Escolar Documentos
Profissional Documentos
Cultura Documentos
It's a spicy SOIUP,andl a heOldy tlrew at til~t No rgDip~' rook (::<1111gll t you now ta maklil it Th.e ingredJents; are 1r1;[)~ on anysupe,rm,ull:.et shelves. A lot of peopr.eftind it inedlible" Btiitthen they wa nt to rndu:!g,e them5~h!'~110 despite ewrything: people are· i!'lIiliOVOlliw, .. rtelr all, O~n to, mew ['{lees. N(lil Ih8lFrO'\!i,!\oIln.illdgcL SQ: ben a,ppetit! B~t €:V€f1 while you'r@ sitting dOW,nait~ihe table ~Oenljoy~ihis ed e:l;perimell'lting with will ... prili'liliill brew the cooks wi I~have stalrtof the ~ecipe,.<I!i'!dIthen thlOiit too
new vi!rsiQrls
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D()!>Logos la,-::s a 5Wll fllrlh~1 ':'fHl allows rec plttr 'S \0 cor-s ocr
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Ih' LJtllfIlJI.,
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context arHJ LOsec ,','r,elher ,: 'llerpr,,'$ oi ruo book means categories I.'IM l'l8'S~ adlJlllo~a1 enc JIJd~ml!n cr ;,=r,; 'al
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Culture DesIgn [ashion III IVWl.ion lind Games loA~dla loJiusic Poli!ical and Social
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what furujarnel1l1all~1 ',"'il,'. In Its cultural and soc al co",:m ..:. J"C :, es '
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r';~;t:: d~r s. gns .aDr.!@un1 ');·s c;"ef ~ a ~ew crucial pcmts: los logos look
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a dozen designeJ!j from all over the world are I'W~r·tl(",",ec ;}I,e"~ a'1C
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H",'lIIf can the broad,er Vtiew lhat DosLogos offers be' defiineddind ,'3 Wh!l~ -lI bOU'l til e- mu:I'tiple p!larw-s of in~~rWoe't~tiOJI .~,nd p,ossible read~ng;s? Winy is it thatthe 10 thematically :rI~pamt€: chapters COInincrease the recipients' I nsig.hts? What is the concept?
analysildl•
no
later
cleconstn.!Otedl by Roland! Sa rtnes, U fliltler~o Eco and! others, a sign consists Oif o;Isignifie-r .;") d a n sngflitied. cael'l,sig~ is rna de IIlP of two components; iit:s mileanl ng ~Sii,g~ nifi ~l !lind i~ ~'xpf~ssi~ side- ~sign~liiief)_lihe lhirng, signified is outside this, - it is iillte.rpretea by the ~ign, preSoentM m also iC:Oli'lis~d_ App~ied to til,e, '·UJ£'Owas a
means:
sign, and
f>e.cip;iel'lltlSan, lo!Ok at ar'ld assess the fOl'lma~ impl:emenll<i'tiion, c tM <I,e'stlfileHc ueof a ~Qi&{) (sig!nifi€:r -'ruh~ ~.:<p.re-$si'l.!\~ va,l .side) withvrl a til ~medl chaptell", buttl1.ey can also- by cOimparingwit~other Ilogos iillle,rpretrn~ ~ine:salin~ theme, th€:}' c8lna.lso ri,n,d 'O!.!l~omething about s lr.Jlila~ ~hey mean (sig1lified - the meaning), wli~cn opens up ngy". possioilitfies fa r Ifllalu<lting; aile! cOmlpariflg tc reOlde,r.s_ Roland Sa rifles. assects that ~~he signi'fier is <l .siren~. lfhough he mean the sort O'f $urern tih,al~, s t.o w<lrlll IJS about a threaten· !JIt<lil rf"l:!l c,a,.aSirophe Or an <liir ra idl, but theother I!:und.:the sedluc'tive f,ab~tous .c,re-<ltIJIe- From G~eek rn.ythology ~h~t ~lur!ii!S peOpile's heads, F
doesn't
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arm, Is ttl;;!l a ~Ql'labe ines s' Trm simp e S1'.'2Pf.lil1gtne t,(iro "logo" lakes J5 ~:r2igh of this rnust ilPiar~r:
Ea fo<
tho fol
gleton, tor example, says that any propaganna and "poeuleusauon" that
And then we immediately r e 1\ '~'l r., nons Iron tne youl1~ designer scene aesiheuc He asseus snucuon, T lis could cornplexity of
