It was nothing less than the first step of a journey into a new dimension: when theatre reformer Adolphe Appia, father of Eurhythmics Émile Jaques-Dalcroze, architect Heinrich Tessenow, and artist Alexander von Salzmann met in Hellerau in 1911, their design for the Great Hall at the Festival Theatre created the ideal space for theatre in the twenty-first century. The stage built by Appia using flexible elements and von Salzmann’s shadowless room of lights made it possible to explore completely new modes of expression and staging. Le Corbusier, van de Velde, and Mies van der Rohe all drew lasting inspiration from this.
For Reconstructing the Future, the Appia stage with its original lighting design was rebuilt in the Festival Theatre for the first time, more than a hundred years after its conception. The project curated by Héctor Solari and the accompanying publication make the historical concept accessible to a contemporary audience and locate the Hellerau stage within the history of modernist theatre. [Text from the publisher: Spector Books]
In the idea to challenge my attraction for moderate, minimal and straightforward design, I questioned the place of ornament in the field of graphic communication, investigating my personal subjective aversion towards the decorative.
Starting from my definition of functional ornament and accessory ornament, I decided to focus my reasoning on the main role and justifications of decorative. Eventually, I admitted that ornament could be a creative tool. In order to accept the new re-emergence of ornament, I tried to justify this idea throughout my analysis.
In addition to these thinkings, I questioned the arrival of computation as an insidious agent, a tool enabling the ornament more easily.
This book is intended for those who seek information of the wonderful relationship between Antarctica and humanity. As a child and still, I have always been fascinated by frozen landscapes, inhospitable lands and extreme geography.
Focusing on the expedition of the british sailor Robert Falcon Scott, I gathered incredible materials to publish. This book presents a selection of articles exclusively written by the professor and specialist Paul Ward on his web platform Cool Antarctica.
When researching images of this era, I stumbled upon all the historical approach that was unfamiliar to me. Among all the detailed information, I found an image bank full of unknown pictures from the expeditions: it was the complete collection of films of Herbert Ponting distributed by the Scott-Polar Institute. I could not help but focus a part of my diploma on it.
The young norwegian artist Siri Vensen dedicate her practice to performative art and theatre. She planned a public presentation of her theatre project Alt du är at the HDK Högskolan.
This project is CD design for the sound experiences of Roman Girardeau. In his practice, the artist creates urban noises with the help of sound effect made by mechanical sport objects. It has been produced on a limited edition of 30 CDs.
Kino Kino Kino a film club, which takes place in Clermont-Ferrand, focused on the scandinavian cinema. Since 2017, it has been continued by Roman Girardeau, a young sculptor, photographer and sound artist in his own workshop in the suburbs of the city.
The graphic system is based on a very precise iconography coming from nordic archives. The purpose of these iconographies is to gather graphic documentations relevant to the theme and the period of the film.