KARO

A Master of Cheese: Monsieur Antony.





23 December 2014 — Bernard Antony started out as a door-to-door grocer, delivering butter, sugar, coffee, chocolate and other food staples, as well as brassieres and other household items to isolated communities in Alsace. This region is located on France’s eastern border, on the west bank of the Rhine, adjacent to Germany and Switzerland. In 1979, Mr. Antony met Pierre Androuët, a renowned Master of Cheese and in 1983, he established his first cheese cellar. Today Maison Antony houses seven maturing and refinement cellars for its cheese.

Over the years, Mr. Antony’s cheese has become the obsession of a considerable number of world class chefs. Today there are around 19 Michelin three-star restaurants which place their trust in Mr. Antony for their selection of cheeses. A genuine globetrotter, Mr. Antony likes nothing better than to spread the word about quality French cheese – a passion which has taken him from Paris to Hong Kong, from New York to Berlin. Rumour has it, when he travels he buys two airline tickets, one for himself and one for his sidekick of cheese.

If you ask Monsieur Antony which wine should be served with his cheeses, he admits even though many like to drink red wine, this tradition is somehow inappropriate. He prefers white wine with hard cheese – for example a nice Château Chalon. He believes red wines are good only with Reblochon, Citeaux and St. Nectaire cheeses.

> Fromagerie Antony, Vieux-Ferrette
> see the cheese cellars



For old-school paper diary lovers: The 2015 Karo Diary.


9 December 2014 — The brand new Karo Diary features photos of one of the few buildings left standing in the Klybeck freight yard in Basel and some beautiful calligraphic-style graffiti in Zurich’s trendy Kreis 5 neighborhood. With a fresh, new layout, this year’s Karo Diary is hardbound, retaining it’s smart, user-friendly design.

> more details



Im Widerspruch: Basler und Zürcher Typografie der 1970er- und 80er-Jahre.



Videostill: Museum für Gestaltung Zürich

23. Oktober 2014 — Im Mai 2014 gab es ein Podiumsgespräch im Rahmen der Ausstellung Weingart Typografie im Museum für Gestaltung Zürich. Folgende Gäste waren auf dem Programm: Urs Fanger, ehem. Professor und Vorsteher Departement Design ZHdK, Victor Malsy, Professor für Typografie und Buchgestaltung FH Düsseldorf, Peter von Kornatzki, Visueller Gestalter und ehem. Professor FH Darmstadt, Wolfgang Weingart, ehem. Professor für Grafik und Typografie Schule für Gestaltung Basel und Meret Ernst, Moderation, Redaktorin Hochparterre, Zürich. Empfehlenswert.

> auf YouTube ansehen



Ebola is spreading rapidly: Five ways to avoid the deadly virus.



Photo: Eye of Science, Reutlingen/Germany

14 October 2014 — Ebola is one of the world’s most deadly viruses and is fortunately not airborne, so it cannot be caught like the flu. It appears to be far, far away, but we must not forget how globalized the world is today. The virus is spreading at a very rapid pace and has already made it’s way to nearby Frankfurt, Germany. Therefore, we would like to inform you how to avoid catching the virus.
Please note that some of the precautions are aimed at those on the continent of Africa – we don’t have much bushmeat in Switzerland.

1. Soap and water. Wash your hands often with soap and clean water and use clean towels to dry them. This can be difficult in slum and rural areas where there is not always direct access to clean water, but it is an effective way to kill the virus. Ordinary soap is all that’s needed. Shaking hands should also generally be avoided, because Ebola spreads quickly when people come into contact with an infected person’s body fluids and symptoms can take a while to show. Other forms of greeting are being encouraged.

2. No touching. So if you suspect someone of having Ebola, do not touch them. This may seem cruel when you see a loved one in pain and you want to hug and nurse them, but body fluids (urine and stools, vomit, blood, nasal mucus, saliva, tears, sperm and vaginal secretion) can all pass on the virus. An infected person’s symptoms include fever, muscle and joint pain, sore throat, headache and fatigue, followed by nausea, vomiting and diarrhoea, which may include blood. Encourage them to seek help from a medical professional or health centre as soon as possible. It is also advisable not to touch the clothes or bedclothes of Ebola patients. Medecins Sans Frontieres advises that such sheets and even mattresses be burnt.

