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byMichaelRock
2003
PublishedinMultipleSignatures:OnDesigners,Authors,ReadersandUsers(Spring
2013)
Summer2003.DingemanKuilman,thenheadofthePremselaInstituteinAmsterdam,
invitesmetogivethefirstinwhatwouldbecomeanannuallectureseries.Theideais
tohaveforeignerscommentonthestateofsocalledDutchdesignfromsomedistant
perch.AregularvisitortoHolland,IhavebeenavisitingcriticattheJanvanEyck
AcademieinMaastrichtformanyyearsbutIamhesitanttoclaimanyspecialinsight
intothenationalcharacter.IamespeciallytentativewhenDingemanannouncesthat
theexclusiveaudienceforthistalkwillbestackedwithmanyoftheverysubjectsI
wouldbedissecting.
AfteralongperiodofprocrastinationIdecidetheonlywayIcanattackmyassignment
istorefocusfromHollandtoAmerica.Theneoliberalprivatizationdebateisinfull
escalation:thegovernmentpostalservicePTTisswallowedbytheprivatecompany
TNT,AirFranceabsorbsKLM.SothequalitiesthatmadeHollandsospecialtomy
starryeyesareincreasinglyAmericanized.Thereisaconcomitantexplosionofso
calledDutchDesignatleastinstylistictermsworldwide.Iamcuriousaboutthe
simultaneityofthesetwotrendsandwonderiftheycouldbeconflated.
Fall2012.InowseemanyofthepredictionsImadeherewerewildlyinappropriate.I
don'tmindthatwasthepoint.Others,however,provedtobeifnotprescient,atleast
accurate.DutchDesignisaglobalphenomenon.QuintessentiallyDutchdesignerHella
JongeriusisredesigningtheinteriorofKLM'sbusinessclasscabintoreinscribeits
Dutchness.MuseumsinChinasponsorfullscaleexhibitionsofDutchDesignas
instructiontotheemergingdesigncommunity.DevelopmentatGroundZerocreeps
forward.Andtheprivatizationwavehasradicallytransformedthesociallandscape.
PROLOGUE
Somecaveatstostart:
IamanAmericanandeveryoneknowsAmericansareselfobsessed.
IamadesignerlinguistRomanJakobsonfamouslyquippedthataskingawriter
aboutliteraturewaslikeaskinganelephantaboutzoologysoIaminherently
Mad Dutch Disease
Back
5 of 15
Work Ideas Wall About Contact
unqualifiedtotalkaboutdesign.
IamnotatheoristevenwhenIsoundlikeone.Ihavetriedtokeepthistalkasjargon
freeaspossible.Afewtimes,however,Iaccidentallyfallintoit.It'sanaffliction.
IamnotanexpertonDutchness:anamateur,aninterestedobserver,anenthusiast
even,butnoexpert.MuchofwhatIputforthwillbenaveandoversimplified.My
exampleswillseemobvious,canonical,irrelevantorclichd.Theywillrepresentthe
oddities,notthenorms,ofDutchdesign.Inotimmersedinenoughworktospeakwith
realnuance.Butthat'spartofthepoint,isn'tit,toheartheviewfromafar?
Icomefromabig,messycountry.Wehaveplentyoflandsowearethrilledtowasteit.
Whenwegetsickofsomething,wesimplymoveontosomething,orsomewhere,else.
Atthesametime,weareobsessedwiththeideathatourgovernmentiswastingour
hardearnedcash.Sowhilepoliticiansliketoappropriatemoneytheyhatetouseitin
waysthatlooktoofancy.
Inyourcountrythisispublicinfrastructure.
Inmycountrywesettleformoremodestsolutions.
Whenourgovernmenthadtocomeupwithadesignsolutionforapossibleterrorist
attack,theiradvicewasducttapeandplasticsheeting.SowhatrightdoIhaveto
criticize?Infactthisisnotcriticism.Thisisalovesong.
ItisasmuchaboutAmericaasitisaboutHolland,andperhapsasHollandbecomes
increasinglyAmericanizedread:privatizeditisakindofcautionarytaleaswell.
INTRODUCTION
Maybewejustgotboredsomewherealongtheway.Maybewejuststartedtobelievein
ourownirrelevance.Ormaybe,afteryearsoftryingtogetpeopletolikewhatwedo,we
justgaveupourattemptstowinfriendsandinfluencepeopleandretreatedintoour
littleprivateclubwhereweknoweveryoneandeveryoneknowsus.But,whateverthe
reason,somewherealongthelinewejuststoppedtryingtoreallychangeanythingand
wesettledforsimplychangingDESIGNitself.
Icalltheconvoluted,challenging,intelligent,difficult,selfreflexive,coy,clever,often
staggeringlybeautifulworkthatresultsfromthisexhaustionDutchDesign.Dutch
DesignisnotrestrictedtoworkgeneratedintheNetherlandsIconsiderDutchDesign
acategory,atypeofwork,orevenabrand,thatcould,theoretically,occuranywhereat
anytime
DutchDesign'snaturalhabitatistheNetherlandsbecauseofitsspecialenvironmental
featuresaculturethatunderstandsdesign,awellorganizeddesignprofession,arich
designhistory,awealthofwelleducateddesignstudentsandbecausesomuch
moneyisinjectedintothesystemtosupportdesignexperimentation.(InAmericathe
hightechbubblecreatedabriefmomentconducivetosuchwork.)Butanyworkthat
demonstratesthepeculiarcombinationofirony,selfdeprecationandthinlyveiled
egoismcanearnthetitleofDutchDesign.
Thereareseveralkeythemestofollow:theriseofbranding,thedeclineofnationalism
andthepublicrealm,andanemergingformofovertauthorshipandsomebroad
shifts,frompublictoprivate,fromlargeambitiontosmallconcerns,fromoptimismto
irony.Theform,however,willbeblurry.Whatfollowsarethebriefsfortenpotential
lecturesonmyownmisreadingofcontemporaryDutchDesign.
