Gestalt for a museum (of modern art)
This gestalt is based on the mix of characters in three ‘grand narratives’. Echo and Narcissus, Alice and The Cheshire Cat from Alice in Wonderland and Dorian in The Picture of Dorian Gray. In all of these stories plays the concept of mirroring a central role. Narcissus in love with his own reflection. Echo can only echo. Alice falls through the mirror and meets the Cheshire Cat who replies in riddles, changes his shape or color and can partially or completely disappear. And finally, Dorian Gray, whose excesses and debaucheries leave behind physical traces in his painted portrait, but do not affect his real face.
Echo is in love with the Cheshire Cat. This in turn is in love with his own reflection. However, he did not realize that his reflection is not keeping pace with its own excesses. The face before the mirror turns into a “sacred monster”. The face in the mirror is always enjoyable. The cries he utters are out of admiration for repeats itself by Echo. The Cheshire Cat thinks the mirror is talking back with a loving voice.
The contemporary museum is - simply put - mainly in conversation with ‘art’ in the form of what living artists produce and what is written about dead artists. The audience is witness to this dialogue between art and institute and tries occasionally to throw a word in between. These words will be heard only if they are a reflection on this dialogue.
A round table discussion on the the future of graphic design featuring: Anthon Beeke, Anne Bertus, Dawn Barret, Job van Bennekom, Niels Biersteker, Samira Benlaloua, Gerard Hadders, Paul Hefting, Karel Martens, Femke Snelting, Renée Turner and 'Unidentified'...
Followed by a conversation between Gerard Hadders and Lars Heller on current affairs and the future of individual designers
Basic structure under the Superfacial Method of Design Synthesis Approach. By: Edith Gruson, Gerard Hadders, Ewan Lentjes & Meghan Ferill.
Thanks to the brilliant students who contributed: see > Post St.Joost 2005, Superfacial Kruisplein: A New Advanced Method
Teaching a method makes future designers independent of style or medium. Applying a design method ensures a design process that is controllable, interactive and suited for dealing with the utmost complexity. A method withstands the trap of purely aesthetic assessment of the product. A method implies an abstract level of design development that tilts the traditional understanding of graphic design as a manual, problem-solving discipline. Instead it introduces a much more advances notion of graphic design as an open minded, research-based, strategic approach to visual communication.
The first 19 chapters of the Grammar present key examples of ornament from a number of sources which were diverse both historically and geographically – notably examining the Middle East in the chapters on Arabian, Turkish, Moresque (Alhambra) and Persian ornament. The final chapter, titled 'Leaves and Flowers from Nature' acknowledges the underlying principle that dictates the design of ornament around the world, which is the form found in nature, "in the best periods of art, all ornament was based upon an observation of the principles which regulate the arrangement of form in nature" and that "true art consists of idealising, and not copying, the forms of nature". Christopher Dresser, Owen Jones's best known protégé, contributed one of the plates in this final chapter, and he was concurrently presenting theories on natural-form ornament in his famous botanical lectures at the Government School of Design in the mid-1850s. This last chapter raises some critics about the inability to produce new ornamental design since repetition is a common factor among nature, and Jones describes this as " going back to nature like the ancients did" but his own response to this issue evolves around the fact that nature has a great variety of line and form, and is based in geometry which gives an enormous amount of freedom to the designer to follow and idealize the form of nature as a basic element while creating something that society has never seen before.
Design and implementation of a city centre wide monumental artwork. 7 locations, 6 with babyfaces with site specific expressions and one gigantic stand-up model for events in the central city square. At night illuminated with site specific laser programming.
Typography is far more than type design and layout. It touches on one of the key values of our society: the printed free word, democratic discourse. It is thanks to the power of typography that this discourse has assumed the form of a game of argument and counter-argument. The new-media technology calls into question our accepted notion of typographic communication and raises a number of essential questions that we cannot ignore. Never since Gutenberg's invention of moveable type in the fifteenth century has typographic communication been exposed to such a fundamental change as it is today. Can typography still play a significant role when digitisation and new media shake at the foundations of the typographic trade? Now this trade finds itself at a crossroads. What direction will it take in its further development? This book not only dwells on what moves and inspires today's typographer, but also elaborates on new developments in the field of typography. In The Triumph of Typography, 21 international experts in the fields of typography and communication in the broadest sense of the word share their expertise with fascinating analyses and examples. With contributions by: Peter Bil'ak, Petr van Blokland, Hans Rudolf Bosshard, Paul van Capelleveen, Roger Chartier, Paul Dijstelberge, Yuri Engelhardt, Willem Frijhoff, Christof Gassner, Michael Giesecke, Britt Grootes, Gerard Hadders, Henk Hoeks, Ralf de Jong, Ewan Lentjes, Ellen Lupton, Lev Manovich, Jack Post, Rick Poynor, José Teunissen, Wouter Weijers.
