Designblog

FAST, BABY YOU HAVE TO THINK FASTER.
Because this will not work in OUR reality.
No, I can’t think like this.
That is what she said.
My answer was: my apologies, but i simply don’t have any time left.
Would you mind?
The next one please.
GOD what a nightmare.
Where are my feelings?
No not necessary they make me run out off time,
and time is MONEY AND THAT IS WORTH A LIFE, even your life realize that.
YES MADAM. I said.
A LONG LIFE WISHED FOR THE ASIANS,
said my boss.
AND WILL BE REPEATED BY ALL THE  BOSSES IN THE WORLD TODAY.
TOP SPEED MY BELOVED FRIEND.
CAN YOU GO 2000 k/m a hour?
DOESN’T MATTER THE MACHINE CAN.
RAPID.
BLACK.
WHAT A NATION
WHAT A LIFE.
And there it went.
MY TIME
MY LIFE.
MADAM it’s o.k now.
It is different here, they name it SLOW.
I can glance at you,
only you will not be able to see me.
AND I WILL NOT BE ABLE TO TELL YOU,
THAT YOU WILL MISS THE ART IN YOU MY CHILD.

posted by Beties Sadaty

Traces of the everyday embedded in textile

Rietveld graduate (2008 TXT) Marie Ilse Bourlanges visited the Slow Design research class on Thursday 12 February to present about her graduation project, ‘Decay,’ a collection of sweaters exploring complex relationships of time, the body and materiality.  By taking the class through her project from concept to final product, Marie Ilse revealed the deep and mindful processes of research, design development, experimentation, and production that enriched her project.  She talked about sources of inspiration: the work of writer/biologist Midas Dekkers, the concept of Time in the work of Belgian fashion designer Martin Margiela,  the symbiotic relationship of crumbling architectural forms and the natural forces that overtake them, patterns of cellular growth and decay, and the hidden treasures of a threadbare teddy belonging to her niece (among others).  She also described the evolution of her pattern, which derived from capturing subtle, everyday body movements and subsequently was subjected to fractal geometry, while also providing instructive detail about her various stages of experimentation with materials and techniques.  Marie Ilse’s project is a beautiful example of Slowness as a process of designing, and also Slowness as a more engaged and reflective experience of a designed artifact.  Her work on this project demonstrates how Slow Design tools and persepectives were supported and enhanced by the atmosphere of the Rietveld, and it hopefully was reminder to the Basic Year students about both the opportunities and intrinsic responsibilities of creative education.

 
download this thesis:  ‘Decay’  by Marie Ilse Bourlanges was

the Winner, of the GRA Thesis Award 2008

Generally I think of slowness as something nice, peaceful. Take your time so you can think it over. Take it easy. But it can sometimes be unnoticeable and maybe even destructive in some cases. Things can slip in and out of your life or work. You don’t see it at first, but it can have the most horrible consequences when you finally notice them. Maybe after the great slowness must come a lot of speed to catch up witch will end in an eruption of horribleness. Or just continue to be slow to the end.

posted by Tim Mathijsen

Everybody are always demanding of me to be quick.  But what´s the
hurry?  Time won´t go faster or slower.  If I´m late I embrace that
knowledge and think ” Oh well, I´m late anyway.  What are 20 minutes
more?”.  Of course that way of thinking doesn´t work when you have a
job or school.  But when I oversleep I rather take my own time in
eating, putting on clothes and making sure I have everything for the
day instead of feeling shitty in the rest of it.  But in the fast,
systematic world this type of thinking is not acceptable.  Doing
things in your own pace hardly exists anymore because we are slaves of
the time.  Even when I don´t have anything to do after school except
for getting my ass home I hurry to get more time to do nothing.  That
is kind of perverted.  Time for nothing.

posting by Thordis Zoega

listen to William Fitzsimmons while reading X

Saturday evening. I set up my alarm clock at 9:30, pretty early for a free Sunday.
It’s not that I want to be out of bed around that time. I’m going to watch Villa Achterwerk op Ned 3 in the morning. Before it starts I get a cup of thee and a sandwich. To have breakfast in bed, while watching Villa Achterwerk. As we did when I was littel. Walking to the bathroom on slippers and a soft bathrobe, having a relaxing shower to get fresh. Putting on a comfortable jogging suit. Lunch with a few sandwiches and if I’m lucky an egg. Dress up warm to have a walk outside, getting fresh air and watch the street outside. I see Cat’s sitting on the street, or sleeping on the heater behind the window. Moments where time isn’t important, i should have more moments like that.

“Slow” for me is enjoying life in the way I like it myself.
The slowest thing that I did, which I can remember, is to make an artwork.

