Lingua Digitalis

Dictionary for a Connected World

By: Johannes Plass, Heinrich Paravicini / MUTABOR
Published by: Gestalten Verlag
Published: September 2012

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Lingua Universalis

Global Wordless Understanding

By: Johannes Plass, Heinrich Paravicini / MUTABOR
Published by: Gestalten Verlag
Published: June 2004

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Lingua Grafica

Major reference work for image language

By: Johannes Plass, Heinrich Paravicini / MUTABOR
Published by: R. Klanten, H. Hellige, M. Mischler / Gestalten
Published: February 2001

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i’m going to change

The first MUTABOR monograph 1998-2006

By: Johannes Plass, Heinrich Paravicini / MUTABOR
Published by: Gestalten Verlag
Published: 2006

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1 room / 1 magazine / 10 creative life journeys

By: Muthesius Academy of Fine Arts and Design, Kiel and MUTABOR
Authors: Sophia Ewig, Christin Pukallus
Published by: Heinrich Paravicini
Published: 2013

C20 is the workroom at the Muthesius Academy of Fine Arts and Design Kiel, in which everything began. Here, the first issue of “MUTABOR”, the academy’s magazine, was conceived and design students who wanted to create something entirely new met here regularly.
The first part of the book focuses on the C20 workroom and offers an insight into the design culture of the 90s. What did C20 look like, who worked there and how did the “MUTABOR” magazine come about? The second part introduces the ten creative minds that met in this room and tells their life stories through today.

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MUTABOR no. 10 – February 2002

This was the last MUTABOR issue in the legendary 220 mm x 395 mm format. The “Grand Magasin” concept of MUTABOR 10 focused on consumption. MUTABOR employees developed their own innovative product ideas and concepts for the issue.

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MUTABOR no. 9 – February 2000

This ninth issue – the “generative design” issue. Issue 9 delved into the topic before the term was even coined. As early as 1999, software was used to create layouts using artificial intelligence. Klaas Kielmann developed the program. The compendium of three issues was split into two design issues and one text issue. Employees from the MUTABOR design office also authored the articles.

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MUTABOR no. 8 – September 1998

The eighth issue – the sampling issue. MUTABOR 8 was the first to showcase work by the Hamburg agency in addition to social design topics and freestyle – and BMW on the back cover with a paid (!) ad. A publisher was also found – Hermann Schmidt Mainz got on board for one issue.

MUTABOR no. 7 – July 1996

The seventh issue – the multitasking issue. The MUTABOR team had grown considerably and room C20 was packed. This also showed in the only issue in landscape format – featuring four covers and spiral binding. This issue was a multifaceted mix of design history (Karl Schulpig), style critique (the end of [?] David Carson), project work and fun.

MUTABOR no. 6 – January 1996

The sixth issue – the medieval/techno issue. Books such as “Localizer 1.0” by Gestalten and the Loveparade – turned pop culture – begged for a MUTABOR interpretation. This interpretation came about in the sixth issue which featured a juxtaposition of the warring typography of the medieval ages and techno plastic style. Gutenberg meets Westbam.

MUTABOR no. 5 – June 1995

The fifth issue – the club style issue – was inspired by English phenomena such as club culture, party flyers and the Sheffield-based “The Designers Republic” studio. It’s therefore no surprise that the print featured two neon colors. For the first time, the pictograms that became a publication hallmark appeared in a MUTABOR issue.

MUTABOR no. 4 – October 1994

The fourth issue – the American style issue – signified a return to the roots: a small core team, full decision-making autonomy, a clear design concept and a new shift away from pure academy reporting. The inspiration for this was drawn from Charles S. Anderson, Steven Duffy and the American retro copy style.

MUTABOR no. 3 – June 1994

The third issue – the democratic issue – was an experiment yielding both some good and some bad. The team decided to open the magazine to everyone who wanted to contribute to the design. As a result, the conceptual design line was lost. However, a positive aspect was that new people were permanently added to the team that would shape MUTABOR in the long term, such as Johannes Plass.

MUTABOR no. 2 – November 1993

The first concept brochure. Nirvana’s grunge style and the typography of Ray Gun and the Emigre Magazine were the driving force of the second issue. The focus was still on documenting the happening at the academy, but the design concept became more prominent. MUTABOR 2 was also the first issue to be sold outside of the academy.

MUTABOR no. 1 – June 1993

The beginning. The first issue of MUTABOR focused on the objectives of the future academy magazine – what is going on in the faculties, what are they all about, what is the plan for the future?
There wasn’t yet a continuous design concept and only the principle of the two special print-edition colors and fonts were kept for many years.