1THEGREENHOUSEEFFECT
MyfirstvisittoHollandasanadultwasin1984.Idistinctlyrememberthinkingthat
thiswaswhatmydesignprofessorsweretalkingabout.Good,moderndesignwas
everywhere.Signshadrealtypography.Brightyellow,orangeandgreenwereactually
usedbyseriouscompanies.Publicbuildingswerechallenging.Hollandseemedlikea
designer'sdream.IthinkweAmericandesignersarefascinatedbyHollandbecause
realdesignactuallyseemstogetbuilthere.Youdon'tknowhownovelthisisforus
(especiallywhentheworkiscommissionedbythegovernment).
Toplanandbuildacountryusingdesignasakeyinstrumentisunfathomabletous.
Whenweseeapicturelikethis,theconditionandtheopportunityarecompletely
foreign.
Wait,scratchthat.WearenowdealingwithaDutchproject,GroundZero,andthe
processisafiasco.
Forwhateverreasonmaybeourcountryisjusttoobigorourculturetooeclectic
wehaveneverreallybelievedinthenotionofplanning.InAmerica,consensusisfor
wimps.Individualismandrawpowerrule."ActionistypicalofAmericanstyle,"wrote
HarvardsociologistDanielBell,"thoughtandplanningarenot."(Irealizeyoumaysee
thisconsensuscultureasproblematic,butinAmericaitiscited,continuously,asan
unattainableutopia.)
Ourcommitmenttoprivateoverpublicrepresentsavastdifferencebetweentheways
weviewtheissueofdesign.Tounderstandthatdifference,youmustrealizethatin
America,designisalwaysconsideredsuspect:effete,luxurious,intellectual.America
tendstobeadeeplyantiintellectual,antiaestheticplace.Soifourgovernmentbuilds
something,itmustlookasawfulandascheapaspossible,signifyingthat1.precious
taxdollarsweren'twastedonitand2.nofatuousegghead"concepts"werepassedoff
onanunwittingpublic.Wehavenotraditionofaestheticfunctionalism.Weare
suspiciousofmodernity.Modernsmellsexpensive
Fromtheoutside,thesituationinHollandseemstobetheopposite.Whileit'salmost
impossibletogetarealnumber,bymycrudeestimatevariousDutchgovernmental
agenciesdoleouttensofmillionsofeurosperyeartoarchitectureanddesign
foundations.That'sforacountrywithroughlythepopulationofgreaterNewYorkCity.
Somepercentageofthatmoneysupportscontemporary,experimentaldesignwork.In
2000,theU.S.governmentgrantedawhopping$400,000indesigngrantsfora
countryofabout280,000,000people.
Incontrast,the2003defensebudgetwasabout$355,000,000,000.Ofcourse,someof
thatcouldbeseenasakindofdesignsubsidyit'sjustthatthedesignerstendtobe
BoeingandLockheedMartinandtheexperimentalprojectstendtobejetpropelled.
ThepointisthatHollandusessubsidytosupportprojectsoverlookedbythemarket
Americasubsidizesthemarket.
ThatofficialsanctionofDesignasavalid,vitalculturalactivityseemstocreatean
atmosphereherewhereindesignersactuallyconsiderthemselvesvalid,vital
contributorstoculture.ThisisnotalwaysthecaseinAmerica,wheredesignerstendto
bemuchmoreinsecureaboutourprofessionalvalue.Afullyprivatizedmarketsimply
willnotsupportthekindofdesignculturethatexistsinHolland.(Thedissolutionof
thePTT'sartanddesigndepartmentmayprovethatthisisincreasinglythecasehereas
well.)Maybethedesignerislessvaluedasabusinessassetthanasaculturalasset.
Andallthatsubsidyandsupporthashadaneffectmaybenotadirectfinancialeffect
butapsychologicalone.WhenIscanaDutchcityscape,oraposterkioskor
magazinerack,thearrayofdesignedinfrastructureisstaggering:stations,government
buildings,museums,urbanplanning,conferences,institutes,festivals.But,Iwonder,
whatisthefunctionofalltheseelaborateorexoticdesignstothestatethatpromotes
them?Isupposewhensomethingissoobviouslydesigneditsuggestsasocial
democraticcommitmenttoculture,tothelifeofthenation.Anexoticbuildingoran
unconventionalbookoralocologosays:We'reagoodgovernment!Weinvestin
culture!We'redaringandcreative!Wecareaboutourpeople!
InHollanditseemsthatanyobject,beitabuilding,abusorabottle,mustclearlybe
designedcolorful,oddlyshaped,orofunexpectedlymaterial,absurdlydysfunctional,
surprisinglymundanetosuggestthatthegovernmentandthemajorcorporations
areprogressiveandcommittedtoculturalimprovement.InAmerica,ifsomething
challengingisdesigned,itsays:"YourgovernmentwastedYOURhardearnedmoney
onsomethingasfrivolousasthis."InAmericacoloriswaste.
TheDutchlandscapeislitteredwithfragmentsofcontemporaryinternationaldesign,
indexicalsignsofanengaged,thoughtful,benevolentstateandcorporategovernance.
Thisfragmentationmaybeaggravatedbythecurrenttendencytobreakupbigprojects
intosmallcommissions,encouragingyoungdesignerstomakeanameforthemselves
throughsomeespeciallyinnovativedesign.
Strangebuildingseithercrashlandinemptyfieldsorgetcrammedtogetherin
conglomerationsofurbanrenewal.SomuchDesigninoneplacecreatesanaggregation
ofexacerbateddifference.Iwondernow,afteratwentyyearejaculationofmaking,
whetherindividualdesigndoesn'tneedtosignifyanythinganymoreitsimplyneedsto
lookdifferentfromotherdesigns.Inthatway,designshiftsfromideologytoakindof
brandingstrategyandentersitsfullylinguisticstate.TheDutchcitybecomesaVegas
versionofaDutchcitywithitsmyriadcontemporary"attractions."It'sHollandas
InternationalDesignThemePark.
2POORLITTLERICHCOUNTRY
Soallthatgovernmentincentive,corporateinvestmentandcheapdesigneducationhas
paidoff.Overthepasttwodecades,DutchDesignhasbecomesimultaneouslyhotand
cool.(Hotasinpopular,coolinthatitdoesn'tseemtotryveryhardorcaretoomuch.)
Whatwasoncealocaltakeonmodernismhasgrownintoaglobalbrand.
