Nº 271

Danger


May/Jun 2017

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It lurks about in everyday hazards, waiting to trip us up, or as an imminent climatic disaster – we are constantly confronted by danger in all its guises. Once we identify it however, we can not only banish it, but also warn against it and avoid it in the future. We take a look at how design can help with this from different perspectives.

Published on 13 April 2017

132 pages, German, English, € 16.90 (DE)

Contributors of this issue

Johannes Bergerhausen

Friedrich von Borries

Alison Jane Clarke

Sarah Dorkenwald

Andreas Enslin

Lutz Gathmann

Pavel Golovkin

Johannes Janßen

Klaus Peter Japp

Carsten Prudent

Jonas Rehn

Aleksander Skworz

Julia Sommerfeld

Jörg Stürzebecher

Carl Friedrich Then

Editorial team

Nadja Angermann

Carolin Blöink

Susanne Heinlein

Stephan Ott

Franziska Porsch

Sarah Schmitt

Jessica Sicking

Marie-Kathrin Zettl

Contributors of this issue

Johannes Bergerhausen, Friedrich von Borries, Alison Jane Clarke, Sarah Dorkenwald, Andreas Enslin, Lutz Gathmann, Pavel Golovkin, Johannes Janßen, Klaus Peter Japp, Carsten Prudent, Jonas Rehn, Aleksander Skworz, Julia Sommerfeld, Jörg Stürzebecher, Carl Friedrich Then

Editorial team

Nadja Angermann, Carolin Blöink, Susanne Heinlein, Stephan Ott, Franziska Porsch, Sarah Schmitt, Jessica Sicking, Marie-Kathrin Zettl

Anniversary contributions

60 Years of form
Revisiting the Past

2017 marks the 60th anniversary of form, a milestone that has prompted us to stop and take stock. In particular, we will be revisiting a specific article, reader’s letter, image, cover, etc. from each of the magazine’s six decades to date.

From the late 1970s to the 1980s, we find design studios, especially newer ones, increasingly investing in their own business and publicising their work via paid ads in form. We have categorised and discussed them under “Team Building”, “Modern Popular Culture” and “Ads as a Discussion Medium”.

Revisit historical starting points

Read selected articles online

More articles of the issue

Editorial

Text: Stephan Ott

Whatever designers do, to paraphrase Epicurus, they should do it cleverly and bear the end in mind. The deluge of innovations and great things announced again at this year’s Milan furniture fair, for example, raises the question of whether designers always bear the consequences of their actions in mind.

Read more

Filter:

Making Noise

Text: Franziska Porsch

Translation: Bronwen Saunders

Devices like synthesizers and sequencers as well as computers with special software for the generation and processing of electronic sound have been a fixture of the world of music production at least since the 1980s. Nowadays these “instruments” are more compact, more powerful, and even simpler to use, and their designs have become an important factor, too. How they look and work is best illustrated by a selection of what is currently on offer.

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Focus:

Gefahr erkannt, Gefahr gebannt
A Word of Warning

Text: Jörg Stürzebecher

Translation: Emily J. McGuffin

Hazards make for striking images, as evident in Tadeusz Trepkowski’s occupational safety signs, designed in the early days of the Polish School of Posters. Meanwhile in the US, the make-work programmes during the Roosevelt administration gave US American artists and designers stylistic freedom in designing educational campaigns, while in Switzerland, Josef Müller-Brockmann’s large road safety posters took Swiss graphic design far beyond its previous horizons of the 1950s, featuring succinct slogans and dynamic photomontage.

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Files:

Collectif Blanc

Text: Marie-Kathrin Zettl

Translation: Nicholas Grindell

“Actually, we are not a studio. We are two curators with a special fondness for print,” say Marie Tourigny and Catherine Métayer about their joint project Collectif Blanc. When they are not pursuing their respective careers, they work together to offer a curatorial platform, as they call it, constantly finding new and creative ways to promote print publications via exhibitions, blogs, and special collaborations.

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Preview:

Pattern

Text: Sarah Schmitt

Graphic patterns are defined by their uniform structure and rhythm, be this geometric or organic, purely decorative or related to traditions. Compiled in pattern books they serve the designer, similarly to colour and material samples, as a source of inspiration, template or example. On the other hand, design, thought, and behavioural patterns are important not only for the work of the designer, but also as a way of understanding the world.

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Cluster

Text: Susanne Heinlein

Text: Jessica Sicking

Text: Carolin Blöink

Research

Text: Sarah Dorkenwald

Fairs

Text: Marie-Kathrin Zettl

Agenda

Exhibitions, fairs, festivals, events, conferences, symposia, and competitions

Text: Friedrich von Borries

Text: Johannes Bergerhausen

Text: Klaus Peter Japp

Text: Susanne Heinlein

Interview: Stephan Ott,
Franziska Porsch

Text: Carl Friedrich Then

Text: Julia Sommerfeld

Revisiting the Past 3/6

Text: Stephan Ott

Archive

Text: Jörg Stürzebecher

Discourse

Text: Alison Jane Clarke

Material

Text: Jonas Rehn

Media

New books, DVDs, magazines, websites, and apps

Interview: Stephan Ott,
Franziska Porsch

Text: Carl Friedrich Then

Text: Julia Sommerfeld

Revisiting the Past 3/6

Text: Stephan Ott

Archive

Text: Jörg Stürzebecher

Discourse

Text: Alison Jane Clarke

Material

Text: Jonas Rehn

Media

New books, DVDs, magazines, websites, and apps

Cluster

Text: Susanne Heinlein

Text: Jessica Sicking

Text: Carolin Blöink

Research

Text: Sarah Dorkenwald

Fairs

Text: Marie-Kathrin Zettl

Agenda

Exhibitions, fairs, festivals, events, conferences, symposia, and competitions

Text: Friedrich von Borries

Text: Johannes Bergerhausen

Text: Klaus Peter Japp

Text: Susanne Heinlein

Interview: Stephan Ott,
Franziska Porsch

Text: Carl Friedrich Then

Text: Julia Sommerfeld

Revisiting the Past 3/6

Text: Stephan Ott

Archive

Text: Jörg Stürzebecher

Discourse

Text: Alison Jane Clarke

Material

Text: Jonas Rehn

Media

New books, DVDs, magazines, websites, and apps