NEW -

NEW

YORK

2008

01 02 03

?... ! ?!?

+ 04 + 05 + 06

January

new big lonely searching wow

February

NYC! Brooklyn! ! !! !!!

March

Extension? Extension! ?? ? !

April

working museums, concerts, restaurants, ... working working sleeping?

May

summer working time goodbye oh no

June

> Seattle > Portland > San Francisco > Yosemite National Park > Monterey > Los Angeles > Grand Canyon > Santa Fe > Denver > Chicago > New York City > back...

PENTAPentagram was founded by five Designers—an architect, a product designer and three graphic designers—who realized that by pooling their talents, they could retain their creative freedom within a larger professional context. From this idealistic beginning in 1972, the firm has flourished, gradually adding partners and expanding their original London office to New York, San Francisco, Berlin and Austin, Texas. Today Pentagram serves a diverse array of clients, large and small, international and local, who are drawn to the firm by its iconic work in graphic, identity, interactive, architecture, interior and product design. Unlike other firms of its size and caliber, all of Pentagram’s partners are working designers, each of whom leads his or her own team of dedicated staff. Teams consist of designers and project coordinators, typically between six and eight people, who work together in open-plan offices where they share central resources such as support staff and equipment. In this collective environment, teams are in constant contact and thrive off the perpetual exchange of ides and inspiration. It is this studio-like structure, nestled within a larger organizational framework, that

allows partners to focus on the needs of their clients and the design work they love. The majority of Pentagram’s partners had successful design practices of their own before they joined the firm, and Pentagram is strong in many different disciplines because its partners are able to contribute such a diversity of backgrounds and capabilities. Successful designers agree to join Pentagram because its reputation attracts clients of a diversity and scale attainable only by a larger firm, while the organizational structure allows them to preserve their independence and creative freedom. A distinctive culture pervades the offices of Pentagram, one that values knowledge and encourages, experimentation and deliberation. An important part of this culture is that partners also maintain strong ties with the design community; they are teachers, lecturers, writers and curators who are active members of their respective professional design organizations. This involvement, as well as a dedication to pro-bono work, illustrates a conscious commitment to the design profession, as well as the broader social good, that epitomizes the firm’s philosophy. [...]

* 1972

NEW YORK

OFFICE Pentagram‘s New York office was founded in 1978. Today there are seven Partners with their teams. Since 1995 the office has occupied a five-storey building located in Fifth Avenue directly accross from Madison Square Park in the heart of the Flatiron Destrict. The neoclassical structure was designed by C.P.H. Gilbert for the Lincoln Trust Bank, and completed in 1913. The building‘s illustrious histrory includes a stint as a nightclub in the 1980s. After a thorough renovation, the interior now features a multi-leveled workspace with walls of windows on its west and east sides. Various teams are spread among three floors of studios, and partners work in a common area on an open mezzanine. A lunchroom and conference rooms are concetrated on the third floor, overlooking the park from the front and Broadway at the back. The space is alive with the sounds and rhythms of work and the pulse of New York City. Excerpt from Black Book, a 800-page overview of Pentagram‘s recent work, published in 2008

TEAM MB Michael Bierut

Partner

Tracey Cameron

Designer (3D), Associate Partner

Rion Byrd Josh Berta Joe Marianek Yve Ludwig Katie Repine Kai Salmela

Designer Designer Designer Designer Designer Designer

Tamara McKenna

Coordinator

+ two interns

(3D) (mainly 3D) (mainly 2D) (2D) (2D) (2D/3D)

Michael Bierut was born in Cleveland, Ohio and studied graphic design at the University of Cincinnati’s College of Design, Architecture, Art and Planning. Prior to joining Pentagram as a partner in 1990, he was vice president of graphic design at Vignelli Associates. At Pentagram, Michael is responsible for leading a team of graphic designers who create identity design, environmental graphic design and editorial design solutions. He has won hundreds of design awards and his work is represented in several permanent collections including: the Museum of Modern Art (MoMA) and the Cooper-Hewitt, National Design Museum in New York; the Library of Congress in Washington, DC; the San Francisco Museum of Modern Art (SFMOMA); the Denver Art Museum; the Museum für Kunst und Gewerbe in Hamburg, Germany; and the Museum für Gestaltung in Zürich, Switzerland. Excerpt from www.pentagram.com

