Editor’s column

The main idea with which accompanies me while I taking up the magazine and the projects, parallel with the magazine life, is again expressed on the cover. All I need to be happy is love, circle, triangle and square. And I know the special magic spells to combine out of these four components everything that constitutes life — family, friendly get-togethers, magazine, travel, food, wine, exhibitions and other pleasures, including a motorcycle.

So, on the eve of next issue’s press time I began to feel I was constructing something wrong out of love, circle, triangle and square — I mean I got a vivid bias towards the job and the lack of common human life. I’d immersed into the profession too much, and despite my fanaticism and prolonged unwilingness to emerge out of this immersion, I’m trying to practise and improve my refuse threshold. This is a problem — I do like saying «No» and either don’t know ahow to do it, everything interests me, and eventually, having aceepted tempting challenges here and there, at one point I feel as a robot, simultaneously working over a bunch of different issues and doesn’t get any pleasure of his best business in the world. However, this feeling quickly passes — there’s no time for reflection. When you have a demanding schedule, there’s a great way to emerge out of the working process and spread your wings for a short time. After the bike you again feel to be a human, not a robot, and again, you can dive back into the workflow.

My fellow designers, we’re doing the right and the best thing to deal with in life, but it’s sometimes necessary to emerge out of here somewhere not related to the profession at all. The reboot the head gets when you shift to another activity eventually leads to the fact that in the course of the project miracles happen — ideas turn up one after another, exhibitions opene, customers smile. Besides, the new activities you try shouldn’t come from related fields, such as, for example, first you draw, then write an article, or create a multipage issue and take up interior objects. Instead, get on the bike and go gymkhaning and cruising around. This cleans the chakras like yoga! I want to share this emotion not less than a new successful project. Join in now, guys, let’s go motorcycling!

    Projector № 2(19) 2012

    The new Projector has come out, already the nineteenth. This is the second time when the magazine is about love. The first one was the poster «LOVE» by Chaika two years ago, and now the cover is decorated with a magical poster by my friends Karin van den Brandt and Alex Clay All you need is LOVE. «Love is all you need» in general human understanding and ``All you need is a circle, a triangle and a square`` in the view of modernist designers. The simplest geometric forms are everything for us. And, actually, I have already written once that the magazine is not about design, but about love in fact.

    The character of the design history of the twentieth century is the Swede Bruno Mattsson. A detailed story about the master is presented by our expert Pavel Ulyanov: «Bruno Mattsson made a revolution in the Swedish design, having re-directed it from geometric functionalism to organic modernism, bringing it to the Danes and Finns, being far ahead. Impressed by the works of Alvar Aalto and Marcel Breuer, Mattsson created his own ergonomic model, based on the structural purity and human-centered logic».


    And the heroes of the day are my friends Karin van den Brandt and Alex Clay all together, they’re a friendly studio Leslie Moore. See the interview about thousands (no kidding, actually, thousands!) studio logos, the magazine Mark and museum projects, given me by the founders of the famous Dutch studio. I remind you that the cover of this issue of the magazine is their work.


    Last issue we, unfortunately, did not manage to make a publication on Vladimir Yefimov. Maxim Zhukov, Yuri Gordon and Sergey Serov think of their friend, and I recall the teacher and big brother: at Projector, we usually try to avoid superlatives — «the best», «unique», «most»- it’s kind of embarrassing. But not now, when we remember Vladimir, who all these words are applicable to easily and naturally. He played a not disputed role in the profession. The polymath and the highest-class professional, he was a beacon, a landmark in the profession for a lot of people, for the whole guild of type design, largely built with his effort».



    The veterans’ stories about gone decoration techniques are continuing with the memoirs of letraset: «In the previous issue we published the story of the stencil, familiar to every resident of the country over thirty years old from countless ads in stores, housing maintenance offices, schools, visual propaganda design and other moderately accidental features. It was the subject of what is called the low level, which knew the simple touch of a ballpoint pen and was despised by professional decorators. Letraset is an absolutely different matter. It was hardly possible to buy it from a common stationery store. Letrasets were available for the privileged only — those ones being in close terms with the art shops».



    Project № 4 «Subject» is filled with light in this issue. I present his new collection of lamps called Color music. Together with the company Artlight we make them out of old musical instruments: «The most difficult part in the creation of this collection is not to overdo. Musical instruments themselves have a very strong charisma, like most subjects, whose form is subordinated to function. Moreover, their shape and substantiality is the result of a long evolution, during which the instrument acquired more and more advanced features. Each tricky curve and every hole is in its place. And this material allows, in my opinion, only one level of interference — adding functional elements in a delicate way».



    And then I spoke to a young, but already quite a well-known on the international stage designer Maxim Maximov — he was one of those who represented the Russian pavilion at the recent Florence Design Week. «If I have a particular task, I try to dive into it completely, with the help of music, movies, facts, it is important to me to feel the culture and everything associated with a project, in order to create a clear and truthful image. Basically I work at night, this is the time when you can concentrate in a relaxed manner and not to control your performance. I enjoy the time at dawn, when the streets are slowly getting noisier, I can hear birds singing, and proudly finish my work».



