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Mar

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26.

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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