It seems necessary to write in more detail that the magazine has kinda existed for four years. Fifteen issues have come right on time, Projector has been developing and growing stronger despite the crisis, he suffers a fantastic success and gaining popularity calories and blah blah blah stuff like that. But it’s not interesting. I’d rather talk about the pleasures.
Take my word: making your own magazine gets you high much stronger than the epicurean gluttony, leaves behind wine drinking in the company of friends and only a little loses to sex! For me, Projector is an analogue of the assembly of all possible carnal pleasures, only a conscious way, a kind of intellectual Rablezianism. Running a magazine is subject to a belief very important to me: if you do something, then it must be done with pleasure. Otherwise, what for? That’s why the magazine has never had and will never have any critical analysis and publications on what I don’t like. I see no reason to waste time and energy on negative coverage. Surrounding reality is full of without our effort.
Quite a few miracles have happened for the past four years since the pilot issue. One of them, for example, is that the stars have always been aligned so that the money for another edition of Projector came just in time. And over these years I have never had to introduce publishing tricks like a double issue, reducing the number of pages or deterioration of the quality of paper. Ever since I started running Projector, my eponymous design studio has mostly dealt with reasonable and sane customers, whom it’s pleasant to talk to, not only to bill for the work performed. Here I also see the manifestation of the good humor of the supreme forces.
I sometimes happen to hear my colleagues saying that running a magazine must be difficult, and even more often that wasting my hard earned money on it might be a drag. I don’t deny the lack of even the most run-down oil rig of mine, which would be an uninterruptible money source for all the family, and the magazine is definitely not the entertainment for free. But, guys, I can’t stop this pleasure! And when in 2009 it was tough, I was seriously thinking of selling the car — that money would be enough for two or three issues! But, fortunately, we didn’t reach such extremes. This is the secret of the viability of Projector — as long as manage to enjoy the process, the magazine will continue. This is the greatest happiness — to be doing what pleases you and brings so many positive emotions.
As before, publishing each issue is a miracle to me. The magazine kind of lives on its own, and I’m assigned to be its observer. A gardener might be feeling the same while watching his favorite tree growing, sprout new branches and, to be honest, sometimes fruits. This comparison is completely applicable to the magazine.
Guys, I sincerely wish everyone to enjoy what you are doing. Let it be bright and creative activity! And, if you decide to write me a letter of congratulations about the fourth anniversary of Prjector, don’t be afraid to waste good words, write, I’ll be glad.
Projector № 3(16) 2011
Next edition of Projector №3 (16) has been published, which means the magazine is four years old - four by four = sixteen! The editorial board didn’t booze much though. Next year we’ll have a drinking-bout at its fifth anniversary, and the forth is not an excuse.
The issue opens with the story of Pavel Ulyanov about his namesake, the Danish designer Paul Kierholme. «Paul Kierholm’s design is based on a deep sense of material and sincere intention to show its visual characteristics. One day, Paul said: «I’ll express the nature of the material rather than my own individuality». One of his fundamental decisions was to use spring steel, extremely durable and flexible at the same time, being able to react to changes in weight. Kierholm handled steel accurately and carefully, in the best traditions of wood processing, so that dull surface and chrome elements could reflect the smallest change of the incident light.
Further on, our permanent author Olga Severina has been able to interview the world star of graphic design Lech Drevinsky: «If we talk about the graphic part of it, a poster is a metaphor itself. I always initially take a metaphor that comes almost immediately as a premise. I do think in general, that all art altogether, well, or at least the art interesting to me — it’s all one big metaphor» (Lech Drevinsky). Projector has published a dozen of posters by the artist at a time.
Project number 3 «Lettering» is this time dedicated to the famous book by D.A. Pisarevsky Types and their construction, published in 1920s. Andrey Kharshak, the author of the article, refers to archive documents, which are published for the first time: «Thinking on the book, I decided to give two special (and perhaps not entirely private) episodes in the life of people were closely connected with this book. There’s a photo kept in our family archives, which was taken September 23, 1924 — the day of one of the most severe floods in the entire history of Saint-Petersburg. Three of the seven people in the photo belong to the creators of the book Types and their construction. They are Hollerbach, Beluga and Ohochinsky. And on the reverse side of the photograph there’s the emblem of the Leningrad society of bibliophiles glued in, drawn by Sergei Chekhonin, whose exquisite font compositions are also published in the book».
Continuing the series of articles about prominent objects created by designers in cooperation with the Finnish company Martela, we talk about the Skybar chair. Anna Kozhara, the author of the article: «Volumetric seat and backrest gently flow into another, ultimately thinning at the junction, and the neutral base allows this combination of the opposites almost float in the air».
