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KAZUNORSADAHRO

ECTOPLASMC

LFRECHN

DETERRAMS

ELECTRONC

SHADOW

ISSUE 22

WINTER 2010

GB 25

DE E 28 IT E 24

ISSN 1767-4751

PRINTED IN FRANCE

design andvisual culture


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design andvisual culture

E I _ c o u v. i n dd 6 / 0 / 0 0 : 0 :

design andde g a ddvsua cu tu rett

A CLOSER LOOK n 22IMAGES & QUICK HITSP10P14

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PHILIPP SCHAERER

JEROEN KOOLHAAS ANDDRE URHAHN

P12 STEPHEN DOYLE

MARIANNE GULY

ROSEMARIE FIORE

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TAKERU TOYOKURA

SARAH THORNE ANDXAVIER BAS

BORNSTEIN-SPONCHIADO

XAVIER BARRADE

DCTIL, WILLIAMBEVINGTON AND EDHV

GABRIEL CANTE

M/M PARIS, TINE DERUYSSER AND YIQING YIN

CORRINE PANT ANDNOTO FUSAI

DESIGNPOLITIE

BDDP UNLIMITED AND DDB

MIND DESIGN

LORIN BROWN

over by hr stoph emann.llustrat on u way (200 or the booket t ragon ( all m ar , 2009 .

http://www.chr stophn emann.comonts: oton by lbert oton,ran a by erar nger, evt

by Michael Abbink.

GARETH

HOLT

BYMARIE AUMONTP44Marie Aumont is an independent

French graphic designerand typographer.

P38 BYCAROLINE BOUIGECaroline Bouige is a journaliston the editorial staff attapes:magazine.



CRISTINA CHIAPPINI

BYCAROLINE BOUIGEP58

Caroline Bouige is a journaliston the editorial staff attapes: magazine.

P76BY

VRONIQUE VIENNE AD and c ritic, Vron ique Vien ne write sforPrint , Metropolis She is co-authorof Art Dire ction Explained , At Last!

ECTOPLASMES

A CATCH-AL

LANGUAGE

Playing with verisimilitudein contemporary images anddesign.

PROTEYTEMEN

KAZUNORISADAHIRO


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WHATCRITICALGRAPHIC DESIGN ?

P84 BY VRONIQU E VIENN E AD and cr itic, Vronique Vien ne write sforPrint , Metropolis She is co-authorof Art Di rection Ex plained, At La st!

CANDYCHANGBYISABELLE ARVERSP106

OPINION2010 GRADUATIONS

WWW.ETAPES.COM/

P142 BOOKS

CULTMACHINE

P129 BY THIERRY AND GILLESThierry Chancog ne teachesdesign at ESAAB Nevers (sof applied arts in BurgundyENBA Lyon (ne arts schoGilles Roufneau teaches phand digital publishing and cothe graphic design-electiveat the school of ne arts in V

THE BIRTH OF

GRAPHIC

REAS

P140 BYCHARLES GCharles Gautier is a graduatethe cole Estienne (school oarts and graphic design) in PHe is currently studying for degree in li nguistics and sem

ARTSCHMAL

P137 BYMARIE AUMMarie Aumont is an indepeFrench graphic designerand typographer.

Editor-in-chief ofTypo magazineand member of the Designiq studioin the Czech Republic.

BYLINDA KUDRNOVSK

DIETER

RAMS

VINCENT BROQUAIRE

JONATHAN ICHER

RAPHAL URWILLER

LAURA PARETTE

PIERRE ROUSTEAU

MORGANE RBULARD

MANUEL ZENNER

ELECTRONICSHADOW

IVE GOT YOUUNDERMYSKIN P92 BY KEIKO UEKI& JEAN-NOL POLETKeiko Ueki is a curator and

Jean-Nol Polet teaches at the All iance Frana ise in Osa ka, Japan.

Isabelle Arvers is a curatorand journalist specializingin digital art.

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THOMAS HIGASHIYAMA

ESAD STRASBOURGDNSEP



ESAA DUPERR PARISDSAA

ESAH LE HAVREDNSEP

ENSAV BRUSSELSMASTERS

ESAD AMIENSDNSEP

ESAAB NEVERSDSAA

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BY DIANA MGUILLAUMP134

Diana Mesa is a digital a rt cand theorist.Guillaume Le Grand is a jou


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ue Coloursoen Koolhass and Dre Urhahn (Haas & Hahn) are ghting violence in the favela with brushstrokes anda Canto in the heart of Rio de Janeiro is the latest project by the Dutch pair. Aided by 20 local youths withning as professional painters, the instigators of the Favela Painting project have taken a no-go area andghtened it up with pop colours. The favela proudly bears its multicoloured kinetic rays and shines in the cityorge itself a place amongst the res t of Brazils cultural heritage, on an equal footing with Sugarloaf Mountainthe statue of Christ the Redeemer. Rather than the usual voyeuristic approach which concentrates on the

did aspects of life in the favela, Praa Canto hypnotizes the tourist and exists as an artwork in its own right. LP W.FAVELAPAINTING.COM


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Linguistic DeviceWorkers at the translation company Margarida Llabrsin northern Spain speak four languages: Catalan, Italian,French and English. The Dctil studio from Barcelona,specialized in designing visual identities, delved intothe translation profession, which requires translatorsto understand the meaning of a text in one languageand rewrite it in a corresponding manner and with thesame meaning in another. The studio designed a visuallanguage that graphically represents the expertise

of each translator in the ofce. The source languageis colour-coded with colours from the national agof the original language and combined with the colourcode for the target language(s). Each translator hashis own personalized business card to show he worksat Margarida Llabrs centre (symbolized by an M)and to identify his individual translation skills. IMWWW.DUCTILCT.COM

DottyFor the cover of the Spring 2010issue of re :D , the alumni maga-zine of Parsons The New Schoolfor Design, William Bevington,a lecturer in information map-ping, has reinvented interactivedesign. Based on a retro dot-to-dot, his mirror-image coveris designed as part of a double-sided puzzle theme. Limitedto a typewriter for the frontcover a tool that the graphicartist has used for more than20 years Bevington had funemphasizing visual dichotomies

and making unexpected connec-tions. On the back cover, thereis a digital version of the Calder-style mobile. The puzzle: a designmetaphor la Parsons. LWWWW.NEWSCHOOL.EDU/PARSONS


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How to Make an Exhibition Bloom?

