Forms of Inquiry
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Transcript of Forms of Inquiry
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Formsof
InquiryThe Architecture
of Critical
Graphic Design
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Iaspis ForumOn Design and Critical Practice
Vad hnder nr man betraktar design som ngotmer n en servicebaserad relation mellan kundoch formgivare? Vilka nya strategier och model-ler kan man anvnda fr att ifrgastta och tnja
p designens grnser? Vad hnder nr konst- ochdesignflten verlappar varandra?
Iaspis Forum On Design and Critical Practiceomfattar en utstllning, ett seminarium och en
bok om underskande, spekulerande och kri-tiskt orienterad design. Utgngspunkten har varitForms of Inquiry: The Architecture of Critical Graphic
Design,en utstllning som kretsar kring kritiskgrafisk design och relationen mellan grafisk de-sign och arkitektur. Med seminariet och bokentar Iaspis frgestllningarna i utstllningen vida-
re. Syftet r att bidra till en vergripande diskus-sion om design i vidare bemrkelse, som en dis-ciplin i frndring samt kring relationen mellandesign, konst och arkitektur och frgan om hur
kunskap och erfarenheter kan utbytas mellandessa discipliner.
UtstllningenForms of Inquirypresenterarsamtida grafisk formgivning som frsker finnanya utgngspunkter och sammanhang. Frutomdessa projekt samlarForms of Inquiry ngra av de
viktigaste kritiska rsterna inom grafisk designfr att underska arkitekturrelaterade samman-hang. Utstllningen r ett exempel p frdelarnamed att sammanfra tv parallella discipliner i
en diskussion om kreativ utvning.Seminariet syftar till att vidare diskute-
ra olika aspekter av design som en kritisk prak-tik. Iaspis sammanfr formgivare som presente-ras iForms of Inquiry, curatorer, kritiker och utva-re inom omrdena konst och design i ett antal f-redrag och samtal.
Boken r en utkad version av seminari-et dr mjlighet ges till en frdjupad diskussionp flera olika niver. Den baseras p fyra samtal
mellan deltagare iForms of Inquiryoch svenskagrafiska formgivare om olika aspekter av formgiv-ning i relation till deras praktik. Dessutom inne-hller boken esser och intervjuer som knyter antill dessa samtal och en diskussion om grnsver-skridande praktiker. Boken publiceras av Iaspisoch Sternberg Press 2009.
What happens when we look at design as notjust a service-based client/designer relationship?What kind of new strategies and models helpto question and challenge the limits of design?
What happens when the fields of art and designoverlap?
Iaspis Forum On Design and Critical Practice
comprises an exhibition, a seminar and a publica-tion on investigative, speculative and critical de-sign practice. Iaspis Forum is an offshoot of theexhibitionForms of Inquiry: The Architecture ofCritical Graphic Designthat revolves around criti-cal graphic design and the relationship betweengraphic design and architecture. With the semi-nar and the publication, Iaspis aims to further dis-
cuss these issues in relation to the exhibition. Theintention is to contribute to an overall discussionabout the changing landscape of design and therelationship between design, architecture and artand the issue of how knowledge and experiencewithin these disciplines can inform each other.
The exhibitionForms of Inquiry presents ex-amples of contemporary graphic design that at-tempt to reframe the circumstances surround-ing thier practice. In addition to these,Forms of
Inquirybrings together some of the most impor-tant critical voices in graphic design to make in-vestigative inquiries into architecture-relat-ed contexts. The exhibition is an example of thebenefits of juxtaposing two parallel disciplines indiscussing creative practice.
The seminar aims to further discuss modes ofdesign as a critical practice. Through an open for-mat and set of lectures and conversations Iaspiswill bring together some of the designers present-
ed inForms of Inquiryas well as curators, critics
and practitioners from the fields of art and design.The reader is an extended version of the
seminar, providing possibilities of an in-depthdiscussion on different levels. It is based on fourconversations between participants inForms ofInquiryand Swedish graphic designers on dif-ferent aspects of their practice. The publicationalso includes related essays and interviews thatengage to these border-transgressing practic-
es. The reader will be co-published by Iaspis andSternberg Press in 2009.
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Forms of Inquiry:The Architecture of Critical Graphic Design
Forms of Inquirybelyser arkitektur genom dengrafiska formgivningens praktik. Utstllningensammanfr nya arbeten av en rad internationellagrafiska formgivare som arbetar p ett kritiskt un-
derskande stt. Den visar ett antal projekt somuppsttt som sjlvinitierade underskningar, pro-fessionellt eller privat. Dessa presenteras i en radmedier och former, dribland typografi, textbase-rade och curatoriella projekt, installationer, inter-aktiva arbeten, publikationer och spekulerandefrslag. Formgivarna blev ombedda att bidra medunderskningar av arkitektoniska frgestll-ningar. Dessa underskningar utgr grunden fren serie specialbestllda tryck i affischformat.
Forms of Inquiryvisades frst p Architectu-ral Association i London 2007. Den tfljs av enpublikation (AA Publications, 2007) samman-stlld av Zak Kyes och Mark Owens.
LsesalongForms of Inquiryslsesalong innehller ett urvalpublikationer utvalda av en internationell gruppredaktrer, frlggare och formgivare. Bland bi-dragen finns oberoende forskningspublikatio-ner, bcker, zines och andra trycksaker som ex-emplifierar grafiskt drivna underskningsmo-deller med specifik betoning p dem som bely-
ser sambanden mellan design och arkitektur.Lsesalongen r samordnad av Wayne Daly.