ButhowdiddesignbecomesocentraltotheimageofHolland?Theclichisthat
Hollandismanufacturedterritory,thattheconstructionofdykesandpoldersandthe
reclamationoflandsuggestakindofartificialityunderlyingtheDutchpsyche,thatthe
landscapeitselfisthegreatdesignprojectofHolland.I'llspareyouthatwellworn
story.Myquestionisnotnearlysoprofound.Iamsimplycuriousabouttheideaof
identityandthewaydesignersconstructit.
Ilovethispicture:
Here'sagroupofhardworkingyoungmenplanningtheoverthrowoftheDutch
aestheticlandscape.Theirgenerationwouldtakeonallthemajoreffortsofvisual
reconstruction:theairport,thetelephoneandpostalsystems,therailandhighway
system.Withthatmuchmoney,time,effortandtalentthrownintodesign,isitany
wondersomuchwasdone?Thenametheychoseforthemselvesspeaksvolumes:Total
Design.Itcouldbeaphilosophyforthenation.
ThatfirstwaveofDutchcorporateidentityinthe'50sand'60smayhavebeenaknock
offoftheworkbeingdevelopedinGermanyandSwitzerlandatthattime.TotalDesign
lovedGerstnerandMllerBrockmann'shyperSwissGermanrationalism.Butan
increasinglyDutchformofidentityfounditswayintoallsortsofdesignedobjects:
stamps,posters,trains,money,buildings,ships,highways,andairports.Andin
Holland,morethananywhereelse,muchtoourenvy,corporateandgovernment
commissionerswouldactuallychoosegooddesignoverbad.
ItseemedlikeeverythinginthepostwarNetherlandswasbeingrethought.Theprocess
ofidentitydesign,withitsemphasisonanalysis,wasonemoretypeofrethinking.If
therewasanyquestionthatHollandwasaprogressive,modernstate,theproofwas
everywhere:pulloutsomemoney,lickastamporpickupaphone.TheDutchremade
modernisminamoreeclectic,moretolerantversion.DutchdesignnotsomuchSwiss
liteasSwiss+.
ThebrandingofHollandseemedtobeoverlaidwithother,unassailablevalues:
efficiency,legibility,economyandbeauty.Atleastinthe'60sthesevalueswerestill
discussedseriouslythereappearedtobeanhonestbeliefthattheinjectionofdesign
intothebuiltenvironmentwouldmakeitabetterplace.So,likethesocialdemocratic
politiciandemandingthatthebuildingbeagoodbuilding,publicinformationwork
demandedgooddesignwhichwasusuallyinterpretedtomean,moreorless,Total
Designmodernism.Andthisformofrationalfunctionalismbecamethestandardof
designeducationaswell.
SomehowtheheadsofDutchcorporationsandDutchgovernmentagenciesembraced
thenotionofnotonlythevalueofmoderndesignbutalsothepromotionofDutch
talentthroughcommissions.Certainthingsarepossibleinastatewherethemoney
lookslikethis:
orthis:
Ifthemoststaidorganizationofanystate,thecentralbank,issponsoringdesignlike
that,whatislefttorebelagainst?InAmericawestillfeelit'sourdutytotrytoinject
gooddesignintothefabricofaculturethatisgenerallyresistanttoit.InHollandthat
culturalfabricissaturated,andit'sasmallcountry.Butareallbigprojectsdone?Is
HollandacountrywhereEVERYTHINGisalreadydesigned?
3CLASHOFTHETITANS
Theanswer,ofcourse,isyesandno,and,atleastinthelate'60s,thethingtorebel
againstwasTotalDesign'stotalizingeffect.IntryingtounderstandtheDutchworkI
findinterestingnow,IkeepgoingbacktotheoftciteddebatebetweenWimCrouwel
andJanvanToorninNovember1972.
Irealizethisdebatehasbeenmythologizedtothepointofcanonicalsheenbut,onthe
surfaceatleast,theopponentsseemtorepresenttheextremesofanirreducible
contradictionthatstillundergirdsDutchdesign.Perhapstheflowofhistory,however,
hasslowlyreunitedthem.
ThemuchtoutedcontrastbetweenvanToorn'sdesignfortheVanAbbemuseumin
EindhovenandCrouwel'sworkfortheStedelijkMuseumseemsnotnearlyso
pronouncedinthebrandingera.Crouwelseemedtoargueforaseamless,rational
renderingofinformationthedesignerasinformationchannel,theperfectexpression
ofthe"newobjectivity."(HispositioninAmericawasmirroredbythelikesofRandand
Vignelli.)VanToorn,ontheotherhand,arguedforthedesigneraseditorialshaper,the
onewhoaddscontenttocontent.VanToornseesthedesigner'sroleaspolitical
commentator,evenpreaching"hindrance"ratherthanclarity.InvanToorn'sview,the
designeracceptshisdistortingroleandusesittoforwardaspecificsocialagenda.
Butwhatwehavelearnedinthemeantimeisthat1.neutralityisamythor,atleast,a
brandmessageinitself,and2.hindranceanddissentasamethodcanalsobecomea
branddevice.SovanToorn'sclaimofeliminatingofhousestylewhileworkingwith
JeanLeeringattheVanAbbemuseumisasmuchahousestyle(nostyleashousestyle)
asCrouwel'sworkfortheStedelijk(whichreliedononemastergridforeverypieceof
communication).Eachinstitutionusedthefigureofthedesigner,orhispurported
absence,asanaestheticexpressioninitself.ByinjectingvanToornandhiswellknown
politicalagendaintothemessageofthework,thedesignerhimselfbecomesakindof
authorialpresence,anemblemfortheclient.Butdespitetheiraesthetic,
methodologicalandpoliticaldifferences,bothCrouwelandvanToornendupcoming
offashumanists.Bothareworkingatthesocalledmakeablesociety:onefromthe
positionofefficiency,modernizationandobjectificationtheotherfromthepositionof
agitation,dialecticandtheenlightenmentofthemasses.SoJanandWimendupnotin
oppositionbutastwosidesofthesameDutchcoin.Bothassumeapatriarchalbeliefin
theirroleasguardiansofculture.(Yourarelymissanunderlyingrhetoricofsocial
value,nomatterwhereyouscratchthesurfaceofDutchdesign.)
