Editor’s column

Editor’s columns of the previous issues were narratively mundane — editorial matters, the magazine’s life cases and so on. Enough! Now speaking of the eternal, because there is no need to waste your time on the momentary. Let the evil tongues not accuse me of excessive pathos, let my friends not suspect the irony finger behind my back. My beliefs are completely naive, even if someone considers them mistaken.

I’m speaking of love, which is a wonderful feeling, no matter who it is addressed to — the only and the best person or a profession, which you can’t imagine your life without! I’m sitting pretty: I started up a magazine as a declaration of love to business I think is the only right choice for me, and to the people I am proud to my associates. There are people who feel personal responsibility for our visual culture, for the state of the industry as a whole — those who move the profession forward. They might be polymaths and have the rarest knowledge, might be nihilists and cynics, may operate a picture or a word, or have all the qualities from above at the same time. But being indifferent to the business which we are engaged to — is our common, unifying feature. Trying to involve as many of such people as possible into the life of the magazine, I sincerely believe that a good result is achievable only for love, not for money.

To make your work feel enjoyable, make it fly, it is essential to have wings. Then everything will work well and then, perhaps, the world view around us will become a little more sane. The magazine Projector is not about the methods and recipes. It is not a lesson and instruction. It is a profession in life and life in the profession. All you need is love!



    Projector № 3(4) 2008

    There’s been published the new Projector, the third one this year and the fourth altogether. Its senior editor Mitya Kharshak has outlined in the editor’s column the direction of the magazine’s development and its emotional charge: «The previous editor’s columns used to be narratively mundane - editorial matters, everyday life of the magazine and so on. That does it!

    The retrospective look at the history of design does not let Projector break away from the Bauhaus of the 1920-30s, as this decade has loads of information. The issue again starts with a story about one of the masters of this school — this time the hero of the historical perspective is Marcel Breuer.

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    Next, the expert and the driving force of the artist’s book Mikhail Karasik speaks about one of the great masters of the genre — Gunnar Kaldewei, whose design books have been included into the world-famous museum collections for several dozens of years.

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    This issue’s author’s project of Olga and Alexander Florensky «Russian Design» presents most ingenious time-keeping devices. It is precisely entitled Local Time.

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    The «Lettering» project, in spite of the prevailing, but still not customary tradition, looks into the history of type not as deeply as in the previous issues. The explanation is that Projector could not ignore such an event as the fifty-second annual conference ATypI, which is going to held for the first time in Russia. Live compilation of ​​impressions and feedbacks from the participants of the previous conferences — despite being quite a superficial font section, but anyway, undoubtedly, this is historical material! This publication for the magazine is prepared especially by John Berry — the tupe critic and the president of ATypI. The previous conferences were held in Lausanne, Dusseldorf, Paris, Verona, Vienna, Cambridge, Zurich, Mainz, Prague, London, Barcelona, ​​Copenhagen, Basel, Berlin, New York, Oxford, Budapest, San Francisco, The Hague, Lyons, Boston, Rome, Vancouver, Helsinki, Lisbon and other cities around the world. Now it’s the turn of Saint-Petersburg.

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    This issue’s «Subject» involves a lot of furniture. Its opens with the article Furniture Morphology by our special correspondent in Paris Yevgeny Diakonenko. This publication describes the projects of two designers — Robert Stadler and Pablo Reynosa. They operate with quotations from the common furniture context — the Chesterfield sofa or a traditional park bench in their projects revive and begin to live their own life, or die and decompose — that depends on your point of view.

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    We’ve also published here the first article of the series that Projector came up with in cooperation with the world famous factory Vitra. In each issue of the magazine we’ll talk about one of the legendary pieces of furniture of the XX and XXI centuries. The first one is the chair Pretzel, designed by George Nelson in 1952.

