otl – English Translation – Keybot Dictionary

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  kog.oqupie.com  
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1980 Praktikum im Büro Otl Aicher in Rotis
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1980: Trained at Otl Aicher’s studio in Rotis, Germany
  5 Hits www.ernst-und-sohn.de  
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Aicher, Otl
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Add to cart
  www.cos.lt  
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Imants Fräse Typ L und OTL <35PS
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Imants rotovator Serie L and OTL <35HP
  www.canadianhelicopters.com  
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Braun erhält für  die gesamte ausgestellte Produktion, deren Gestalt und Präsentation auf  Hans Gugelot und Otl Aicher zurückgeht, den Grand Prix der XI. Triennale,  Mailand.
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System furniture "M 125" improved, manufactured by Messrs. Wilhelm Bofinger. Comprehensive report "Stile industria" dealing with the works of Hans Gugelot at the HfG. Travels to the USA and Italy.
  events.akram-vignan.de  
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Konferenzpanel: V.l.n.r. Dr. Jochen Hippler, OTL Roland Kästner, Andreas Zumach.
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Conference panel: (from left to right). Dr. Jochen Hippler, Lt. Col. Roland Kästner, Andreas Zumach.
  2 Hits seoulsolution.kr  
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Daumenbremse, Zeigefingerkuhle, Ballenstütze und Greifvolumen, das sind die vier Gebote des Greifens, die Otl Aicher 1980 als die wichtigen Eigenschaften eines Türgriffs festlegte. Die Ausstellung „Begreifbare Baukunst. Die Bedeutung von Türgriffen in der Architektur“, widmet sich zum einen der Entstehung und Gestaltung von Türgriffen im Bezug auf die Architektur eines Hauses.
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Having a thumb-rest, a furrow for the forefinger, support for the palm, and enough bulk or volume for gripping – these are the four requirements, defined by Otl Aicher in 1980 as the most important features of a door handle. The exhibition “A Grip on Architecture: The Importance of Door Handles in Architecture”, is devoted to the emergence and design of door handles in architecture. Visitors can also see and “grip” the exhibition pieces for themselves.
  isrc.ifpi.org  
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Auch die beiden wegweisenden Designer Otl Aicher und Dieter Rams haben uns stark geprägt. Aicher erfand das Piktogramm und ist einer der visionären deutschen Gestalter des 20. Jahrhunderts. Rams war einst Chefdesigner von Braun, und seine «Zehn Thesen für gutes Design» sind heute so gültig wie vor 25 Jahren.
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In the end, the main consideration is whether and how people «think» design. This is the only way that design and the brand can be effective tools for management and communication. German design is authentic and doesn’t imitate. Instead of simply asking what the customer wants, it conveys a strong sense of the company’s and product’s self-confidence. German design means having character and showing it. Only products and brands that are truly unmistakable will enjoy lasting success among consumers.
  www.basf-coatings.com  
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Sein Verstand ist weiterhin in Bewegung, wie seine Verwendung von Holz beim Chesa Futura-Projekt in St. Moritz beweist. Ich kenne nur einen anderen Gestalter und Konstrukteur, der eine ähnliche Neugierde und Wissbegierde nach neuen, nachhaltig umweltverträglichen Lösungen besass – Otl Aicher.
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[.] Foster’s architectural mind has always been in motion. He saw the need for ecological solutions and tried to integrate daylight into his buildings well before it became standard practice.The huge glass roof across the Berlin Reichstag full of photovoltaic cells, which he first proposed, was daring, too daring for the political majority. His mind keeps moving as his use of wood for the Chesa Futura project at St. Moritz shows. I only know of one other designer with similar curiosity and inquisitiveness for new and sustainable solutions in building, Otl Aicher. It is no surprise that he and Foster made a unique team of close friends full of innovative ideas until Aicher’s death in 1991. Like Aicher, Foster is an intellectual who tries to change the world with his ingenious use of a pencil. I once asked Aicher what he thought about Foster. His account was brief and to the point:”He is the best”. [.]
  www.pac10.co.jp  
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Wesentlich komplexer als die etwa zeitgleich herausgekommene Helvetica stand die Univers lange in deren Schatten, etwas, was sich schlagartig 1972 änderte, als das von Otl Aicher bestimmte Corporate Design der Olympischen Spiele in München von der Univers geprägt wurde.
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Naturally more great designs followed Univers typeface which was developed in 1957, not least the Frutiger named after the designer, but it was Univers that wrote history. It was the consequence of the skeletal form in characters that come about when the same letters in different fonts are laid cross-hatched on top of each other; Frutiger discovered and tested this technique and stumbled across the basic shapes of types. He did not work on improvements and variations but created principles; instead of words, he used numbers for the sizes, widths and directions of characters and systemised typographical sets. This was connected with aesthetic and technical innovations like raster and photo typesetting and was initially recognised by designers who paid particular attention to meticulous craftsmanship. To the present day, we still remember how Emil Ruder filled pages with Univers and made the typeface an important component of the Basel version of Swiss New Graphic. Considerably more complex than Helvetica that came out at more or less the same time, Univers was overshadowed for a long period. This situation changed abruptly in 1972 when Otl Aicher specified the corporate design of the Munich Olympic Games, which became characterised by Univers. Karl Duschek then used it as the face for important corporations and events.