É impagável cruzar com um projeto tão despretensioso porém brilhantemente bem feito como essa espécie de catálogo do ROLU, um estúdio de design e paisagem americano baseado em Minneapolis. Em parceria com o Walker Art Center, Matt Olson criou 300 cópias de uma zine para o Art Basel Miami/Design Miami em apenas duas (2) semanas!!

Usando diferentes técnicas de impressão como riso e laser, os caras criaram um projeto sensacional, com um layout e conteúdo baseados na história e na linguagem do estúdio. Dante Carlos descreve detalhadamente todo o processo de criação do catálogo no blog do Walker.

It’s hard to describe how glad we are when we cross such an unpretentious but brilliant project like this one made by ROLU, a lanscape and design studio based in Minneapolis. In collaboration with Walker Art Center, Matt Olson made 300 copies – in only two (2) weeks – of a zine as part of their big display at Art Basel Miami/Design Miami!

By using different printing technics such as riso and laser, the guys created a marvellous product, with layout and content based on the studio’s history and language. Dante Carlos detailed described the whole process of creating the zine.

“(…) Our conversation went all over the place: from talking about sailboats designed by Daniel Buren, Guy de Cointet’s sets for plays, a shared love of En Japanese Brasserie in New York, to our yet-to-be-realized trip to the anechoic chamber at Orfield Labratories (billed as the world’s quietest room right in town in Seward). It quickly became clear that however tangential or fleeting these interests and ideas and people were, they all have affected and informed their work in one way or another. The problem is if this is someone’s first introduction to their practice, would that glut of information presented be able to communicate—on the most basic level—what they do and where they work? We eventually agreed at some point that there was no use coming up with an elevator pitch to encapsulate it all, it’s just too intellectually sprawling. I was also afraid that you’d lose some of the soul and the quirkiness of the studio by trying to pare it down to its essence. I guess one way I tried to think about it is that the there is no essence, or it’s all essence, or as Matt put it, it’s “everywhere”.

So instead of condensing, we decided to go the maximalist route and show as much as possible. In the way that their blog brings together this huge range of information, the publication collages all these different content types (images, texts, hyperlinks, quotes, interview fragments, etc.) onto a page, or a series of pages. We created a simple structure on the page where it was divided into four quadrants, and that different things would be housed into these compartments. Whenever possible, I like to use food analogies, and I kind of liken this to an appetizer sampler where all these distinct little treats allows for multiple ways for the reader to engage with their work and enter the piece. It’s not a full meal, but a series of light bites to pique interest!

The reader was hand-assembled by Mike Brady and Sammie Warren of ROLU and myself. These guys were champs for spending their Sunday in the Art Lab, folding constantly and getting Riso ink all over their hands, and then buying me a patty melt and a stout at Eli’s (notice how I keep mentioning food?). In all, it took about 10 hours to produce 300 special color versions of the publication. A second black and white version was produced at our local FedEx Office in Uptown.

Two weeks after that initial meeting, all of them miraculously made it to sunny Miami, and just in time too. I think they were pretty happy with it.”