“Dutch design studio LUST has created a new interactive installation for the exhibition âType/Dynamicsâ at the Stedelijk Museum in Amsterdam. âType/Dynamicsâ interacts with and comments on the work of graphic designer Jurriaan Schrofer (1926-1990) in an effort to revitalize recent design history. The installation visualizes information that continuously surrounds us and is always accessible. By searching for real-time locations currently in the news, like ‘Ground Zero’, ‘Reichstag’, or ‘Tiananmen Square’, the installation can locate the panorama images from Google Street View, abstract them into grids and fill the grids with new information. As a visitor to the space, you are literally âtransportedâ to that location and surrounded by all the news associated with that specific location. Instead of a photographic representation, the place is represented purely typographically with a host of new items currently being talked about at that location. Nothing in the gallery space stands still; all information is dynamic.
Jurriaan Schroferâs oeuvre consists primarily of printed matter that is designed manually. In the 1960s, however, he experimented with new techniques, offset printing for instance, as a means to achieve âmoving typographyâ. Throughout Schroferâs work, dynamics, or movement, is the common thread. Starting in the 1970s Schrofer, then a design researcher, explored patterns and structures inspired by the Op Art movement. He meticulously investigated strange perspectives, depth of field and typographic symbols. Although LUST and Schrofer are quite divergent, there are nevertheless some similarities. Typography is very important in the both of their work, especially the space where typography encompasses text and image simultaneously. Furthermore there is a similar use of small elements or modules that together form a bigger structure or pattern.
Typography as Carrier of Data Jurriaan Schrofer looked for new ways to express dynamics and movement in printed typography. âType/Dynamicsâ shows the dynamic qualities of information and typography. The concept that design is endowed with a form that is unfinished or changeable has been self-evident in contemporary design for quite some time. Nowadays attention is paid more to the design of rules, or creating the framework in which something can happen. In a database for instance, content does not have an innate form, but rather receives form at the moment it is shown via the interface. In fact, the same information can be represented in an endless number of ways. The interface allows for content to be shown as data, as information, or as knowledge; ultimately content appears as loose data without a context, as data in a context, or as interpreted information. This data can even change per week, day, or minute. What is evident through this process is a very different approach and attitude towards design than the questions of Schroferâs generation.
In a time when data can be accessed and can manifest itself in all kinds of ways, typography should no longer represent just formal aspects of information. Instead typography can itself be the carrier of content. A letter is the smallest content entity, but even this letter can contain the whole dataset for the content it represents. LUST sees interaction design as the new literature. It is not only about the interactive aspect of the effect, it is also about the narrative possibilities; narrative structures that go beyond linear or non-linear. This new literature is also about literary aspects like references, analogies, structures, points-of-view, time â all contributing to the complete narrative of an installation. A visitor does not need to grasp all possible readings of a work at once; instead multiple story lines unfold over multiple readings. All aspects from content to movement, interaction, data collection and collaboration contribute to this new literature. The spatial experience of the installation can be compared to that of the âAlephâ, from the book by Jorge Luis Borges. There is a point where you can see everything that has ever happened on earth in a single moment. The moment is so overwhelming that at once you see everything and then you donât see anything at all.
The Exhibition âType/Dynamicsâ consists of two identical galleries of the same conceptual theme. In the first gallery the walls are covered with enlarged detail images of Schroferâs work. Originals are located in vitrines with an emphasis on sketches. Also located in this gallery are two vertical screens that present works by Schrofer interactively in relation to the visitorsâ viewing position. The second gallery presents LUSTâs free interpretation of Schroferâs work. Sensors track the visitorsâ movement, while the projections subsequently respond to the position and number of visitors in the space, as well as their distance from the gallery walls. Visitors acquaint themselves with a specific topic by literally walking towards an item of interest. The typographic grid closest to the visitor then opens up and becomes more readable, while new typographic layers open up for further exploration.” Photos: Gert-Jan van Rooij. Type/Dynamics is open now until March 4, 2014 at the Stedelijk Museum Amsterdam. lust.nl