Forms of Inquirypresents architecture as seenthrough the practice of graphic design. The ex-hibition brings together new works by a range ofinternational graphic designers who base their
work in critical investigation. It features projectsthat have originated as self-propelled inquiry, ei-ther professional or personal, and have been de-veloped into a myriad of media and forms includ-ing typography, writing and curatorial projects,installations, interactive works, publications andspeculative proposals. The designers were askedto contribute inquiriesinto architectural sub-
jects. These inquiries are the foundation for a se-ries of specially commissioned A0 prints.
Forms of Inquiryoriginated at the Architectu-ral Association in London 2007. An original ac-companying publication (AA Publications, 2007)was co-edited by Zak Kyes and Mark Owens.
Reading RoomTheForms of InquiryReading Room contains a se-lection of publications guest-curated by an in-ternationally diverse group of editors, publish-ers and designers. Contributions include inde-pendent scholarly publications, books, zines andother printed matter that exemplify graphical-ly-driven modes of inquiry, with a particular em-
phasis on those that investigate the connectionsbetween design and architecture. The ReadingRoom is coordinated by Wayne Daly.
Med /With: Thomas Boutoux, Section 7Sulki & Min Cho, Specter Press
Zak Kyes & Wayne Daly, AA Print StudioSandra Kassenaar, Werkplaats Typografie
Jrg Koch, 032cJonathan Maghen, Textfield
Vronique Marrier, Graphisme en France / F7Ou Ning, Alternative Archive
Emily Pethick, Casco: Office for Art, Design and TheoryBenjamin Somerhalder, Nieves
Luke Wood & Jonty Valentine, The National Grid
Med /With: Sara De Bondt, Julia Born & Alexandra Bachzetsis,deValence, Dexter Sinister, Paul Elliman,
Experimental Jetset, James Goggin, Will Holder, Hudson-Powell,Kasia Korczak, Jrg Lehni, Karel Martens & David Bennewith,
Metahaven, Mevis en Van Deursen,John Morgan, Radim Pesko, Project Projects, Manuel Raeder,
TASK: Emmet Byrne, Alex DeArmond & Jon Sueda,Michael Worthington, Cornel Windlin och /andbke.
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Forms of Inquiry: Introduktion
Forms of Inquiryuppstod ur en nskan att riktauppmrksamheten mot den pgende utveckling-en inom den grafiska formgivningen som belyserdess alltmer fruktbara relation till arkitekturen. Istora drag handlar det om ett lst ntverk av ut-
vare vars arbeten mobiliserar grafisk design somen specifikt kritisk aktivitet. Denna instllningkan hrledas till arkitekturhistorikern Manfredo
Tafuris id om kritikerns utvidgade roll som n-gon som undersker den polyvalenta, komplexaoch till sin natur subjektiva omvrlden. Mer spe-cifikt handlar det om arbeten som drivs av en im-puls att omformulera omstndigheterna kringsamtida grafisk praktik med hjlp av intuitiva un-derskningsmetoder fr att penetrera discipli-nens grnser och utforska den grafiska designensoch arkitekturens msesidiga utbyten och gemen-samma historia.
Fr att skapa klarhet (men ocks delvis fratt uppmuntra till problematisering) har vi be-stmt oss fr att anvnda begreppet undersk-ning fr att beskriva detta arbete, framfrallt fratt srskilja det frn den allestdes nrvarandeimpulsen att forska, som lnge har burit medsig en mngd antaganden och tolkningar. Det ren viktig distinktion, fr till skillnad mot empi-
risk forskning som approprierar den vetenskapli-ga datainsamlingens och problemlsandets para-digm, eller det terkommande arkitektoniska ex-perimenterandet, s antyder begreppet under-skning en nstan anti-metodologisk metodo-logi som stller frgor och fljer vgar utan attndvndigtvis veta vart de leder. Sammanstlldmed denna distinktion i tanke s presenterar ut-stllningen verk som ofta har sitt ursprung i in-tuitiva snarare n analytiska underskningar.Styrkan i denna nyfikenhetsknsla har lett till en
myriad olika mediala och grafiska former, dri-bland textbaserade och curatoriella projekt, in-stallationer, typografi, interaktiva arbeten, publi-kationer och spekulerande frslag.
Att konstruera rubriker genom vilka mankan frst denna variation av angreppsstt hari sig blivit en form av underskning som tar fas-ta p tvetydigheterna inom den grafiska form-givningen som disciplin. Trots att det inte hand-lar om nya kategorier s inordnas i utstllning-en de olika projekten under tre huvudrubriker.Den frsta Typographics(Typografik), tar som ut-gngspunkt den materiella och rumsliga po-tentialen som fungerar mellan typografins tra-ditionellt smala utrymme och stdernas och
Forms of Inquiry: Introduction
Forms of Inquiryemerges from a desire to draw at-tention to a number of recent developments inthe field of graphic design that highlight its in-creasingly fertile relationship with architecture.Broadly, this involves a loose network of fellow-
travellers whose work mobilises graphic designas a specifically critical activity. This imperativeitself borrows from the architectural historianManfredo Tafuris notion of the expanded role ofthe critic as someone exploring the multivalent,complex and inherently subjective world aroundthem. More specifically, it involves work that ismotivated by a shared impulse to reframe the cir-cumstances surrounding contemporary graphicpractice by using intuitive modes of investigationto probe the boundaries of the discipline and toexplore the mutual exchange and shared lineagebetween graphic design and architecture.
In the interest of clarity (but partly also toencourage a certain obfuscation) we have adopt-ed the term inquiry to describe this work, inparticular to distinguish it from the ubiquitousincentive to research, which has long carriedwith it a variety of assumptions and interpretivebaggage. The distinction is important; for, unlikeempirical research, with its appropriation of the
paradigm of scientific data-gathering and prob-lem-solving, or the iterative experimentation ofarchitectural modelling, the term inquiry sug-gests an almost anti-methodological methodol-ogy posing questions and pursuing paths with-out necessarily knowing where they will lead.Curated with this distinction in mind, the exhi-bition features works that have often originatedas intuitive rather than analytical investigations.
