A Catalog of Projects: 2008 - 2011 by masato nakada

Masato Nakada A CATALOG OF PROJECTS 2008 - 2011

THIS BOOK MARKS MY COMPLETION OF CALARTS MFA GRAPHIC DESIGN PROGRAM. IN 2008, I MOVED TO VALENCIA FROM BOSTON. I WAS 24 YEARS OLD AND WORKED AS A WEB DESIGNER AT A FIRM CALLED CONVERSION ASSOCIATES. IN MY SPARE TIME, I MADE TEE GRAPHICS AND LOGOS. NOW THAT I AM 27 AND I HAVE SOME REFLECTION TIME, I WILL SHOWCASE ALL THE WORK THAT I HAVE DONE STRICTLY IN THE BUILDING OF CALARTS AND DRAW CLEAR THREADS WITHIN MY BODY OF WORK. .................................................................

Calarts, the glorious city, has a tormented history. Several time it decayed, then burgeoned again, always keeping the first calarts as an unparalleled model of every splendor, compared to which the city’s presents state can only cause more sighs at every fading of the stars. In its centuries of decadence, emptied by plagues, its height reduced by collapsing beams and cornices and by shifts of the terrain, rusted and

HARMEN LIEMBURG AND KALI NIKITAS WERE TWO OF MY KEY MENTORS THAT DIRECTED ME TO CALARTS. THEY WERE INTRIGUING HUMAN BEINGS AND THAT’S WHAT GOT ME HOOKED INTO THEIR PRACTICES AND THEIR LIVES. IN A WAY, TO BE AN INTERESTING DESIGNER YOU HAVE TO BE AN INTERESTING HUMAN BEING. THE HARDEST PART OF THE GRADUATE EDUCATION WAS TO ASK MYSELF, “WHAT ARE YOU INTERESTED IN?” IT’S AN IMPOSSIBLE QUESTION TO ASK TO SOMEBODY WHO WAS TRAINED TO DEDICATE HIS SERVICE TO CLIENTS. THIS PROGRAM CAN BE SEEN AS AN INTENSE SELF-EXAMINATION. IT WAS HARD FOR ME TO GET ON BOARD WITH THAT PARTICULAR GEAR AND SENSITIVITY THAT CONSTANTLY QUESTIONED MY MOTIVES AND UNSPOKEN REASONS TO FUNCTION THE WAY I DO. FIRST AND FOREMOST I WOULD LIKE TO THANK MY PARENTS FOR PROVIDING ME THE EDUCATION AND THE OPPURTUNITY TO GET TO WHERE I AM. THANK EVERYONE ELSE IN NO PARTICULAR ORDER BECAUSE THE LIST WILL GO ON.

CALIFORNIA INSTITUTE OF THE ARTS 2470 MCBEAN PARKWAY VALENCIA, CA 91355

stopped up through neglect or the lack of maintenance men, the city slowly became populated again as the survivors emerged from the basement and lairs, in hordes, swarming like rats, driven by their fury to rummage and gnaw, and yet also to collect and patch, like nesting birds. They grabbed everything that could be taken from where it was and put it in another place to serve a different use:

ARRIVAL 31-8-2008 A100 Studio

This was my first art school experience. Everything about attending an art school was exciting to me. The studio spaces, print lab hours; everything felt so unbound. To be in a room full of designers who shared the same enthusiasm was at first intimidating to me, but these people that I share my time are the ones that I have learnt the most. They have seen the worst and the best of me.

FAROUT I was like, “I like to go to Calarts because they produce crazy lookin’ shit… so crazy and so eclectic that it stands out from the rest.” What does that mean now? Nothing. In a weird way, I no longer care what my work looks like. I don’t care if it looks contemporary or outdated. It just needs to be interesting in all ways possible, formally and conceptually. My work from the first year showed a struggle of that exact dilemma, I wanted to look eclectic and interesting by themselves but there was no conversation on a conceptual level.

Moby D 13.Wheelbarrow

11.Nightgown

12.Biographical

8.The Pulpit

9.The Sermon

7.The Chapel

5.Breakfast

6.The Street

3.The Spouter-Inn

10.A Bosom Friend

3 1 .Loomings Queen Mab

4.The Counterpane

1.Loomings

2.The Carpet-Bag

Cha p t ers .

27. Knights and Squires

Editor Luther S. Mansfield

Hendricks House - New York - 195 32. Cetology

3 3 . T hof e Sap dreamy e c k s n y d e r Sabbath afternoon. Go from Circumambulate the city 3 4 . T h e C a b i n Ta b l e Corlears Hook to Coenties Slip, and from thence, by Whitehall northward. 35. The Mast Head What do you see? - Posted like silent sentinels all around the town, stand 36. The Quater-Deck thousands upon thousands of mortal men fixed in ocean reveries. Some 37. Sunset leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships 1 from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster - tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here? But look! here come more crowds, pacing straight for the water, and seemingly bound for a dive. Strange! Nothing will content

It is the image of the ungraspable phantom of

25. Postscript

26. Knights and Squires

24. The Advocate

23. The Lee Shore

22. Merry Christmas

20. All Astir

21. Going Aboard

18.His Mark

19. The Prophet

17.The Ramadan

15.Chowder

16.The Ship

14.Nantucket

Herman Me

1. He desires to paint you the dreamiest, shadiest, quietest, most enchanting bit of romantic landscape in all the valley of the Saco.

Moby

Herman M

Editor Luther S. Mans

Hendricks House - New

life; and this is the key to it all.

Above: The end of the review wall of 2009, Lucy Cook takes a snapshot of my wall after I got slayed by the faculty. Below: Classical Type Book of Moby Dick, was the first project given from Stuart Smith. The switching of landscape to vertical layout is an occuring theme in my work.

Ch a pt er one Loomings

Dick

Melville

sfield

York - 1952

Call me Ishmael. Some years ago - never mind how long precisely - having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen, and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand

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passengers. Only hope I don’t miss it, oh good,

me.

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R: Type Excericises for 99 Style L: Xante sheets for the poster of LACMA & Machine Gallery, in collaboration with Sean Yoon.

Park the vehicle on firm, level, and non-slippery ground. Put the transmission in Park. (automatic) Or reverse (manual). Apply the parking brake. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Quisque at massa at sapien consequat volutpat.

Precautions This tire gives me a harsher ride and less traction on some roadsurfaces. Use greater caution while driving. Do not mount tire chains on the compact spare tire. Do not use your compact spare tire on another vehicle unless it is the same make model. Never exceed 50mph (80km/h)

Afterthought Few things are as inconvenient as getting a flat tire. It can make you late for an appointment, and when you do arrive, you are either frazzled or filthy from the experience. If you don’t know how to change a tire, the experience is made much worse by having to wait for someone to c ome to your assistance. In this article I will provide simple instructions to prepare you for the inevitable inconvenience of getting a flat tire. Anyone can easily change a tire, even a woman or a girly-boy. But first lets talk about how to avoid getting a flat tire in the first place. One way to get a flat tire is when a nail or other sharp object penetrates your tire. In the old days this would cause your tire to go flat within seconds. Today’s modern steel belted radial tires usually just develop a slow leak when penetrated. Even if not penetrated by a sharp object,a tire will gradually lose its air pressure. The way to avoid the inconvenience of getting a flat tire is to check all your tires air pressure regularly. Today’s modern steel-belted radial tires bulge out at the side a little even when they have proper pressure, so you can’t tell by just looking at them if they have proper pressure. You need to use a tire pressure gauge. Gauges come in two main types. One type has a rod that comes jetting out at the end. The other type has a dial. In either case you use the gauge by removing the little plastic cap from the tire’s air valve and quickly pushing the valve end of the gauge onto the tire valve. You will get a little “hiss” when you do this. If you did it correctly, the gauge will give an accurate indication of the tires air pressure. Sometimes it takes a little practice to get an accurate reading. Compare the reading you get with the maximum psi (pounds per square inch) written on the sidewall of the tire. Car tires usually have a maximum of 32 psi. Full size light truck tires can have a maximum of 80 psi.If the air pressure is too low, there is a risk of the tire breaking lose from the wheel. This would cause dangerous rapid deflation of the tire. When a car tire’s pressure gets below about 24 psi you risk rapid deflation. If the pressure is too high, there is a risk of the tread separating from the steal belt. This can also cause rapid deflation, but usually it just gives you a very bumpy ride. The way to avoid getting a flat tire is to check the air pressure in all your tires regularly. By “regularly” I mean at least once each month. By “all your tires” I mean including the spare. It is very common for a person to remove a flat from their vehicle just to learn that their spare is also flat. If you find one of your tires has low

pressure, you need to pump it up to the proper value. Air pumps come in two main types. One type has a cord with a plug that goes into your cars cigarette lighter. The other type has a cord that plugs into an AC outlet. The cigarette lighter type has the advantage that you can carry it in your car and possibly re-inflate a flat tire at the side of the road, saving the messy job of changing the tire for later. The disadvantage is that they work very slowly and can draw down a cars battery. The AC power cord type has the advantage that it can fill tires more quickly, but it’s rare to find an AC outlet at the side of the road. Possibly the most important thing to know about tires, is what to do if you get a flat while speeding down the expressway. The most important thing NOT to do is slam on the breaks! This is a common cause of roll-overs. Just let your foot off the gas and look for a level area at the side of the road to pull off. People that don’t know how to change a tire frequently keep driving on the flat tire, in search of a service station, until the tire is totally shredded. Then instead of paying ten dollars to fix a flat, they have to pay a hundred dollars for a new tire. Fortunately after you use the information in this article, you won’t get caught in that situation. To fix a flat tire you have to jack up the car and replace the flat tire with your spare tire. Unfortunately many people don’t even know where the jack is, and some don’t even know how to get the spare out. Don’t wait until you’re stranded by the side of the road to start looking for your jack and figuring how to get the spare out. Go out to your car right now and locate your jack and spare tire. You may need to locate your owners manual first to learn how to locate and use your specific jack to change a flat tire. It’s better to figure it out now rather than waiting until you’re stranded by the side of the road. If you have never jacked up your car, now is the time to practice. As mentioned earlier, the vehicle should be on level ground. The jack usually needs to be positioned at a “peg” or “slot” under the chassis near the tire to be removed. At first don’t jack the car up so high that the tire leaves the ground. Just jack it up to take most of the weight of the car off the tire.

Follow these steps

Turn on the hazard warning lights, and turn the ignition switch to the LOCK position. Have all passengers get out of the vehicle while you change the tire. After the vehicle is securely parked, begin by removing the wheel cover with either the flat edge of a tire iron or by unfastening retaining nuts, depending on your vehicle’s configuration.

