loading...

Home Overview Browse About Contact
1

 

Koehorst in 't Veld

Ted Noten: Ubiquist is Ted’s latest and yellowest monograph. The book maps his practice into four distinct ‘spaces’, The Cube, The Stage, The Square and the Market, that stand for different types of capital as coined by Pierre Bourdieu. The book tracks Ted Noten’s work as it ranges from highly luxurious commercial goods to socially engaged game changers.

Text by Gert Staal and Jennifer Allen
Published by Barbera van der Kooij of nai010
Photography by Johannes Schwartz a.o.

more

‘GLASS, The Engine of Progress’ is an exhibition at Het Nieuwe Instituut about how glass extends the eye into the heavens, around the world, through the human body and down into the depths of the microcosmos. Wonder about the material that developed along with our curiosity to spur on progress and topple world views.

The show features great work by Sabine Marcelis & Brit van Nerven, Phil Procter, heirs Bouvy, Arnout Visser, Overtreders W, John Dollond, Arnout Meijer, Duran Group, Andries Copier, David Derksen, NEXT architects, Heinrich Geißler, El Ultimo Grito, Bertjan Pot, Hella Jongerius, Experimental Jetset, Raw Color and many more.

The exhibition is on until the 23d of August 2015 at Het Nieuwe Instituut in Rotterdam. 

Koehorst in ‘t Veld curated and designed the exhibition, production by Babette Zijlstra and text by Gert Staal. 

more

For the exhibition ‘Glass: Engine of Progress’ we asked type designer Benjamin Sporken to design a custom font that is a contemporary re-imagination of 19th century grotesk types. 

Paxton is conceived to be the work-horse for the exhibition, having to convey captions as well as large introductory texts and (sub)titles. The font features a large set of glyphs, including very specific typographic marks like a No sign, Roman numerals and special ligatures for all these th’s in ‘19th century’.

As the visual research for the font started of by carefully examining a range of examples of types that were being used in the exhibits of the Great Exhibition of the Industry of the Nations of 1851, we thought it apt to name it after the architect of its pavilion, the Crystal Palace: Joseph Paxton.

Miscellaneous
more

Objects from the ‘Glass: Engine of Progress’ exhibition. Following our idea that the exhibition should really try to express its ideas through objects we went of to find pieces that would embody the story of how glass extended the eye and consequently made the modern world. This made us turn to the depots of famed scientific museums like Teylers Museum, Museum Boerhaave and University Museum Utrecht to gather historical objects that resonate in contemporary design and society.

Next to this we were interested in lifting the hierarchies between different types of makers. Historical objects sit next to experiments by contemporary designers across an industrial product. The objects are related through matching material properties or how they have been worked, hardly ever through purpose. 

Among the highlights are a quartet of Blaschka glass-models. A pure silicate glass preform that is used in the industry to pull thousands of kilometers of optical fibreglass and Hella Jongerius’ Knitted Lamp experiments

more

For the images in the ‘Glass: Engine of Progress’ exhibition we delved into a diverse group of international archives. Ranging from the corporate Carl Zeiss Archive, to the International Institute of Social History and from the Vatican Archives to the impressive Science and Society Picture Library as well as the National Glasmuseum Leerdam among others.

Next to these ‘institutional’ sources we have a profound interest in images produced and collected outside of professional systems. This resulted in us being able to show a couple of images by an employee of the Caltech optical shop and the research work done on the classified Keyhole satellites by ‘amateur’ astronomers. 

more

Next to the ‘Paxton’, type designer Benjamin Sporken also took it upon himself to design a signature display font for the ‘Glass: Engine of Progress’ exhibition.

‘Geißler’ is used as a headline font to display the titles in the exhibitions. The font is based on the banners that were used to denominate the different countries and categories in the Crystal Palace as they are depicted in the Dickinsons’ comprehensive pictures of the Great Exhibition of 1851.

Geißler is fittingly named after Johann Heinrich Wilhelm Geißler, the German glassblower whose skills enabled him to come up with the decorative Geißler-tube, that turned out to be the origin of not only radiant neon lighting, the discovery of the electron as well as the X-ray.

more

The Rotterdam Architecture City guide is a simple and handy companion for a visit to Rotterdam if you’re interested in architecture. Featuring 100 iconic buildings along anecdotes and pointers.

more

Move On!, exhibition design for KAdE Amersfoort
In collaboration with David Derksen & The Incredible Machine


Photography (picture b-e) Mike Bink

Exhibitions
more

Dijken van Nederland is the definitive book on the Dikes of the Netherlands. LOLA Landscape Architects produced a staggering amount of research on dikes including the first definitive map showing all the dikes in the land and a detailed taxonomy of every type of dike.

Awarded Best Verzorgde Boeken 2014
Honourable Mention Gouden Tulp 2015
D&AD Pencil Winner 2015

more

Identity and website for A Tale of a Tub, art space in the Justus van Effen Complex in Rotterdam. 

Webdevelopment by Florian Schroiff.

Websites
more

HOUT/WOOD is an exhibition at Het Nieuwe Instituut about the material and the site it originates from: the forest. Our roles in making the exhibition ranged from spatial and graphic design to being editors and providing objects and materials to support the narrative.

HOUT/WOOD showcases works by Aldo Bakker, Eelco Brand, Charles & Ray Eames, Ernst van der Hoeven, Chris Kabel, Lex Pott, Cedric Price, Bethan Laura Wood, Lukas Oleniuk, Onix, SeARCH, Hendrik Wijdeveld, James Wines and others. Their work is presented in a context of historical, cultural and societal references.

The exhibition is on until the 10th of August 2014 at Het Nieuwe Instituut in Rotterdam. 