The strength of this unifying sense of curiosityhas led to a myriad of different media and graph-
ic forms, including writing and curatorial proj-ects, installations, typography, interactive works,publications and speculative proposals.
Devising headings through which to un-derstand this variety of approaches has itself be-come a form of inquiry that recognises the am-bivalences within graphic design as a discipline.And although not offered as a set of new catego-ries, the show groups the featured projects un-der three general headings. The first, Typographics,takes as its starting point the material and spatialpotential that operates between the traditional-ly thin space of typography and the thick ar-chitectural space of cities and buildings. This con-flation of graphic and architectural space impli-
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byggnadernas breda arkitektoniska utrymme.Denna sammanfltning av grafiska och arkitekto-niska utrymmen implicerar den mnskliga rsten(Paul Elliman och Michael Worthington), grafi-kens utvidgning fr att skapa form (Karel Martens& David Bennewith, Radim Pesko och CornelWindlin), och omprogrammeringen av vr miljs
hrda och mjuka grnssnitt (Jrg Lehni ochHudson Powell).
Den andra avdelningen,Modes of Produc-tion(Tillverkningsstt), belyser nyare verk inomden grafiska formgivningen som har blivit speci-fikt pverkade av arkitektoniska experiment (frnLe Corbusiers LEsprit Nouveau till de radika-la sm tidskrifterna frn 1960- och 1970-talen)som ifrgastter arkitekturens och utbildning-ens roll genom att anvnda publikationer och de-ras distribution som platser fr debatt och utbyte.Detta arbete drar fram formgivaren i ljuset ochdrmed verges den traditionella kund-formgi-var-relationen och erstts av formgivaren omkon-figurerad till redaktr, frlggare och distributr.Genom att anvnda sig av nya produktionssttutvidgar dessa formgivare studiopraktikens grn-ser (Dexter Sinister, bke), distribuerar sin egeninformation genom sjlvinitierade publikationer(TASK, deValence) och presenterar en modell frnya kritiska positioner genom att anvnda sig av
arkivmssiga och curatoriella strategier (ProjectProjects, Will Holder).Medan de tv frsta avdelningarna kan s-
gas fokusera p den grafiska formgivningsprak-tikens specifika komponenter eller byggste-nar, s tar arbetena i den tredje avdelningen,
Methodologies(Metodologier), explicit upp dengrafiska formgivningen som arbetsmetod. P det-ta stt blottlgger dessa diversifierade metodo-logier de frhandlingar och drivkrafter som dendesignade kommunikationen dljer. Dessa an-
greppsstt strcker sig ver bearbetningen avpappersarkitekturens och de arkitektoniska fr-slagens teoretiska protokoll (MetaHaven, ManuelRaeder, Experimental Jetset) via samarbetsprojektmellan arkitekter och koreografer (Julia Born,John Morgan) till grafiska ingrepp i arkitektonis-ka rum (Mevis en van Deursen, James Goggin).
Inom dessa tre breda grupperingar har vibett de utstllda formgivarna att producera tvbidrag: ett representativt exempel p ett tidigarearbete och en underskning i textform av ett ar-kitektoniskt mne som fungerar som grund fren serie trycksaker fr Architectural Association.Syftet med de nya verken r att ter underskade alltmer verlappande grafiska formgivnings-
cates the human voice (Paul Elliman and MichaelWorthington), the extension of graphics to builtform (Karel Martens & David Bennewith, RadimPesko and Cornel Windlin), and the reprogram-ming of the hard and soft interfaces of our en-vironment (Jrg Lehni and Hudson Powell).
The second section,Modes of Production , high-
lights recent work in graphic design that hasbeen specifically influenced by architectural ex-periments (from Le Corbusiers LEsprit Nouveauto the radical little magazines of the 1960 s and70 s), questioning the role of architecture and ed-ucation by taking publications and their distribu-tion as sites for debate and exchange. This workpulls the designer out from behind the screen, inthe process abandoning the traditional client/de-signer relationship in favour of the designer re-configured as editor, publisher and distributor. Byutilising new modes of production, these design-ers expand the limits of a studio practice (DexterSinister, bke), distribute their own inform-ation though self-initiated publications (TASK,deValence) and present a matrix of new criticalpositions through the use of archival and curato-rial tactics (Project Projects, Will Holder).
While the first two sections might be saidto focus on the specific components or build-ing blocks of graphic design practice, the work
in the last section,Methodologies, explicitly takesup graphic design itself as a way of working. Inthis way, these diverse methodologies expose thenegotiation and motivations concealed by de-signed communications. Such approaches rangefrom the adaptation of the theoretical protocolsof paper architecture and architectural propos-als (MetaHaven, Manuel Raeder, ExperimentalJetset), and collaborative projects with architectsand choreographers (Julia Born, John Morgan), tographic interventions within architectural space
(Mevis en van Deursen, James Goggin).Within these three broad groupings we have
invited each of the featured designers to providetwo contributions: a representative example ofprevious work and a written inquiry into an ar-chitectural subject which serves as the founda-tion for a series of newly commissioned printsfor the Architectural Association. This new workaims to re-examine the increasingly overlappingpractices of graphic design and architecture andin so doing hopes to compile a selective genealo-gy of the architectural canon as seen through thefield of contemporary graphic design.
As a supplement to the exhibition we havealso invited an international group of indepen-
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och arkitekturpraktikerna och drmed frhopp-ningsvis sammanstlla en selektiv arkitekturka-non sedd genom den samtida grafiska formgiv-ningens flt.