Loosen each wheel nut 1/2 turn with the wheel nut wrench. While the car is still on the ground, begin to wcounter clockwise. Unscrew the nuts until they are each loose enough to move by hand, but not quite until they are all the way off. With the wheel cover removed, loosen the wheel’s lug nuts or bolts without removing them from their studs. Depending on the vehicle, there will either be a total of four or five lugs holding the wheel in place. Turn your wrench counterclockwise and be prepared to throw some weight and muscle onto the wrench.

Place the jack under the jacking point. Turn the end bracket clockwise until the top of the jack contacts the jacking point. Make sure the jacking point tab is resting in the jack notch. Consult your owner’s manual for the proper jack positioning beneath your car before lifting the car. This is extremely important and you can cause serious structural damage to your car if you do not place the jack properly. Avoid placing the jack on any axle or suspension piece. It’s crucial that the ground under the jack be a flat, solid surface. Gravel, mud or grass just won’t be strong enough to hold the weight of your car and the jack will sink into the ground. If a solid surface isn’t an option, find a piece of plywood to place beneath the jack to act as a firm surface. Once you’ve positioned the jack correctly, lift the car until the tire is approximately 1 inch off the ground and the tire is visibly relaxed on the springs and struts. For an emergency roadside change, jack stands are not required as long as you aren’t placing yourself underneath the vehicle. However, do-it-yourself mechanics may opt for the added security while changing a tire at home

Do not attempt to forcibly pry the wheel cover off the with a screwdriver or other tool. The wheel cover cannot be removed without first removing the wheel nuts. Before mounting the spare tire, wipe any dirt off the mounting surface of the wheel and hub with a clean cloth. Wipe the hub carefully; it may be hot from driving.

After the car is lifted, finish removing the lug nuts from the wheel. Be careful with the removed wheel nuts and try not to lose them since you will be needing them to fasten the new tire. Remove the wheel nuts, then remove the flat tire. Handle the wheel nuts carefully; they may be hot from driving. Place the flat tire on the ground with the outside surface facing up. Carefully, avoiding any possible debris or damage, remove the flat tire. Even though the tire is “flat” be aware that the tire is still heavy and depending on your vehicle and muscle strength, it could require some work to remove.

Put the wheel nuts back on the finger-tight, then tighten them in a crisscross pattern with the wheel nut wrench until the wheel is firmly against the hub. Do not try to tighten the heel nuts fully. Lift the tire into position, and holding the new tire in position begin refastening the lug nuts by hand using a crisscross placement for four-lug wheels and a star pattern for a five-lug wheel.

Once the wheel has been fastened properly, lower your car down gently disengaging the jack. Never let your car fall to the ground as it could be detrimental to the vehicle and hazardous to you. Finish tightening the lug nuts on the wheels once the car is firmly on the ground. Place the flat tire face down in the spare tire well. If you’re installing a new tire at home, use a torque wrench to tighten each wheel nut to the manufacturer’s specifications, which can be found in your owner’s manual. If you mounted a permanent tire you can also reinstall the wheel cover.

Warning

The vehicle can easily roll off the jack, seriously injuring anyone underneath. Follow the directions for changing a tire exactly, and never get under the vehicle when it is supported only by the jack.

Changing A Flat Tire

Precautions

Thiswarning tire gives a harsher ride and Turn on the hazard lights, me and turn the ignition some roadsurfaces. switch to the LOCK position. Have all passengers get out of the vehicle while you change the tire. After the vehicle is securely parked, begin by removing the wheel cover with Useofgreater while driving. either the flat edge a tire ironcaution or by unfastening retaining nuts, depending on your vehicle’s configuration.

less traction on

Do not mountWarning tire chains the compact spare Theon vehicle can easily roll tire. off the jack, seriously injuring anyone underneath. Do not use your compact spare tirefor onchanging another vehicle Follow the directions a tire exunless it is the same actly, andmake nevermodel. get under the vehicle when it is supported only by the jack.

Right: Driving through 29 Palms Left: Denotative / Connotative type poster on how to change a flat tire.

Image-making and type excercises for 99 Styles

This is a book redesign of Heavy Meta’s Kara Walker: Narratives of a Negress. The relationship of macro to micro is carried out in this redesign. Images and type start out large to show the close reading of her. As the book progresses and elements become smaller and the readers experience the movement of zooming out, finally they are able to see the “big picture.” ->page 27

Channel Shampoo

Cologne

Automatic Writing Pen

Ramtha was conjured by JZ Night and I wanted to do the same by using shampoo kit. The new age gimmickery typefaces and branding was fully explored to conjure the god of Ramtha. Pop-culture references and vernacular became my silent fascination. ->page 67

Take Control of your own life

â&#x20AC;&#x153;The master teacher is here. Come if you are read y to l ea r n .â&#x20AC;?

This Box-Set Includes: Tutorial DVD Ramtha Product Catalog Ramtha Shampoo Channeling Candles Ramtha Mask Atlantis Cologne Automatic Writing Pen Bumper Stickers

21 Spiritual

Channelling

Kit

This Box-Set Includes: Tutorial DVD Ramtha Product Catalog Ramtha Shampoo Channeling Candles Ramtha Mask Atlantis Cologne Automatic Writing Pen Bumper Stickers

GAY PRIDE FLAG

INCA FLAG

L: Francisco Martinez’ exhibition space and his concept, “Someday We Will Find It.” R: This was the event poster for the show, where I managed to do 5 color screen-printing. I don’t think I will ever do 5 colors again unless it is required.

Type = Language Typographic design is the arrangement as well as the appearance of typography. It includes the selection and the use of type, as well as the construction, invention and interpretation of letterforms and typographic elements. Language is cultural, interactive, social and linguistic. (as are these examples)

Linguistic: type that communicates through a reinvention or reinterpretation of language

Interrobang

Mint Studio Travis Sterns

Irony Mark

Txt Message Lingo

4COL - For Crying Out Loud 4EAE - ForEver And Ever 4ever - Forever 4NR - Foreigner 4QF - *** You 5FS5 - Finger Salute 9 - Parent is watching 99 - Parent is no longer watching <3 - Heart ? - I have a question @TEOTD - At The End Of The Day A3A - nyplace, Anywhere, Anytime AAAAA - American Association AYFAs - Always, Your Friend ACKA - cknowledgement ACORNA - Completely Obsessive Really Nutty person ADAD - Another Day Another Dollar ADBBAll - Done Bye Bye ADIH - Another Day In Hell

L: Megan Lynch and I researched different genres of “typographics” for three weeks. As vague as this topic sounds, we picked out interesting aspects and issues in typography today. I learned so much just from working with Megan Lynch. ->page 55

R: As I finished printing this poster for Melvin’s show, I was careless enough to use a wooden ruler to crop the posters. The exacto knife cut through the grain of the ruler and sliced my finger tip. Bad!

BFA4

Feb 14 thru 21 2009

Through the Looking -Glass Reception Fe b 1 9 t h 2 0 0 9 a t 8 p m

Melvin Mackey Jr.

Calarts

24700 McBean Parkway

V a l e n c i a

C A

9 1 3 5 5

L: A poster for Machine galleryâ&#x20AC;&#x2122;s LACMA Field Day, collaboration with Sean Yoon. R: Early holiday cards in edition of 50. My first printed material from the CalArts print lab. ->page 68

A speculative publication called Beta Slap. The conventional phrase of â&#x20AC;&#x153;free poster insideâ&#x20AC;? drives this concept. The poster became a website and readers are encouraged to zoom into specific areas of the poster to find articles that are hiding in the proximity. ->page 137

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The Museum is located at the northeast corner of We s t w o o d a n d W i l s h i r e B o u l e v a r d s i n We s t w o o d V i l l a g e , 3 b l o c k s e a s t o f t h e 4 0 5 f r e e w a y ’s W i l s h i r e B o u l e v a r d e x i t .

OCT · 21 · 2010

All Digital Things Aside is an event that will recognize and raise questions of a phenomena happening in the online participatory culture today. Programs like Twitter, Facebook and other participatory programs are encouraging people to disclose their private life, creating intimacy in short sentences and broadcast issues that they please. This phenomena has blurred the line of what is public and private.

Alex Steffen who are known to be futurist thinkers. They will reveal some fascinating causes and effects that are yet to come in this up coming age.

ALL DIGITAL THINGS ASIDE

The Hammer Museum

It has created a down-top heirarchy. All Digital Things Aside include speakers such as Bruce Sterling,

Related Events Mouse Clicking Contest Porn For Progress Arthritis Removers

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Mark Hansen and Rubin will recreate the famous installation “Listening Post” and by hacking the Twitter server, they will be displaying the voices of today’s generation.

Liz

Miller

ps Ma ry o m Me s Corp Story

eff

ling

Ke e t r a

t Bruce S

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Barrett Lyon October 30 “Mapping the internet”

Smithsonian October 29 “Memory Maps”

NPR & Local Projects October 28 StoryCorps

Thomas Hirschhorn October 27 Various Installations

Keetra Dixon October 26 “Wonder Kept: Souvenirs of the Unexpected”

Lust October 25 “Hoek van Holland Map”

Alex Steffen October 24 “World Changing is Here and Not There”

Bruce Sterling October 23 “The glorious Life of Web 2.0 and What Comes After”

Via Grafik October 22 “Speechless”

Liz Miller October 21 “Impudent Instant Message”

10899 Wilshire Blvd Los Angeles, CA 90024

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Speakers & Events Include

Previous: Final poster for 99 Styles Here: Alternative poster direction for 99 Styles

A Book on denim curated from other books from the library of CalArts. I learned a valueable thing called â&#x20AC;&#x153;sequencingâ&#x20AC;?, a project led by Lorraine Wild and Ed Fella. ->page 61

Studio Identity called “gravitywhat” was my initial idea. Although the form had suffered, I think it could’ve been an interesting take on who I want to be as a graphic designer. However, in the midst of it all, I changed the name to Everday Curious, which was a safer approach but very bland and boring visual identity.

In a way, you have noting to announce.

gravitywhat There is nothing Problem Solving to announce. There is nothing Energy Creativity to announce. No Borders Open-mind Due to our tough economic times (TET), Entrepneurismthere isn’t any work coming in.

But as long as this poster looks designed, Due I think didtough my job well. to Iour economic times (TET), there isn’t any work coming in. This was brought to you by: Everydaycurious But as long as this poster looks designed, I think I did my job well. This was brought to you by: Everydaycurious

...is a design studio. Curiousity is a funny thing. It makes us think, move and ponder. Our interest in curiousity started as the foundation of this studio. We appreciate what it means to evoke curiousity in peopleâ&#x20AC;&#x2122;s mind. Curiousity creates, new thoughts, new ideas and new paradigm. Engineers are great problem solvers, but they are only effective when they have been addressed what the problem is. We are a visual problem solver (seeker) with sensibility to aesthetics and function.

