At Issue Vol3 No1 0

7/28/2019 At Issue Vol3 No1 0

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issue:H E J O U R N A L . O F ' . B U S I N E S S & D E S I G Nry fo r Brand ing

Ch ronic l ua l Approach to Pub l i sh ingTranslat ing Design into a Foreign Language


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issue:

Volume 3 , No.lThe journal of business and design.PublisherCorporate Design FoundationSponsored by Potlatch CorporationE d i t o rDelphine HirasunaDesignPentagramKit Hinrichs, Design DirectorAmy Chan, DesignerCon tributing WritersDelphine HirasunaNoreen O'LearyPeter LawrenceCover IllustrationBrian CroninMajor Illus tration and P hotographyJames McMullanBob EsparzaBarry RobinsonEd itorial Advisory BoardPeter LawrenceCorporate Design FoundationSara BeckmanHaas School of BusinessUniversity of California at BerkeleyAgnes BourneAgnes Bourne Inc.Kit HinrichsPentagramDelphine HirasunaHirasuna EditorialPeter LaundyLaundy Rogers DesignJames PatellGraduate School of BusinessStanford UniversityChris PullmanWGBH Educational FoundationFor more informationCorporate Design Foundation20 Park PlazaBoston, MA 02116Telephone: 617-350-7097Fax: 617-451-6355E-mail: [email protected] Wide Web site:h t tp : / /www.cd f .o rg
mailto:[email protected]://www.cdf.org/http://www.cdf.org/mailto:[email protected]


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I S S U EC h a n g e . S o m e c o m p a n i e s e m b r a c e it,adapt to it, and seize i t as an opportuni tyra ther than a threa t . But business changew o r k s b e s t w h e n i t i n c l u d e s a!t

comple te reeva lua t ion of how th _._.._service i s designed, branded and marke t ed . In t h i se d i t i o n , D r. J a m e s M o o r e , a u t h o r of The Deathof Competition, t a l k s a b o u t h o w t h e

d e s i g n i n g p r o c e s s c a n b e a m o d e l forG y m b o r e e

l o o k s a t w h y t h e c h i l d - f o c u s e dc o m p a n y a d o p t e d a v i s u a l v o c a b

u l a r y f o r i t s b r a n d i d e n t i t y sy s t e m .W i th f o re ig n l a n g u a g e t r a n s l a t i o n shappening more f requent ly , he re a re some do's a n ddon'ts to keep in m ind . F ind ou t w hyH o f f m a n n - L a R o c h e a d o p t e d a " o n e - s i z e - f i t s - a l l "off ice plan for i t s new Bui lding One. Then readab ou t h o w C h r o n i c l e B ooks tu rn e d w ell-d e s i g n e d books into a s ignature for success.


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I S S U E :

J a m e s M o o r e o n D e s ig nDr. James Moore , corpora te strategist, CEO of GeoPar tnersR es ea rch and au tho r of the c r it i c a l ly acc la im ed The Deathof Competition, ta lks with Peter Lawrence , chairman of theC orpora te Design Foun dat ion , about the ro le des ign c an p layin bridging different interests in today's bus iness ecosys tem.

H ow do you view the relationshipbetween design and business?I see it in two ways. Like most people,I th ink of th is re la t ionship in terms of produc t des ign - a bus ines s c r ea tes a phys ica lproduct that needs to be des igned for ef fect ive use , or i t develops a service , which ises s en t i a l ly a p roces s r e l a t ions h ip , tha t a l s on e e d s to b e d e s i g n e d . B u t a d e e p e r w a yt h a t d e s i g n i s i m p o r t a n t t o b u s i n e s s i st h r o u g h t h e p r o c e s s o f d e s i g n i n g itself,w h i c h g o o d d e s i g n e r s e m b o d y i n t h e i rwork. I t has a lo t to teach bus iness people ,w h o m o r e a n d m o r e a r e d e s i g n i n g a n dredes ign ing the i r p roduc t s , bus ines s es andindus t r i e s . I n my managemen t cons u l t ingpract ice , des ign is a way of th inking abouth u m a n a n d m a t e r i a l r e s o u r c e s , a n d h o w t h e y i n t e r a c tto impro ve func t iona l i ty in a s pec i f i c dom ain .Can designers serve as model makersfor the future of an organization?Y e s . One of my mentors , Don Schon at MIT, sees a l lprofess ional pract ices f rom archi tecture to psychologyt o m a n a g e m e n t a s d e s i g n i n g a n d d e f i n e s d e s i g n a s"an i t e r a t i v e c o n v e r s a t i o n w i t h m a t e r i a l s . " I t ' s aprocess where you engage a se t of mater ia ls , ref lect onthes e mat er ia ls f rom dif ferent po in ts of v iew to und er-

James Moore is the founder andCEO of GeoPartners Research,Inc., a strategy consulting andinvestment firm in Cambridge,Massachusetts. Serving clientsworldwide, GeoPartners isknown for scenario development,corporate strategic planningand technology assessment inthe computer, communicationsand media sector. Moore hasa Ph.D. in cognitive psychology

once taught art and photography in a New Haven highschool. Business Week callshis recent book T h e Death ofCompetit ion "essential readingfor managers."

s tand how they might f i t var ious cr i ter ia ,and th ink about how they might go togetherto make something. I f i t ' s a bui ld ing, doesit f i t the s ite, is i t interesting sculpturally,does i t funct ion for the par t icular needs ofthe people us ing i t . Based on these ref lect i o n s , t h e d e s i g n e r c o n s i d e r s i t e r a t i o n s ,n e w i n t e r p r e t a t i o n s , n e w c o m b i n a t i o n s .This process is what des ign is a l l about .

Bus iness is very much a language ofputting activities together. At GeoPartnersRes ea rch , w e u rge c l i en t s to th ink abou tdes ign ing fu tu re indu s t r i e s and fu tu rebus ines s es fo r thems e lves w i th in thos eindus t r i e s by examin ing bus ines s f romdi f fe r en t d im ens i ons . We hav e c l i en t sth ink abou t how the cus to me r in te r a c t s

with the product , or in teracts wi th the company and i tsbus ines s . We have them des ign the marke t , i nc lud ingthe marke t ing channe l s , des ign the p roduc t itself, t h ep roc es s es to ma ke the p rod uc t , t he o rga n iza t ion a la r ch i t ec tu re fo r thes e p roces s es and how to managethem, and so for th .How can designers support non-design business objectives?Let ' s t ake H ew le t t -P ackard , fo r example . A key des ignfeature of i t s ink- je t pr in te rs is the s ingle d isp osa blecar t r idge that houses both the ink- je t nozzle assembly


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I S S U E :

and the ink . I f you th ink abou t i t , H-P c o u ld h a v ee a s i l y m a d e a p r i n t e r w i t h a s e p a r a t e p e r m a n e n t i n k -j e t a n d a d i sp o sa b l e i n k c a r t r i d g e . T h e p r o b l e m wa sth a t t h e i n k - j e t s t e n d to c lo g a f t e r n o t v e r y m u c h u se ,and someone would have had to come ou t and c lean i t .By m a k in g b o th c o m p o n e n t s d i sp o sa b l e , H- P d e s ig n e r se l im in a t e d t h i s se r v i c e n e e d .Business seems to grasp the concept of "form followsfunction/' but what about the emotional value of design?That i s impor tan t in and o f itself. A physica l p roduct i sa very subtle thing, with emotional dimensions that of tenrepresen t considerab le va lue to the user . A wel l -designedp e n , c a r , c o m p u te r o r so f twa r e h a s im m e n se e m o t io n a lappea l . I t en r iches your l i f e in awider way than the single functionthat caused you to buy i t in the f irstp lace . I t may he lp p rov ide sensua lp l e a s u r e , e n h a n c e y o u r i d e n t i t y ,m a k e y o u r l i f e c o g n i t i v e l y l e s scomplex because i t is obvious howthe p roduct works . These in tang i b le va lues a re rea l ly fundamenta l .Why should design be used tocommunicate the brand message?Today you need to d is t ingu ishyour p roduct . You need to be co-e v o lv in g w i th t h e c u s to m e r . C u s t o m e r s w a n t to e x p e r i e n c e t h a tthey ' re ge t t ing a new way to l ive ,enhancing the i r qua l i ty o f l i f e , the i r be ings . That ' s whatcustomers get when they buy Nike shoes. Nike has learnedto sell a lot of identi ty and a l i t t le bit of shoe. Designplays a profound role in what Nike is accomplishing. I t isused not only to address the function of the product andthe deve lopment o f new mater ia ls , bu t to th ink th rough astatement that plays in the market. There 's a clear performance s ide to Nike ' s message . Nike ' s d is t inc t ion comesfrom identifying the brand with people who really needthat high performance. In fact , most people don ' t needthat level of performance but they l ike to think they do.

In today ' s economy, you have to become a leader a tse l l ing and p roducing those in tang ib le aspec ts o f va lue ,a long wi th whatever your core o f fe r ing i s . I f you don ' t ,y o u ' l l e n d u p c o m m o d i t i z e d , w i th l o w g r o ss m a r g in s .I t t r ansla tes to very c lear bo t tom l ine te rms. Designprov ides the p rocess and the exper t i se fo r do ing tha t .

How can a commodit ized productbeg in to communicate b rand d is t inct ion?I r e c e n t ly h a d a n i n t e r e s t i n g c o n v e r sa t i o n w i th Jo h nDa v ie s , I n t e l ' s m a r k e t in g d i r e c to r o f c o n su m e r d e sk to p s , a b o u t h o w PC v e n d o r s a r e f i g h t in g a m o n g th e m se lves to be a t the core of an und i f fe ren t ia ted ma rke tsegme nt for PC s. The se vendors a re p rod ucing the sa mekind o f va lue fo r the customer and have poor g rossmarg ins . We ta lked abou t how each company cou ld addd i s t i n c t i o n b y t a k in g a d v a n ta g e o f o p p o r tu n i t i e s t ofocus on var ious in tang ib le aspe c ts o f va lue an d d esign ing PC s tha t go a f te r d i f fe ren t p ar t s of the ma rke t .T h e s e P C m a k e r s n e e d t o b e c o m e m o r e l i k e N i k e ,

c r e a t i n g sub-markets out of thewh o le . I n s t e a d o f b a n g in g h e a d s ,e a c h n e e d s to p r o v id e e n o u g hdis t inc t ion so customers a re wi l l ing to pay more than what theywould fo r a PC c lone to ge t tha tsp e c i a l v a lu e . De s ig n e r s a n d th ep r o c e ss of d e s ig n p r o v id e t h ea b i l i t y t o m a k e th a t h a p p e n .Does design always haveto start with the customer?If you want to differentiate yourp r o d u c t , t h e a n swe r i s t o l o o ka t wh a t c u s to m e r s n e e d a n d th ekind of l ife you can build forth e m . Wh e n y o u g o b a c k to t h e

l a b , you ' l l f ind lo ts o f techno logy you can use to dothat . The wrong way to do i t is to go to the lab and taketh ings your lab guys th ink would be g rea t , and thensee i f you can marke t i t so tha t peop le wi l l buy i t . Tha tdoesn ' t work . But le t me take i t f rom the o ther s tandpo in t , which i s the enormous oppor tun i ty to des ign newp r o d u c t s , n e w se r v i c e s , n e w b u s in e sse s o u t o f t h e p a r t stha t a re ava i lab le today . A business "artist" has a verybroad pa le t te o f pa in ts and as toun ding pos s ib i l i t ie s towo r k w i th c u s to m e r s t o c r e a t e n e w r e a l i t i e s . T h e m o s tin t e r e s t i n g c o m p a n ie s a r e t h e o n e s d o in g th a t . T h e yd o n ' t s e e t h e m se lv e s e m b e d d e d in t h e p a s t , b u t se eth e m se lv e s a s e n g a g e d in a d i a lo g u e w i th t h e r e s t o fthe wor ld abou t what l i f e can be l ike .How can Web producers use design?Passive ly download ing in format ion i s no t what youwant to do . What you ' re rea l ly t ry ing to c rea te wi th a

