Game On by Slip Studio

GAME ON

G O 1 2

A M E N : 9 8 8 0 1 8

Game On: An Introduction On your marks, get ready, set, go... Game On is an investigation of the overlapping roles that architecture, graphics, and branding play in modern sporting events. Inspired by utopian architectural publications of the 1960-70s, as well as the Supergraphics, and Artists’ books of the same era the project, produced while in residency at Incheon Art Platform, has focused on researching the proliferation of sporting events in Korea. Starting with the 1988 Seoul Olympics to the 2014 Incheon Asian Games and the upcoming 2018 Pyeongchang Winter Olympics, the artworks produced during the residency not only examine the physical structures of these events but also the massive amount of mar-

keting and graphics produced to publicise them. The final work has taken shape as a series of prints and a limited edition publication that blurs the boundaries between art, architecture, and graphic design in order to explore and question the impacts of these disciplines and sporting events on contemporary culture. Diving into the Archive The initial iteration of this project was primarily focused on the legacy of the radical reshaping of a new urban “physique” or form that were the result of the 1988 Olympic Games in Seoul. Yet early in the research it became increasingly apparent that the true legacy of the 1988 resides not only in the physical changes to the urban landscape of Korea but even more significantly in the visual traces and memories of the

Games. This fact was made especially clear due the nervous energy and frenzy activity of early July as Pyeongchang vied and eventually won the bid for 2018 Winter Olympics. With this in mind the process began with a ‘dive” into the archive of 1988 and proposals for 2014 and 2018 respectively2. But as is the case with most dives, it was a jump into the unknown. There was a vague idea of what may lie ahead but it was also, to a certain extent, a leap of faith. Yet each dive was made with an enthusiasm and embrace of the accidental discovery. Through this process two pieces were discovered that fortuitously influenced the rest of the project.

The first was an extraordinary 40 page section of the Official Report that meticulously documented all designed materials for the 1988 Games. The imagery was incredible and more than could have been anticipated, complete with type specimens, details for all costumes, stamps, posters, tickets, promotional materials, and environmental graphics all the way down to their placement in architectural environments. The second was an article in the Joongang Daily entitled “The Architect of Pyeongchang’s bid presentations”3 The piece itself was a rather straightforward profile of a sportsmarketing executive and his design of the presentations for Pyeongchang. But as a designer I was intrigued by the choice of calling him, even metaphorically, an architect, and how it mirrored my initial hunch regarding the importance of branding and

Below: Graphics and bid reports for Seoul, Incheon, and Pyeongchang

graphic identity for these events. Soon after I found several historical accounts that argued Seoul was successful in its bid, in part, due to the quality of the exhibition design on view at the selection process for the 1988 Games. Buoyed by these articles, each subsequent discovery seemed to be following a trail that led to the next. Returning to the utopian project of architectural publications of the 1960s-70s (which at first seemed an unrelated personal interest) meanings and intentions began to cross-pollinate at an increasingly rapid pace. Thus the stage was set for how the the rest of the project would unfold as an exploration that could look both backward and forward at these

tice and means to â&#x20AC;&#x153;shape-upâ&#x20AC;? in order to respond to and critique events and objects both past and present that are the result of the massive architectural branding that characterise modern sporting events. All drawings were then made daily following the rules enumerated below: 1. All fonts used had be DIN 1451 (used for all posters in 1988), Adobe Garamond, Arial, Avenir, Rotis, or others created in 1988 2. All colours had to be standard 100% CMYK of offset printing, or the CMYK values of the red, green, yellow, blue, and black used for Olympic logo or alternately the emblems of the Asian Games of 2014 and the upcoming Pyeongchang 2018 Winter Olympics

Right: Collected graphic ephemera from the Seoul Olympics

graphics as a source material while drawing upon historic and contemporary sources. The resulting works produced after this shift in focus became a sustained personal reflection on the intangible effects of the 1988 Games and future sporting events through a series of drawings that lie in the margins of what constitutes architectural and graphic production. Rules of the Game In an attempt to create works that were both heavily researched and layered with references (yet at times also representing intuitive leaps and dives as mentioned) as well as embodying the spirit of sporting events; a regiment was set in place to produce a drawing each day. The act of creating a new work each day was a conceptual prac-

3. The format for all drawings would be A1 inline with the posters and light-boxes used to advertise and promote the events in subway stations and street signage 4. All imagery should be derived from a sitespecific context (e.g. derived from source material found on site) or from period and archival sources 5. All works needed to represent motion unfolding in space and be measurable in order to correspond the architectural basis of the project) 6. In addition to these rules there was a personal interest in engaging the modes of production that could be found locally At a more practical note the production of these drawings always involved a multi-step process. The first was always a site visit and extensive site documentation, for example

a visit to the Olympic Park in Jamsil or the future sites of the 2014 Asian Games in Incheon. Everything and anything that could be considered possible graphic source material was documented. After this process the images that seemed most promising were selected and created based on the above rules with the help of graphic and architectural software and scripts.