transicrrnauon
uen S
a deslgr:er's
approacn
to
a watch
011t
rained If you abandon all tne l anasr, remove {',ery' and concentrate
le essentials Te'I,'
II
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Ipens, - theSie ,<!J;e' the sources they dn~won accordnng tolil'l,ei r ,~e.Slhetic ~hougl'lt in titLeranks af the culUJra I historians. is using 'bea utif(J I" QUOideals and preferences and then includ~ them in 'their cr,e-~tii\l,ewo:n"'k ta,tions, says Di(;k IBaeck~rl in an essay. d 5Ome-as appropriate to 'the project. Afld il-e<:ausedesigne'rure sensitiveobserve rs - they o;!cwa~ly have to be = tl'l,ey rerlect, because it is ~h~ir tomes the 'beautiflu I cain be' ,a lo,go,ofal beil Ultifui Io<go. It is not the' G ree lraw m!u€rial, ,everything they see, hear" s-ense and f,eel, thatilhey love goddess of \licto~y who is being cited, but the' wortd-wide, omn ipresent sign citing 11 But this I'I<lSnotih in.g ro do wit" Pas modern er, ,and ""aile io their \~oll'~"And so' tlhey also refle>c'[ the \'iuiety of lhe world as. it present'ly is, and - perhaps also - how it couldl or should be. lin ot er words; signs do not just derine the object they were ,creat,ed 'for. bu to iFItheir o\'1n way they also 1l!J'1 te d,e-fin e the worl~d as such. P
s<lmpling,.1ihat
Ultimat@lytilenev.'
100Je
or heraldry is s'tniking, Pe,rhaps it is trying te tell us ttla. roadlholc i g is in t<lsl'Iion agaln, We 8ire iotimes, 0-1 rnew imponderables, and a n6!IiY trend row81rds curling up in a balilland ba,rricading,oursewes up is gaini n.g :!if0 und, Not an optl mistio 'o'11ew. perna ps it is all JUSt abQI.I[ iro But LCquotations of glory <l no sph,lIld'our. But: sometlrnes these somewhat ma,rtiakeemi'l'l,!l coat$-{lf-wns are providing, information about something e'ls~. something ery up to date, And that is about the consequences 'that, the laterrt "rnomen'tarii"!ess·~ of our society ls nmposli"!.g on cur logos: my logo is my castle, Nofhiilg ~hat is I'N,I'Ppel'liFl,gan last for ever. Tme prese Ce"o~ a c new logo least of al L lit lias: to be loud. it !'la,s to' b@ stro n.g all d it 1'1 GIS to M tode,y, Strong as, a f,on.ress towering over the steep "'alley and dominatirng, the el1tire landscape', Not a loUie house intil1~ country, not a rose garde,n. SUit" and '~l'Ilisis tih e polnt: 'When bu ild il'lg a castle' \Wi; usethe mcst solld, the' most resistan't materiall.>, but it does not stand for liOng, II'! a 'fe-w years, perhaps 'even earli,er. it will be pulled dow ~g'<'3in' andl pro:mptiy replacedl try a new one', It is quit\(1; lear 'th~'t by bUi,l(lif'l!l tl'l~se castles, Which are 110 more c than powerful identlties, we are' just: us~ng crude' devices and 10 ! noises to tesi!Ot the om ni prssent massive (j.\ii?rstnmulation[o a certain e:.:;~.eI1lL 1M csstle'schanee of bein"!g ad::nO\,.;ledg,ed is oonSLderabl'l'
glre<lter than that
insists 'Gerhard Rich ter in a dis.cussio n of hi s work WAR CUT. ~ Tillis is Oi n at.mlide shared by many deslgners concerned with creating Ilogos and other signs, Transitions hal/@ be-come fluid ,arr:fl'/ay, and aU sorts of i,nl\er= actiofls ~alke place between so-caned "pu re art" and ~pr<lgmatic~ diesign. Not lealst in th~ signs' Owri ,terri~ory. But what dces torrnlcok like, how does it mani~estitself· <llrising qlli~e ohen do.es from the wreck _,ageof o'bso'lel!l forms - whelm it conrronts, "acts on toda,y's ~o,godesign ~ene? This is boom time f,or silort-l;'Jed Ie itgei st ~.x!Jonerl'ts.
