KA&D Magazine

Jonathan Ivy + Milton Glaser + The Empire State Building + Oscar Niemeyer + Paul Rudy

The Empire State Building 4+5 Milton Glaser 6+7 Elmgreen & Dragset 8+9 Oscar Niemeyer 10+11 Jonathan Ive 12+13 Paul Rudy 14

Font: Mengdetekst: Celeste Overskrift/ mellomtittel: Dax Design: Alexander Kanvik Farge: Pantone Solid Coated Purple Trykkeri: Norges Kreative Fagskole Opplag: 001

De tidligere magasinene Aktuell Kunst og Kunst for Alle ble slått sammen til ett magasin fra 2010. Magasinet fikk flere redaksjonelle sider, større bredde og nytt design. KA&D vil alltid by på interessante og nærgående kunstnerportretter, atelierbesøk, kunsthistorie, samtidskunst, investeringsobjekter, design- eller arkitekturhistorier, instruktivt stoff, utstillingsomtaler, kurs- og reisetilbud og mye mer. Magasinet som er Nordens ledende kunst-, design-, og arkitektur magasin retter seg mot de som vil investere i eller kjøpe kunst, til de som kun vil lære og lese om kunst, arkitektur og design, og til den aktive kunstneren.

KA&D er et magasin som gjennom året gir en unik mulighet til å bli kjent med de største norske og utenlandske kunstnerne, få en presentasjon av kunst på en folkelig måte, samtidig som det er et eksklusivt og tidsriktig magasin.

empire state building

The Empire State Building and American cultural icon United States, at the intersection 34th Street. ‚ 4 › Ka&D

empire state building

It has a roof height of 1,250 feet and with its antenna spire included, it stands a total of 1,454 ft high. Its name is derived from the nickname for New York, the Empire State. It stood as the world’s tallest building for 40 years, from its completion in 1931 until construction of the World Trade Center’s North Tower was completed in 1972. Following the destruction of the World Trade Center in 2001, the Empire State Building once again became the tallest building in New York.

drawings in just two weeks, using its earlier designs for the Reynolds Building in Winston-Salem, North Carolina, and the Carew Tower in Cincinnati, Ohio (designed by the architectural firm W.W. Ahlschlager & Associates) as a basis. Every year the staff of the Empire State Building sends a Father’s Day card to the staff at the Reynolds Building in Winston-Salem to pay homage to its role as predecessor to the Empire State Building. The building was designed from the top down. The general contractors were The Starrett Brothers and Eken, and the project was financed primarily by John J. Raskob and Pierre S. du Pont. The construction company was chaired by Alfred E. Smith, a former Governor of New York and James Farley’s General Builders Supply Corporation supplied the building materials. John W. Bowser was project construction superintendent.

Excavation of the site began on January 21, 1930, and construction on the building itself started symbolically on March 17—St. Patrick’s Day—per Al Smith’s influence as Empire State, Inc. president. The project involved 3,400 workers, mostly immigrants from Europe, along with hundreds of Mohawk iron workers, many from the Kahnawake reserve near Montreal. According to official accounts, five workers died during the construction.Governor Smith’s grandchildren cut the ribbon on May 1, 1931. Lewis Wickes Hine’s photography of the construction provides not only invaluable documentation of the construction, but also a glimpse into common day life of workers in that era. The construction was part of an intense competition in New York for the title of “world’s tallest building”. Two other projects fighting for the title, 40 Wall Street and the Chrysler Building, were still under construction when work began on the Empire State Building.

Each held the title for less than a year, as the Empire State Building surpassed them upon its completion, just 410 days after construction commenced. The building was officially opened on May 1, 1931 in dramatic fashion, when United States President Herbert Hoover turned on the building’s lights with the push of a button from Washington, D.C. Coincidentally, the first use of tower lights atop the Empire State Building, the following year, was for the purpose of signaling the victory of Franklin D. Roosevelt over Hoover in the presidential election of November 1932.

Architecture The Empire State Building rises to 1,250 ft at the 102nd floor, and including the 203 ft pinnacle, its full height reaches 1,453 ft–89 16 in The building has 85 stories of commercial and office space representing 2,158,000 sq ft. It has an indoor and outdoor observation deck on the 86th floor. The remaining 16 stories represent the Art Deco tower, which is capped by a 102nd-floor observatory. Atop the tower is the 203 ft pinnacle, much of which is covered by broadcast antennas, with a lightning rod at the very top.

The Empire State Building was the first building to have more than 100 floors. It has 6,500 windows and 73 elevators, and there are 1,860 steps from street level to the 102nd floor.

It has a total floor area of 2,768,591 sq ft; (the base of the Empire State Building is about 2 acres. The building houses 1,000 businesses and has its own zip code, 10118. As of 2007, approximately 21,000 employees work in the building each day, making the Empire State Building the second-largest single office complex in America, after the Pentagon. The building was completed in one year and 45 days. Its original 64 elevators are located in a central core; today, the Empire State Building has 73 elevators in all, including service elevators. It takes less than one minute by elevator to get to the 80th floor where visitors can take another elevator or stairs to the 86th floor, where an observation deck is located.) The building has 70 mi (113 km) of pipe, 2,500,000 ft (760,000 m) of electrical wire, and about 9,000 faucets. It is heated by low-pressure steam; despite its height, the building only requires between 2 and 3 psi of steam pressure for heating.

