TERSTIEGE, Gerrit. 2009.
Graphic Spaces
Switzerland: Birkhäuser Verlag AG.
My love of this book started the moment I picked it up; even the front cover caught my imagination, with its uncoated paper and glossy screen-printed relief ink. Luckily I managed to get my hands on it when it was brand new to the library… no doubt its delightful tactility will soon be lost, as the library seals it in Fablon and students give it a good trashing.
Inspired, co-developed and designed by Catrin Altenbrandt and Adrian Niessler, award-winning partners of the acclaimed Pixelgarten Design Studio in Frankfurt, the book includes examples of works ranging from small-format still life to large installation. Terstiege sets the tone in the book’s preface by explaining that its theme is,
“…the transposition of messages into three-dimensional staged scenes.”
[pp 7.]
The book comprises a selection of 3D graphic works arranged under the following headings:
- Still life comes alive
- Intricate installations
- Touching type
- Thrilling animations.
As Terstiege describes in his preface, the collection comprises works from international, predominantly young, designers. To me, the collection has a sense of vigour and newness about it that reminds me of student shows or new designer collections. The designers featured in this book are clearly hungry to explore their creativity; the work is fresh, and often (but not always) is self-directed, without the incumbent limitations of a client brief.
Within the introduction for ‘1. Still life comes alive’, one quotation stands out as being something I have found myself fighting against. It reads,
“The computer has become established as a universal tool that not only serves as office and communication unit in one piece but also makes it possible to shorten the once elaborate path from sketch to final print. Despite all these freedoms, the variety of computer programs is limited to preprogrammed options. In other words, the field of virtual options limits the design experiments to a delineated terrain.”
[MUCKLE, Sophie, 2009. ‘Still life comes alive’. In Gerrit Terstiege [Ed.] Graphic Spaces. Switzerland: Birkhäuser Verlag AG, pp. 26]
By contrast, Muckle observes that works like those included within this book allow designers,
“…to emerge from behind their computer monitors and desks, sometimes even leaving their offices. The blank screen or white sheet of paper is replaced by a space which, be it empty or occupied, now awaits tangible intervention with new design methods.” [pp. 26]
However, in Muckle's introduction to the second section, ‘2. Intricate installations’, she does point out that,
“There is no doubt that experimentation serves to further develop design standards, methods, and ways of seeing. It is important to remember, moreover, that the global exchange of ideas and digital networking serve as catalysts for this evolution. Although the computer does not play a superordinate role as a design tool in this evolution, it nevertheless enables young designers to develop a new and different idea of self.” [pp. 81]
My love of this book started the moment I picked it up; even the front cover caught my imagination, with its uncoated paper and glossy screen-printed relief ink. Luckily I managed to get my hands on it when it was brand new to the library… no doubt its delightful tactility will soon be lost, as the library seals it in Fablon and students give it a good trashing.
Inspired, co-developed and designed by Catrin Altenbrandt and Adrian Niessler, award-winning partners of the acclaimed Pixelgarten Design Studio in Frankfurt, the book includes examples of works ranging from small-format still life to large installation. Terstiege sets the tone in the book’s preface by explaining that its theme is,
“…the transposition of messages into three-dimensional staged scenes.”
[pp 7.]
The book comprises a selection of 3D graphic works arranged under the following headings:
- Still life comes alive
- Intricate installations
- Touching type
- Thrilling animations.
As Terstiege describes in his preface, the collection comprises works from international, predominantly young, designers. To me, the collection has a sense of vigour and newness about it that reminds me of student shows or new designer collections. The designers featured in this book are clearly hungry to explore their creativity; the work is fresh, and often (but not always) is self-directed, without the incumbent limitations of a client brief.
Within the introduction for ‘1. Still life comes alive’, one quotation stands out as being something I have found myself fighting against. It reads,
“The computer has become established as a universal tool that not only serves as office and communication unit in one piece but also makes it possible to shorten the once elaborate path from sketch to final print. Despite all these freedoms, the variety of computer programs is limited to preprogrammed options. In other words, the field of virtual options limits the design experiments to a delineated terrain.”
[MUCKLE, Sophie, 2009. ‘Still life comes alive’. In Gerrit Terstiege [Ed.] Graphic Spaces. Switzerland: Birkhäuser Verlag AG, pp. 26]
By contrast, Muckle observes that works like those included within this book allow designers,
“…to emerge from behind their computer monitors and desks, sometimes even leaving their offices. The blank screen or white sheet of paper is replaced by a space which, be it empty or occupied, now awaits tangible intervention with new design methods.” [pp. 26]
However, in Muckle's introduction to the second section, ‘2. Intricate installations’, she does point out that,
“There is no doubt that experimentation serves to further develop design standards, methods, and ways of seeing. It is important to remember, moreover, that the global exchange of ideas and digital networking serve as catalysts for this evolution. Although the computer does not play a superordinate role as a design tool in this evolution, it nevertheless enables young designers to develop a new and different idea of self.” [pp. 81]
Here is a selection of example projects taken from the book:
Multistorey developed these graphic elements for the second Super Design Market event at the Royal Festival Hall, as part of the London Design Festival. [pp. 160-161]
By the Dutch design studio Underware. Shopping trolleys were arranged to spell the words "Dream on". [pp. 172-173]
Self-initiated work by Valerie Sietzy. When light falls on the walls, reflectors reveal words and drawings under a highway bridge.
'Backbreaker type', created by Kalle Mattsson. I particularly like the way that the wind is turned into a prop or medium in order to create the letterforms. [pp. 131]
Multistorey developed these graphic elements for the second Super Design Market event at the Royal Festival Hall, as part of the London Design Festival. [pp. 160-161]
This piece by Benoit Lemoine uses layered sheets of coloured paper on the wall and floor. [pp. 127]
By the Dutch design studio Underware. Shopping trolleys were arranged to spell the words "Dream on". [pp. 172-173]
Self-initiated work by Valerie Sietzy. When light falls on the walls, reflectors reveal words and drawings under a highway bridge.
'Backbreaker type', created by Kalle Mattsson. I particularly like the way that the wind is turned into a prop or medium in order to create the letterforms. [pp. 131]
Self-initiated work by Florian Jenett. With letters constructed from clock-hands, a legible sentence is formed for just sixty seconds, after which a full twelve hours must pass before order is once again momentarily restored. [pp. 145]
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