PROJECTS

How many trees can be killed, how much paper can be folded, how many posters can be printed, how many brochures can be combed, how many bags can be folded, how much foam core can be used, how much spray mount can be breathed in, how many photos can be taken, how many files can be archieved, how many disks can be burned, how many slides can be scanned, how many miles can be run, how much money can be spent, how many deadlines can be made, how many working nights can be spent, how many english words can be learned, how many lunchs can be served, how many birthday cakes can be eaten, how many songs can be played, how many tasks can be given, how many problems can be solved, how much can be learned and how many great projects can be seen? My internship at Pentagram gave me insight into fragments of many, many different projects. So does this book.

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FASHION. INSTITUTE. OF TECH NOLOGY.

FIT stands for the Fashion Institute of Technology, but the school has a full curriculum in fine arts, packaging, computer animation technology, and also marketing, advertising, merchandising, production and more. Pentagram has been working for them for over 8 years. During my internship I got in touch with three projects for FIT.

One very huge project is the master plan for the signage and wayfinding system of the school building in the middle of Manhattan. One of my tasks was to count doors on floor plans for the financial calculation of the door signs. A few errands to the huge building (including complications concerning the strict security system) gave me a small insight into the complexity of environmental graphics. Another project was the annual report 2007. FIT is not a publicly traded company, so the annual report is mostly used to encourage donors to give money and to report to people who have already given money how that money was used. Until the book had been printed, I made many mockups. The new look book for 2008â&#x20AC;&#x201D;2010 was still in progress at the end of my internship. I was responsible for the first drafts of a new concept. The look books are reissued every two years and are given to prospective students. It is designed to entice them to apply to FIT, and is filled with the information they will need to base their decision.

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YALE. UNI VERSITY.

Yale University, founded in 1701, is one of America’s leading research universities, as well as the home of Yale College, a top undergraduate college where 5,200 students benefit from the strong academic curriculum and the rich array of extracurricular activities. The viewbook for Yale College is written and designed as an “insider’s guide” to the college experience. It features students’ voices describing their experiences, as well as detailed information graphics that capture the richness of the resources and activities on campus. The drafts were revised and changed many times and so I learned how to make a perfect binding.

YALE. SCHOOL. OF ARCHI TECTURE.

The Yale School of Architecture is one of the constituent professional schools of Yale University. Since 1998 Michael Bierut created over 50 Posters for the Schoolâ&#x20AC;&#x2122;s reinvigorated public outreach program. All Posters are 22 by 34 inches, and are folded to 8.5 by 11 inches for mailing. Each poster is printed in one color, black. I designed one version for the Symposium about Sustainable Architecture Today and Tomorrow. After all, Michaelâ&#x20AC;&#x2122;s version was printed.

SYMPOSIUM Friday-Saturday, April 4-5, 2008 Yale University Art Galleryâ&#x20AC;&#x2122;s McNeil Lecture Hall 1111 Chapel Street (enter on High Street), New Haven, CT SUSTAINABLE ARCHITECTURE, TODAY AND TOMORROW REFRAMING THE DISCOURSE The urgency of climate change has propelled the architecture profession toward more environmentally responsible

