DESIGN CHANGES

Existing political, economical, ecological and even social structures are widely questioned. … As a consequence design can no longer only be defined by just technical performance, aesthetics, or creativity. …

Dennis Elbers, London Calling, Dee, Issue 3, 2014

It is still quite rare to see a design exhibition in a museum. But thanks to Dennis Elbers and Sven Ehmann’s initiative, and the sensitive approach to design of Nadine Clemens, the president of Design Friends Luxembourg, it is now possible to see Resolute–Design Changes exhibition at the Casino Luxembourg–Forum d’art contemporain. The projects presented in Resolute and Postscript Luxembourg give us insight into how socially responsible designers approach social problems and how they try to solve them on a bigger scale. What’s interesting is that these designers always work in, with and for a community. Their work is no longer just about staging provocations; it is about involvement and finding solution.

Design for Social Innovation applies the abilities of talented individuals to collective creativity and to the transformation of complex systems at great scale. In this new role, the designer’s practice takes place not in private studio but inside an organisation or community. It the invisible dynamics of individuals and their relationship with each other instead of material resources. Its method and value are in collective participation and creativity that engage organisations in finding solutions that work for them.

Cheryl Heller, The Social Innovation Revolution

An interest in social matters has become a hot topic in the world of design. Dutch design, for example, aims to make an impact on a society rather than show off strong visual concepts. With Works That Work, Peter Bil’ak, a Slovakian graphic and typeface designer based now in The Hague, quietly revolts against the usual magazine publishing models and promotes design that happens in most unexpected places and circumstances. Alice Rawsthorn in Hello World casts light on the new challenges we all face when it comes to solving delicate social issues using design systems. In her book she showcases fantastic examples of projects concerned with communities. Everyday Rebellion documents social movements that speak up against inequality, injustice and fraud. And, last but not least, the V&A curators have recently shown Disobedient Objects, an exhibition which explores the role such objects play in grassroots movements.

Conclusion? Designers and people involved in design fight to be sustainable; they put their efforts in growing something, often intangible, rather than creating objects that you can buy and throw away when obsolete.

“Atmosphere Rooms” for Philippe Apeloig, Paris

The Typorama finished a couple of weeks ago and I am still thinking about the walls of the Museum of Decorative Arts in Paris filled with Apeloig’s fonts, Metro-size posters and the music used for his animations composed by Barbatuques, Iannis Xanakis, Maurice Ravel and Laurent Rochelle, among others. Typorama, the exhibition and the catalogue, presents the panorama of Philippe Apeloig’s work which is conceptual, functional and artfully crafted.

For me, the most important thing in the exhibition were Apeloig’s sources of inspiration, his Jewish roots, the fact that his grandparents came from Kazimierz Dolny in Poland, his fascination with movies like, 8 ½, Orfeo Negro and Battleship Potemkin.

The way Philippe Apeloig presented 30 years of his work made me think of Alexander Dorner’s “Atmosphere Rooms”.

Across the Atlantic, the German curator Alexander Dorner was experimenting with a different approach to explaining the relationship between art, design and architecture as director of the Landesmuseum in Hanover. Since the mid 1920s he had used pieces from its archive to depict the cultural history of particular eras by creating what he called “Atmosphere Rooms”. The grand finale was the Raum der Gegenwart, or Room of Today, for which Dorner commissioned Moholy-Nagy to create an immersive sequences of images depicting glimpses of contemporary art, architecture, design, theater and sport with screening of experimental Soviet films including Sergei Eisenstein’s “Battleship Potemkin” and Dziga Vertov’s “Man with a Movie Camera”.  

Alice Rawsthorn, Hello World

In this post I gathered some quotes and images which are glimpses of culture, design and art that I wanted to dedicate to Monsieur Apeloig.

I begin with a small town in Poland, Kazimierz Dolny. Then I move on to Malevich’s Black Square, Dutch Design, Wolfgang Weingart’s Line Pictures for Armin Hofmann, Phillippe Petit’s tightrope walking at the World Trade Center in 1974, and, finally, Pina Bausch’s Nelken from 1982.

Acoustic Walk

Kazimierz Dolny in Poland used to be a place of two cultures and two religions, Catholic and Jewish. They existed next to each other till the Soviet and German occupation almost wiped the Jewish out of the town, out of the whole country. But, there are people, young people who want to remember that Jewish culture influenced Polish culture and that it is an important part of our heritage.

Jaśmina Wójcik is a Polish multimedia artist. In 2011 she created the acoustic walk around Kazimierz Dolny. It was a project with audio guides in which she used stories about Jewish that don’t live in Kazimierz any more, but are still present in the memory of its inhabitants.