3. Avoid dead bodies. If you think someone has died from Ebola, do not touch their body, even as part of a burial ceremony. When someone has died, you can still catch Ebola from their body as it ejects fluids that make it even more contagious than that of a sick person. Organise for a specialised team to deal with the body as quickly as possible as it is risky to leave a dead body for any length of time in a cramped living area.

4. No bushmeat. Avoid hunting, touching and eating bushmeat such as bats, monkeys and chimpanzees, as scientists believe this is how the virus was first transmitted to humans. Even if a certain wild animal is a delicacy in your region, avoid it as its meat or blood may be contaminated. Make sure all food is cooked properly.

5. Don’t panic. Spreading rumours increases fear. Do not be scared of health workers, they are there to help and a clinic is the best place for a person to recover, they will be rehydrated and receive pain relief. About half of the people infected in the current outbreak have died. There have been cases of medics being attacked and people being abandoned when they are suspected of having Ebola, even when they are suffering from something else.

> Centers for Disease Control and Prevention



Neu und superschön: Toni-Areal Zürich.



7. Oktober 2014 — Die Zürcher Hochschule der Künste ist im Sommer 2014 aus 35 Standorten ins ehemaligen Toni-Jogurtfabrik gezogen. Mit dem Bezug des neuen Campus Toni-Areal wurde alle Kunst- und Designdisziplinen umfasst und an einem Ort vereint. Die ZHdK wird das Kulturangebot in Zürich-West massgeblich bereichern, u.a. mit Konzerten und Ausstellungen, mit dem Musikklub Mehrspur, einem Kino, der Bibliothek und dem Schaudepot des Museum für Gestaltung.













> Toni-Areal – der neue Campus der Zürcher Hochschule der Künste ZHdK.
> Fakten und Zahlen.




Hopp, Schottland!



17. September 2014 — Bäckerei Cuckoo in Edinburgh. Foto: Andrew Milligan.



BKS Iyengar: An incredible body of work.
by Gautam Siddharth



21. August 2014 – BKS Iyengar, yoga guru, teacher and author on the subject, died yesterday at the age of 95 in Pune, India.

It was in the early 1950s when Bellur Krishnamachar Sundararaja Iyengar took his first steps to global fame after celebrated violinist Yehudi Menuhin introduced him to the world as “my yoga guru”. Over the years, the number of followers grew as did the centres dedicated to his form of yoga. Currently, there are over 20,000 Iyengar-certified teachers across the globe.

Mr. Iyengar, the grand old man of yoga who could do 30-minute head stands well into his nimble nineties, began life as a sickly child; he suffered from malaria, typhoid and tuberculosis till well into his teens. “I was like a parasite,” he once told an interviewer. “I would play one day and spend the next seven in bed. I asked myself if such a life was worth living,” said Iyengar, who was born into a poor rural family in Bellur, Karnataka. Then his brother-in-law, the famed Tirumalai Krishnamacharya, also called the father of modern yoga, invited the boy to his Yoga Shala at the Mysore Palace. The Yoga Shala was exclusively for royals and outsiders weren’t allowed but it was as if Iyengar’s destiny pulled him there.

Iyengar was to later recall that the royals, being a martial people, jumped from asana [yoga position] to asana. “Martial people don’t want philosophy; they want vanity and have a martial mindset,” said Iyengar. So, there was the obvious problem. A person could do such a physical form of yoga until the age of, say, 40. After that it was impossible to keep up. “I changed the system. How could I tell a 68-year-old to jump and go to shirsasana [head stand]?” said Iyengar, who moved to Pune to teach yoga and lived there until his end.