Theideologyofadominantcultureconsumesalldiscoursecontainedwithinit,
includingthediscourseofresistance.Sotheirdifferencenow,intheageofwhatMax
Kismanhasdubbedthe"styleofstyles,"seemstobeprimarilyformal.This
disintegrationofdistinctiondoesnotinanywaylessentherealideologicaldifferences
betweenthetwomenin1972,butinsteaddemonstratesthewayinwhichthevisual
expressionsofideologyhavebeenabsorbedintoonemastersystemthatstripsthe
meaningofallaestheticgesturesandreducesthemtoeasilyexchangedvisualclichs.
(See,forinstance,ExperimentalJetset'sideologyfreeregurgitationofCrouwel'swork.
It'snotaccidentalthatthepoliticalpoweroftheoriginalworkhasbeenreplacedbya
historyofconflicteddramatic"personalities.")
4DUMBARFORDUMMIES
Speakingofpersonalities...ForAmericanstheideologicaldebatesofthe'60sand'70s
weremoreorlessinvisible.WehadourownconflictedrelationshipwithSwitzerlandto
workout.True,Dutchificationcreptintoourconsciousnessmuchlater,andthis
"tagging"ofofficialagencieswasprofoundlyaffectedbyonefigure:GertDumbar.
WhilewewerefollowingJanvanToorn,KarelMartens,AnthonBeekeandlaterstudios
likeWildPlakkenandHardWerkenthroughoutthe'70s,'80sand'90s,thisone
designerthroughhisburgeoningstudiostockedwithlegionsofstagiairesseemed
toimpresshissubjectivityoneveryaspectofDutchculture.Formostoftherestofthe
world,Dutchgraphicdesigninthe'80sbecamesynonymouswithDumbarDesign.
Dumbarseemedtoimposeakindofirrationalexuberanceonthestaidinstitutionsof
Dutchculture:thepostoffice,therailway,thepolicestation.Dumbarneatly
synthesizedthetwocompetingstrainsofDutchness:thesystematicandthewonky.
Andheseemedtobeabletosellhisinstitutionalizedwonkinesstoeventhemost
conservativecommissioners.(Asoutsiders,wesecretlycouldn'tbelieveanyself
respectingcountrywouldallowtheirgovernmentofficialstowearsuchoutlandish
outfits.)
By1995,ChrisVermaas,capturingthissensibility,warnedthatthecontinued
applicationofDumbarismtotheorgansofthestatethreatenedtoturnHollandintoa
LegoLand:
"TheDutchpolicemanseemsattachedtohismotorbikesittingononebigplasticpeg
andhasaheadthatcanspinaround360degreesandcomeoffinonepiece."
Workingfromapaletteoftriedandtrueelementsbrightness,offkilteredness,
geometricabstraction,angularityDumbarismbecameakindofbrandinitselfthat
couldbeappliedtoanything,anywhere.Ratherthananexpressionofaclient'svalues,
Dumbarismbecameavalueinitself.(Criticscomplainedthathesuppliedvisualsfor
companieswithouttheirownstorytotell.)ToassociatewithStudioDumbarmeant
adoptingcertainvaluessuggestedbyDumbar'sownmythmakingapparatus:basicallya
systematicmodernistapproachtocorporateidentitypepperedwithasprinklingof
playfuldesignelements.Thisapproachallowedconservative,oftenprivatizingclients
tohaveitbothways:Dumbarseemedtopromisebothefficiencyandindividualityor
freedom.
(Asanaside,thatdoublesidedrhetoricalsoservedDumbar'sends:thestudio's
ubiquitouslypublished"wild"'80sdesignthatcapturedtheattentionoftheworldwas
underwrittenbyconventionalcorporateidentitywork,muchtothechagrinofthe
legionsofCranbrookandRCAinternsdrawnbythestudio'spublicimageonlytofind
themselvescomposingcorporateidentitymanualsforabankoraninsurance
company.)
TheeffectofDumbarismandthefrenzyofidentitydesigningduringthe'80sand'90s
seemedtomakeHollandonecontinuousseaoflogos.Everythingwasdone.Everything
wasstyled.ThecountrytookonaqualityofaGesamtkunstwerk:atotalworkofartand
design.LikesomeArtNouveaudream,everysurfaceofthecountrywasfondled.It
recallsAdolfLoos'descriptionofthebourgeoisgentlemansubjectedtotheall
consumingdesignofhisArtNouveauenvironment:
"Thehappymansuddenlyfeltdeeply,deeplyunhappy...Hewasshutoutoffuturelife
anditsstriving,itsdevelopments,anditsdesires.Hefelt:Nowisthetimetolearnto
walkaboutwithone'sowncorpse.Indeed!Heisfinished.Heiscomplete!"
Areyounggraphicdesignerslivingwiththecorpseoftheirparents'Dutchdesign?Did
Dumbarfinishitoffwithterminal,nationwideoverdesign?Ifnot,whatisleft?Isthere
anyroomleftfortheDutchdesignimagination?
5DUDE,WHERE'SMYCOUNTRY?
DuringtheascendancyofDumbarismandDutchDesignasaninternationalbrand,the
countryitselfwasgettinghardertofind.Brandingisalatecyclephenomenon,thenext
steponcethethingitselfisnolongerenough.Whentheconsumerneedsadded
impetustochooseonemoreorlessequivalentproductoveranother,thepackage
becomesalmostascriticalastheproduct.DoesathinningHollandneedanevermore
robustpackage?Istherearelationshipbetweentheriseofbrandingandthe
disappearanceofanation?
Likecountrieseverywhere,Hollandisunderintensepressure.Thecontemporary
nationisstretched,asMarkJaynewroteinCitiesandConsumption,bythe
"dominationofinformation,media,andsigns,thedesegregationofsocialstructure
intolifestylesthegeneralpriorityofconsumptionoverproductionineverydaylife."
WhatisDutchanymoreanyway?Clearlythemeaningischanging.(Theconservatives
resorttotheslyphrase"Dutchvalues"todisguiseanovertnationalist/racistappeal.)
Thedemographicsarebrutal.ThetimehonoredstoryofthebattlebetweenCatholic
andProtestantisdissolvingfast.WhatpercentageofthecountryisMuslim?Whocan
speakDutchandwhocan't?Whilenoonewaslooking,Hollandbecameaporous
concept.
