Our graphic approach was based on several concepts that came from our experience of urbanity. Our proposal makes a parallel between architecture and typography. Not only its final form but also the process of making it, translates a series of concepts and contrasts that we find interesting: complexity in between spaces, structures, perspectives, urban voids and fulfillness. We used a portuguese word “Futuro” (“Future,” in English) that allow us to avoid redundancy, opening the possible readings. With this typographic approach we manage to make a direct connection with the theme.
Culture Station Seoul 284, Seoul, KR
About Typojanchi 2015 — The 4th International Typography Biennale
11 November — 27 December, 2015
Culture Station Seoul 284 and other corresponding places
The distinguishing characteristics of cities can be found in airports, train stations and public systems, such as road signs or street signs marked with symbols and letters. Such characteristics can also be found in places of natural heritage such as rivers, parks, or artifacts like buildings and monuments. However, the authentic cultural characterof cities, which might be both traditional or vernacular, is acquired and achieved from the lives of people.The resulting languages and structures which exist everywhere in the streets of the city might resemble something akin to a religious confession emanating from the lives of people.
These days, commercial signage and street flyers all compete with public sign systems such as speed limits and directional markers.The information of newspapers and magazines has now spread to mobile screens in the palms of people. At all times, the eyes of citizens are permanently occupied. Signage located on and around buildings is static but now equipped with technology and a variety of forms by which they cover the entire facade of the cityscape.
Typojanchi 2015 wishes to consider the city’s own typographic cultural aspects. As we mentioned above, we consider these to be authentic locations. Despite the existence of unsightly or perhaps disagreeable objects and structures, we consider these to be authentic scenes in a city. We can recognize these as meaningful components of a diverse, urban environment. And with all of these components, we embark on a celebration or ‘Janchi’(Korean for party/celebration) of typography.This is Typojanchi’s means of interpreting this era and the essential values in this generation, society and community with those who are interested in typographic culture and the city environment. Whether they are designers or artists, it is their perspectives and points of view that we hope to share with this age.