Discussing the relationship between humans and objects, specifically chairs and the story of them. To do this, images were used from the archives of the Rijksstudio. The book is divided into three chapters: sketches of the chair, photograph documentations of the chair, and images of how people engage with chairs. Each one of these chapters represents a different stage in the life of a chair, from preproduction to user behaviors and interactions.
  To explore the connection between the form of chairs and books, the shape of a half-opened book (in a sort of L shape) can be seen as the back and the seat of a chair. Then of course the special Japanese-bound second chapter serves as a nice, fluffy cushion.

If You Stand Far Away Enough, You Can Still See the Dinosaurs.
  The universe that surrounds us is vast, and we are so very small. When we reflect on the vastness of the universe, our humdrum cosmic location, and the inevitable future demise of humanity, our lives can seem utterly insignificant.[1]
  As humans, our being is considered ephemeral. Whether it is you, me, or our loved ones, within a short span of 70 to 100 years we will come to die, be cremated or buried, and eventually dissolve into the dust of nature. Compared to the cosmos, the life of human beings is merely a flicker.
  Despite the inevitable fading of the physical body, does our existence dissipate at the time of death? In the present, we observe the light emitted by stars light-years away through space telescopes, light that has travelled through the universe for tens of thousands of years before coalescing into an image. If you stand on a star 66 million light-years away and look back at Earth, you can still see the dinosaurs. Our existence is frozen in photons, radiating towards the infinity of the cosmos.

This work encompassing 3 installations explores how our existence relates to time and space:

In an empty space, 3 webcams are connected to separate monitors. The 1st camera points to an open space, recording the behaviour of the audience. Its feed is broadcasted to a monitor to which, the 2nd camera is pointed. Recursively, the 3rd camera records the footage that the 2nd broadcasts to a monitor, and projects it to another screen.
  The three monitors have been modified individually; one transparent, one semi-transparent, and one a regular screen. Each displaying the delayed stream from the webcam it’s connected to, through which the audience gazes into different timelines of themselves that have been captured by the webcam. These three views, represent intermediate fragments of a sight of Earth from a distant star. The images of the audience’s near past frozen in the photons, like those projected from the star, an irrefutable proof of their existence.

[1] Guy Kahane. Our Cosmic Insignificance. Nous. 2014 Dec 1;48(4):745-772. doi: 10.1111/nous.12030. PMID: 25729095; PMCID: PMC4340547.

If You Stand Far Away Enough, You Can Still See the Dinosaurs.
  The launch of the Soviet Union’s Sputnik 1, the first artificial satellite, in 1957 marks the inception of human space navigation, heralding the dawn of the Space Age. Subsequent milestones include Yuri Gagarin’s historic orbital flight in 1961 and the transcendental Apollo moon missions of the late 1960s. The advent of the Space Shuttle program in 1981 revolutionized space travel, while the International Space Station, launched in 2000, stands as a symbol of international collaboration in space.
  Based on their designated objectives and operational functions, spacecrafts can be classified into three distinct roles: Capturer, Navigator, and Explorer. These categorizations are derived from the various purposes and actions undertaken by spacecrafts.

> Capturer_Space Telescope Persistently executing its mission within a trajectory encompassing a celestial expanse situated 54 km above the terrestrial plane, this system engages in the reception of spatial imagery. Subsequently, it transmits the acquired visual data back to the terrestrial observation station.

> Navigator_Artificial Satellite Operating at an elevation of 2000 km, akin to the role of a mirror, it assumes a position to relay comprehensive terrestrial data back to the observation station.

> Explorer_Space Probe Embodying the spirit of discovery by venturing into uncharted frontiers realms of the cosmos, and heading towards the end of the void. They utilize advanced scientific instruments to probe distant celestial bodies and study their atmospheric compositions.

The transparency and the position of the monitors in the installation were inspired both by the relationship between data transmission and the spacecrafts, and by the idea of observing and viewing. The height and positions at which the monitors are held shape the postures of the audience’s engagement. From looking up and admiring [stargazer], to zooming in and inspecting [astronomer], the audience is compelled to engage with each monitor in the installation as they would with a fragment of a distant sky.

Chop-Chop!

Quick Quick!

Hop-Hop!

Hurry up, it’s time for a new workshop.

530 Type Club — a type playground, a student-initiated collective, a bunch of nerdy type lovers who meet up and discuss about type design regularly. Every Wednesday, we come together to make, create, talk, discuss, and explore what are the possibilities of type. With the same interest, but diverse styles, outlooks on life, and work, we come together to learn from each other and most importantly to have fun.
  You’re holding in your hand the Rush Print 003: Chop-Chop Workshop, the 4th edition of the annual publication from the Graphic Design Arnhem. Being briefed as a ‘Typographical Workbook,’ in this edition, we focus on the intersection of collectivity and typography, which we believe is essential to discuss with our peers, professionals, alumni, and fellow collective in the department. The book is not only an archive of 530 but also a extensive workshop for the reader to engaged with.

©2023 Rush Print, Graphic Design Arnhem, ArtEZ the University of Arts
©530 Type Club.

All rights reserved, including the right of reproduction in whole or in part in any form. If you are interested in the typefaces or this edition, please reach out to ︎︎︎ fivethirty.today