The Finishing Line Whether following a clients’ brief or creating the bid for a sporting event, the act of design is always an invisible process and race to organise and manage information. The root of the word design in English is “designo” mean both “drawing” and “idea”. As the architect and theorist Mark Wigley has noted the discipline of architecture and architects “ do not deliver an object, a building, but [rather] the information needed to produce such an object.” In the last few months of work during my residency in Korea, this idea has continued to come to mind and shape the way I have approached the history and legacy of 1988. It is very much the reason why the work takes its current form and will continue to guide my future praxis. But in many ways the lessons learned during my time in Korea and the title Game On point to a larger race ahead. A race to redefine design in an expanded landscape that explores it full potential and new horizons in contemporary culture.

Above: “The Seoul Olympian” official daily publication of the 1988 Olympics

23. Design and Environmental Decoration

Official Emblem

23.2 Seoul Olympic Emblem

23.2.2 Meaning of Emblem

Construction of the Emblem

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As a representative symbol projecting a visual image of the Seoul Olympic Games, the emblem featuring a samtaeguk pattern was seen and recognized in all corners of the world, along with the Olympic mascot, Hodori. The emblem embraced the five Olympic rings on top of the samtaeguk, a traditional Korean pattern and visual image representing Korea. The pattern is well known among Koreans, being widely used as decoration on fans, the gates of Korean-style homes, artifacts and folk crafts. The Olympic emblem configurated the patterns in two forms, centripetal and centrifugal; the centripetal motion represented the peoples of the world coming together in Korea, thus symbolizing worldwide harmony, while the centrifugal motion represented a march onward in search of man's lasting happiness and prosperity.

23.2.1 Selection of Emblem —————————————–

In the 9th Executive Board meeting on September 1, 1982, the SLOOC decided to stage a prize contest for the design of the Olympic emblem. Beginning September 22, 1982, the prize contest was publicized through newspapers and broadcast media. For overseas Korean residents, the contest was publicized through Korean diplomatic missions. Applicants were required to submit their works between December 1 and December 31, 1982, and a cash prize was set at 3 million won for the winner, and one million won each for the next two most highly commended works. The contest drew a total of 924 entries including 23 from Koreans overseas. The screening panel, consisting of members of the Design Committee, scrutinized the works twice, but failed to select a winning design, selecting, instead, two designs as being worthy of the runners-up prizes. The SLOOC decided to adopt a nomination method for the prize contest, and nominated eight designers recommended by the Design Committee and the two applicants who had won the commendation prizes. Each was asked to submit two designs or more for consideration. The twenty-six works submitted by the 10 persons were brought to the 13member screening panel, including members of the Design Committee and related specialists, for judging on April 6, 1983; three designs were chosen from this initial judging session. At its 15th Executive Board meeting on May 4, 1983, the SLOOC decided to adopt the design by Prof. Yang Sungchun of Seoul National University. The SLOOC, in its 9th general session on June 3, reviewed and finalized Prof. Yang's work as the emblem of the Seoul Olympic Games. The emblem was put into official use after the approval of the IOC and the design patent was obtained.

Emblem with Logotypes

Official Korean Typeface

Official Roman Typeface

Official Colours

Official Logotypes

Emblem Repeating Pattern Emblem Second Version

Emblem First Version

Emblem Third Version

Official Colour Stripes

634

632

23. Design and Environmental Decoration

Mascot Variations (Sports)

23.3.2

23.4 Poster Design

Variation of Mascot —————————————–

Although the mascot was based on the tiger known for its dignity and valor, the amiable Hodori was rendered in many variations to create a familiar image of the Games by applying it to a number of visual designs and business promotions. In June 1984, the SLOOC commissioned Kim Hyun, the original designer of the mascot, to produce the mascot's variations; he produced 63 types, and these variations were confirmed in December 1984 through three rounds of screening. The variation of the mascot's form was done in four fields including sports, Games support, folk themes, and pictographs. In the sports field, the form of mascot was given various variations according to the sports and events to fit the demand of a given occasion. The sports variations of the mascot involved 28 types representing the 23 official sports, the demonstration sports of baseball and taekwondo, the exhibition sports of badminton and bowling, and the wheelchair race. The mascot variations, designed for the support of the conduct of the Games, included those of Hodori with the Korean national flag, direction indications (two types), torch relay, guide, "Welcome, " "I love Seoul," "Goodbye," and "Off-limits." There were also seven folk themes — Hodori as a bridegroom, bride, drum-dancer, fandancer, Korean aristocrat, Yi dynasty police man and holding a taeguk fan. The mascot's pictographs came in 19 types, with different letters being formed by Hodori's streamer.

To promote the Games and to create a festive mood, the SLOOC produced a number of posters, including the official posters visualizing the Games ideals, and sports posters introducing each sport. In January 1984, emblem and mascot posters were produced and in April 1985, the official poster was produced by Prof. Cho Yong-je. In June 1987, culture posters by 12 designers were produced, and the sports posters depicting the sporting events of the Seoul Olympic Games were produced in April 1988. Posters for the publicity of various events and information were also produced. Meanwhile, with the aim of promoting national commitment to the Olympics the SLOOC launched a nationwide

23.4.1

Official Poster —————————————–

In June 1984, the SLOOC commissioned Prof. Cho Yong-je of Seoul National University to design the official poster of the Olympic Games. In January 1985, Prof. Cho presented two draft posters, and a screening panel adopted the posters in April. The official poster represented the Games ideal of "Harmony and Progress" in the combination of two images.