The Fraktur typeface of the exhibitions title, Florarium Tempoin stained-glass colours, sets the tone. A manuscript written in 1by a monk from Eindhoven called Nicolas Clopper is the star ofshow. It dominates the centre of the room, surrounded by two cocentric exhibition walls with numerous openings to allow glimpof the ancient treasure. Dividing the exhibition into three parts,the Dutch studio EDHV presents the cultural and social contextof the manuscript and imitates the books cal ligram. To break ucircular shape of the exhibition, they covered the walls in layere

patterns, 15th-century paintings and statistical charts with informtion about the period. Over design, admits Remco Van de Crathe AD from EDHV. The array of graphics lls the empty spaceprovides information while continually reminding us of the medaesthetic. The heterogeneous style is repeated in the poster andother visual communication for the event. CBWWW.EDHV.NL

AD: Remco Van de Craats. Graphic design and typography: Lenneke Heeren.Scenography: Wendy Plomp. Photography: Ewout Huibers.


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GigantypographyA4+++: Gabriel Cante (ESAG-Penningham design scParis, 2010) worked on his degree project all over the cHis love of enamelled plates, painted advertisements avernacular typefaces led him to revamp the advertisingmural for contemporary brands. The young graphic destarted out by creating three alphabets in the same typefamily, Facel-Vga, in homage to the defunct French cabrand, paying special attention to its visibility at a dista

After a rst attempt on a Facel-Vga advert using the wtype family ( left-hand page, bottom ) he then attacked for Nescaf and Smirnoff, and nally worked on the Aconcept, making 4 x 3 billboards in type. His work is aexample of permanent advertising in housing estates thare plastered with new posters every morning. VDWWW.GABRIELCANTE.COM


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By Caroline Bouige

Protey TemenSCOW, RUSSIA

UDIO FOUNDED IN 2001OTEY TEMEN, AGE 26

WW.PROTEYTEMEN.COM / WWW.ZUNGDESIGN.COM

P h o t o

D m i t r y D o n s k o y

f o r K h o u

l i g a n m a g a z i

n e n o , 1 1 ( 6 7 )


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How have you felt the effectsof the economic crisis?In Moscow, most designprojects have been frozensince the end of 2008.The major clients have all beengreatly affected. Immediatelyafter all of this, the commercialcontext affected the designers,as the clients didnt thinktwice about halting projects

that had already been started.There is a positive side toall this: numerous artisticprojects emerged from thecrisis. A lot of people areworried about the futureand have started to interrupttheir payments, to sit ontheir hands. Everyone thinksthat nothing has changed.The principle problemof design is its dependenceon the market. Every hiccupaffects us rst of all.

What are the distinguishingfeatures of Russian graphicdesign today?Its too consumer-orientedon the one hand and tooartistic on the other.

Why is this?A whole book could be writtenabout this point. Todaysgraphic design scenario inthe country is divided into

two broad categories: on theone hand, those from theSoviet era, with their designand visual values, and on theother, a new wave that hasemerged internationally onthe blogosphere. The twoapproaches are completelyopposite to each other.

Are the clients responsiblefor this, too? Certainly, because design is

seen as a commercial service

and so, in most cases, thecompanies frequently takea hand in the nal result.However, a new waveof commercial operatorsis increasingly acceptinga bold form of graphic design,and comes to the studios witha wish to see something that istruly new. Id really like to seewhere Russian graphic design

will be in ve yearstime.

How do see your ownapproach, compared to otherstudios in the country?Our approach is artistic,concentrated on theexpressiveness of the image.We work principally onfestive and fun elements.

Your inuences?A mix of inspiration resultingfrom artists of the rst halfof the 20th century, somecontemporary fellow designersand, above all, the streets ofthe towns, with all the signsthey have, adverts, kiosksObjects generally constituteone of the most powerfulsources of inspiration for me.

How would you dene your style?Its a mix of Russian avant-garde and the design of

Japanese advertisements,all linked to simple grids,as the Swiss use. In otherwords, we like bold imageson simple layouts.

Why do you work primarily with primary colours andgeometric forms?These colours are always fresh,and something appealing andwarm emanates from them.And also, a lot of our clients

work in the entertainment

business. Its a touch ofmadness in these recent yearsin which sombre colours,which make me sad, werepopular. I work with simpleforms. Their iconic styleis very useful for envisaginga message that is simple.During the creation andcomposition of these forms,I explore their rhythm and

relationships. I also adore theillustrations of alchemists,ranging from droppedinitials to medieval books.

Your style is highly unusual.How do you work? How doesit evolve?In recent years it has changedabove all from one method toanother. I noted that regularly,after a period of a few months,I make some major changesand try to compose somethingtotally different. I always tryto look everywhere, to drawinspiration and sneak a lookin all directions in the variousmedia. A few days ago, I stolethe idea of the menu layoutof a cafe, and created a wholeproject based on it. Thesemarkers do not always havean effect on the nal results,but they inspire me a greatdeal, and thats what matters.

Whats the situationconcerning the censorshipof images in Russia?Can you say anything,show anything?Yes, you can, and we will.Dont laugh. Theres noproblem except with regardto the Orthodox Church andsometimes the contemporaryart sector, but they dontcount: the preoccupationsof the Russian Church are too

mystical for me to understand.


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A t t r a c t i v e t h i n g s w o r k b e t t e r , D o n a l d N o r m a n .

O r t h e

R u s s

i a n v e r s

i o n :

A b a d a i r c r a

f t w o n

t y .

T u p o

l e v ,

t h e a i r c r a

f t m a k e r .

P r o t e y T e m e n

Right:Alla Pougatchova(Russian singerand actress). Personal

project as part ofa series of portraitsfor Aficha magazine.

Logo for a jazz venue,Lives .

Left:Dragon amidstthe Sweets.Personal project,exhibition piece forIcons of Dobrotarism.Digital print on vinyl.