" phys ical productm l is a very s ub tle t h i n g , withemotion al dimensionst ha t o f t en r ep resen tcon s iderab le va luet o t he use r . "


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Web s i te is a community of re turn v is i tors . You want tobe bookmarked on their browsers . You want to createoppor tuni t ies for users to in teract . For that , you need ades ign tha t ' s v i s ua l ly and in te r ac t ive ly appea l ing s opeople wi l l want to spend t ime in your wor ld . Then youneed to f ind a way to in t roduce v is i tors to each o ther .How important is the designof the work environment itself to business?I t ' s fundamental ly impor tant , and i t has so many dimens ions I 'm almos t not sure where to s tar t . The des ign ofyour s pace he lps to s hape the communi ty tha t you l ivein . Before we moved in to our current space, we had anoffice in Harvard Square that had what I called a "piazza,"a n o p e n s p a c e w i t h i n d i v i d u a loff ices sur rounding i t . I loved thatof f ice because each person had a" c a v e " to go back to, to be solitary and th ink th ings through. Alo t o f managemen t cons u l t ing i sth ink ing th rough a c l i en t p rob lemby yourself, or being on the phonewith a c l ient . But then , the p iazzagave us a place to come together,which is a lso real ly impor tant . Aswe grew, we expanded in to adjacent par ts of the bui ld ing, whichmade us f ee l chopped up in d i s con t inuous s paces . Recen t ly w emoved. Now, we again have a n icespace with a lo t of per ipheral of f ices and some centra lp laces where we can come together .Is effective design more important in a global economy?A funda me n ta l p rob le m tha t bus ine s s e s f ace in theg loba l economy today i s tha t the i r p roduc t s can becopied or c loned very quickly . Whatever core value thep roduc t s p rov ide , s omeone s omew here w i l l make themmore chea p ly and m ana ge to ge t them in to m arke t srapid ly . As a resul t , bus inesses are cons tant ly th inkingabout how to innovate and how to d if ferent ia te theirproduct or serv ice . But the real road to innovat ion forb u s i n e s s m u s t s t a r t w i t h u n d e r s t a n d i n g w h a t n e e d sare unmet a t the cus tomer level . Sel l ing the next waveof P C s , for in s t anc e , dem and s w ork ing w i th peop lew ho a ren ' t cu r r en t ly u s ing a compu te r , under s t and inghow i t can be of value to them in their l i fe , th inkingabout the phys ical des ign of the product , what i t does

for consumers , what ro le i t p lays . I th ink that des ignprofess iona ls are uni que ly qual i f ied to th in k throu ghthes e i s s ues o f u s e and func t ion a l i ty and to s t ayengaged enough in what is a very subt le process ofi t e r a t ive ly des ign ing s ometh ing . In a s ens e , inven t ingnew kinds of u t i l i ty . That is of ten underes t imated . Therea l ly good cons umer p roduc t s compan ies a r e ve rygood at doing that subtly.At GeoPartners, how do you makeuse of design in your consulting work?We have used graphics people to help us f ind ways tor ep res e n t f a ir ly abs t r ac t co ncep t s o f indus t ry and bus i n e s s . We have employed va r ious peop le w ho have an

in teres t in v isual izat ion and haveh i r ed ou t s ide des ign cons u l t an t s ,i n c l u d i n g C h r i s P u l l m a n , v i c ep r e s i d e n t of d e s i g n a t W G B H .C h r i s h e l p e d m e u n d e r s t a n ds ome fundam en ta l th ings abou tv i s ua l p r es en ta t ion , s uch as theb lack -w h i te r e l a t ions h ips , thedensity of the text - things that Iwouldn ' t have come up with onmy own, but are very impor tantin t ak ing the "no i s e" ou t o f p r e s en ta t ions . Ch r i s a l s o s ugges tedmore c l eve r w ays to v i s ua l i zek e y c o n c e p t s t o m a k e t h e mi m m e d i a t e l y g r a s p a b l e .

We are current ly h i r ing an informat ion des ign f i rmto help us th ink about our exhibi ts - how cl ients reactto them, the k ind of informat ion we have, and the bes tw ay to v i s ua l ly d i s p lay i t . O ur exh ib i t s a r e abou ts t r a t eg ic ideas . Le t ' s s ay w e w an t to he lp a c l i en tu n d e r s t a n d t h a t a p a r t i c u l a r i n d u s t r y h a s c e r t a i ndyn am ics that they need to pay a t tent io n to . We ca ng ive them char t s o f number s , bu t tha t ' s no t r ea l lyvery powerful . We' re looking for ways to help c l ientsv i s ua l i ze economic and t echn ica l dynamics , cus tomerdynamics in the i r pa r t i cu la r indus t r i e s and pa r t i cu la rmarkets . The bes t way we can help our c l ients is byt a k i n g t h e i d e a s t h e y n e e d a n d m a k i n g t h e m m o r emanageab le . Tha t i s ve ry much the co re pa r t o f ou rb u s i n e s s . W e ' r e t r y i n g t o c o m e u p w i t h s t a n d a r dtemplates for our core ideas , so we can teach peopleto use the power of v isual language.

" I f you want to d iffer- en tiate your prod uc t, the ans wer is tolook at what thec u s tomers wan t andth e kind of l if e youc an bu ild fo r th e m."


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Gar y Whi teP r e s i d e n t a n d C E OGymbor ee Cor por a t ion , Bur l i ngame, CAWhite became CEO of Gymboree in 1997, after ayear as the company's senior vice president and COO,and 19 years with the Dayton Hudson Company.

Like a ch i ld who ou tgrows h is c lo thes and needs ala rger s ize , Gymboree found tha t as i t g rew f roma n e ig h b o r h o o d p l a y p r o g r a m in to a multimillion

dol la r re ta i l company , i t needed a more soph is t ica tedlook to express i t s matur ing b rand iden t i ty .

Af te r a l l , by 1994 , i t had been near ly two decadess in c e Jo a n Ba r n e s , a n e n t r e p r e n e u r i a l m o th e r o f two ,s t a r t e d a p a r e n t - c h i ld p l a y p r o g r a m , c a l l e d Gy m b o r e e ,a t a l o c a l c o m m u n i ty c e n t e r . T h e d e v e lo p m e n ta l c o n cep t fo r ch i ld ren th ree months to four years p rovedso su c c e ss f u l t h a t b y 1 9 8 6 , Gy m b o r e e wa s o p e r a t i n g2 0 0 f r a n c h i se d p l a y p r o g r a m s in f o u r c o u n t r i e s .

Am o n g th e "baby s t r o l l e r " c r o wd , t h e Gy m b o r e ename was so s t rong ly l inked to qua l i ty , educa t ion and

fun tha t s ta r t ing a re ta i l l ine o f b randed toys , ch i l d r e n ' s c lo th in g a n d p a r e n t in g p r o d u c t s wa s a n a tu r a le x t e n s io n o f i t s b u s in e ss . Gy m b o r e e o p e n e d i t s f i r s tre ta i l s to re in 198 6 , and by 19 95 , ha d s to res in near ly2 8 0 lo c a t i o n s a n d c o r p o r a t e n e t sa l e s e x c e e d in g$ 2 5 0 m i l l i o n .

But two decades o f excep t iona l g rowth hadtaken i t s to l l on Gymboree's o r i g i n a l b r a n d i n gsystem . I t s re ta i l of fe rings had exp an ded mul t i fo ld ,e n c o m p a ss in g m o r e a g e g r o u p s , m o r e i t e m s a n d m o r ef requen t p roduct changes - a s i tua t ion tha t the o r ig ina li d e n t i t y sy s t e m wa sn ' t d e s ig n e d to h a n d le . E x p a n s io nnat ionwide a lso had led to inconsis ten t g raph ic in te r p r e t a t i o n s . T h e l o g o a n d s to r e i n t e r io r s h a d b e g u n tolo o k d a t e d , a n d e v e n th e c o m p a n y ' s m a sc o t , Gymbot h e C lo wn , se e m e d t i r e d .

"Things h a d b e e n h a p p e n i n g s o q u i c k l y a tG y m b o r e e t h a t o u r p e o p l e w e r e h i r i n g d i f f e re n td e s ig n e r s , a n d th e l o o k o f t h e A

As Gymboree neared 20 years old, it decided it was time for a new ^branding system for its rapidly multiplying retail stores and play centers.Through the development of a visual vocabulary of colors, shapes and


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brand began to dev ia te , " r eca l l s N ancy P edo t , f o rmerGymboree p r e s i d e n t a n d C E O w h o l a u n c h e d t h er e d e s i g n p r o g r a m i n 1 9 9 4 . " I f y o u a r e b u i l d i n g abrand, you need to be t rue to the brand. I l ike th ings toevolve and be creat ive , but I a lso wanted to make suretha t the v i s ua l b r and impac t had ce r t a in gu ide l ines . "

A f ter in te rv iew ing a ha l f dozen des ign f i rms ,G y m b o r e e s e l e c t e d t h e S a n . ^ ^ ^ F ranc i s co

office ofP e n t a g r a m ,

w hich had ea r l i e rr e v a m p e d T h e

N a t u r e C o m p a n y ' siden t i ty . " I th ink one

r e a s o n G y m b o r e e w a sin teres ted in working with

us w as becaus e i t s aw pa ra l l e l s w i th The N a tu re Company ,which had a lso s tar ted with a

Kit Hinr ichsP a r t n e rP e n t a g r a m , San Franc iscoA partner of the international design firm,Pentagram, Kit Hinrichs was responsible forthe redesign of Gymboree's identity system.f e w l o c a l s t o r e s a n d r a p i d l y e x p a n d e d i n t o an a t i o n a l r e t a i l c h a i n , " s a y s P e n t a g r a m p a r t n e r K i tH i n r i c h s , w h o c o - d e s i g n e d t h e G y m b o r e e i d e n t i t yp r o g r a m w i t h a s s o c i a t e p a r t n e r , J a c k i e F o s h a u g .