In the poster, the five rings symbolizing the pure Olympic spirit were rendered in bright figurative form to represent the Olympic ideal illuminating the world in peace forever. The image of the runner carrying the Olympic torch symbolized mankind's progress towards happiness and prosperity. The official posters were done with computer graphic technique, and light blue and bright orange colors were blended to symbolize Korea as the Land of Morning Calm.

A–2

A–1

A–3

—————————————–—————————————–—————————————–—————— 23.4.2 Sports Posters

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The SLOOC decided to produce 27 types of sports posters to introduce the sports of the Seoul Olympic Games and to establish a familiar image of the Games. On November 17, 1987, the SLOOC commissioned Prof. Cho Yong-je of Seoul National University and his associates to design the posters. The 27 posters represented the 27 sports of the Olympic Games including the demonstration and exhibition sports. They were done with a combination of photographic and computer graphic pictures. The photographs of athletes in competition were taken during the Seoul Asian Games and the Los Angeles Games. The photographic images of the motions were selected after suggestions and advice by the Korea Amateur Sports Association, while the selection of the athletes shown was done with discretion so as not to spotlight any specific race or country. The computer graphic pictures were included as the abstract expression of man's unquenchable energy, and formed an agreeable harmony with the photographs.

Mascot Variations (Lettering)

contest for the posters, attracting 3,012 entries; three posters, one submitted by a fourth-grader of Kirin Primary School, and two others were selected as the best drawings. These posters, together with other entries, were displayed at a special exhibition hall during the celebrations surrounding the opening of the Olympic Stadium in September 1984.

B–1

B–2

B–4

B–3

B–5

B–4. Boxing

B–5. Canoeing B–6. Cycling B–7. Equestrian Sports B–8. Fencing

2. Hodori, the Seoul Olympic mascot, represents the tiger, an animal long prominent in Korean myths and legends.

B–9. Football

B–6

B–10. Gymnastics

B–7

B–8

640

638

23. Design and Environmental Decoration

B–10

B–9

23. Design and Environmental Decoration

23.4.4

Event Posters —————————————–

The SLOOC Design Room manufactured posters for events for the purpose of boosting their public relations effects and publicizing all events related to the Games. The events posters were manufactured when requested depending on inhouse needs.

• Event Posters D–1. Public relations poster for overseas ticket sales D–2. Daily schedule poster D–3. Poster soliciting torch relay runners D–4. Poster showing costume of Games

B–11

B–12

B–13

D–1 B–14

B–15

operation personnel

D–2

D–3

D–4

—————————————–—————————————–—————————————–————— 23.4.5

Arts Posters —————————————–

Arts posters to sublimate the ideal of the Seoul Olympic Games were produced by leading contemporary artists. They were sold to art lovers and museums. Lloyd Shin Gallery, the official licensee, selected artists to design the posters. Of the total 25 artists, 20 foreign artists were selected from among pioneering figures of modern arts or outstanding masters, while the gallery picked five Korean artists from those recommended by a screening panel consisting of local artistic organizations. A total of 600 sets of lithographic prints, each set containing 25 prints, were sold, while 600,000 sheets of print posters were printed.

B–16

B–17

B–18

E–1 B–19

B–20

E–2

B–21

E–3

E–4

E–5

• Arts Posters E–1. 'Composition', France, Pierre Soulages, 68.6x89cm E–2. 'Dove', Canada, Jean-Paul Riopelle, 59.7x89.2cm

B–11. Handball B–12. Hockey

E–3. 'Untitled', Italy, Mimmo Paladino, 68.6x89cm

B–13. Judo B–14. Modern Pentathlon

E–4. 'Water, Fire, Earth and Sentimentality', Germany, A.R. Penck, 69.2x88.6cm

B–15. Rowing B–16. Shooting

E–5. 'Passionate Winner', Japan, Kazuo Shiraga, 68.6x89cm

B–17. Swimming B–18. Table Tennis

E–6. 'Hexas', Hungary, Victor Vasarely, 75x100cm

B–19. Tennis B–20. Volleyball

E–7. 'Let's Make Olympeace Park in DMZ', Korea, Lee Bann, 68.6x89cm

B–21. Weightlifting

E–8. 'Coloso', Mexico, Jose Luis Cuevas, 68.6x89cm

B–22. Wrestling B–23. Yachting

E–9. 'Seoul', Belgium, Pierre Alechinsky, 56x76cm

B–24. Baseball B–25. Taekwondo

B–22 642

B–23

E–10. 'Tree of Life', China, Zao Wou-ki, 56x76.2cm

B–26. Badminton

B–24

E–6

B–27. Bowling

B–25

B–26

B–27

646

E–7

E–8

E–9

E–10

23. Design and Environmental Decoration

23.5 Pictograms Pictograms were produced to help overcome communication difficulty arising from different languages. They were also intended to accentuate the unique image of the Seoul Olympic Games.

23.5.1

Sports Pictograms —————————————–

In March 1985, the SLOOC produced 27 pictograms to be used for the Seoul Asian Games and the 24th Olympic Games. Following the Asian Games, however, the SLOOC decided to develop new creative Olympic pictograms, clearly distinguishable from those used in past Games, so as to emphasize the refreshing image of the Seoul Olympics. The work on the pictograms started in December 1986, and 30 draft pictograms were produced in April 1987, including 23 for the official sports, four for demonstration and exhibition sports, and three for torch relay, marathon,

and water polo. After two rounds of screening, the draft pictograms were approved as official pictograms in May 1987. The sports pictograms were distinguishable from the past Games by the division of the composition into trunk, arms, legs and head. The connecting parts for arms and legs were treated in a simple and clear fashion but resembling as close to the composition of human frame as possible. Sports pictograms were also utilized as elements of expression in various public relations and printed materials, including decoration, admission tickets for each sport and posters.

