Celebrated Dutch book designer Irma Boom continues to push the boundaries of book design by defying the conventional use of publishing materials and printing. Boom’s special edition for Chanel No. 5 is loaded with images and text and uses absolutely no ink. The sheets are completely white and blind embossed throughout. The result is sensual, intriguing, ethereal and haunting, like the best fragrances. Boom’s approach to book design is that of a fine artist. In fact, of the more than 250 books she has designed, more than 50 are in the Museum of Modern Art in New York. Boom created this limited edition book for the No. 5 Culture Chanel exhibition at the Palais de Tokyo in Paris.
This January type fonts earned long overdue recognition as “designed objects” when the renowned Museum of Modern Art in New York City acquired 23 digital typefaces for its Architecture and Design Collection. Except for its acquisition of Helvetica, this is the first time typefaces made it into MoMA’s permanent collection.
This quiz is to see if you can name the 23 faces inducted into the MoMA permanent collection — and three more classic faces we added just to round out the alphabet. To help you along, we included a clue alongside the font letter, and can tell you that the type designers chosen for the MoMA collection are Wim Crouwel, Matthew Carter, Erik Spiekermann, Zuzana Licko, Jeffery Keedy, Erik van Blokland, Just van Rossum, Barry Deck, P. Scott Makela, Jonathan Hoefler, Neville Brody, Jonathan Barnbrook, Tobias Frere-Jones, and Albert-Jan Pool. Good luck! (Answers on next page.)
Given the fact that so many people emailed us articles about the Museum of Modern Art in New York “acquiring” the @ symbol for its architecture and design collection, we believe that others made the connection to us as well.
Actually, the origin of the @ symbol is rather murky. One theory is that it was invented by scribes around the sixth or seventh century as an abbreviation of “ad,” the Latin word for “at” or “toward.” Then @ resurfaced on the keyboard of the first typewriter, the American Underwood, in 1885, as a shorthand way of stating “at the rate of” on accounting documents. With the exception of bookkeepers, few people used the @ key, which apparently was the reason why an American programmer named Raymond Tomlinson decided to appropriate it in 1971 when devising a system to state the first email address. Tomlinson concluded that a succinct way to let email senders identify themselves was by separating the user name from the host computer from which it was sent with the @ sign. That made perfect sense and quickly became the language of the global email realm.
In 1994, when we were trying to come up with a name for our new business and design journal, the @ symbol seemed like a clever way of implying that we were at the cutting-edge of contemporary issues. Little did we realize that in 2009 when we launched ourselves as a magablog, we couldn’t register “@Issue” as our url and had to go with the annoyingly awkward “atissuejournal” if we wanted to keep some semblance of our name. But, in our heart, we will always be @Issue. Now, we are proud that half of our logo has been inducted into the MoMA collection – we’d be even prouder if MoMA would take the other half of our logo too.
Molo Design is tearing down rigid beliefs about what walls should be. The Vancouver, Canada-based creative firm , founded by architects Stephanie Forsythe and Todd MacAllen, has come up with an innovative family of soft architectural products made from paper and non-woven textiles. The core of molo’s collection is softwall and softblock, a modular space shaping system that allows users to form a wall or partition off an area without need of nails or construction tools. Like party decorations made out of honeycombed crepe paper, molo softwalls are based on a honeycomb cellular structure that can be expanded or compressed at will.
“When we originally designed softwall, we were looking into a solution for making homes smaller and flexible,” explains MacAllen. “The idea was that a home could consist of one main space that could be divided into smaller, more intimate spaces when required.” The pair began experimenting with lots of small paper models and discovered that the structure of honeycomb itself gives paper amazing strength that could be scaled up to large sizes.