Whi le G ymboree as ked P en tag ram to deve lop a newbrand ing s ys tem, i t made c lea r tha t i t w an ted to p re s e rve the v i s ua l e s s ence tha t made G ymboree p roduc t sand mate r i a l s r ecogn izab le a s G ymboree .

"O ur h i s to ry has been to make the b rand , s uppor tedby des ign , ve ry impor tan t , " s ays G ymboree ' s p r es iden tand C EO G ary W hi te . "Th e cons i s t ency o f w ha t cus tomers see and feel helps to protect the brand."

P en tag ram' s s o lu t ion w as to c r ea te a "v i s ua l vocab u la ry" tha t inc lude d a logo type , co lo r pa le t t e and

patterns, the company arrived at a system that was flexible enough to translate across all media and graphically

varied enough to remain fresh and interesting over time.


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Core IdentityBouncing letters, bright colors andgeometric patterns form the visualvocabulary of Gymboree's new identitysystem. The new logo also featuressimplified letterforms to convey a morecontemporary feeling, and was designedto work in one color, two color, fourcolor and six match color versions.

GYKABOBftOOOCK^^GyHBORE

Old LogoTo preserve the equity in the oldlogo (top), the designers exploredseveral iterations of the colorfulbouncing letters, before arrivingat the final choice below.

Color PaletteGymboree's color system is bas ically afull spectrum of primary and secondarycolors, which can be created with ma tchcolors or four-color process screen tints.

Shapes and P atternsClassic geometric shapes utilized in allkinds of contemporary patterns werechosen to give Gymboree's identity sys-tem m ore flexibility and a longer life.

New Gift Boxes and BagMore up scale and sophisticated, thenew packaging was designed to work

as a gift box, with a patterned paperband used in place of a ribbon.

Wrapping tissue features Gymboree'ssix basic colors. All packaging is

made from recycled papers.


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I S S U E

SymbolT h e need for a corporatesymbol w a s recognizedearly on in the identitydevelopment. The "G",which incorporates all ofthe core identity elements,is used for signage,stickers and labels.

MascotGymbo looked

T h e new clown

Gymboree's

Hang TagsA shape and colorcoding system wa s

developed for thehang tags to help

shoppers quickly identifythe size of the garment.

Printed MaterialsT h e visual vocabu-lary of Gymboree'sidentity programfinds its w a y into theannual report andother print materialsdirected at shareholders, customersan d employees.

d i s t i n c t i v e p a t t e r n s a s i t s c o r e e l e m e n t s . "From t h a tv o c a b u l a r y , G y m b o r e e c o u l d e m p h a s i z e a n d r e c o n f i g ur e d i f fe r e n t e l e m e n t s a s a p p r o p r i a t e , " H i n r i c h sexp la ins . "The idea was to c rea te spec i f ic key e lementswi th the r igh t tone and a t t i tude and then bu i ld a c learb u t f l e x ib l e s t r u c tu r e t h a t c o u ld b e e a s i l y r e p l i c a t e din a l l o f Gy m b o r e e ' s l o c a t i o n s a n d in a l l k in d s o fm a te r i a l s . Ha v in g a v i su a l v o c a b u la r y t o c h o o se f r o ma l lo ws th e b r a n d to s t a y f r e sh a n d r e l e v a n t . "H i n r i c h s c o n t r a s t e d t h i s a p p r o a c h w i th t h e t r a d i t i o n a l wa y o f d e s ig n in g a l o g o a n d wo r d m a r k ,pu t t ing i t in a manual and te l l ing everyone to fo l low it. "That c o o k i e - c u t t e r a p p r o a c h n e v e r r e p r e s e n t e da t r u e i d e n t i f i c a t i o n o f a c o m p a n y . Wi th Gy m b o r e e ,w e t o o k a m o r e h o l i s t i c

" W e h a v e t o p r o t e c ta n d g u a r d a g a i n s tc o n f u s in g t h e b r a n d ,c h e a p e n i n g t h e b r a n do r k e e p i n g ^ ' "i t f r o m b e i n gt h e b r a n d . "

l o o k a t c o l o r , p a l e t t e s ,f a b r i c a t i o n m a t e r i a l s ,t h e c o n t r o l o f o t h e rv i s u a l e l e m e n t s s u c ha s t y p o g r a p h y , p h o t o g r a p h y a n d i l l u s t r a t i o n .W e d e v e l o p e d p r i m a r ya n d s e c o n d a r y t y p o graph ic systems to a l lowfor a more f lex ib le ident i f i c a t i o n p r o g r a m t h a tl e t s t h e i d e n t i t y e v o l v enatu ra l ly as the company evo lves . To haveth e c o m p le t e l o o k a n d f e e l o f Gy m b o r e e ,

we had to v isua l ize the ph i losophy of the company ina l l o f i t s p r in ted mater ia ls , packag ing and s ignage ."

The ne t e f fec t was b r igh ter , more a p p r o a c h a b le a n d m o r e c o n te m p o r a r y . " T h e o r ig in a l

m u l t i c o l o r e d l o g o l o o k e d i t s a g e , " F o s h a u g s a y s ." W e b r i g h t e n e d t h e p a l e t t e . W e a l s o c h o s e a m o r econ temporary s ty l ing o f the typeface fo r the logo andin t roduced pa t te rn in to i t . Pa t te rns had been an in tegra lpar t o f the i r p roducts f rom the beg inn ing , so i t seemedn a t u r a l to i n c l u d e t h e m . "

T h e c h a n g e o v e r p r o c e ss m e t w i th l i t t l e r e s i s t a n c e ." I t w a s n ' t a r e v o l u t i o n t h a t s c a r e d p e o p l e , " W h i t eagrees . " In the s to res , we moved f rom pr imary co lo rs towarmer, fun colors; f rom all white walls to maple. Mostof our exist ing mall s to r e s d o n ' t h a v e e n t r a n c e d o o r s ;the new ones do . I t looks less temporary and more s tab le .T h e m a p l e i s m o r e s o p h i s t i c a t e d a n d l o o k s m o r e


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impor tan t and r es pec t fu l o f ou r cus tom ers .T h i s s p r i n g , G y m b o r e e o p e n e d t w o

new s to res in N ew Y ork and a p ro to type s to re a t a s hopp ing mall i n S anJ o s e , C a l i f o r n i a - w i t h p l a n s t o o p e n7 0 i n t o t a l b y y e a r - e n d . C i t i n g t h es t o r e o n N e w Y o r k ' s u p p e r W e s t S i d e ,W h i t e s a y s , t h e s t o re w a s d e s i g n e d t o c o m p l e m e n ti t s u r b a n e n v i r o n m e n t . " H o w a b r a n d is t r a n s l a t e ddoe s n ' t on ly hav e to fo llow the M c D o na l d ' s a r c hesm o d e l . T h e G y m b o r e e b r a n d c l e a r l y c o m e s t h r o u g han d s t i l l l ook s l ike pa r t of the com mu ni ty . I t ' s no ts om e oddb a l l tha t looked l ike it w as ju s t p ic ked upa n d p u t t h e r e . "

I t o r e f acades in s hopp ing malls s h a r e a c o m m o n ,khighly m a n a g e d e n v i r o n m e n t , " H i n r i c h s s a y s .

Tn an u rban env i ronmen t , you don ' t have tha tsame contro l , so you have to ref lect the mater ia ls ands treet vernacular found in the neighborhood in general .s

The s to re on Broadw ay and 82nd exp res s es G ymboree ' spat terns on the facade, but i t i s done in concrete , s ta inless s teel and z inc , pract ical and re levant mater ia ls forus e in an u rban env i ronmen t . "

The s t r a t egy i s ca r r i ed th rough in s ide the s to r e ."The w ay w e t r ans la t e and us e the b rand i s ex t r emelyimpor tan t , " s ays Whi te . "There s hou ld be connec t iv i tyand cons i s t ency be tw een how the p roduc t looks andf e e l s , t he s ignage , in t e r io r s , f ix tu res , packag ing , thelabe l ing o f p roduc t s , t he hang t ags . J u s t a s much ass ay ing o r r ead ing the nam e , G ymb oree s hou ld comethrough on a v isual level . That is extremely hard to do .Everybody wants to put a d i f ferent bend or twis t on i t ,i n c l u d i n g myself. We have to protect and guard agains tcon fus ing the b rand , cheapen ing the b rand o r keep ingi t f rom be in g the b ran d ."

Th i s com mi tm en t to ma in ta in ing qua l i ty and c on s i s t ency i s a r eas on tha t G ymb oree des igns and ma nufac tu res a l l of i t s ow n re ta i l p rod uc t s . C u r r en t ly tha t

Retail BrandingGymboree's visualvocabulary wasdesigned to work inall forms and allmedia and look fresh,different and new butstill be recognizableas part of Gymboree.

Newborn Gift Packages| Created for the newborn category,

e packaging features a softer pastelversion of the Gymboree color palette

\ and satiny ribbon tie.

Bubble OodlesExisting products wererevitalized when repackagedin the new identity system.The bubble toy, BubbleOodles, actually sold out.

Complementary ColorsThe kraft color from

Gymboree's palette gives auniform look to productdisplays throughout the store

an d serves as a neutralbackground that contrasts

nicely with all the brightcolored products.

Minimal PackagingPackaging is designed

to be environm entallyresponsive. Here a simplecord is used to string Mini

PIay balls together with ahang tag at the top.