Sometimes it takes months or years to finish it.
The process of being an artist is also slow for me, but I am enjoying this process a lot. The most unique part of an artwork is that not everyone can understand the meaning and feeling of it. During my research I have found sentences from Robert Hughes that made me very curious:

“What we need more of art: art that holds time as a vase holds water; art that grows out of modes of perception and making whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in ten seconds, that isn’t falsely iconic, that hooks onto something deep-running in our natures”.
It makes an artist very special making this kind of art.

Somebody should not ignore the beauty of products, nether do I, but an overload of the visual and mental impact of consumption is forcing me to find a way to deal with this headache, which emerges from the stress of speed. Speed is arising from measurement. So the first step was to put down my watch to give myself some freedom. But “slowness” almost doesn’t exist in my life, what means that the stress is not erasable. What is left is to find a way out of this reality into daydream spaces, where I can have the total freedom of time in a self-chosen speed or system. “Daydream spaces, such as those generated by reading a good book, are often more commanding than physical spaces. While you read, you don’t even notice people who walk through the room because you are actually in the space that’s generated by the author. … the spaces generated by music can be much larger than the one in which you are physically…” here I totally agree with James Turrell. The same goes when he says that these are the spaces that we are inhabiting most of the time, much more then the conscious awake space that is called reality.

Which is everything I’m not. I like systems. I like structure. I like planning and going after the plan. I like schedules to follow and get annoyed with people who don’t. I’m always on time, and get anxious when I’m running late, even five minutes!
But why does all of this sound so negative?
I don’t find it negative though. I find it a quality. It makes sense and it works in a lot of cases. Like for instance in public transport, sleep, opening hours, work and even time is logical constructed for world structure.
And I don’t want to feel stupid waiting in the rain and my friend calls me, “ I’m late – sorry”! But I do – why?
Is it me – am I too controlled? Or is it everyone else who simply doesn’t care?
What is most effective – and again is effective good or bad. It’s like a circle I won’t get anywhere with.

posted by Maria Gondek Keller Pedersen

I will start with a beautifull sentence that has inspired me often. ”standing still for a moment, is actually a big step forward. So I stand still the whole day”. This sentence is a complete overview of what slowness is for me. But is this in connexion to any kind of design or art? For me in some cases this standing still adds a big layer in looking at things. By looking at objects and art for more than an hour and from the same perspective, it gives a new strength. But is there a way to make other people expierence this power of standing still. What could design/art add to this?

Starting of a new academical year of design theory and research with an investigation theme like Unique versus Serial could not have been better. Chosing from a wide variety of design objects exhibited in “Limited/Unlimited, 100 years of Dutch design presented us with the unique opportunity to get an inside in the position of the designer during the last 100 years in the Netherlands. A characteristic of Dutch design is the coexistence of these unique objects alongside serial production, concept alongside industrial reproduction. “Goed in vorm“, 100 years of design in the Netherlands: by Mienke Simon Thomas (curator of decorative art and design at the Boymans Van Beuningen Rotterdam) was acquired by the library and provide us with a lot of interesting background insight.
The question was simple. Choose an object and find out what the position of the designer was in relation to our theme Unique versus Serial .

research: Samuel Schellink /vaas: Jan van der Vaart /research: Corné Gabriels

All those choices resulted in a colourful collection of investigations into the object’s background and the motives of their creators. Available in downloadedable pdf the students present: “Martin Visser, designer or collector“, “Starting with Anton Kurver’s Mailbox“, “Bruno Ninhaber, Stay Limited To Be Unlimited“, “Wim Gilles Dru Kettle“, “Wim Crouwel The Objective Functionalist“, “Adolf Le Comte, A Unique Mocca Set“, “Corné Gabriels, Not Your Average Fashion“, “Marcel Wanders, Knotted Design“, “Jacob Jongert, An Artistic Individualist“, “Limited-Unlimited, The Haque Plateel/Rozenburg“, “Jurgen Bey, A Narritive Structure“, “Jan van der Vaart, A Vase Is For Flowers“.

At the same time VIVID design galery presented a show of “Art Design“. A new phenomena that underlined the intriguing autonomous position of Dutch designers and design, making an on the spot discussion posible about art and design, commercial versus cultural or concept and functionalism. linked article Herald Tribune: Whatever ‘design-art’ is, it’s thriving ©2008

For the last time I visited “The Student”, this time busy hanging prints and getting all the little things ready for the exposition. ‘Is this it?’ I asked,

‘No’ she replied, ‘it needs the projection to really work’.

I felt I was taking a look in my own project, as I had been busy for 2 weeks on an installation that was going to project images of Rietveld students on the visitors of the Open Day, giving them the chance to be, for a moment, a Rietveld student.

The artist Jean-Christian Bourcart at some point also thought “It needs the projection” and made the great series “Collateral”

read it online

read it in print

Maybe you find it puzzling that this posting about Helvetica and Wim Crouwel starts with an image of Paul Elliman’s “Bits” Alphabet.