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Ask for more, more,more. EstoniaBiennale poster.

Left:Boris Godunov,personal project, sketchfor the costumes fora theatrical production

of Boris G odunov .

Right:Cover for Amelia s

Magazine , a Britishlifestyle publication

with an i ssuededicated to Russianunderground cultureand life in Moscow.

Far left:Poster. The maintask of the state is theextension of humanlife, public commission.


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P r o t e y T e m e n

Yourmooorarecommendaonforourreaders?

S i t d o w n a n

d j u s t

t r y s o m e t

h i n g ; t

h e n g o o u

t a n

d t h i n k a b o u

t i t

. R e p e a

t .

Right:Illustration for anarticle aboutMetallica publishedin Aficha magazine.

Left:Portraits of ProteyTemen in the SmileInstitute exhibition.

Below:Rise! Rise! Rise!Decorative objects for aBarcelo-Muscovite party.


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Left:Experiment based onthe idea that cuts andbruises can lead tosomething beautiful.

Right:Some of the papermotifs with which theartist takes a dig at the

bling-bling aesthetic.

Left:Personal creationmade as part of theDobrotarism project,produced as anadvertising poster.

Right:Part of the Iconsof Dobrotarismexhibition, Ice Creamsof my Dreams:Turtle Cream andSkull Cream.


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CandyChang,CivicDesigner


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A passionate graphic designer, member of theTED Conference, a researcher at the Infrastructureand Poverty Action Lab, a committed citizeninvolved in urban planning, architecture andcomputer graphics you defy all simplisticclassication. How do you dene your job?In the past 18 months, I have held a full-time job withNokia in Helsinki. I was working within a small creativeteam commissioned to develop a holistic vision of mobile

exchanges, through research in the eld and an approachof design thinking. At the same time, I sought and it wasnot always easy to nd equilibrium between this job andthe other projects I was really keen on: art projects, publicinstallations, collaborative projects with different organiza-tions and community groups.In the past five years, I have only held a full-time job fortwo years. The rest of the time, I have worked on piecemealprojects paid for by grants and aid. In this way, I can reactto short-term opportunities and save some time for my ownexperiments and work, which, I am beginning to under-stand, is the approach that best guarantees success for me.I have just left Nokia, in order to dedicate myself once again

to more personal projects and y with my own wings.

The rst time I heard about your work was for the Street Vendor Guide that youcreated for the street sellers in New York,to help them respect municipal regulations.How did you discover computer graphics?When I held the post of assistant art director at The NewYork Times, I became aware of the effectiveness of outlinesand diagrams for synthesizing the main elements of a pieceof information into just a few points. I began to show an

interest more especially in the social challenges in townand the results of urban planning. And when I came upagainst difculties in improving the district that I live in,I decided to learn through ofcial channels and so attendeda diploma course in urban planning.Which made me realize that a lot of important informa-tion was not being distributed to the public. I wanted toll this gap and use design to help citizens understand therights they have and help them to nd t heir way aroundthe places in which they live, work and have fun. There is amajor difference between available information and acces-sible information. The Street Vendor Guide and Tenants Rights Flash Cards are two projects that form part of this

initiative.

Candy Chang is ableto juggle work formultinationals, public art projects, civic design and community guerrillainterventions , to makethe world a better placeand more pleasant to livein at both a global andlocal level.

By Linda Kudrnovsk


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Left:2007. How to sharelocal information?How to ask a questionlike Where can Idonate used clothes?According to CandyChang, the answer is:ask passers-by viathese basic flyersthat are easy to fill in,or via a functional formthat works in the same

way onli ne.

Preceding double page:2005. Inspired bythe illegal Art To Doartists collective,this composition of Post-its to be filled in wasan installation forWindows Brooklyn.One hundred and fifty-one passers-by noteddown how much rentthey paid and describedtheir lodgings, thusanswering New Yorkersfavourite question.

ach contextedium of

munication.ohannesburg,

e school black-ds at busyio ns. Que stions,mation, requests

be circulated easily.


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What is there behind your publicand urban projects?An obsession to help, to educate others?Or a form of exhibitionism?I adore experimenting with public space and creatingpublic art, which is both practical and a vehicle for emo-tions. There are numerous improvements still to be madein public spaces, especially when you compare them to theInternet. From the outset, the Internet has been considered a

sort of public space liable to become a public venue for infor-mation. From many points of view, this has come true andI wonder how our physical spaces can continue to progress.In an integrated environment in which citizens tracts areillegal and in which businesses can promote their productsin an increasing variety of media, we need to reect on ourconcept of public spaces so that they are not necessarilygiven over to the highest bidder but truly reect the needsof society. I have undertaken small experiences that oftenneed few means: self-adhesive street art on which one canwrite the history of t he places, virgin Post-its on windowfronts for rental offers, temporary stencils on pavementsto help with directions, a map of public lavatories, serving

exible and cheap platforms. I am interested in the creation

of experiences and situations that bring together existingresources, individuals and energies in new forms encoura-ging independence.

Why is it so important for you to involve yourselfin this type of activity and be a socially committeddesigner? Why worry about your neighbours?We increasingly have more and more tools to talk to theother end of the world, but it remains hard to talk to your

neighbours. Neighbours are holders of inestimable localresources and knowledge. Thanks to my neighbours,I learned how council meetings work in New York. Ivealso shared my wi, some chairs, a large pot, a bike, somedesign books, a corkscrew, an iron, professional studio light-ing, an inatable bed, some wine and food. And thats justwith a few of my neighbours, because I only rarely see theothers and have no way to break the ice with them. If wehave no way to share information, this wealth of know-how remains largely unexploited and we live in placeswhich, in the way they work, resemble huge hotels inwhich there are groups of strangers passing through. Howcan we mould our public spaces so that they bind together

individuals in meaningful ways? If we had better tools, we

Left:2008. Local historyunder your feet andbefore your eyes.For a public event onGovernors Islandin New York Harbour,the islands pastis revealed using(removable) spray-onpaint in the form ofa chronological stroll.Candy Chang used thesame technique in 2010on New Yorkspavements, invitingpedestrians to meditateon such questionsas Do you know

your fe elings ? andSo why do you do it?