Som ett tillgg till utstllningen har vi ock-s bjudit in en internationell grupp oberoen-de redaktrer och frlggare fr att curata en
lsesalong som ska installeras i ArchitecturalAssociations medlemsrum. Nr utstllningen tur-nerar utkas samlingen med nya bidrag i form avoberoende akademiska publikationer, bcker, zi-nes och andra trycksaker som exemplifierar gra-fiskt drivna underskningsmetoder med en beto-ning p dem som utforskar sambanden mellanformgivning och arkitektur. Dessa bidrag doku-menteras i en separat publikation som fungerarsom ett slags frslag till litteraturlista eller anno-terad bibliografi.
Utformad som ett pgende undersknings-projekt i sig, med tillhrande samtal och evene-mang, rForms of Inquirybestlld av ArchitecturalAssociation som en del av ett pgende uppdragatt frdjupa diskussionerna om samtida bildkulturoch dess frhllande till arkitekturen. Det arbetesom samlats hr r en brjan p en kartlggningav detta flt av bde materiella och metodologis-ka mjligheter. Men skrningspunkten mellan gra-fisk design och arkitektur r ett rikt omrde som
fortfarande r underexploaterat, s frhoppningenmed denna utstllning r inte att den ska vara ensammanfattning utan en sporre fr vidare diskus-sioner och kreativa utbyten.
dent editors and publishers to curate a ReadingRoom to be installed in the AAs Front MembersRoom. This collection will amass new contribu-tions as the show travels and includes indepen-dent scholarly publications, books, zines andother printed matter that exemplify graphical-ly driven modes of inquiry, with a particular em-
phasis on those that investigate the connectionsbetween design and architecture. A separate-ly bound publication documents these contribu-tions, serving as a kind of suggested reading listor annotated bibliography.
Conceived as an ongoing investigative pro-ject in its own right, with associated talks andevents,Forms of Inquiryis commissioned by theArchitectural Association as part of its continu-ing mandate to cultivate discourse on contempo-rary visual culture and its relationship to archi-tecture. The work collected here begins to mapout this field of possibilities, both material andmethodological. Still, the intersection of graphicdesign and architecture is a rich domain that re-mains under explored, and it is hoped that thisexhibition will serve, not as a summary state-ment, but as a provocation to further debate andcreative exchange.
Iaspis Forum On Design and Critical Practice is initiated and produced byIaspis, Project Manager Magnus Ericson, in collaboration with the Architectu-ral Association, Zak Kyes, graphic designer and curator of Forms of Inqui ryandthe Swedish graphic designers Martin Frostner and Jonas Williamsson. ProjectManager: Magnus Ericson. Project Coordinator: Sara Teleman. Graphic design:
Martin Frostner and Jonas Williamsson. Translation: Hans Olsson.
Forms of Inquiry: The Architecture of Critical Graphic Design (Iaspis, StockholmNovember 14 December 14, 200 8) is produced by the Architec tural Associationin 2007. Curator: Zak Kyes. Reading Room Coordinator: Wayne Daly. ExhibitionProduction: Vanessa Norwood. Picture Researcher: Simone Sagi. Exhibition Designand Coordination: Lee Regan.
Iaspis Forum On Design and Critical Practice r initierat och producerat av Iaspis,Projektledare Magnus Ericson, i samarbete med Architectural Association, ZakKyes, grafisk formgivare och curator avForms of Inqui ryoch de svenska grafiskaformgivarna Martin Frostner och Jonas Williamsson. Projektledare : MagnusEricson. Projektkoordinator : Sara Teleman. Grafisk design: Martin Frostner och
Jonas Williamsson. versttning: Hans Olsson.
Forms of Inquiry: The Architecture of Critical Graphic Design (Iaspis, Stockholm14 november 14 december 20 08) r producerat av Architectural Assoc iation 2007 .Curator: Zak Kyes. Koordinator lsesalongen: Wayne Daly. Utstllningsproduktion:Vanessa Norwood. Bildresearch : Simone Sagi. Utstllningsdesign ochkoordination: Lee Regan.
Zak Keys & Mark Owens, 2007Utdrag frn utstllningskatalogen /Excerpt from the exhibiton catalogue
Forms of Inquiry: The Architecture of Critical Graphic Design
(AA Publications, 2007), ISBN 978-1-902902-62-3
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Medverkande /Participants
Sara De Bondt
r en London-baserad belgisk grafisk
formgivare som har drivit sin egen
byr sedan 2003. Innan arbetade hon
fr Foundation 33. Sara har stude-
rat grafisk design vid Sint-Lukas
i Bryssel, Universidad de Bellas
Artes i Granada och Jan van Eyck
Academie i Maastricht. Hon har lett
workshops och samtal vid Beckmans
i Stockholm, Ecole des Beaux ArtsLyon, Ecole de Recherche Graphique
Brussels, deSingel Antwerp, Jan van
Eyck Academie Maastricht och Laus
Symposium Barcelona. Hon undervisar
vid Central Saint Martins College of
Art & Design i London.
is a London-based Belgian
graphic designer who has been run-
ning her own studio since 2003. Before
that she worked for Foundation 33. Sara
studied graphic design at Sint-Lukas,
Brussels, Universidad de Bellas Artes,
Granada and Jan van Eyck Akademie,
Maastricht. She has given workshops/
talks at for example Beckmans college,
Stockholm, Jan van Eyck Akademie,
Maastricht and Laus Symposium,
Barcelona. She teaches at Central Saint
Martins College of Art & Design.
(saradebondt.com)
David James Bennewith
r utbildad vid Werkplaats Typografie,
Arnhem, Nederlnderna. Frutom att
ha arbetat vid en grafisk design-
byr i Nya Zeeland har han fungerat
som frilansande formgivare i olika
projekt frmst inom kultursektorn i
Nya Zeeland, Storbritannien och
Nederlnderna. Bland hans uppdrags-
givare finns Lisson Gallery, London;
Piet Zwart Institute, Rotterdam; och
de nederlndska konstnrerna Bik
van der Pol fr ett bokprojekt till
Istanbulbiennalen i september 2007. studied at the Werkplaats
Typografie, Arnhem, The Netherlands.