Rethink Yo

rethink

ASPEN Design Challenge issued a giant problem solving competition soley based on a subject of water. I wanted to showcase “an envirnmental issue” without using the word green or anything that comes off preachy, for that matter. The class wanted to convince LA residents to switch from lawn-scapes to native plants. My initial idea was to have a local LA spokesman, Malibu from American Gladiator to convince people to plant native plants. I found it appropriate to name the campaign LA Natives, which shows off the pride of being a local, a plant or a human.

think ur green

“You know, you don’t always need lawn to have a BBQ.” - Cozmic Rayz -

Rethink Your Green

rethink your green

We e k l y

The Rise of Rockwell

N e wwithout s serifs that featured n

the typeface was strictly rese other type founders such as ing them up to have the same letter form itself. It was calle known as Egyptian, perhaps the base and capital of an Eg

Boilerplate in World War I January 12th 1918

I t i s 1 9 1 0 , t h e i n v e n t i o n o f t My h egrandfather's s t e a mlife was e n g i n e t r i g g e r e d b y t h e i n d saved u s t by r iBoilerplate. al He us he came up on deck r e v o l u t i o n o f t h e e a r l y 1 9 t h told c e n t u r y, during a troopship Atlantic c h a n g e d p r i n t i n g , t y p e s e t t i ncrossing g a n(hedwas 17 at the lied t y p e c a s t i n g f r o m t h e p r o d u time, c t and o f had hu - about his age). A large wave swept m a n h a n d t o t h e p r o d u c t o f pover ow r - knocking him thee deck, over and sliding d r i v e n m a c h i n e r y . T h e s p e e d o f p r i nhim t -toward the scuppers. Suddenly, a i n g h a s i n c r e a s e d a n d t h e l elarge v e arm l opopped f out of a l i t e ra c y h a s a l s o s o a re d . sentry box that had been

The metal man was too tall two easily go into the crowded, narrow confines of the ship, and so a shelter was set up on deck to protect him from the weather. The officers of the ship argued that Boilerplate wasn't an officer, and refused to allow his shelter space in "officer's country". Gramps said it was the only time he ever saw any good come out of the rigid class system in the military.

The Antique Roc

It is engin revo l chan type man drive ing h litera

This ultimately created a new market of consumers for manLow Cost ufactures. Products could be advertised to masses at low cost. This new way of adverThi tising did not match the funcIndustrial mar "Gramps said it was the only time he ever tion of the old typefaces. uf saw any good come out of the rigid class system in the military." a co tisi fastened to the deck. My grandfather grabbed the arm, and, as he described it, "A large metal goop, with feet like canoes, pulled me to safety".

+ The Adventures of the Boilerplate Robot & Rockwell +

The Timeline of the Boilerplate Robot

1916

1895

1862 Winter

Summer

Archibald Campion is born in Chicago, Illinois.

1893

Summer

Boilerplate is unveiled in Machinery Hall at the World's Columbian Exposition in Chicago.

Campion is present at the opening of Tesla's hydroelectric generator at Niagara Falls. Proffessor Campion takes Boilerplate on an expedition to the South Pole

1897

Spring

Professor Campion builds a small laboratory on Chicago's North Side.

Summer

Construction begins on Boilerplate.

Winter

During Campion's stay in Hawaii, a U.S. coup ousts the queen.

The Monotype Corporation produced its version of Rockwell.

1898

Summer

1896 Spring

Campion witnesses Otto Lilienthal's death in an aeroplane crash.

Winter

Boilerplate is photographed by motionpicture cameras as part of a movie craze sweeping the U.S.

|4|

|6|

Summer

Marconi demonstrates wireless telegraphy for Campion.

Autumn

1888

1933

Spring

1894

The Pullman Railroad strike paralyzes the U.S. Boilerplate prevents the deaths of several strikers at the hands of private security thugs.

Boilerplate joins General Pershing on a punitive expedition against Pancho Villa.

Certain secret documents have given me clues about the later history of Boilerplate, beginning with his mysterious disappearance in WWI. It seems clear he was spirited off by German scientists who took him apart and studied his secrets.

Boilerplate is sent with the Rough Riders to Cuba.

Unfortunately, some of the literature erroneously referred to it as Stymie Bold, thereby creating confusion that still exists today.

a.k.a Stymie Bold

| 10 |

|7|

A Schematic Drawing of the Boilerplate he geometric sans-serif became popular. Rockwell typespecimen book with a secondary story of the Boilerplate Robot.

ABCDEFGHIJKLM ABCDEFGHIJKLM CDEFGHIJKLM ABCDEFGHIJKLM ABCDEFGHIJKLM

densed 23pts

In 1817 other type founders such as Vincent Figgins was also fattening them up to have the same weight as the strokes of the letter form itself. It was called 'Antique' but eventually it was known as Egyptian, perhaps due to strong serifs mirrored the base and capital of an Egyptian column.

Developed by Professor Archibald Campion

The laborator y is located at the nor thwest cor ner of Wrightwood and Wilton on Chicagoâ&#x20AC;&#x2122;s nor th side.

A new slab- serif typeface Rockwell was released. The Inland type founders revived

B o l d Italic

"A slab could be personable, straightforward, and credible, though it would take special effort to also make it pretty, hard-working, and frank."

no change in stroke weight and erved for headlines. In 1817 Vincent Figgins was also fattene weight as the strokes of the ed ‘Antique’ but eventually it was s due to strong serifs mirrored gyptian column.

BOLD

Slab serifs are similar in form and in typographic voice to realist sans-serifs like Akzidenz Grotesk or Franklin Gothic. Because of its mono weightCaslon iv in 1819 made a variation of the bold ed stroke,William Rockwell is without serifs that featured no change in stroke weigh used primarily forwas disthe typeface strictly reserved for headlines. In 18 other type founders such as Vincent Figgins was also play rather than lengthy ing them up to have the same weight as the strokes of bodies ofletter textform itself. It was called ‘Antique’ but eventually

Extra Rise of Bold Egyptian Bold Condesed kwell Slab serifs are simi-

REGULAR

Hoefler & Frere-Jones says,

1910, the invention of the steam n e t r i gge re d by t h e i n d u s t r i a l l u t i o n o f t h e e a r l y 1 9 t h c e n t u r y, ged pr inting, typesetting and c a s Advertisement ting from the product of huhand to the product of powere n m a c h i n e r y. T h e s p e e d o f p r i n t h a s i n c re a s e d a n d t h e l eve l o f a c y h a s a l s o s o a re d .

LIGHT Bold Italic Regular

is ultimately created a new rket of consumers for manfactures. Products could be advertised to masses at low ost. This new way of advering did not match the function of the old typefaces. | | 5

known as Egyptian, perhaps due to strong serifs mirro the base and capital of an Egyptian column.

lar in form and in typographic voice to realist sans-serifs like Akzidenz Grotesk or Franklin Gothic. Because of its mono weighted stroke, Rockwell is used primarily for display rather than lengthy bodies of text Industrial

Antique

Extra Bold condensed I t a l i c Regular

Egypt 41

Low Cost

Advertisem

fig. 1 Early Fuel Cell Technology

+ The Adventures of the Boilerplate Robot & Rockwell +

(HgFeSO)2 + Pb

The Timeline of the Boilerplate Robot Boilerplate’s | 4 | fuel cells produced power by oxidizing Iron to Iron Sulfate in a working 1862 Winter by medium of liquid Mercury catalyzed Archibald Campion is in Chicago, Illinois. dissolved Lead. This can be seen born from the 1893 Summer frequent references to (HgFeSO)2 and Pb Boilerplate is unveiled in Machinery Hall at in Campion’s notes. the World's Columbian

|5| 1916

1895

Summer

Campion is present at the opening of Tesla's hydroelectric generator at Niagara Falls. Proffessor Campion takes Boilerplate on an expedition to the South Pole

Boilerplate joins General Pershing on a punitive expedition against Pancho Villa.

1897

1933

Summer The Monotype Corporation produced its version of Rockwell.

Spring

Marconi demonstrates wireless telegraphy for Campion.

Exposition in Chicago.

General Kinetic Structure The electricity from the fuel cell was directly applied to a single electric motor of Campion's own design, which drove either 1888 Spring Professor Campion the arms or legs via a system of heavy duty builds a small laboratory on Chicago's clockwork and rods. North Side. Summer

Construction begins on Boilerplate.

Once Rockwell is set to light or regular, it seems very sophisticated and thoughtful.

1898

1894

Summer

Autumn

The Pullman Railroad strike paralyzes the U.S. Boilerplate prevents the deaths of several strikers at the hands of private security thugs.

Winter

During Campion's stay in Hawaii, a U.S. coup ousts the queen.

|6|

1896 Spring

Campion witnesses Otto Lilienthal's death in an aeroplane crash.

Winter

Boilerplate is photographed by motionpicture cameras as part of a movie craze sweeping the U.S.

Boilerplate is sent with the Rough Riders to Cuba.

R |7|

Unfortunately, some of the literature erroneously referred to it as Stymie Bold, thereby creating confusion that still exists today.

a.k.a Stymie Bold

I took a semester to make different ways to depict a buffalo. Scott Zukowski’s Image-Making class definitely enlightened the joy of making form without worrying about concepts. Form for the sake of form-making, sort to speak... I ended up taking Scott’s class every year. It is true that only through making, we are able to start a conversation or begin to understand what we are doing. As Ed would say, “Execution before perception.” ->page 84

the final collection.indd 38-39

5/1/11 5:21 PM

brocade curtains ended up as sheets; in marble funerary urns they planted basil; wrought-iron gratings torn from the harem windows were used for roasting cat-meat on fires of inlaid wood. Put together with odd bits of the useless calarts, a survivorsâ&#x20AC;&#x2122; calarts was taking shape, all huts and hovels. Festering sewers rabbit cages. And yet, almost nothing was lost of calartsâ&#x20AC;&#x2122; former splendor; it was all there, merely arranged in a different order, no less appropriate to the inhabitantsâ&#x20AC;&#x2122; needs than it had been before. The days of poverty were followed by more

IT IS WHAT YOU MAKE OF IT

I was suggested by the general faculty to take on the PMFA before heading to pursue my final thesis year. I could finish my study in two years or put on an extra year to simply become a stronger designer. It was a hard decision to make. I waited a whole summer and contemplated the reason why I came to grad school. Towards the end of the summer 2009, I wrote to the faculty and announced my status as a pmfa student. I took this year as a way to approach my work in more unexpected ways. I wanted to stay away from my comfort zones, leave my â&#x20AC;&#x153;go-to tricksâ&#x20AC;? at home and dedicated to make things that were unusual for me.

