavy rotating with the organisation of the promotion events in Zurich, Tokyo and London... after that we will need a rest and then we will have a workshop and a speech in Ecuador in November. Next year we are preparing the online-shop website for our Graphics - Gallery - Gimmicks - Gadgets shop in Zurich called “Buro Discount”. Next to all of that we are swimming a lot in our river that flows around our homecity Bern. It’s a good refreshment in these hot summer days. You can call it a “reset your system”.

On the left page: logos, posters and advertising. Ont his page: some of the various fonts sets published by Typedifferent fourndry (Büro Destruct propriety).

Q:You have just released your second book “Buro Destruct II” from Die Gestalten Verlag on the 20th of August. Please introduce about this new book (i.e. contents, concepts, how and why did you select these works? How long did it take to complete this book?) A:Actually we had about 6 months to compile it with our works. Of course we added again special works which are only published in this book, so add another 1-2 months to the 6 months mentioned above. Since there were high expectations, and critical eyes on our follow up (II) we still felt having great freedom to create volume 2. Many readers will compare it with our previous book and they will certainly find many differences even if the booklayout and the concept is built on the same basic elements from the 1st one. The content of the book is just what we like to see and what we like to do. If you read the editorial text (attached below of the interview) you can get an impression of where we like to go with it. Q:What is the greatest point of a book as a media where you can express yourself? A:A book is a finished product. Moving- or interactive-media is always an under-construction or an in-motion thing. We like new media, but the real roots of our graphic design are resting on paper. Q:I heard that Buro Destruct is a great sympathizer for Japan. When you come to Japan for the exhibition in Tokyo, do you want to go any particular places? Or do you want to do anything special? A:For me it is the 4th time to visit japan. Next to Tokyo we did visits to Sapporo and Kyoto. This time we like to visit Osaka and maybe Kyoto again. Of course we will do snowboarding in the skidome again. For us, this is kind of sureal, because we live so close to the mountains were we can snowboarding in the real nature. To have drinks together and play pachinko or karaoke. Q:What kind of customers visits your shop? A:It is close to the main airport of Switzerland. So we have a lot of visitors from abroad. But also Swiss people who are interested in graphic design, architecture or art. This is the work from HGB Fideljus and his wife Mina. Maybe you can compare it to Shift in Sapporo. You have a webzine and a coffee house... but you need to seperate the responsibilities. Otherwise you get crazy. Q:Please tell us your future projects as well as Buro Destruct’s dream. A:Continuing. Stay small - design big Q:Please leave a message to readers. A:Read carefully page 1 - 224, matane.

6 luglio 2007




6 luglio 2007

Estate 2007: eventi, mostre e occasioni da non perdere

06.04.2007 - 31.03.2008 02.07 - 30.07.2007 10.07.2007 50 Years of Helvetica 2007 marks the fiftieth anniversary of Max Miedinger and Edouard Hoffmann’s design Helvetica, the most ubiquitous of all typefaces. In honor of the first typeface acquired for MoMA’s collection, the installation presents material demonstrating the variety of uses and enduring beauty of this design classic. As a special feature in the exhibition, an excerpt of Gary Hustwit’s documentary Helvetica reveals the typeface as we experience it in an everyday context.

Chiara Passigli Wunder-Box Chiara Passigli costruisce scatole. E dentro alle scatole costruisce un mondo fatto di oggetti, disegni, parole e numeri. Ogni lavoro è racconto misterioso e poetico, una piccola wunder kammer in cui si trovano animali di carta, rami d’albero, fili, stoffe. Questo mondo miniaturizzato e racchiuso nella scatola-bacheca mescola l’ironia dell’accostamento improbabile all’inquietudine della reliquia, caricando le scatole di una non resistibile forza magnetica.

06.08 - 01.09.2007 18.08 - 27.08.2007

2007 International Paul Rand at the exhibition of Musée de la Crèche fine arts photography After acknowledging the work The Center for Fine Art Photography invites photographers working in all mediums, styles and schools of thought to participate in its exhibitions and activities. Traditional, contemporary, avantgarde, creative and experimental works that include new processes, mixed techniques, and challenging personal, emotional or political statements are welcome.

Sommerfoyer07 Uchiwa - Japan

of major 20th European figures of graphic design, the 2007 Festival crosses the Atlantic to present Paul Rand’s work, one of the modern American designer. He elaborated numbers of posters, children books, logos, visual identities that have become international standards such as for the American computer company IBM, Westinghouse, ABC broadcast or the international shipping company UPS to name a few.

