linkedopen the mindolé
Mar
drid
22. –
26.
Apr
il 20
13
.c h
Impressum
LINK – Exchange 3: Madrid22. – 24. April 2013
Gestaltung:Sandro Breu Samira BüchlerSandra ButzTaschina GallusserNadine HauserLouis HuaWilli OberhänsliSelina Slamanig
Druck:IES Puerta Bonita, Madrid
Swiss Alps – a paradise of mountains that
opens the mind04Nulla aesthetica sin ethica
08Wolfgang Weingart, the father of new wave or swiss punk typography16
The grid that made modern typography
14
Max Frisch:„My greatest fear: repetition“
18
A paradise of mountains that opens the mind
SWISS ALPS
The Swiss Alps are the portion of the Alps mountain range that lies within Switzerland. Because of their central position within the entire Alpine ran-ge, they are also known as the Central Alps. The highest summit in the Swiss Alps is Monte Rosa, near the Swiss-Italian border. Since the Middle Ages, transit across the Alps played an im-portant role in history. The region north of the St. Gotthard Pass became the nucleus of the Swiss Confederacy in the early 14th century.The Swiss Alps are situated south of the Swiss plateau and north of the na-tional border. The limit between the Alps and the plateau runs from Vevey on the shores of Lake Geneva to Rors-chach on the shores of Lake Constan-ce, passing close to the cities of Thun and Lucerne.Tourism in the Swiss Alps began with the first ascents of the main peaks of the Alps (Jungfrau in 1811, Piz Bernina in 1850, Monte Rosa in 1855, Matter-horn in 1856, Dom in 1858, Weisshorn in 1861) mostly by British mountain climbers accompanied by the local gui-des. The construction of facilities for tourists started in the mid nineteenth century with the building of hotels and mountain huts (creation of the Swiss Alpine Club in 1863) and the opening of mountain train lines. The Jungfraubahn
opened in 1912; it leads to the highest train station in Europe, the Jungfrau-joch-Aletsch.Switzerland enjoys a 62 kilometers net-work of well-maintained trails, of which 23 000 are located in mountainous areas. Many mountains attract a large
number of alpinists from around the world, especially the 4000 metre sum-mits and the great north faces. The large winter resorts are also popular destinations in summer, as most of aerial tramways operate through the year, enabling hikers and mountaineers to reach high altitudes without much effort. The Matterhorn is the highest summit of the European continent to be served by cable car.The Alpine zone is situated above the tree line and is clear of trees because of low average temperatures. It con-tains mostly grass and small plants along with mountain flowers.
The Alps span some 200 kilometres, at an average altitude of 1700 meters,and cover nearly two thirds of Switzer-land’s total surface area. There are48 mountains which are 4000 meters or higher and about 1800 glaciers.
�Switzerland enjoys a62 kilometers network of well-maintained trails“
Below the permafrost limit (at about 26 metres ), the alpine meadows are often used as pastures. Some villages can still be found on the lowest altitudes such as Riederalp (1940 meters ) or Juf (2130 meters ).The glacial zone is the area of perma-nent snow and ice. When the steepness of the slope is not too high it results in an accumulation and compaction of snow, which transforms into ice. The
glacier formed then flows down the va-lley and can reach as far down as 1500 metres ( the Upper Grindelwald Gla-cier ). Where the slopes are too steep, the snow accumulates to form over-hanging seracs, which periodically fall off due to the downwards movement of the glacier and cause ice avalanches. The Bernese Alps, Pennine Alps and Mont Blanc Massif contain most of the glaciated areas in the Alps.
�The Jungfrau-Aletschis the first World Heritage Site in the Alps“
Except research stations such as the Sphinx Observatory no settlements are to be found in those regions. The Alps are usually divided into two main parts, the Western Alps and Eas-tern Alps, whose division is along the Rhine from Lake Constance to the Splügen Pass. The western ranges oc-cupy the greatest part of Switzerland while the more numerous eastern ran-ges are much smaller. The north side of the Swiss Alps is drained by the Rhone, Rhine and Inn river, while the south side is mainly drained by the Ti-cino river. Since the highest dams are located in Alpine regions, many large mountain lakes are artificial and are used as hydroelectric reservoirs. So-me large artificial lakes can be found
above 2300 meters, but natural lakes larger than 1 square kilometers are ge-nerally below 1000 meters. The melting of low-altitude glaciers can generate new lakes, such as the 0.25 square kilometers large Triftsee which formed between 2002–2003.To protect endangered species some sites have been brought under pro-tection. The Swiss National Park in Graubünden was established in 1914 as the first alpine national park. The Entlebuch area was designated a bios-phere reserve in 2001. The largest pro-tected area in the country is the Parc Ela, opened in 2006, which covers an area of 600 square kilometres. The Jungfrau-Aletsch Protected Area is the first World Heritage Site in the Alps.
Nulla aesthetica sin ethica!
The so calle
d Internatio
nal Typ
ographic Style,
also kn
own as t
he Swiss
Styl
e, is a
graphic
design st
yle d
eveloped in
Switz
erland in
the
1950s that e
mphasizes c
leanliness
, readabi
lity and objectiv
ity. H
allmarks
of the st
yle are
asymmetric
layo
uts, use
of a g
rid, s
ansserif
typefaces,
and flush
left,
ragged right t
ext.
The style is
also ass
ociated with a prefer
ence for p
hotography in place of il
lustratio
ns
or drawings.
The Swiss
move
ment grew o
ut
of the B
auhaus and N
ew Typography M
ove
ments, w
hich were grounded in
functio
nal ty
pography, clear c
ommunication, a
nd geome
tric d
esigns.