Ramak Fazel is a photographer that wanted to learn about screenprinting so we got together one day and made a poster for Redcat Film Event. He was fascinated with Helvetica and wanted to work in black and white. We wanted to skew the typeface while still being true to reality, hence the folding of paper with specific Helvetica letters. He photographed the result and I redrew them on screen. I appreciate the restrictions and a very set parameters that we set out for ourselves. ->page 155

I have some test prints from screen-printing that I cherrish in the file cabinet. Itâ&#x20AC;&#x2122;s usually a hit or miss as far as making proper compositions.

The Museum of Texture Look But Don’t Touch... January 1, 2020 at LACMA

L. Texture Museum Poster R. Megan Lynch and I submitted an infinity book for the show “Crime and Punishment” It’s a similar idea to layer tennis, where I would make a spread and Megan would take one element from file and design the next spread. Also to fit to the theme of the show, I would find the “crime” in her work as she would provide the “punishment” in each of the spread.

GAPER DAY Every Ski Town Celebrates it.

Isometric

Front: â&#x20AC;&#x153;Portable Living Spacesâ&#x20AC;? Image-making series, I was interested poratbility in all ranges, from the hi-end of Italian product design to American camping vans, both sophisticated and compact in their own special ways.

Top View 2x4

Plexi-glass

intercom

Back: 2x4 Blue print for a portable podium in woodworking class.

From Ken Ehrlichâ&#x20AC;&#x2122;s architecture class, I was fascinated with an idea of portability and started to built a collapsible podium. This podium had a speaker on another end, which creates a sound channel of A-B which can be interpreted as architecture as sound. This piece was also installed in Mark Owensâ&#x20AC;&#x2122; Pop-Up Studio in Kunsthalle, Chinatown.

Step One Remove all packaging and point of sale labels before use.

Step Two

Step Three

A plastic cover has been Ensure hair is clean and placed over the plug to protect completely dry before using it from damage during transthe appliance. portation. Remove the plastic cover from the plug before use.

Step Four

Comb through hair to prevent knots and tangles and then divide hair into equal sections.

R: Denotative poster for a hair steamer L: Jeremy Landman’s motion class educated me more on sequencing and story-telling. Class viewing list includes: 5 Obstructions Chris Marker’s La Jatte Sans Soleil The class dedicated to tell a story in sequences of image-only narration, type-only, and in patterns. I chose to tell an epic tale of an attendance to a yardsale. Through the usage of google map routes, a buyer travels and purhcases different sweaters.

G o d d e s s Watch Out For!

This is a high heat appliance. Care must be taken to avoid the hot surfaces of the appliance coming into direct contact with the skin, in particular the eyes, ears, face and neck.

Take care to avoid contact between the hot surfaces of the unit and the skin, paying particular attention to the face, neck and hands.

Step Six

Check that the reservoir is properly positioned and closed.

A choke is provided for adjusting the ratio of air to steam. This invention relates to a portable hand-held steamer for applying adjustable quantities of steam and air to the hair, skin, textile fabrics or other desired articles.

A hair steamer brings better circulation to your scalp and moisturizes roots and hair shaft.

Step Twelve

Place the appliance on a heat protective (such as the heat protection mat), flat level surface.

Step Thirteen

Press the on/off button to switch the appliance on. The LED display: will instantly illuminate. At this point the straightener will instantly start heating up. The green light indicates that the straightener is on the

lowest heat setting - 170 °C. Select your required temperature setting please see ‘How to use the variable temperature settings’ for more information. The blue light indicates that the internal ionic generator is switched on.

230°C red LED

High

Curly to very curly hair

215°C red LED

Thick hair

200°C orange LED

Wavy to loosely curly hair

200°C orange LED

S t e a m e r

Medium

Avoid any contact between Plug the appliance into a the hot surfaces and your face 240v power outlet. or neck. Make sure you do not direct the steam at your face or neck.

Normal or coloured hair

Step Eleven

A hair steamer comprising a steam generating chamber having at least one restricted nozzle for delivering a jet of steam, a heater for preheating and maintaining the chamber at a temperature above the boiling point of water, a tank for holding a supply of water separate from the chamber, manually actuatable supply means for introducing a limited quantity of water into the chamber from the supply tank, and air inlet means mounted adjacent the outlet of the nozzle for introducing a controlled quantity of air into the steam jet.

185°C yellow LED

Step Ten

Let the unit heat up for at least 2 - 3 minutes before using the steam function.

It features CeramicTECTM advanced ceramic heating technology for ultra fast heat-up and heat recovery and reaches a maximum heat of 230 ̊C for seriously straight resultsPolythene bags over product or package may be dangerous. To avoid danger of suffocation, keep this wrapper away from babies and children. This bag is not a toy. the cord to fracture. Coil cord loosely by the side of the appliance in storage.

185°C yellow LED

Step Nine

If the reservior is full, you can use the steam function. If you have to fill the reservior a second time, unplug the unit and replace the reservior immediately after filling it, making sure you don’t touch the hot plates.

It provides complete control of temperature, velocity and moisture content of the jet impinging upon the hair and can safely be used while held in any position or attitute without risk of spillage of hot water or of scalding. Because only a

Proper selection of the size of the steam chamber orifice provides for a jet having a velocity effective to penetrate deeply into the hair without sacrifice of the safety features. It can also be a professional straightener with steam that adds moisture and shine to hair with ultra straight results. It provides more shine, faster straightening and longer lasting results.

Wavy hair

Step Eight

The steamer may be used on hair which is unrestrained or which is maintained in position by any desired combs, rollers or clips to impart a curl or wave to the hair. It has particular value for use as a hair or skin steamer because of its safety and the control of the steam jet temperature which it makes possible, even though it is also useful for steaming textile fabrics such as clothing. The steamer is lightweight in construction and readily portable.

small portion of the total water supply is heated at any one time, the device is ready to use in a very short time, of the order of a minute, after connection with an electric power supply.

170°C green LED

Check that the outside of the reservior and your hands are dried well.

Remove the water reservior located at the top of the unit and lift the black rubber button. Fill it with water, preferably filtered water, and replace black button. Then put the reservior back on the straightener.

Apparatus

H a i r Step Seven

Step Five

Damaged and/or frizzy

Do not reach for an appliance that has fallen into water. Unplug immediately.

Young children should be supervised to ensure that they do not play with the appliance.

Low

Do not use in the bath, or near basins or other vessels containing water.

This appliance is not intended for use by young children or infirm persons without supervision.

Fragile hair: fine, dry, bleached

Do not immerse in water or other liquids.

Climate Control

This appliance must not be taken into a bathroom.

R: Conotative poster for a hair steamer L: Strollin’ is an alphabet poster that showcases people’s commuting routes from different places of the world. Ken Ehrlich’s Making of Everyday was a class outside of the design program that got me interested in works of Guy Debord. ->page 69

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in a church, a dustbin, a charnel-house? A bus, perhaps? There were... but what were there, though? Eggs carpets, radishes? Skeletons?

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Session

Don’t Hesitate to Date is an event that celebrates the function of speed dating in a grand scale. With insights of experienced guest speakers of all walks of life and 300 plus participants that are ready to date, this event will be a successful matchmaking journey for many people.

Don’t Hesitate To Date

10.30

Reltae Events Include Travelocity’s Rafﬂe Prizes Media Burn Reenactment (Love Televisions)

11pm

hesitatio

A+C

12pm

know I don’t r eally

ned… wher e it happe

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Karaoke Love Songs

still flesh with their Yes, but and alive. them, round

t but wha were... There though? there, were

3F;A :7E;F

Snuggie As Architecture of Romance

n r

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Dos & Don’ts: Etiquettes of Dating

ons?

been but what?

Food of Aphrodisiac

Skelet

where it happened?

With a friend who must have been talking to him about something, but about what? about what? about what?

More Activities Lucy Orta’s new exploration:

es?

Eggs

chin? thumb? no: neck. and by a strange, strange strange, strange hat. He started to quarrel, yes, that’s right. with, no doubt, another passenger (man or woman? child or old age pensioner?) This ended, this finished by ending in a commonplace sort of way, probably by the flight or one of the two adversaries. I rather think that it was the same character I met, but where? In front of a church? in front of a charnel-house? in front of a dustbin?

Make-Over Kits

journey for many people.

Don’t Hesitate to Date is an event that

event will be a successful matchmaking

for his youth,

grand scale. With insights of experienced

Rather more precisely...

guest speakers of all walks of life and 300

know where it

b i n ?

For his melancholy?

…

I don’t really

d u s t

For his adiposity?

celebrates the function of speed dating in a

yes

For his megalomania?

Yes, but with their flesh still round them, and alive. I think that’s how it was. People in a bus. But one (or two?) of them was making himself conspicuous, I don’t really know in what way. For his megalomania? For his adiposity? For his melancholy? Rather more precisely... for his youth, which was embellished by a long... nose?

C+D

plus participants that are ready to date, this

wher

A+B

(man or woman? child or old age pensioner?)

This ended, this finished by

Biomorphic

nose?

and by a strange, strange strange, strange

which

what

but

for his youth,

Walk-ins are not welcome. Reservations Only

9.30pm Speakers Presentations

Make-Over Experience

Activities

Food of Aphrodisiac

Lucy Orta’s new exploration: Snuggie As Architecture of Romance Karaoke Love Songs

10.30 Raffle Ticket Annoucement

11pm Session Three with 3 minutes Intervals

Direction1:PosterA

12pm Closing Act by Dr. Phil

Dos & Don’ts: Etiquettes of Dating

May 9th 2020 Speed dating is a formalized matchmaking process or dating system whose purpose is to encourage people to meet a large number of new people. Its origins are credited to Rabbi Yaacov Deyo of Aish HaTorah, originally as a way to help Jewish singles meet and marry.“SpeedDating”, as a single word, is a registered trademark of Aish HaTorah. “Speed dating”, as two separate words, is often used as a generic term for similar events. The first speed-dating event took place at Pete’s Café in Beverly Hills in late 1998. Soon afterward, several commercial services began offering secular round-robin dating events across the United States. By 2000, speed dating had really taken off, perhaps boosted by its portrayal in shows such as Sex and the City as something that glamorous people did. Supporters argue that speed dating saves time, as most people quickly decide if they are romantically compatible, and first impressions are often permanent.

Direction1:PosterA

A final poster for 99 Styles, an event called “Don’t Hesitate to Date.” Type was projected on a bedsheet to show intimacy of a dating experience. Next: A sub-culture zine that highlights a group of men on Scraper Bikes, bikes made out of candy wrappers and other shinny materials.

R: Holiday Card 2010 L: Altering oneâ&#x20AC;&#x2122;s everyday behaviour was my initial idea for decorating an street island with memorial goods. I staged a road accident to slow the down the traffic. Every night, I added more features to look more sincere and I hoped that people would contribute more the days go by.