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I S S U E :

m e a n s m a k in g 3 6 f u l l - l i n e p r o d u c t c h a n g e s a y e a r ,w i th 3 0 - 5 0 i t e m s p e r l i n e . I n k e e p in g w i th i t s t r a d i t ion , Gymboree focuses no t on ly on deve lop ing s ty lestha t ch i ld ren l ike to wear , bu t on how they wear them.Al l c lo th e s a r e t a i l o r e d t o f it ho w c h i l d r e n r e a l l yl i v e i n t h e m , u s i n g a p p r o p r i a t e m a t e r i a l s w i t ha soph is t ica ted co lo r match ing system, ca l ledMATCHmatics. T h e s y s t e m a l l o w s t h ecusto me r to pu rch as e i tems f rom d i f fe ren tl i n e s of p r o d u c t s a n d h a v e a c o o r d in a t e dou tf i t wi th co lo r consis tency .G y m b o r e e ' s f r e q u e n t l i n e c h a n g e s , wh i l egreat for keeping the offer ing fresh and new,h a s b e e n a l a b o r - i n t e n s i v e c h a l l e n g e fo r s t o r ep e r so n n e l wh o a r e c o n t in u a l ly c h a n g in g p r e se n t a t i o n s .To a d d r e s s t h i s p r o b l e m , t h e n e w p r o t o t y p e s t o r e ,d e s ig n e d b y Sa n F r a n c i sc o a r c h i t e c t s BAT [ a n a c r o n y mfo r Bruce S l e s i n g e r and Tom Co l lo m ] , i n c o r p o r a t e s an u m b e r of i n n o v a t iv e e f fi c i e n c i e s i n c lu d in g m o v a b le

w a l l s o n a t r a c k s y s t e m f or q u i c k p r e s e n t a t i o nc h a n g e s . Wh o le se c t i o n s c a n b e m o v e d b a c k o n e b a yt o a l l o w t h e n e w s e a s o n a p p a r e l t o c o m e f o r w a r d ."We can swi tch wal ls overn igh t to change the look o ft h e s t o r e a n d g a u g e c u s t o m e r r e s p o n s e t o d i f f e r e n t

p r o d u c t s , " W h i t e s a y s .BAT's B r u c e S l e s i n g e r a d d s t h a t t h e

p r o t o t y p e s t o r e m a k e s u s e of m a p l e , apa le ye l low co lor and t ranslucen t f ix tu restha t a l low l igh t to pass th rough to c rea te

an open, playful feeling. The f loor plan isd iv ided in to th ree a reas , d i f fe ren t ia ted by

f ix tu res tha t make customers v isua l ly aware o fm o v in g fr om C r a d l e Gy m to Gy m Kid s t o Gy m Gr a dsec t ions . C ar ts and tab les and per fo ra ted f ix tu res conveya se n se o f i n t e r a c t i v i t y . "Everything i s o n w h e e l s ,e x c e p t f o r t h e c a sh d e sk , " S l e s in g e r sa y s .

Gymboree a lso expec ts the f ix tu res and layou t o f thenew pro to type s to re to he lp se l l more coord ina ted ou t -

Bean-Bag ToysBranded products, such as these bean-bag

animals, utilize the colors and patterns fromGymboree's identity system.

GymmiesA die-cut window on the packaging allowsshoppers to feel the garment withouttearing open the package. The nameGymmies for this cotton sleepwear productwas a play on the word "jammies."

Hanging SystemA paper hanging system wasdeveloped to minimize the use of

non-recyclable plastic packaging.Size is clearly indicated on

the "hangers," and an in-storechart shows a comparison of

American and European sizes.


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f i ts. "We had been w a l l merchan t s fo r the mos t pa r t , "W h i t e s a y s . "The prototype s tore g ives us the abi l i tyto move ou r M A TC H m at ics p rodu c t s dow n to the f loo rw here cus tomers can s ee them be t t e r . " The s ec t iona ld iv is ions of the s tore a lso a l low Gymboree to essent i a l ly deve lop b rands w i th in the b rand by focus ing ondif ferent age groups .G y m b o r e e i s a l s o l e v e r a g i n g i t s b r a n d n a m e b yes tab l i s h ing a g rea te r connec t ion be tw een i t sp lay centers and s tores . Las t fa l l i t opened twocorpo ra te - run p ro to type p lay cen te r s in the Bay A rea ,o n e i n a s h o p p i n g mall and one in as t r ip ma l l . Th i s i s a change f rom theusual locat ion in pr ivate s i tes such aschurches , synagogues and gymnas iums.The p ro to type p lay cen te r s a r e loca tedin malls w here G ymboree had an ex i s t ing store, but not next door to it .

"Our objective in opening play centersi n s h o p p i n g a r e a s i s t o g a i n w a l k - b yenro l lmen t , " Whi te s ays . "P eop le w a lkby, look in the window and ask 'What'sgo ing on the re? ' The mall p lay cen te r sa re w ork ing ex t r emely w e l l and theyhave a l low ed us to l e t the loca t ion be the 'brandinvi ter ' versus us ing t radi t ional d i rect mai l promotionsto se l l the brand a t o ther s i tes . We have probably had7 5 % of ou r s ignup en ro l lmen t th rough w a lk -by ."

White adds , " In teres t ingly , one of our proto type p laycen te r s i t e s w as the re be fo re . We ju s t m oved i t onedoor down in to a mall and then r evamped i t . I t w asam az ing . We thoug h t w e had be en a t capa c i ty be fo reand had as many peop le a s cou ld be en ro l l ed . N owal l o f a s udden w i th the ene rgy , co lo r and b rand ingcoming th rough , w e ' r e s ign ing up new fami l i e s . Tha tis real ly the only d if ference in that s i te . We movedone door . Boom. We are now at 350 famil ies [up 40%]in the new s i t e . "

The new p lay cen te r loca t ion has s t imu la ted day t imebus ines s th roughou t the ma l l a s w e l l . " I 'm to ld tha tmorn ing bus ines s i s booming , and the re a r e a l l t hes epeop le w i th s t ro l l e r s w a lk ing a round ," Whi te s ays .G y m b o r e e ' s e y e - c a t c h i n g n e w p a c k a g i n g h a s a l s ohe lp ed to b road cas t the com pan y ' s r e ta i l p r es e nce andreinforce the per cep t ion of valu e and qual i ty . "T he boxwas des igned to look l ike a g i f t wi thout having to be

" S o m e o f o u r la r g e s tin c r e a s e s i n s a m e s t o r es a l e s c a m e i n ' 9 4 a n d' 9 5 w h e n w e s t a r te dc h a n g i n g t h e lo g o ^ ka n d in t ro d u c in gm a p l e w a l ls . " J

r ew rapp ed ," H in r i ch s exp la in s . " I t ' s ano th e r w ay o fdo ing adver t i s ing th rough non- t r ad i t iona l means . " Thepackag ing i s a l s o a imed a t chang ing pub l i c pe rcep t iono f G ymboree as a g i f t s to r e . " In s tead o f a mo the rth ink ing , T go t a s h i r t f o r J immy, ' t he new packag ingmakes her feel T got a g i f t for J immy. ' People don ' thave d if f icul ty paying a l i t t le more, i f they th ink theyare ge t t ing va lue . "

W hi te a dds , "F rom the J us t F o r Y ou hang t ag tha tgoes with the g if t box, to the mult i -colored t is sue, tothe band that goes aroun d the box - a l l are coo rdina ted

with Gymboree colors . The box is nots t amp ed a l l ove r w i th G ymb oree , bu tyou know i t i s G ymboree . "

Recen t ly , G ymboree in t ro duced the la tes t s tage of i t snew b rand ing s ys tem in aredes ign of i t s p lay product

packag ing . "The qua l i ty andcore o f the p roduc t s d id no t

c h a n g e , " W h i t e s a y s . " T h e o n l ychange w as in the packag ing . The

r e p a c k a g e d p r o d u c t s s o l d s oquickly , we ran out of s tock."

The changeover o f G ymboree ' s b r and ing s ys tem hasbeen ro l l ed ou t in phas es s ince 1994 . "S ome o f ou rlarges t increases in same s tore sa les came in '94 a n d'95 w hen w e s t a r t ed chang ing the logo and in t roduc ingmap le w a l l s , " Whi te s ays . "The changeover w as n ' t t heonly reason, but i t p layed a major par t ."

h i s yea r G ymboree p lans to b r ings i t s s to r e coun tto 425 , w i th the add i t ion o f 70 new s i t e s , i nc lud ing s to res in C ana da , the U K and I r e l and . "W ego in to ne ig hbor hood s w i th h igh s t ro l l e r coun t s , " s ays

White . "We know we have a good s tore when we haves t ro l l e r g r id lock ."

G ymboree i s coun t ing on tha t s t ro l l e r s e t to bu i ldi t s bus ines s in the fu tu re . A l r eady i t i s s ee ing tha thappen ing . Y es te rday ' s G ym K ids have g row n up andare having babies of their own, and the or ig inal groupof G y m b o r e e p a r e n t s a r e n o w p r o u d g r a n d p a r e n t ss ho pp i ng fo r g i ft s for the i r g r a nd k i ds . C rea t ing as t rong iden t i ty s ys tem tha t i s f r e s h and en t i c ing andf lexib le enough to evolve graceful ly over t ime is key toGymboree ' s s t ra tegy for growing a cus tomer base thati s t r u ly t r ans genera t iona l .

T

12


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@ I S S U E

Urban and Mall InterpretationsThe exteriors of new Gymboreestores are designed to suit theirlocale. A maple archway and abrightly colored children's blockportal suggest a contemporary,fun image in a suburban shopping mall. Concrete and stainlesssteel form the facade of a storein Manhattan, blending with theneighboring buildings. The newcash-wrap counter (right) incorporates a low shelf to rest packages, since many customers havetheir hands full with a baby.


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R e d e f i n i n g t h e W o r k p l a c eShunning the old corporate hierarchical s tructure of off icei n t e r i o r s , g l o b a l p h a r m a c e u t i c a l g i an t Ho f f m a n n - L a Ro c h ea d o p t e d a i6universal p l a n " f o r i t s n e w r e s e a r c h a n dmarketing faci l i ty in New Jersey. Featuring one-size-fi ts-al lworks ta t ions and "ne ighborhood" group work a reas , thenew f loor plan was designed to enhance teamwork, communicat ions and organizat ional f lexibi l i ty.

Don Raney, AIA, DirectorRoche Center fo r Architectural P l a n n i n g , Designa n d Real Estate Services, Nut ey, New JerseyAs project director for Roche, Don Raney came up witha universal plan to support cross-functional teamwork.

Patric O'Malley, AIAVice President, Gensler, New YorkArchitect Patric O'Malley served as Gensler's projectteam leader for the interior design of Hoffmann-LaRoche's new Building One.

F o r m o r e t h a n 6 0 y e a r s , H o f f m a n n - L a R o c h e ' sBui lding One , a s ta te ly, Art Deco centerpiece a tt he c om pa n y ' s U .S . he a dqu a r t e r s i n Nut l ey , Ne wJe rse y , wa s a p roud symbol o f R oc he ' s p romi ne nc e i nt h e p h a r m a c e u t i c a l i n d u s t r y . B y t h e e a r l y ' 9 0 s , h o w ever, the bui ld ing 's infras t ruc ture could n ' t accom mo datet he l a t e s t i n forma t i on t e c hnol ogy a nd i t s t r a d i t i ona lcompartmenta l ized layout wasn ' t conducive to teamwork.

" T h e o l d h a n d s - o f f p r o c e s s , w h e r e y o u c o m p l e t eyour par t of the job and hand i t off over the t ransom,is over . Now i t i s a mat r ix workplace ," expla ins DonR a ne y , d i re c t or of t he R oc h e C e n t e r fo r Arc h i t e c t u ra lP l a n n i n g , D e s i g n a n d R e a lE s t a t e S e r v i c e s , i n c h a r g e o fc re a t i ng a ne w B ui l d i ng One .