He began refining the system, rediscovering the lost art of hatha yoga to recreate postures for every age. Once the body, senses, mind, intelligence, and consciousness are conquered, Iyengar would say, one has ethical and mental health. Having transcended these, one gets divine health, with health being an absence of disease. The divine life is then within.

A three-and-a-half-hour meeting with violin maestro Yehudi Menuhin in 1952 was pivotal in introducing the western world to Iyengar. While Menuhin credited Iyengar with transforming his playing, talking to Menuhin helped Iyengar reassess his own past.“I came from dire poverty. I learnt philosophy from Menuhin,” the king of asanas once said.

Soon, Iyengar was giving yoga lessons in European and American cities. Fame at home followed, and it was through the western prism that India once again saw the light of yoga. From Jiddu Krishnamurti to Jayaprakash Narayan, he taught them all. In the West, celebrities such as actor Annette Bening, fashion designer Donna Karan and writer Aldous Huxley were among his students.

The guru with a trademark shock of white hair, is listed in the Oxford dictionary as well as Time magazine’s list of 100 most influential people. His book, Light on Yoga, published in 1966, is considered a yoga bible.

Iyengar’s illustrious guru, Tirumalai Krishnamacharya, lived to be 100, and Iyengar — though he did poorly in school, describing himself as a backbencher in his autobiography — was a more than worthy pupil, learning from him the principle: “Teach what is appropriate for an individual.”

Iyengar went on to tailor yoga according to an individual’s need. He emphasized alignment in yoga which, until then, was considered a state of calmness of the mind. “Without alignment, calmness was impossible,” said Iyengar. He introduced a new, accessible grammar to the lofty verses of Patañjali [a Sanskrit author who compiled the Yoga Sutras, an important collection of thoughts on yoga practice], making it possible for the commoner to connect with the high science of yoga.

The influence went as far as China, where Guruji [diminutive form of Guru] acquired a considerable following, and even a series of postage stamps was designed in his honour. Yoga, he felt, could bring the two countries together. “I have created friendship through yoga,” he told his Beijing audience. “If you practise yoga, your way of thinking becomes different. If you stand on your feet, you see the world one way. But if you are standing on your head, and are topsy-turvy, the world will look a whole lot different.”

> BKS Iyengar



Museum für Gestaltung Zürich: Typografie als ‘schwarze’ Kunst.
Ein Gespräch mit Wolfgang Weingart und Barbara Junod



12. August 2014 – Als schwarze Kunst wird eine handwerkliche oder künstlerische Tätigkeit bezeichnet, bei der mit Druckfarbe Vervielfältigungen auf Papier hergestellt werden. Der Begriff ist mit beweglichen Buchstaben und des Buchdrucks verbunden, wobei sich schwarz auf die schwarze Druckfarbe bezieht und umfasst Kupferstich, Radierung und Lithografie sowie die Typografie und Buchkunst.

Wolfgang Weingart ist einer der unkonventionellsten Grafikern, der die moderne Schweizer Typografie revolutioniert hat. Er unterrichtete Typografie an der Schule für Gestaltung Basel in der Weiterbildungsklasse für Grafik 1968–1999 und bis 2004 an der HGK Basel, sowie Sommerprogramme von 1977 bis 2009 in Brissago, Portland/Maine (US) und Basel. Eine Retrospektive seiner Arbeit Weingart: Typography ist derzeit im Museum für Gestaltung bis zum 28. September 2014, an der Ausstellungsstrasse 60 in Zürich zu sehen.

Barbara Junod ist Kuratorin der aktuellen Ausstellung Weingart: Typografie und der Grafiksammlung im Museum für Gestaltung in Zürich.

