Revue Faire (23, 24, 25, 26) available at actualsource.org Faire is a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author. This anthology set, volume 7, includes four issues, numbers 23 through 26: n°23 — A portrait: The Master approving of his own work. By Žiga Testen n°24 — A theater identity: The Schauspielhaus by Cornel Windlin. By Étienne Hervy and Thierry Chancogne n°25 — Exhibition views: Jonathan Monk. By Remi Parcollet n°26 — Production process: Print on Demand. By Manon Bruet Published by Editions Empire, 2020 Bilingual, in French and English 100 pages total, each issue separately bound, b&w and color images, 8.25 × 11.75 inches ISBN: 979-1-09-599117-5 @revuefaire @empire.b.o.o.k.s
instagram.comRevue Faire (23, 24, 25, 26) available at actualsource.org Faire is a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author. This anthology set, volume 7, includes four issues, numbers 23 through 26: n°23 — A portrait: The Master approving of his own work. By Žiga Testen n°24 — A theater identity: The Schauspielhaus by Cornel Windlin. By Étienne Hervy and Thierry Chancogne n°25 — Exhibition views: Jonathan Monk. By Remi Parcollet n°26 — Production process: Print on Demand. By Manon Bruet Published by Editions Empire, 2020 Bilingual, in French and English 100 pages total, each issue separately bound, b&w and color images, 8.25 × 11.75 inches ISBN: 979-1-09-599117-5 @revuefaire @empire.b.o.o.k.s
Ours is an economically oriented age. In earlier times, world-view was more important. Today, nobody can exist without considering economics: we are concerned with economic form. Also because the need for rational design necessarily follows the previous overemphasis on emotion or historical forms. (Because, like clothes, forms also wear out.)
Econom
... See moreJoseph Albers • Teaching Form Through Practice (Werklicher formunterricht)
design as making sense of things.
Roberto Verganti • Design Driven Innovation: Changing the Rules of Competition by Radically Innovating What Things Mean
Angelos Arnis • Designing for the last earth
–PAUL BARNES, COMMERCIAL TYPE