It weighs approximately 370,000 short tons. The exterior of the building was built using Indiana limestone panels.

The Empire State Building cost $40,948,900 to build (Equal to roughly $500,000,000 in 2010). Long-term forecasting of the

is a 102-story landmark in New York City, of Fifth Avenue and West Tekst: wikipedia.org

The Empire State Building is designed in the distinctive Art Deco style, and has been named by the American Society of Civil Engineers as one of the Seven Wonders of the Modern World. The building and its street floor interior are designated landmarks of the New York City Landmarks Preservation Commission, and confirmed by the New York City Board of Estimate. It was designated as a National Historic Landmark in 1986. In 2007, it was ranked number one on the List of America’s Favorite Architecture according to the AIA. The building is owned and managed by W&H Properties. The Empire State Building is currently the third tallest skyscraper

in the United States (after the Willis Tower and Trump International Hotel and Tower, both in Chicago), and the 15th tallest in the world. It is also the fourth-tallest freestanding structure in the Americas.

The Empire State Building is currently undergoing a $550 million renovation, with $120 million spent in an effort to transform the building into a more energy efficient and eco-friendly structure. Receiving a gold leadership in the Energy and Environmental Design (LEED) rating in September 2011, the Empire State Building is the tallest LEED certified building in the United States.

Design and construction The Empire State Building was designed by William F. Lamb from the architectural firm Shreve, Lamb and Harmon, which produced the building

life cycle of the structure was implemented at the design phase to ensure that the building’s future intended uses were not restricted by the requirements of previous generations. This is particularly evident in the over-design of the building’s electrical system.

Unlike most of today’s skyscrapers, the Empire State Building features an art deco design, typical of pre–World War II architecture in New York. The modernistic stainless

steel canopies of the entrances on 33rd and 34th Streets lead to two story-high corridors around the elevator core, crossed by stainless steel and glass-enclosed bridges at the second-floor level. The elevator core contains 67 elevators.

The lobby is three stories high and features an aluminum relief of the skyscraper without the antenna, which was not added to the spire until 1952.

The north corridor contained eight illuminated panels, created

by Roy Sparkia and Renée Nemorov in 1963 in time for the 1964 World’s Fair, which depicts the building as the Eighth Wonder of the World, alongside the traditional seven.

These panels were eventually moved near a ticketing line for the observation deck.

The building’s lobbies and common areas received a $550 million renovation in 2009, which included new air conditioning, waterproofing, and renovating the observation deck; moving the gift shop to the 80th floor. Up until the 1960s, the ceilings in the lobby had a shiny art deco mural depicting inspired by both the sky and the Machine Age, until it was covered with ceiling tiles and fluorescent lighting. Because the original murals, designed by an artist named Leif Neandross, were damaged, reproductions were installed. Over 50 artists and workers used 15,000 square feet of aluminum and 1,300 square feet of 23-karat gold leaf to re-create the mural.

Renovations to the lobby alluded to original plans for the building; replacing the clock over the information desk in the Fifth Avenue lobby, as well as installing two chandeliers originally intended to be part of the building.

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milton glaser

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milton glaser

Glaser was born into a Hungarian Jewish family in New York.

Glaser was educated at Manhattan’s High School of Music & Art, graduated from the Cooper Union in 1951 and later, via a Fulbright Scholarship, the Academy of Fine Arts in Bologna under Giorgio Morandi He was greatly inspired by his sister’s partner, who studied typography at a great depth at the current time.

Milton Glaser, Inc. was established in 1974 in Manhattan, and is still producing work in a wide range of design disciplines, including: corporate identities (logos, stationery, brochures, signage, website design, and annual reports), environmental and interior design (exhibitions, interiors and exteriors of restaurants, shopping malls, supermarkets, hotels, and other retail environments), packaging (food and beverage packaging), and product design. Some of the firm’s current clients include The Brooklyn Brewery, Jet Blue, Target, Coach, Trump, Eleven Madison Park, Alessi, Juilliard, The Rubin Museum of Art, Theatre For A New Audience, The School of Visual Arts, Bread Alone, and Philip Roth, amongst others.

In 1954 Glaser was a founder, and president, of Push Pin Studios formed with several of his Cooper Union classmates. Glaser’s work is characterized by directness, simplicity and originality. He uses any medium or style to solve the problem at hand. His style ranges wildly from primitive to avant garde in his countless book jackets, album covers, advertisements and direct mail pieces and magazine illustrations. He started his own studio, Milton Glaser, Inc, in 1974. This led to his involvement with an increasingly wide diversity of projects, ranging from the design of New York Magazine, of which he was a co-founder, to a 600-foot mural for the Federal Office Building in Indianapolis.

Throughout his career he has had a major impact on contemporary illustration and design. His work has won numerous awards from Art Directors Clubs, the American Institute of Graphic Arts, the Society of Illustrators and the Type Directors Club. In 1979 he was made Honorary Fellow of the Royal Society of Arts and his work is included in the Museum of Modern Art, the Victoria and Albert Museum, the Israel Museum and the Musee de l’affiche in Paris. Glaser has taught at both the School of Visual Arts and at Cooper Union in New York City. He is a member of Alliance Graphique International.