> weitere Informationen

Mittwoch, 27. August 2014, 18 Uhr
Museum für Gestaltung, Ausstellungsstrasse 60, 8005 Zürich
Eintritt frei




Museum für Gestaltung Zürich: New Worlds and Infinite Possibilities
Ein Gespräch mit Philip Burton und Sarah Owens (in Englisch)

Philip Burton has taught at the University of Houston, Rice University (Houston, Texas) and Yale University (New Haven, Connecticut) and is currently chair and professor in the School of Design at the University of Illinois at Chicago. He was program coordinator and instructor of the Kent Summer in Switzerland (1975–81), and the Yale Summer Program in Graphic Design (1982–96) in Brissago, Switzerland. His freelance clients include the Long Island MacArthur Airport, Malayan Banking Berhad, the Museum of Contemporary Art in Chicago and the City of Chicago. Mr. Burton also works as a consultant for the Chicago-based global financial investment research company, Morningstar, Inc. He is a member of AIGA (formerly the American Institute for Graphic Arts) and was made an AIGA Fellow in 2003.

Sarah Owens ist Co-Leiterin Vertiefung Visuelle Kommunikation an der Zürcher Hochschule der Künste. Sie ist Gestaltungstheoretikerin und -historikerin mit Schwerpunkt soziologischen und psychologischen Aspekten der Gestaltung.

> weitere Informationen

Mittwoch, 3. September, 18 Uhr
Museum für Gestaltung, Ausstellungsstrasse 60, 8005 Zurich
Eintritt frei




Symposium: Emil Ruders 100. Geburtstag



Emil Ruder (1914 in Zürich geboren, 1970 in Basel gestorben) war ein Grafiker der Moderne, der zu seiner Zeit die konventionellen Regeln der Typografie in Frage gestellt hat. 1942 dokumentierte er seine Ziele als Lehrer der Typografie an der Schule für Gestaltung Basel wie folgt:

•   Anstrebung einer Typographie als Ausdruck unserer Zeit.
•   Ablehnung von Schematismus und blosser Nachahmung vergangenen Epochen der Typographie.
•   Das Gefühl für Materialechtheit und Materialehrlichkeit als Grundlage jeder typographischen Gestaltung.
•   Hinfähren zu einem intensiven Erleben von Farbe und Form.
•   Typographie in enger Verflechtung mit allen Erscheinungen unserer Zeit: Graphik, Malerei, Musik, Literatur, Gesinnung. (Aus: Antonio Hernandez, Emil Ruder – Lehrer und Typograph, Schriften des Gewerbemuseums Basel Nr. 10, Pharos Verlag Basel 1971, S. 13)

> Anmeldung und weitere Informationen

Freitag, 19. September 2014, 8:30–18:00 (Vernissage um 18 Uhr)
Plakatsammlung, Spalenvorstadt 2, 4051 Basel
mit Helmut Schmid (Osaka), Richard Hollis (London), Juan Jésus Arrausi (Barcelona), Lukas Hartmann, Michael Renner (Basel)
Eintritt CHF 90 (Studierende CHF 45)




New book release – Weingart: The Man and the Machine.



6 May 2014 – The Advanced Class (Weiterbildungsklasse) was a post-graduate program for graphic design, first launched in April 1968 at the Basel School of Design in Switzerland. In 1999 the program was removed from the school’s curriculum, as it did not meet the requirements of the new European university system. For over 30 years, more than 420 students from 35 countries refined their skills and developed a network of designers, artists and teachers.

Wolfgang Weingart was one of the reasons why many design students came to study in Basel. He lectured about the program all over the world and his posters became well-known throughout the design community. Allowing his students to unfold in their own way, he proved to be a master in taking so many different individuals and cultures under his wing. Mr. Weingart’s work as a teacher and visiting lecturer has not only strengthened his students as graphic designers, but has also played a decisive role in modern typography and design.

His students have now taken the opportunity to reflect on his teaching, their experiences in and out of the typeshop, the projects they created, as well as Weingart’s own work which has not only been an inspiration, but has made a significant impact on their lives as professionals.

The collection of 77 statements is boldly illustrated with photos of Mr. Weingart, portraits of the individual students and work from his teaching. And for the first time ever published, an essay by Dorothea Hofmann explains how the Advanced Class came into being at the Basel School of Design. The establishment of the program in 1968 was preceded by nearly two decades of continuous refinement of an educational model developed by Armin Hofmann, with support from Emil Ruder and the City of Basel’s Department of Education.