ThefamousemblemsofDutchnessdissolvethroughmergerandhostiletakeover.The
moneyfirst,thenthepost,thenwhat?Asproductionfades,Hollandtransformsinto
BeNeLuxorMainPort:Europe'sairport,seaportandwarehouseland(withitsown
speciallogo).
It'sthecountryasconduit.AllthatDeltaProjectterritorytocreatelandtostoreand
movesomeoneelse'sthingsthatareheadedsomewhereelse.Thereisashiftfrom
commoditytoexperience.Everythingtime,space,servicesaswellasgoods
becomesbranded.
Someproductsaresoinextricablylinkedtotheirnationtheytakeonaquasipublic
role.Butasubtlebutprofoundshifthappenswhenmajorculturalfiguresprivatize.Air
FranceswallowsKLM,althoughthedealiscouchedtomakeitseemlikeanequal
marriage.
PTTbecomesawhollyownedsubsidiaryofTNT,basedinAustraliaofallplaces.These
greatpublicinstitutions,flagshipsofthenation,becomeprofitdrivencorporations,
subsidiariesofinternationalconglomerates.WhatoncewasanexpressionofDutch
pridePTTshowcasingthebestofHollandinthedesignofthestampsandphone
cards,forinstance,orKLMwiththeirslowmotionswansandpainfullymatteroffact
bluesuitedflightattendantseithersimplydisappearsorflipstoclichsof
Dutchness,turnedbackonthenationasmarketingtools.Thepublicinstitution
representsthestatetheprivateoneattemptstorepresentthetasteandlifestyleofits
ownmarket.It'stheMcKroketstrategy
MultinationalMcDonald'scustomizesitsinternationallyconsistentcommodityto
appealtovernaculartastes.TheMcKroketisMcDonald'sgoingDutch.Theprivatized
standardbearersoftheDutchculturerepackagetheemblemsofDutchnessasa
brandingstrategytomaintaintheloyaltyoftheirconsumers(thecontemporaryword
forcitizens).SoDutchness,andDutchDesign,becometoolsforglobalized,capitalist
corporationstomarkettotheDutchaudience.Dutchdesignasbrandingtooland
constructedsignifierofDutchvaluesbecomesasquaintandcharmingaswindmills
andtulips.
Atthismomentofdeepinternalambivalence,thenationisembarkingonamajor
initiative,buildingsignatureembassiesinworldcapitals.Oncecontentwithlowprofile
genericofficespace,Hollandnowusesembassydesigntomakeaninternationalshow
ofstrength,toshoreuptheDutchBrand.(Brandingisthelastgraspofthedesperate.)
Whateverishappeningathome,Hollandkeepsupappearances.Theembassyprojectis
pureboosterism,reassuringyourselvesandtherestoftheworldthatyouarestillhere,
andyoustillmatter.
6TWOBIGBOOKS
Ibeganbydiscussingtheprogressionfromanoptimisticdesignculture,readyand
willingtoengageinthemajorchallengesofrebuildingHolland,toahyperdesignstate
withincreasinglylessroomtomaneuver.NowIwanttolookcloselyatcontemporary
reactionstothestateandtheconcomitantriseinthedesireforselfexpression.
Toexplorethatshiftfrompublictoprivatealittlefurther,IturntotwobigDutch
books:WimCrouwelandJolijnvandeWouw'sPTTtelephonebookof1977andIrma
Boom'scommemorativebookfortheSHVcorporationof1999.
Specifically,Iamcuriousabouttherelationshipbetweenthedesignerandtheworkin
twosettings:theutterlypublicandtheobsessivelyprivate.
Thetelephonebookmaybetheultimateutilitarianobject:itisbothopento,and
includes,everybody.Itsfunctionisclearlystatedandsimplytested.Thesocialcontract
betweenthedesignerandthepublicisclearandsimpleIneedtofindaname,the
numberneedstobelegible.Thedesignerhasaresponsibilityofclarity,legibilityand
efficientproduction.Nobodywantspersonalityorparodyinaphonebook.Sofar,so
good.ThisfitscomfortablyintothedefinitionofGraphicDesignerasproblemsolver,
scientistofinformation.
Butdespiteclaimstothecontrary,thephonebookisanexpressionofakindof
ideology,abeliefthatitisgoodforthepublictoreadacertainway,atypographic
aestheticismdisguisedasaltruism.Underthecoverofneutrality,thedesignerasserts
hisposition.Forinstance,Crouwelusesthelimitedcharactersetofphototypesettingto
justifyanalllowercasealphabet,alongtimedreamofmodernistdesignerswhosaw
differentupperandlowercaseletterformsasanuntenableillogic.
ThenhowdowemakesenseofIrmaBoom'srolewithSHVcorporation(forwhom
Crouwel'sTotalDesignhadcreatedtheoriginalhousestylein1965)?TheDirectorof
SHVcommissionedHolland'smostcelebratedbookdesignertocreateaspecialvolume
commemoratingthecentennialofthecompany.Workingforoverfiveyears,without
specificordesignatedcontent,Boomshapesanarrativeoutofrawdata,documents
andfoundobjects.Sheauthorsbycollage.Themeaning,then,isnotaproductofwords
alone(orwordsatall)butofselection,pagesequenceandimagecropping,theessential
devicesofdesign.
Boom'sbigbookisfundamentallyadifferentgenrefromCrouwel'sbigbook,andthe
roledefinedforthedesignerissoantitheticalasalmosttodemandadifferenttitle.The
SHVbookisaprojectforoneman,representingallthepowerofhiscorporation,
producedinahyperlimitededition.(IntypicalDutchpseudomodesty,theextravagant
displayofconspicuousconsumptionishiddenfromviewbylimiteddistribution.)The
bookmakesthesignatureofthedesignerpartofitsbrandingstrategy.Thebooksays:
weareanenlightenedcompany,wearerich,wearecultured,andweknowthevalueof
IrmaBoom.Thecorporationusesitsassociationwithherunassailablebrillianceto
advanceitsownimage.
