In his latest EP titled soba, paul.engel sifts the fragmented memories of the internet brain, fluidly interchanging the remembered with the present. Echos of noise, industrial, ambient and lofi come together to form a self-referential continuum of abstraction. This dreamed, blurred and vibrating layering of textures gets visually materialised in this cover art.
In recent times, manual practice is increasingly being addressed again. However, there is a lack of a differentiation of those forms of knowledge associated with craft work. That is why this research project started in November 2014 with the question: “How can manual knowledge find a connection to the world of life and work of the 21st century?” This, among other things, was discussed with experts from craft and design practice, design and research at a public symposium at the New Design University, St. Pölten in cooperation with the University of Vienna. The resulting publication is a reframing of the mentioned symposium held in March 2017, echoing voices and ideas in chronological order, establishing a new scientific print issue format that stimulates future exchanges in academia, industry and craft.
This publication deals with 20 objects of the 20th century, in which grid, order and system were at the heart of the design process. The collection is composed of objects from the fields of architecture, graphic design, industrial design, painting, and type design, which stand out due to an exceptional idea or solution. Texts and illustrations reveal fundamental structures, highlight historical and ideological trends, and open up contextual links that – contrasted with the opinions of contemporary designers – paint a complex picture of the multi-layered creative grammar that usually occurs unnoticed and invisible.
Basic structures derived from early 20th century industrial furniture designs were applied to the field of type design, producing this geometric typeface based on a simple square grid system. As a result of this shaping method, its glyphs are often abstract in form and proportion. All corners of the typeface are rounded, giving it a softer appearance and more material feel. All bars are connecting perpendicularly in order to give each letterform a more solid profile. The underlying grid forces all elements into place, distributing them evenly and reaffirming a homogeneous formal language.
Referencing ideas expressed by John Berger in Ways of Seeing, this kinetic object deals with the philosophical repercussions of technical reproduction at the example of spacial typography. It allows rapprochement between subject and object, inviting interaction in both directions: the perception is extended by an object in space and the perception expands the object. The result is a connecting pull, forcing the viewer into an intimate choreography. Every movement in front of the object creates a new configuration, which, at the slightest movement, changes yet again producing openings, closures and overlays. Here, the letter A is set in Times New Roman (Regular) plotted over a 15 by 15 grid. Pixels were grouped according to their gray values, then divided into five levels and added up staggered from front to back.
Dr. Martin Luther King, Jr.’s speech from the steps of the Lincoln Memorial in Washington, D.C. is considered by many to be one of the greatest public speeches of all time. He delivered it during the March on Washington for Jobs and Freedom on August 28, 1963 to over 250,000 civil rights supporters. Dr. King’s background as a preacher of the gospel shows in his rhetoric and the way he incorporates the crowd in the process of the event. This reciprocal action and the character of his voice became the focus of this publication. Listening closely and finding the most subtle vocal changes, the whole event was expressed and translated through abstract typography. Drawing visual inspiration from early drafts of his speech, the paperback connects the human voice with fundamental ideas of typography, calling attention to the process of formation and the parts both voice and type are made of.
With the beginning of industrialization, the population of Atzgersdorf grew strongly and after the Second World War, it became the center of heavy industry. The cityscape changed significantly within a few decades. Many of the characteristic single-story workers’ houses gave way to large-scale residential developments. To this day, there are still a few small houses, shops, workshops, factories and building material stores, most of which were built in the 1950s, 60s and 70s. Over time, a variety of architecture developed in the midst of these historic buildings: extensive residential parks, kindergartens, schools, cycle paths, parks, supermarkets and restaurants. All are products that reflect the possibilities and needs of their time, creating flowing combinations of old and new, concrete and nature, ugliness and beauty.
In this project, a dense catalog of text, image and information was made from the monthly research and intensive study of the film Taxi Driver (1976) by Martin Scorsese. The collected data was evaluated, sorted and classified and formed the basis for the development of the graphical language of the magazine. The use of photos and stills was dispensed with. All aspects of the film, contentwise and technically, were analyzed and consequently resulted in an array of infographics. A city map of New York City was faithfully reconstructed from archive materials from the 1970s, in order to show important locations and explain connections throughout the magazine. The city map comes as an extra poster with the magazine. The resulting magazine collects and illustrates data and provides a critical and accurate comparison of information. A custom made pouch, derived from the chest pockets of the M-65 Field Jacket, protects the magazine.