 Cases of environmental decorations The decorations were classified largely into fabric decoration, surface decoration, structural display, space decoration, podium, flower decoration, and supergraphics. Fabric decoration The fabric decoration accounted for about 70 percent of all the required volume of environmental decorations. (1) Pole banners The pole banners were a key decoration in promoting a festive appearance. Some banners emphasized themes such as Olympic rings, emblem and doves, while others stressed festive elements such as multicolor stripes and colored paper patterns. Some banners were intended for cultural and artistic use as ornaments, sliding screen paper and lattices. Swing control rods were specially designed to keep the banners from being torn by strong wind or becoming wrapped around the poles. (2) Banners Banners were used largely where street poles were not available. Banners were installed in a straight line or in groups on main thoroughfares. Banners with the Olympic mark and decorated with colored stripes, the mascot Hodori or the Games emblem were hoisted on a pole with a samtaegukpatterned top. The poles were made of steel pipes for easy installation and removal. (3) Vertical placards The vertical placards came in 14 types. Basic elements of the placards printed on four-color stripes included a farm-band player's streamer hat, gold decorations, doves, laurel, and the Olympic motto and ideals. (4) Stringers Stringers, the pennant-style decorations, were developed to enhance and extend the festive atmosphere by installing them at the entrances to stadiums, accommodation sites, or indoor public areas. Four basic designs were used. (5) Seating section fabrics The fabrics included the seating section fabrics seen on television as backdrops to the competitions and those installed at the entrance to competition venues. Main elements of design for the fabrics were Olympic rings, emblem and pictograms. (6) Interior fabrics Interior fabrics depicting the emblem, pictograms and doves were installed on the upper area walls to effectively deliver messages of the Seoul Olympic themes to television viewers. Fabrics with such themes were installed at the back of VIP seating areas. Fabrics with the Olympic theme rendered in diverse colors were installed on parapet walls of the seating sections which were divided into the upper, middle and lower areas. Ceilings were decorated with transparent banners and backdrop fabrics.

23.5.2

Guide Pictograms —————————————– Guide pictograms were used to direct people to amenities, facilities or services. In September 1985, the SLOOC organized an in-house production team to begin the work on the guide pictograms; final designs of the guide pictograms covering 70 types were completed in January 1986, and were used during the Seoul Asian Games. In preparation for the Seoul Olympic Games, eight types were additionally produced in September 1987. The guide pictograms were designed in forms to enliven the image of the Seoul Olympic Games and to be easily understood by all concerned.

3. Sports pictograms, used on banners and informational balloons, were convenient for spectators.

18 19

18. Festive banners erected in the vicinity of the Main Stadium.

4. Functional pictograms helped guide visitors to transportation and other services.

19. Assorted pole banners around the basketball venue.

650

660

23. Design and Environmental Decoration

23.6.3

Environmental Decorations —————————————–

 Basic direction of design The basic direction of the design was to represent the ideal of the Games consistently by clearly portraying motifs such as the Olympic rings, emblem, mascot, logotype and official colors. Another essential direction for the design was to forge a common international feeling through spectators and television by way of visual design transcending the barriers of nationality, religion, or ideology. The basic direction also called for Korea's traditional patterns such as multicolor stripes, hunting scenes and embroidery to be included with a slightly modern interpretation to display Korea's true image. The direction also emphasized the creation of environmental design with a modern flavor and enhancement of visual aesthetics. The facilities for the environmental decorations were divided into permanent facilities and temporary ones. This was done to cut down on production cost. Emphasis was placed on fabric decorations which would give the maximum effect with minimum possible cost. Following are the elements of the environmental design which were finally confirmed.  Production and installation of decorations In general, businesses dealing in the installation of environmental decorations were extremely poor, with some 2,000 firms competing for a share. As the Olympic Games drew closer, decorations and signs had to be installed at all competition venues and other sites almost simultaneously. Moreover, the production and installation was a job that required a certain standard of quality needed to recreate in detail the designs. It was also imperative to go through consultation with the Games Operation Headquarters or the owners of facilities before doing the actual job. All these posed difficulties in selecting the right contractors. The SLOOC selected 43 companies in nominated competitive bidding by dividing the companies into 14 sectors according to the types of decorations and by site. The responsibility of the companies included on-site investigation, negotiation with related departments, the production and installation, maintenance, and removal of the decorations, followed by their disposal through rent or sale. The volume of installation by decorations and the required budget are shown in the table below.