As well as working in a commercial
graphic design studio in New Zealand,
he has worked as a freelance design-
er mostly in cultural sectors in New
Zealand, the UK and The Netherlands.
Recent commissions: the Lisson
Gallery, London; Piet Zwart Academie,
Rotterdam; and Dutch artists Bik van
der Pol, for a book project for the
Istanbul Biennial in September 2007.
Julia Born
r en schweizisk designer som bor i
Amsterdam. Frutom sina vanliga
uppdrag har hon samarbetat med
andra formgivare och konstnrer, som
modedesignern JOFF (A Red Sk irt,
2003, One To One , 2007) och performan-
cekonstnren Alexandra Bachzetsis
(Secret Instructions, 2005). Hon har un-
dervisat i grafisk formgivning vid Ecole
cantonale dart de Lausanne, GerritRietveld Academie och Werkplaats
Typografie i Arnhem.
is a Swiss designer living in
Amsterdam. Apart from commissioned
work she has collaborated with other
designers and artists, such as fashion
designer JOFF (A Red Sk irt, 2003, One
To One, 2007) and performer Alexandra
Bachzetsis (Secret Instructions, 2005).She has taught graphic design at the
Ecole Cantonale d Art de Lausanne,the Gerrit Rietveld Academie and the
Werkplaats Typografie Arnhem.
Emmet Byrne
arbetar fr nrvarande som grafisk
formgivare vid Walker Art Center,
Minneapolis. Han har utfrt uppdrag
fr Public Art Fund i New York,
Rochester Art Center, Chronicle
Books, the Soap Factory, m.fl. Sedan
2005 undervisar han vid Minneapolis
College of Art and Design.
currently works as a graphic
designer at the Walker Art Center,
Minneapolis. He has done work for
the Public Art Fund in New York, the
Rochester Art Center, Chronicle Books,
the Soap Factory and others. Since
2005 he has taught at the MinneapolisCollege of Art and Design.
Alex DeArmond
r en oberoende grafisk formgi-
vare som bor och arbetar i Boulder,
Colorado. Han har tidigare arbetat som
chefsdesigner vid Walker Art Center i
Minneapolis och har examen i religi-
onskunskap frn Carleton College.
is an independent graphic
designer living and working in Boulder,
Colorado. He previously worked as
a senior designer at the Walker Art
Center in Minneapolis and holds a
degree in comparative religion from
Carleton College. (alexdearmond.com)
deValence
r en i Paris baserad grafisk designbyr
som grundades 2001 av Alexandre
Dimos & Gal tienne. De har
designat mnga utstllningskataloger,
somDada fr Centre Pompidou (2005).
Uppdrag har bl.a. omfattat kulturcen-
trumet Mains duvres, konsthallenVassivire och den italienska teatern
Santarcangelo. De har formgivit fr
tidskrifter som Magic (20012005),
Le Journal des Laboratoires (sedan
2002) och Breloques (sedan 2007). 2006
skapade de Marie Louise, en tidskrift
om grafisk design dr de fungerar bde
som utgivare och formgivare.
is a Paris-based graphic
design studio formed by AlexandreDimos & Gal tienne in 2001. They
have designed exhibition cata-
logues, such asDada for the Centre
Pompidou (2005). Clients include the
French art centres Mains d uvresand Vassivire. Magazine designs
include Magic (20012005), Le Journal
des Laboratoires (since 2002) and
Breloques (since 2007). In 2006, they
created Marie Louise, a graphic design
magazine (devalence.net)
Dexter Sinister
r David Reinfurt och Stuart Bailey.
David tog examen vid University of
North Carolina 1993, Yale University
1999, och startade sedan O-R-G, en
designbyr i New York. Stuart tog
examen vid University of Reading 1994,
Werkplaats Typografie 2000, och var
med och startade kulturtidskriften Dot
Dot Dot samma r. David undervisar
vid Columbia University och Rhode
Island School of Design. Stuart r invol-
verad i olika projekt vid Parsons School
of Design, New York och Pasadena Art
Center, Los Angeles. Dexter Sinister
startade nyligen en workshop i Lower
East Side i New York med avsikten att
utforma en Just-In-Time-produktion
fr trycksaker.
is David Reinfurt and Stuart
Bailey. David graduated from Yale
University in 1999, and went on to
form O-R-G, a design studio in NewYork City. Stuart graduated from the
Werkplaats Typografie in 2000, and
co-founded the arts journal Dot Dot
Dot the same year. David currently
teaches at Columbia University and
Rhode Island School of Design. Stuart
is currently involved in diverse proj-
ects at Parsons School of Design and
Pasadena Art Center. Dexter Sinister
recently established a workshop in
the Lower East Side in NYC which is
intended to model a Just-In-Time
economy of print production.
(dextersinister.org)
Paul Elliman
r en London-baserad designer
vars arbeten och texter utforskar
teknikens och sprkets msesidigaintressen. Hans verk har kpts in av
Tate Modern och Victoria & Albert
Museum i London, APAP i Seoul och
New Museum of Contemporary Art i
New York.
is a London-based designer
whose work and writingexplores themutual interests of technology and
language. His work has been included
in collections in Londons Tate Modernand Victoria and Albert Museum,
APAP in Seoul, and New Yorks NewMuseum ofContemporary Art.
(otherschools.com)
Experimental Jetset
r en Amsterdam-baserad grafisk
design-enhet som grundades 1997 av
Marieke Stolk, Erwin Brinkers och
Danny van den Dungen. Med fokus p
trycksaker och installationsarbeten har
de utfrt projekt fr Stedelijk Museum,
Centre Pompidou, Dutch Post Group,
De Theatercompagnie, Le Cent Quatre
(104) och tshirt-mrket 2K/Gingham.