More decadences, more burgeonings have followed one another in calarts. Populations and customs have changed several times; the name, the site, and the objects hardest to break remain. Each new calarts, compact as a living body with its smells and its breath, shows off, like a gem, what remains of the ancient Calarts, fragmentary and dead. There is no

ANNA NICOUD The winter of 2010 marks my mid-year residency at CalArts. This halfway line also marks the death of my friend, my roommate and my landlord at the time, Anna Nicoud. She was a sweetheart and at times she was a crazed woman. She was hopelessly addicted to painkiller pills & patches. A suffering patient of a liver transplant, a longtime fighter against Lupus, a mother to two kids that are about to enter manhood and twice divorced to lawn enforcement officers; only in the age 43, she certainly knew the hardships of life. I felt silly complaining about my little academia drama in front of her. On February 17, she was found dead in the bathroom of her bedroom. I came home to an empty unlocked house. The paramedics had taken her away and I went to the hospital to confirm her body but her body remained confidential to the outside family . I never got to say bye to her. For the longest time, I wondered if I couldâ&#x20AC;&#x2122;ve saved her if I came home earlier.

Area Codes 212 Brooklyn, NY 815 Ancona, IL 313 Allen Park, MI 385 Salt Lake City, UT 213 Los Angeles, CA 315 Adams Center, NY

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Ladislav Sutnar believed in urgent communication, often his sentences were reduced to keywords and bullet points. It is a rumour that he started to note brackets to isolate area codes from telephone numbers. Oppositely, Karel Martens encrypted the lyrics of Dutch national anthem on telephone cards. I find this dichotomy very interesting. One end, we want to communicate in clarity with speed and yet we crave this slow and unexpected findings. ->page 151

Alice Wang had always asked me to do a poster for her upcoming show in the winter of 2010. What started out as a poster discussion turned into an artist book / exhibition catalog that situated in her show. She even built a reading table for it! This was the most successful collaboration mostly because we both had an open-ended avenue as far as how this book was designed. I loved her subject matter and she trusted my design decisions. Thank you, Alice. This book functions on different levels. At first glance, it acts as a scientific journal, it is didactic and information of Gyrotron technology is clearly explained. This clarity quickly gets skewed and altered since the materials were gathered from the artistâ&#x20AC;&#x2122;s memory and her personal recollection. Furthermore, a Sci-Fi world starts to enter as the MIT research lab is juxtaposed to Star Warsâ&#x20AC;&#x2122; inventory such as lightsabers, Death Star and Millenium Falcon. ->page 143

My single childhood memory became the means of gathering content for a large format book. The editorial complexity sparked my thesis research. ->page 145

The new abundance made the city overﬂow with new materials, They grabbed everything that buildings, objects; could be taken from where it

was and put it in another place to serve a different use:

new people ﬂocked in from outside;

ty slowly became populated again

as the survivors emerged from the basements and lairs, inPut hordes, together swarming like rats, driven by their the useless fury to rummage and gnaw, and yet also to collect and patch, like nesting birds.

with odd bits of

And yet, almost nothing was lost of

CLARICE

brocade curtains ended up as sheets; in marble funerary urns they planted basil;

wrought-iron gratings torn from the harem windows were used for roasting cat-meat on fires of inlaid wood.

fragmentary

In a garden sit the aged Kublai Khan and the young Marco Polo—Tartar emperor and Venetian traveler. Kublai Khan has sensed the end of his empire coming soon. Marco Polo diverts the emperor with tales of the cities he has seen in his travels around the empire: cities and memory, cities and desire, cities and designs, cities and the dead, cities and the sky, trading cities, hidden cities. Soon it becomes clear that each of these fantastic places is really the same place.

Translated by William Weaver

Of all tasks, describing the contents of a book is the most difficult and in the case of a marvelous invention like Invisible Cities, perfectly irrelevant.”

CLa

at timesatworn out and notand replaced; times worn not replaced; atout times worn out and not re

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the rule is torule shuffle them each the is tothe shuffle them each them ea rule is to shuffle Perhaps i e time, then trysplendor; to assemble them. time, then try to assemble them. time, then try to assemble th former it was all there, merely arranged in always PerhapsPerhaps Clarice has been only Clarice has always been only b Perhaps Clarice has always a different order, a confusion of chipped gimcracks, a confusion of chipped gimcracks, a confusion of chipped gimc has always been only a confusion of ill-assorted, obsolete. ill-assorted, obsolete. obsolete. ill-assorted, $ 13 A Harvest Book Hartcourt, Inc

Italo Calvino’s superb storytelling international renown and a reputa the world’s best fabulists” (John G Times Book Review). Born in Cuba i was raised in Italy, where he lived He died in Siena at the age of sixty

clarice, $13.00

International

a survivors' Clarice was taking shape, all huts and hovels, festering sewers, rabbit cages.

no less appropriate to the inhabitants' needs than it had been before. The days of poverty were followed by more joyous times:

chipped gimcracks, ill-assorted, obsolete.

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at outand and notout replaced; at times worn and not replace attimes times worn worn out not

ore they were in

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is shifted within a

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Cl a r i c ee

Corinthian capitals stood on the of chipped gimcracks, a confusionaofconfusion chipped gimcracks, top of theirill-assorted, columns: only one obsolete. ill-assorted, obsolete. existed is a widespread of them is remembered, since for

belief, but there many years, in a chicken run, it are no proofs to

supported the basket where support it.

the hens laid their eggs, and

Italo Calvino’s writing, Invisible Cities help situate myself in the history of Calarts. When i first read Italo Calvino’s Clarice city description, I thought the city shared similar qualities to Calarts. I knew i was part of this huge historiother specimens of the collection. cal presence of graphic design but the past is never revealed, archived The order of the eras' succession or documented. Only from a word of mouth, i would hear what has happened what remains here.

from there it was moved to the Museum of Capitals, in line with

g gifts earned him ation as “one of Gardner, New York in 1923, Calvino d most of his life. y-one.

There is no knowing when the Fiction

Corinthian capitals stood on the

top of their columns: only one of them is remembered, since for

many years, in a chicken run, it supported the basket where

has been lost;

of the ancient

L: Redcat Poster collaboration with Caroline Park R: Plinth Poster printed on a sheet of luan, collaboration with Andrea Williams Leigh Ledare Poster and Machine Project were in collaboration with Aastha Gaur

Redcat Posters in collaboration with Neil Doshi

PFont font1, font2; // name string String letters1 = “”; String letters2 = letters1; PImage A; PImage B; PImage C; PImage D; PImage E; PImage F; PImage G; PImage H; PImage I; PImage J; PImage K; PImage L; PImage M; PImage N; PImage O; PImage P; PImage Q; PImage R; PImage S; PImage T; PImage U; PImage V; PImage W; PImage X; PImage Y; PImage Z; int numChars = 26; int keyIndex; float keyScale; int rectWidth; void setup(){ size(800, 800); font1 = loadFont(“AntiqueOliveBQMedium-25.vlw”); font2 = loadFont(“AntiqueOliveBQMedium-35.vlw”); // background(0); noStroke(); fill(255); smooth(); // textFont(font2); noStroke(); keyScale = 200/numChars-1.0; rectWidth = width; A = loadImage(“face_A.

png”); B = loadImage(“face_B. png”); C = loadImage(“face_C. png”); D = loadImage(“face_D. png”); E = loadImage(“face_E.png”); F= loadImage(“face_F.png”); G= loadImage(“face_G.png”); H= loadImage(“face_H.png”); I= loadImage(“face_I.png”); J= loadImage(“face_J.png”); K= loadImage(“face_K.png”); L= loadImage(“face_L.png”); M= loadImage(“face_M. png”); N= loadImage(“face_N.png”); O= loadImage(“face_O.png”); P= loadImage(“face_P.png”); Q= loadImage(“face_Q.png”); R= loadImage(“face_R.png”); S= loadImage(“face_S.png”); T= loadImage(“face_T.png”); U= loadImage(“face_U.png”); V= loadImage(“face_V.png”); W= loadImage(“face_W. png”); X= loadImage(“face_X.png”); Y= loadImage(“face_Y.png”); Z= loadImage(“face_Z.png”); This processing draws your portraiture } according to the spelling (unique combivoid draw() nations) of your name. In theory, these { portraits are fed from Google Image library. fill(0); rect(0, 0, width, height/7); //form for entering name fill(255); textSize(24); text(“Digital Portrait”, 30, 30); textSize(16); text(“Type your full name and press ‘TAB’ to save your face. UPPERCASE ONLY”, 30, 52); textSize(35); text(letters2, 30,85); // if(((frameCount % 30) == 0) || ((frameCount % 30) == 1) || ((frameCount % 30) == 2)){ rect(textWidth(lette rs2)+30,82,16,1); }

if(keyPressed) { if(key == ‘A’ ) { image( A, 100, 100); } if(key == ‘B’ ) {

Digital Portrait Type your full name and press Tab to save your face. Uppercase only.

ED FELLA_

image( B, 100, 100); } if(key == ‘C’ ) { image( C, 100, 100); } if(key == ‘D’ ) { image( D, 100, 100); } if(key == ‘E’ ) { image(E, 100, 100); } if(key == ‘F’ ) { image( F, 100, 100); } if(key == ‘G’ ) { image(G, 100, 100); } if(key == ‘H’ ) { image(H, 100, 100); }

Antoine and Manuelâ&#x20AC;&#x2122;s practicum was liberating and yet frustrating. I like the idea of creating a landscape but I never knew what they wanted from us... Good guys though.

L: This photo is actually misleading. Most days during the Wilderness Practicum week, we stayed inside since it rained heavily. It was the right amount of wilderness for me. R: Jim Lowery was a master of tracking animal footsteps and identifying animal shit. This was my submission for Fisk Spring zine.

Guess my poo Basic wilderness workshop 1

Tree Squirrels Irregular found on logs, stomps or feeding spots. Sometimes spherical.

Rabbits Flattened sphere. Occasionally with small point from very moist vegetation.

Mountain Lion Usually segmented; covered or left in open. Sometimes contains fur and bones, sometimes smooth and dark.

skunk Tubular, sometimes with tail, often with insect remains. Deposited in runways or in piles near dens.

coyote 5/8” to 3/4” diameter, with fur, bones, or often fruit remnants and seeds. Often deposited in groups at trail junctions, or on raised surfaces

mice Pencil-lead sized, tubular. Some mouse poo have rounded ends, others pointed ends.

scats and descriptions are from James Lowery’s Earth Skills Catalogue

Answer 1:Skunk 2:Coyote 3:Rabbits 4:Mice 5:Squirrels 6:Mountain Lions

There is no knowing when the corinthian capitals stood on the top of their columns: only one of them is remembered, since for many years, in a chicken run, it supported the basket where the hens laid their eggs, and from there it was moved to the museum of capitals, in line with other specimens of the collection. The order

MEAnnual Review Magazine

101

Fine Design Lifestyle -Issue 1-

|-10.00am-----10.03am---------10.10am--------------10.12am---------------

EF: Worth it? M: Productive year Last year’s review was about me not having the control. I lost the communication and meaning. Each project I tried to make it clear about what I wanted to say. It’s always about that last 10% that I needed to conquer. LS: Did you do typographics again? Stuart: He pick and chose what he wanted to do.