Pretty litU@ Mang,a:>,still am.ong the darlings ot the scene, a~estilll clinging on, but 'ttl ey ,arI~ on theilr w,ey out. S,aY{)I1!lra! love & foeace haNe not brought geo-po<'itfC'll~harmony, but the~e ,a~e sti'll some peo· pie detetmi'ned 10 ic!eep '1M ra,inbow nag up to scrB,l-th, Andl en a reo lall8d bUI~ ra,mer mo re a,ggressive s.ide of the S<:lm~spectru m, actual losers, of 'lars and! ailleg,ed '~lIinners of wars are appe'aring on logos. But theii" ays of releo..ancy alre numb!1r~d. Some~hing (ha,t is inlleres ting ror 'tne un irI'lolv~d oilServer, b'Ul p:robably givilng food for
as it
comes
or a discHle,Hy !lm~r,gill,g.sign. Signifier (expressiOl I before sign,ifiedl ~1'I'U~<U'1ing). degree of e:>:rpres..sion oS ,,0 The
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• .3~p .. , "j' SOl ,:,;,lrlS. One rrnportant ]l1JI",' drd (\, ttl!' logo, wtllcll ~ I k(>
thrs
sec
Jolly lillie
on (ll!;!.e,
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',.;:IC rlf?1en'af 1h(, desig,llel s' aHinlty -.~. ).If'~' ~yp ~a C'~ponents are playful,
and
bur .
h e 1I10~! mal' ~ea I\' visu a I SOUI'O· M U$1 C ~~,. es c e lme ~'H?;"-
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approached
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even
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e .ogo for a
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De-signer Y cheeses the opposite stral~gy. He is far more (pernot for tne brand he is promoting, all'ildalso not in theit original size elthe r, but bl()wn up to monstrous pro,porlions. lih,e intelFr,jl'~S b€:t'o'i.ree,n haps too) retcc;ent_ Fie b~lrnaves as neut!l"ailly as pos.sibl~, iieC21uSe for him ~e hig,l'1est priority is, the best possuble solution for the client (best pragmaltic, functioO!a1 and tree' "purposeless" s'igl1JS are evident, they possible from the client's point ot view].. And so wilere necessary he a~e e):)citin_ganci make you think, which is ~rltirel'y appropriate, to their
i n~ention s, Oe'light in ex.JPerime ntatton, plea sure in provocation pwssed
ara ex-
on, a nd a lot of things that a r,e'Io~ding it on the art pedl~stal tOday willi
jlS prepared to make aesthetic comwomises_ Hle're too the elie co Id react n,egati\ilely, In his opinion th~ !ogo embodies his CQrporate Strategy. 'Sut. h.e misses wh,jlt h,~ calls a "crea~i'\l'e kick~. Thslr professional
be on t.he streets tomorrow. Irs no good looking for big names in the Sport chapt,er: no d~ ,sign exp~rimerlts, For the big sportsgooos manuf,actll.lrI;lrsl The picture is similar for sportin:s diSCLplines_ So it is main~y the yoO!lng, trendy s,pon:s that have nol ye[ usen taken O'i/'ef by Big Business like snow!warding Dr ska~eboordingth.at featu~e in this 'chapter;COlillpl~emente by smalllaibeis that are trying to make ill name for themselves '011 th e seen e ;Ji- h unusLJ1I1a rid irna.gi native signs.
