CONCEPT GROUP HENK DE VRIES

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ARCHITECTURE OFINTEGRATED DESIGN

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Amidst the Dutch design scene, Henk de Vries and his group distinguish themseives in a very specific way.

On the one hand their work is as Dutch as the name De Vries is and on the other hand it has a foreign glamour. It is clear and almost mathematically straight in its basic concepts, but it is unexpectedly free and rich in detailing, while the feeling for materials and finishings is often pleasinglyfashionable.

Henk de Vries is a highly creative and enthusiastic designer, with a good feeling for situations and contacts; it is almost predictable that such a combination leadsto a successful design-office. I have followed his remarkable career from a one-man operation that gradually turned into an office structure where his management qualities became apparent.

Also remarkable is the widening of the landscape of disciplines he encompasses.

Starting as a graphic designer, he entered - almost imperceptibly - into the threedimensional domain of exhibition and architectural design.

In the youngest period of his practice he was responsible for the results of larger corporate design commissionsthatattracted much attention for their ultimate consistency and impact. The concept for the Gamma-chain is in this respect an excellent example; two- and three-dimensional design solutions that reflect and present in every respect a leading do-ityourself building market.

Wim Crouwel

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DESIGN IN DETAIL

The medium is the message. Just as the jacket of a book or the sieeve of a grammophone record should indicate something of its contents, so, too, should the profile of an enterprise or institution reflectthe identity it symbolises. Early examples of this principle include the airline companies and the oil, motor-car, fashion and furniture industries.

This 'total design' concept has characterised the approach of Henk de Vries and his associates to graphic and industriai design for the past two decades. Since the establishment of the group in the 1960's, the working philosophy has been an optimal integration of different design forms (typography, interiors, industriai, architectural) into a distinctive profile of the client. De Vries refers to this philosophy as the 'architecture of integrated design'.

Architecture is the art of construction.

A building may be composed of many materials, butthese must be combined in such a way as to form a harmonious whole.

A building cannot be constructed of random bits of brick, wood and mortar.

What de Vries constructs is an identity based upon the totality of the client's operations.

This occurs in dose consultation with the client.

De Vries and his associates are convinced that the designer must be able to feel an affinity with the materials; there must be a rapport with the business philosophy of the client. Only then can this be successfully translated into a striking visual image that expresses the enterprise in ali of its aspects.

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The main fields in which the group is active are the fashion, building and graphics industries.

Adistinguishing characteristic isthe great attention to detail, which de Vries explains as coming from the agency's graphic roots. His people are trai ned to work on a scale of millimetres, and this eye for detail is evident in the subtle refinement that permeates the architectural design projects throughout. It also extends to the relationship of the agency with its sub-contractors, who must be capable of maintaining the same careful attention to quality standards.

De Vries is a firm believer in long-term business relationships. There must be a mutuai sympathy with those who give form to the design concept, as well as with the clients for whom it is made. For de Vries the most difficult task is not originating a design but keeping it alive and relevant. It must be capable of evolving with the enterprise. An allencompassing house style requires Constant attention to the development of the company's identity. This implies an ongoing relationship between the designer and the client whereby a cross-fertilisation of ideas can take place leading to tailor-made solutions for what are frequently highly diverse problems.

Concept Group Henk de Vries welcomes the increasing awareness in the business world of the importance of a strong corporate identity.

Even large enterprises are by no means necessarily guaranteed good public recognition only by virtue of their size and de Vries has long been a committed advocate of the integrated design approach. A durable company profile inspires consumer confidence. Achieving such an image requires a great deal of careful thought and preparation, however. The design should not only be focused on colour or on some momentarily fashionable abstract pattern. It must be capable of fully expressing the mentality, principles and spirit of the enterprise in an enduring manner. In short, it must symbolise the company's identity.

AN INTEGRATED DESIGN SOLUTION

One company whose identity problem was solved by Concept Group Henk de Vries is the Dutch do-it-yourself distributor Gamma.

In spite of its position as the market leader in The Netherlands, with 85 branchesthroughout the Benulux countries, this company, established in the early 1970's, was relatively unknown and did not have a profile that clearly distinguished itfrom the competition. There were also no common recognisable features in the design of the many different branches.

A 'building block' motif was chosen for maximum association with the building products line of the company. This was then integrated into ali the visible aspects of the stores, including interior and exterior design, clothing of the personnel, delivery vans, stationary, packing materials and sign boards.

Virtually everything having to do with the stores was specially re-designed and fabricated.

The entire design of Gamma is now based upon a square or cube form, selected both because it represents the most basic construction element and because it can be readily visualised in either two or three dimensions. In orderto create a distinctive exterior surface structure for the stores, grids of steel wire 75 centimetres square were specially designed in which small plastic blocks are inserted. These grids are then used as graphic elements to form the letters of the company name and other decorative patterns.

