„Nástupište 1-12“ (Platform 1-12) is a civic association whose members are several artists, visual artists, graphic designers, psychologists, activists and cultural managers. The civic association Platform 1-12 was founded in April 2011. They specialize in conceiving and running projects aimed at art, culture and education, but also environment and sport. The aim of their activities is an overall improvement of the quality of life of the inhabitants of this region. They also cooperate intensively with other cultural and educational institutions inside and outside the region, particularly with secondary schools.
Contemporary Poster Design from Lucerne / Aktuelle Plakatgestaltung aus Luzern
Editors: Erich Brechbühl, Klaus Fromherz, Martin Geel, Michael Kryenbühl, Simon Rüegg, Raphael Schoen, Ivan Weiss, Megi Zumstein
Designer: Johnson / Kingston
Lucerne—Switzerland’s poster town—has a vibrant graphic design scene, which in recent years has become known for its sophisticated posters well beyond the country’s borders. Professional colleagues are in awe of how a relatively small city can produce so many well-designed posters. Lucerne posters can be found in many exhibitions. To give one example: in 2015 alone, twenty-six of the hundred best posters from Germany, Austria, and Switzerland came from Lucerne and the surrounding area—in other words, more than a quarter of all the awardwinning works. What’s behind this? Is it coincidence or a preponderance of designers of above-average talent in a comparatively small area? The book Poster Town tracks this phenomenon with a wealth of images and texts and creates a record of Lucerne’s poster designs for posterity. The content of the book is archived and showcased in an extended form on the website www.postertown.ch
Text: Bettina Richter, Pirmin Bossart, Martina Kammermann, Marc Schwegler
with 800 black-white and colour illustrations
thread-sewn softcover with plastic jacket
Leipzig September, 2017
Edition Number: 1
Width: 17 cm
Length: 22.5 cm
Language(s): German, English
Thonik: Why We Design
Contributors Aaron Betsky, Adrian Shaughnessy, Gert Staal, Nikki Gonnissen, Thomas Widdershoven
Everybody is a designer! But why? Why do we color, organize, and form the world around us – and why do we call that a profession?
In this book, thonik, the Amsterdam-based studio led by lauded designers Nikki Gonnissen and Thomas Widdershoven, researches eleven personal reasons why they design – from the need to create impact to a constant search for independence; from the benefits of systems to the urgency of play. Additionally Why We Design looks back on twenty-five years of design practice and speculates on the future of graphic design.
thonik was founded in 1993 and specializes in visual communication, graphic identity, interaction, and motion design. To the studio it is important to create work that sets apart and differentiates, work that sparks discussions and initiates change – one design at a time.
17 × 24 cm, 6 ¾ × 9 ½ in
352 pages, 560 illustrations
2019, 978-3-03778-556-0, English
Authors: Alexandra Sankova and Olga Druzhinina
Editor: Mark Sinclair
Edition of 2000
We are delighted to announce that VNIITE – Discovering Utopia: Lost Archives of Soviet Design is now available to pre-order. Written by the Moscow Design Museum’s Alexandra Sankova and Olga Druzhinina, the book tells the previously untold story of the VNIITE – the All-Union Scientific Research Institute of Technical Aesthetics.
Formed in Soviet Russia in 1962, by the design visionary Yuri Soloviev, this vast network contained Moscow’s most progressive designers. The ‘Vniitians’, as they were called, designed for the future and developed new theories and approaches to design in the USSR.
But more than ﬁfty years later, the organisation is all but forgotten. It’s hard to fathom how such an institution, dedicated to the promotion of utopian design, in theory and in practice, and the improvement of design standards within the Soviet Union, could have faded so far from view. After the disintegration of the USSR, the VNIITE and its library of images and prototypes were presumed lost.
Until now, that is. Thanks to the efforts of the Moscow Design Museum – and the discovery of the personal archives of some of the VNIITE designers – the story of this remarkable organisation is being pieced back together.
Alongside images of sketches, models and prototypes, the book also includes a selection of covers of one of the USSR’s hidden gems of graphic design – the VNIITE’s monthly journal, Technical Aesthetics. Showcased together for the first time, these covers chart Soviet graphic trends from the 1960s to the early 1990s.
In the pages of this book you can see some of the more compelling examples of utopian Soviet design. As the designer Paula Scher notes, the work offers a balance between ‘the communist desire for a perfectly-designed world against the real world of human competitiveness and inequality’.
Print: Four colour litho
Norm Architects have restored and rebuilt a historic villa in Copenhagen after a devastating fire. The story goes that the house used to be inhabited by the renowned Danish architect, designer and cultural critic, Poul Henningsen.
The villa, located in Copenhagen, is said to have been the home of the famous, danish design-icon, Poul Henningsen. Today, a family of three resides in the historic house – a modern home that holds references to its original state – with beautiful high panels, parquet flooring, low, paned windows, teak furniture and – of course – retro PH lamps hanging over the kitchen island.
“The house being a former home – or summerhouse – of Poul Henningsen wasn’t my initial motivation to buy the house, but coincidentally I’ve been collecting his lamps for quite some time, so you’ll find them around the house.” says the owner.
Unfortunately not much of the original building was left after the fire in 2014, but while rebuilding the house it was possible, by increasing the height of the facades, to extend the top floor from approximately 40m2 to 100m2, which has made the house more suitable as a modern family home.
With a clean and minimal approach, the classic elements of the house have been restored and elegantly combined with contemporary details, making for timeless interiors and generally warm aesthetics. The dark mid-century teak furniture and minimal marble plinths create beautiful contrasts, boasting a clean and subtle elegance against the plain, white walls and dark inbuilt kitchen elements in sawcut smoaked oak.
With light coming in from different angles, every room of the house is bright, filled with daylight and comfortable to be in.
The ground floor of the house has been changed from small divided rooms into one big living area with windows on all sides, only subdivided centrally by bespoke elements; a large kitchen cabinet covered in dark stained oak separating the kitchen and the living room, and a central staircase, creating a dynamic, semi-open space with soft transitions.
The floating steps in solid oak create a flow between the basement, ground floor and top floor, connecting the house vertically in a harmonious and contemporary way with skylights flooding the staircase in natural daylight and increasing the sense of height in the house.
The minimal kitchen in smoked oak with bronzed brass handles, designed by Norm Architects for Danish kitchen manufacturer Reform is complimented by a sculptural kitchen island in a light grey ceramic stone, and both the kitchen and bathroom of the house sports slim brass faucets.