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SYMPOSIUM Friday-Saturday, April 4-5, 2008 Yale University Art Gallery’s McNeil Lecture Hall 1111 Chapel Street (enter on High Street), New Haven, CT SUSTAINABLE ARCHITECTURE, TODAY AND TOMORROW REFRAMING THE DISCOURSE The urgency of climate change has propelled the architecture profession toward more environmentally responsible practices. From the proliferation of sustainability consultants and green design firms to the sweeping adoption of energy building codes and LEED certification, a wide range of sustainable objectives and methods have entered the profession, profoundly reshaping the practice and products of architecture. On the twentieth anniversary of the release of the Brundtland Commission Report, it is timely to ask whether enough is being done and whether what is done is truly effective. Signing a pledge, making a commitment to a target, adopting an array of best practices, using state-of-the-art evaluation tools are all aspects that we associate with sustainability, but do they indeed lead to effective results? Energy use by buildings is not only increasing faster than that of any other sector, but also faster than the rate of construction. We frame our problems in terms of what we know and how we do things – but what would or could happen if we had the ability to step back and question the very construction of our assumptions? This symposium proposes to introduce multiple contexts from which to re-examine the underlying questions of sustainability. From neurobiology to public health to environmental policy, numerous disciplines posses knowledge and use methods that pose alternative frameworks for examining questions of sustainability. By identifying new approaches grounded in the practice of architecture, but informed by the knowledge of other disciplines, can we begin to set the stage and the priorities for a new generation of sustainable design research and practice?

Saturday, April 5 Morning Session, 9:30 AM INTRODUCTION Michelle Addington, Yale University DISCIPLINARY INTERSECTIONS

POSING THE CHALLENGE Friday, April 4 Evening Session, 6:30 PM OPENING COMMENTS Richard C. Levin, Yale University Robert A.M. Stern, Yale University KEYNOTE ADDRESS Gro Harlem Brundtland, United Nations “How Far We Have Come, How Far We Need To Go” RECEPTION Yale Art Gallery, 1111 Chapel Street

Saturday, April 5 Afternoon Session, 1:30 PM REDEFINING THE EXTENTS OF THE POSSIBLE

Margaret Livingstone, Harvard University Neurobiology

Sheila Kennedy, MATx, Kennedy Violich Architecture “The Portable Light Project”

Abraham Lee, University of California, Irvine Biomolecular Systems

Daniel Pearl, University of Montreal “Greening the Infrastructure”

Lisa Curran, Yale University Environmental Science

Fred Koetter, Yale University “Seoul Development Master Plan”

RESPONSE James Axley, Yale University

RESPONSE Patrick Bellew, Yale University

CONTINGENT COLLABORATIONS

THE POSSIBLE FUTURE

John Spengler, Harvard University Public Health Daniel Esty, Yale University Environmental Policy

DISCUSSION Stefan Behnisch, Behnisch Arkitekten William Odell, HOK Kenneth Yeang, Hamzah and Yeang

Kristina Hill, University of Virginia Urban Landscape Ecology

MODERATOR Michelle Addington, Yale University

RESPONSE Hilary Sample, Yale University

RECEPTION Architecture Gallery, 32 Edgewood Avenue

This symposium is free, but reservations are required prior to March 24, 2008. Phone 203.432.2889 or email archevents@yale.edu. The Yale School of Architecture is a Registered Provider with The American Institute of Architects Continuing Education System. Credit earned by attending this symposium will be reported to CES Records for AIA members. Certificates of Completion for non-AIA members are available upon request. This symposium is supported by the generosity of Gerald D. Hines and Hines Interests Limited Partnership.

NEW YORK PUBLIC LIBRARY

In order to recognize a donor with an unprecedented financial gift, Pentagram was hired to create a coordinated system for carving this donorâ&#x20AC;&#x2DC;s name into the the facade of the New York Public Library. Our approach was to do forensic research into the original stonecarving on the building and create a new typeface to match this carving. The locations and sizes of lettering to be carved into the building were determined by sensitive field research. This would allow the new donorâ&#x20AC;&#x2DC;s name to live harmoniously with surrounding stonecarving and the beaux-arts style of architecture.

MOHAWK.. STRATH MORE.

For this project Pentagram worked together with the illustrator Marian Bantjes. She has worked with Michael Bierut for years. The task for Strathmore was to reposition the brand in a more contemporary and visually appealing way. The previous design was feminine and antiquated and an update was needed. The main deliverable is the ream wrap, as this is the first and sometimes only point of contact that a vendor or customer makes with the brand. This project is still going on but will include eventually a web component. To show several versions of the pattern of Marian Bantjes I built boxes and wrapped them several times.