In t oda y ' s f i e rc e l y c ompe t i t i v e p h a r m a c e u t i c a l i n d u s t r y ,employees need to work c lose lyi n c r o s s - f u n c t i o n a l t e a m s t om o v e f ro m d r u g d e v e l o p m e n tt o m a r k e t f a s te r . T h e n e wB u i l d i n g O n e , c o m p l e t e d l a s tf a l l , w a s d e s i g n e d t o d o j u s t

B U I L D I N G O N E F A C T S H E E TLocat ion: Hoffmann-LaRoche U.S. Corporateand Global Research Headquarters campus,Nutley, New JerseyOpen ing Date: January 1977Bui ld ing S ize: 250,000 square feetNumber of Floors 7Number of Employee-Occup ants: Approximately 900Number o f Meet i ng Rooms: 64

tha t by di spe l l ing the not ion of off ice space hie rarchiesa n d a d o p t i n g a o n e - s i z e - f i t s - a l l " u n i v e r s a l " o ff ic ep l a n . F r o m v i c e p r e s i d e n t s t o s e c r e t a r i e s , a l l R o c h ee m p l o y e e s i n B u i l d i n g O n e a r e a s s i g n e d t h e s a m e75-square-foot works t a t i on .

"With onl y one k i nd of spa c e , you ha ve t r e me ndousf lexibi l i ty ," expla ins Pa t r ic O'Mal ley, vice pres ident ofGe ns l e r i n Ne w York , t he l e a d i n t e r i o r s a rc h i t e c t fo rt he R oc he bu i l d i ng a nd t he c ount ry ' s l a rge s t o f f i c espa c e p l a nne r . " I f you ne e d t o re c onf i gure t e a ms , youj us t pa c k your s t u f f i n a box a nd move . " B y R oc he ' so w n c a l c u l a t i o n s , a " s h o p p i n g c a r t " m o v e c o s t s $ 3 7

v e r s u s a n a v e r a g e e m p l o y e emove c os t o f $1 ,250 . Tha t ' s a ni mpor t a n t c ons i de ra t i on s i nc es o m e 2 8 % o f B u i l d i n g O n e ' s9 0 0 o c c u p a n t s m a y r e o r g a n i z ei n d i f fe re n t t e a m c onf i gu ra t i ons e a c h ye a r a s one pro j e c tg o e s o n h o l d d u r i n g c l i n i c a lt r i a l s or whi le awai t ing government review.

Ad opt i on of t he un i ve rs a l14


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Floor PlanBuilding One's universal plan not onlygroups interdisciplinary teams in closeproximity, it ensures that no matter wherethey are located they are in close proximityto m eeting areas - as close as 50 feetand never farther than 90 feet. The floorplan is composed of four quadrants, edgedby an outside common windowed corridordesigned to give a "greenhouse effect" tothe outer perimeter of each floor. Althoughevery floor uses the same design, theyare differentiated through commissionedpaintings, prints and photography.

Shades of NatureIn addition to usingnatural ma terials

such as wood an dcork, the color

palette isevocative

of how coloris used innature.

Team Work RoomBuilding One includ

meeting rooms of varing sizes, includin

global team rooms fmulti-site video tel

conferencin

Private "Study" WorkstationsLarge enough for impromptu

meetings of two or three people, the75-square-feet private workstationsfeature state-of-the-art technology,

lockable glass doors and 13.5 linearfeet of worktop surface.

Compact and CompleteIndividual workstations

are fitted with 1) frittedglass for privacy,

2) a tackable panel forpersonal mementos,3) a retractable key-board and 4) heat,

noise and lightcontrols

Roche CommunityBuilding One was conceivedto function as a neighborhood,with offices serving as "homes,"corridors as "streets" and meetingrooms as "town squares."


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O Coffee BarRoche's Building

One includes threecoffee bars that

connect to open, sky-lighted central stairways. " ^ ^ _

Believing that "great break-throughs often occu r when people meetin chance interactions," the coffee bars

are intended to offer a setting for infor-mal m eetings as well as team events.

p lan a l s o opens up a huge amoun t o f va r ious - s i zeds paces fo r g roup mee t ings . Bu i ld ing O ne has moreava i l ab le mee t ing s pace than the r e s t o f the 125-acreR o c h e c a m p u s c o m b i n e d .

At t he s ame t ime , the bu i ld ing des ign inco rpo ra tese n h a n c e d quality-of-life f e a t u r e s . I n d i v i d u a lw orks ta t ions have c l ima te con t ro l s and s ome conf e r ence rooms have been tu rned in to s oa r ing two-s tory,

s un l i t g l a s s -w a l l ed mee t ing " s tud ios . " Even the ub iq ui tous water cooler has been replaced with coffee bars .

"The impor tan t th ing to r emember i s tha t th i s i s no ta space opt imizat ion p l a n , " says O'Malley. "Th is des ignis real ly about creat ing a h igh-performance work space."

A w a r e t h a t t h e p l a n w a s a " s w e e p i n g c h a n g e , "R a n e y f o r m e d a n e x e c u t i v e p l a n n i n g c o m m i t t e e a n dcon duc ted focus g roups to invo lve emplo yees in thedes ign p roces s . U p un t i l t he l a s t minu te s ome o f thee x e c u t i v e c o m m i t t e e h a r b o r e d m i x e d f e e l i n g s a b o u tun i fo rm-s ized o f f i ces and cons ide red inc lud ing a

" leader s h ip f loo r " fo r top execu t ives .To a d d r e s s r e s e r v a t i o n s , R a n e y a n d

G ens le r focus ed on the i s s ues o f p r ivacya n d i n d i v i d u a l c o n t r o l . T h e o r i g i n a l

p lan for the works ta t ions d id not cal lf o r d o o r s a n d s p e c i f i e d t h a t u n i tw a l l s be low enough to a l low fo reas y r ecogn i t ion of w h ich emp loyees

a r e i n a n d w h i c h a r e o u t t r a v e l i n g .O'Malley s ays , "We had ve ry in te r es t ing

issues about pr ivacy. But we a lso wanted tocom mu nica te a h igh l eve l o f am bien t in fo rmat ion .

We ach ieved th i s th rough the u s e o f s even - foo t g la s sw a l l s a n d l o c k a b l e s l i d i n g d o o r s . " T h e d e s i g n a l s oinc luded f ea tu res l ike ad jus tab le pe r s ona l c l ima te andnoise contro ls to make the s tudies feel more cus tomizedand the un i t s inc lude s he l f s pace fo r pe r s ona l pho to g r a p h s a n d m e m e n t o s . A s m u c h a s t e a m m e m b e r smove a round , they can a lw ays r ec rea te a comfor tab le ,f a m i l i a r w o r k s p a c e .

The w orks ta t ion des ign , c r ea ted by U n ivo r , M i lan ,a l s o a l low s fo r the u s e o f a "non-handed" compu te rmous e , and employees can change the ge l s ove r thel ight next to their computer according to their own perce ived g la r e l eve l s . Each un i t con ta in s mo t ion de tec t ion dev ices to s hu t eve ry th ing o f f w hen no one i sa round . A t the end o f each w orks ta t ion c lu s te r , "pow er

17


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Natural LightLocated at the building perimeter, thesestudios provide additional energy efficiency,accomplished through the selective use oflight shelves and reflectors. The daylightbenefit to the building through the useof these rooms will be as if the exteriorperimeter were 25% larger.


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@c h i m n e y s " r i s e a s c o l u m n s t o t h e c e i l i n g w i t h a l lpow er and da ta be ing d i s t r ibu ted th rough the ce i l ing .That resul ts in large cos t savings , s ince power d is t r ibution does not have to run through the f loor and all workcan be done w i th in ind iv idua l w ork s paces .

I n add i t ion to inco rpo ra t ing the l a t e s t t echno logy ,Raney s ough t to enhance w ork cond i t ions by b r ing ing in C rox ton Co l l abo ra t ive a s a " g r e e n " c o n s u l t a n t . M a t e r i a l s t h a t a r e d a n g e r o u s " o u t g a s s e r s " w e r ea v o i d e d , a n d a s p e c i a l H E P A a i r f i l te r a t i o n s y s t e mk e e p s t h e b u i l d i n g ' s a i r c l e a n e r t h a n t h e N e w J e r s e yfumes ou t s ide . "There's a qua l i ty r evo lu t ion happen ingi n b u i l d i n g a n d d e s i g n , " s a y sR a n d o l p h R . C r o x t o n. " M o r eand more s tud ies s how a s t rongc o r r e l a t i o n b e t w e e n p r o d u c t i v i t y a n d g o o d d e s i g n i n t h ew o r k p l a c e . G l a r e , b a d l i g h t i n g ,employee d i s comfor t , i ndoor a i rqua l i ty : thes e a r e the th ings tha tr equ i r e an add i t iona l expend i ture of energy for employees jus tt o c o p e . W h e n y o u g e t t h o s eth ings r ight , you can see an unbel i e v a b l e r e d u c t i o n i n e m p l o y e ee r r o r s, a b s e n t e e i s m , i l l n e s s . "

T h o s e c o n c e r n s a r e f u r t h e radd res s ed in the cho ice o f co lo rp a l e t t e w h i c h o n l y u s e s e a r t ht o n e s in t h e s p e c i a l l y m i x e dw a l l p a i n t , w a l l a n d f u r n i t u r ef a b r i c s a n d c a r p e t i n g . N e w Y o rk p a i n t e r D o n a l dK a u f m a n , w h o i s c u r r e n t l y w o r k i n g w i t h R i c h a r dM eie r on the new J . P au l G e t ty M us eum, c r ea ted ther i ch s hades w h ich do no t inco rpo ra te b lack p igmen ts ." T h e c o l o r s a r e m e a n t to e x p r e s s a h i e r a r c h y o fdes ign w i th in the a r ch i t ec tu re , " he s ays . "They ' r e no tmean t to be inhe ren t ly deco ra t ive bu t to mix in w i tht h e a r c h i t e c t u r a l s y s t e m s i n p l a c e . T h e s p a c e a r o u n dthe edge of the bui ld ing uses l ighter , cooler colors . Asthe co lo r s move tow ard the cen te r , t hey become mored e n s e a n d e a r t h i e r . "

P e rhaps the mos t immed ia te ly d i s t inc t ive f ea tu re i sthe l igh t , a i ry qua l i ty o f the w ork env i ronmen t , evenon a c loudy w in te r ' s day . The g las s -w a l l ed f ac i l i ty i sthe f i r s t i n the Wes te rn hemis phere to u s e s pec ia l ly

S S U E

jfS

Designed for MobilityThe studios are m eant to be adaptable common spaces. They can be quiet work areas,spaces dedicated to preparing FDA filings, or'global war rooms' for the time it takes tocomplete a specific team task. Flexible,mobile furniture allow studios to be quicklyrearranged in the desired configuration.