Milton Glaser Inc.

tekst: wikipedia.com

Awards

is a graphic designer, best known for the I Love New York logo, his “Bob Dylan” poster, the “DC bullet” logo used by DC Comics from 1977 to 2005, and the “Brooklyn Brewery” logo. He also founded New York Magazine with Clay Felker in 1968.

In 2004, Glaser won a Lifetime Achievement award from the Cooper-Hewitt National Design Museum. In 2009, he was awarded the National Medal of Arts by President Barack Obama.

Shows

In 1991, he was commissioned by the Italian government to create an exhibition in tribute to the Italian artist, Piero della Francesca, for part of the celebrations on the occasion of his 500th anniversary. This show opened in Arezzo, Italy and one year later (under the sponsorship of Campari) moved to Milan. In 1994, The Cooper Union, Mr. Glaser’s alma mater, hosted the show in New York.

In 1992, an exhibition of drawings titled “The Imaginary Life of Claude Monet” opened at Nuages Gallery, Italy, and in 1995, an adapted version of this show was exhibited in Japan’s Creation Gallery. 1995 also brought a Glaser exhibition to the Art Institute of Boston. In 1997, the Suntory Museum, Japan, mounted a major retrospective of The Pushpin Studios, featuring past and present works

by Milton Glaser and other Pushpin artists. In October 1999, Mr. Glaser’s illustrations of Dante’s Purgatorio were exhibited at the Nuages Gallery in Milan, Italy, and Nuages organized a large exhibition of Mr. Glaser’s work during the 2000 Carnevale in Venice. Mr. Glaser’s work is now represented in the permanent collections at the Museum of Modern Art, New York; The Israel Museum, Jerusalem; the National Archive, Smithsonian Institute, Washington, D.C.; and the Cooper Hewitt National Design Museum, New York.

In addition to commercial enterprises, Milton Glaser’s work has been exhibited world-wide.

His most notable single-man shows include: • Museum of Modern Art, New York (1975) • Centre Georges Pompidou, Paris (1977) • Lincoln Center Gallery, New York (1981) • Houghton Gallery, The Cooper Union, New York (1984) • Vicenza Museum (1989) • Galleria Communale d’Arte Moderna, Bologna (1989)

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dragset & elmgreen

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dragset & elmgreen

We are the kind of artists who only meet a few of the people who purchase our works.

Elmgreen & Dragset

Michael Elmgreen and Ingar Dragset, the artists who work as a collaborative duo. Dragset lives and works in Berlin; Elmgreen lives in London and works in Berlin.

They are known for artwork that has wit and subversive humour, and also addresses serious cultural concerns.

Elmgreen and Dragset met in 1995 and moved to Berlin in 1997, where they converted a large 100m2 building into a home and studio. tekst: wikipedia.com

Since 1997, the artists have presented a great number of architectural and sculptural installations in an ongoing series of works entitled ’Powerless Structures’ in which they transformed the conventions of the ’white cube’ gallery space, creating galleries suspended from the celing, sunk into the ground or turned upside down. For the Istanbul Biennial in 2001, they constructed a full-scale model of a typical Modernist Kunsthalle descending into the ground while located outdoor among ancient ruins. Further exhibitions include transforming the Bohen Foundation in New York into a 13th Street Subway Station in 2004, siting a Prada boutique in the middle the Texan desert in 2005, and their The Welfare Show in 2006 at Serpentine Gallery, London, and the Power Plant Contemporary Art Gallery, Toronto, which was critically acclaimed.Their best-known project is Prada Marfa, inaugurated in 2005.

tiergarten Elmgreen and Dragset won the German Government’s competition in 2003 for a memorial in Tiergarten park in Berlin, in memory of the gay victims of the Nazi regime, which was unveiled in May 2008. For the 2008 Venice Biennale they curated the exhibitions in the neighboring Danish and Nordic Pavilions an unprecedented merging of two international exhibition venues. For their show, they invited fellow artists Maurizio Cattelan, Tom of Finland, Han & Him, Laura Horelli, William E. Jones, Terence Koh, Klara Lidén, Jonathan Monk, Nico Muhly, Klara Lidén, and Norway Says.

drama queens In 2007, Elmgreen and Dragset developed Drama Queens, a theatre play about Twentieth Century art history with six remote-controlled fiberglass versions of iconic sculpture, for Skulptur Projekte Münster.

During the 2008 Frieze Art Fair, they staged ”Drama Queens,” this time enlivened by the voices of leading stage stars such as Kevin Spacey, at The Old Vic. In 2011, their design Powerless Structures, Fig.101 won a famous annual competition to be displayed on the fourth plinth of London’s Trafalgar Square. this time enlivened by the voices of leading stage stars their kitsch brass sculpture of a boy astride a rocking horse questions the tradition for war monuments to celebrate either victory or defeat.

Recognition Elmgreen & Dragset were nominated for the great Hugo Boss Prize in year 2000, and in 2002 they won the Preis der Nationalgalerie at the Hamburger Bahnhof, Berlin.

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oscar niemeyer

Oscar Ribeiro de Almeida Niemeyer Soares Filho is a Brazilian architect specializing in international modern architecture.

He is a pioneer in exploring the formal possibilities of reinforced concrete solely for their aesthetic impact.

His buildings are often characterized by being spacious and exposed, mixing volumes and empty space to create unconventional patterns and often propped up by pilotis.