De$iigner~sare not 'chail'Jl~IEl9n!$
assotiation
BlIt clients also :pl.lfSUe a vari€:ty of str,sltegies, So 'there is a per~eC'~lyreallicstic scsna rio whereby
DesigMr
X is confirmed!
in his ~ p-
prO!'icli1l:at the point where the' c~i,ent W<lnts to' ~a,r~&ci patE! in t e ~esigner's identilty a nd ccmm Ulnical~eilto his clients. (Compa rlsons can be a liWe lame, but why does en am:lIlymous departmer.t store pep up its fabrics wi~h a known fashion desigoer's label?) These soenario;s quite d,elib~rateiy pre'sen t o,pposing pos,itions to hi~hliglht the conmct pOl'e'ntiala designer can be confronted il.lli[h. This ,po,tel'l'tial rends to be even greater in economically olifficult times. In daily practlcs, a mix:tme of Designer X's and DeSigner Y's strategy shQuld make sense from case lo case, because it is pra~rnatic. But one 'thii1Jg i~scen:aifl:~1 marked ~enoSe Qf optimlism il'll dealing with cllents is: 81 career killer inl the Iiong terril, A designer who Map's IDO much cain never devel!op hns own p&cto~ii<llllanguage' - and so will not 1Icq!lire a prom~ as 11 designer, ~vill not haw an id@l1tity or his o~ r _ And! ~hi5 is a fatal disadiYantage when looking for
rlE~w busl
Design@fs become knO'i'ln to potenti<ll oli'e-nts andl Qtil.~r intarest€id parties. 'for e~mple' the media or the, art SOMe, through the character, style a nd qU<l~ity of tMi r work - thei~ sign.s, for eXOlmple_AI1d1 by b~jl'l,g professional designer>s, they ~re eemonstratlng ill very d'eflini~e.$elf-de'fined creatiive approach, Essentially some~hing that is taken for granted, problem: choosing 1M right strategy, But there is a
ness,
ihig~ ,proportion of
his OW'nidentity into his ~/ork, He tflinks itI!<lt'sq!lite normal, it's part Oil the '~aof h.e"sees himself andl is som,ething 'that can also be tailed a professional erno5 - ~Jen tho!JIgh that sounds somewliat okHashiolied, But the client pe"rhaps does not see it.li~"e lih.c<lt, and demands all identity for his brand. Their pro'fessiofiOlI association COtiM well come to an end,
'I.
2.
3..
Nl!'oo ,Ziirclter Zeit~11i,g.2'9 ./30,S,200~ OIJlDtat,ion (FOOl;, wlllw_m~Sl1luaeum,Qrs!~Q"'_(~~_die:,p~p O'irk Baecker, "Hwil:s Iheerle", "",, _ ~,ml""'I'i.<l~/tkilee1(er _
ANGERICHTIET.
Sie iSl starl:: gewurz:t und sehr aromatisch, lhre .Zubereitungsart in keinem R~zeptbuch. Ihr·e Ingredienzen fehl'en im Regal des Supermarktes. Man,c'hen scheilnl lOre ungenieiBbiiilr. Abel darsn le,be!'l wo!llen sieh ilrge,lldwie trotzdem aile: Man lst schlieBlich innovativ. Nel;!em g~eniirer .aufgeschlossen. Unci kefnlBanOluse. AI~sodal1U1: Bon apiPe~it,! Doc.h mh,rend man sieh ~I,J Tisch b~g~bt,u m srch die Ursuppe schmeclWn ZI,J lassen, ·werner! d&eKoclie schon lilrllgs·t wi ede r am
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ur:~er5che-I()U ~,cl\ cas neue Logo- >':OrT'pNlO "r'l ?IH~,,'nlatIQll <luf:ierge',':o 'II cbc- :'f,plr~a: or er. eme I' BltJekerlsc.hlag voruer' p'aul~al schen,
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stem das logo ats Zercnen III semen ·,uLa.rL;'llen y'lC gesel15Gh;;~tl~chn' 7wec"orler;tlejl(~"11('ichen zu ','';'I'.'al1dt~n ::elc'l{'r'~ I') dur ~1.i~5:
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so gib'l Dos Logos auch daruber Auskynh~ In kurzen Interviews w:r· r<l~en ein Du'tzend Desigrer <IuS all.er We~t i,nsehr pointierten Aussagen, wasfuf sle ein gutes Logo ist, woner sie ihre Ins'pir.lItiomln bezlenen unci wie sie mi t illren Auftra_ggebe rn umgehen. Dew SlwifM:ant;M ,eine Sirene:. Sichtweis.e. wie tassen sich die mul-
soneem
di!ii ancere
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traos:p;3Jrent rI'l<Jchen. die Dos.Logos .mbi!!~!l't? wlIrum generie:ren die zenn thematis.cJh abgegreflc:ten IQIpiWIIErk.enntnisgewinne fUr die RiEl'zipientlnnen? Was ist eas Konzept?