Weingart strongly believes that the experiences his students made in the other areas of study at the school – color theory, drawing, film and type design – were also an integral part of the success of the work made in his class. Students were able to bring the various disciplines together and create exceptional graphic design and experimental work.

Although this project was made possible in part with generous support from Vitra Design Foundation, we are still in need of some further funding to cover all of the costs. Any donations no matter how large or small will be greatly appreciated! Please click the Buy Now button below to order books or the Donate button to support production costs. You may pay using your PayPal account or credit card.

Weingart: The Man and the Machine, 167 x 215 mm, 96 pp., 116 black and white plates, hardcover, sewn binding and ribbon bookmark. Limited edition in English. Book design by Susan Knapp. ISBN 3-9521009-7-8. CHF 34, $34, EUR 28 (shipping not included). Orders from Switzerland may be placed directly to us via email.




> vitra.com



Museum für Gestaltung Zürich: Weingart Typography
Impressions from the exhibition









> Weingart: Typography, 7 May–29 September 2014, Museum für Gestaltung Zürich



Spielen Abschlussdiplome in Kultur- und Kreativwirtschaften eine Rolle?
von Sam Wolfson



30 April 2014 – August, 1989. The National Union of Students, still a politically radical organisation railing against the Thatcher government, is trying to get young people to campaign the abolition University maintenance grants. They put an advert in the NME [New Musical Express] with the headline “Student Loans … how will it affect you?” It reads: “Last November the Government announced that it intended to put an end to the system of student financial support and introduce student loans. The proposals will mean that from 1990 students will face a debt of £420 [€510] per year.”

How quaint that now sounds. Most graduates today leave with a total debt of £44,000 [€53,600]. By the time it’s paid back, the debt will have risen to around £65,000 [€79,100]. Some estimates suggest 85% of people will never pay back their student debt. Most of us are prepared to rack up such a massive IOU because we believe the high cost of university is an investment: graduates receive better paid jobs than non-graduates. Fine, if you want to be a vet or a lawyer, but what about if you want a job in the creative industries?

Almost half of graduates under 30 are working in non-graduate jobs in areas like catering or hospitality, and the highest number of these are graduates with a degree in the arts, humanities or media. These subjects also have the highest rate of unemployment and the lowest average wage.

When jobs in the creative industries do become available, candidates often have to compete into what one LSE [London School of Economics] report called tournaments for entry – multi-round interviews, essays and activities that can take months to complete and have very little relation to their degree.

Do you need that three year English lit degree? Is it any wonder then, that many are questioning whether a degree is such a good idea. Do you have to pay to go on a menswear course to be a menswear designer? Or would your time be better spent interning and learning on the job? Do you need a three year English lit degree and a feminist-Marxist reading of Simone de Beauvoir if you want to be an A&R [Artists and repertoire, talent scout who oversees artistic development of musicians] for a record label, or just a decent taste in music and the number of a dealer who delivers?

Creative jobs need skills, of course they do. The question is whether you’d be better equipped learning those skills at a university or whether you’d be better learning on the job. Sure, lots of creative courses offer work experience, but that’s not the same as getting dropped in the deep end on the job and learning on the job.

Babak Ganjel spent four years studying art at St. Martin’s. He loved the degree, but, since graduating almost a decade ago, has struggled to find work. “Every time I hit rock bottom I wish I had just gotten a job instead of going to university,” he says. “But I don’t regret the benefits and freedom experienced at Art School, as it allows me to contextualise every stupid job I say yes too. I don’t fear doing any shitty small time jobs I have to do to pay the rent, your creative brain works much better when it isn’t chasing money.”

Colin Roberts went the other route, moving to London after secondary school he got a job on the London Underground, working on ticket barriers. He did some freelance writing on the side and eventually got a job editing the music website Drowned In Sound. He’s now 28 and works at Big Life Management, co-managing [British trip-hop trio] London Grammar and [British singer-songwriter] Chlöe Howl. Does he see any point in getting a degree if you want to work in music?