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Above:2008. A traveller isless interested in thenumber of kilometresto his destination

than in the flighttimes. Created for

the Illuminatorsexhibition at the airportof Yekaterinburg, thismap links the Russiancity with both Sydneyand Buenos Airesin 19 hours.

Far left:2010. This noticeaiming to promotegood neighbourlinesson one side invitesthe observer to knockto borrow a ladder,some tea, etc. The otherside indicates whatthe occupant wouldhimself like to borrow.

Simple and effective.


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would have more to say than just Have you seen my cat?Whatever the situation, civic design goes beyond a loveof ones neighbours. For the first time in our history, theurban population has overtaken the rural population,and in 2050, more than two-thirds of the worlds popula-tion will live in cities. Every day, citizens have to struggleto nd out their rights as tenants, as taxpayers, as own-ers of small businesses, as public transport users thanksto quality design, this experience can be gratifying or evenpleasant! Quality design not only facilitates the use of a city,but also makes it possible to know whether the city works.The means of communication are a system of infrastructureas important as the roads, electricity and drains. We reallyneed designers to help make citizens information moreac-cessible and appealing.

What are you working on at the moment?Recently, I co-founded an organization called Civic Center,which aims to support citizen involvement through recit-als, services, products and public installations. We are cur-rently launching a number of exciting projects, including aninteractive public installation at Turku in Finland, together

with a service in New Orleans that will help locals nd pro-

fessional activities in their district. I am also working ona graphic novel aiming to demystify urban planning bytelling the story of the project for the construction of theLower Manhattan Expressway. Set around the confronta-tion between Robert Moses, the instigator of the project,and Jane Jacobs, a local leader, the story presents twodifferent approaches to planning and the lessons we candraw from them. I also work with the members of the TEDConference on communications and air quality projects inIndia. Its extraordinary to be able to be in touch with suchpassionate and committed people in so many elds science,art, society. This collaboration helps me look at things dif-ferently and develop new solutions. I have a lot of admira-tion for people like Joseph Paxton, a gardener who was soinspired by the veined leaves of the giant water lily that hetried to reproduce this motif in the construction of buildings,including the steel and glass megastructure that was theCrystal Palace, built in London in 1851.I like the idea that a gardener can be an architect too, and inturn I aspire to make use of this openness of mind that ena-bles me to think: This leaf would make a great buildingWhich makes me think that in terms of disciplines, the only

limits are those we assign ourselves.

Above, left andleft-hand page:2009. New York more than 10,000

vendors . Licens eby the authoritieto facilitate accesto local regulatioCandy Chang ma

of computer grapand several languin this combinatiof poster and lea


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hrough its installations and interactiverchitectures, Electronic Shadow develops theoetics of interactivity against unfathomableackgrounds of digital data and withine ongoing metaphor of a reality augmentedy inhabitable images.

By Isabelle Arvers

Inhabitingthe Image


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They are architects, designers,scenographers, artists... But ElectroniShadow eschews classications,preferring to hybridize them all. This y

the duo architect Naziha Mestaoui alm director Yacine At Kaci celebraten years of collaboration. Inside theirinteractive architectures, space expandand is remade with projected images.The habitat becomes modular andinterchangeable; walls vanish, leavingonly invisible membranes to projectonto. Space reacts to the presenceof its inhabitants, to their aspirationsand desires, and becomes a medium,an interface for play, according to the tof day. A sensory space for experimen

and living, where the body is centraland every sensation is augmented. Forpast decade, Electronic Shadow has bharnessing art, innovation and researcin this way to conceive a kind of futurTheir collaboration stems from the stoof digital and artistic creation. Mestaoand At Kaci met in 2000 in Paris, at thInternational Festival of Internet Film(FIFI); and very soon set up ElectroniShadow, a reference to the traces we alleave daily in the virtual world shadothat exist only through the reality ofan interface body. In 2000 they devised Lcharpe communicante in partnershwith France Tlcoms research anddevelopment lab. The idea was to enda garment in this case, a scarf withmedia to enable communication andaugment the sensations perceived by obodies. The following year, the duo weto Palermo, Sicily; at the French CultuCentre they created a hybrid real/virtuspace, blending physical and networkpresences. The architecture reactedto visitors presence, but also to the oof data exchanged on the internet. Thespace was augmented by another realiby an invisible layer of data. The coupwork then began to yield a uid, pureaesthetic revolving around lightplay.Their approach to projects alwaysbegins with ideas, which are thenwhittled down and become concrete.Accompanied by numerous collaboratthey manage their projects from A to Zfrom conception through execution ofphysical elements as well as the imageand interactivity. They start with tentaideas, including unviable ones, and th

we push the execution as far as we can

Le Pavillon des mtamorphoses , 2010.This 16m space can become entirelytransparent. Its walls turn into imagesubstrates that make the paviliona fusion of totally synchronizedmatter and light; a place in perpetualmetamorphosis, suspended in timeand space.


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until we hit the impossibility barrier,at which point we switch to ction,with the conviction that it will only bea matter of time until the technique is

available, and, without waiting for thatmoment, they nd creative solutionsthat let them realize their vision.Their dreamlike installations are oftenmetaphors to do with immersion in thedata ocean; with mythical quests; withmoving between two realities or eldsof experience, in the interstices. Water,uidity and the sea are recurring themes.Fluidity the state of transit seemsto best characterize the moment whenboundaries blur and the visitor stepsthrough the looking glass. The motion

of water also represents perpetualchange another characteristic of thespaces conjured up by Electronic Shadow.Their manifesto project, 3 minutes 2,winner of two awards in 2004 (GrandPrize, Art Category, at the Japan MediaArt Festival; and the Prix Ars Electronica),is a space transformed by images and itsinhabitants actions. Video mapping(a patented process) immerses theaudience in images that redene theoutlines of the space and are transformed,by the mere shifts of an arm and mood,from a cityscape into a sunset. Le Pavillon des mtamorphoses , shown atthe tenth Designers Days event in Parisin June 2010, renews the idea of a spacerecongured by the visitors presence.The 16m 2 installation consists of panels inPriva-Lite Quantum Glass (made by Saint-Gobain), glazed in a way that providesnear-perfect transparency and reects theprojected image, immersing the spectatorin it. The glass, a momentary state derivedfrom perpetual motion because it is liquidin suspension, captures and re-diffusesthe light. The wall, as if made of static