Nlach ,Ferdinand de SauSSlures linguististhem P'ar~digma, das sf,l~i'ter von Ro~and Sarthes, Umberto, 'EGOund anderen weite.r,entwi· ckelt, uminterpretien und auch dekonstmiert wurde, setztsich das Zeichel'l <JUSslner Bezeic,hnQ,ingund einem BezeiC:hmet@:11 zusamrnen, Je'd@sZo:,;chen b.esteht aus zwei KompOfl~ntEl'm: seinet 8«IeiJtungs.seite (Signifikal) und seiner AusdrlUckss-eit'e ISignillil!~nll, Die be:e:ich nete Sache sel bst liegt a uBem a It! - 10i wird vom Zeichen 'iflltere pretiert, dlarges teUl od er auen ikonisleu.
Auf das Zeichen ~Logo[)- !lInd eas Such bos Logos angew!lndt bedeutet dies: Die Rezi,pient'lnn@:n Mben die' Moglichkeilt, iMer1'10111:1 eil'les mernattschen Kapitels niche nur dle formale UmSEl'tzung. den i!s'thetisclh!!ll'l Wert aines Logos ~SigniFik~lnt • die Ausclrucl(seite) zu betl'achteFlllnd zu beuneil@Fl. sondern si'e kOnne.n - irn V€irgle lch mi t 01 eren, Ij;ie ,gl€iic he l' nell'll,H i k in tiN)pr'e~ierennd den logos - auch etwas tiber seirte 8edeutung ISignifikat die 8@cle~tu mgl erf allr'en, w~ s ih nen neu€! Wertu ['11:$- und Vmg,l-eich srnoglichkei tern er schlile6t.
~ ,h t
"lli
,m
Die ','ell
In
anua e T 'ese')
Terry Eagleton zurn B.e'Spl(l:1 sag[, {lass jene Plopagar.aa und POpJ Grisrerung die Umwandlung f~uslausch dCI Begdre ues !(omp exen ins EI.,fache .'el ar,&, E 'I zum II1€ma Und jClll cornm: cas scherr..PrOI}aganda" una _:>opu arrs ~rur,g- aure Er oehauptet elwas narn (;h, cass el~~ sclche
are ~ e stent
In
elnern MediulTI, In
~logo- futlrt d,rek, lu,uck bare E~& ien'sche UmwandllJng Paradox absolut
ruanonen
cce e Aus unite e rlhol(?11:einmal uber die Befmderen "bol such uber cen ak-
dekonstruktivist
II
ec
erscneirn .., uas II!!fJe sicn aucn aul die 1'!!rGn!lehe!ls',~'e se des Des Ole 'Or:'~1)le"Il'::'te ner ellles Plattenlebe S odel eir'es P zzabac ers
a:
sc
GrenJen, wenn man allen Ballast ab,~ lrlt, 81es UIM'C~t geeabstra
.Essen:
aIs'
onzem:
t. :.e ter
r.1
-el: Terf) r! ; ar
r!eal'
'lo-
go 1St ear nleh~ so e In'lech - '~, II es e Inf Ole lU e r n vers ec ,t sich die e gel tliche Komplex tal
ur seine
e .'.e
:<~s(a;ld
Der
und Tendeo\2:en. die Naltur und di€l T@chnologie, de.r Sport. die Medien LInd die Kun st. alie gese llsc hali.liche' Entwieklung auf allen Ebeneflund in alilen 'Bernichen; alles, was, pllssiert - das sind die ClJuellell, di~ er selnen asthetnschen Vors~elliungen unc PralfElfenzen gem'~B aU5schopU und projektbe2iogen in seim€ g,€:s~lteriS1che Arbeit e,inflieBefi l:jjss~. IJnd vJeil IDesigner als sensible Beoba:chter - ,ei8,tmtlich zw·@ngs· la urig; - all es, W<lS si@'sehen, horen, ah,nen Ult1Idfilh len. wassie li,eben und hassen, a~sRoil material fUr ih re Arbe! t be-tracnten, wide,rspiegeh"l si@ in inrer Vielfalt due Welt, wie sle im aUuellen Zustand beschaffsn 1St, lind - vielll€lich such - wie sie seiln konU'ltie oder sollte, Mit anderen WOlten: leiche'n beze.icilnen eben nicht nur den Gegl'lnstand, 'fijr den sie f<reien wy,rden. sondem sind in ihrer Art auch ein 'IIIeflig bezeiChrie'nd fUr die Welt en sich.