"The important thing to remember isthat this is not a space optimizationp l a n . This design is really a bout crea tinga high-performance work s p a c e /7ma de g las s , w i th ho r i zon ta l p r i s ms tha t ben d na tu ra ll igh t up to a h igh ly r e f l ec t ive , s pec ia l ly ma de s oun d-abs o rben t ce i l ing . A s a r e s u l t , ou t s ide l igh t i s d r aw n4 0 % deeper in to the cen te r o f each f loo r . There a r e

no l ight f ix tures on the cei l ing .I n s t e a d , o f f i c e l i g h t i n g i sb e a m e d u p w a r d .

"The r es u l t i s you have av e r y s e r e n e w o r k p l a c e , " s a y sO'Malley . "Most o ther of f icesh a v e a d a p p l e d e ff e ct w h e r ethe room goes f rom dark a t eyelevel to l ight where f ix tures areus ua l ly moun ted on the ce i l ing .Here your eye is drawn upwardsin s pace . I t ' s ve ry r e l ax ing ."

U l t i m a t e l y , R a n e y c l a i m s ,h e e n v i s i o n e d c r e a t i n g a" h i g h - r i s e v i l l a g e , " c o m b i n i n g7 0 % of the s pa ce for " t ea mt a s k s " a n d 3 0 % f o r " a t d e s kt a s k s . " "We s t a r t ed the des ignwith a s t rong sense of commu

n i ty , " he exp la in s . "The s tudy becomes your pe r s ona lhom e w i th in a ne ighb orhood . P eop le have add res s e sand they have a front door to their s tudy, which they canlock and c lose out the wor ld . But then they can s tep outin to the s t ree ts [co rr id ors ] , an d mo ve f lu id ly u p an ddow n th rough a cen t r a l s t a i r cas e a s w e l l a s l e f t andright. On the south side of each floor, we've let the s tudiobecome a town square . On some f loors , they 've becomelibrar ies where you can s i t informal ly . Some f loors haveeven created a pr ivate l i t t le bay area in the s tudios bypos i t ioning book shelves to form a wal l . They 've p laceds ea t ing in the re and i t ' s a g r ea t , qu ie t p lace . F ac ingoutside, i t , in effect, lets people s tep out of the building.The bes t k ind o f p lann ing i s l ike tha t , w hen i t happensn a t u r a l l y b y t h e p e o p l e u s i n g t h e s p a c e . "

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I S S U E

S P E A K I N Ghen i t comes to fo re ign language t rans la t ions , the sk i l li s i n t h e n u a n c e . T y p o g r a p h i c a l b l u n d e r s . B a d g r a m m a r .Mis s ing accen t m a rks . Awkward o r e r roneous wordc h o i c e s . I H In s te ad of sho w ing a fam i l ia r i ty w i th th ec u l t u r e , s u c h m i s t a k e s p r o d u c e t h e o p p o s i t e i m p r e s s i o nor resul t in a message tha t i s baff l ing, comical or d o w n

r igh t o f fens ive . BS D e s p i t e t h o s e r i s k s , a n i n c r e a s i n g n u m b e r o fA m e r i c a n c o m p a n i e s a r e s t r iv i n g to d e m o n s t r a t e t h a t t h e y a r es e r i o u s p l a y e r s i n t h e g l o b a l m a r k e t p l a c e . HE A n n u a l r e p o r t s ,p a c k a g i n g , a d c a m p a i g n s , i n s t r u c t i o n m a n u a l s , r e t a i l c a t a l o g s ,produc t spec shee t s , and Web s i t e s a re be ing t rans la ted in to a ha l fd o z e n l a n g u a g e s o r m o r e . 5 ! A n d d e s i g n e r s a n d c o r p o r a t e c o m m u n i c a t i o n s m a n a g e r s , w h o o f t e n o n l y s p e a k E n g l i s h , a r e ( Ayebe ing handed the daun t ing r e s pons ib i l i t y o f ge t t i ng t he j obdone and m ak ing s u re i t ' s r i gh t . Q W h e r e t o b e g i n ? A n dwha t t o keep in m ind? We a s ked Benem ann T rans l a t i onC e n t e r a n d D i re c t L a n g u a g e C o m m u n i c a t i o n s , tw of u l l - s e r v i c e m u l t i l i n g u a l t r a n s l a t i o n a g e n c i e s i n S a nFranc i sco , fo r adv ice and added some t ips o f our own.

S H O P S I G N I N MAJORCA:

"Here speechingAmerican."

Swiss W I N E M E N U :

u0ur winesleave you nothing

to hope for."

20

A D F O R A D E N T I S TIN HONG KONG:

" T e e t h e x t r a c t e d b yt h e l a t e s t m e t h o d i s t s . "


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I S S U E :

N G U E Sh o o s in g a T r a n s l a t o r1 . Hire a na t ive - languagetrans lator .A translation is typically only asgood as the translator, which isprobably the best argument forhiring a professional agencystaffed by native-language translators. Trained and tested in translation skills, these people arefamil iar wi th the currentnuances, idioms, dialects andcustoms of your target country. They are also aware ofthe subtle connotations ofwords that may elude, say, a college student majoring in foreignlanguage. It's not just English thatisn't an exacting science. A thesaurus and someone semi-fluentin the language are a dangerouscombination. Speaking the language is also no guarantee thatthe person is good at grammar,spell ing or punctuation. At thesame time, understand that atranslator's job is to translate textas accurately as possible, notrewrite it. Do not expect copy that

S HORT-LIV ED S LOG A NF O R T H E S CA NDI NA V I A N V A C U U M

MANUFACTURER, ELECTROLUX,I N AMERICA:

"Nothing suckslike an Electrolux."

is badly written in English toimprove in the translation.2 . Hire a t rans la torwi th sub jec t exper t ise .Knowing the language isn'tenough. Tougher still is understanding sophisticated subjectssuch as computer science, elec

tronics, law, medicineand finance well

enough to translate themeaning of the text accu

rately. Full-service translationagencies usually maintain alarge data bank of translation

specialists who are skilled andknowledgeable in a particularf ield. But even if your translatorhas a Ph.D. in the field, be sureto provide a glossary of keyterms related to your companyand industry.3. Ask for re ferences.Before starting, request referencesor samples and check them.4. L ine up ed i torsand p roof readers .Make sure your translation servicehas at least one editor assigned

N O T I C E A T A N A C A PU LC O HOTEL:

"Th e ma n a g e r h a spe rsona lly passed a l l the

water served h e r e /7

2 1

to check the translator's draft foraccuracy, style, punctuation,grammar and culturally sensitivenuances. Also, have the translateddraft reviewed by the local salesrepresentative or distributor in thetarget country. Mechanical orblueline proofs should also beproofread since incorrect hyphenations and accent marks areperceived as typographical errors.In some cases, they may evenalter the sense of the text. Buildmore time into your productionschedule for these extra steps.5. Consider a s ingle-sourcet rans la t ion supp l ie r .In some companies, the choiceof a translation agency is leftup to individual departments.Occasionally this has led to thesame product or servicegoing by slightly differentdescriptions, or evendifferent names, frompiece to piece. Thiscan confuse youraudience or evenmislead them into

N O T E T O GUESTSA T A TOKYO H O T E L :

"ycu are invited tc takeadvantage cfj th echambermaid."


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I S S U E

P o p C u l t u r e , N ic h e M a r k e t sA cont inent apar t f rom the East Coast publ i shing establ i shm ent , San Francisco-ba sed C hronicle Books has a lways do neits own thing, defining i ts own genre , expanding beyondt radi t ional bookstore venues and taking design to the l imi t .From the best -se l l ing "Griffin & Sabine" to a "Star Wars '"rendi t ion of the popular Li t t le Big Books of yesteryear,C hronic le Books app roac hes p ubl i sh ing on it s own te rms .

Jack JensenPresident an d Publisher, Chronicle BooksJack Jensen joined Chronicle Books as sales managerin 1977 and was elected publisher in 1990 and president in 1995.

Michael CarabettaDesign Director, Chronicle BooksMichael Carabetta became the design director ofChronicle Books in 1991, after spending 10 years atLandor Associates directing corporate identity projects.W h e n C h r o n i c l e B o o k s ' " G ri ff in & S a b i n e " b yN ick Ban tock w as r e l eas ed in 1 99 1 , bo th thepub l i s h ing w or ld and book buyer s took no t i ce .

A cha rming s to ry abou t a co r r es pondence be tw een thef ic t ional ar t is t , Gr i f f in , and h is e lus ive muse, Sabine,the p lo t unfolds through pos tcards and loose- leaf le t terss tu f f ed in r ea l enve lopes . I n te r ac t ive and engag ing ,"Griffin & S ab ine" - w h ich qu ick ly ro s e to the NewYork Times' best-seller l i s t - invi tes readers to becomev o y e u r s to a f r i e n d s h i p . U s i n g h a n d w r i t t e n n o t e sand pu l l -ou t l e t t e r s , t he book ' s ambi t ious des ign addsc red ib i l i ty and in te r es t to the s to ry in a w ay tha t aconven t iona l p r es en ta t ion w ou ld no t have done .

A p r o d u c t i o n c h a l l e n g einvo lv ing d ie - cu t s , g lu ing andcons ide rab le manua l l abo r , thebook is one that perhaps onlyC hron ic le Books w ou ld be bo lde n o u g h t o t a k e o n . B u t t h a t ' sC hron icle Boo ks . I t of ten goesw here f ew pub l i s he r s da re tot read and, in so doing, i t has

B O O K S F A C TParen t Com p an y: Chronicle Publishing CompanyPr in c ip a l O f fice r : Jack Jensen,President and PublisherEmployees: 110Books Pub l ished Annual ly: About 200Gift P rod uc t s P rod uced An n ua l ly : About 80

i n t r o d u c e d m a n y m u c h - i m i t a t e d i n n o v a t i o n s.T h i s i n d e p e n d e n t , r i s k - t a k i n g s p i r i t g r e w l a r g e l y

out of necessity. Founded in 1966 as an offshoot of theSan Francisco Chronicle, fo r many yea r s i t pub l i s hedonly regional guidebooks and the col lected wr i t ings ofth e Chronicle's n e w s p a p e r c o l u m n i s t s . J a c k J e n s e n ,C hron ic le Books p res ide n t and pub l i s he r , r eca l l s tha teven in 1977 w hen he jo ined the company , i t had "astaff of four and was doin g eight book s a yea r." Is ola tedand no t t aken s e r ious ly by the Eas t Coas t pub l i s h inges tab l i s hm en t , C h ron ic le Books r ece ive d few agen t o rauthor submiss ions . This forced i t to come up with i tsown ideas and look in p laces and a t subjects that o ther

pub l i s he r s igno red .O ne s uch s ub jec t , "The

S us h i Book" by M ia D ie t r i ck(1981) , he lped the Wes t Coas tp u b l i s h e r t o f i n d it s n i c h e ."I ' l l never forget showing thebook in N ew Y ork ," r eca l l sJ e n s e n , w h o w a s s a l e s m a n ager a t the t ime. " I t met wi th

24


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0^:Jfe

*v

'm&f**&M 'o>< s

N I C L E B O O K SS A N F R A N C I s c o


29/40

I S S U E :

GourmetChronicle Books appeals togourmet interests with cook-books that explore a single food,ingredient or ethnic cuisine -e.g., sun-dried tomatoes,stews, polenta, flavored vinegars, the vegetarian table ofNorth Africa. All are lavishlyphotographed or illustrated.