Both lauded and criticized for being a “sculptor of monuments, he has been praised for being a great artist and one of the greatest architects of his generation by his supporters. tekst: wikipedia.com

His works include public buildings designed for the city of Brasília, and the United Nations Headquarters in New York City.

Early life Oscar Niemeyer took his German surname from a grandmother with roots in Hanover. He was born in the city of Rio de Janeiro in 1907 in Laranjeiras neighborhood, on a street that later would receive the name of his grandfather. He spent his youth as a typical young Carioca of the time: bohemian and relatively unconcerned with his future. He concluded his secondary education at age 21. The same year, he married Annita Baldo, daughter of Italian immigrants from Padua. They have one daughter, Ana Maria, five grandchildren, thirteen great-grandchildren and seven great-great grandchildren.

He started to work in his father’s typography house and entered the Escola de Belas Artes (Brazil), from which he graduated as engineer architect in 1934. At the time he had financial difficulties but decided to work without payment

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in the architecture studio of Lúcio Costa and Carlos Leão.

He felt dissatisfied with the architecture that he saw in the streets and believed he could find a career there.

In 1945, he joined the Brazilian Communist Party, and in 1992 he would become president of that party. Niemeyer was a boy at the time of the Russian Revolution of 1917, and by the Second World War he became a young idealist. During the military dictatorship of Brazil his office was raided and he was forced into exile in Europe. The Minister of Aeronautics of the time reportedly said that “the place for a communist architect is Moscow.” He visited the USSR, met with diverse socialist leaders and became a personal friend of some of them. Fidel Castro once said: “Niemeyer and I are the last Communists of this planet.”

First works In 1936, at 29, Lúcio Costa was appointed by Education Minister Gustavo Capanema as the architect of the new headquarters for the Ministry of Education and Public Health in Rio de Janeiro. In 1939, Niemeyer assumed the leadership of the team of architects (Lúcio Costa, Carlos Leão, Affonso Eduardo Reidy, Jorge Moreira, Ernani Vasconcellos and Niemeyer, with Le Corbusier acting as a consultant) responsible for the Ministry that had assumed the task of shaping the ‘novo homem, Brasileiro e moderno’ (new man, Brazilian and modern).

Following Niemeyer’s request, the headquarters were

renamed Palácio Gustavo Capanema in 1985. It was the first state-sponsored modernist skyscraper in the world, and of a much larger scale than anything Le Corbusier had built until then. Completed in 1943, when he was 36, the building which housed the regulator and manager of Brazilian culture and cultural heritage developed the elements of what was to become recognized as Brazilian modernism. It employed local materials and techniques, like the azulejos linked to the Portuguese tradition; the revolutionized Corbusian brises-soleil, made adjustable and related to the Moorish shading devices of colonial architecture; bold colors; the tropical gardens of Roberto Burle Marx; the Imperial Palm (Roystonea oleracea), known as the Brazilian order; further allusions to the icons of the Brazilian landscape; and specially commissioned works

by Brazilian artists.

In 1939, at 32, Niemeyer with Lúcio Costa designed the Brazilian pavilion at the New York World’s Fair (executed in collaboration with Paul Lester Wiener). Impressed by the executed Pavilion, Mayor Fiorello La Guardia awarded Niemeyer the keys to the city of New York. Costa explained that the Brazilian Pavilion adopted a language of ‘grace and elegance’, lightness and spatial fluidity, open plan, curves and free walls, which he termed ‘Ionic’, contrasting it to the contemporaneous stern Modernist architecture, which he termed ‘Doric’. By mid-twentieth century, Brazilian architectural Modernism had been recognized as the first national style in modern architecture by Reyner Banham. The international

oscar niemeyer

architectural periodicals of the 1940s and 1950s dedicated Niemeyer organized a competition for the lay-out of Brasília, of bent wood and were placed in different Communist party hundreds of dithyrambic pages to the ‘chosen land of the most the new capital, and the winner was the project of his old headquarters around the world. Much like his architecture, original and most audacious master and great friend, Niemeyer’s furniture designs were meant to evoke the beauty contemporary architecture’, Lúcio Costa. Niemeyer would of Brazil, with curves mimicking the female form and the followed by monographs design the buildings, Lucio hills of Rio de Janeiro.

We hated Bauhaus. It was a bad time in on individual architects the plan of the city. architecture. They just didn’t have any talent. like Niemeyer and Affonso In the space of a few months, 1980s to 2000 All they had were rules. Even for knives and Niemeyer designed a large In 1988, at 81, Niemeyer was awarded the Pritzker Architecture Eduardo Reidy. forks they created rules. number of residential, com- Prize, the most prestigious award in architecture, for the The Pampulha project - Oscar Niemeyer mercial and government Cathedral of Brasília.