Flyer in the shape of a japanese “Uchiwa” (Paper-Fan) for the upcoming “Sommerfoyer” of Dampfzentrale Bern. Lineup: Smat, Smirre, Alex Like, Zukie, Mastra, Soulsource, Diferenz, Atomik, Ramax, Questionmark, Munk & Smat, Kev The’head & Swo, Ramax, Marco Repetto Live & Echo-skill Hifi Live, Agnès Live & Mastra, Kalabrese & Rumpelorchester Live & Alex Dallas, Digitaline Live & Serafin, Moustache Goes Mythos.pong

31.05 - 31.10.2007 02.07 - 29.09.2007 14.07 - 31.10.2007 04.08 - 11.08.2007 24.08 - 12.09.2007 Japanese Literati Culture in the Edo Period In the seventeenth century, in response to the ideas of self-expression traveling from China, the Japanese created their own, highly sophisticated version of the Chinese literati culture. This exhibition explores the works of art that flourished as a result, both collaborative works and unique objects created by individual artists.

“Ferrari 60 relay” Helvetica NOW! Una mostra d’eccezione Poster contest È stato presentato presso la sede della Stamperia Artistica Nazionale a Torino il bando del Concorso “Font Competition 2007: Mostra il Tuo Carattere”. Il contest creativo per celebrare nel gli oltre 80 anni di attività della Stamperia, è aperto a tutti i cittadini residenti o domiciliati all’interno della Regione Piemonte e a tutti gli studenti iscritti a istituti, scuole e facoltà di grafica e design piemontesi.

Per celebrare i 50 anni del carattere Helvetica, Linotype invita i designer di tutto il mondo a partecipare alla creazione di un poster. Obiettivo del concorso è quello di indagare il ruolo del carattere nella vita di oggi e il modo in cui la tipografia influisce sulla nostra percezione dell’ambiente. Molto consistenti i premi per i lavori selezionati (15.000 Euro complessivi).

Exit Strategy Esposizione di grafica emergente Inaugurata e partita dall’interno della stessa Accademia, Exit Strategy “esposizione di grafica emergente” stavolta approda al Rumba Cafè, locale polivalente bolognese, dove si mostrerà una selezione delle opere grafiche degli studenti sviluppate su un tema libero virtualmente portatore di significati etici e/o legati all’idea di responsabilità sociale del graphic designer.

Venezia, Stage d’illustrazione teatrale L’ Associazione Culturale N. Teatrio per gli stages 2007 propone i seguenti artisti: Pirkko Vainio, Adelchi Galloni e Kveta Pacovska. Gli stage di illustrazione nascono con lo scopo di consentire ai giovani illustratori di avere un punto di incontro, di apprendimento, e di verifica con i più noti maestri nazionali ed internazionali. Tecniche ed esercitazione diretta: questi i contenuti degli stage organizzati dall’Associazione Culturale N. Teatrio.

17.06 - 30.06.2007 06.07 - 16.09.2007 02.08 - 04.08.2007 10.08 - 31.08.2007 12.09.2007 16° premio di Pittura, Scultura, Grafica e Fotografia “Giovanni Gronchi” Il 17 Giugno prenderà avvio il 16° Premio Nazionale di pittura, grafica, e scultura “Giovanni Gronchi” città di Pontedera. L’iniziativa organizzata con il patrocinio del Comune di Pontedera, dal circolo Acli cittadino in collaborazione con il Centro Studi G. Gronchi e con il Circolo Culturale Identità. Apertura mostra lavori l’17 Giugno 2007 nel pomeriggio.

My Life: nuovo progetto di arte contemporanea Oggi altri artisti, dagli artisti, sono invitati a scoprire questa terra su un poggio, quello di San Miniato (Pisa), dove diciassette longobardi salirono per dare vita a un luogo, a una terra, al loro pensiero, per ripercorrere, dentro i segni della storia, il cammino che ci lega al nostro essere attraverso singoli lavori che si fondono in un disegno unico e collettivo.

Workshop di cancelleresca corsiva Massimo Polello, presidente e insegnante dell’Associazione di Calligrafia di Torino, organizza due giornate per imparare le forme e i ritmi base del modello corsivo cancelleresco.La cancelleresca corsiva è certamente il più bello dei modelli calligrafici del Rinascimento italiano, tanto che i calligrafi di tutto il mondo la considerano ancora oggi una delle forme di scrittura classica più fresche ed attuali.

Concorso per l’identità visiva di Assisi L’Amministrazione Comunale di Assisi, al fine di promuovere l’identità internazionale e l’immagine della Città nel mondo, intende dotarsi tramite un concorso di idee, di un sistema di identità visiva che rappresenti un format univoco per le campagne di comunicazione e di immagine, grazie all’adozione di un’organica e coordinata immagine dell’Ente.

Font competition 2007 Mostra il tuo carattere È stato presentato presso la sede della Stamperia Artistica Nazionale a Torino il bando del Concorso “Font Competition 2007: Mostra il Tuo Carattere”. Il contest creativo per celebrare nel gli oltre 80 anni di attività della Stamperia, è aperto a tutti i cittadini residenti o domiciliati all’interno della Regione Piemonte e a tutti gli studenti iscritti a istituti, scuole e facoltà di grafica e design piemontesi.

Laboratorio 07