2007 kpte MoMA ett urval av deras
arbeten till sin permanenta samling.
De undervisar sedan 2000 vid Gerrit
Rietveld Academie i Amsterdam.
is an Amsterdam based
graphic design unit founded in 1997
by Marieke Stolk, Erwin Brinkers and
Danny van den Dungen. Focusing on
printed matter and installation work,
they have undertaken projects for theCentre Pompidou, Dutch Post Group
and t-shirt label 2K/Gingham. In 2007,
a selection of their work was acquired
by MoMA for their permanent collec-
tion. They have been teaching since
2000 at the Gerrit Rietveld Academie
in Amsterdam. (jetset.nl)
James Goggin
James Goggin startade sin grafiska
designbyr Practise 1999 efter sin
MA-examen i grafisk formgivning vid
Royal College of Art i London. Fokus
ligger p typografi och trycksaksbase-
rade projekt som konstbcker, affischer,
typsnitt, identiteter och kontorsmate-
rial, men Goggin arbetar ocks i andra
medier med allt frn att formge utstll-
ningar och gra skyltar, till kortfilmer,
titelsekvenser och webbsidor. Bland
uppdragsgivarna finns Barbican Art
Gallery, Tate Modern, Camden Arts
Centre, Book Works, Docklands Light
Railway, British Council och The Wire.
set up his design studio
Practise in 1999 after completing an
MA in Graphic Design at LondonsRoyal College of Art. While focusing
mainly on typography and print-based
projects he also works across various
media, creating anything from exhibi-
tion design and signage to short films.
Clients include Barbican Art Gallery,
Tate Modern, Docklands Light Railway,
the British Council and The Wiremagazine. (practise.co.uk)
Will Holder
r mindre intresserad av dokumenta-
tion och mer av partitur och kompo-
sition som instruktioner fr sprkets
artikulerande, och dess relation till en
skulptural, tredimensionell rymd.
Han har nyligen varit redaktr
frAgapochInte rsec tionstillsam-
mans med Alex Waterman, Miguel
Abreu Gallery och The Kitchen i
New York: tv underskningar av
sociala aspekter av kollektivt lsande,
text- och notfrfattande frn sent
60-tal till idag. Holder och Waterman
jobbar f. n. med en monografi ver
kompositren Robert Ashley. Han r
ocks redaktr (med Dieter Roelstraeteoch Ann Demeester) och formgivare
av F.R.DAVID, de Appels tidskrift
baserad p lsning och skrivande inom
konsten.
is less interested in docu-
mentation and more in scoring and
composition as a set of instructions
for the articulation of language, and
languages relationship to a sculptural,3-dimensional space.
He recently co-edited and
designedAgapandInte rsec tio ns
with Alex Waterman, Miguel Abreu
Gallery and The Kitchen (NYC): two
investigations into the social implica-
tions of collective reading, writing and
scoring from the late 60s until today.
Holder and Waterman are currently
working on a monograph of composer
Robert Ashley in the form of operatic
scores. He is also editor (with Dieter
Roelstraete and Ann Demeester) and
designer of F.R.DAVID, de Appel sjournal based on reading and writ ing
in the arts.
Hudson-Powell
Brderna Jody Hudson-Powell och
Luke Powell studerade grafisk design
vid Central Saint Martins. Sedan
avlade Jody en MSc-examen i Virtual
Environments vid Bartlett School of
Architecture. De startade Hudson-
Powell i mars 2005, fr att de ville
ha tid fr mer vid-sidan-om-projektefter att ha arbetat som designers/
art directors fr strre bolag sedan
de avslutade sina studier. Deras
designprinciper fokuserar p den
tudelade utvecklingen av koncept och
medium. Bland uppdragsgivarna finns
Nickelodeon, Domino Records, North
Design, Canteen, Beams T, Wolf Ollins
och Diesel.
Brothers Jody Hudson-Powell
and Luke Powell studied Graphic
Design at Central Saint Martins,
with Jody going on to do the Virtual
Environments MSc at the Bartlett
School of Architecture. They formed
Hudson-Powell in March 2005, want-
ing more space for out of work proj-
ects after having worked as designer/
art directors at larger companies since
leaving college. Their design principles
focus on the dual development of
concept and medium. Recent clients
have included Nickelodeon, Domino
Records, North Design, Canteen,
Beams T, Wolf Ollins and Diesel.
(hudson-powell.com)
Kasia Korczak
har stllts ut p Design Museum och
Barbican Gallery i London och Casco i
Utrecht. 2006 startade hon kollektivet
Slaves and Tatars med konstnren och
frfattaren Payam Sharifi. S&T produ-
cerar arbeten i mode, design och konst
med en polemisk inriktning. Undernamnet What Once Was, samarbetade
Korczak med den teoretiske fysikern
Christophe Galfard. Hon avlade
nyligen en MA-examen vid Werkplaats
Typografie i Arnhem dr hon startade
en praktik med Boy Vereecken.