In 1940, at 33, Niemeyer buildings. Among them were From 1992 to 1996, Niemeyer was the president of the Brazilian met Juscelino Kubitschek, who was at the time the mayor of the residence of the President, the House of the deputy, the Communist Party. As a lifelong activist, Niemeyer was chosen Belo Horizonte, capital of the state of Minas Gerais. He and National Congress of Brazil, the Cathedral of Brasília, diverse as a powerful public figure that could be linked to the party Minas Gerais Governor Benedito Valadares wanted to develop ministries, and residential buildings. Viewed from above, the at a time when it appeared to be in its death throes after the a new suburb to the north of the city called Pampulha, and city can be seen to have elements that repeat themselves in demise of the USSR. Although not active as a political leader, his image helped the party to survive through its crisis, after commissioned Niemeyer to design a series of buildings to every building, giving it a formal unity. be known as the “Pampulha complex”. Brazil’s first listed Behind the construction of Brasília lay a monumental campaign the 1992 split and to remain as a political force in the national modern monument was Niemeyer’s Pampulha Church of to construct an entire city in the barren center of the country, scene, which eventually led to its reconstruction. He was São Francisco de Assis. The Pampulha complex included a hundreds of kilometers from any major city. The brainchild replaced by Zuleide Faria de Mello in 1996. casino, a dance hall and restaurant, a yacht club, and a golf of Kubitschek, Niemeyer had as aims included stimulating He designed at least two more buildings in Brasilia, small club distributed around the artificial lake. A weekend retreat the national industry, integrating the country’s distant areas, ones, the Memorial dos Povos Indigenas (”Memorial for populating inhospitable regions, and bringing progress to a the Indigenous People”) and the Catedral Militar, Igreja de for the mayor was also constructed near the lake.

The buildings were completed in 1943, and provoked some region where only cattle ranching had a foothold. Niemeyer N.S. da Paz. controversy. They received international acclaim following and Lúcio Costa used it to test new concepts of city planning: In 1996, at the age of 89, he created the Niterói Contemporary the 1943 ‘Brazil Builds’ exhibition, at the New York Museum streets without transit, buildings floating off the ground Art Museum in Niterói, a city next to Rio de Janeiro. The of Modern Art (MoMA). The conservative Church authorities supported by columns and allowing the space underneath building is cantilevered out from sheer rock face, giving a of Minas Gerais refused to consecrate the church until 1959, to be free and integrated with nature. view of the Guanabara Bay and the city of Rio de Janeiro. in part because of its unorthodox form, in part because of The project also had a socialist ideology: in Brasília all the the altar mural painted by Candido Portinari. The mural apartments would be owned by the government and rented 2002 to present depicts Saint Francis of Assisi as the savior of the ill, the poor to its employees. Brasília did not have “nobler” regions, The Brazilian dictatorship lasted until 1985. Under João and, most importantly, the sinner.Pampulha, says Niemeyer, meaning that top ministers and common laborers would Figueiredo’s rule it softened and gradually turned into a offered him the opportunity to ‘challenge the monotony share the same building. Of course, many of these concepts democracy. At this time Niemeyer decided to return to his of contemporary architecture, the wave of misinterpreted were ignored or changed by other presidents with different country. During that decade he made the Memorial Juscelino functionalism that hindered it, and the dogmas of form and visions in later years. Brasília was designed, constructed, and Kubitschek (1980), the Pantheon (Panteão da Pátria e da function that had emerged, counteracting the plastic freedom inaugurated within four years. After its completion, Niemeyer Liberdade Tancredo Neves Pantheon of the Fatherland and that reinforced concrete introduced. I was attracted by the was nominated head chief of the college of architecture of Freedom, 1985) and the Latin America Memorial. The memocurve – the liberated, sensual curve suggested by the pos- the University of Brasília. In 1963, he became an honorary rial sculpture represents the wounded hand of Jesus, whose sibilities of new technology yet so often recalled in venerable member of the American Institute of Architects in the wound bleeds in the shape of Central and South America. old baroque churches. […] I deliberately disregarded the right United States; the same year, he received the Lenin Peace In 2002, at 95 the Oscar Niemeyer Museum complex was angle and rationalist architecture designed with ruler and Prize from the USSR. inaugurated in the city of Curitiba, Paraná. The building is square to boldly enter the world of curves and straight lines Niemeyer and his contribution to the construction of Brasília locally known as ”Niemeyer’s Eye”. offered by reinforced concrete. […] This deliberate protest are portrayed in the 1964 French movie, starring Jean-Paul In 2003, at 96, Niemeyer was called to design the Serpentine Gallery Summer Pavilion in Hyde Park London, a gallery that arose from the environment in which I lived, with its white Belmondo. beaches, its huge mountains, its old baroque churches, and In 1964, at 57, after being invited by Abba Hushi, the mayor of each year invites a famous architect who has never previHaifa, Israel, to plan the campus of the University of Haifa, he ously built in the UK, to design this temporary structure. A the beautiful suntanned women. came back to a completely different Brazil. In March President publication of Niemeyer’s structure called Serpentine Gallery The 1940s and 1950s João Goulart, who succeeded President Jânio Quadros in 1961, Pavilion 2003 was published by Trolley Books later that year.