dei'll sich all( dem R[lckzug.. Sai\lOM<l(aJ LO/e & P~<l<;~ 'lit ~ EHaf &¥",po ntisch nlch! gebracht, .aber es &ib, nech rnmer t<: I":.a'~, e ~ ':~~ Reg!lnbog@nfl~gge die Si~nge nalw-n_ flu- '? r~H ,.. r....ar'J"~~ ~~r doch enerauressi'len Sel'e de'S gleichen S~« r JrS""'31;
~~ StC~ :2:-
s.achliche Kl'lieg,s'le.rlier"er uM ang>ebllt:i1e ~r egss"' ....'11' ~ a~+ _.)!l'::5 bre,it.. Ab~r die Tage ihref akwellen Reh:vCll'lz 511"'d .§ez:..a I: ~·e ~ssa~·
m r d~n
neutraten
Beo bachtsr,
a bsr
In
wOlhrscheinl~ch elnen neuen N<lchde-nlo:.li{;i":k~ltsscr: das Zitieren .sc hon e-r' Ii ta te.
a a,-,s ~~
~. s·
wie Dirk BaeckerJ in einern Al.IIsatz @',r. t, manchmat cas Schone aucn ein Lcgo von ernern sc cr:@~ ~
C " _ ....
dlie grcechiseh@ Si~g@'sgottin wird liuen, sont!ern cas ""e .... e: ~:::oe· pra,sente Zeicl'leo. das ste zittert. Was aCl?r ~e.neS'o\\ ~$ ~ DOS"medernen SOimplifitg lU ver ...... echseln rst. Das """ar ,Ofsesterr. :>C'" Ii~h film die neue l.iebe zur He-raldik <luf. Evenwell .
dass ElodenhaUung wieder gefra8,t 1St in Z!!lll?n der I.Jn3i:',~a,!; a
e'l-
beto:n[ Gerhard Richt,!':r in €ln",m Gesprach uber ,seifle Arbeit WAR CUT.l Eine HaltlJl"Ig" die 'Ion ..leten Des.ignern. die sich mit der G€:sta~tungvon logos und andersn Zeichen bes,ch:aHigen. g~teilt Wiird. Ubernaupt sil'ld ja die Uberg,ilnge flieBeM geword-en, undzwischen der sog~mmn em ,.pur Art" und dem ..pfagm.atis,chen~ Oesig,i'l f'inclen d ie 'l'ielf~ Iti!:s!en In,t.era k tlonen statt, Nlcht zuletz] auf cern ,G@bie'tdel"
Z@ichen selb-st-
tern, dsss eime dl,ell@ lendenz zum cii'ligeitl uno Sicr " erearr an ,Boden gewinnt. Keine optimistischa VorS'ellung Doc" geht ~3 nur urn ilfonische Zit,ue der Epoc~e von G an: I'd
loCI er ~"
[lioch "'Ii e s.ehen die Form en, <Ii e Ausf"o'rmu.n.gen, mill denen den fakten o€'g€'gnet wi rd, und d ie n~cht 3e~ten allJl:!lder Z~rhiJmme-rung, obsol'eter FQrmen her'll'org.ehell, in dle<f Szene dsr Log,ol!lestalter lieute aus? Kurzleb ige Zeitgeist-Exp(me.nt>en haben Hochkomjunk.tur. Die l'iIi~dlichen Manga.s. eben ncch zu den l.iebliagen der S~ne gehorend, haben sich zwalf nichit ganz v!;lrablO-chiedet, aber sie befJin-
Allerdings gelben die gelegelltlich etwas aruansc: ar-er 'C' mei'ldel~ Wappen auch uber etwas Anderes. sehr: .. !;il' asses :...... skunh .. Niimltch uber Kcnsequezen der latefl~en .Augerb L~ I"~",~. unserer Geseillschaft auf die GestaltlJllg von t.cgcs: '} Lege So-"" Castle, Nichts. was passien. wahrt i¥Wrg. Die Prasenz c'"t}~ i'eo...,.,..~~.,_