…the acoustic walk around Kazimierz Dolny consists of prints of Jaśmina Wójcik’s drawings hung on the facades of houses. The drawings are the central part of the project, and create the points on the walk’s map. The path is created by places – existing or not – where Jews used to live (e.g. the cheder, the mikveh, the Tzadik house, the synagogue, the kosher slaughterhouse). Each participant gets an MP3 player, a map and an instruction. The MP3 player becomes a personal guide.This is a personal and alternative way of touring around the town–through something that does not exist anymore, or what remained in a very small scale. Yet it constitutes a very important part of the town’s history and heritage. The project aims at creating a universal message relating also to contemporary events. In their headphones the participants hear real memories of the pre-war life in Kazimierz Dolny (archived by Bożena Gałuszewska and the Brama Grodzka Center – NN Theatre in Lublin). The town used to be bicultural – Poles and Jews where neighbours here. After WWII the Jewish community vanished completely. The project is an expression of memory about them. Of respect. Of preserving their presence… of their metaphysical return…

http://www.akustycznyspacer.pl

Black Square

0.10_Exhibition
A section of Suprematist works by Kazimir Malevich exhibited for the first time at the 0.10 exhibition (via Wikipedia)

The Last Futurist Exhibition 0.10 in 1915 … the placement of the suprematist paintings suggested the way icons were hung; … Black Square, which was, with total explicitness presented as an icon, or rather, in the position of an icon.

Igor Zabel on The Last Futurist Exhibition 0.10 in 1915

Dutch Design

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Theo van Doesburg, alphabet design, 1919

Van Doesburg’s upper-case alphabet was constructed from vertical and horizontal slabs of the same thickness and could be stretched vertically and horizontally to force texts to fit any format. Neither aesthetic nor legibility were major considerations, and the assumption that conveying information is a primary objective of typography as of marginal concern. Perhaps Moholy-Nagy was referring to Van Doesburg when he wrote that ‘clarity is the first prerequisite of all typography. For the sake of legibility the message must never suffer from a priori aesthetics. The letter types must never be forced into a pre-planned form, for instance into a square’. Yet, as demonstrated by the cover for the published 1920 Antwerp lecture Klassiek Barok Modern, Van Doesburg could use his alphabet quite effectively.

Dutch Graphic Design: A Century of Innovation by Alston W. Purvis andCees W. De Jong

Wolfgang Weingart

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The Line Pictures for Hofmann by Wolfgang Weingart

Not able to sit still during Hofmann’s class for an entire day, and to avoid having to draw lines with a ruling pen, I found refuge in the typeshop. There I was in my element. In a thin, square slab of wood I drilled one hundred holes, a grid of ten by ten, into which I then screwed one hundred L-hooks. With this construction it was easy to turn and twist the hooks into any desired direction or pattern. The technical problem of designing the Line Pictures for Hofmann was solved. By securing my construction in the bad of the letterpress I could print many variations by adjusting the height of selected hooks to the exact height of standard metal type. The hooks of the grid not intended to print were screwed deeper into the wood, too low to be inked by the rollers.

Weingart: Typography

Tightrope Walking at the World Trade Center, New York, 1974

Petit was charged with disorderly conduct and criminal trespass and received a quick sentence doing a free show for children in Central Park.

Chris Kelly, CBS, New York

 

 

Nelken, Pina Bausch, 1982

Nelken-Lutz_Foerster-c_Maarten_Vanden_Abeele

What inspires me is the fact that I learn how to stop to look at things at one point. You need to learn how to seek, not to look and then you’ll refresh your eye, then you can meditate more about what you can do. That’s the way to find the best inspiration. … It has to be playful.

 

Philippe Apeloig

 

 

Irma Boom, Hella Jongerius, Alice Rawsthorn, Beat Wyss and Aaron Betsky

Interesting design doesn’t exist to serve the purpose of a device but to exceed it by pure representation. In borderline case, the purpose becomes pure form. A designed object is successful when its daily use becomes a cultivated habit. Habit, unlike purpose-driven assistance, is an end in itself.

About Authorship, Beat Wyss, Some Book: Graphic Expressions between Design and Art

We are living at a time when once-familiar objects are disappearing from our lives. Any product is at risk if its function can be fulfilled as effectively by the software or a digital device like a smart phone or tablet that can do numerous other things too. Those imperilled objects will only survive if they offer us something enticing that eludes their digital equivalents, whether it is aesthetic, sensual or functional.

Life in Design (Irma Boom’s books) by Alice Rawsthorn, Frieze Magazine

Innovation is the highest priority. You have to have a reason to make a new piece. You have to look at a product from another angle, give something to the design profession, or innovate on a material level, or innovate on expression.

Hella Jongerius and a perfect misfit

Design and art can meet at the working level by turning the act of observing or using beautiful things into an act of sense-making. …

… Works of art tend to be unique; the design object has the largest possible circulation. … The work of art personifies absolute exchange value, like money, while its utility value is restricted to being decorative and making us think. Compared to that, the design object claims to have practical utility, even if it remains unused, …

About Authorship by Beat Wyss from Some Book: Graphic Expressions between Design and Art

Seeing is Knowing is Making

The artist’s work consists of organising, crafting, and framing the information in such a way that it gives back to the viewer or reader reality in an altered form. …

One might say that it reveals the true nature of things by exhibiting the relationship between things.

False Flat: Why Dutch Design Is So Good (about Irma Boom’s work) by Aaron Betsky