In 1947, at 40, his worldwide recognition was confirmed was deposed in a military coup. General Castello Branco In 2004, Niemeyer, at 97 designed the tombstone for Communist when Niemeyer traveled to the United States to be part of the assumed command of the country, which would remain a Carlos Marighella in Salvador da Bahia, to commemorate international team working on the design for the headquarters dictatorship until 1985. the 35th anniversary of his of the United Nations in New York. Niemeyer’s ‘scheme 32’ death. He was widowed It is not the right angle that attracts me, or was approved by the Board of Design, but he eventually gave Exile and projects overseas after 76 years of marriage the straight line, hard and inflexible, created in to pressure by Le Corbusier, and together they submitted The leftist position of Niemeyer to Annita, Annita died at 93 project 23/32 (developed with Bodiansky and Weissmann), cost him much during the years old. Also his brother by man. What attracts me is the which combined elements from Niemeyer’s and Le Corbusier’s military dictatorship. His Paulo Niemeyer died. free and sensual curve. schemes, but was primarily based on Niemeyer’s scheme. office was pillaged, the In 2005, at 98, a building Oscar Niemeyer Despite Le Corbusier’s insistence to remain involved, the headquarters of the magazine entitled ”Estação, Ciência, conceptual design for the United Nations Headquarters, he coordinated was destroyed, his projects mysteriously Cultura e Artes” was approved for construction at João Pessoa, approved by the Board, was carried forward by the Director began to be refused and clients disappeared. In 1965, two the easternmost point of the Americas. of Planning, Wallace Harrison, and Max Abramovitz, then a hundred professors, Niemeyer among them, asked for their In 2006, Niemeyer at the age of 99 wed longtime aide Vera Lucia partnership. In the previous year Niemeyer had received an resignation from the University of Brasília, in protest against Cabreira. They married at his apartment in Rio de Janeiro’s invitation to teach at Yale University; however, his visa was the government treatment of universities. In the same year he Ipanema district a month after fracturing his hip in a fall.

2007 saw Niemeyer turn 100 and still involved in diverse denied. In 1950 the first book about his work was published traveled to France for an exhibition in the Louvre museum. in the USA by Stamo Papadaki. In 1953, at 46, Niemeyer was The following year, Niemeyer moved to Paris. Also in 1966, projects, mainly sculptures and readjustments of old works of selected for the position of dean of the Harvard Graduate at 59, he travelled to the city of Tripoli, Lebanon to design his that, protected by national historic heritage regulations, School of Design. His Communist Party membership meant the International Permanent Exhibition Centre. Despite can only be modified by him. He is currently designing a that, for the second time, he was refused a visa to enter the completing construction, the start of the civil war in Lebanon statue showing a tiger with its mouth open and a man fighting prevented it from achieving its full utility. it raising the Cuban flag against the US blockade of Cuba.

United States.

He opened an office on the Champs-Élysées, and had On Niemeyer’s 100th birthday, Russia’s president Vladimir In Brazil, he designed São Paulo’s Ibirapuera Park 1951, the Copan apartment building and the JK Building in Belo customers in diverse countries, especially in Algeria where Putin awarded him the Order of Friendship. Grateful for Horizonte. In 1952-53, he built his own house in Rio de he designed the University of Science and Technology-Houari the Prince of Asturias Award of Arts received in 1989, he Janeiro, the House at Canoas, and, in 1954-60, the Niemeyer Boumediene. In Paris he created the headquarters of the collaborated on the 25th anniversary of these awards with French Communist Party, Place du Colonel Fabien, and in the donation to Asturias of the design of a cultural centre. luxury apartment building in Belo Horizonte.

In 1955, at 48, Niemeyer designed the Museum of Modern Italy that of the Mondadori publishing company. In Funchal The actual Óscar Niemeyer International Cultural Centre is Art of Caracas (MAM Caracas). According to him, this project on Madeira, a 19th-century hotel was removed to build a located in Avilés in Northern Spain. These modern buildings marked a new direction his work was beginning to take, casino by Niemeyer. Another prominent design of his was were described by himself as “a big square open to all men exemplified by his government buildings for Brasilia. the Penang State Mosque in George Town the state capital of and women of the world, a big loge between the river and It was at the Canoas House that Penang, Malaysia in the 1970s. the ancient town”. The Niemeyer Center was inaugurated Juscelino Kubitschek visited While in Paris, Niemeyer began during the spring of 2011.

I had some good opportunities. I was Niemeyer one September designing furniture which In December 2008 he turned 101 Niemeyer was recovering morning of 1956, soon after was produced by Mobilier in hospital from December 16th to December 27th, and lucky to have had the chance to do things he assumed the Brazilian International. He created while there he quoted saying as that being hospitalized is ’a differently. Architecture is about surprise. presidency. While driving an easy chair and ottoman very lonely thing I needed to keep busy, keep in touch with -Oscar Niemeyer back to the city, the politician composed of bent steel and friends, maintain my rhythm of life.’ ‘eagerly’ spoke to the architect about his most audacious leather in limited numbers for private clients. Later, in 1978, In December 2009 after he turned 102 Niemeyer was hospitalscheme: ‘I am going to build a new capital for this country this chair and other designs including the “Rio” chaise-longue ized for 4 days in the same hospital with an intestinal tumor, and I want you to help me […] Oscar, this time we are going were produced in Brazil by the Japanese company Tendo, then which was surgically removed. He is considered to be one of Tendo Brasileira. The easy chairs and ottomans were made the fathers of modern architecture. to build the capital of Brazil.’

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Jonathan ive

It’s very easy to be different, but very difficult to be better.

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Jonathan ive

Jonathan “Jony” Ive, CBE is an English designer and the Senior Vice President of Industrial Design at Apple Inc. He is the leading designer and conceptual mind behind the iMac, titanium and aluminum PowerBook G4, G4 Cube, MacBook, unibody MacBook Pro, MacBook Air, iPod, iPhone, and iPad. Jonathan Ive was born in Chingford, London. He was raised by his teacher father and attended Chingford Foundation School. He went on to attend Walton High School in Stafford, Staffordshire, and then studied Industrial Design at Northumbria University. tekst: Wikipedia.com

Ive married Heather Pegg in 1987. They have twin sons. The family lives in the Twin Peaks area of San Francisco.