A machine to insert the plastic blocks, as well as the blocks themselves, was specially developed for this project, illustrating the importance of a dose working relationship with the contractor. This uniquely striking surface structure has a protective as well as decorative function, being applied inside at check-out counters to prevent scratching and wear and outside as an aesthetic barrierto burglars.

It has even yielded economie benefits as a result of the standardisation of the design for ali the branches. The grid concept has additional important advantages as well, being easily applicable to existing structures of ali shapes and sizes while giving them a highly recognisable uniform image. Up to now, more than one million plastic blocks have gone into realising this innovative company profile.

A recent survey confirms that the distinctive new image has dramatically increased public recognition of the thriving company - a fact that is also reflected in increased customer binding and the substantially improved results.

ARCHITECTURE

My conceptual approach impliesthatthe space occupied by an enterprĂŹse or institution must be regarded as a garment that fits it.

It is as it were a second skin, protective, comfortable and stylish. It must reflect the identity of the wearer.

This outer garment should be in harmony witft the ideas of the occupants. It is therefore of great importance that designer and client are in good accord with each other. It would be unthinkable for me to propose totally different solutions for different aspects of the same project. The entrepreneur must exercise great responsibility and care in the choice of a designer as the ultimate result strongly depends upon a mutuai respect based upon openness and clarity.

I cannot accept that a so-called 'turn-key' project can suitably reflect the profile of an enterprise. The unique identity of such a company will always be swallowed by anonymity.

That cannot and may not be the intention.

Time and money can be of passing importance in realising such a project, butthe result is permanent. Bad architecture has nothing to do with money, however. There are enough examples of poorly done expensive buildings.

INTERIOR DESIGN

To me, interior design isan inseparable extension of exterior design. Even ifthe garment is removed, the same personality should stili be recognisable.

The possibilities for interior decoration are considerable. Here, too, the choice must be made with vision and great care. Whether or not off-the-shelf products can be incorporated will depend upon the nature of the enterprise or institution.

Adjustmentswill frequently be necessary if the goal is the creation of a distinctive profile.

A rather unpersonal atmosphere can, for example, result if different businesses in the same sector are furnished in a similar fashion from standardised mass-produced inventories.

Individuai requirements seldom have a general character and demand individuai attention.

I attempt to remain true to both the design concept and to my own instincts.

If the means are not available to carry out an entire project then sometimes it can be done in phases. Better half good than completely mediocre.

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GRAPHIC ARCHITECTURE

Graphic architecture, such as the lettering on signs, vehicles and buildings, is obviously an integrai pari of company profiling. This is not limited only to such examples, however.

During the construction phase the lettering on temporary hoardings can also make an important contribution. This should be regarded with the same attention to detail as the final building and interior receive.

The chance that the hoarding will then be covered with graffiti and bills that have nothing to do with the company under construction can in this manner be reduced to an absolute minimum and the hoarding gains the valuable extra function during the often lengthy construction period of making the new enterprise known to the surrounding area.

The identity of a company should not depend only on the name of the building. The design of the building should sufficiente express the identity of the company that it remains recognisable even withoutthe name, as regularly occurred in the 1930's.

INDUSTRIAL DESIGN

I apply industriai design to projects that do not tolerate the use of mass-produced furnishings.

In such cases accessories and other furnishings that have an affinity with the overall design are individuali created. This can also benefit enterprises with branches in other locations, strengthening and clarifying their profile.

Exhibition stands frequenti demonstrate how the use of existing industriai mass products can lead to considerable uniformity between the different exhibitors. By definition my approach is not based upon the production of thousands of copies. Ten is also a series and should be equally possible.

I can have such products made by hand in Indonesia. There are stili many skilled craftsmen there and we can learn much from one another.

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GRAPHIC DESIGN

The first impression of an enterprise is frequently based upon a business card or folder. The entire operation must be encompassed within that small format, which is often crammed with ali possible titles, telephone and telex numbers, extensions, etc.

Restraint is better advised.

Paper is not elastic - not everything can or should be made to fit. An opinion about the nature and approach of the enterprise will be formed on the basis of this introduction.

It must conform with what the enterprise wishes to communicate about itself. Clarity conciseness, and an affinity with the activities and approach of the enterprise are the requirements here.

High quality products are not always recognised as such from the manner in which they are marketed. A simple company colour alone is also not sufficient to identify the company. Ali conceivable imagery up to and including the logo on a pen must be prepared with the same careful attention to detail. This is the essence of the integrated design concept.

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