water, becomes both image and reection.In Le Pavillon... the walls give way to aninnite space that is simultaneouslyreconstructed with images of nature andabstract or urban images. Interactingwith the visitor, the space becomesmoving lights and colours, and scramblesones spatial bearings by remixing themto produce another reality a realityaugmented by images of actual realityprojected onto transparencies, creating anoptical illusion and the feeling of a dream.Through endless play on transparencies

and reections, the image is deployed


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in the form of successive vertical paneThis verticality is visible in several ofthe pairs works: Focus (2005), then stage designs for Carolyn Carlsons sh

such as Double Vision, and FuturinoFrench electro/rock band Rinrse.The image repeats, bursts, adds to itseland redenes the space that constructsit. Quizzed about this recurring form,At Kaci says that the verticali ty refersto the gateways to perception. Theyare like doors in our subconscious,except that these solid doors refer usto the spaces they reveal. This makesit possible to get away from the not ionof a framed image and to make sureit becomes a space. The horizon is the

space and verticality its time.This is the principle behind Window Experiences, a commission devisedas an interactive landscape set in anarchitectural space at Microsofts newFrench HQ in Issy-les-Moulineaux, neParis. It consists of seven panels (total20m long x 6m high) offset at variousangles from the wall, and on which theimage features. Various semi-generativenvironments plunge the visitor intoa blend of videos and 3-D, constantlyrenewed so as to never quite be the samThe visitor interacts with the projectedspace using a Microsoft Surface comptable a process that had alreadyundergone experimentation in the duoCamera Obscura installation (2006), which Electronic Shadow designed itsown table with a built-in tactile screenFrom applied art to home automation:a home-of-the-future concept thatElectronic Shadow is currentlydeveloping in its forthcoming apartmewhere all the furniture will be multi-functional and all the walls modular,able to be transformed as needs

dictate. A home that goes beyondfunctionalism and whose every space,as in Japan, serves several purposes.How do you imagine a future in whichyou are already living, and move beyothe futuristic concepts of the 1950s?In 2010, Electronic Shadow advocates futurealism: envisioning the future wthe technology and especially theimagination available today; being ablto stir emotions, whatever the physicalor immaterial medium, and to play witperception, which is itself an interface

with how we apprehend reality.

Windo ws Exper iences . Interaction with a wall of images, viaa Microsoft Surface computer-table that lets you apply imagery,light and reflections to fit your mood. Permanent installation

at the HQ of Microsoft France, 2009.


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Opposing realities is out; the thing nowis to fuse and augment them. In ElectronicShadows view, reality and our habitat arebecoming extensions of the digital world,

and human beings today live equallyin the physical space and in the digitalspace, in which they leave their trace, just as they once did in a world madeonly of objects and matter. After thehybridization of the past ten years,we are now moving towards the fusionof matter and information. Everythingthat science ction has thrown up whether new materials, nanotechnologies,progress in home automation or thedevelopment of chips and computingpower is today increasingly credible.

We consider the architectural space whether on an urban or domestic scale,private or public to be the extensionof a vaster realm extended by digitalnetworks and the mobility-inducedshift in how we relate to geography.Whereas most habitats today are stillgoverned by an old conception, withrooms assigned functions, much spacefor storing physical objects, and thepredominance of surface over time,it is now clear that each persons digitallife has truly become a space in itself.These traces accumulate to form thestrata of the digitized human memory:a topography in which one is reectedand plunged. cho & Narcisse, shownat Room Book, a venue dedicated toElectronic Shadow at Paris fashionstore Lclaireur, is a statistics-basedinstallation. The visitor enters a spacewhose walls are constellated withgures and mathematical data. At itscentre, a pool reects the changes to thestatistics number of births, numberof deaths, CO2 emissions, number oftrees cut down, etc. in the form

of small crosses that gradually ll thepool. Visitors, whose images are capturedby a camera, see their reectionsappear at the bottom of the water andgaze at themselves, their recognitionimpaired, through an ocean of data.InSuperuidity, one of the duosvery latest multi-user interactiveenvironment projects, shown in July2010 at Lclaireur, the small crossesrepresent the interconnections of peopleon networks and the way informationcan now spread exponentially when

it is received by someone and then

Echo & Narcisse.

2009-10. Thisinstallation rolls offfigures numbers oftrees cut down, births,etc. as they changein a poetic attemptto display abstractdata in real time.

tronic Shadow invisibly incorporates most ofchnological systems into its spaces, to give theion of an in-between world of ideas in keepingPla tos theor y. Human beings are thus sit uatede intersection of the material and immaterialds, and their digital i dentiti es are reflec tedeir everyday existence, relayed by all the

connected systems.


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forwarded a metaphor for the quantustate of matter, known as superuidityThe work is simultaneously availableonline and in the physical space,

and accessible on any smartphone.In this shared environment, each crosscreates a sound phrase according tothe various connections, and comesto lie on a layer of informat ion; the laybuild up and form waves, or strata intowhich one can still plunge ones gaze.White crosses, lit beings, blue-tingedworlds, aquatic sound moods... Therealm of Electronic Shadow made oftransparency, reections, lights andimages immerses us in a world thatseems almost too perfect, verging on

artice. Yet in this dreamlike realm,even the accidental is perfect materialAccidents are the physical effects of lwith matter a glint, a parasitic light,a vibration but they are denitely themost beautiful aspect of a production,and we incorporate them in the overallperception, which is perhaps what creathis impression. For us, image and spaare inseparable, because the accidentscaused by fusing them produce the effthat interest us most which is whywe never show one without the other.From December 2010, ElectronicShadow will hold a ve-monthretrospective at the Muse Granetin Aix-en-Provence, southern France.