Rietveld's Heirs was a traveling exhibition about Dutch Design in its broadest sense.
In this it functioned as an extension of the nationwide exhibition 'Holland In Vorm' (Holland In Shape) that took design to it's widest range; from growing square peppers to building airplanes to creating corporate identities and with the occasional knick-knack in between.
Curated by Martin Visser, world renowned furniture designer, and Evert Rodrigo, program director for the Dutch Art Foundation it travelled through many stations the world over. Designed by Gerard Hadders and Nel Verschuuren (Kho Lliang Ie Associates).
This book describes the competition that lead to the creation of the graphic identity of Rotterdam 2001, cultural capital of Europe. A challenging brief formulated by Hein van Haaren (dec. 2014) and Gerard Hadders put five competing design agencies - Atelier de Creation Graphique (Paris), TCHM (Rotterdam), Mevis + Van Deursen (Amsterdam), Proforma (Rotterdam) and Qwer (Köln) – on the path of developing a hybrid graphic identity; a system of signs and typography. This to cover the demand for a multiple applicable ‘toolkit’ as a basis for communicating the multiethnic en cultural character of the city of Rotterdam; ‘Rotterdam is many Cities’.
Written by Toon Lauwen and Hugues C. Boekraad, and designed by the competitions winning agency Mevis and van Deursen it is a celebration of creative thinking within the development of graphic identities and still stands as an example of ‘out of the box’ thinking.
Booklet explaining the graphic identity of the Kunstmuseum Wolfsburg to children. And for journalists as it turned out.
Concept by Gerard Hadders and Maria Schneider. Original text by Gerard Hadders. Design by Gerard Hadders with Hans Meiboom. Illustrations by Frank Dam
Found at Fabricattic.com; a living tribute to textile designers.
A vast collection of textiles sold out of Wolf Point, Montana, USA give a wonderful insight into the developments in textile pattern design since the 1940's.
Iconografische Lichtwand. Athmosferische interactiviteit
Design and concept Gerard Hadders voor: De Vries Sas Bouma Arch., Menno Dieperink, Philips Design. Met Neon Weka, Rena Electronics.
Dexia Bank Nederland. Lichtwand. (L.E.W.; Light Emitting Wall). Entreegedeelte Ytoren. De toenmalige Bank Labouchere wilde voor zijn nieuwe hoofdkantoor een lichtwand realiseren. Besloten werd tot L.E.D (smd) techniek. Wat oorspronkelijk een abstracte atmosferische lichtwand moest worden ontwikkelde zich gaandeweg tot een iconografische wand (op afstand) en een atmosferische (van dichtbij). USP: minimale dekking LED’s leidt toch tot een resultaat met iconografische mogelijkheden. 120 x 80 pixel(clusters) van elk 40 smd’s gerangschikt met verdichting naar binnen toe. Het technisch principe en de uitvoering van de lichtwand is ontwikkeld in nauwe samenwerking met Neon Weka Amsterdam en Rena Electronica Zundert.
Localize, question, open up and design. Lecture for AIGA Future History 3 Conference Chicago 2009. Meghan Ferrill, Gerard Hadders, Ewan Lentjes. With student wordk from the Post St. Joost, Breda, Netherlands and UIC, Chicago, USA.
Lecture on the acquisition of new positions by contemporary designers and design education.
We kennen allemaal de oriëntatiemiddelen van deze tijd: mobiele telefoon en GPS (global positioning system). Twee dingen vallen daarbij op.
Een van de eerste vragen van mobiele bellers is steevast: Waar ben je?
Dat is dus blijkbaar essentieel om te weten in deze tijd. Voorheen waren we eerder erin geïnteresseerd of iemand er überhaupt was – en vooral of hij het goed maakte, getuige de hoffelijkheidscode: ‘hoe maakt u het’; of alledaagser: ‘hoe gaat het’. Er bestond daarbij geen enkele twijfel over de plaats waar iemand was – je belde overwegend van en naar vaste locaties.
Mobiliteit is daarentegen een kenmerk bij uitstek van deze tijd. Het kan zo zijn dat je iemand belt, die net even een tripje maakt in een ander werelddeel. ‘Hou het kort, ik zit nl. in China en het wordt anders veel te duur’, krijg je dan te horen. Maar ook dit euvel zal in de concurrentieslag van telecomgiganten binnen no time van de wereld zijn.
Daarmee raken we aan het tweede aspect dat de huidige oriëntatiemiddelen aankleeft: de veranderde relatie tot de aarde. Om te weten waar we zijn, maken we gebruik van systemen die niet meer situatiegebonden zijn. Het satellietsysteem dat aan de basis ligt van GPS betreft een netwerk van zo’n 30 satellieten die in vaste banen permanent de wereldbol omronden. Voor onze oriëntatie kijken we daarmee niet meer naar de grond, maar richten ons tot de ruimte.