This issue has a lot of interviews. One of them was specially given to Aurika Vilardi by the designer Dmitry Loginov about concepts, exhibitions, public relations, scandals and provocations gave specifically for Projector. Quite a rank conversation was the result. The publication is also noteworthy by the fact that it has become perhaps the kitschiest one all over the history of Projector. But in this case I consider its quality as a definite advantage!
The following interview is with the two Alexanders: Avramov — the director of the British Higher School of Design and Matveev — the author of the project of its new space. There’s a look at the design process from both sides — a customer and an architect.
But the following publication, dedicated to the opening another building designed by Sergey Choban in Saint-Petersburg, is also constucted in the way of matching the customer and the architect. Igor Vodop’yanov — the manager and co-owner of the holding Theorem, and Sergey Choban — the architect and author of the project, answered the questions of Projector’s senior editor: «World-class architects, implementing their projects in Saint-Petersburg, are extremely rare. Or, possibly, the architects exist, but there’s no civilized customer? Yes, there is! And the example is in front of you. The works by Sergey Choban, which would do an honor to any European capital, are in our city. In September, the business center Summer is going to be opened, involved into the solid ensemble with the already constructed business center Benois. The construction of the complex of the buildings in the area adjoining Sverdlovskaya embankment is a bright contribution by the architect and the management company Theorem in the development of modern civilized urban environment».
This issue’s project № 5 «Environment» is quite extensive. The editorial board spotted several stories that they immediately wanted to tell. One of them is about a big black ball, or the Project O. «We met the large black inflatable ball at the presentation of the next issue of The Baltic Project, when the installation by young Estonian designers almost buried the Projector senior editor under itself. A witty and multi-valued work provoked interaction, and the presentation guests passioately kicked the ball in the courtyard of the Museum of Urban Sculpture. Projector heartily thanks Volodya Frolov, the senior editor of The Baltic Project for taking such a wonderful object and its authors to our latitude, and also for the fact that he allowed, speaking gallerist language, «to capture» the heroes of his magazine for publication at us.
The project «Environment» closes with the publication of the work, probably, by one of the most popular graphic artists among all architects — Maurits Cornelis Escher. Here’s the text by Alexey Boyko, as usual artistic and insightful: «Maurits Cornelis Escher think much of his names, reducing them to initials: M.C. Escher,which was brief, clear and brand. In general, he was able to decisively show preferences, interests and intentions in the field of art, as if suppressing creative doubts and his weak body burdening with uncommon artistic mind. His purposeful focus on rigorous, painstaking embodiment of the visions and visually-mental games unites the Dutchartist, famous in in the mid-twentieth century, with the engravers of the late Gothic period and the Northern Renaissance».
Anna Kozhara seems to have captured the photography section and now from issue to issue meets and talks to our heroes-photographers. For this issue, Anna has interviewed Nick Teplov — a longtime friend of the magazine Projector. «Nick Teplov — a graphic designer, artist, filmmaker, but not a professional photographer. At least, that’s what he says. Photography for him is not a craft or art, but a means of visual thinking, material for the follow-up work, sketches and documentation».
Next, the member of Projector’s editorial board Yuri Molodkovets presents the exhibition of Alexander Lavrentiev: One, two, three. Portraits 2005-2010. The exhibition is held in a friendly gallery Stachka.
Project № 8 «School» tells not exactly about student works. Sergey Helmyanov considers the examples of cult (oh, I do not like this word, but otherwise I can’t convey he idea) design by graduates of «Mukha». Among them, there’s UAZ-469, the minibus RAF, GAZ-24 Volga ,VAZ 2121 Niva, GAZ-14 Chaika, the hydrofoil Meteor, the camera LOMO Compact and other objects, which convincingly prove that the design in the USSR did exist!
The historical publication of the project №9 «Book» is dedicated to the alliance October, put up in 1928. Our constant author Mikhail Karasik speaking: We’re having the constructivist manifesto of the association of industrial society creators. The word is graphically articulated by the simplest and most efficient means of the time, — typeset materials: fonts and ornaments. The designer, typesetter and proofreader with the help of different font size and bold, emphasise the point. Printing in two colors, black and red, not only enhances the layout, but also makes the ssue sound in even more agitational manner. Saturation and energy of the set are the main tools to accentuate the visual content».
And there’s one more full interview in the book section. Margarita Vasilyeva and Andrey Nadein — the godmother and godfather of the magazine Advertising Ideas — answer the questions of Projector. The magazine continues to explore the recent history of design periodicals in Russia over the past twenty years. Advertising Ideas is an example of remarkable longevity. Having appeared in 1993, it has approached a completely unthinkable for our professional periodicals serial number ninety!