Superfluidity. 2009-2010.Playing with liquid matter and thespread of waves in visible and audiblespectra, this multi-user interactivesystem consists of a network-connected musical instrumentand an online 3-D communal space.


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ThomasHigashiyama

w can one explore the forms of comicps as a graphic designer? What

mains once the text and images haveen masked or eliminated? Thomasgashiyamas approach moves stepstep towards a graphic analysis of theth art, a second reading of a mediumt generally does its best work inration, without self-reection.looked at the drawing board, its grid

d a dynamism stripped of information,

dertaking an examination of itsationship with the image and thecentuation of the graphic features.gashiyama studied how the grid bringsether the ingredients of the comic strip

e by one, superimposing and pushingm towards their climax, measuring theiradth and limits the way a gourmetdies an elaborate recipe. After complet-his report on the speed at which

ngas are read, having gained hisloma and following the discoveryabstract comic strips, he embarked onproduction of two works. The rst,using on the masking of forms andts, set up an eloquent aestheticabstraction and guided the readerough a mysterious scenario. Theond, marking a return to clear form,k as its sole objects the grid, boxes,pty speech bubbles and texturedunds and tested the play of structures.rting with a basic layout for narrative

mprising peaks of action and slowersages, the work evolves throughgraphic potential of the story.th interaction between in and

of frame, the savouring of antant or circumstances of dialogue,ffers comic strip writers new pathsward along which to experiment.CB

RN IN 1984HOOL: ESAD, STRASBOURGGREE: DNSEPACHERS: PHILIPPE DELANGLE,AUDE GRTILLAT, JOSEPH BH


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Top left:Creation of a layout:drawing plus grid.

Bottom left:Dynamics of the grid.

Above:

Masking of a manga.

Right:Distortions:accentuation of thedynamics of imagesin a manga.

Below:Book on the forms

of narration.


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Lunenfeld has not only the skills but also the guts to look from a different angle, encapsulateand reect on the complexity of the effects the use of computers has brought into contemporary human culture. Though he initially spoke mainly to digital artists, his current think-ing proves relevant to all those who use a computer as a production tool. By setting designon top of all categories of human interactions, he is calling us to actively take part in theimpulses of our generation and to be responsible for them.

You expand Marshall McLuhans metaphor of the Guttenberg Galaxy which describesthe culture of print to talk about the Design Cluster. Are you thus revealing a Design category above contemporary human relationships? Do you then fully agree withCanadian designer Bruce Maus famous napkin sketch, which makes design the masternarrative of the 21st century? How would this transform graphic designers practice?Maus sketch shows design at the start of the 20th century within concentric circles of busi-ness, culture and nature. Due to the development of everything from nano-facturing andgenetic manipulation to the spread of CAD-Cam technologies and ideas about terra-formingthe surface of Mars, Mau now sees design as becoming the outermost circle, containing nature,culture and business within itself. I think Maus position is optimistically preposterous. It isoptimistic in that it sees an expanded notion of design as having the potential to be a positiveforce for change, an essential component in the rebooting of the narrative of technologicaland social progress. The sketch is preposterous because it is both ahistorical and presumptu-ous about human agency. Ever since the rst human selectively bred two animals together

we have been designing nature, and once the denition of design becomes the act of humanmaking, how can design not be said to have been the motive force in culture all along? Finally,while there are unintended consequences of human action a ll the time across all these registers(anthropogenic global warming comes to mind), all one needs to do is look at how impossibleit is to design the solutions to problems that we make, like massive oil spills, much less theproblems that nature throws at us. That said, if designers in general, and graphic designersin particular, can see computers as our new culture machines, as I discuss in my forthcom-ing book, they will be able to make use of these culture machines to further their own visionsand nd vast new publics. Everyone understands how engineering and marketing functionwithin the new media world; what is often misunderstood is the role of design, especiallythe design of the visual aspects of interface and the composition of screen space. This lack ofunderstanding generates a vast wasteland of clunky interfaces and templated websites, butit also means that those who have sophisticated skills and a deeper understanding of how to

create and communicate visually will have unparalleled opportunities in the 21st century.

Could you give us some concreteexamples of how new mediahas inuenced graphic design?Every new medium has an impact on visualcommunication, it always has. A generationago, televisuality drove the scratch aes-thetic that Californian David Carson perfectedin magazines like Beach Culture , Raygun and Bikini . Of course the inuence was mutual,with music videos on television often stealingdirectly from graphic design models. You seethe inuence of new media on graphic designin the sheer proliferation of digital tools ofproduction, of course. Think about the easeof importing and manipulating electronicphotography and melding it with texts andgraphics. There are aesthetics that tap intonostalgia for bygone eras of electronic cul-ture, like the recent craze for low-res, eight-bit

graphics. The inuence goes beyond questionsof style, though, because digital systems arereally huge-scale networks of distribution,communication and consumption. Designerslove to work with musicians and authors, butthe thumbnail-size album and book covers inelectronic marketplaces like the iTunes store

and Amazon have created a huge vacuum

Culture Machine:Designers, We Shall Not Squander The Legacy

Whenever the critic, theorist and historianof the media Peter Lunenfeld so refreshingly

tells computers history, considering themculture machines, one witnesses the birthof a new form of knowledge that reaches beyond print and shatters the way meaning is createdthrough digital culture.

2

ic design by diana mesa and guillaume le grand


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in the visual presentation and packaging of media. The good thing about being a designer,though, is that a problem becomes an opportunity, the opportunity can lead to a solution andwhile the solution itself becomes a new problem, the most exible of 21st century designersunderstand that this loop is what makes their lives and professions so compelling.