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    The main publication of the «Environment» is dedicated to the construction, which is perfectly defined with the term «environmental design». The architects Mathias Sauerbruh and Louisa Hutton told the magazine in an exclusive interview about their building of Environmental Protection Agency, put up in Dessau (Germany). Not only does it have the most advanced technologies of the environment protection, but also the project itself seems to be dissolved in its environment. If we talk only about the external appearance of the building, its facades reflect the world around — the blue side overlooks the river, the green one faces the park and the yelloish-red is turned towards the red-brick building of the old station. The authors of the structure told Projector about the controversy with the traditions of Bauhaus, professional authorities and environmental trends in contemporary architecture.

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    A contrast, but an elegant addition to this interview is the story of Svetlana Mikhailova of her next search expedition deep into the courtyards of Saint-Petersburg. The search results were the discovery of the amazingly beautiful environmental object Yardkeeper — the sculpture, erected in the early1990s.

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    The «Interactive» contains only one article (but what an article!) by our regular contributor and the member of the editorial board Michael Shulenin. And the magazine has a happy opportunity to use his numerous trips to distant countries for stories about the curiosities of different thematic collections. And as the section is still devoted to interactive, these trips will also be the mixture of reality and virtuality. The series of publications opens with the story of the Manchester Museum of Science and Industry.

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    The project «Photography» continues the series of publications about the brightest and most interesting photographers of Saint-Petersburg. The duo Alexei Tikhonov and his Holga are in focus. Holga is a completely plastic (including the lens), but a medium format camera, invented in China (what’s funny, we didn’t manage to find the inscription «made in China» on it). It is worth five films which it takes pictures on, and each one is a little bit, but different from all the others.

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    After the previous issue’s publication about the master of the Soviet design school Svetlana Mirzoyan, Projector in the name of our authority Sergei Helmyanov continues the story of design in the Soviet Union. Sergey has interviewed Dmitry Azrikan — the designer and the author of numerous completed projects, and Dmitry told Projector about his way in the profession, the difficulties and joys faced by a designer in the 1960-80s. Unfortunately, the the full version of the interview was too big for the magazine, but you can read it on our friends’ website www.designet.ru. There you will also find a more detailed collection of illustrations showing Dmitry Azrikan’s projects.

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    Among numerous student projects the magazine has considered during the thesis defence this summer, the greatest interest was evoked by the work of Vladislav Sudakov, presented at the Department of Communication Design in Saint-Petersburg State Art and Industry Academy. Read the article by Alexey Boiko, telling the story of it from the ancient axiology point of view.

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    This issue’s project «Books» is especially rich. It so happened that in this issue several series of publications that continue in next editions of the magazine are announced. The book section has the same story. Projector is proud to present the author section of Mikhail Karasik dedicated to notable events in the book design of the first third of the twentieth century. Read more in next issues of the magazine: Wearing glasses and a hat. On the typology of the Soviet visual images in the graphics of the second half of the 1920s; Tire as a frame for the portrait of a contemporary. One of the plots of the photomontages in the 1920-30s; Printing of the Socialist Industry. The propaganda masterpiece by El Lissitzky; Wheels and pumps. The man at the wheel in books and magazines of the 1930s; Portraits of fuzz, feather and typeset. The portraits of the leaders in the printing industry; Contemporary portrait in a gas mask. A gas mask as the face of a hero of the war and labor in the book of the1930s. As for this particular issue, Mikhail Karasik tells here about a curious case of reproducing through the example of the books by the Petrograd Guild of artists Today and the publishing agency Scythians from Chita.

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    As for the new books, Projector has chosen the edition Project Vitra, devoted to the five decades of history of the famous factory.

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    The traditional review of own bookshelves is presented by the magazine partner — Information and bookselling company IndeksMarket, and Projector this time recommends the magic book New masters of poster design. The question of how New they are is quite controversial, but the fact that they are «Masters» is no doubt!

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    Projector № 3(4) 2008

    Read the full e-version on issuu.com