More assorted Dutch Design examples

A note on Dutch design
It’s not for this thesis to write about Dutch design is or isn’t. But the underlying assumption throughout is that there is a strong correlation between Dutch design and ANTI. It may be implicit in the “irony, self-deprecation and thinly veiled egoism” that characterizes Dutch design for Michael Rock (Rock, “Mad Dutch Disease”). It may be in the “restructuring” that is constantly said to be at the heart of Dutch design. It may be in the “dry twist” that is attributed to many a Dutch studio. (Betsky and Euwens, 129)

Two remarks may shed light on if and why this overlapping exists. False Flat, a survey and exploration of what Dutch design is, notes that after a rebellion in the 60s against restrictive design rules, the studio Hard Werken “brought back the sense that graphic design should break the rules not to be weird and wild but to communicate more effectively.” (Betsky and Euwens, 170)

Michael Rock meanwhile talks about “the bifurcated relationship – dividing the desire to express and the drive for reason” that Dutch designers have to their work. (Rock, “Mad Dutch Disease”)

Both of these descriptions align quite closely with how I came to ANTI in the introduction: a need to experiment married to a need for communicate.

The first section of the Antecedents and Precedents must necessarily then be devoted to Dutch design: the examples I came across in the very beginning that fit quite naturally into the ANTI conversation.
Experimental Jetset, Signage for 104 Arts Collective, 2007
Anti-permanent signage.
If most signage is about trying to convey authority and stability, the 104 signage embraces change and the idea of a work in progress. Experimental Jetset do a great write-up of it on their site.

Miriam van der Lubbe, New Dutch blue ceramic windmill (2003)
Anti-Dutch windmill souvenir
The standard Dutch windmill souvenir is a symbol of Dutchhood; decorating it with Arabic calligraphy instead of floral pattern quite effectively ANTIs it as an object on both the formal and content level.

Thonik, Centraal Museem identity, 1996
Anti-logo system/anti-museum advertising
Most logos/museum logos can be quietely, unobtrusively placed in the right hand corner; here, the logo is brazenly superimposed on the art work image.

 Experimental Jetset   Signage for 104 Arts Collective 
 Thonik   Centraal Museem identity 
 Miriam van der Lubbe   New Dutch blue ceramic windmill