(of items or people gathered or considered together) of various types or from different sources.
"he picked up the miscellaneous papers in his in tray"
synonyms: various, varied, different, assorted, mixed, diverse, disparate, sundry, many and different, variegated, diversified, motley, multifarious, jumbled, confused, indiscriminate, heterogeneous; More
(of a collection or group) composed of members or elements of different kinds.
"a miscellaneous collection of well-known ne'er-do-wells"
Gerard Hadders en Arne Stallenberg voor Crimson Architectural Historians, Simone Rots, Annuska Pronkhorst.
De Hoftrompet was onderdeel van een monumentaal kunstproject wat de start inluidde van de herontwikkeling van het Hofpleinviaduct; 'het langste gebouw van Nederland'. Dit spoorviaduct werd na 100 dienstjaren uit gebruik genomen en voorzien van de bestemming als verbindend element te dienen in de herontwikkeling van o.a. Bergpolder en het Liskwartier, een wijk aan de noordgrens van Rotterdam. Het project beoogde de aandacht te vestigen op wat al decennia als een lelijk obstakel werd beschouwd en dus door de buurtbewoners naar het onderbewuste verbannen wat wel vaker gebeurt met onontkoombare urbane lelijkheid. Om de aanwezigheid van het viaduct en de urgentie van haar herontwikkeling te onderstrepen moet het wel weer naar de waarneembare realiteit gebracht worden. Dat gebeurde door het monumentaal benummeren van de afzonderlijke bogen en het aanbrengen van verwijzende teksten, dit alles met behulp van in heldere kleuren gechabloneerde cijfer en lettervormen. Als ondersteunende activiteit werd De Hoftrompet ontwikkeld. Een in muurkrant 'format' uitgevoerde reeks teksten die betrekking hadden op de Hofpleinlijn in haar breedste zin. Van coctailrecepten - het treintje was het reismiddel bij uitstek om mensen uit het slaperige Den Haag naar het bruisende uitgaansleven van Rotterdam te brengen - tot aan historisch teksten en aktes over geschiedenis van de buurt en de landgoederen die er aan haar bestaan voorafgingen.
The concept of Newtowns is usually presented within an architectural visual framework aka 'inhuman' whereas Newtowns are intrinsic developments for the Human Species and maybe some cats and dogs. This essay surveys the image of our species as connected to planning.
The International New Town Institute (INTI) is a non-profit scientific knowledge institute based in the center of the New Town Almere, close to Amsterdam (the Netherlands). INTI is dedicated to improving the quality of global urban development, with a focus on New Towns. INTI is independent and not necessarily an advocate or promotor of New Town planning.
We believe that in order to improve the quality and sustainability of future New Towns, we can learn from existing New Towns today. Why? New Towns have many similarities: they were designed from scratch according to planning doctrines of one specific period, they have experienced relatively fast urban growth, they demonstrate specific demographic patterns and they contain a homogeneous housing stock. The result of all this is that many New Towns struggle with the same problems: a uniform demography, a lack of educational, cultural or other facilities and too little diversity in the housing stock. Because of their young age, New Towns also face a lack of history and identity and usually suffer from image problems. Because many New Town developments are quite similar, also their challenges are often quite predictable.
Written by Rudie Kagie and Paul Hefting, designed by Gerard Hadders and Erik Prinsen. Photography by Pieter Vandermeer.
For decades the Dutch PTT published yearbooks on postage stamp issues. The Art + Design Department of the PTT were the executive agency for the design and production of these stamps which were produced by the millions to facilitate the then booming market for – physical – mail.
The design assignments were traditionally given out to different individual graphic designers with – often – strongly different design approaches and solutions. The Art + Design Dept. thus created during the years an interesting overview of the – then very prolific - Dutch graphic design landscape.
The yearbook concentrated on the process of design and thus always included preliminary sketches which offered a peek into the creating brain of the designer.
This issue includes an essay by the renowned Dutch Journalist Rudie Kagie on the changing topics of stamps in general and in former communist countries as a special interest.
IN THE MORE THAN twenty-five years of its existence, the Historische Uitgeverij has become a well-known presence in the Dutch-speaking cultural domain. Having established itself as a small but ambitious publishing house, the Historische Uitgeverij has consistently proved to be an independent and innovative spirit. It has attracted attention by securing funding from highly regarded sources, support from respected authors and a typographical design that is both striking and elegant. Several of its publications have been distinguished with awards. It is active on the crossroads of history, literature, the sciences, art, philosophy and psychology, presenting original work by Dutch scholars as well as translations of great European thinkers, writers and poets, from the ancients like Aristotle, Lucrece and Hadewijch, to humanists like Dante, Vico and Pico, to more modern writers like Descartes, Burke and Baudelaire.
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Magazine: ZA, presentation for Typo [media] Frankfurt 1997, Type as architecture