GiftsCalendars, address books,journals, notecard sets, ar tboxes and the like make greatlittle inexpensive presents.Some gift items utilize visualsfrom previously publishedbooks, but with increasingfrequency, original productsare being created for theChronicle Gift program.

Regional TravelChronicle Books was originallyfounded to publish regionalguidebooks, and it has continued to do so ever since w ithbooks on San Francisco, thewine country,Monterey Bayand national and internationalpoints beyond. More recently,it has come out with a 52Deck Card series, suggesting52 fun things to do at a desti-nation, and glue-edged book-lets of scenic postcards.

OdditiesChronicle Books' emphasis onpaperbacks and the gift m arketinvites opportunities to takeon amusing topics that wouldappeal to impulse buyers.Cheap chuckles, titles like'Taxi Driver Wisdom" and"The Paranoid's Pocket Guide"are priced at what a movie,Coke and popcorn would costthese days.

"As a culture, we love booksas ob jects. There is a reveren cefor b o o k s , not first and foremostfrom the content level, butfor the object itself."

T C I A n


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Do It!

Griffin & SabineThe success of "Griffin &Sabine" has not onlyspawned sequels, it ha sled to Griffin & Sabineaddress books, postcards,stationery, computerscreen savers and the like.

/ _ -*-

DoltThe slim size and riv-

eted fan-book designof this handy refer-ence series make iteasy to keep thebook in a tool kit,bike bag or gar-dening box. A

I countertop display facilitates| cross-selling

specialtytores.mm

Artful KitchenAfter pioneering the photographic cookbook genre,Chronicle Books is breakingnew ground with an illustrated cookbook seriescalled the "Artful Kitchen."

Deluxe EditionThe "Star Wars Chronicles,"a deluxe limited edition, in aluxurious slipcase volume,features a comprehensive collectionof photographs, production stills,sketches and outtakes from the filmTargeted at serious Star Wars fans,

the $150 book immediatelysold out.

3-D BookLenses bound into the

hardback cover ensure theright viewing distance

for a stereoscopic view ofundersea creatures.

Art BoxesShaped like a book

so merchants can displaythem "spine out" or flat,these keepsake art boxes

typically include asubject-related book,notecards, envelopes

and other items.

Star WarsIn cooperation with

Lucas Films, Chroniclereleased 31Ux 4 inch

"Star Wars" story books,timed to coincide with the

theatrical release of the StarWars Trilogy. Story scenesare depicted in two-colorillustrations on everyspread.

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I S S U E

Ja p a n , " sa y s Je n se n . A l th o u g h o th e r l a r g e p u b l i sh e r swe r e a l so p r in t i n g t h e r e , "our We st Co a s t s e n s ib i l i t yhe lped us to see tha t these books were under apprec i a ted from a fo re ign r igh ts s ta ndp oin t ."

I n t h e e a r ly ' 8 0 s , C h r o n ic l e Bo o k s b e g a n b u y in gf o r e ig n r i g h t s t o a r t - r e l a t e d b o o k s a n d r e p a c k a g in gth e m f o r t h e Am e r i c a n m a r k e t . A m a jo r a p p e a l o fthese v isua l books was tha t co lo r p r in t ing separa t ionswere usua l ly comple ted , and the tex t t r ansla t ion wasm in im a l . Wh e r e wr i t t e n c o n te n t wa s l i g h t , t h e b o o k sc o m p e n s a t e d w i t h h i g h - q u a l i t ydesign , imagery and p r in t ing and anaf fo rdab le p r ice . L ike i t s cookbooks,a l l o f the v isua l books were ava i lab leo n ly i n p a p e r b a c k . "The g r o u p c o m in g o f a g e g r e w u p o n p a p e r b a c k s , "J e n s e n e x p l a i n s . "For t h e m , paperb a c k s w e r e m o r e f a s h i o n a b l e t h a ne x p e n s iv e h a r d c o v e r s . "P a p e r b a c k s a l so a p p e a r e d m o r ea p p r o a c h a b l e . " B a c k t h e n ,i l lus t ra ted books were a l l h igh-e n d , s c h o l a r l y a r t b o o k s , " s a y sC h r o n i c l e d e s i g n d i r e c t o r M i c h a e lC a r a b e t t a . " C h r o n i c l e c a m e a l o n gwi th b e a u t i f u l v i su a l b o o k s t h a t t h eaverage person cou ld a f fo rd ."

T h e p o p u la r c u l tu r e t o p i c s a n df r iend ly format of C hron ic le Books len t them selv es tothe g i f t marke t and spec ia l ty shops as wel l as books to res venues tha t i t began pursu ing in earnest in thela te ' 70 s . "Th e fi r s t seaso n I cam e on [1977 ] , we wentback East to make our fa l l p resen ta t ion and one o f then a t io n a l b o o k c h a in s d e c id e d to p a ss o n o u r e n t i r el i n e , " Je n se n r e c a l l s . " Rig h t t h e n , we sa id , f o r g e t i t .We cannot be dependen t on on ly one marke t . We haveto se e k o th e r c h a n n e l s . "

F r o m th e n o n , C h r o n ic l e Bo o k s h a s so u g h t c r o s s -m e r c h a n d i s i n g t i e - i n s w i t h n o n - b o o k s t o r e r e t a i l e r s .

" T o u s , i t ' s l o g i c a l t h a t p e o p le sh o p p i n g a t a k i t c h e n w a r e s t o r e m a ywa n t t o b u y a c o o k b o o k th e r e , " sa y sC a r a b e t t a . I n t h e sa m e way , a n Ar tDe c o c o l l e c t i b l e s sh o p w i l l c a r r y i t s

b o o k s o n Ar t De c o o b j e c t s . " A sh o p p e r wh o c a n ' ta ff o rd a $ 4 0 0 Ar t De c o m a r t i n i sh a k e r m a y d e c id e

S p i n e P r e s e n c eWith more and more national superstores displaying books "spine out"instead of face up in order to get moretitles on the shelf, Chronicle Bookswas finding that i t was losing thedesign advantage of its billboard-likecovers. Chronicle devised a uniformcolor band system to give its booksgreater "spine presence."

t h a t a $ 1 6 .9 5 b o o k th a t sh o ws th e m we l lwo u ld m a k e a n i c e g i f t , " h e sa y s .

" I would a rgue tha t C hron ic le Books h ast h e b e s t d i s t r i b u t i o n i n n o n - t r a d i t i o n a l

m a r k e t s , " sa y s Ju l i e Ch a n te r , m a r k e t in g d i r e c to r ." We to o k th e m se r io u s ly f r o m d a y o n e . Ou r b o o k sa r e o f t e n b e t t e r d i sp l a y e d a n d m o r e a p p a r e n t i n g i f tsh o p s t h a n b o o k s to r e s . P r o d u c in g b o o k s f o r b o thm a r k e t s i s o u r g o a l . "

I n p u r s u in g th e gi ft m a r k e t , C h r o n ic l e B o o k s wa sa wa r e t h a t i t s p a p e r b a c k s n e e d e d tof e e l l i k e k e e p sa k e s . I t i n t r o d u c e df lap- fo lded cover jac ke t s to g ive thebooks a more substan t ia l f ee l and i tu se d q u a l i t y d e s ig n a s a m a r k e tdifferentiator . "As gif t i tems, i t isa b so lu t e ly e s se n t i a l t h a t we h a v e an i c e o b j e c t t h a t f e e l s g o o d a n d i sa e s t h e t i c a l l y p l e a s a n t t o l o o k a t , "J e n s e n s a y s . B e y o n d t h a t , J e n s e nb e l i e v e s t h a t " a s a c u l tu r e , we lo v eb o o k s a s o b j e c t s . T h e r e i s a r e v e r ence fo r books, no t f i r s t and fo rem o s t f r o m th e c o n te n t l e v e l , b u tfo r the ob jec t itself."

B a s e d o n t h i s belief, C h r o n i c l eBo o k s h a s f o c u se d o n t h e d e s ig na n d p r o d u c t i o n v a l u e o f i t s b o o k s .

" W e m a y c u t c o r n e r s e l s e w h e r e , b u t n e v e r o nd e s i g n , " sa y s C h a n t e r . O n e w a y C h r o n i c l e c u t s c o r n e r s i s b y d o in g v i r t u a l l y n o a d v e r t i s i n g . " Ou r b o o k sa r e h a r d t o c o m m u n i c a t e i n a b l a c k - a n d - w h i t e a d .We sp e n d th e m o n e y o n o u r f u l l - c o lo r c a t a lo g s a n dput i t in to the book itself. M y m a r k e t i n g b u d g e t i ss i g n i f i c a n t l y l e s s t h a n o t h e r p u b l i s h i n g h o u s e s . O u rm a r k e t in g p l a n i s t o p r i c e t h e b o o k a t a d o l l a r o rt w o l e s s . "A s g i f t i t e m s so ld i n n o n - b o o k s to r e v e n u e s , t h eb o o k s o f t e n f e a tu r e p o p u la r c u l tu r e su b j e c t s o fa h ig h ly v i su a l , e y e - c a t c h in g n a t u r e . To d o th a tw e l l , C h r o n i c l e B o o k s h a s e n g a g e d m a n y of t h e t o pd e s ig n e r s , p h o to g r a p h e r s a n d i l l u s t r a to r s t o d a y to d oi t s books. "We l ike to th ink o f the wor ld as our s tud io ,"says C arabe t ta . With on ly f ive book desig ners i n -ho use ,t h e m a jo r it y o f t h e 2 0 0 b o o k s i t p u b l i sh e s a n n u a l lya r e d e s ig n e d b y o u t s id e t a l e n t .

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I S S U E :

" S i n c e w e w e r e n ' t g o in g t o p l a y b yt h e r u l e s , w e h a d t o c o m e u p w i t h o u ro w n . T h a t is c le a r l y t h e r e a s o n t h a t

w e a r e p e r c e iv e d t ob e d i f f e r e n t . "

" B e c a u s e o u r b o o k s a r ei m a g e - d r i v e n , r a t h e r t h a n t e x t -

dr iven, they sel l wel l in Europe andA s i a , " J en s en s ays . Th en aga in , the in i t i a l emp has i so n f o r e i g n m a r k e t s b e g a n w h e nC h r o n i c l e B o o k s r e a l i z e d t h a t itneeded to pr in t a lo t of copies tob e a b l e t o p r o d u c e h i g h - q u a l i t yi l lu s t r a t ed books a t an a f fo rdab leu n i t p r i c e , h e a d m i t s . T h a t m e a n tbecoming a l a rge p laye r in expor tbooks and l i cens ing them over s eas .