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Her work has been exhib-ited at the Design Museum and theBarbican Gallery in London and Cascoin Utrecht. In 2006 she founded thecollective Slaves and Tatars with artistand writer Payam Sharifi. S&T pro-duces work across fashion, design andart with a polemical approach. Underthe name What Once Was, Korczakcollaborates with theoretical physicistChristophe Galfard. She recentlygraduated from an MA residency at
the Werkplaats Typografie in Arnhemwhere she started her practice withBoy Vereecken. (slavesandtatars.com)
Jrg Lehnistuderade elektroteknik vid ETHZrich och interaktionsdesign vidECAL, Lausanne. Hans sjlvinitieradearbeten utgr frn reflektioner omverktyg, datorn och det stt vi arbetarmed och anpassar oss till tekniken.Han samarbetar ofta med grafiskaformgivare, konstnrer, typograferoch ingenjrer. Han r delgare tillden schweiziska typsnittstillverkarenLineto.com och arbetar ven medprivata forskningsuppdrag, till exempelfr Sony SET Lab i Tokyo.
studied electrical engineeringat ETH Zrich and interaction designat ECAL, Lausanne. His self-initiatedwork originates from reflections abouttools, the computer and the way wework with and adapt to technology.He often collaborates with graphicdesigners, artists, typographers andengineers. He is a co-owner of theSwiss type foundry Lineto.com and alsoworks on private research commis-sions, for example at the Sony SET Lab,Tokyo. (hektor.ch, sc riptographer.com)
Karel Martensavslutade sina studier vid Konsthg-skolan i Arnhem 1961. Sedan dess
har han arbetat som frilansandegrafisk formgivare med inriktning ptypografi. Bland hans uppdragsgivarekan nmnas frlagen Van LoghumSlaterus (Arnhem) p 1960 -talet,och SUN (Nijmegen) 197581. 1999designade han fasaden fr tryckerietVeenman i Ede i samarbete med frfat-taren K Schippers. 2005 designadehan glasfasaden fr PhilharmonieHaarlem. Martens har undervisatvid Konsthgskolan i Arnhem, Janvan Eyck Academie i Maastricht ochSchool of Art, Yale University. 1998startade han och Wigger BiermaWerkplaats Typografies doktorandpro-gram vid ArtEZ, Arnhem.
completed his studies at the
Arnhem School of Art in 1961. Sincethen he has worked as a freelancegraphic designer, specialising in typog-raphy. In 1999 he designed the facadeof the printing company Veenman inEde, in collaboration with the writerK Schippers. In 2005 he designedglass facades for the Philharmoniein Haarlem. Martens has taughtgraphic design at the Arnhem Schoolof Art, the Jan van Eyck Academie inMaastricht and the School of Art, YaleUniversity. In 1998 he and WiggerBierma founded the WerkplaatsTypografie postgraduate course at theArtEZ, Institute for the Arts, Arnhem.
Metahavenr en grupp designforskare som utgrsav Daniel van der Velden, Vinca Krukoch Gon Zifroni, baserad i Amsterdamoch Bryssel. Deras forskning resulterari modeller, frslag, esser, fredrag ochkonferenser som behandlar mnen
som ikonografi, arkitektur, offentligarum och det politiska.
is a design research collectiveformed by Daniel van der Velden,Vinca Kruk and Gon Zifroni, basedin Amsterdam and Brussels. Theirresearch results in models, proposals,essays, lectures and conferences whichtackle the subjects of iconography,architecture, public space and thepolitical. (metahaven.net)
Mevis en van DeursenLinda van Deursen och Armand Mevisbor och arbetar i Amsterdam, dr deinledde sitt samarbete 1986 efter stu-dierna vid Gerrit Rietveld Academie.Mevis & Van Deursen arbetar frmstfr uppdragsgivare inom kultursektornmed kunder som Museum BoijmansVan Beuningen i Rotterdam och mo-deduon Viktor & Rolf. Van Deursen rrektor fr institutionen fr grafisk de-sign vid Gerrit Rietveld Academie ochMevis r designkritiker vid WerkplaatsTypografie, Arnhem; bda r kr itikervid School of Art, Yale University.Deras samarbete har dokumenteratsi bokenReco llec ted Work: Mevis & Van
Deurs en , som gavs ut av Artimo 2005.
Linda van Deursen andArmand Mevis live and work inAmsterdam, where they began theircollaboration after graduating fromthe Gerrit Rietveld Academy in 1986.Mevis & Van Deursen work mainlyfor cultural clients such as MuseumBoijmans Van Beuningen, Rotterdamand fashion duo Viktor & Rolf. VanDeursen serves as head of the GraphicDesign Department at the GerritRietveld Academy, while Mevis isa design critic at the WerkplaatsTypografie, Arnhem; both are cr itics atYale University s School of Art. Theircollaboration has been documented inthe bookReco llec ted Work: Mevis & Van
Deurs en , published by Artimo in 2005.
John MorganFrn att ha varit verksam vid institutio-nen fr typografi och grafisk kommuni-kation vid Reading University vergickMorgan till att samarbeta med DerekBirdsall vid Omnific i London. 2000startade han byrn John Morgan. Hanr ven handledare vid Central SaintMartins och University of Reading ochr en av grundarna av Workplace Co-operative 115. Bland Morgans projektkan nmnas Anglikanska kyrkansbnbok, utstllningsdesign fr DesignMuseum och en ny visuell identitetfr staden Ljubljana. Han har skrivitfr bl. a. Typography Papers och Dot
Dot Dot. From the Typography &
Graphic Communication departmentat Reading University, Morgan joinedDerek Birdsall at Omnific, London.In 2000 he established John Morganstudio. He has tutored at CentralSt Martins and the University ofReading and co-founded WorkplaceCo-operative 115. Morgans projectsinclude prayer books for the Churchof England, exhibition design for theDesign Museum and a new visual iden-tity for the city of Ljubljana. He haswritten for various journals includingTypography Papers and Dot Dot Dot.
