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332px
1.11
-0.031
ArchitectREBUILD
281px
1.07
-0.056
1.49€
281px
1.07
-0.02
20th
151px
1.15
-0.025
❻A+Achievement &3/5 Award® honoreeGebäudeskulptureMuseum Fassade
93px
1.25
-0.02
#Pritzker Prize* 1984 AIA GoldMedal in (1997)Stadthaus Ulm
93px
1.25
-0.013
5% PostmodernAarchitecture®Kazuyo Sejima?area of 3,600m²
42px
1.35
0.002
In place of the functional doctrines of modernism, Venturi proposed giving primary emphasis to the façade, incorporating historical elements, a subtle use of unusual materials and historical allusions, and the use of fragmentation and modulations to make the build
42px
1.35
0.002
The Stadthaus Ulm is in the centre of Ulm (Germany), located on the MÜNSTERPLATZ (minster square). Primarily, the building is used to present exhibitions of photography, modern and contemporary art. A lecture hall is used for a variety of events, activities
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1.50
0.005
Kompletní grémium Akademie umění vyslovilo 26. května 1994 jednohlasné doporučení dále rozpracovat návrh Güntera Behnische a Manfreda Sabatke s Wernerem Durthem. Jejich projekt všem zúčastněným připadal po všech zásluhách jako nejlepší a nejlépe vystihující ducha a snahy Akademie umění na konci 20. století. Při odborném posuzování uvnitř Akademie se již tenkrát rýsoval boj o budoucí ztvárnění budovy do Pařížského náměstí. Akademii se nedařilo prosadit se svojí kritikou omezujících a částečně historizujících regulací přicházejících ze strany města (např. volba materiálu, maximální podíl oken ve fasádě měl být 50 procent); byly převzaty z územního plánu. Návrh Behnisch & Partnern s Wernerem Durthem samozřejmě nedpovídal ve všech těchto bodech. Vznikl tak zdlouhavý a veřejně vybojovaný (fasádový) boj, který celý projekt zpomalil o mnoho roků a byl ukončen až v lednu 1999: územní plán byl pozměněn. Poněvaž stát Berlín mezitím seškrtal stavební výlohy, musel byt celý původní projekt pozměněn. Redukcí stavebního programu se dospělo k tomu, že jižní část pozemku směrem k Behrenstrasse musela být nabídnuta k dispozici jinému uživateli; původně zde měl vzniknout rozsáhlý archiv.
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Après être diplômé à l’université de Princeton en 1947, Robert Venturi y obtient un MFA en 1950. Il poursuit ses études de 1954 à 1956 à l’American Academy in Rome où il a obtenu une bourse et où il tombe sous l'influence du maniérisme et du baroque. Il collabore avec Eero Saarinen et Louis Kahn avant d’ouvrir sa propre agence en 1958. En 1964, il s’associe avec John Rauch et quelques années plus tard son épouse Denise Scott Brown, elle-même architecte, rejoint l’agence. Après le départ de John Rauch en 1989, l'agence a pris le nom de Venturi, Scott Brown and Associates. Il a obtenu le prestigieux prix Pritzker en 1991. Il a enseigné dans de nombreuses universités (Yale, Princeton, Harvard, UCLA). Il a construit de nombreux édifices mais c’est surtout son œuvre théorique qui a eu une forte influence. L'étude Complexity and Contradiction in Architecture publiée par le Museum of Modern art de New York en 1966, marque en effet la fin d'une époque, et nul autre traité n'aura pareille influence sur le cours de l'architecture durant les trois dernières décennies du xx siècle. Sans en avoir le retentissement, son ouvrage a une portée similaire à celle qu'avait eu en son temps Vers une architecture de Le Corbusier. L'œuvre de Venturi est hétérogène
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In 1972, with Venturi and Steven Izenour, Scott Brown wrote Learning From Las Vegas: the Forgotten Symbolism of Architectural Form. The book published studies of the Las Vegas Strip, undertaken with students in an architectural research studio course which Scott Brown taught with Venturi in 1970 at Yale's School of Architecture and Planning. The book coined the terms "Duck" and "Decorated Shed" as applied to opposing architectural styles. Scott Brown has remained a prolific writer on architecture and urban planning. The book joined Venturi's previous Complexity and Contradiction in Architecture (Museum of Modern Art, 1966) as a rebuke to orthodox modernism and elite architectural tastes, and a pointed acceptance of American sprawl and vernacular architecture. Scott Brown and Venturi strove for understanding the city in terms of social, economic and cultural perspectives, viewing it as a set of complex systems upon planning. As part of their design process, the Venturi, Scott Brown & Associates firm studies the trends of an area, marking future expansions or congestions. These studies influence plans and design makeup. Such an approach was used for their Berlin Tomorrow Competition, putting the population movement and daily pattern in consideration. Similarly, the Bryn Mawr College plan took into consideration the landmark of the early campus and the usages of campus space prior to planning. Scott Brown holds a systematic approach to planning in what is coined as “FFF studios.” In it, form, forces and function determine and help define the urban environment. For example, the Venturi, Scott Brown & Associates firm studied both the expansion of Dartmouth College campus along with the wilderness surrounding the perimeter of the area. The fusion of Eastern and Western ideas in the Nikko hotel chain are evident by merging the Western notion of comfort (62 Stanislaus Von Moos) with historical kimono patterns with their hidden order. The architecture applies a post-Las Vegas modern feel while projecting the traditional Japanese shopping street. Guest rooms are typically made with Western taste, with fabrics, wallpaper, and carpet exclusively from the Venturi, Scott Brown & Associates firm that reflect the scenery outside. In contrast, the exterior “street” complex reflects Japanese urban and traditional life. With the firm, renamed Venturi, Rauch and Scott Brown in 1980
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A imagem que temos hoje da arquitetura pós-moderna é associada principalmente à década de 80. Alguns elementos utilizados nos projetos desta época fizeram da pós-modernismo imediatamente reconhecível como estilo, mas foram responsáveis também pela criação de uma imagem estereotipada e caricatural do "movimento". O uso irônico exagerado de referências históricas, a repetição sem critério do uso do frontão como elemento de coroação do prédio, ou a explosão de cores (estas características podem ser observadas na Piazza d'Italia de Charles Moore), são alguns desses elementos. Estes foram compreendidos como um estilo a ser repetido e não como crítica à austeridade sisuda do chamado modernismo. O pós-modernismo na arquitetura tem também uma forte ligação com os espaços comerciais e sua expressão máxima: o centro comercial, como por exemplo o Norte Shopping em Matosinhos, onde se nota uma clara referência eclética ao passado. Esta ligação fez com que o estilo fosse associada à nova cultura do consumo, representando valores passageiros e menores. Esta noção foi reforçada pela adoção do estilo por grandes empresas internacionais, que buscavam uma nova imagem corporativa. O edifício da AT&T de Philip Johnson é o principal exemplo desta tendência. Algumas tendências urbanísticas surgiram junto com as novas expressões arquitetônicas. Entre elas está o new urbanism (novo urbanismo) e grandes projetos de revitalização urbana como o IBA, em Berlim. A arquitetura comercial e corporativa, difundida através de alguns elementos estilísticos não é a única expressão do pós-modernismo. Outras propostas teóricas, baseadas na filosofia estruturalista, surgiram no final dos anos 70 e início dos anos 80. Este movimento paralelo ao "pós-modernismo de cunho histórico" procurou novas bases formais e abstratas para o desenvolvimento do projeto, encontrando em filósofos como Jacques Derrida e Gilles Deleuze seu suporte teórico. São expoentes das novas experiências estruturais os arquitetos Bernard Tschumi e Peter Eisenman, entre outros. Ao final dos anos 80, 80, o termo arquitetura deconstrutivista englobava estes e outros arquitetos, apagando diferenças fundamentais e transformando