Environmental Decorations Classification

Classification No. of the Decorations

Pole Banners (Varied Banners) Fabric Decorations

000 Theme pole banners (4)/010, Festival pole banners (7)/020, Cultural pole banners (7)/030, Varied pole banners (5) 100 Placards (5)/110, Vertical placards (14)/120, Stringers (15)/130, Fence fabrics (9)/140, Entrance fabrics (5)/150, Interior fabrics (5)/160, Seating section fabrics (7)/170, Ceiling displays (7)/180, Tablecloths (4) 200 Overpass billboards (8)/210, Signboards for buildings (3)/220, Wrap-up decorations (3)/230, Super graphics (6)/240, Street graphics (3)/250, Window decals (7) 300 Welcome towers (6)/310, Welcome arches (7)/320, Grand billboards (1)/330, Free-standing structures (4) 400 Entrance & Exit decorations (4)/410, Columns (5)/420, Billboards (3)/430, Floating water decorations (2)/440, Riverbank decorations (4)/450, Ad-Balloons (4)/460, Panel decorations (5)/470, 3-D displays (4) 500 Hodori sculptures (2)/510, Folk ornaments (3)/520, Folk panel decorations (3)/530, Emblems (1) 600 Neon decorations (2)/610, Decorative Lanterns (2) 700 Flower beds (3)/710, Flower towers (3) 800 Ticket booths (3)/810, Information booths (3)/820, Sales booths (2) 830 Tourist information booths (3)/850, Shades (2) 900 Souvenir packings (4)/910, Podiums (3)/920, Bulletin boards (3)/930, Transportation signs (2)/950, Vehicle decorations (4)/960, Souvenirs (11)

Superficial Decorations Structural Decorations Space Decorations

Sculptural Decorations Light Decorations Flower Decorations Booths, Tents Others

Total

Entrance Fabrics

Building Board

Ad-ballon

Flag

Drape Wrap-up Decoration Welcome Tower

51 Classifications (232 Kinds) Entrance and Exit decoration

Column

Amounts of Environmental Decorations Kinds Pole Banners Varied Banners Placards Stringers Fence Fabrics Entrance Fabrics Interior Fabrics Court Wall Fabrics Ceiling Displays Overpass Billboards Signboards for Buildings Super Graphics Welcome Towers Welcome Arches Free-Standing Structures

Folk Sculpture

No. of Items Installed

Entrance & Exit Decorations Columns Billboards Riverbank Decorations Ad-Balloons Panel Decorations Sculptural Decorations Folk Panel Decorations Decorative Lanterns Flower Towers Ticket Booths Public Relations Booth Shades Bulletin Boards Transportation Signs

19,880 5,415 427 5,117 2,744 587 648 3,283 4,311 23 24 308m2 24 27 46 211 1,065 380 54 49 49 22 7 383 4 64 76 13 29 27

Total

45,297

Main decoration

Barriers

Stringer

Welcome Arch Flower Tower

Pole Banner

Panel Decoration

Booth

Panel Decoration Sub decoration

Fence Fabrics

Flower Decoration Riverside Decoration

Billboard

Welcome Tower

Street Graphics

Ch'ongsach'orong (red-and-blue lantern)

Placard

Overpass Board

Ch'ongsach'orong Three Dimensional Decoration

Pole Banner

welcome Arch

24. Ceiling hangings at the Fencing Gymnasium.

Flower Tower

25. Overhead decorations at the wrestling competition venue included bright fabrics, transparent banners and box-type banners.

13. A sculpture employing an Olympics rings theme in progress. 14. Decorative columns erected at the approach to the Olympic Stadium.

26. Colorful fabric signboards at the athletics venue. 27. Panel decorations in the stands of the athletics site.

Varied Banners

656

664

23. Design and Environmental Decoration

23.6.4 Sign System

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Official Report of the 1988 Olympic Games, Graphic and Signage Specifications pg 650-670

 Basic preparations Signages, to fill various information guide requirements, had to be functional in terms of overcoming language barriers. At the same time they had to be attractive environmental decorations. Appearance and economy, therefore, were major considerations in their design. The basic design was that of an upright structure, with posts and flat panels on each side. Production and maintenance efficiency was improved by standardizing the appearance and size. Typefaces were enlarged where possible. Yellow was used as the base color. Light blue was used for indoor signs. In their production, a computer typeface cutting machine was used and modern graphic method applied. Vinyl tape was used for the production, maintenance and possible recycling. To cut costs, the SLOOC reused some signage from the Asian Games by applying graphic processing to them.

Pictograms needed to stand out from amongst other signages to communicate visual information. Arrow Arrows were the most important element on directional signs along with pictograms. Selecting typeface for signs Typeface was one of the major elements used on signs, together with arrows. As in common practice computer typeface was used. Block letter was used for Korean, Standard Medium for English, and Helvetica Medium for French.

 Comprehensive guide map The comprehensive guide map was a condensed masp to help locating the required zone by recognizing different colors used for major facilities. Major facilities were treated with different colors, a three-dimensional effect was generated by shading, and the size of letters was the largest possible. Lighting was installed on the signboards for night events. The maps were installed at the entrance to all competition venues, including the Seoul Sports Complex and the Olympic Park.

 Application of graphics on signs Graphics were applied to signs. Tape was used for the background of the steel surface. Typeface produced with computer cutting machine was attached to the surface. The method removed any concern over possible errors after input into computer, and allowed for reuse because corrections, additions or deletions could easily be made. The reproduction of the design was exact, and the typeface was clear.

 Elements of signage Pictogram In terms of their functions, the pictograms were classified into sports pictograms and amenities pictograms.

