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Altbau#2HOMES?
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@HfG:
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Urban Planning ➉ÆSTHETIC Goals17th SquareYards Idea and Concepts!
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A–B) 63% of the future buildings $82Construction RENOVATION?
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N.1 theoretical „GropiusBau€ # Max Bill ❶ & ‹Horst Rittel®›
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Esta escuela se creó en 1875 bajo el nombre de Escuela Provincial de Arquitectura de Barcelona, siendo la más antigua de Cataluña y la segunda de España tras la de Madrid. El actual edificio de José María Segarra Solsona se puso en funcionamiento
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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
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Presentado por primera vez en un museo como parte de la exposición «Prácticas subversivas», este trabajo ha permanecido prácticamente desconocido, con pocas proyecciones públicas, durante casi cuarenta años. Su subtítulo original —«Un informe ficticio sobre la arquitectura del cerebro»— no sólo se refiere a las características de la metodología basada en el proceso de las prácticas conceptuales y el «arte de la información», sino que también indica el tipo de actividades llevadas a cabo por el Taller de Arquitectura. Esta plataforma multidisciplinar fue creada en 1960 por Ricardo Bofill. Entre sus colaboradores se incluían poetas como José Agustín Goytisolo, políticos como Salvador Clotas, artistas como Daniel Argimon y Joan Ponç, actrices como Serena Vergano, y, por último, los arquitectos, como Anna. Bofill, Peter H. Hodgkinson, Ramón Collado, Xavier Bagué, y Manuel Núñez Yanowsky. La película es un estudio de la relación entre arte y locura, y describe el horror de la condición humana, un mero instante entre la nada y la nada. La pieza es un documental experimental sobre la estructura de un cerebro, lo que refleja la inquietud de un artista y su visión distorsionada del mundo.
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The three square kilometer and largely undeveloped Oberwiesenfeld was selected as the centerpiece of the Olympic Games. Due to the proximity to the city center, Munich was able to promote the games with the slogan "Olympia of the short ways", which contributed to the decision-making process. Since the Oberwiesenfeld had served as a parade ground of the Bavarian cavalry regiment and later mainly military purposes, it was - except for armaments works - free of buildings. From 1931 to 1939 the Munich Airport was located on the Oberwiesenfeld. After the World War II, the debris rubble of the bombing of the city was piled up, from which the Olympic Mountain emerged. This was intentionally created in an oval shape, so that it could be used as a tribune foundation for a stadium. In 1964, Munich opened an architectural competition for the planning of a large stadium, which was won by the offices of Henschker from Brunswick and Deiss from Munich. Their stadium design was integrated into an overall concept. In the planning of 1965, the stadium was planned to hold around 100,000 spectators, although later the capacity was reduced
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After apprenticing with Toyo Ito, Sejima established Kazuyo Sejima & Associates in 1987. One of her first hires was Ryue Nishizawa, a student who had worked with Sejima at Toyo Ito and Associates. After working for Sejima for several years, Sejima asked him to form a partnership. In 1995, the two founded the Tokyo-based firm SANAA (Sejima and Nishizawa and Associates). In 2010, Sejima was appointed director of architecture sector for the Venice Biennale, which she curated for the 12th Annual International Architecture Exhibition. She was the first woman ever selected for this position. In 2010, she was awarded the Pritzker Prize, together with Ryue Nishizawa. Sejima's work tends to incorporate materials such as glass or slick surfaces such as marble. Her buildings mainly display an arrange of curves within the architecture of the building as well as on the surface. Kazuyo successfully combines the building with the surrounding areas. The use of a lot of sheer glasses and clear glass is used, allowing natural light to enter a space and create a fluid transition between interior and exterior. It lets a person to look at the outdoors, while also looking at themselves and the reflections the outside world creates on the inside of the building. Sejima intentionally overturns outmoded stereotypical housing models as they are based on assumptions instead of reality. These assumptions include housing models that illustrate the proper living condition for a nuclear family, etc. Her idea is not to initiate a complete rejection to tradition, but rather to challenge the conventional process of design. Instead of unconsciously applying assumptions to a design, she tries to confront them consciously as best as she can. She thinks it is impossible to let a building completely based on a fictional idea or theory of what something should be. Sejima redefines the "design process" as "process designs". Processes are documented, accumulation of design operations are taken into account rather than gradually refine a single design idea towards the final stage. During the design process of Hokusai Museum in Sumida Ward (Tokyo), sequence of 1:200 scale models were produced for the schematic design phase and photographed. Two periods of proposal production (21 days), materials used, elaboration dates, and the date when meeting were held were all in the record as part of the justification of the design process.
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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, and finally Venturi, Scott Brown and Associates in 1989, Scott Brown has led major civic planning projects

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 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
sinf
Scientific Inferiors
subs
Subscript
sups
Superscript
tnum
Tabular Figures
ss01
ss01
ss02
ss02
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 Serif Family

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Rhetorik SerifComplete Family
Rhetorik Serif Thin Italic
Rhetorik Serif Light Italic
Rhetorik Serif Regular Italic
Rhetorik Serif Medium Italic
Rhetorik Serif Bold Italic
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Rhetorik SerifEssential Family
Rhetorik Serif Light Italic
Rhetorik Serif Regular Italic
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Single Styles

95 EUR
Rhetorik SerifThin
95 EUR
Rhetorik SerifThin Italic
95 EUR
Rhetorik SerifLight
95 EUR
Rhetorik SerifLight Italic
95 EUR
Rhetorik SerifRegular
95 EUR
Rhetorik SerifItalic
95 EUR
Rhetorik SerifMedium
95 EUR
Rhetorik SerifMedium Italic
95 EUR
Rhetorik SerifBold
95 EUR
Rhetorik SerifBold Italic
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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
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    B
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    C
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Uppercase Accents
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Currency & Math
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Ordinals
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Fraction
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