MUSEUM OFSEX.

The Museum of Sex is a small museum on New Yorkâ&#x20AC;&#x2122;s Fifth Avenue. The museum owns a permanent collection of over 15,000 artifacts of works of art, photography, clothing and costumes, technological inventions and historical ephemera. In the past five years the Museum of Sex has generated 12 exhibitions and five virtual installations. Pentagram was helping to transform the galleries in the historic building several times. Sex in Design/Design in Sex was an exhibition designed by James Biber and graphics by Michael Bierut. The show sets out to examine the subconscious, as well as the intended, sexual imagery in design as it is found in the objects we wear, live with and use for erotic pleasure. Some images for the advertising wall needed preparation in Photoshop, which offered my coworkers some reasons to giggle. An upcoming exhibition will show The Sex Life of Animals. The first draft of the title was created by us interns. To match the artworks of Rune Olsen, the letters are wrapped with tape.

SESAME STREET.

Pentagram develops new brand guidelines for Sesame Street and new ways for the internal communication of the non-profit organization Sesame Workshop. With the new season of Words on the Street, the look of Sesame Street became more contemporary. After my first few weeks at Pentagram, this project came as a big surprise. I had to think about conceptual ideas. After a few days of research at toy stores, where I took many photos of all the products from Sesame Street, one night a new concept emerged for brand guidelines. During these stressful days and nights, I lost my childish view about toysâ&#x20AC;&#x201D;itâ&#x20AC;&#x2122;s not that somebody has an idea for a great game; no, a company who already has so many toys wants to sell more.

MAD

The Museum of Arts and Design will move into a new created building at Columbus Circle in September 2008. The new identity is based in its unique location at the only CIRCLE in Manhattanâ&#x20AC;&#x2122;s square grid. It is also the geographic center of the city. The idea of the circle in the square forms the shapes which create the MAD logo. This logo acts as a vessel to hold various contents and furthering the idea of the museum which is to celebrate arts and design as a process through with materials are crafted into objects which enhance everyday life. Matching the logo we created a typeface based on circles and squares. This typeface was used for posters, postcards, bags and boxes for the museumâ&#x20AC;&#x2122;s store. The measurements of all excisting packages was another challenge for me: inches. After I created all templates with several designs based on the typeface and patterns with circles and squares, I spent some nights in the basement to cut many posters and create mockups of bags and boxes.

The signage for the new building at Columbus Circle includes a donor wall. For this wall I built a model in quarter scale and a few samples in original size.

ROBIN HOOD

Robin Hood is NYC‘s largest charitable organization. It is founded by, and largely supported by, very rich investment bankers. Their mission is to fight poverty. The Library Initiative is one small part of the work they do, and is designed to create better educational opportunities in New York City‘s public schools. Robin Hood build new libraries in public elementary schools, which are designed by accomplished architects. Pentagram is involved in doing the environmental graphics. The basic for the environmental graphics is kids artwork which came out of a workshop with the kids. The workshop included some creative writing exercises. Afterwards the kids got predetermined shapes cut from paper to collage abstract picto-grams that would represent ideas and phrases from their writing. Those collages were used to create graphics for some of the schools and to make mono-prints for some other schools.

It was a challenge for me to make the final draft of the graphic for five schools with all sizes of the plans from the architects. This was my first experience with inches. For the further three schools I chose details of the kid‘s mono-prints.

FIXED SIDE PANELS

SLIDING DOORS - BACK ROW

SLIDING DOORS - FRONT ROW

PS274K: SLIDING DOOR PANEL - ELEVATIONS SCALE: 3/8"=1'-0"

3'-7"

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02B 2'-7 5/8"

PS274K: SLIDING DOOR PANEL - PLAN SCALE: 3/8"=1'-0"

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02A

2'-7 5/8"

2'-9 5/8"

02A

02B

02A

2'-7 5/8"

2'-9 5/8"

02A

2'-7 5/8"

2'-9 5/8"

02A

2'-11 5/8"

02A

2'-7 5/8"

02A

02B 2'-7 5/8"

2'-9 5/8"

02A

02A 2'-7 5/8"

5'-6 1/2"

TOP

SECRET pssst: Brooklyn Arena...