A stark white page with two words introduces the chapter: »rhetorik« and ‘Rhetoric’ are the sections of Otl Aicher’s 1988 book Typographie where he ruminates on how the same idea can be formed in multiple ways. This condition is not unique to a specific language, but instead is universal. The specific syntax one uses becomes important to consider, as the way in which information is presented determines the success of its communication.¹ Today, Rhetorik is a versatile family with a spectrum of styles which allow it to excel both in text typesetting as well as display usage, with perhaps its most promising potential application being complex identity projects. Stylistic sets of text and display versions keep historical aspects alive (a postmodern Aicher ‘b’ for instance) while also offering flexibility with simplified alternates. Rhetorik challenges the definition of a type family, combining both sans and serif styles in a manner unlike its predecessors. This superfamily was built on a modular, component-based system in order to simplify construction and achieve consistency. The letterforms were then refined through optical correction in each cut. In this way, Rhetorik fulfils the dream of today’s art director; a simplified, contemporary reinvention of Aicher’s Rotis (1988).

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‘Family’ becomes an interesting lens through which to view Aicher’s legacy, as throughout his career he valued creating networks to stimulate growth.² It is fitting that Rhetorik also developed through a diverse lineage of references, after a thorough study of many important figures within German design. It is through Walter Tiemann’s font Orpheus³ where Rhetorik formally starts. An interpretation of Orpheus was developed through an experimental process where the contrast was increased, and serifs were added, modified and removed. The result bore a resemblance to Aicher’s Rotis, planting the seed to create a family with both a sans and serif style – one which would, in a unique way, preserve some of the character present in Orpheus. Through this process an idea of ‘constructed calligraphy’ was often referenced, with the presence of the pen in the forms, occasionally supplemented with constructed drawings.

