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.
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.
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9.<br />
Debbie van Berkel<br />
<br />
Both the initial <strong>Kruisplein</strong> Comfort project and the investigation leading<br />
up to Lost in Transition, the final thesis, are about patterns of movement<br />
at the <strong>Kruisplein</strong>. Maybe more precisely put, they are about the sense of<br />
disorientation and the way to escape from there into a state of... A state<br />
of... A state of poetic reassurance. <strong>Kruisplein</strong> Comfort turns the act of<br />
walking of a single woman into dance with a partner. Replaces insecurity<br />
with ritual. Couples the banal to the sublime. Anxiousness is turned into<br />
enjoyment by the shear change of pace and motion. Single becomes couple.<br />
Vulnerability dissolves into intangibility.<br />
The second case of disorientation is derived from the actual situation<br />
at the entrance of the <strong>Kruisplein</strong>. Building activities have not only obscured<br />
the views towards the city for all those passengers arriving at Rotterdam<br />
Central <strong>St</strong>ation, they have also destroyed any predictable pattern of<br />
movement from there on.<br />
For the next five years this part of the <strong>Kruisplein</strong> will be a wasteland<br />
of fences, ditches, machines and other obstacles that will cause permanent<br />
discomfort and disorientation. Temporary signs and notices are meant to<br />
|direct vast amounts of people to their destinantions, but their impact is<br />
low. The aim of manipulation is obscured by the irregularity of the official<br />
routing system. Because signs have to be modified or re-hung practically<br />
every single day an ever more confusing pattern arises.<br />
Unintentionally it seems to give rise to a new approach to this kind of<br />
battlefield signage. Why not cash in on the confusion? Accept that no system<br />
at least in situations like these will be able to direct travellers from A to B<br />
in a proper way and instead explore the possibilities of helping people to<br />
get lost in this archeological site. A change of perspective might help people<br />
realise that walking astray will not only lead to lost time, but maybe also to<br />
new insights. Signs will no longer predict the answer, but rather pose the<br />
question. They will not satisfy their need for certainty but examine why<br />
certainty appears to be such a valuable asset to the modern traveller.<br />
Great findings have resulted from derailed scientific research. And what<br />
about derailed walking? For the next five years the <strong>Kruisplein</strong> area could<br />
be a laboratory, a poetic circus and a fair excuse for being late.