EDITORIALS

Brody, NevilleBrody’s style comes from a denial of traditions forced apon him during his education, he built the idea of individualsm and difference, often changing his work if he was told it was good.

Because of this his work was always very new and fresh, encouraging people to experiment and find thir own style. Neville’s work on face defined his style as well as changing the traditional

structure of magazine design. Every single mark in his designes was reasoned. His premis of editorial and design working hand in hand

Carson, DavidCarson’s use of shapes to mould his copy creates unique and bold design statements. His visual and often literal representation of his subject means often he breaks the mould when it comes to traditional

type setting. His influences are outside design, from everything he experiences throughout his life rather than what has gone before him in the industry which makes for a very varied collection.

Muller-Brockmann, JosefMuller Brockmann’s influence on Swiss graphic design was second to none. His idea of formal redction and neutral, functional and objec-tive design was huge in the 50’s and 60’s. This need for a func-

tional means of design actually created a very strong and strick-ing style that has a lot of visual asthetics that were not the primary design function.

Frost, VinceFrosts use of hierachy with a bold and clever idea makes for some very striking peices. The way he guides you through a piece without forcing your eyes makes is enjoy-able to study them. Frost is very

good at working with what he has and not forcing an idea on some-thing that is not fitting.

Gandl, StefanGandl’s background of experi-mental type, his developement of a style with the use of letraset and black markers gave him an outside the box way of think-ing, he did however embrace the

digital revolution and developed his style and horizons using on screen media. Although this peice is not strictly editorial its de-sign uses a great diferenciation between title and content so you

can find the area you are looking for then followed by the content.

NAMES

Foundation of Type Museum

The Type Project

The Center of Type Communication (CTC)

The Language of Type

The Printed Word

ARCHITECTURE

Eyebeam InstituteNew York, USADiller & ScofidioPublic viewongs and institute

A supporting structure that winds upward until the walls, floors and ceiling merge makes this museum and studio space unique. the band separating the floors from each other is con-structed in two layers. Spaces created on one side are for public use and room on the other is reserved for the institute.

The Eyebeam institutes shape and form could be seen as the path of a readers eye as they digest a block of text, scanning from left to right yet occasionally flickering to lines above and below.

What also draws me to this building is its feeling of a blank canvas, it is a very modern build-ing and because of its style it leaves room for the content to shape the building.

Eyebeam Institute, NY

The Solomon R. Guggenheim MuseumNew York, USAFrank Lloyd WrightMuseum

Nature not only provided the museum with a respite from New York’s distractions but also leant it inspiration. An inverted ziggurat (a stepped or winding pyramidal temple of Baby-lonian origin) dispensed with the conventional approach to museum design, which led visitors through a series of interconnected rooms and forced them to retrace their steps when exiting. Instead, Wright whisked people to the top of the building via elevator, proceeding downward at a leisurely pace on the gentle slope of a continu-ous ramp. The open rotunda afforded viewers the unique possibility of seeing several bays of work on different levels simultaneously.

The guggenheim is one of the strongest i feel to fulfill the type factory brief. The way it spirals inward gives a sense of higher-achy you would expect from a well designed peice of type.

The internal design is ment to guide you from top to bottom keeping you on track yet letting you peer into exhibitions further on.

The outer design also resembles blank lines with the gaps apearing black as the leading, again like the previos design a blank canvas able to be shaped by the contents.

Guggenheim, NY

Ota-Ku Resort ComplexNagano, JapanToyo ItoSchool

The structure, which is set on a slope, asumes the overall shap of a crecent, the kind of elon-gated, elegant form that Ota-Ku excels in. An inclined, corrugated metal roof curves over the entire complex. The site also includes two pedestrian bridges and an annex made from “materials recicled from an old private dwelling of the region.” This annex is intended to give students some idea of local traditions.

This building is currently used as a school and internlly is not what draws me to it. The form of it ex-ternally, the full structure resemples a bracket (, and the when broken down you lso have a commer.

The other reason i was drawn to this building was because of its use of materials from a previos ge and these being influencial on the students. The type factory would contain peices from history

that need to be appreciated in the same way in order to understand the work of today.

Ota-Ku Resort, Nagano

Hover BuildingLondon, EnglandWallis, Gilbert and PartnersFactory

The Hoover Building is situated in West London and is one of the capital’s foremest examples of Art Deco architecture. Designed for the vacuum cleaner company of Hoover Limited by architects Wallis Gilbert between 1931 and 1935, The Hoover Building is now owned by Tesco supermarkets who have been very Sym-pathetic in conserving the original features of the building.

The draw of the Hoover building in London was its asthetic look. The title of Type Factory fits well into the art deco style the building was produced in.

The art deco asthetic has its roots in the 30’s yet this kind of building still looks bang up to date even today which is also sign of good typography, lasting the test of time and fashion.

Hoover Building, London

The Solomon R. Guggenheim Bilbo, SpainFrank GehryMuseum

The curves on the building have been de-signed to appear random. The architect has been quoted as saying that “the randomness of the curves are designed to catch the light”. Designed by Canadian/American architect Frank Gehry and opened to the public in 1997, it was immediately vaulted to prominence as one of the world’s most spectacular buildings in the style of Deconstructivism. Architect Philip John-son called it “the greatest building of our time”

The reason i picked another Guggenheim building was because this one was almost an opposite of the majority of others i have chosen. Its randomness gives it its character and organic feel.

As not all type is stringent in its design this building is much more fitting to the free flowing of scripts and hand written text yet still has the angular feel of the printed word.

Guggenheim, Bilbo