Career After cofounding the London design agency Tangerine, Ive was hired in 1992 by Apple’s then Chief of Industrial Design Robert Brunner after a Tangerine consultancy with Apple.

He gained his current position at Apple in 1997 as Senior Vice President of Industrial Design after the return of Steve Jobs, and since then has headed the Industrial Design team responsible for most of the company’s significant hardware products. Jobs made design a chief element of the firm’s product strategy and Ive proceeded to establish the firm’s leading position with a series of functionally clean, aesthetically pleasing and remarkably popular products. The work and principles of Dieter Rams, the Chief of Design at Braun from 1961 until 1995, have influenced Ive’s work. In Gary Hustwit’s documentary film Objectified (2009), Rams states that Apple is the only company designing products according to Rams’ ten principles to “good design”.

Praise The Sunday Times named Ive as one of Britain’s most influential expatriates on 27 November 2005: “Ive may not

be the richest or the most senior figure on the list, but he has certainly been one of the most influential as the man who designed the iPod.” A recent Macworld poll listed Ive joining Apple in 1992 as the sixth most significant event in Apple Inc. history, while MacUser writer Dan Moren suggested in March 2006 that, when the time comes for Steve Jobs to step down as CEO of Apple Inc., Ive would be an excellent candidate for the position, justifying the statement by saying that he “embodies what Apple is perhaps most famous for: design.” However, Jobs was succeeded as CEO by Tim Cook, the company’s former COO. The Daily Telegraph rated him the most influential Briton in America on 11 January 2008.

Awards and nominations In 1999, Ive was named to the MIT Technology Review TR100 as one of the top 100 innovators in the world under the age of 35. Ive was listed in the 2006 New Years Honours list, receiving a CBE, for services to the design industry. The British monarch, Queen Elizabeth II, was revealed as being an iPod owner in June 2005. Ive was the winner of the Design Museum’s inaugural Designer of the Year award in 2002, and won again in 2003. In 2004, he was a juror for the award. On 18 July 2007, Ive received the 2007 National Design Award in the product design category for his work on the iPhone. In July 2008, Ive was awarded the MDA Personal Achievement award for the design of the iPhone. In May 2009, Ive received an honorary doctorate from the Rhode Island School of Design and in June 2009 was named Honorary Doctor of the Royal College of Art. Fortune named Ive as the “world’s smartest designer” in 2010, for his work on Apple products. Jonathan Ive has over 400 design patents to his name.

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paul rand

Paul Rand was an American graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Westinghouse, ABC, and Steve Jobs’ NeXT. He was one of the originators of the Swiss Style of graphic design.

Rand was educated at the Pratt Institute (1929–1932), Parsons The New School for Design (1932–33), and the Art Students League (1933–1934). From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut. tekst: wikipedia.com

Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. Rand died of cancer in 1996. He is buried in Beth El Cemetery.

Early life and education

His career began with humble assignments, starting with a part-time position creating stock images for a syndicate that supplied graphics to various newspapers and magazines.

Between his class assignments and his work, Rand was able to amass a fairly large portfolio, largely influenced by the German advertising style Sachplakat (object poster) as well as the works of Gustav Jensen. It was around this time that he decided to camouflage (and abbreviate) the overtly Jewish identity telegraphed by ‘Peretz Rosenbaum,’ shortening his forename to ‘Paul’ and taking ‘Rand’ from an uncle to form his new surname. Morris Wyszogrod, a friend and associate of Rand, noted that “he figured that ‘Paul Rand,’ four letters here, four letters there, would create a nice symbol. So he became Paul Rand.” Roy R. Behrens notes the importance of this new title: “Rand’s new persona, which served as the brand name for his many accomplishments, was the first corporate identity he created, and it may also eventually prove to be the most enduring.” Indeed, Rand was rapidly moving into the forefront of his profession. In his early twenties he was producing work that began to garner international acclaim, notably his designs on the covers of Direction magazine, which Rand produced for no fee in exchange for full artistic freedom. The reputation Rand so rapidly amassed in his prodigious twenties never dissipated; rather, it only managed to increase through the years as the designer’s influential works and writings firmly established him as the éminence grise of his profession.

Although Rand was most famous for the corporate logos he created in the 1950s and 1960s, his early work in page design was the initial source of his reputation. In 1936, Rand was given the job of setting the page layout for an Apparel Arts magazine anniversary issue. “His remarkable talent for transforming mundane photographs into dynamic compositions, which [. . .] gave editorial weight to the page” earned Rand a full-time job, as well as an offer to take over as art director for the Esquire-Coronet magazines. Initially, Rand refused this offer, claiming that he was not yet at the level the job required, but a year later he decided to go ahead with it, taking over responsibility for Esquire’s fashion pages at the young age of twenty-three.