Thedifferencebetweenthetwobooks,Ithink,isthedifferencebetweenahyperDutch
andahyperAmericanproject.Thetwobooksrepresentthemovefromthepublictothe
private.Inbothcases,theassociationwiththedesignerhasmeaning.Crouwel
disappearsinthephonebookthePTTmakesanovertcommitmenttoModernity
throughaconnectiontoTotalDesign.SHVlicensesBoom'sauraandBoomgraftsher
identityontothecontentoftheSHVbook.(Inaninterview,Crouwelopinedthata
recentBoombookonOttoTreumannwas"infactabookabouther,notOtto
Treumann.")Abookthatlargeandcomplex,witheverypageshapedbyoneperson,
becomesakindofautobiography.Boomisaconstant,ghostlypresence.It'snotJUSTa
bigbook.It'sanIrmaBoombook.Thedesigner,asauthor,suppliesbrandvalueor
celebrityendorsement.
7THEORGANIZATIONMEN(ANDWOMEN)
I'llgetbacktothattrend,wherethedesignermakesaguestappearanceinthework.
ButIactuallythinkthosecasesoftheovertreferenceofauthor/designerareanomalies.
HollandposesaspecialconditionandtheDutchdesignerhasaconflictedrelationship
withtheideaofauthorship(inthesamewaytheDutchseemtohaveissueswith
ambitionandauthority.)There'sthedividedlustforexpressionononeside,andmoral
rectitudeandmodestyontheother,bothofwhichseemtogeneratearangeofsingular
behaviors.
Toassuage,oratleasttomask,theambitionandegonecessarytobuildthefigureof
theauthor,theDutchdesignerpositionshim/herselfnotasoriginator,butasonewho
marshalsundeniableeconomic,legal,textual,demographicandcivicforcesandfollows
themtotheirirrefutableconclusion.Bythistechnique,thedesignereschewscelebrity,
feignsanonymity,andassumestheroleofsystemsmanager.
Thisbifurcatedrelationshipdividingthedesiretoexpressfromthedriveforreason
isalreadypresentinCrouwel'sdescriptionofarationaldesignprocess:"Thecontent
determinestheform,thetypeface,theformat,thecover,thebinding.Everyassignment
canbedividedintoseveralfactors,whichareallinterrelated.Witheachcommission,as
itwere,youhavetoplotthosefactorsalongahorizontalandverticalaxis,stretchouta
stringandthenseewhereittakesyou"(1961).Theimageofthematrixisbrutalits
findings,absolute.Noticethepassivity,thesubmissiontothedata.Youwaittosee
wherethedatatakeyou.Hisexperimentsintypedesigntestthesameformula.Hesets
upthesystembutthenslavishlyfollowsittosomelogicalconclusion.
Thismatteroffact,hyperpragmatism,surrenderingtotheomnipotenteffectofthe
diagramispresentinallmannerofDutchwork.Perhapsthestrategyderivesfroma
naturalreactiontoacountryinwhicheverycentimeterisregulatedbypreordained
rules.ButthebuildingsofarchitectslikeMVRDV,andtheirattendantdocumentation
andrelianceonsocalledDatascapes,stretchDutchrationalismtoabsurd,evenparodic
results.Researchandanalysisformadiagramandadiagramderivesabuilding.The
designersarerepresentedasbystandersorobjectivescientistswatchingwithgrim
satisfactionastheirconvolutedtheoriesgiverisetoevenmoreconvolutedforms.
SeealsoKoolhaas'planforNewYork'sMoMAthatsimplyusesthegivenzoning
envelopeasformgeneratorcoupledwiththetitle"ArchitecturewithoutArchitects."
OrOMA'sSeattlePublicLibraryinwhichtheDeweyDecimalorganizationofthe
librarybooksdrivesadiagramthatdrivesabuilding.
CriticThomasDaniellputitnicely,comparingthemethodoftheJapanesearchitect
andtheDutcharchitect.I'mparaphrasinghere:theJapanesearchitectbeginswitha
poeticconceptandrefinesitintoplausibilitytheDutcharchitectbeginswithanalysis
andextrapolatesitintopoetry.TheseDutchbuildingshaveakindofselfevident
brutalitytothem.Ofcoursethey'rebrutalcurrentconditions,objectivelymeasured,
don'tnecessarilyrenderbeauty.Beautywouldimplyasubjectivity.Factsarefacts.You
makethebuildingthefactsgiveyou.
PerhapsmanyofthenovelshapesofrecentDutchbuildingscanbeattributedtothis
devotiontothediagram,andtheauthorialabsolutionitgrants.Bytakingtraditional
Dutchpragmatismtoabsurd,deadpanextremes,thedesignergeneratesnew,wholly
unexpectedforms.SomeofDroogDesignwhichhasbeensopublicizeditdoesn't
needanymorepublicityfrommeembodiesthisabsurdisthyperrationalism.The
designersimplycontinuestoapplythesystemuntiltheformappearsinallits
strangeness.
Thisauthorialavoidancestrategyseemstohavespawnedenthusiasmforthegeneric,
therecycled,thealreadydone,theunderdesignedandthepreexistingthatdominates
contemporarydesigndebates.MuchofrecentDutchdesignseemsintentonerasingthe
sensethatanydesignerimposedanysubjectivity.TakePascaleGatzen'sreworkingof
photographedclothing.Bycopyinganexistingitemnoteventheoriginalbutthead
remakingit,andthenrephotographingitandreadvertisingit,shecallsinto
questiontheoriginationoftheobject.Isitherwork?OrtakeKlaversEngelen,who
makesasimplechangeinorientationintoadefamiliarizationstrategy.OrHella
Jongerius'stextile,"Repeat,"whichusespreexistingtraditionaltextiledesigns
reorganizedbycuriousjuxtapositionandunifyingoverlays.OrExperimentalJetset's
projectthatsamplestheworkofapreviousgeneration,overwritingnewmeaning.
OrArchismagazine'suseoffoundtypographicstyle,absolvingitofasenseof
subjectivity,eliminatingthedesigners'presumedresponsibilitytocreateadistinct,
uniqueidentity.(Moreonthatshortly.)
8AUTHORASVALUEADDED
ButifitisaDutchDesigntraittodisappearintodataorasystemandfeign,atleast,a
lackofrealambitionorsubjectivity,thereisanemergingtendencyinwhichthe
designerassumesacentralroleasacharacterinthework.Thisteststhewaythe
treatmentofgivenmaterialwhatvanToornmightcallthecriticalperspective
amountstoakindofauthorship.