36. Use of arrows on a guidepost. 37. Informational sign with both arrows and pictograms.

38. Relief of the Olympic emblem on a decorative panel at Suwon Gymnasium.

39. Guide map.

670

672

52-27: Baden-Baden 30.09.1981 On December 4, 1980, the IOC (International Olympic Committee) announced that Seoul, the capital city of the Republic of Korea, had become the fourth city to apply for the right to host the Olympics after Melbourne, Nagoya, and Athens. Melbourne formally announced the retraction of its Olympic application on February 24, 1981. Athens which wanted to obtain the right on the condition of hosting the Olympics permanently, subsequently gave up its bid, too. This left only Seoul and Nagoya competing for the hostship. Due to internal problems, however, the country’s efforts to obtain the hostship hit problems beginning immediately after the delivery of the written application. A careful review of the IOC questionnaires showed that the direct cost of the Olympics in Seoul would have to be increased to a staggering 620 billion won (US$900 million), 2.5 times the 250 billion won (US$370 million) originally reported. The KOC (Korean Olympic Committee) officials found that to meet the criteria of the sports facilities set forth by the IOC and international sports federations, 20 sports venues would have to be newly built in addition to the Main Stadium under construction at Chamshil [now Jamsil] in southeastern Seoul.The Olympic plan encountered many problems as Seoul city, which would become the host city if the plan succeeded, in effect refused to cooperate in the efforts to obtain the Olympic hostship from the time of the preparation of the written application. [Furrther] the overwhelming view among sports experts was that Seoul was in a decisively disadvantageous position compared with Nagoya. Being the capital city of a divided country, Seoul had political weak-points. A fierce opposition to a Seoul Olympiad was anticipated from North Korea and its fellow Communist-bloc countries. Moreover, Seoul had no experience in hosting any international multi-sports games. Baden-Baden, Germany is a town deep in water. In German the name means “baths” twice, and the city sits over hot springs to which people come to enjoy the naturally heated bathing for pleasurable and supposedly medicinal reasons. Fountains sprout everywhere; waterfalls cascade down hills; a large stream parallels the main street and it rains a great deal. However, the people who flowed into town to attend the Eleventh Olympic Congress in September of 1981 had little time to loll around in baths. These were representatives from the 149 nations that competed in the Olympic Games as well as representatives from the 26 international sporting federations that organized 31 Olympic sports. They’d come to meet with 80 (of 82) members of the International Olympic Committee who’d called this once-a-decade Congress that takes place over a two-week period. The two major working issues at the Congress were to redefine the rules of Olympic eligibility, and the task of selecting the two cities that would host the 1988 Winter and Summer Olympic Games, respectively, seven years hence. Strangely there were only two cities bidding for the Olympic Summer Games, the world’s mightiest extravaganza: Nagoya, an industrial city in central Japan, and Seoul. Both cities are East Asian, lying almost within a geographic stone’s throw of one another. A summer rain cloud that forms over Seoul on the Korean Peninsula of the Asian land mass would float eastward over the Sea of Japan [or East Sea[ ( to drop cooling rain on Nagoya

at dusk, less than 600 miles away (900 kilometers). Meteorology notwithstanding, however, there was and is historic bitterness between these two nations: Korea and Japan. In any case, the stage was set in Baden-Baden, although it was conceded Nagoya was the heavy favorite. Japan had staged two very successful Olympiads: the Summer Games in Tokyo in ‘64 and the Winter Games in Sapporo in ‘72, while the Koreans’ Olympic organizing talent was of an unknown quality. All that notwithstanding, the Koreans were justified in their claim that it was their turn; it was time that an Asian Olympics take place somewhere outside Japan, which had had its share of Games. [Nagoya], taking advantage of a number of its officials of international sports organizations, had engaged in positive activities to obtain the 1988 Olympic hostship since before its formal application for the hostship. The Korean delegation arrived in Baden-Baden, Federal Republic of Germany on September 20, 1981 to open the “10-day Baden-Baden operation.” But dark clouds had gathered from the outset. The press at the scene showed a cool reaction to the Korean delegation, commenting that the “issue is how many votes Seoul can muster.” IOC leaders, too, appeared to feel it was a “fait accompli” that Nagoya would be the site of the 24th Olympics. [The atmosphere in Baden-Baden] in a way took on the look of an American political convention: multimedia displays, slide presentations, posters, pamphlets, brochures, buttons and fountain pens and umbrellas adorned with their names and slogans. Representatives from each faction became stalkers, buttonholing anyone they believed might have the ear of IOC members, who themselves had to develop deft dodging techniques whenever they sensed lobbyists coming at them in hallways, elevators, restaurants, and sometimes in the men’s rooms. [Yet] this atmosphere changed overnight with the opening of the Korean exhibition hall. An unexpected stir arose when the candidate host cities opened their display halls at the site of the old railroad station of BadenBaden on the morning of September 22. Visitors were moved at the outstanding display in the Seoul hall. Other halls were those of Nagoya seeking to host the 1988 Summer Olympics, and those of Calgary (Canada), Falun (Sweden) and Cortina (Italy) which had applied for the hostship of the 1988 Winter Olympics. In a limited space of about 99 square meters, the Seoul hall effectively displayed the time-honored culture and spectacular development of Korea in panels or slide presentation with a replica of the Olympic Stadium in the center. A video documentary on the overall aspects of Korea was also shown. To add to the popularity of the Seoul hall, five Korean Air stewardesses excelling in English, French and Spanish and three former Miss Koreas in elegant traditional Korean costumes gracefully served visitors. Sohn Keechung, winner of the 1936 Berlin Olympics marathon, gave his autograph to collectors, and the distribution of souvenirs also attracted large crowds. On its first day, IOC President Samaranch and about 30 IOC members visited the Seoul hall. Throughout the eight days of its opening, some 10,000 people thronged to the Seoul exhibition. On the other hand, the Nagoya hall display was chiefly of photos and