What is the role of graphic designers exposed daily to the onlinemedia inuence, considering that the use of templates is overwhelming,from commercial to public websites with no distinction?In electronic environments, graphic designers have to give up so much control; they have toabandon notions of scale whether people look at their work on everything from building-sized super graphics to cell phone screens; they have to give up on colour choices, since everymonitor offers its own hues and brightness; they are rarely even offered the opportunity to

nish every 1.0 is superseded by versions 2.0, 3.0, 4.0, ad innitum. Graphic designers caneither seethe in frustration and wistfully recall the sureties of linotype and the primacy ofprint, or they can do an about-face and start to revel in the new possibilities.It is unavoidable that designers will be called upon to design templates for others to then llin everywhere from shopping sites to Facebook. Designers look at this new state of affairsand begin to wonder, If I ignore this, will I become irrelevant? If I succeed too well, willI obsolete myself? The tools of production are so widely distributed that the specicities ofthe designers craft seem to be available to vast numbers of the untrained and inexperienced,but the operative word here is seem. Good graphic designers do more than just make; theyalso see and think in profoundly radical ways. Training in classic graphic design issueslike composition, the relationship between gure and ground, hierarchies of reading and sen-sitivities to issues of colour, shape, density and legibility are all incredibly useful in electronicenvironments, even if the parameters are not as xed as they used to be. Professor Catherine Malabou declared the end of writing and claimed plasticity(as a space modality and not as an aesthetical one) is the ontological feature of ourepoch, challenging the notion providing language is the sober way to truth.As an author of four books and many articles, but also as an editor of the Mediaworkproject whose editorial lines aim is precisely to link graphic designers and writers,how do you experience the interchangeability between visual and language?I dont see an interchangeability between the visual and language, but rather a complementarity.The question is how to use each to best effect meaning. The visual can free the imaginationand create fluid connections, but it is not an advance over the capacities of text, it is adifferent mode of knowledge production. The best graphic designers understand how to harnessthe powers of each of the specic forms they use in transmedia projects, creating compellingsynergies rather than frantic muddles.I have been pondering over how the act of thinking and then making a record of that proc-

ess can be seen as a multivalent, open position, as opposed to the older notion of writingor picture making. If texts in their broadest sense can be thought of as media scripts,then the specic medium that instantiates that script can change, evolve, morph and eventurn back upon itself depending upon the situation. To take an example from my own work,I am constructing an alternate, connectionist history of Los Angeles and its arts and culturallife. One of my rst forays into this arena was an essay entitled Gidget on the Couch: Freud,Dora (No, Not That Dora), and Surngs Secret Austro-Hungarian Roots. This rst came outin paper in The Believer magazine. It was simultaneously released online. The essay was thenanthologized in a book titled Read Hard: Five Years of Great Writ ing f rom The Believer. Theperiodical Vectors: Journal of Culture and Technology in a Dynamic Vernacular , based atthe University of Southern California (USC), funded me to work with the designer and designwriter Dmitri Siegel to create a digital-video version of the ideas. Thus far, then, the one coremedia script has taken form as a magazine article, a text-based website, a chapter in a

book and an online, linear video.

Another work in progress, on the faof desire that became Disneyland aPlayboy Mansion (just over 60 km frother), had its first instantiation as formance lecture with backup dancthe Million Dollar Theater in downtoAngeles. I have since been workingmore ideas, mostly about the interreship between popular musical moveand police power, in a seminar/sturebranding LA, which has been a goto continue these collaborative exper

in what I call visual intellectuality.

In the spring of 2010,the rst group of students you

worked with throughout their graduateprogramme had their nal exhibition,Hello World. Having also witnessedsome art schools projects in Paris,how would you characterizeboth groups?I was amazed at the similarity betwetwo contexts. My students work indently as media artists, ranging widely forms and conceptual models. AthenLA-based Melissanthi Saliba deployedtracking-based graphic plotting to a meditation on waiting. Gautam Rtook an ancient Indian myth, animaand then crafted an interactive, phinterface that served as both the cand the ground of projection for theMadeleine Gallagher worked with and digital imagery, video, and lm to depAmerican Elegant Gothic Lolita subto interrogate notions of femininity, dinnocence and seduction, careeninFragonard in 18th-century France, to

[costume playing] in Harajuku in 20tury Tokyo, to a tea party in San FranGolden Gate Park at the start of the nelennium. In Paris recently, I spent timthe EnsadLab fellows. Though theworking in teams for the most part, andfunding and direction from either facother partners, the same sense of transexploration was present, with groupsing on cell phone video, interactive dand the aesthetics of demos.The graphic my students used for theof Hello World was an adaptati

drawing of two intersecting cones I

Overleaf:1. Peter Lunenfeld. Antoine Villaret2. Design Cluster sketchby the Canadiandesigner Bruce Mau.

Right:Works by graduatesof UCLAs Design MediaArts course run byPeter Lunenfeld, 2010.3. Poster for the HelloWorld exhibition of thestudents nal projects.4. Melissanthi Salibaused motion-tracking-based graphic plotting in

a mediation on waiting .5. Madeleine Gallagherexplored thenotions of femininityand seduction.6. Gautam Rangansinteractive workwas inspiredby an Indian myth.


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Preserving graphic design objects for posterity is the themeof the 17th CNAP Annual. The designers interviewed here areagainst their work becoming a collectors item and some evendismiss the idea of a graphic artwork entirely. By decodingsome of the longest-lasting visual identities the PompidouCentre and the RATP (Paris public transport operator) wediscover the key to their longevity and a series of examples,mainly from New York and London, reveal the different waysof putting together a graphic design collection. The pragmaticAnglo-Saxon approach that led to Ray Tomlinsons (1971) @ signentering the MOMA collection is what has also enabled workpreviously considered ephemeral to be preserved and exhib-ited in France. Atelier 25, founded by two former ESAD Stras-bourg students, designed the layout. They tuck images in thecreases of fold-out pages to emphasize text, plus a selection ofworks, a list of prizes and a calendar of events. Download thework from www.graphismeenfrance.fr. VD