The cover art for Direction magazine proved to be an important step in the development of the “Paul Rand look” that was not as yet fully developed. The December 1940 cover, which uses barbed wire to present the magazine as both a war-torn gift and a crucifix, is indicative of the artistic freedom Rand enjoyed at Direction; in Thoughts on Design Rand notes that it “is significant that the crucifix, aside from its religious implications, is a demonstration of pure plastic form as well . . . a perfect union of the aggressive vertical (male) and the passive horizontal (female).”

Criticism

Modernist influences

The core ideology that drove Rand’s career, and hence his lasting influence, was the modernist philosophy he so revered. He celebrated the works of artists from Paul Cézanne to Jan Tschichold, and constantly attempted to draw the connections between their creative output and significant applications in graphic design This idea of “defamiliarizing the ordinary” (or “making the familiar strange,” a strategy commonly credited to Russian Formalist critic Viktor Shklovsky) played an important part in Rand’s design choices. Working with manufacturers provided him the challenge of utilizing his corporate identities to create “lively and original” packaging for mundane items, such as light bulbs for Westinghouse.

Corporate identities

During Rand’s later career, he became increasingly agitated about the rise of postmodernist theory and aesthetic in design.

In 1992, Rand resigned his position at Yale in protest of the appointment of postmodern and feminist designer Sheila Levrant de Bretteville, and convinced his colleague, Armin Hofmann to do the same. In justification of his resignation, Rand penned the article Confusion and Chaos: The Seduction of Contemporary Graphic Design where he denounced the postmodern movement as “faddish and frivolous” and “harboring its own built-in boredom”.

Despite the importance graphic designers place on his book Thoughts on Design, subsequent works such as From Lascaux to Brooklyn (1996), compounded accusations of Rand being “reactionary and hostile to new ideas about design.” Steven Heller defends Rand’s later ideas, calling the designer “an enemy of mediocrity, a radical modernist” while Favermann considers the period one of “a reactionary, angry old man.” Regardless of this dispute, Rand’s contribution to modern graphic design theory in total is widely considered intrinsic to the profession’s development.

Early career

Paul Rand was born on August 15, 1914 in Brooklyn, New York.[1] He embraced design at a very young age, painting signs for his father’s grocery store as well as for school events at P.S. 109. Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute, Rand was largely “self-taught as a designer, learning about the works of Cassandre and MoholyNagy from European magazines such as [Gebrauchsgraphik].”

Development of theory

Though Rand was a recluse in his creative process, doing the vast majority of the design load despite having a large staff at varying points in his career, he was very interested in producing books of theory to illuminate his philosophies.

László Moholy-Nagy may have incited Rand’s zeal for knowledge when he asked his colleague if he read art criticism at their first meeting. Rand said no, prompting Moholy-Nagy to reply “Pity.” Heller elaborates on this meeting’s impact, noting that, “from that moment on, Rand devoured books by the leading philosophers on art, including Roger Fry, Alfred North Whitehead, and John Dewey.” These theoreticians would have a lasting impression on Rand’s work; in a 1995 interview with Michael Kroeger discussing, among other topics, the importance of Dewey’s Art as Experience.

Dewey is an important source for Rand’s underlying sentiment in graphic design; on page one of Rand’s groundbreaking Thoughts on Design, the author begins drawing lines from Dewey’s philosophy to the need for “functional-aesthetic perfection” in modern art. Among the ideas Rand pushed in Thoughts on Design was the practice of creating graphic works capable of retaining but face recognizable quality even after being blurred or mutilated, a test Rand routinely performed on his corporate identities.

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Rand’s most widely known contributions to design are his corporate identities, many of which are still in use. IBM, ABC, Cummins Engine, UPS, and the now-infamous Enron, among many others, owe Rand their graphical heritage. One of his strengths, as Moholy-Nagy pointed out, was his ability as a salesman to explain the needs his identities would address for the corporation.

Rand’s defining corporate identity was his IBM logo in 1956, which as Mark Favermann notes “was not just an identity but a basic design philosophy that permeated corporate consciousness and public awareness.” The logo was modified

by Rand in 1960. The striped logo was created in 1972. The stripes were introduced as a half-toning technique to make the IBM mark slightly less heavy and more dynamic. Two variations of the “striped” logo were designed; one with eight stripes, one with thirteen stripes. The bolder mark with eight stripes was intended as the company’s default logo, while the more delicate thirteen stripe version was used for situations where a more refined look was required, such as IBM executive stationery and business cards. Rand also designed packaging, marketing materials and assorted communications for IBM from the late 1950s until the late 1990s, including the well known Eye-Bee-M poster. Ford appointed Rand in the 1960s to redesign their corporate logo, but afterwards chose not to use his modernized design.

Although his logos may be interpreted as simplistic, Rand was quick to point out in A Designer’s Art that “ideas do not need to be esoteric to be original or exciting.” His American Broadcasting Company trademark, created in 1961, then used by ABC-TV in the fall of 1962, epitomizes that ideal of minimalism while proving Rand’s point that a logo “cannot survive unless it is designed with the utmost simplicity and restraint.” Rand remained vital as he aged, continuing to produce important corporate identities into the eighties and nineties with a rumoured $100,000 price per single solution.

The most notable of his later works was his collaboration with Steve Jobs for the NeXT Computer corporate identity; Rand’s simple black box breaks the company name into two lines, producing a visual harmony that endeared the logogram to Jobs. Steve Jobs was pleased: just prior to Rand’s death in 1996, his former client labelled him, simply, “the greatest living graphic designer.”