    Project №5 «Environment» represents two places: one static — St. Petersburg Tkachi, and one itinerant — Moscow Design Museum.

    The industrial zone of Saint-Petersburg along the Obvodny canal goes on acquiring beautiful creative spaces. The one before last issue of Projector studied the new life of the former gas tanks, at the embankment of the Obvodny canal, 74. And just recently, literally next door, at 60, a new space called Tkachi has opened. The space is — wow! — ten thousand square meters of architectural companies, design studios, fashion shops and all other nice things called «creative industries». The creative director of «Weavers» Ksenia Jurkova and its CEO Sergey Komarov have been interviewed by Projector.


    In general, the genre of the interview and the designers’ direct speech is becoming increasingly popular in my magazine. The human intonation and real communication is always much livelier than any bellissimo art review. That’s why I’ve interviewed Sasha Sankova — the founder and guardian angel of many design projects, as well as the Moscow Design Museum, situated in the bus, since recently.


    №7 «Photography» project presents the works by Yuri Molodkovets. It’s surprising that we’ve released nearly two dozens of issues and this is the first time the pictures by Yuri- our friend, the member of the editorial board and a constantly good adviser, have appeared in the Projector! He is one of the most striking, and certainly the highest-demanded photographer in Saint-Petersburg. Estimating the number of projects he runs with his permanent artistism, you may think there are at least three Yuries. But I know that he is the one!» We are pleased to show one of his most famous projects — The New Hermitage.


    In the project № 8, «School», we continue curiously watching the activity of the Finnish company Isku working with students. This time, Isku has cheered up the furniture design faculty of «Mukha» with a professional competition. «Tthis experience has been extremely valuable for our students-furniture makers! The authors of projects found themselves in the situation very close to the real work of a European designer — the distinct terms of reference, the mandatory use of specific material (in this case Grada plywood of UPM), consultations with representatives of the client company. And as a result, we have absolutely serious professional results!»



    The project №9 «Books» has come out to be very rich in historical publications. It opens with the article Inlaid pattern by Mikhail Karasik : «The history of printmaking is the example of using new technical tools by an artist, when the progress has rushed far ahead. This is when production workers, without sacrifising the quality of work allow themselves to take advantage of it in creative ways. This happened with inlaid patterns, which in the second half of the 1920s tried to replace a line drawing or a vector, they’d say today. One of the most popular methods of illustrating a book in those years was a set, and if simple and fine lines and inscriptions (author, title, publisher) could be enclosed into a frame even by a novice printer, a drawing on the cover required a lot of skills, and sometimes a artist’s guidance».



    In continuation of the historical subject there’s the article by Andrey Kharshak Pilots, devoted in particular to the album Heroes of the battle for Leningrad and the graphic design of the Great Patriotic War as a whole: «If you try to describe the impression of the graphic design briefly, the word «pomp» probably will be most appropriate. This is understandable — the issue would be handed over as a memorable gift, a reward for particularly distinguished soldier-heroes of the air battles for Leningrad».



    We also publish in this issue a long-planned story by Andrey Rossomahin about the book masterpiece by Vladimir Mayakovsky and Alexander Rodchenko About That»: «1923 may be considered the year of the highest achievements in the book publishing fate of Mayakovsky: firstly, nineteen of his books were published within one year (!), and secondly — nothing equal to the constructivist books-concepts For voice and About that ever appeared».



    It is no coincidence that the publication by Rossomahin appears in this particular issue. The publishing house Vita Nova has recently printed a book by the author of Magic squares of Russian avant-garde. Mayakovsky’s case. The magazine could not miss the appearance of such a significant work, and I am pleased to publish a wonderful review by our permanent author Alexey Boyko on a book by our another author Andrey Rossomahin: «Such an issue of a complex genre and problematics, clear in its design and thorough in performance, hasn’t been generated by the Russian humanitarian thought and art-publishing practice for ages!»


    That’s not all, though. The project №10 «ProArt», launched in the previous issue in cooperation with the Association of galleries, is going on and acquiring new participants. Dmitry Semenov’s Gallery, Rizzordi Art Foundation and Creative space Tkachi— welcome to join the galleries that participated in the first edition of our «magazine in the magazine» at the club! «And if in the earlier issue we just tried to introduce the galleries, having shown a short passage about the business of each one, «ProArt» №2 goes deeper into the institutional links between an artist and a gallery owner, between a gallery owner and an architect or designer, between a designer and an art buyer. An ultimate collector, a connoisseur, of course, remains the key figure in the artist-gallery-designer-collector chain, but clear and smooth interaction of all the components of this system forms a transparent and civilized art market, whose correct settings all the participants of the process benefit from. We publish the conversations of gallerists and curators, designers, architects and collectors, their stories about private practice cases. We try to understand the ways contemporary art finally reaches its consumer. The unique publication involve 22 pages of direct speech of art market heroes- read the interviews, opinions, comments.


    Projector № 2(19) 2012

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