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The Best German book design exhibition

The Best German book design exhibition

德國最美麗的書

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活動時間: 2015/10/31 – 11/22 週日~週三 10:00-19:00,週四~週六 10:00-20:00
書展地點: 田園城市藝文空間 / 台北市中山北路二段72巷6號B1
指導單位: 臺北市政府文化局
主辦單位: 田田圈文創工作群 / 田園城市文化事業有限公司
協辦單位: 德國書藝基金會 / 台北德國文化中心 / 蔡明穎建築師事務所 / Spector Books / Steidl Publishers / 台北書展基金會 / 台灣師範大學

策展人: 呂姵儒
書籍設計論壇: 國立臺灣師範大學圖書館B1國際會議廳
講座地點: 田園城市藝文空間 / 台北市中山北路二段72巷6號B1

觀看每年台北國際書展的人潮,我們都一直認為國人閱讀的人口很多,但在近期國家圖書館公佈去年圖書出版趨勢報告中,總共有5,000家出版機構總共出版41,000種新書,創下3年來的新低,出版社也因失去讀者所以近30家出版社結束營業。因為經濟不景氣,網路取代紙本閱讀,民眾購買減少。我們更憂心出版的數會持續滑落,如何提升閱讀風氣,帶動新閲閱讀的可能是迫切之需。

德國最美麗的書展於1929開始舉辦,後於1951年由私人單位擧辦交由德國書藝基金會擧辦,而參加書本的數量由70年代的500冊,到2000年己有760冊書籍參加競賽。而經由評選最後選出47本得獎圖書與11本推蔫獎,而2012年也改變得獎的數量為25本,此種作法也是因為各國最美麗的書得獎的數量均大概在20多本之內,所以德國書藝基金會予以修正。

德國最美麗的書的競賽所評選出來的書籍,此處的美麗不僅是書籍有特色和個性,主要是著眼在構思 設計與優質的執行技術,包含整體結構、排版、版面設計、圖片張力、印刷、紙張及裝訂各方面評比等。

如果談到更細節也包含一行文字的長度(不宜過長或是過短),因會影響閱讀性,文字的書寫內容需經由修改和潤飾文章以利閲讀者進入閱讀的世界,書本的大小及書本的厚度也與主題有關,因為有些書閱讀的姿態不同,沙發上閱讀小說、書桌上閱讀知識性的書。以上的說明可以知道德國的書本的設計的嚴謹度,所以這次展覽可以讓年輕設計師有學習的機會,除了展覽之外我們將邀請任教於萊比錫視覺藝術學院教授Markus Dreßen分享德國書本設計的經驗,另外也邀請曾留學德國的專家及朋友分享古騰堡印刷及德國書本設計。

這己是田田圈文創以民間的力量擧辦5年來第5次書籍設計展 , 有17位書本設計專業工作者,出版社及作者等分享,己在書本設計領域上具有一定影響力,非常多年輕設計師因展覽中的書本設計、言講及導覽得到啟發,我們借由此種展覽的活動讓年輕設計師和年輕學子,有機會看到國外非英語系設計作品的機會,也因為這些書在台灣巿場並未流通,所以取得不易,只能借由書展型式向官方單位協助借展,如去年我們邀請瑞士蘇黎士大學平面設計系主仼Jonas Voegeli來台參與workshop和講座的活動,甚至Jonas Voegeli也展出20多本書,其中也包含全世界最美麗的書金、銀及銅獎作品,希望借由全世界美麗的書得獎積分次高德國,給矛我們多元文化、多國語言的創作思維及工匠製成的精確性。

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延伸活動

Markus Dreßen 導覽
11/07 (Sat) 14:30 德國Markus Dreßen 書本設計
Markus Dreßen 萊比錫書籍藝術及平面設計學院教授

國際書本論壇
11/09 (Mon) 13:30 德國書本設計
德國Markus Dreßen | 書本設計 / 萊比錫書籍藝術及平面設計學院教授
國際書本論壇請報名 tibe.org.tw/chhtml/news_more/224

講座
11/14 (Sat) 14:30 德國古騰堡印刷的搖籃本 & 德國書本設計 - 田園城市藝術空間
劉興華 | 家西藝術與家 & 藝術空間設計負責人 / 德國波昂大學歷史與藝術史博士研究
陳冠臻 | 設計師 / 雲林科技大學視覺傳達設計碩士, 德國柏林藝術大學

導覽
11/07 11/14 (Sat) 13:30 - 田園城市藝術空間

*參加講座, 導覽,無須事先報名,額滿為止*



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The Best German book design exhibition

Date and Times:2015/10/31(sat) – 2015/11/22(sun)
Sun-Wed 10:00-19:00
Thu-Sat 10:00-20:00
Location:Exhibition, Lectures & Guided tour / Garden City space of art
Advisor : Department of Cultural Affairs, Taipei City Government
Organizers:Tien Tien Circle Creative / Garden city publishers
Collaborators:stiftung buchkunst / Goethe Institut / Ming-Ying Tsai Architects office / Spector Books / Steidl Publishers / Taipei book fair foundation / National Taiwan Normal university

Curator : Emma Lu

Preface – Best German Book Design Catalogue 2015

Recognising, specifying and promoting quality in book design and production – is this kind of work at all relevant?