The Chief c
haracteristic
s of th
e
international typ
ographic style are desig
ns
that include m
inimal g
raphics and a fo
cus on
typography a
nd photography. Pioneers
of the
Swiss st
yle were M
ax Huber, E
mil Ruder, A
dri
an Frutiger, J
osef M
üllerB
rockman, a
nd Armin
Hofmann. O
ver ti
me the Swiss
Style has b
een
used in
public
ations,
on poste
rs, in
signage,
and evolve
and become popular onlin
e.
Adrian F
rutig
er exp
erimented w
ith in
vented
scrip
ts and s
tylize
d handwriti
ng in n
egative
reaction to
the fo
rmal,
cursive
pen m
anship
then require
d by S
wiss sc
hools. H
is early
interest in sc
ulpture was d
iscouraged by
his father a
nd by his
secondary
school
teachers; th
ey encouraged h
im to
work in p
rintin
g. Though in
the
world of p
rint, h
e maintains t
he
love of s
culpture that h
as in
fluenced his
type fo
rms.
modern ty
pography
Hallmarks of
the style are
asymmetric
layouts, use of
a grid, sans
serif typefaces,
and economical
use of colour,
in reaction to
the trivialization
of it.The Gridtha
t mad
e
Armin H
ofmann fo
llowed Emil R
uder as h
ead
of the graphic desig
n department a
t the Schule
für Gesta
ltung B
asel a
nd was i
nstrumental in
developing th
e graphic d
esign s
tyle k
nown
as the S
wiss S
tyle. H
e is w
ell known fo
r his
posters,
which emphasized economical u
se of
colour and fo
nts, in
reactio
n to w
hat Hofm
ann
regarded as the „t
rivializ
ation of c
olour“. H
is
posters
have been w
idely exh
ibited as w
orks
of art i
n major g
allerie
s, su
ch as the N
ew York
Museum of M
odern Art.
Emil Ruder was
a Swiss typ
o grapher
and graphic designer, w
ho with Arm
in
Hofmann jo
i ned the fa
culty of t
he
Schule für Gesta
ltung Base
l.
Ruder was
a contributin
g
writer a
nd editor a
nd pub
lished a basic
gram
mar of ty
pography. Josef Mülle
r-Bro
ckmawnn was a
Swiss gra
phic designer a
nd teacher. H
e studied archi
tecture, desig
n and history
of art
at both th
e
Universi
ty and Kunstg
ewerbeschule in
Zurich.
From 1951 h
e produced c
oncert poste
rs for
the Tonhalle
in Zuric
h. In 1966 he was a
ppoin
ted European design consu
ltant to
IBM.
Swiss Style
of New wave
The faTher
or SwiSS Punk tyPograPhy
Wolfgang Weingart
His typographic experiments were strongly grounded, and were based on an intimate understanding of the semantic, syntactic and pragmatic functions of typography.
Weingart met Emil Ruder and Armin Hofmann in Basel in 1963 and moved there the following year. Following his rather unsuccessful attempt at completing his course, Armin Hoffmann, who was then the head of the Basel School, by the sheer admiration of his work, invited him to teach typography where he remained a highly influen-tial instructor until 2005. To call what he did as ‘deconstructive’ would be too simplistic a comment. His typographic experiments were strongly grounded, and were based on an intimate understan-ding of the semantic, syntactic and pragmatic functions of typogra-phy. Whereas ‘traditional’ Swiss typography mainly focused on the syntactic function, Weingart was interested in how far the graphic qualities of typography can be pushed and still retain its meaning.The emotionally-charged lines, the potent, image-like qualities of his type, the almost cinematic impact of his layouts, all speak of his great passion of creating with graphical forms. His typographic la-youts are compelling yet lucid, free yet controlled. Some of his per-sonal work is almost akin to landscape paintings, only that his paint-brush is replaced by type, rules and screens. He doesn’t seem to perceive a divide between fine art and typography. His inspirations were mainly drawn from the processes of typesetting and reproduc-tion, where he finds great pleasure in discovering their characteris-tics and pushing them to their limits.
It was he who ignited the spark of ‘typographic anar-chy’ that exploded on the verge of the nineteen nine-ties. It was he who fathered what was subsequently dubbed ‘Swiss Punk’, ‘New Wave’ or whatever you care to call it. His name is Wol-fgang Weingart. He was born in the midst of the World War II in Germany, and completed a three-year typesetting apprenticeship in hot metal composition. There he came into contact with Karl-August Hanke, who encouraged him to stu-dy in Switzerland.
1941194119*
Max Frisch is one of the most important Swiss writers of the 20th century. His major themes are the loss of individual’s identity, the spiritual crisis of the modern world and the belief that technology allows humans to control everything.
It is remarkable that we just returned from the people, we love, at least statements can, as he is. We just love him. That is where the love is, of course, the wonderful thing about the love that you will give us in the suspension of the living, in the willingness to follow a man in all the different possible explanations. We know that every human being, if one loves him, is transformed feels, how unfolds and the loving everything that also develops, the
next, the long known. He sees how much for the first time. The frees it from any ima-ge. This is the worrying, the adventurous, the egg when exciting that we, with the people we love, not be eliminated: because we love you; as long as we love them. Do you hear the poets, if you love; they grope for com-pare, as they were drunk, they are after all, in all, flowers and animals, as clouds, stars and seas. Why? As the all of God’s inexhaus-tible space, absolute, everything possible, all secrets full, incredible is the man you love – only the love beareth him so. Why do we travel? This, too, so that we meet people who do not believe that the US once and for all, so that we once again find out what in this life is possible – There is already little enough…
FriScHMaX
My greatest fear: repetition.
olé