36x30

39c

39b

39c 9’-2” 5’-5” 36x30

39b 9’-2” 7’-7” 36x30

A2-1-01-2A

A2-1-01-2B

A2-1-01-2D

A2-1-01-2C

38c 38c 9’-2” 5’-5” 36x30

38b 38b 9’-2” 8’-5” 36x30

37b 37a 37a 12’-3” 1’-2” 48x42”

38b 9’-2” 4’-8” 36x30

36a 36a 13’-10” 4’-0” 48x42”

23c 35a

23c 9’-2” 5’-10” 36x30

32b

35a 15’-4” 1’-2” 48x42”

31b 34a 34z

30b.2

34a 13’-3” 2’-0” 48x48”

30b.2 9’-2” 8’-2” 36x30”

33a 33a 13’-3” 6’-2” 48x48”

34z 9’-2” 6’-1” 36x30”

29b.2 9’-2” 6’-1” 36x30”

32a

32a 13’-3” 7’-2” 48x48”

33z

33z 9’-2” 16’-7” 36x30”

29b.2 24b 9’-2” 4’-8” 36x30

31a

31a 13’-3” 8’-5” 48x48”

32z

32z 9’-2” 17’-9” 36x30”

24b

31z

31z 9’-2” 18’-10” 36x30”

30a 30a 13’-3” 7’-6” 48x48”

29a

29a 13’-3” 7’-4” 48x48”

30z 30z 9’-2” 18’-10” 36x30”

28a.1 28a.1 13’-3” 2’-3” 48x48”

27a 27a

28z

27z

13’-3” 4’-10” 48x48”

29z 29z 9’-2” 17’-10” 36x30”

28z 9’-2” 6’-3” 36x30”

26a 26a 12’-8” 5’-4” 48x42”

NR 1 F1

31b

31z

36” x 30”

31a

48” x 48”

30z

36” x 30”

A2-1-01-2D 30

x’-x” x’-x”

9’-2” 18’-10”

31z 9’-2” 18’-10” 36x30”

36 30 36

13’-3” 8’-5”

A2-1-01-2C

9’-2” 18’-10”

29z

36” x 30”

30 24 30

9’-2” 17’-10”

36 30 36

28z

DEAN S

9’-2” 6’-3”

9’-2” 10’-0” 36x30

LIGHTING CONSULTANT

36x30

GOLDSTICK LIGHTING DESIGN

19b 9’-2” 8’-1” 36x30

20b 20.2c

20.2c 7’-0” 10’-4” 36x30

EVENT LIGHTING CONSULTANT

9’-2” 5’-10”

19b

22b

36” x 30”

20.2 b

20.2b 7’-0” 10’-4” 36x30

30 24 30

9’-2” 9’-0”

20.8b 21b

20.8b 7’-0” 10’-4” 36x30

21b 9’-2” 8’-1” 36x30

30b.2

22b 22b 9’-2” 9’-0” 36x30

36” x 30”

30 36

23b

23b 9’-2” 5’-10” 36x30

9’-2” 8’-2” 29b.2

36” x 30”

18b

36” x 30”

9’-2” 6’-1” 28a.1

36 29b.2 9’-2” 6’-1” 36x30”

BARCLAYS CENTER BROOKLYN BROOKLYN, NEW YORK

x’-x” x’-x” 36” x 30”

30a

48” x 48”

28a.1

ARENA MAIN CONCOURSE FLOOR PLAN

x’-x” x’-x”

LEVEL 1 (+44' TO +54')

24 36

13’-3” 7’-6”

13’-3” 2’-3”

20b

27z

STREET

48” x 48”

9’-2” 10’-0”

PLAN CUT @ +48.00' / +58.00'

NETS MARKET ING CENTER

The Nets Marketing Center is located in the New York Times building. It is a sales center for interested tenants to get information about the new Brooklyn Arena and the office building. Both are still in construction. Pentagram designs the environmental graphics for the new Brooklyn Arena. For the huge walls in the marketing center Pentagram designed graphics with sketches from Architect Frank Gehry. Our challenge was to transform the little sketches into huge vector files. We, both interns, spent several nights to smooth the edges of four sketches.