You’re a big puppy… you have so much excitement and enthusiasm that you still need to be objective about what is working and what isn’t working. You have no problem engaging with a project and making something that is interesting. I am surprised about the decisions that you make from week to week. I don’t think its necessarily a bad place to be… you don’t want to lose that joy of making things.

This year it was good to practice making those decisions and you are getting better at it. It was also better to sit back and develop your presentations. You are good with explaining process but you aren’t good with explaining to yourself what is working and what is not working.

103 ------------------------------10.20.am--------------------------------

M: It’s about me pulling back and analyzing what I’m doing. S: 99 Styles: You made good decisions… but on Tuesday when we looked at the Goddess Steamer… I was surprised what you brought forward and what you left behind. Sometimes you do it well and other times not so much. LW: You jumped about 18 levels in terms of visualizing a complicated idea. There has been a huge shift for you.

MO: You don’t have a problem going all the way with an idea or formal approach. You need to develop seeing the potential and opportunity in that level of commitment. Scrapper bike: Great topic a lot of visual material but you need to see all the opportunities in where that project can go. There is still that opportunity to explore different paths and roads.

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Michael: You still need to spend some time refining things. Scale and composition are still very similar. Everything still feels unfinished… you start with the energy but it dies down at the end. Everything still feels kind of unfinished… you need to give yourself the time to refine what you have. You’re not going to change the design but just refining the elements that are there. LW: There are certain things where you have to carry out an idea where you got to the control that Michael is talking about but when you work larger, it’s still a little incomplete. When you look on the wall, there are still a lot of pieces but to compose everything into a tight, coherent piece is still a challenge for you. There is a bit of scattering… there needs to be a focus of hierarchy of where you want someone to look first.

Keedy: I see what Michael sees. There’s a big sheet of white paper and there’s just a bunch of stuff on it. You can’t go wrong when your emulating Karel Martens*… but you can be under the influence of a lot of other designers. It just seems really rough to me. Finesse and precision gives the work some confidence. So when the viewer approaches the piece, it will be more of a clear communication. LS: Still huge leaps from last year. There is a type of energy up on the wall that allowed you to get a lot more formally confident.

EF: I think it helped you see the seriousness of why you are here. Last year you didn’t see the potential. LS: You are forgetting the communication side of graphic design. You have to communicate to somebody and need to control the elements in order to complete that message.

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*KEEDY: LEARN FROM THE DEAD GUYS

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infinite lrc ieefaneltiezra t i o n

infinite

life realization center

DS 282-1C

DS 171-3C

Has been lost; that a first calarts existed is a widespread belief, but there are no proofs to support it. The capitals could have been in the chicken runs before they were in the temples, the marble urns could have been planted with basil before they were filled with dead bones. Only

109

MASATO’S GRAPHIC DESIGN PERFORMANCE WINDOW

UPRIVER

THE WINDOW

DOWNRIVER

“This poster is so upriver”

DESIGN VERNACULAR SEAGULL DESIGNER

PROMOHOMO

A designer who flies in, makes a lot of noise, craps on everything and then leaves Promoting your work on Facebook and homogenizing it with other feeds & news.

“ENDER” ENDER

Creating a proper end for a book, a movie that captures its meta-end.

JUSTBITMAP

Crudely bitmapping an image without considering other creative output options.

SALMON DAY

The experience of spending an entire day swimming upstream only to get screwed and die.

BLAMESTORMING

TESTICULATING

Sitting round in a group discussing why a project failed and who was responsible. Waving your arms around and talking bollocks

111

Here we slowly approach to the end of the finish line. Every mile seems so long but so short in hindsight. I lost the track of time, the way to the outside world and I feel stronger than ever.

YOU ARE WHAT YOU MAKE

113

Vibrant spraypaint strokes to show the vivid and unresting timeline of Henry Grimes.

115

TAJIMA MONO BOLD

Tajima Mono Bold would be my only typeface I attempted to make at CalArts and only made four letters, it’s still in progress! It is based off of Mika Tajima’s eccentric yet geometric artwork.

117

L: Redcat Poster in collaboration with Karen To R: Redcat Poster in collaboration with Thea Lorentzen

119

L: James Welling Lecture Poster (before lecture) R: Annie Sprinkle Poster in collaboration with Laura Bernstein

121

L: Erkki Huhtamo Lecture poster R: Redcat Publications Poster

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B Y R N E

0 calarts design lecture series

March 14th, 2011.

125

127

L: Emmet Byrne Lecture poster R: James Welling Lecture Poster (after lecture)

129

131

Scott Smassey posting up his reinterpretation of Emmet Byrne poster, drawn from memory. (?)

T A k

R M T

c B

e D

14 th 2010

i c

L: Martin Beck Visiting Artist Poster R: RRR Zine Volume 3 annoucing poster in collaboration with Laura Bernstein and Scott Massey

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* $1.00

Enough for everyone! AT THE FISK POST-HOLIDAY COLORING BOOK RELEASE PARTY, FRIDAY FEBRUARY 5TH , 7:00PM

COLLECT ALL 12 CARDS This Bag Includes: 4 Trading Cards & A Custom-Built Card Stand

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! $ 5

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PE G O F N CIAL DR DOLLAR D N E E AIS ER TO B

RANDOMLY PICKED!!!

JA PA N Is that a ____________ in your pocket,

T H U R S DAY M A R C H 2 4 , 2 011 6 : 3 0 P M G R A D U AT I O N C O U R T YA R D

or are you敬just 愛と尊の念 happy to see me?

Produced as part of a fundraiser for the Natural Disaster Victims of Japan, March 2011 With the help of these graphic artists: Scott Massey, Karen To, David Karwan, Ania Diakoff, TaylorGiali, MitchCox, Hall Ramirez, Laura Bernstein, Chris Burnett, Masato Nakada, David Davis, Jesse Lee Stout, Bijan Berahimi

Disrespectful Dog

135

Flyer Contributors: David Karwan Mitch Cox Laura Bernstein Japan Relief Trading Cards Contributors: David Matthews Bijan Berahimi Chris Burnett Jesse Lee Stout Laura Bernstein Karen To Taylor Giali Ania Diakoff Scott Smassey Mitch Cox

Canâ&#x20AC;&#x2122;t Stand the Heat, Stay Out of the Kitchen!!!

Wicked SAUCE HOMEMADE

L: Imagining a place through processing and chance operations. R: Timeline of my life in imagery collage and in type collage.

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139

The attendance of the worldâ&#x20AC;&#x2122;s longest yardsale in August, 2010 was documented in Google memory map, called Triptik Eklektik.

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SHARE THE PHONE

HARDLY PARKED UDNER SIXTEEN

VOCAL SPECTRUM METER

143

Gail Swanlundâ&#x20AC;&#x2122;s Translation Project, an Oulipo-driven poster that specialized in translation from audio to print. The poster became an occupational awareness piece which embraced the impossible folds and written instructions on how to hold a poster as a designer. ->page 161

Mad Libs Madness Type 1 Project #7 (with your TA Masato)

One day, a (noun) went to (place) and (past-tense

verb

) a (noun).

One day, a hard drive went to Vons and gave a haircut.

Step 1. Create your story with your partner (in class).

Mad Libs Mad Libs was invented in 1953 by Leonard Stern and Roger Price, who published the first Mad Libs book themselves in 1958. It is a way to generate writing content by plugging random words in blank fields to come up with unique and surprising stories.

Step 1. Come up with profession/se Step 2. Make Two di Step 3. Make one pri that uses you

Step 2. Didactic Typesetting Work only on the right side of the spread for this round. You are going to typeset your wacky mad lib story in a way that is interesting and didactic. Typesetting means that you get to make decisions on what typeface(s) you want to use and how it will sit on a page. You are laying out your sentences that echo/reflect your overall story. You can get expressive and abstract but keep in mind that we still want to read the story somehow.

Mad Lib Testing Step3. Antithetical Typesetting The next step is to work on the right side of the spread. Now you are taking the story and typeset in a way that speaks “against” your story.

Once upon a time, there was a very curious girl who was always poking her nose into everybody’s shoes. She kept company with a graceful man named Scott, who was always buying her clumsy presents. Once he gave her a diamond dinner table to wear on her ankle, and he bought her a tiring journal to wear her cat. Then one day he bought her an dusty horse. As soon as she saw the juicy animal, she began to examine it periodically. First she looked at the horse’s printer and then at its dolls. Then she opened its mouth so she could look at its RV. At this, the horse became swift and bit off her ear. Moral BFA 2’s had done homework for me twice! Nice job! of the story is never look a gift horse in the hot dog. Perhaps it’s about re-telling the story backwards, maybe you want to emphasize the opposite mood that the story captures, maybe it’s about working against your didactic typesetting. There are many ways to go “against” it so it’s really about finding your own structures.

CK QUI

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What’s Alter

SCHEDULE MAY 3: In-class b MAY 10: Present

* The term is used very loosely, the aim is to reflect your academic year and think about an aspect that people are not familiar with or have not yet revealed. Is it the opposite of you? Is it hobby-driven? perhaps it’s a hidden personality? or maybe they just want to push their personality, even further.

h your own unique *alter-ego, then make up your ervice that corresponds to your alter ego.

ifferent logotypes to showcase you alter-ego.

int material (eg: a poster, a business card, a flyer) ur logotype and your service from step 1.

Your Ego

brainstorming and desk crits with the TA your 2 directions/logotypes and a print material to class

145

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35°42’2”N 139°42’54”E Japan

147 Right to Left Horizontal Writing

Left to Right Horizontal Writing

1943

Counterweb-------- /

As a whole, Meiji reformation was a calculated and very strategic restoration instigated by the outside world but what brewed organically from inside was the drastic change in a horizontal writing system. It is a common mistake to say that Japan adapted horizontal writing system as a result of the Meiji reformation. However, it existed before 1853 and was referred to it as the system of “one word per column” and was written from right to left, often used in

/ --------Interweb

restricted spaces such as banners and storefront signage. It is also a mistake to think that the switch in direction of the horizontal writing system was enforced by the government after the World War II to show its allegiance to the US. It was local and regional newspaper ads starting to make the switch display ads that wrote from left to right, before and after the World War II, due to the common daily usage of English words in Japanese writings.

