Follow along and have a look around. Astonishment awaits, for you are about to enter The Palace of Typographic Masonry. This is an homage to the splendour and variety of visual languages. A myriad of exhibits are scattered throughout the grand halls and cabinets of this building. Thrilled by the sheer quantity of fascinating exhibits, I, as representative of the palace, courteously invite you to browse, absorb, explore, learn, and wonder.
Allow me, while gazing at the façade, to share a remark of historical value. The Palace of Typographic Masonry, namely dates to 2016 and, like any other palace, adheres to a dual determination. Certainly, it is a tribute and residence to an astonishing variety of visual languages. Yet underlying the homage is a remark in favour of preserving the extraordinary diversity of visual expressions. Numerous displayed examples precede the recognition of typographic masonry, commonly known as graphic design, as a profession. Yet the intriguing examples of visual expressions and linguistic systems bear relevancy that has not yet faded. Thus, The Palace of Typographic Masonry is a celebration of the historical significance and contemporary relevance of the diversity of visual languages.
The continuously growing collection of The Palace of Typographic Masonry is structured by nine departments, each isolating a single aspect; sign, symbol, ornament, construction, poetics, play, order, craft, and practice. Therewith, this structure allows nine different angles to perceive, approach, classify, dissect, expose, highlight or simply look at the historical legacy of visual languages. Various rooms and cabinets subdivide the departments and house a unique collection of source material, tributes and contemporary contributions. By personal invitation of Richard Niessen, initiator of the palatial project, a wide range of graphic designers and authors contribute to a unique ‘Gesamtkunstwerk.’
Now, let us wait no longer, I courteously invite you to proceed into the Vestibule of Principles & Rationale.