T h e C h r o n i c l e G if t p r o g r a m ,f e a t u r i n g c a l e n d a r s , a d d r e s sbooks , no teca rds , b l ank jou r n a l s a n d t h e l i k e , w a s l a u n c h e din l a t e 1994 fo r the s ame r eas on ."The g if t idea s tar ted out of necess i t y , " J e n s e n s a y s . " M a k i n g i l l u s t r a t e d b o o k s is l a b o r i n t e n s i v ea n d e x p e n s i v e . W e r e a l i z e d t h a tin s te ad o f l i ce ns in g off m a te r i a l sfo r w h ich w e ow ned the copyr igh t , w e cou ld ex tendo u r p u b l i s h i n g o p p o r t u n i t i e s . "

A s s o c i a t e p u b l i s h e r C a r o l i n e H e r t e r , w h o is i ncharg e of C h ron ic le G i ft , adds tha t tw o o the r r e as on sconv inced them to l aunch the p rog ram. "F i r s t , w e havealways had s t rong d is t r ibut ion in non- t radi t ional out le tssuch as art supply stores and gift s tores, and we wantedto put more concentra ted ef for t on projects that wouldw ork w e l l in thes e marke t s . The o the r r eas on i s tha tw e hav e so m uc h f an tas t i c v i s ua l ma te r i a l s in thebooks thems e lves and s o many connec t ions w i th g rea tdes igner s , i l l u s t r a to r s and pho tog rapher s . We w an tedto be a fu l l serv ice re sou rce for th is ta l en t ."

The p rog ram has been a runaw ay s ucces s , s o much

Product Tie- insThe sale of Chronic le books in cul inarystores and other non-t radi t ional retai lout lets enables the publ isher to formproduct t ie-ins with other product manufacturers. Michael Chiarello, proprietor ofTra Vigne restaurant and creator of theConsorzio line of flavored oils and vinegars, wrote this book, which is sold alongside his product. The book cover echoesthe typography on the Consorzio bottles.

5W(\tM

so that i t has expanded far beyond mater ia ls f rom publ ishe d books . Today C hron icle Gift i s or ig ina t ing a bout80 projects a year. This fall i t is releasing its most ambit ious project yet wi th "Aerobleu ," based on an or ig inals tory abou t a jazz c lub in Par is in the '40 s . De velo pedi n c o l l a b o r a t i o n w i t h a n e n t e r t a i n m e n t - b a s e d g r o u pca l l ed Les s Than S even , the A erob leu p ro jec t w i l l becom bine d w i th an A erob leu C D , s e t f or r e l e as e nex ts p r ing by B lue N o te Records , and even tua l ly a fu l l -length feature f i lm, mar t in i jazz bar , and c lo th ing andluggage l ine . "Aerobleu has taken on a l i fe of i t s own,"says Herter . "It began as a vision of tell ing a s tory inan unconven t iona l w ay , bu i l t t h rough p roduc t s . "

U n us u a l to s ay the l eas t , it f i ts r igh t in to C h ron ic leB o o k s ' s t y l e , w h i c h e v e r y o n et h e r e , i n c l u d i n g J e n s e n , a d m i t si s " q u i r k y a n d e c l e c t i c . " I n s o m ew a y s , t h i s s e n s i b i l i t y h a r k e n sb a c k t o t h e d a y s w h e n C h r o n i c l eBooks found i tse l f ignored by theE a s t C o a s t p u b l i s h i n g i n d u s t r y ,and s e t ou t on i t s ow n . "Be inghe re [on the Wes t C oa s t ] , w edev e lo ped a h i s to r y tha t i s no ta f r a id of r e s p ons ib le r i s k - t a k ingi n o r d e r t o s u c c e e d , " J e n s e ns a y s . "S ince w e w eren ' t go ing top lay by the ru les , w e had to comeup with our own. That is c lear lythe r eas on tha t w e a r e pe rce ivedt o b e d i f f e r e n t . " C i t i n g i t ss ucces s fu l ' 50s nos ta lg ia book

ca l l ed "P a t io Daddy-0 R e c i p e J o u r n a l , " a s a n e x a m p l e , he s ays , " I 'm no t s u re your s t andard N ew Y orkp u b l i s h i n g h o u s e w o u l d b e i n c l i n e d t o p r o d u c e ajou r na l w i th a t ab le c lo th inc lud ed . S omebody the r ew o u l d h a v e s a i d , n o p e . "

Thes e en te r t a in ing and qu i rky o f f e r ings a r e w ha tma ke C hron ic le Books s o un iqu e . J en s en s ays tha tC h r o n i c l e B o o k s w i l l r e m a i n r e c e p t i v e a n d o p e n t oin te r es t ing ideas . " I f w e don ' t con t inue to cha l l engeourselves , i t i s no fun . And i f we cont inueto do the same th ing, we ' l l f ind ourselves ina crowded f ie ld of people doing i t too . Anydegree o f s ucces s w i l l be mimicked . I t i si m p e r a t i v e t h a t w e c o n t i n u e t o e v o l v e . "

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mmmm

Trade Show Exhibit BoothTrade fairs, such as the annual

American Booksellers Associationshow, are critical events for

reaching re tail buyers. To encouragebook and gift buyers to lingerawhile at the C hronicle bo oth, San

Francisco-based designer Earl Geecreated the trade exhibit like a

nini-bookstore, with sturdy wooden'walls," a reading table and display

copies for browsing.


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D E S I G N A N D B U S I N E S S C L A S S I C S M I C H E L I N ' S B I B E N D U M

I ention the Michelin Tire and Rubber Company andmost consumers think of the company's trademarkmascot, a jovial, robust giant named Bibendumintroduced by the French tire maker in 1898.

According to legend, the character was conceived in1894 when one of the Michelin brothers looked at a pile oftheir tires and observed, "If it had arms, it would look likea man." The comparison went nowhere, and the companystuck with its slogan, "The tire that swallows obstacles,"unti l an advertising man, named 0 Galop, happened toshow the brothers a sketch of a portly Bavarian holdingup a beer mug and proclaiming "Nunc est bibendum!"(Now is the time to drink!). That linked the idea of a tirecapable of "drinking" nails and other sharp objects.

The character got i ts name during the f i rstinternational Paris-Amsterdam-Paris auto race in ^

1898 , when Andre Michel in 's Panhard overtookanother race car and the driver was overheard shouting,"There goes bibendum!"

Bibendum, better known in the U.S. as the MichelinMan, became a famil iar figure in the 1920s as the saleof motorcars soared. Appearing on all kinds of promotional materials and mounted in three-dimensional formon delivery trucks, the Michelin Man personified theinflatable product in a witty way. He enabled the company to give a recognizable face and friendly personalityto an otherwise very uti l i tarian product. Unlike manytrademark personalities such as Betty Crocker who getsa "facel i f t" every few decades to remain current, the

Michel in Man sti l l looks surpris ingly contemporary,and few would guess from appearances that he

is 100 years old.

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Issuec/o Potlatch CorporationPost Office Box 510Cloquet , MN 557 20

PLACEPOSTAGE

HERE

@lssuec/o Potlatch Corporat ionPost Office Box 510Cloquet , MN 557 20

PLACEPOSTAGE

HERE


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I s s u e m a il in g l i s t , p l e a s e c o m p le t e a n d m a i l t h is c a r d .

Future complimentary copies of @IssueInformation about Potlatch paper productsInformation abou t Corporate Design Foundation

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P a s s th is c a rd a lon g to a f r i e n d or a s s oc ia te wh o wou ld l ike to receive I s s u e .Send me:O A complimentary copy of @lssue Vol. 3 No. 1O Future complimentary copies of IssueO Information about Potlatch paper productsO Information about Corporate Design Foundation

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Volume 3, No. 1 , Spring 1 997

C orporate Strateg ist James Moore on DesignThe author of The Death of Competitionexplains what business can learn from

the process of design.

Gymboree Grows UpIn expanding from play programs into

retail stores, the child-focused companyadopted a flexible visual vocabulary for

expressing its brand identity.


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Potiatch CorporationThe sponsor of @lssue, Potiatch Corporation has long been aproponent of the use of quality design to create corporate identity,promote products and establish credibility and distinction amongkey consumer and business au diences.

At mills in northern Minnesota, Potiatch manufactures thebroadest line of premium coated printing papers available today,including a selection of gloss, dull , velvet, silk and matte finishesand a choice of fine recycled papers. In addition to setting thestandard for coated printing paper quality, Potlatch's printing paperoperations have earned International Standards Organization (ISO)9002 certification, a rating verifying its manufacturing productquality system is recognized worldwide.

Corporate Design FoundationThe mission of the Foundation is to improve the quality of life andeffectiveness of organizations through design. We achieve this byworking with business schools to include design as part of theircurriculum and by publishing @lssue, which is aimed at corporateexecutives and business school students. For more information,visit our web site at www.cdf.org.Board of AdvisorsDavid Brown, President, Art Center College of DesignPeter Clark, Professor, Annenberg School for CommunicationPaul Cook, Chairman, SRI InternationalNiels Diffrient, industrial designerGeorge Gendron, Editor-in-Chief, Inc. MagazineArthur Gensler, Chairman & CEO, GenslerJoline Godfrey, author and Founder, An Income of Her OwnPaul Hawken, author and Chairman, The Natural StepGerald Hirshberg, President, Nissan Design, InternationalDonald Jacobs, Dean, J.L. Kellogg School of Management,

Northwestern UniversityDavid Kelley, Principal, IDEO Product DevelopmentRoger Mandle, President, Rhode Island School of DesignJohn Massey, graphic designerInabeth Miller, Vice President for Academic Affairs,

Northeast College of CommunicationsPatricia Moore, President, GUYNES Design, Inc.Dianne Pilgrim, Director, Cooper-Hewitt National Museum of DesignJohn Rosenblum, Dean, Jepson School of Leadership Studies,

University of RichmondPaul Saffo, Director, Institute for the FutureGordon Segal, President, Crate & BarrelRich Silverstein, Co-Creative Director and Partner,

Good by, Silverstein & PartnersSara Little Turnbull, Director, Process of Change Laboratory,

Stanford UniversityRichard Saul Wurman, TED Conferences, Inc.

Printed in the U.S.A. on Potiatch Vintage Remarque Gloss Cover,100 lb. and Vintage Remarque Velvet Book, 100 lb. Both arerecycled papers containing a minimum 10% post-consumer waste.
http://www.cdf.org/http://www.cdf.org/


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