“If you’re not doing something specialist within music (skilled/technical jobs like sound engineering or accounting) then no. The best way of getting in is just doing that – getting in. I got lucky, I’m co-managing artists with people who took me under their wings years ago and taught me a great deal about the industry. I’m 99% sure that the key points I’ve picked up from doing my job could have never been taught in a university. The main thing I guess I missed out on from doing a three year stint at a uni was the partying and growing up, but I’d argue that nothing matures you more than being thrust into the middle of London on shit salary and having to deal with everything that comes along with it.”

If university teaches you anything it’s that two people’s personal experiences doesn’t make for any bold conclusions. And of course, getting a job in the creative industries, even a shitty, low-paid, tea-making, laundry-doing, boss brown-nosing job is getting harder all the time, whether you went to uni or not. But it does seem that if a creative job is your goal, going to university might not be the right way to go about it. In fact one fashion lecturer I spoke to thinks that certain types of creative degree are ripping students off. She asked not to be named for fear of being fired, but says she feels sorry for thousands of students taking masters degrees in the hope of getting a job in the creative industries. “In the last few years, universities have had to widen their intake for masters degrees because the amount they can get for undergraduate courses has been capped. This means that people who are not equipped for master level study – whose English isn’t great or aren’t especially passionate for the field – are being let on to courses in huge numbers. At the same time I have hundreds of students on my BA course and it’s just not realistic that most of them will get jobs when they leave, even if they work hard and get firsts. Most will have to intern for up to two years after graduating to stand a chance. If they heard the way some of their lecturers talk about their prospects behind their backs, they’d feel lied to. Universities are offering these courses to make money, but there is no other product which you could charge £27,000 [€33,000] for with no guarantee of the thing you’re basically selling – employability.”

Not Going To Uni is an organisation that have been making the case that a degree might not be necessary for years. Sarah Clover, who helps run the organisation, working with young people to discuss their future, says she’s seeing a shift in the cultural value given to a university degree.

“We have a stand at career fairs, and a few years ago parents would be dragging their kids away if they came over to talk to us. Now it’s the opposite, parents want their kids to see the benefits of apprenticeships and other training. You can get apprenticeships right now at Sky television, in theatres. One major label offered an A&R apprenticeship. Instead of studying for a degree that might not help you and getting into huge debt, you can get paid to learn on the job and gain the experience you need to get employed.”

So with mounting debts, no guarantee of a job, poor courses and a number of better routes available. Is there any point of getting a degree if you want to work in the creative industries?

I think so.

If you want to work a job in the creative industries, which – let’s be honest – is a job where you can follow your interests and personal ambitions and, if it all goes well, where you’ll get to see the world on someone else’s expense card, meet the people you admire and sleep with a more attractive class of people, then you should pay your dues for what is basically a self-interested life choice.

Doing a course in media studies might be a waste of time if you want to work at the BBC, but doing a course in history or biology or politics or engineering or even media studies – if it is truly the study of the media that interests you – is valuable in and of itself. There is a line in Zadie Smith’s novel The Autograph Man, “I saw the best minds of my generation accept jobs on the fringes of the entertainment industry.” This is stingingly true. Too often brilliant people spend too long PRing no-hope indie bands, fetching the lunch of a once-successful visual artist, buying props for a reality TV show.

These people have not made the bad choices, some of them will end up having lives that are more glamorous and more exciting than any civil servant or scientist. But even if they make a success of themselves, we can’t pretend that a job in the creative industries is the same as a job in the UN. We try of course, with awards and Twitter back-patting, making it seem like culture is all there is. But it isn’t, and studying alongside people who haven’t got a clue who Henry Holland is one helpful way to remind us of that.

University is not the only place you can learn about the world, and there are plenty of hyper-intelligent and wildly knowledgeable people that left school at 16. But University is the one point in your adult life where you can receive some shelter from the economic and social imperative to earn money so that you can live. Yes, you end up paying for it down the line, and your student loan isn’t enough to cover basic living costs so you’ll have to get a weekend job, but for a few years you are still afforded the opportunity to do something that doesn’t necessarily have any bearing on your future ability to support yourself.