gos SChOfllg81r n&chl. Es muss 'aut,
e-s. IlUISll
'11!..1SS
"'t!--L: e
sein. Stark wie eit1e TrutzlJUrg. die i.iber d em ,i ef@11 T.l1 $tel"lt v '"10,] U e ganre l<l!fldsclnllh bel1errscll't. Kein Hauscl'lel"l rm Gn..l'!en_ I,.i! f"I ~,'sengartert. Abe,r. IJI1d das ist dor Pun rt: Seim B.tl~ e-r 6 ~ 0-' ';;on zwar die solleesten. widerstalld:lfjhigste" Materia en ~ f" k: satz. aber si~ bh;!ibt flicht lange slehell. 111 re'ligel Jah sn, \w·1 e cht $l'~:3 ~
Starke
e:
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fidHlg radl'
rjl,
ft.Hlm:1H
d(~~ De5if,n('j ~rr Kurl',1 Ulld Kul1Ur Vel ~pl(,IL(~.I('!JE;?, I O'III~r ucu I(e~hl! e
II
Ild ~ku Iii 1.:- j!ltl! en rill' Arl~ t'lilgt: n a n a ILl' un d t.11 J lagsrny LI,en sir a .y.
1m Kcr[lUt!1 D~~lgll.~JO es na1<J!licJli.rn kr~~~e Se.;~.stdcr~Lel!'cln
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If'' .,,~.,
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','It ~r,I~~"1\ \-llttl'lll uud lautcn 'l oncnIasst sich , 11·.~SSI\('n "I)lItl.'lflu!urli:_ dw:l:'> ('nlgegcl1 ~d R W~'sL'lltllc:hnJn~~(,1~lll[j al~ die
d 50 star ~
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ld Mode. Die r·,~o!i e Sind (lu~ge~pl OCJH:m ... I)lak~[I\, r-~tl(lI·~.e~erl r: a. r ole Zatlne. Zeicber sci'lrar,e SI{)!:;'Irl~OIPppliJ'i{!ri. OJ 11.~;rt?malG! SCJ1rrfrl?n (l'lng~s~~.>~r-o u Hcraldik ist ~Il vogue. auch 'J.leilsie 50 scr«
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sein, M:lrlChmar sogal f{l1ng f-u karnptensc'r. sm I<.ulbau bts zur deluuuven .thc ~O!lll
• C,.."l'r ',ro'f;<
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srnmet, und die Designer im Kapltel r,~edla s~ra unc oleiben laufr1-\ u] d~:rlj(~w~llrf,(:n l"kdilill~tldr'~"'('J a
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tcor-s. cil~ sich mil Vorhcbc m' 'i:t·t) lU'1 rnt-ln ',',I·ea c MUSi'-S7CIlQ.S(.'ll'l!l~e W(~(.n5{'1Sind ,hrl' Cjl:7.~D(. O"~I.. rll('· O('~1;3Ih ..t'l~t cas [)eslg~ I.., K
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Kapirel
Musi
Sound,
Musikstille
Qftigneuiod seirllE!t'Arbeil
keDn~ Chamiil!<9ns>
du((::n de ChaJak[er, C!l'n 'S[l ."OJ '::i
IOn p.c[~F"Z
de'finiefen hnnulngswer
scl1nellen Wiede-rer-
'= .:._~
.;.
