VIEW CLOSING LETTER

Monday the 22nd, August 2011

Nearly seven years have passed and much has changed since the inception of Cypher13.

Now we are two, Todd Berger and Lucian Föhr. Together, we have grown considerably - in principle, in thought, and in capacity - but not in number.

We have grown in practice.

We have chosen to pursue quality in all things - over quantity. This has come to define our craft and those with whom we wish to partner and to serve. We have chosen objectivity over subjectivity, accountability over bureaucracy, and personal responsibility over ambiguity.

And so, we have decided to close Cypher13 and to open a new design studio. We will usher in a new era of socially significant, lasting, far-reaching work.

We will strive to do better.

Goodbye Cypher13.

Welcome Berger & Föhr.

Sincerely,
Todd Berger
Lucian Föhr

  • Denver Art Museum



    OIivetti - Innovation and Identity Exhibition Graphics

    Exhibition graphics including, title, text and labels were designed for the Denver Art Museum's semi-permanent exhibition, "Olivetti, Innovation and Identity." Working closely with curator Darrin Alfred, on this sister exhibition to "What Is Modern?," we created a minimal graphics system to support some of Olivetti's most well designed and treasured artifacts.

    "Once Italy emerged from the ravages of World War II (1939–45), it quickly rose to become the cradle of modern design. During the 1950s, the country found prosperity through the employment of advanced technologies, new materials, and emerging designers as a means of distinguishing its products from those of other nations. Olivetti, whose office machines and advertisements are on view in this gallery, helped solidify Italy’s postwar reputation for innovative design through the company’s quality mass-produced products as well as the visual materials that publicized them.

    The Olivetti company’s tradition of design excellence stems chiefly from the principles introduced by Adriano Olivetti (1901–60), the son of the company’s founder. Adriano had a keen sense of the contribution that graphic, product, and architectural design could make to an organization. As early as the 1930s Adriano Olivetti began hiring graphic designers, architects, artists, writers, and advertising experts who took an active part in the design of not only the company’s products and advertising graphics but also the visual appearance of its showrooms and corporate architecture. Design was seen as a major way to shape the company’s reputation for quality and reliability. This approach ensured Olivetti’s commercial and critical success as well as its place in design history."

    – Darrin Alfred
    Curator, Denver Art Musuem
    Department of Architecture, Design & Graphics

    Photography by: Jamie Kripke

    November 26, 2010

    Print, Denver Art Museum