(morganstudio.co.uk)
Radim Peskor en grafisk formgivare baserad iAmsterdam. Efter studier vid PragsKonstakademi och i London s avladehan en forskarexamen vid WerkplaatsTypografie i Arnhem 2004 . Han
arbetar med formgivning av typsnittoch ibland med curatoriella projekt.Bland hans senare arbeten kan nmnasden visuella identiteten fr Secession,Wien, och kataloger fr gallerietMoravian i Brno. Han skriver fr DotDot Dot och undervisar vid RietveldAcademie i Amsterdam.
is a graphic designer basedin Amsterdam. After studying at theAcademy of Arts in Prague and inLondon he completed the postgraduate
programme at Werkplaats Typografiein Arnhem in 2004. He works on typedesign and occasional curatorial proj-ects. His recent work includes identityfor Secession, Vienna, and cataloguesfor the Moravian Gallery in Brno. He isa contributor to Dot Dot Dot magazineand teaches at the Rietveld Academie.
Project Projectsr en designbyr som fokuserar ptrycksaker, interaktiva och milj-mssiga arbeten fr kunder inomkultursektorn. Byrn grundades 20 04av Prem Krishnamurthy och AdamMichaels och har utfrt uppdrag frArtists Space, Creative Time, LowerManhattan Cultural Council, New
York Times Magazine, PrincetonArchitectural Press, Van Alen Institute,White Columns och Whitney Museumof American Art. Project Projectssamarbetar ocks med arkitekter,konstnrer och frfattare.
is a design studio focusingon print, interactive and envi-ronmental work for clients in thecultural sector. Founded in 2004 byPrem Krishnamurthy and AdamMichaels, the studios clients includeArtists Space, Creative Time, LowerManhattan Cultural Council, NewYork Times Magazine, PrincetonArchitectural Press, Van Alen Institute,White Columns and the Whitney
Museum of American Art. They alsocollaborates with architects, artists andwriters. (projectprojects.com)
Manuel Raederbor och arbetar i Berlin. Han studeradevid London College of Printing och hargtt en forskarutbildning vid Jan vanEyck Academie i Maastricht. Han arbe-tar ver ett brett spektrum av format,som utstllningar, tryckalster, bcker,typsnittsdesign och mbler. Han harhllit i workshops vid cole NationaleSuprieure des Arts Dcoratifs, Paris,Universit de Toulouse-Le Mirailoch Hochschule fr bildende Knste,Hamburg.
lives and works in Berlin.
He studied at the London Collegeof Printing and has completed apostgraduate course at the Janvan Eyck Akademie in Maastricht.His work ranges from exhibitions,ephemera, books and type design tofurniture. He has held workshops atthe cole Nationale Suprieure desarts Dcoratifs, Paris, the University ofToulouse le Mirail and the Hochschulefr bildende Knste, Hamburg.
(manuelraeder.co.uk)
Jon Suedadriver den i Los Angeles baseradedesignbyr STRIPE tillsammans medGail Swanlund. Han har gjort uppdrag
fr galleriet Redcat, Studio Museumi Harlem och Wattis Institute. Sedan2003 undervisar han vid CaliforniaInstitute of the Arts, CalArts. Suedavar nyligen med och organiseradeproduktionen av tjugofyra bcker medkonstnren Steven Hull.
is one half of STRIPE, a LosAngeles-based studio with GailSwanlund. He has done work for theRedcat gallery, Studio Museum inHarlem and The Wattis Institute.Since 2003 he has taught at CaliforniaInstitute of the Arts, CalArts. Mostrecently Sueda has co-organised thecreation of twenty-four books with art-ist Steven Hull. (www.stripela.com)
Cornel Windlin
r en Zrich-baserad grafisk designeroch art director. 1993 grundade han detSchweiziska typsnittsfretaget Lineto.
is a Zrich based graphicdesigner and art director. In 1993 hefounded Swiss type foundry Lineto withStephan Pronto Mller. (lineto.com)
Michael Worthingtonr delgare till designbyrn Counter-space i Los Angeles. Under de se-naste tolv ren har han undervisat vidCalifornia Institute of the Arts.
is a partner in Counterspace,Los Angeles. He has taught for the lasttwelve years at the CalArts.
bke
r fyra grafiska formgivarePatrickLacey, Benjamin Reichen, KajsaSthl och Maki Suzukiutbildade vidBrighton University, Ecole NationaleSuprieure des Arts Dcoratifs i Paris,HDK i Gteborg och Royal Collegeof Art i London. Sedan examen 2000har de varit baserade i London ocharbetat fr bland andra Maison MartinMargiela, Peter Jensen och MartinoGamper. De undervisar vid RoyalCollege of Art och Central SaintMartins, och organiserar workshopsoch evenemang i Europa och annorst-des. De har arbetat med formgivningenav (och innehllet fr) Sexymachinery(sexymachinery.com), en arkitektonisk
produktion tillsammans med ShumonBasar, Dominik Kremerskothen ochDagmar Radmacher, och mrketKitsun (kitsune.fr) tillsammans medGildas Loaec och Masaya Kuroki.
consists of four graphicdesigners Patrick Lacey, BenjaminReichen, Kajsa Sthl and MakiSuzuki who were educated at BrightonUniversity, Ecole Nationale Suprieuredes Arts Dcoratifs in Paris, HDK inGothenburg and the Royal Collegeof Art in London. Since graduatingin 2000 the group has been based inLondon working for, among others,Maison Martin Margiela, PeterJensen and Martino Gamper. Theyteach at the Royal College of Art and
Central Saint Martins, and organizeworkshops and events in Europe andbeyond. They have worked on thedesign (and content) of Sexymachinery(sexymachinery.com), an architecturalproduction with Shumon Basar,Dominik Kremerskothen and DagmarRadmacher, and the label Kitsun(kitsune.fr) with Gildas Loaec and
Iaspis
Konst nrsnmndens inter nati onell a
prog ram f r bi ld- o ch fo rmkonstnre r
The Arts Grants Committees
international program for visual artists
KonstnrsnmndenMaria Skolgata 83118 20 Stockholm, Sweden+46 (0)850 65 50 00 www.iaspis.se
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