35°42’2”N 139°42’54”E Japan

February 26th, 1943 Newspaper of Mainichi Shinbun Ad for Sanwa Bank

March 4th, 1943

1943

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March 16th, 1943

February 23rd, 1943 Newspaper Ad for Sculpture Manufacturer & Services

September 26th, 1946

February 12th, 1947

35°42’2”N 139°42’54”E Japan

HELLO

OLLEH 8

AMBULANCE

“Which way to write?” is not necessarily a question of readability but more greatly a question of navigation– movement through space and time. If letters, words and sentences that we speak are tangible and physically present, they are produced from our vocal chord and disappear into thin air as we speak. If this is true then, we should acknowledge the very first letter

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ECNALUBMA

of a sentence appearing from our mouth. After all people started to write in order to preserve our spoken ideas and stories in particular space and time. To write in a direction that is opposite from its origin can be argued as a device to split its time and its appropriate space.

1984

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149 SEP 12, 1985 ALVA'S HAND BAG FOR HER FIRST DATE

MAR 34, 1995 THE BIG BLUE MADE IT TO THE FINAL FOUR

GNIVIRD SA TNEMEVOM HGUORHT DNA EMIT ECAPS

35°5’N 137°9’E Japan

DRIVING AS MOVEMENT THROUGH SPACE AND TIME 1983

DRIVING AS MOVEMENT THROUGH SPACE AND TIME

Left-Hand Traffic

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GNIVIRD SA TNEMEVOM HGUORHT DNA EMIT ECAPS

Right-Hand Traffic

35°5’N 137°9’E Japan

D THE TPS team

Toyota production system

1987

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1 0 . 1 9 . 1 9 8 7

HP: 1,0000 DP: 1023

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トヨタ生産管理部

Exp. Level: 3

Height: 1.7 Meters Weight: 65kg

T o y o t a m a n -TRADING CARDS-

The Local Hero of Our Time

The team behind Toyotaman was the Toyota Production Team (TPS). They were gathered from different fields of industry to create a team of diversed researchers to help Toyotaman on a global scale.

Swiss Skateboard Graphics Circa ‘99 “Schweizer Qualität Side A” Series

1999

tz la P ys sW er ch Es

Hardplatz

Hardbrücke

chwarzfa eS hr hn

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38°01’47”N 84°29’41”W Lexington, Kentucky

1994

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151

Prologue to Navigate Through Space and Time Here lies an island made up of smaller islands. For more than 200 years, these islands had been in isolation, no contact from the outside world, frozen in time. From the beginning there were oppositions to keeping the door closed. The vast majority of people were long accustomed to its isolation. It was clear that Japan would not voluntarily open its doors. In July 1853, a Naval officer by the name of Matthew C. Perry and his military force entered Tokyo Bay with a letter from the American president to Japan. It wasn't the lack of diplomacy or Perry himself that intimidated Japan but it was the size and the guns of the American "black ships." These gun ships were not necessarily painted in black, but the color referred to the smoke from the steam powered engines. Japanese were amazed by the powerful vessels which moved up the bay against the wind. Once the door to the west had opened a crack, there was no closing. Within two years, Japan had already signed a treaty with England, Holland and Russia. Within a few decades, the port became one of the most influential ports of the world. What was shown in this transformation is the national drive to "catch up to the rest of the world". This motivation which can also be equated to a sense of insecurity. It drives the country to restore from ground zeros, in defeats of war, earthquakes, or giant-monster-city-rebuilds. It is the country's innate desire to catch up to the rest of the world. Ultimately for decades after the World War II, Japan was catching up to the rest of the world without really knowing what they were catching up to, the mirrored comparison was far out into the ocean. No one speaks "Catching Up" louder than Sakichi Toyoda who is known as the father of the

Japanese industrial revolution. Toyoda invented numerous weaving devices for his Toyoda Spinning and Weaving Company. In 1901, he invented an auto-activated loom that stops itself when a problem occurs. Upon returning from US and European tours, he realized that textiles were no longer the future. The company switched over to the automobile industry. Platt Brothers of England purchased the patent for the loom and Sakichi spent $500,000 from that deal on automobile research. In 1945 after the defeat of World War II, Kichiro stated, “Catch up to America in three years, other wise the Japanese automobile industry will not survive. We shall learn production techniques from the American method of mass production. But we will not copy it as it is. We shall use our own research and creativity to develop a production method that suits our own country’s situation," which led to the development of the 'Just in Time' production system. As a whole, Meiji reformation was a calculated and very strategic restoration instigated by the outside world but what brewed organically from inside was the drastic change in a horizontal writing system. It is a common mistake to say that Japan adapted horizontal writing system as a result of the Meiji reformation. However, it existed before 1853 and was referred to it as the system of "one word per column" and was written from right to left, often used in restricted spaces such as banners and storefront signage. It is also a mistake to think that the switch in direction of the horizontal writing system was enforced by the government after the World War II to show its allegiance to the US. It was local and regional newspaper ads starting to make the switch display ads that wrote from left to right, before and after the World War II, due to the common daily usage

of English words in Japanese writings. "Which way to write?" is not necessarily a question of readability but more greatly a question of navigation- movement through space and time. If letters, words and sentences that we speak are tangible and physically present, they are produced from our vocal chord and disappear into thin air as we speak. If this is true then, we should acknowledge the very first letter of a sentence appearing from our mouth. After all people started to write in order to preserve our spoken ideas and stories in particular space and time. To write in a direction that is opposite from its origin can be argued as a device to split its time and its appropriate space.

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In Haruki Murakami’s novel “1Q84”, the protagonist suddenly looks up in the sky on a hot summer night and notices two moons afloat as if they had 59 always been there before. She is the only person in the world that notices the change. Perhaps, her memory has served her wrong and there have always been two moons floating in the sky. Perhaps the change had never occurred at all, / --------Interweb and she has entered an alternate universe where the only signifier is the duplicity of the moon. Sometimes a change that is this drastic and so obvious can be left unnoticed and unchallenged. The change in the horizontal writing system can be understood in a similar fashion. Personal History as a Cultural Exchange Another grand and yet subtle gesture of movement through space and time would be the act of driving. In 1985 Toyota-City, one remembers driving on the left side of the road, a daily commute to the Toyota manufacturing factory, making automobile parts that will eventually be

used for right-hand traffic drivers. For foreign lands. He imagines driving on the right side of the road, imagining how the rest of the world would move through space and time. Only through television, he would see what foreigners look like. Anime showcases hand-drawn foreigners drawn by the Japanese. Anime-characters with caucasian body types set in vast exotic endless landscapes are showcased on TV so one can experience the journey out of the tiny island of Japan. In Kentucky 1995, one finds himself in the land of animation. In Kentucky, there are white people, black people, brown people, they are all there, familiar faces reappear from the anime-land. In return, these anime characters assume all foreigners speak "French." According to them, "French" means any place outside of the U.S. One pretends to be French all year long in Kentucky. In 1999, the vast exotic land gained more density, gained altitude and faced a familiar dilemma that once faced during the Meiji reformation in 1868. This time, a country is not an island that surrounded by water but it sits on a dry European continent. Switzerland is a landlocked island. After purchasing a Swiss watch that ticks in alreadydelayed seconds, a concept of time is altered and punctuality became obsolete. An island stood firmly in the center of the European continent. One decade too late from the rest of the European countries, Switzerland was catching a soft power invasion from the global oppression. As shown in the form two skateboard graphics of 1999, the island of schizophrenia, struggles to integrate with the rest of the European nations. It was no longer an issue of "catching up" or "opening up the door", the issue was how to coexist in this dichotomy.

A notion of zeitgeist informs my practice.

FAC T UA L / · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·

P U BLIC / · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·

MAC R O / · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·

C HR O NO LOG Y / · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · EX T ER NA L / · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · S T ILL / · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·

My thesis investigates graphic design as a mode of story-telling that offers a poetic examination of autobiography. The examination will use different modes of Narrative forms and work with various Dichotomies to reinterpret, to enhance, And to fabricate one’s personal history.

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· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · / CO U N T E R - FAC T UA L

· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · / P R I VAT E

···················································································································/ MICRO

· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · / SI M U LTA N E I T Y ·············································································································/ INTERNAL · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · / M OT I O N

THE NEW & IMPROVED

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155

Bauhaus

6 page #

#4 Hannes Meyer: Union School of the General Federation of German Trade Unions: dormitory wing. #5 Hannes Meyer: balconey apartment houses (north elevation with stair towers and balconies) in Dessau-Torten. 1930. #6 Walter Gropius (with Adolf Meyer): Faguswerk in Alfeld-onthe-leine. 1911. Factory for the production of shoe lasts; main wing with workrooms. Cantilevered skeleton structure. #7 Architecture department of the Bauhaus: residence of Dr. Karl Nolden in Mayen (Eifel). 1928. The plans for this house were designed and worked out by the student Hans Volger under the guidance of Hans Wittwer. Local circumstances had to be taken into consideration. Economy was highly valued. #10 Gropius: “Masters’ houses:” view of a duplex from the east. The terraces and balconies were so designed as to permit direct access to the outdoors from nearly all rooms. #11 Gropius: “Masters’ houses:” duplexes, seen from the northwest (street elevation).1926. #12 Gropius: Dessau-Torten housing development, building of

Alteration of an existing building. 1923. In view of the financial

#12 Gropius and Meyer: Municipal theater in Jena. Main entrance.

“Weissenhof” housing settlement in Stuttgart. 1927.

#11 Mies van der Rohe: apartment house (street elevation) in the

and a clear spatial arrangement) and economic considerations.

nant factors were living requirements (desire for adequate light

#10 Gropius and Meyer: Auerbach House in Jena, 1924. Determi-

graph taken around 1928.

#7 Gropius: Bauhaus building. View from the southeast. Photo-

the workshop wing.

#6 Gropius: Bauhaus building. Main entrance and side elevation of

connecting wing to the workshop building.

#5 Gropius: Bauhaus building. Studio building and single-story

#4 Gropius: The workshop wing of the Bauhaus building in 1926.

the workshop wing.

#3 Gropius: Bauhaus building. Main entrance and side elevation of

#1-2 Gropius: Bauhaus building. Bird’s-eye view. 1926.

Rearranging of the Bauhaus architecture

Dylan Fracareta’s 3 assignments for his publication class. Strict systems and structures became a key role to make these publications.

An monologue interview of Laura Schneider with different exit and entry points 11

14 page #

the cooperative store (1928) and row-houses (type 1927). #13 Alred Arndt: Bauer House in Probstzella (Thuringia), south and east elevation. 1927–1928. #14Gropius: Dessau-Torten housing development, houses of the 1927 construction stage. #15 Gropius’s architectural office: view from the garden (south). #16 Anton Brenner: youth home “Settlement,” Vienna. View from the northeast. 1929-1930. Shelter for homeless young people, Unified conception, including all details of interior furnishings.

were formed by cantilevering the ceiling slabs.

garden (south). Terraces and balconies on all floors. The balconies

#16. Gropius: “Masters’ houses:” view of a duplex as seen from the

were made of “Jurko” plates and were stuccoed. 1923.

mental house” in Weimar, view from the street “am Horn.” The walls

Gropius’ architectural studio (technical execution): the “experi-

#15 Georg Muche (design) and Adolf Meyer together with

“Prelierhaus”).

students (in remembrance of the Weimar studio house also named

#14 Gropius: Bauhaus building. Studio and dormitory building for the

#13 Gropius’s architectural office: view from the garden (west).

concern.

concept, and the precise arrangement of cubes were the chief

cant. In this case, the clarity of the design with planes, the spatial

demonstrate the attitude of the new architecture became signifi-

during the period of inflation, every project that offered a chance to

difficulties which handicapped some important building projects

Architecture

Book

s? e?

k. s?