JAL stewardesses served visitors in their in-flight uniforms, a striking contrast with the colorful Seoul hall. Thirty brief minutes, for whose preparation millions of dollars and thousands of work hours have been spent, all distilled into this brief moment in time, the weight of their national honor upon the shoulders of each group of presenters. Lunchtime came and went, after which the Nagoya and Seoul representatives each made their own presentations. Neither candidate could really depend on a specific continental bloc of IOC members voting on their behalf since both were Asian cities, and of the 80 IOC members present only 13 represented Asian nations. Therefore, traditional Olympic politicking did not apply here. The “10-day Baden-Baden operation” actually began on September 3, 1981 when an advance team of KOC Vice President Chyun Sang-jin and World Taekwondo Federation President Kim Un-yong left Seoul 15 days ahead of the main party of the delegation. Chyun, Sang-jin a career diplomat turned sports official, first entered the African continent by way of Paris. Taking advantage of his experience as Korean ambassador to Cameroon in the early 1970s, he toured Kenya, Egypt and Tunisia and then Spain and Portugal before flying to Baden-Baden, meeting with IOC members and other sports leaders there to appeal for their support for Seoul. That final half-hour before the Committee is so brief that presenters barely have time to make all the points relative to their bid, although of course Committee members had regularly been briefed by lobbyists and most of them had already visited all the proposed Olympic sites. Therefore, within that brief time there isn’t time, nor is it wise, to emphasize an opponent’s weak points. The emphasis should be on one’s own positive, not upon the negatives of rival bids, which is considered bad form and even unsportsmanlike within this body of sportsmen. Kim Un-yong, capitalizing on his being the world leader for taekwondo, a martial art highly popular around the world, toured North and Central America and the European countries of Great Britain, the Netherlands, Denmark and Belgium, asking IOC members in these areas to endorse Seoul’s efforts to obtain the right to host the Olympics. Many IOC members, who until then believed that Seoul had in effect withdrawn its application for the hostship, now began to show an interest in Seoul. On the evening of September 21,1981, one day after his arrival in Baden- Baden, KOC President Cho Sang-ho paid a courtesy call on IOC President Juan Antonio Samaranch at the Brenner’s Park Hotel to dispel any suggestion that an Olympiad in Seoul would be risky due to the international political situation. However, as [the Koreans] observed the Japanese becoming ever more brazen in their tactics the [KOC representatives] took an opposite tack, rarely criticizing any aspect of the Nagoya bid so much as they boosted their own bid, allowing it to speak for itself. This was their tactic not only during their formal presentation before the Committee but also during earlier formal and informal meetings with IOC members.

The briefing session held at an IOC meeting on September 29, 1981, to hear candidate host cities explain about their preparations, was highly important as it served as an occasion for previously uncommitted IOC members to make up their minds. The attitudes of the Seoul and Nagoya delegations were quite a contrast at the briefing session. Whereas the Nagoyans, already convinced of their victory, did not attach much weight to the briefing, the Seoul delegation carefully prepared both the presentation and the answers to possible questions that would follow. KOC working level officials reviewed time and again the answers to about 150 expected questions. After Nagoya’s presentation from 9:30 a. m. September 29, 1981, at the IOC conference room on the second floor of the Kurhaus, the Seoul delegation made a briefing from 2 p. m. the same day. KOC President Cho Sang-ho made an address emphasizing the justness of an Olympiad in Seoul. Then there was the showing of a 16- minute documentary, “Seoul, the Capital City of Korea, Where the 1988 Olympics Will Unfold,” which described Korea’s development and Seoul’s Olympic preparations. The film presentation was followed by questions and answers exchanged for about 30 minutes. The Koreans realized less is more, a strategic tack the IOC took note of and appreciated. Of course the point that ‘It is our turn’, was a legitimate argument in the Koreans’ behalf. In summary, the Koreans accentuated the positive and eliminated the negative, believing less is more, that the IOC would come to see the superiority of their bid. And the International Olympic Committee bought it. After the session, about 20 of the IOC members, who were friendly to Seoul, praised the briefing as “extremely good.” The atmosphere at the IOC Congress was changing. The next day, in the Kurhaus, on September 30, 1981, Seoul, was granted the 1988 Olympic Summer Games over Nagoya by a vote of 52 to 27.5. It was not even close. The favorites had lost, quite possibly because the Japanese had decided that mere victory would not be enough so much as they ineptly pursued overwhelming victory. Of course the representatives from Seoul had the joy of celebration before the realization set in that they had seven hard years of preparation before them, while the defeated delegations: had to decide whether to maintain themselves as a representative body for the purpose of bidding for the ‘92 winter and summer Games or whether they should dissolve. Nagoya never again put forth an Olympic bid. * Herb Weinberg, “The Olympic Selection Process: Baden-Baden, 1981” Journal of Olympic History, Winter 2001 * Korean Olympic Committee, “Award of the Games of the XXIVth Olympiad” Official Report of the 1988 Olympic Games

OLYM P I C P ORTR A I T S 1 9 8 8

Hwa Ja & Ae Sook & Seung Kyu & Yong Kyu “Hand in Hand” (손에잡고), 1988 Olympic Theme.Performed by Koreana and roduced by Giorgio Moroder.