Ich & Kar, Ian Wright, Stphan Muntaner | C-Ktre

Design & designer CollectionPyramyd15 x 16 cm 120 pagesEnglish and French 13

Square format, brightly coloured covers with eyespeeking out at us and detail of a meaningful imagewith a numbered back cover. Theres no doubtthis book is from the Design & Designer collec-tion by Pyramyd Editions. Since 2002, each bookin the collection has been devoted to the work ofa studio or design group exploring the fields ofdesign and visual arts their own way. The Design& Designer collection now boasts three additionaltitles. Three distinctive design approaches featur-ing Ian Wright, Stphan Muntaner/C-Ktre and Ich& Kar. Ian Wright appeared on the cover ofEtapes International 18 . This British illustrator studiedgraphic design in London in the 70s before start-

ing up his own design studio in 1981. Portraits

make up the bulk of his portfolio and are thefocus of his work which constantly experimentswith new materials. If Ich & Kar were a drink itwouldnt be a sickly sweet, watered-down cocktail,but a strong, ne spirit a straight whisky on therocks, please. The French duo, Hlna Ichbiah andPiotr Karczewski, reveal their work in two booksshowing everything from logos for bars and luxuryhotels to their design research, constantly on thelookout for wild ideas. Stphan Muntaner is lesswell-known but no less original. Dabbling in alittle of everything, this sculptor, illustrator andposter designer has also been the head of C-Ktrestudio in the multilingual city of Marseilles for

ten years now. IM

Graphisme en France2010-2011. lpreuve du temps

Centre national desarts plastiques17 x 24.5 cm 20 pagesEnglish and French Free

Christine Sauer explores the realm of possibilities in architec-ture and design through the use of innovative new materials.She gives us her invaluable and incisive perspective, not juston the uses of these materials but also their manufacturingprocesses. The rise of chemistry and physics in the industrialsector during the 20th century and concurrent developmentsin research in the social sciences has permitted connectionsto be made between architecture, design and advanced tech-nologies. We look at thermochromic surfaces, sandwich tech-niques, tubular frameworks, pore structures, vacuum infusion,foam wood and metal foam and reinforced natural and aro-matic polyamide bres. At the beginning of the 21st centurythe processes as well as materials are becoming sustainable,ecological and functional, while architects and designers justdying to try out all the new possibilities are coming up withthe craziest new ideas. IM

Made of New Materials Sourcebookfor Architecture and Design

Christiane Sauerditions Gestalten24 x 30 cm 280 pagesEnglish 49.90


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{De}signed Black on White by Swip Stolk 50 Years of Visual Statements

Willem EllenbroekUitgeverij De Buitenkant Publishers528 pages 17.5 x 25 cmEnglish 39.50

The enigmatic and perplexing Swip Stolk givesus a glimpse into his inner workings in his firstmonograph, in black and white. After 50 years ofloyal service to untamed design, the unfathom-able character takes a look back over his work.Starting in the 2000s and going back to the 60s,the book tries to avoid both an analytical read-ing of his career and any possibility of linkingthe images. In Swip Stolks half century of artis-tic production he has thrown nothing away. Hissketches, tracing paper and design research haveall been painstakingly conserved and he presentsthem to the reader, alternating different kinds ofpaper throughout the book. This strange Dutch-

man has established himself as the antithesis

of Wim Crouwel. The self-taught designer, whonever completed any formal training, doesntconform to a style and is not content with anyparticular technique: drawing, animation, webdesign, type or photography. His diverging path hasresulted in frequent collaborations with AnthonBeeke. He jumps from designing campaigns forCitron to playing AD for a Dutch fashion maga-zine, then filming commercials for the TV show,Vara . He ricochets from prestigious culturalinstitutions to BMW, invents a coded languagefor a brand of shoes and then starts using it him-self. Swip Stolk is both everywhere and nowhere.A controversial figure who fully embraces his

graphic ambiguity. CB

Modern Living.The Graphic Universeof Han Hoogerbrugge

Submarine DVDIdea BooksDVD English20.35

Han Hoogerbrugges clear linesare mixed with black humour andbrutal forms. A swaying one-armedclown, followed by a man hang-ing from a noose, squirming. Inthe background, we see the artistwaterskiing on a giant cigarette.This Dutch artist earned his stripeswith GIF and then with Flash ani-mation. Han Hoogerbrugge beginsby filming himself and then makesscreen shots which he traces andthen redraws. With their body lan-guage and expressive hyperrealism,his characters and mutilated self-portraits transgress the boundaries

of good taste. When it comes to res-pecting the laws of physics or unlea-shing the lunatic within, our digitaldesigner prefers the latter. Thishasnt stopped him from workingwith MTV and Diesel. Barking, linedancing and cackling guaranteed. CB

A New Kiloof KesselsKramer

Pie Books Japan14.8 x 25.7 cm 428 pagesEnglish and Japanese24

Protected by a fluorescent greencover with the glow of an industr ialpesticide, A New Kilo is hard to misson the shelves. The latest publica-tion from KesselsKramer is a bookand CD-Rom that presents a selec-tion of public and private commis-sions by the Dutch agency between2005 and 2010. Packaging, post-ers, brand identities, publishingprojects, advertising projects andTV commercials make up the sec-ond part of KesselsKramers visualtestament the follow-up to 2 Kilowhich presented projects fromthe agencys first ten years, from

1996 to 2005. IM

John Kristensen, on the Firey Pressfoundrys blog, is just astonishedby how designers in the past intui-tively knew how to create imagesthat immediately conveyed all theimportant text and information.Impressive examines the graphicdesigners fascination with redis-covering letterpress printing (thecraft and the discipline) and therenewed interest in old-fashionedprinting techniques. With emboss-ing, stamping, screen-printing,lino cuts and the use of multipletypes of paper, graphic designershave total control over their own

production process. The methodswere made popular by MarthaStewarts wedding invitations in theUnited States in the 90s. IM

Impressive.Printmaking, Letterpressand Graphic Design

R. Klanten, H. HelligeGestalten256 pages 24 x 30 cmEnglish and German 44

3D Typography

J. Abbink & E . CM AndersonMark Batty Publisher224 pages 21 x 26 cmEnglish $45

3-D letters, grated carrots, wax,feathers, porcelain and fake eye-lashes: this book is bursting withall the creativity of 3-D type withletters designed by artists, typog-raphers and even apprentice bak-ers. Whether playing on perspec-tive, representing skilful designand technical dexterity, or justwacky ideas pushed to the limit,the quantity and variety of lettersin this book attest to our desire towrite the world in tangible, solidmaterials. Poetry, humour and justplain delectable shapes with all theexpressiveness of a material world

you can touch and feel, invoking anoriginal universe and adding newdimensions to type. CB


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