Isn’t it true that competitions like this merely serve to pump egos? Is anybody really interested in them, beyond a small group of insiders? And is this kind of award really worth anything? Is "beauty" ever "marketable" – or isn’t that possible?

These are valid questions.

In order to maintain relevance and keep pace with the times, we need to allow ourselves to undergo a process of continual examination, and so instead of baulking at these questions, we prefer to take them on board gratefully. And what provides the answers, if not this catalogue?

There are many (maybe too many) competitions for creative arts. And there are many competitions that survive by transforming the hope of winning an award nurtured by the creative scene into economically successful business models and consequently creating a number of ever new categories and payment systems.

The Stiftung Buchkunst has chosen a different path. Established 49 years ago with the aim of accompanying book design and production from a critical perspective, the Foundation and its competition have since consciously avoided the pursuit of maximum profit. Instead, a jury chooses the 5 x 5 best German book designs in an intensive, three-tiered selection process with a total of 19 jurors and 8 days. With the help of this collection, our objective is to sensitise others to the importance of book design and production in a series of events and lectures. It is not the award ceremony that is the ultimate destination of the jury’s endeavours, therefore; it is all those lengthy and not quite as lengthy discussions about books that are triggered by the 5 x 5 best designs.

And so the final jury meeting for the year’s applications is not the conclusion, but rather the starting point for the work of the Foundation. This work is taking effect. Sometimes the result is direct and explicit. But often however, it takes time for the concept of the value and effect of good design and caring production to germinate once the seed has been planted in the minds of the retailers, journalists and publishers.

Then suddenly, a major German newspaper has been known to dedicate a whole page to the book with the best design. And then a book retailer who left her bookshop alone for a whole four days while acting as a member of the jury thanks us warmly for the input from these days, saying that after so many years selling books, she has seen the focus of her work from a different angle and has gained a more profound understanding – and now she will be able to put this experience to such good use in her conversations with customers. Or a publisher at a major publishing house suddenly wants to participate in the decision as to which books will be passed on for critical viewing by the jurors because he learns from his staff in the process and because he has understood that a book is a sensuous object.

We are told such anecdotes almost every day. Inspired by the criteria stipulated by the Foundation, people consciously discuss books as bearers of content and recognise the value of books, beyond their mere content storing function, as a three-dimensional presentation of content. The award-winning books are not only objects we can admire – although that’s allowed too!, they advocate a new appreciation of books. They deliver proof that books have a right to exist alongside digital media. What is more, the love of books is more intensely ablaze in our digital age. The best German book designs are beacons to be used as orientation by an industry which is currently experiencing that reports of the death of the book market are greatly exaggerated.

Our work at the Foundation is perceived with all this in mind both by myself and in the same vein by the Stiftung Buchkunst Executive Board and its staff – and we answer the question of relevance with a clear and optimistic YES!

I would like to thank the supporting organisations and everybody else who promotes and supports the work of the Foundation. Were the Foundation not already in existence, we would have to launch it today. It is in existence, though. And has been since 1966. Fortunately for our beloved books!

Karin Schmidt-Friderichs
Chief Executive of Stiftung Buchkunst, publisher at Verlag Hermann Schmidt

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Activity
Markus Dreßen Guided tour
11/07 (Sat) 14:30 - Garden City space of art
Markus Dreßen | German Book Designer / Professor für Grafikdesign, HGB Leipzig Germany

International Book Forum
11/09 (Mon) 14:00 German Book Design - National Taiwan Normal University
Markus Dreßen | German Book Designer / Professor für Grafikdesign, HGB Leipzig Germany

apply for lecture tibe.org.tw/chhtml/news_more/224

Lecture
11/14 (Sat) 14:30 German Gutenberg & Book design
Hsin Hua Liu | Gallery Owner / Ph.D. researcher Rheinische Friedrich-Wilhelms-Universität Bonn Germany
Kuan Chen Chen | Graphic Design / Exchange Student Universität der Künste Berlin (UdK)

Guided tour
11/07 、11/14 (sat) 13:30 - Garden City space of art

*unnecessary booking but space issue, please come earlier *

聯絡 Contact
活動官網: www.tientiencircle.org
田田圈FB: www.facebook.com/tientiencircle
德國書藝基金會: www.stiftung-buchkunst.de
Spector Books: www.spectorbooks.com
Steidl Publishers: steidl.de
台北書展基金會: www.taipeibookfair.org