With: Dan Handel, Babette Zijlstra, Wendel ten Arve, Guus Beumer and Gert Staal.

more

Means of Production as installed at Haus der Kulturen der Welt for TypoBerlin 2014. Means of Production is a travelling exhibition about designers that features works by graphic designers that question the tools and materials they use to produce their work. By coming up with experimental methods and custom machinery they push for unexpected outcomes that result in new forms and meanings.

Means of Production features work by Catalogtree, RAW Color, Hansje van Halem, Letterproeftuin, Moniker, Karl Nawrot, Jordy van den Nieuwendijk, Our Polite Society, Bertjan Pot, Hamid Sallali and Team Thursday.

We curated and designed Means of Production for The Dutch Embassy in Berlin.

more

Cover for the catalogue of Now Japan, showcasing contemporary Japanese art at Kunsthal Kade in Amersfoort.

more

Lost Landscapes is LOLA Landscape Architects’ philosophy on Landscape, Leisure and Nature, the publication is part of the Maaskant Prize that Lola recently won. Next to the trade edition there is also a special edition where the sides are printed with photos of landscapes. The sides make for a sort of triptych/polyptych depicting the different aspects of the landscape that Lola distinguish. 

For Lola Landscape Architects and nai010 publishers.

DAM Architectural Book Award 2014 Winner

more

For Lost Landscapes we produced a series of panorama’s featuring elements of their practice.Such as lists of endangered and invasive species, dead landscape architects, expressive types of leisure and landscape manipulation techniques. Together with Lola Landscape Architects.

Miscellaneous
more

Catalogue for Now Japan, showcasing contemporary Japanese art at Kunsthal Kade in Amersfoort. Printed on thin paper with only every other page full-colour.

more

A selection of our photography as used in the upcoming NOW JAPAN catalogue for Kunsthal KAdE. This series functions as a soft outro in the book. As the book concerns contemporary Japanese art and the notion of ‘superflat’ that artist Haruki Murakami coined to describe Japanese society we thought it a stirring gesture to also add, in the form of this set of holiday pictures, a western gaze that is practically only able to skim the surface of things.

more

Messageboard for Ester van de Wiel’s de Tuinfabriek at Call of the Mall at Hoog Catharijne in Utrecht.

more

Flag for Ester van de Wiel's de Tuinfabriek at Call of the Mall at Hoog Catharijne in Utrecht.

more

‘Framing Perpetrators - A Proposal’ is a booklet made in honour of Israeli filmmaker Eyal Sivan who was artist in resident at the Netherlands Film Academy in Amsterdam in the Fall of 2012. 

Eyal Sivan is concerned with the representation of the perpetrator and the project aims to frame the figure of ‘the perpetrator’ beyond geographies, cultures, political regimes, historical events, and faith. We took the notion of a physiologicalblind spot as a visual metaphor to either obscure the perpetrator or the context where he or she is in in a picture. 

A series of different perps is used as a stand-alone visual essay to accompany the interview Suzanne Wallinga had with Eyal Sivan in Paris.

Books
more

Jardin des Plantes, Paris

Business-cards for De Stem van West, which translates to something like The Voice of West, although in English we miss out on the nice alliteration in the title. De Stem van West is a web-radio station for an art in public space project in Utrecht West. For this project we have developed the name, the identity and an online platform which will be released soon.

more

Series of cahiers for exhibitions in KAdE. A general cover, made of cardboard and a foil print, is combined with an A4 sheet for each edition. The second edition, the Francis Upritchard cahier, was designed by Abake

Publications
more

Poster for the exhibition Sunset in TAG.

Identities
more

The Dots, magazine presenting Dutch designers at the Salone del Mobile Milan 2012.

Magazines
more

Garage Rotterdam is a new gallery space for contemporary art in Rotterdam. The main feature of the identity is the logotype that is specifically designed to work as a large neon sign on the elevated wall facing the street. Curator Hans van der Ham has already put together five beautiful group-shows featuring artists like Nathaniel Mellors, Hans op de Beeck, Henk Visch, Georg Bohle and Marie Aly.

Miscellaneous
more

Kokyogaien, Tokyo, Japan

Grimm-Bibliothek, Berlin

Research

Stamp design for the ‘Muziek in Nederland’ sheet. The subject of this half is singing in relation to Europa Cantat in Utrecht that was held in 2009. We didn’t want to express singing through an illustration and instead opted to forego the briefing a bit and proposed a typographic design that featured three starting sentences of well-known songs. Hopefully the user of the stamp finishes the song herself. 

Miscellaneous
more

Screen Green’ from the Beijing Image Building Series.

The building pits in Beijing are hidden from sight by giant billboards, most of them filled with advertising. In particular the new subway stations built to be completed in 2008 are obscured from street view by hundreds of meters of prints depicting full-colour pictures of lush parks and greens. On top of this the impression of depth is enhanced by preceding the printed screen by a strip of real trees and bushes. Around the corner of Tianmen square, one of the most photographed spots in Beijing, the ministry of public security also utilises a green screen. A small strip of green backed up by huge billboards with pictures of the same trees obscure whats behind with an enjoyable illusion.

In 2007 we were in a artist-in-residency in Beijing right next door to the studio of Ai WeiWei. We were interested in how Beijing was gearing up for the Olympics of 2008 and gathered impressions of a city trying to look its best. This phase of ‘under construction’ gave us the ability to circumvent the impression that was intended, and enabled us to see behind the scenes of city-scale image building. This resulted in a series of business-cards, the exchange of which is a modern Chinese ritual we found. Also the parallel meaning of introducing and asking for business is a apt metaphor for Beijing working on its Olympic appearance.

Research
more