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Miscellaneous > 17.2 Original Typeface - Display

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“The School of Athens” is a by Xristina Argyros and Ryan Neiheiser curated exhibition representing Greece at the Biennale Architettura 2018 in Venice. Studying common, apparently free and un-programmed spaces throughout a selection of fifty-six architectural academic spaces, they aim to rethink the perception of the learning space within a time frame of 2500 years.
Since the thought was departing from the most typical embodiment of the classical spirit of the Renaissance “Scuola di Atene” painted by Raphael around 1500 we make within our design approach a reference to that same period of “rebirth”. Rethinking the classics was obviously accompanied with a spirit of reinvention not only in the arts or architecture but also in the space of printing, typography and medias of knowledge. 
Taking this reference as the starting point for our interpretation and contribution to the work of Argyroi / Neiheiser: "The School of Athens"; an embodiment of the spirit of the Renaissance, has prompted us to stand in this period of great changes and revisions, not only in the field of art or architecture, but also in the field of Media, Publishing and Printing. Personalities such as Francesco Griffo, Nicholas Jenson and Aldus Manutius, redefined basic concepts of written human civilization, starting from the printing techniques and the book itself, and culminating in a completely new school of Thought on the Shape of the Letter. In particular, Aldus Manutius largely determined the subsequent widespread dissemination of the book as a means of addressing to a wide audience, and not exclusively to the libraries of the church, the nobles and the palace. This humanistic tendency is reflected in the printed letter itself, which is gradually evolving from the Gothic forms, closer to the manuscript format, and in the format of the book which becomes the vehicle for its dissemination: Aldus Manutius adopts the octavo format for to produce portable and relatively affordable versions. One might think that this is a precursor of our well-known and much later DIN format.
The by Argyros Neiheiser used grid, organizing the fifty-six 3d printed models within the Greek Pavilion, corresponded perfectly with the dimensions of the octavo and seemed confirming our work template. Consequently we designed a set of three monospace typefaces on this 6×8 grid, mapping three aspects of content: Data, Drawing and Image. With a quasi objective and anti-hierarchical attitude proper to the reinvention of Standards and Orders all the designed elements aspire to form an archive like space of reflection and study.

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