OF LAURA SCHNEIDER

e? y?

t e?

been here? Four years I’m surprised it doesn’t happen more often, but I think you’re the first I know of I’m not that surprised. Do you do a lot of key retrieval? Parking lot 5 and the little drain by the Beast, that’s why I brought the little claw, didn’t expect this grate – they’re trying to get rid of it, maybe put something over it What is this for exactly?7

I think that’s a little too short, thanks Does this happen often?3

If you’ve got rope Let’s wait for Joe What’s the problem This little student dropped a key down through the grate here. Which one Either this middle one, or the one next to it Can we get in there? There are stairs, give me 5 minutes Thank you, do you want me to go? Don’t think that’s allowed Joe, do you want my metal pole?6

e! r.

t? r? INTERVIEW TRANSCRIPTION

n? p,

e? d

Well, In this case it might be smarter than its owner, I dropped it down a grate It happens, I’m surprised more doesn’t fall down here really It;s treacherous down there, I’m only surprised this is the first time I dropped something. HEY JOE, there ain’t no alligators down there are there?11

I could take this grate off and lower you in, if

you landed on your feet you might be ok, but its a little deeper than you might think.2 Do you guys like cupcakes? Its our job to do this stuff, have a nice dinner.

It’s where the air for the air conditioning get sucked in, its pretty gnarly in there I always get nervous when I walk over it It’s a long drop,12

Good News/Bad News: Good news, not in the black water, Bad news, still no key! Wow, thank you for doing that Not a problem, we need your key I’ll go in there Joe and get it after! Black you said? Yep, black A rectangle one This look like it?7

Not as often as you might think – Parking Lot Five is the real problem, people get out of their cars and drop their keys and WHOOSH, right down the storm drain Am I the first to have dropped something down here? How long have you

Urban China: informal Cities

page 27

What are the commons? AntArcticA, Blood BAnks, democrAcy, dnA, energy conservAtion, Forests, government, historic PreservAtion, internet, knoWledge, lAW, liBrAries, PArks, PuBlic sPAces, sideWAlks, toPsoil, WAter

Sandbags

The Three M ProjeCT is a series organized by The new MUseUM, new york; The MUseUM of ConTeMPorary arT, ChiCago; and The haMMer MUseUM, Los angeLes, To CoMMission,

organize, and Co-PresenT new works of arT. additional support provided by the Toby devan Lewis emerging artists exhibitions fund. special Thanks to The Bowery Hotel, the New Museum’s Official Hotel

Partner. additional support for “Urban China: informal Cities” is provided by the robert Mapplethorpe

page 23

aPriL 25 – jUL 19, 2009 The haMMer MUseUM, La sePTeMber 12 – deCeMber 8, 2009 The MUseUM of ConTeMPorary arT ChiCago

page 29

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febrUary 11– MarCh 29, 2009 The new MUseUM

page 24

Foreclosed Homes

virAl sPirAl How the Commoners Built a Digital Republic of Their Own

dAvid Bollier

Photography fund, and the United nations environment

unJust deserts How the Rich Are Taking Our Common Inheritance and Why We Should Take It Back

gAr AlPerovitZ and leW dAly

Blue covenAnt The Global Water Crisis and the Coming Battle for the Right to Water

mAude BArloW

initiative, which aims to utilize the universal language of art to generate environmental

The Three M ProjeCT is sPonsored by deUTsChe bank

Public Relations

Opens an extraordinary new vista on the moral bankruptcy of our second Gilded Age. – Bill Moyers

Maude Barlow makes a most compelling argument about what will be the greatest environmental and human crisis of the 21st Century— the global water crisis and access to safe drinking water being a basic human right. You will not turn on the tap in the same way after reading this book. – Robert Redford

978-1-59558-402-1 Hardcover $24.95

Reveals the untold story of wealth creation in our time. – Barbara Ehrenreich

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commons-BAsed solutions For A commons-BAsed society. www.onthecommons.org

Marathon Advertisement page 41

page 37

by Ina Howard-Parker Public relations during a crisis is mass psychiatric care meant to reassure a panicked public that its ontological frameworks are meaningful and safe, and that the event described as a crisis is an anomaly. Tragedies are common and acceptable—war, crime, injustice, disease, death, failure—as long as they occur within established cognitive frameworks. War, it follows,

www.thenewpress.com

Space In Crisis

by Mark Wigley

page 28

by Jason Zuzga Monkeys present a cognitive crisis for humanists, undermining the distinction of the human from all other, what with those faces and hands. Monkeys thus must be kept clearly secured beyond the legal and physical bounds of the human. Monkeys, secured in laboratories, may be subject to tests that would be beyond consideration for any human subject. Monkeys camp through bare life, grinning at us aggressively (never smile at a monkey), about to snatch a sandwich from our hands with theirs,

978-1-59558-396-3 Hardcover $26.95

page 28

page 24

Monkeys

And here I thought I knew nearly all this history, but there was so much more to what was going on than I even dreamed. – John Seely Brown

page 32

Humanitarian Invervention

by Eyal Weizman Throughout the past two decades, “humanitarian interventions” have grown to structure Western states’ response to emergency. At the core of the idea of “humanitarian intervention” is the ethico-political principle recently framed as “responsibility to protect” which lies at the heart of the humanitarian impulse. The problem is that in order to get to the victims of armed conflicts, protect them and provide aid—or at least claim to do so—states sometimes have to engage in military actions. Increasingly (and in places such as Mogadishu, Kosovo and Afghanistan) this intervention has bound humanitarian agencies with the logic of war-making. Anyone

Images of devastated buildings are the most eloquent and disturbing witnesses of disaster. Broken buildings represent broken people. If most buildings in an area have been damaged,

Crisis in Crisis Biosphere 2’s Contested Ecologies Better

from 20.9% of the atmosphere to 14% (equivalent to respiration above 10,000 feet) in six months. A measured amount of air had to be added for survival.

page 31

Obama Urbanism

dialogue with Joseph Grima, Christopher Hawthorne, Jeffrey Inaba, Sam Jacob and Geoff Manaugh The following are excerpts from an email conversation between Joseph Grima, Christopher Hawthorne, Jeffrey Inaba, Sam Jacob and Geoff Manaugh exploring the possibilities of future urban development in light of President Obama’s Urban Policy statement. To read the discussion in its entirety, go to, www.c-lab.columbia.edu/future On 1/2/09, at 9:44 PM Jeffrey Inaba wrote: It is a unique situation that a leader of a country proposes to use urban development as a stimulus for the economy, and a rare occasion when politics, the economy and urbanism figure together in the national discourse. More than to serve as a

page 24

Inauguration

by Jeffrey Inaba

International Style Heritage

America’s new administration has brought about a palpable sense of optimism. There are high hopes for the agency of government. There is confidence that people will mobilize for a worthy cause. There is belief that economic recovery could begin sooner rather than later. In architecture there is a newfound feeling that the profession can improve cities. But optimism is a fragile thing. Unfavorable events are likely to occur which could dash any such hopes. One way to prevent ourselves from overreacting, and subsequently falling into despair, is to appreciate the nature of crisis. Understanding crisis may help us to judge the unfolding situation and maintain a realistic measure of faith. In this issue you will find wide-ranging examples of crises: how they begin, unfold and, despite attempts at their management, spin out of control. Everything is fluid at the moment and our basic assumptions 6 of how to fix things have proven ineffective. So prepare for things to get worse before they get better. Hopefully, even this 7 helps to cushion the fall. As the second installment in an ongoing editorial project between Urban China and Volume, we have produced this limited edition publication on the occasion of the exhibition Informal Cities at the New Museum. Inspired by the unofficial compilations sold by fans at music concerts, we offer a bootleg issue of Urban China. The bootleg is a DIY format for assembling and disseminating work within a circle of hardcore fans, typically consisting of live work recorded, sequenced and edited by the concertgoer. Unlike a pirated copy or fake which tries to assume the identity of an authorized product and is motivated by a desire for profit, a bootleg announces itself as an improvised, illegitimate work and is largely motivated by a wish to share. Given the urgency of the topic, C-Lab has borrowed the bootleg format to quickly distribute observations, initiated in dialogue with Urban China, on the crisis and its management.

Exits

Erin Aigner Interviewed by Gavin Browning When a crisis occurs, New York Times Graphics Editor Erin Aigner makes maps. As she describes, data mining is equally important as graphic design when conveying information to the news-reading public. Gavin Browning: How do maps function during a crisis? Erin Aigner: One thing that maps can do is give information in a more succinct way, or in a way that shows multiple types of information all in one spot. So you might be able to show reference or background information, whether that be the existing population in a place, or the infrastructures that are being affected there.

Things Will Get Worse Before They Get Better

page 34

Oleg Yavorsky The idea of a game built around the Chernobyl Exclusion Zone came to us quite some time ago.

page 23

Tactics

Maps

page 24

page 29

Exclusion Zone

page 26

Dispatches From an Anaheim 9-1-1 Operator

anonymous As told to Laura Hanna Incident I Recently, we got calls that a vehicle was stuck on some railroad tracks. An elderly woman had been driving, and when she came to a railroad crossing, she mistook it for a road and turned right up onto the tracks. She was an Alzheimer’s patient who had somehow gotten hold of the famil car. Her vehicle became hung up on the tracks. Then she called 9-1-1. She was very confused and flustered about what was happening, and she was afraid that the people who were honking at her—and who eventually began knocking on her

is necessary and honorable, crime happens in dangerous areas, illegal drugs kill, the bad and the weak fail. It is when the storylines with which we make sense of the world are corrupted—“our brave troops” are exposed as torturers and rapists rather

Oleg Yavorsky Interviewed by Gavin Browning The computer game S.T.A.L.K.E.R. (Scavengers, Trespassers, Adventurers, Loners, Killers, Explorers, Robbers) unfolds in the abandoned plains, communist boulevards and apartment blocks of post-Chernobyl Ukraine. Gavin Browning recently spoke with Oleg Yavorsky, the Director of Public Relations for GCS Game World, about the challenges of representing the infamous zone, and about what it means to be a S.T.A.L.K.E.R. Gavin Browning Tell me a bit about the game. How did it come about?

page 21