Extremes can sometimes meet when you least expect it, and this fascinates me. It became apparent again during the investigation by the FoundationYear C group, into Gary Hustwitt’s Movie “Helvetica” and our consequently visit to the Wim Crouwel exhibit last month at the “van Abbemuseum”.

left: Bits by Paul Elliman, right: Objectified by Build (click images for blog info)

“Bits” was developed by Paul Elliman in the mid 90ties and published in the 15th (Cities) issue of Fuse’s conceptual Font Box. quote: “Language moves between us and the world on patterns of repetition and variation, and a mimetic example of this might be something like an alphabet”
Later, in 2004, it was included in the Cooper-Hewitt Design Triennial N.Y. which made “concept type” part of the established design world.

Gary Hustwitt’s new documentary “Objectified” takes design, and as a matter of fact “Bits” too, one step further by making it popular in the same way as he did with “Helvetica”.

Modernist thinking, or even constructivist-, lays at the base of the “Helvetica” concept and the work of Wim Crouwel, as this first movie on typography has him stated. As a true Dutch graphic design icon Wim Crouwel illustrated this through work, presented at the library exhibition of the van Abbemuseum, celebrating his 70th birthday. A small but beautiful display of catalogues and posters made for both this and the Stedelijk Museum in Amsterdam.

pages by Crouwel versus pages by Jan van Toorn from publication “Het Debat”

Extremes met in person when Crouwel and Jan van Toorn celebrated their life long controversy with a recurrence of their famous 1970 debate. Functionalism versus engagement. Jan van Toorn succeeded Crouwel as a designer at this museum under the directorate of Jean Leering to manifest in an inspiring cooperation what that leads to in terms of exhibition concepts and graphic design (“Museum in Motion” at the library). Jean Leering also closely work together with Jan Slothouber (read part 1 of C group’s research) at the TU-Delft where the published several internal essay’s on the philosophical and social consequences of design.

80/20/100 © Nijhof&Lee booksellers – Laurenz Brunner, final exam poster

More research was conducted to explore related content or work approach of other designers like, Laurenz Brunner’s “Akkurat”, his successful contemporary remake of Helvetica, Experimental Jetset convicted users of Helvetica, the cooperation “8020100” between Vivid Gallery in Rotterdam and Nijhof&Lee Bookstore in Amsterdam. Context was created by turning the focus on Adriaan Frutiger, designer of Helvetica’s conscientious alternative “Univers”. To further explore the relation to language and image we further focused our investigating efforts on the visual legacy of Charles & Ray Eames, the “El Hema” exhibition/store and Massin‘s timeless publication “Letter and Image“.

With the inclusion of Belgian artist Guy Rombouts the full circle of our focus on type design was completed. The investigation into his visual language concept “AZart” will be presented soon in a separated part 3 C_group posting. This was part II of the C_group research
All researches linked in this posting can be downloaded in A4 format and are also available as hard copy research prints at the ResearchFolders available at the academy library

how would it be to echo somebody?
how would it be to be echoed?
how does it feel, to be allowed to echo somebody?
how sensitive are you to get a good connection to his/her mind or presentation?
hoe does it feel to be echoed by somebody else?
is he/she sensible enough with your thoughts?
should everything be open, or is it better to hold something behind?
are there any rules or lines which should be followed?
i mean… is it really necessary to be always soft and sensible or what would change it, if you would cross the line?
about yourself, it is an easy question, i think you know your inner mine very well?
but how much do you know about the lines of the others?
or how easily can we meet in the middle of that line?

link: Osilloscope

Teamwork – ideas – opinions – help – building up something together

It‘s like standing in a big valley and shouting out your thoughts into the void. Some sounds will bounce back at you, some will disappear in mid-air. This is the big plus about teamwork; that ideas are constantly being bounced off each other to see which ones have potential, and which ones will just dissolve on the way.

This month our team spirit kept up pretty well, but I also noticed that in a good working situation there‘s always a kind of teamwork going on, even if everybody is working on their own individual project. One should always ask for opinions, and always be ready to help someone by thinking seriousely about their ideas.

So, in the spirit of teamwork

Echo,

v. reverberate; repeat a sound; transmit immediately each character received by a computer back to the course as to serve as a confirmation of receipt (Computers)

n. repetition of a sound produced by the reflection of sound waves from a solid surface; (Computers) user input printed to the screen so the user can read it; (Slang) person who reflects on another person; person who imitates another

As I walked trough the hallways of the Rietveld I see everything developing,
objects, drawings, performances, everything is moving and growing.

although the strange thing is that everything looks a bit a like,
exchanged words, moves, thoughts connected, reflected and formed,
into one echo that belongs to the voice of the Rietveld academy