Manydesignershaveenthusiasticallyembracedtheideaofauthorshipinhopesof
dippingintotheauthoritytraditionallygrantedtoauthors.Butdesignershave
generallymisconstruedtheideaoftheauthorasapowerstrategy,awaytowrest
control
overtheirprojectsfromthevariousforcesintentonlimitingit.Mostdesignuseofthe
phraselinksauthorshiptoakindofartisticexpressionorselfexpression.ButIam
interestednotsomuchintryingtorecuperatetheprominenceofthedesignerthrough
theapplicationofauthorialprinciples,butintryingtopickoutthewaythefigureofthe
author(whichisalwaysfictionalized)mesheswithbrandingstrategy.
(Inallcasesit'simportanttorememberthatwhenIusethetermauthor,Iamnever
referringtothewriterbuttoafictionalfigurethatservestounifyawholevarietyof
diversetexts.Theauthorisafunction,atermofexchange.)
Dumbarcouldembodyonemodelofthedesignerasauteur,managinganarmyof
underlingstoimpresshisstamponthebroadestpossiblecanvas.Dumbaractually
NOTDumbarbutDumbar'sstudiocreatesDumbarsignaturework.Dumbaras
flamboyantstandsforthework,givesitapublicfaceandabranded"personality."Irma
BoomworkingwithSHVrepresentsanothermodelinwhichthedesignerusesthetools
ofdesigntoconstructmeaning.Butmorerecentworkengagesthesubjectinmore
complexandnuancedways.
Iwanttoturnbackthenforamomenttolookcloselyatoneproject:Archismagazine
anditstransformationfromasomewhatstraight,analyticalprofessionaljournaltoan
internationalstylemagazinewhosesubjecthappenstobearchitecture.(Sincethe
magazinewasrecentlycelebratedagainwiththeRotterdamDesignPrize,Ithinkitsafe
toassumethatitisanexampleofwhatsomeconsidertobethe"best"ofcontemporary
Dutchdesign.)
Whilethecoreofthemagazineisstillarticles,reviews,critiquesandeditorials,the
magazineadoptsanothervoicethatappearsspectrallyamongthearticles,offering
choices,garneringinformation,askingquestionsandmakingjokes.Butwhosevoice?
Theeditor?Thedesigners?Aphantomthathauntsitspages?Whoisthe"I"ofArchis?
Sincethatvoiceostensiblyhasnothingtodowiththedeliveryofthecontentthatis,
thearticlesanditemsthatmakeupthebodyofthemagazineitwouldseematfirstto
beavanToornianhindrancestrategy.Thedesignerseditorializebyshapingthe
material.ButtheArchisauthorialpresencehasnoneofvanToorn'sdesireforsocial
reformationorpoliticalagitation.TheArchisvoiceisthecourtjester:it'sabout
richness,pleasure,irony,humor,i.e.valueaddedcontentandshading.
Archisfurthersthatrelationshipbetweenauthorandreaderthroughaseriesofspecific
shiftsandmoves.Thevoiceasksquestionsdirectly,leavesblankspacestobefilled,
suppliesformstofaxback,overwritesothertextsandgenerallyinterferes.(Anditcan
bemaddening,likeanannoyingfriendreadingoveryourshoulder,makingsnide
remarks.)Somepagesareperforated,suggestingreaderdrivenmutability,thatthe
presentedformismerelyoneincarnation,notthefinishedstate.Itinvitesitsown
disfiguration.
ThevoiceofArchismovesthemagazinefromawriterlytoareaderlytext.Bygoading
readerstoliterallyfillintheblanks,theArchis"I"implicatestheminthedesignitself.
Thisgestureculminatesintherecentmovetowardorganizedpubliceventsthatsuggest
acompletelyusercentricforum,wherecontentisspecificallyformattedindirect
responsetoanaudiencegatheredinaspecificspotataspecifictimewiththeArchis
authorassumingtheroleofmaestro,conducting.
OnewellpublicizedexampleofthefictionalizedauthorcanbediscernedinJopvan
Bennekom'sselfinitiatedRemagazine.VanBennekomlinkshismagazinewhich
startedasaschoolprojectattheJanvanEyckAcademietoa"typicalDutch
approach...Aconceptualpositionofselfironyandselfquestioning."Bennekom
positionshimselfasboththeoriginatorandsubjectofthemagazine.Throughthisovert
form,themagazineisdedicatedtohisinterests,proclivities,possessions,friends,life
events.ThemagazinegeneratesafictionalpresencethedesignerJopvanBennekom
whopermeateseveryaspectoftheproject.Evenashemovesfromsoleproprietorto
executiveeditortoasingleindividual,vanBennekomservesasbothauthorandsubject
inanintenselyautobiographicalproject.
Andthenthis.VisitingtherecentAMO/OMAexhibitionattheNationalGalleryin
Berlin,IwasgreetedbyaspecialRemKoolhaasdollthatartistTonyOurslerhad
createdfortheexhibition.Koolhaascanbereadonseverallevels,asliteralauthorand
ascoalescingfiguretheringmastermarshallingtheforcesofabroad,
decentralized,internationalcastofcollaboratorswhoseworkisunifiedunderhisname.
Oursler'sfigureofKoolhaasfloatsspectrallyoverasmashedanddecayedpileof
garbageandbrokendesignelementsandreads,overandoverincontinuousloop,his
article"Junkspace."TheRemdollmakesaperpetualcelebrityappearance,endlessly
spoutinghisfamous,brandedrhetoric.
9DRESSINGDOWN
IntypicalDutchfashion,noonedressesuptomakeanappearance.TheDutchauthor
arrivesdisheveled.Hisorherpresenceispaddedwithironyandselfdeprecation.
Thereseemstobeacloseconnectionbetweentheriseoftheauthor,ofsubjectivity,and
theundesigningofdesign.
Butwhatdrovethatshifttotheundesigneddesigninthe'90sandtheattendantDutch
Designexplosioninternationally?Whilepartoftheshiftisclearlyareactiontothe
slicknessofthe'80sandtheearly'90s,Inominateoneman,JoopvandenEnde,asthe
realsourceofinspiration.JoopvandenEndeisofcoursethefatheroftheworldwide
globalphenomenonknownasBigBrotherandbubblegumtelevision.Thebasictenet
ofBigBrotheristhatcompellingtelevisionmayresultfromsimplystickingabunchof
unlikeablecharactersinahouseandfilmingtheensuingfriction.
