Viksjø Regular
Viksjø

In Viksjø, designer Frode Helland attempts to translate the ethical principles of Brutalist architecture into letterforms. The typeface was cast in raw concrete and showed as part the exhibition Blow it Up / Tear it Down, an artist protest against the demolition of architect Erling Viksjø’s seminal Y-block. Through the writings of architecture critic Reyner Banham, the Viksjø typeface explores the depths of Nordic modernism.

The Y-block and surrounding Norwegian government quarters was the target of the 2011 Oslo terror bombing. It was scheduled for demolition in 2014, against vocal opposition from leading architects and The Directorate for Cultural Heritage, and finally demolished in 2020.

Viksjø is not your typical Monokrom typeface. Its cause is as urgent as its production. Improvements and additions are only gradually added. In April 2109 the typeface was expanded with lowercase and a matching italic style.

Designer
Contributor
Viksjø Regular Italic
FALLER I FISK
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After completing his architectural studies, Viksjø worked for a period in the office of architect Ove Bang in Oslo. There he worked on Bakkehaugen Church and on the competition sketch for the new Government Quarter.
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Nordic Modernism
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Erling Viksjø
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Modernisme og sosialdemokrati var ekte kjærlighet i Sverige, et flyktig fornuftsekteskap i Norge. Denne forskjellen kan ha mange forklaringer.
Viksjø Regular
Statsmakta ble kledd i elvegrus fra Hønefoss, et folkelig grep som folket har hatt vanskelig for å forstå. Marmor fra Cararra ville vært pedagogisk enklere.
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1972
Viksjø Regular
Til å virkeliggjøre denne helt uprøvde formen for kunstnerisk utsmykking, med ny teknologi i nytt materiale, engasjerte Viksjø fire unge kunstnere; Carl Nesjar, Inger Sitter, Odd Tandberg og Tore Haaland. I tillegg trakk han inn tre av veteranene fra 1930-årenes tendenskunst, Kai Fjell, Hannah Ryggen og Pablo Picasso. Engasjerte kunstnere skulle skape den rette rammen for regjeringens og sentraladministrasjonens virke i det arbeiderstyrte Norge. Kai Fjell var fra midten av 1930-tallet aktiv i det radikale miljøet rundt Kunstnerforbundet og Sosialistisk Kulturfronts malergruppe. «Til å begynne med protesterte jeg mot sosialismen, men etterhånden skjønte jeg at kunst og sosialisme det er ett», forklarte han Arbeiderbladet i 1937.
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ANIMATION
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A Tale of Warp and Weft
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PAUL TUNGE