21.06.2011

9.79s (Ben Johnson and Carl Lewis) The 100 m final at the 1988 Olympics was one of the most-hyped sports stories of the year; its dramatic outcome would rank as one of the most infamous sports stories of the century. Johnson won in 9.79 s, a new world record, while Lewis set a new American record with 9.92 s. Three days later, Johnson tested positive for steroids, his medal was taken away and Lewis was awarded gold and credited with a new Olympic record.

22.06.2011

569 (Florence Griffith-Joyner) Known to the world as â&#x20AC;&#x153;Flo-Joâ&#x20AC;?, Griffith-Joyner was the big favorite for the titles in the sprint events at the 1988 Summer Olympics. In the 100 m final, she ran a wind-assisted 10.54, beating her nearest rival Evelyn Ashford by 0.3 seconds. In the 200 m quarter-final, she set a world record and then broke that record again winning the final by 0.4 seconds with a time of 21.34.

10.54 21.03 41.98

*100m

*200m

*4x100m

26.06.2011

569

21/2 pike (Greg Louganis) Louganis suffered a concussion after hitting his head on the springboard during the preliminary rounds while performing a reverse 2Â˝ pike. He completed the preliminaries despite his injury, and went on to repeat a similar dive during the finals, earning the gold medal. In the 10m finals he won the gold medal performing a 3.4 difficulty dive. Louganis later sparked controversy when it was revealed he did not disclose that was HIV positive during the Games despite his injury.

27.06.2011

3-2 (Park Si-Hun and Roy Jones Jr.) In the 1988 games, Park won the very controversial title bout against Roy Jones, Jr., following a highly disputed 3-2 decision in the final. Later scoring indicates that Jones landed 86 punches to Parkâ&#x20AC;&#x2122;s 32. Jones has stated Park himself apologized to Jones afterward.[1] One judge shortly thereafter admitted the decision was a mistake,[citation needed] and two of the three judges voting for Park were eventually banned from the sport for life.

22.06.2011

30 Knots (Busan) At the 1988 Summer Olympics, eight events in sailing were contested in Busan and was the first time that a separate event was allocated exclusively for women (sailed in the 470 class). Busan in Korea was reportedly a light wind venue but no one realised until too late that this information came from the airport which was located in a sheltered valley. It turned out to be that the 1988 Olympic Games were one of the windiest ever with one day of racing postponed due to too much wind. one day of racing saw around 30 knots of wind with 5 knots of current going against the wind.

24.06.2011

02.08.2011

Unkown Korean Swimmer

Olympic World Peace Gate 14.07.2011

90,45,90 (Olympic Gate)

15.07.2011

Jamsil (Centirfugal)

28.06.2011

OlympiPark Vehicular Entrance 14.07.2011

11.07.2011

Phylotactic Rings

Ring Flare

28.06.2011

06.08.2011

88 Hanbok

Unsolicited proposal for a new apartment core

05.07.2011

08.07.2011

Olympic Village (after Anni)

Competition Operations Auxiliary Personnel

Doctors

SLOOC Officials

Competition Operations Personnel

Guide-Interpreters

Medical Assistants

Torch Relay Bearers.

Administrative Staff

Judges and Referees

Technicians and Facilities Maintenance

Service Personnel

Official Report of the 1988 Olympic Games, Uniform Specifications pg 146-147

Hostesses

Escort of Medal Bearers

Security Personnel

Victory Ceremony Escorts

Medal Bearers

In four (after Kelly)

31.07.2011

Vornoi Marden

Official Report of the 1988 Olympic Games, Commerative Stamp Designs pg 227-228

Rule #81

30.07.2011

INCHEON 2 0 1 4 PYEONG CHANG 2 0 1 8

Street Signage Dowon, Incheon 05.07.2011

Environmental Graphics, Dowon, Incheon 05.07.2011

Dwon Incheon 05.07.2011

Sungui United

06.07.2011

04.07.2011

Songdo, Incheon 28.07.2011

27.07.2011

Stanzas in 210 characters or less

Shining at 37.28N, 126.38E

09.07.2011

37.28 N 126.38 E

Munhak Stadium, Incheon 27.07.2011

Munha(na)k

04.08.2011

05.08.2011

Munhak (Throw me tomorrow)

Section 2014 (for Peter)

Section 2014

- Principles & Slogan. A public contest for receiving applications for potential slogans and principles was held. A public hearing on the principle and slogan was organized with numerous sports figures and experts from various social communities across Asia in attendance. - A consultation meeting with ambassadors from numerous member nations of the OCA was held to share their opinions regarding the prospective principles, slogans, emblems, and mascots gathered thus far for the 2014 Asian Games. January to February, 2009

November 2009

046.08.2011

December 2, r 2009

Munha(na)k

04.08.2011

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Colophon: This incarnation of Game On represents an ongoing project as part of the artist residency project at Incheon Art Platform. The present Booklet was printed on 17 August 2011 in Hongde, Seoul documenting the work produced until that date. A final archival printing will occur at the completion of the project. Special Thanks to: Incheon Art Platform Hamin Joo Minkyung Kim