This methodology continues in the italic cuts. On the ‘constructed’ side, the sans italic has been created by mechanical slanting, and fine-tuned through optical correction. In contrast, the serif style features a true italic, a ‘chancery’ hand style – almost completely calligraphic, while at the same time conveying a contemporary feeling through its digital formation. These moments are particularly present in the ‘n’ ‘v’ and ‘k’ which relay both a sense of writing and construction within the same letter. Emil Rudolf Weiß’s Weiß-Antiqua (1924) also served as another reference from German type design history, providing inspiration for solving certain challenges during the development of the italic cuts.

Aicher, inspired by other families such as Univers and Times, did not necessarily achieve the results he set out for.⁴ A common perception of Rotis is that it as an ‘art director’s typeface,’ working well in architectural and branding contexts, but overly-stylised for other uses. Rhetorik creates something new through meticulous editing and synthesising of all of these points in history. The overall volume has been reduced from its sources in order to yield a functional type system while maintaining the concept of marrying a sans and a serif. Two styles have been brought together, but perhaps (as in an actual marriage) there is occasionally still some tension, which gives the family a distinct attitude. It is committed to the long haul, with many stylistic decisions resisting the flow of trends in type design today.

1       Otl Aicher, Typographie, Ernst & Sohn Verlag, Berlin, 1988, p 94.

2       Aicher’s first design commissions were lecture posters for Ulmer Kreis (Ulm Circle of Friends) which he established with close associates to revitalise his post-war town. Later, together with Max Bill, he founded the seminal Hochschule für Gestaltung Ulml, and towards the end of his life established the Rotis Institut für analoge Studien.

3       Giovanni Francesco Cresi worked as a calligrapher for the Vatican in Rome in the 16th century, also publishing his own work, writing models and teaching scribes at the Sistine Chapel. One of Cresi’s calligraphic models was later interpreted by Walter Tiemann and developed into Orpheus in 1962. Tiemann was an enormously influential figure within German design, releasing his work through Klingspor Foundry and teaching at Staatliche Akademie für Graphische Künste in Leipzig, where Jan Tschichold was one of his students.

4       Aicher’s conception of the modern movement formed an ideology so strong that perhaps it blinded his process. His 1991 book, Die Welt als Entwurf (The World as Design) preached that there was no place in the world for beautiful artworks which do not have any function. For anyone who has read this book, the irony is quite present – the type it was set in, Rotis, seems to directly oppose those values, appearing to be more about its form than its function, sacrificing legibility while undoubtedly flaunting a certain style.

Technical Information:

Design: Sascha Bente
Classification: Humanist Sans-Serif
Cuts: 10 (5 styles with italics)
Mastering: Michele Patanè
Cover image: Olga Prader
First sketch: 2019
Released: 2022
Latest update: 02/2022
Initiated at ECAL

OpenType Features:
aalt
Access All Alternates
calt
Contextual Alternates
case
Case Sensitive Forms
ccmp
Composites
dlig
Discretionary Ligatures
dnom
Denominator
frac
Fractions
liga
Standard Ligatures
locl
Localized Forms
numr
Numerator
ordn
Ordinals
pnum
Proportional Figures
salt
Stylistic Alternates
sinf
Scientific Inferiors
subs
Subscript
sups
Superscript
tnum
Tabular Figures
ss01
ss01
ss02
ss02
ss03
ss03
Supported Languages:

Afrikaans, Albanian, Asu (Tanzania), Basque, Bemba (Zambia), Bena (Tanzania), Breton, Catalan, Chiga, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba (Kenya), Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo (Kenya and Tanzania), Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu (Tanzania), Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili (macrolanguage), Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek, Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Buy Rhetorik Sans Family

505 EUR
950 EUR
Rhetorik SansComplete Family
Rhetorik Sans Thin Italic
Rhetorik Sans Light Italic
Rhetorik Sans Regular Italic
Rhetorik Sans Medium Italic
Rhetorik Sans Bold Italic
375 EUR
570 EUR
Rhetorik SansEssential Family
Rhetorik Sans Light Italic
Rhetorik Sans Regular Italic
Rhetorik Sans Medium Italic

Single Styles

95 EUR
Rhetorik SansThin
95 EUR
Rhetorik SansThin Italic
95 EUR
Rhetorik SansLight
95 EUR
Rhetorik SansLight Italic
95 EUR
Rhetorik SansRegular
95 EUR
Rhetorik SansItalic
95 EUR
Rhetorik SansMedium
95 EUR
Rhetorik SansMedium Italic
95 EUR
Rhetorik SansBold
95 EUR
Rhetorik SansBold Italic
Package discount
0 EUR

Buying guide

We offer the possibility of buying individual styles as well as complete families. The price shown is the cost of our most basic licence. Further licencing options are available during the checkout process.

Character Overview

A
Character name
Unicode Decimal
65
Unicode Hex
41
HTML Entity (Hex)
A
Uppercase
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    A
  • 66
    B
  • 67
    C
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    D
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Currency & Math
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Fraction
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