91 Born in Hamburg, Germany
13 Willem de Kooning Academy, Rotterdam
18 Graduated Royal Academy of Art, The Hague
41 Shades of Blue
Metric driven design, the foundation of the the surfaces we navigate online on a daily basis, yet an alien world to a graphic design student in 2018. During my graduation I tried to understand this new design paradigm and ended up with a short doumentary about A/B testing.
At least online, every small design decision can be tested: Chose the blue or the red button to optimise your conversion rate. A/B testing, formerly a tool used by a handful of tech giants to sell more products, has now become a product in itself. With the help of a number of platforms, you too can make your design decisions based on metrics—and you don’t even have to understand how it works!
41 Shades of Blue is a mostly-true documentary that explores the origins, the implications and the future of this new, evidence driven design practice. Between the Uncanny Silicon Valley and the Black Rock Desert of the Real it digs through layers of branding and looks at a world in which data has made design obsolete.
The entire documentary is availabe on vimeo :-)
Camera: Harvey Davelaar / Voice Over: Rosko Lewis, Lukas Engelhardt / Actor: Lukas Engelhardt / Sound Design: Lukas Engelhardt, Lauritz Baudisch / Shout out to my tutors Silvio Lorusso, Agata Jaworska, Thomas Buxo and Ruben Pater / Special thanks to Sam, Jan, Esther, Haris, Rully, Fede, Alfonso, Hannah, Latisha, Carmen, Leith, Paul <3
PS: Magic 001
The term magic is very elusive. A lot of people might first think of dragons, dwarves and elves. Others might think of crystals, reiki, and tarot cards. Real, or imaginary, magic seems to be about knowledge and control over the true workings of the world, its hidden powers, and one’s position in it. Etymologically, magic comes from Old Persian and might have described someone able, in possession of power.
Magic has been invested with positive and negative connotations alike through the centuries. Under Christianity, it meant anything to do with paganism or witchcraft and suspected practitioners were burned at the stake. Occult societies, on the other hand, saw magic as the way to spiritual enlightenment. Scholars argue about whether magic and religion can even be treated as different things, and due to its ambiguity the term magic has rarely been used in academic papers since the 1990s
Colloquially, however, magic is everywhere. And it's ungraspable, not just as a term. Stage magic for example relies completely on the deception of the audience. Magic is something that cannot be explained—whether it’s because one cannot explain it (lack of understanding) or because it actually cannot be explained (supernatural). Magic is something that just works. In this way, magic is quite similar to, for example, technology or the economy—the things we believe in today, instead of magic.
Ultimately, magic is a belief system (or several) and these beliefs have been communicated and upheld through different media. Letters could be shaped into amulets, rituals are held in digital environments. Both images and (hyper)text have even been invested with magical qualities themselves. In these cases image making and magic coincide, and the image maker becomes a magician.
Magic images can be be black boxes or white boxes, and image makers can be black-hat or white-hat magicians. I’m trying find out what makes these images magical and what this magical perspective means for the practice of graphic design. In my thesis I discuss in three parts how magic is connected to literacy, how magic is mediated through images, and, ultimately, how image makers can be magicians.
I'm wondering: what is the role of the designer in a world full of magic and can he use magic to create his own world?
You can read the whole text online at thesis.lukasengelhardt.net
A Really Fake Future
A Really Fake Future is a collaborative project by textile-based designers Karen Huang (Taiwan) and Jason Page (USA), inspired by the tapestries of Dutch artist Elma Beks (1926-2014). The project envisions a future where traditional textile handicrafts such as quilting, embroidery and design are replaced by digital representations. By translating 3D materials to 2D images and vice versa, the designers question what textile craftsmanship may look like in this future.
A Really Fake Future was curated by Florence Parot and exhibited at iso during Unseen Amsterdam from 20-29 September 2018.
As more and more refugees arrive on Europe’s shores, their struggle is communicated to us through a flood of beautiful images: professionally taken photographs, well composed and edited for maximum effect. As nothing about the situation changes, the same goes for these images: same props, same scenery, same image treatment—the only variable are the people on the boats.
Borderless Design explores this endless sea of aesthetics by leaving out this variable and focusing on the constants. An endless, interactive collage of rocks, waves and sky—and the occasional orange vest.
Dive in yourself at borderlessdesign.lukasengelhardt.net
HI: PhotoGraphic BeNeFiT pARTy
Van der Capellen tot den /Pol/
In 1781 Joan Derk van der Capellen tot den Pol‘s published his pamphlet Aan het Volk van Nederland. It criticised the political corruption during that time and had a crucial influence on the formation of a democratic republic in the Netherlands. In 2017 Joan Derk rises from the dead. Relentlessly he tries to spread his pamphlet. But now finds himself confronted with platforms like TED or 8chan. A Story about Cathedrals and Bazaars.
See the whole video on Youtube
They are robots after all