Not everyone can afford to go university in Britain. As a result of the socially regressive privatisation of higher education that’s taken place since that NUS advert was printed, there are many people that can’t afford a three year journey of academic realisation in a subject that might not help them find work. That is something that some people outside the creative industries are fighting hard to change. But if you are one of the lucky ones that has the privilege to be isolated, for a few years at least, from economic pressures and endeavour to do something for the sake of it – whether that be study, protest, netball or drinking – then you should. You won’t have another opportunity for the next 50 years to do so, and when you do enter the world of work you’ll likely be richer for it.

The main thing university taught me was that I know nothing about anything: That any subject I may have thought I had the most basic handle was infinitely more complex, an infinitely more multi-faceted than my shamefully pickled brain could ever understood. As an undergraduate, I was at the bottom of a centuries old ladder of understanding, and almost every accepted explanation of what is true has been challenged and rethought a thousand times.

A staffer at Buzzfeed hilariously claimed the other day that listicles can be an important as investigative, high-quality journalism or study and there’s not necessarily a direct correlation between word count and quality, and word count and impact. Anyone who has read hundreds of books for a dissertation and still felt like they don’t understand anything knows that this is not the case.

But it also gave me the tools to acquire knowledge. When there is a paradox or phenomenon I need to understand, I feel like I can find the right things to read and the right people to speak to, how I can approach their perspectives critically and then realise I was asking the wrong question and start all over again.

The kicker is of course that a degree, whether artistic or not, always ends up influencing your creative work. Art, fashion and film are the much richer for a deeper understanding of their context and influence. The most iconic fashion innovations of the 20th century came not from designers but from the world outside: the modern bikini was invented by a car engineer, the iconic style of Vivienne Westwood came from street punks re-appropriation of everyday objects.

You don’t need a degree to work in the creative industries. But the creative industries do need people with degrees, people who want to challenge structures, that want to use depth of knowledge to create complex and spectacular art and find a way to make culture more responsive to the bristles of the real world.

Sam Wolfson is a British journalist who writes about music and popular culture.

> @samwolfson
> Not Going To Uni



Weingart Typography: Upcoming exhibition at the Design Museum in Zurich.



17 February 2014 – Wolfgang Weingart is an internationally known graphic designer and typographer who taught typography at the Basel School of Design from 1968 until 2004. Students came from all over the globe to study in his typeshop. Best known for his experimental typography, Weingart utilized halftone film collages and manipulated type, sometimes beyond recognition. He was a master of juxtaposing analog and digital techniques.

The pieces shown in the exhibition are taken directly from his private archive, which is now housed at the Museum of Design in Zurich and will be shown for the first time in Switzerland – a much anticipated glimpse into the world of this graphic rebel.



Postcard by Weingart for his lecture ‘Thoughts on Design and My Typography’, Fabrica, Treviso/Italy 1998

> Weingart: Typografie, 7. Mai–29. September 2014, Museum für Gestaltung Zürich



News in the hood: Jay’s has moved to Ackermannshof.



15 January 2014 – We are pleased to announce that Jay’s Indian Restaurant has hopped two doors down the street to St. Johanns-Vorstadt 21 – that means take a left out of our main door instead of a right. For our friend and restaurant proprietor Jayesh Kumar, the new location offers not only a much larger dining area, but also a cozy bar and a courtyard where he can serve guests during the warm months. The grand opening is on Thursday, January 16, 2014 at 6 pm. Be sure to stop in for some good food, a glass of wine or just a cold beer after a long day at the office.

Every last Sunday of the month from 10 am until 2 pm, Jay’s will be serving an English breakfast with bacon and eggs, English sausage, a variety of side dishes and coffee or tea. We’re looking forward to the full monty! Bravo, Jayesh!

> Jay’s im Ackermannshof