RealityTVhasexplodedintheU.S.andaroundtheworld.Televisionproducersloveit
becauseit'scheap,easytomake,easytoserializeand,mostimportant,easytolocalize.
Itsatisfiesthegrimdesiretoinspectyourneighbor'sdirtylaundry.InHollanditseems
tohaveaspecialresonance,perhapsbecausethewholecountryisakindofartificial
realityofcloselypackedneighbors,orperhapsbecauseofthebrutalefficiencyofthe
concept.Itseemstoembodythe"notonepennymore"credo.
Recentworkfocusesonthebanal:theareasuntouchedbyDumbarismandthe
sweepingoverdesigngesturesfromtheyearsbefore.VanLieshout'sAVLVilleisakind
ofartificialrealityTV.Theworkreferstothestandard,accidentalitemsofanin
betweenspace,butalwayswithsomeironictwist.Actually,it'saromanticizedbanality.
Thisworkignoresthecorporate,globalizedrealityofPhillipsandPTTorRabobank.
Theromanticizedrealityfocusesonthegenericapartment,therefugeecamp,the
abandonedembankmentandthevernacularlanguageofthedoityourselfer.
ThatsameaestheticisrepackagedbyagencieslikeKesselsKramerincampaignsforthe
likesofDieselandBen.Theirownsly,funnywebsiteperfectlyembodiesthe
methodology.Itadoptsallofthefamiliarclichsoftheweb,injectsthemwithstyle,
andproducesanewformofwritingthatispartreference,partnarrative,part
playacting.Ofcoursethiscasualnessissoenormouslycultivatedandfinessedthatitis
immediatelyrecognizableasdesignwithacapitalD.Noonewouldmissthejoke.
Thequestionis:doesbanalityhaveanagenda?Isanythingadvancedexcepttheblas,
detachedbemusementofthedesigner?HasHollandbecomesocomfortable,so
completelydesigned,thattheonlythingleftisironiccommentaryontheactof
designingitself?Doesanyonethinkaboutakindofmakeablesociety,orhavewejust
givenup?Designmayhavebecomeafreefloatingreaction,allverbwithoutdirect
object.
Justagainst...butagainstwhat?NotethisremarkfromExperimentalJetset:
"Whatwehave...drawnfrompostmodernismistherealizationthatthereareno
objective,neutraloruniversalvalues.Butthatdoesnotdiscourageusfrompursuing
thosevaluesthatisourmodernistinheritance.Intheend,we'veactuallyarrivedat
somethingofasynthesisofmodernismandpostmodernismworkingwithautopiain
mind,whilebeingfullyawarethatwewillneverachievethatutopia."
Wehaveallgottenusedtoacceptingwhatevercomesalong,whoeverisinthehouse.
Onewillgetvotedoffeachweek,butdon'tworry,thewholethingwillstartagainnext
season.It'sjustagame.It'sasifaftertwentyyearsofabsolutelyrelentlessshiftsin
style,andyearsofbeingberatedfortheirlackofpoliticalcommitmentbytheirMay'68
professors,youngDutchdesignerssimplyturnedinward.ThekindofDutchdesign
thatcapturesourattentionnowalmostalwayshasalayerofhumorandreferencethat
seemstosay,likeExperimentalJetset,wedon'treallybelievethis,butlet'spretend
anyway.But,morestriking,foracountryonceknownforbig,bold,broadpublic
initiatives,Dutchdesignseemstohavetakentotacklingsmallissues.Thedesignerhas
casthis/hergazeonsomethingsolow,soinsignificant,itimbuestheobjectwithalmost
mythicpower.
Let'sturnbrieflytoacontemporaryidentityproject:DanielvanderVelden'sproject
(governmentsubsidized,ofcourse)todevelopabrandforSealand,asingleabandoned
NorthSeadefenseplatformcumprincipality.Whateverthemeritofthedesign
experimenttocreateanidentityforanentitywithoutsubstance,apuredataspace
itmaybepoignantasametaphor:Dutchdesignersmayhaveturnedtheirattention
offshore,givenuponthemainland,givenupbelievingtheirworkcanaffectthe"real"
world.MaybethereisnorunningroomleftinHolland.Maybethe"makeablesociety"
issimplythebasisforparody.
10WEAREWHATWEEAT
Theproductionandconsumptionofstylehasacceleratedsoquickly,beenbroadcastso
widely,thattrendsandcountertrendsdevelopsimultaneously.Actionandreactionare
linkedinextricably.Thisisdue,inpart,tothefactthatyoureallydohaveacultureof
designhere,acultureofexperiment,discourseanddiscovery.
I'vetitledthistalk"MadDutchDisease,"anobviousallusiontoMadCowDiseaseor,
moreofficially,bovinespongiformencephalopathy.ThescourgeofEurope,MadCow
appearswhencowseatfeedthatcontainstheremainsofothercows.Whenourdiet
startstoberestrictedtothepointofdevouringameridam:thedutchificationofamerica
andregurgitatinglastweek'strend,weareinseriousjeopardyofsuccumbingtoa
similarfate.
ButasImentionedatthebeginning,Idon'tseeDutchdesignasconfinedtothe
Netherlands.Thisishappeningeverywhere.It'sjustthatduetoadvantageous
conditions,itseemsmorepronouncedhere.IntheStates,ourflightsoffancyare
constantlyquelledbythemarket.BecauseofthatweuseHollandasakindofbreeding
ground,carefullyobservingwhatissuretohappeneverywhereelsesoonerorlater.
Orperhapsthisisabetterwaytoputit:Iwonderifwehaveworkedourselvesintoa
trapofourownmaking.Wehavebeentirelesslychasingthisthingcalleddesigntheory
orcriticismfortwentyyears.Havewebeenbuildinganelaboratecontraptionofself
reflectivemetadesignculture,onlytorealizethatwemaybeitsultimatevictims?
Whenitcomestimetohittheswitch,whoknowswhattheresultwillbe.
Adapted from a lecture delivered before the Premsela Institute, Amsterdam, March 2003 for publication in
Multiple Signatures: On Designers, Authors, Readers and Users (Spring 2013)
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