A PIECE OF SOUND ADVICE + A SINGLE WARNING TO A DESIGN STUDENT
Find it out for yourself + There are easier ways to earn money, honestly
FAVOURITE FOOD THEN
Whatever was available within a limited budget
YOUR MOST VALUED POSSESSION THEN
YEAR OF PROJECT
STUDENT PROJECT BRIEF
Design a series of posters and a programme for an imaginary theatre
Hochschule Darmstadt (Germany)
Prof. Sandra Hoffmann (see also pp. 194–197)
Silkscreen-printing and stamps on existing surfaces (posters, the street, houses, etc.) and for the programme we used Xerox machines
WHY DO YOU LIKE THIS PROJECT?
What I like most about the project is that the original briefing was quite strict but that we found some flexible parts in it. So in the end we were not designing posters to announce a play for an imaginative theatre, but we took the play directly onto the streets by the means of posters.
WHAT DO YOU DISLIKE ABOUT IT?
This project was one of the most physically exhausting projects I ever did; this came out of a great lack of experience paired with a lot of ambition. Looking back, this physical/psychological ‘borderline’ experience turned out to be a key ingredient in all the projects I really like. Paradoxically, now, running a design studio, I try to avoid those moments of total exhaustion as much as possible.
Our posters got destroyed after the presentation (don’t know whether that’s a positive or negative sign); maybe it was pure coincidence. In general, we received a positive reaction, I think mainly because we were ‘rethinking the brief’ a bit more drastically than expected and the project was executed in the city. I once received a drastic (but very honest and true) reply from one of the Swiss superstar designers, saying that the choice of the form and technique was purely a formal one. Things would have been a lot easier to produce in a different technique, which would have led to a different visual outcome. He was right.
PROJECT SIMILARITIES THEN AND NOW
One of the links between both projects might be the strategy of ‘rethinking the brief’. With the Cologne project, we tried to look at a spatial strategy differently (at least for me as a graphic designer and most certainly also for the audience, who were expecting an architec tural proposal for a new building). With the other project we did this by not designing posters that announce theatre plays but by using the posters to start the play on the street. The other aspect that links both projects is that they both deal with our physical environment. The places we live in were objects of design, of interventions by simple means.