HARLEY DAVIDSON

The project with Harley Davidson has been going on for eight years and includes three Pentagram partners in three disciplines: architecture, exhibit design and graphic design. The responsibility on Team Bierut has been to provide a museum identity and brand extension, which touches retail collateral such as hang tags and collectors cards, signage, banners, books, restaurant graphics, and much more. The museum opens in July. There were some mockups of menues, bags and stationery to build. Additionally, Team Bierut was working on a coffee table book for Willie G. Davidson, which contains all of his doodles from over the years. I bound many versions of the book with rounded edges until the final version was chosen.

BOBBY‘S BURGER PALACE

Bobby Flay is a chef and owner of multiple high-end restaurants in New York, Atlantic City and Las Vegas. He is also a celebrity-chef who appears frequently on the American TV channel Food Network. Bobbyâ&#x20AC;&#x2122;s Burger Palace will be a burger-based franchise with a fast-casual concept opening first in Long Island New York. Pentagram designed the graphics and packaging. My part was to measure all packages, create templates for the first drafts and to build mockups of menues and all packaging.

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MACAULAY HONORS COLLEGE

CUNY, The City University of New York, renamed their elite honors college in light of a new donor whose donation made possible the acquisition of a new space on an Upper West Side residential block. Michael Bierutâ&#x20AC;&#x2122;s team created the branding for the school in addition to the interior architecture by Jim Biberâ&#x20AC;&#x2122;s team. I created the illustration of the house, designed some brochures, cut, glued and wrapped the temporary signage for the entire building and took some pictures of earlier designed brochures as layout description for the photographer.

QUICK

Creating mockups for meetings, taking layout pictures for the photographer, making wire bindings, running errands... even with those tasks I learned a lot about graphic design just by seeing great projects, materials and solutions. Here are some of those.

NEW YORK TIMES BUILDING

TENEMENT MUSEUM

Pentagram created a comprehensive signage and wayfinding program for the public spaces of the Renzo Piano-designed New York Times building. Much of the interior wayfinding and signage system was based on the paperâ&#x20AC;&#x2122;s immense photographic archive from which the designers, working in conjunction with the New York Times archivists, drew historic black and white images to create over 800 room identification signs.

For the Lower East Side Tenement Museum Pentagram designed the new identity and print system.

I spent a Sunday afternoon at the building to help the photographer to ducument the signage.

My task was to take layout pictures for the photographer.

APOLLO THEATER

NEW YORK JETS

Pentagram designs a new identity program for the Apollo Theater. This includes stationery, tickets, a big brochure, bags, note cards, postcards, gift boxes, ... some mockups to build.

Pentagram designs for the New York JETS since many years. The Typeface and lots of graphic products like brochures, tickets, merchandising were designed by Michael Bierut and his team. The anual Jetâ&#x20AC;&#x2DC;s Training Camp needs T-shirts. It was my task to drizzle the eight of Michaelâ&#x20AC;&#x2DC;s typeface to make it look like chalk.

92ND STREET Y

DESIGN RESEARCH

The downtown location of the 92nd Street Y, a New York City Jewish community and cultural center, gets a new identity system. The downtown location was created towards younger downtown audiences with varied programming in theater, music, lectures, classes and events.

The book Design Research is about a store called Design Research. This store was founded in 1953 by Ben Thompson, which introduced many modern furniture, accessories and clothing designers, including Marimekko, to American audiences. The store was a pioneer in retail display, often arranging furnishings and accessories in context with one another, and mixing objects from different parts of the world to encourage shoppers to develop their own eclectic modern sensibility. Pentagram got many folders of original slides and photographs, which were taken by Thompson during his journeys through the world. It took a few days until all slides were scanned.

For the meeting I cut out poster series and build mockups of the stationery and brochures.

Ornithology 5/07/08