_~~
e 'er ".r.c,:~
ko nnren
die K,ontraste
U d marrites er ars prOf!:$S VJ;- er ::<:'5 !!;~",. - • seiner TiUigkedt elne gal'll 'Ion i~' $10'1st D!:' I~ erte, :;.<:~. - _,." ~_ m b
-s:sz'=~"'-
nicht sein, Marl kOIlnle rasl von an tagonls tlschen Gege nS3'tzen sprech@nl.AUac muss anders angegangef'l werden als ein Soziall'.verk oeer der Ii).eutsche Bundest<lg! Ein kleinss, reines LOgo Iflit eine WohltiHigkeils-O rgan lsat ion neben dem Them~1,.ni ne-ele~-en~ tlir €:in pol ltlscnes Pwtes<-Event. ZQJmKapitel Kunst und IJn~dassi:erb3fe Zeichen_ Olaf Nicolai, ein bensbefeiche
1m GruMe genommen eil1e S€IDSrl€fS anqtl<::tl~e ein Piroblem: Die Wahl der ricbngen Slr(lllegH~',
iEinmal <lng~nommen. Designer
)Pi
:x.c~ ~s
~~-
,!--
erlti KLinsHer, dessen eigM Uiches ih erna die Vereinni! hmQJ g alle,r L.€!'- de. ei~el'len Dd n
ta t
In seil'! e Arbell~o
1st. kr~iert ebenfalls Logos" Aber nicht fUr die Marke. die
Uf'hdalJc'h nichl in Originlllgr5l3e, Scimittstelh:m rwischel'l scndern monsWrpra.gmatiscne,n"lWecksi nd 'eviden t, si~ si nd
un<! s~'~~,~as_cas
san= $0 wf'O '~
er darin abbildet.
On.1?
oe .... I es e ...as o
Illtr.;
harft aufgeblasen_ me
,'l,~ : ••
die IdentiUil~ seiner M.uke sin, EiFl moglicoIl(,s EF"de cer Ge~c~ J .. sr .....
sp.annend und stlrnmen nachdenidic'h, wa,s ganz ihren IOi.entionetl entDie Freude am E~"erim@:n'tieren, die' Lust <1m Provozieren
~IUS,
ws hi t die
tr
schaut aucn zu, u nd manches, was neu I.e .wf dam Seckel der Kulist thront, beg1ibt sich morgen auf die SUai3e,
(...elleich IZlI S>e'hr) muck_ Er lie rhalt sieh magi cbs: neu: r J , ., e • , i z ihn die lJ.estmogliche Losuflg fur den Au uaggeoor 1(l,JlrLd!ll1sicht) absolute friorit1it
1m Kapitel Sport sueht man vergebe-ns nach den gfoBen Nalrnen: Keine' [)~sign@:o:.perimen.te bei defll Nablie,r~en Sportartik~lhersl'll'llern!
Ahnliches Si Id be i den sportlidl en Di$zi~linen. Deshai!), sind es vcr aIlem die jungen, noch nlcht VQm Big Business vereinnahmten rKapitell antrim,
11<'1[, abel geht er, ...enns .:e~~ se ~ D l(om~llOmi!;.$.;! ~r. aus 31en, StrateID, At>e e 4u~" " ..
Z'"
'.~I~'
35 Lcgo • E"
Trend-
ss: ce
spar ia rten ...,ieSnO\!'~boarding ooer Ska ~Il,1:l()arding,die man in diesem ergainzt von kleinen Labels, dj~ sich mit ilusge'falle~leil una fanta,sievQUen Zeicl1en in der Szene pl'o'filieren mechren.
er
sts
yk~eativen Klckn bezeiCI"1i1~t. Em n'1(1gIK"es t"oe ist nicht euszuschltesen. e benf.llls wird; Danl ~ie untersc
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