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Magazine about art, design and architecture.
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Jonathan Ivy + Milton Glaser + The Empire State Building + Oscar Niemeyer + Paul Rudy
Font: Mengdetekst:Celeste Overskrift/mellomtittel:DaxDesign: Alexander KanvikFarge: Pantone Solid Coated PurpleTrykkeri: Norges Kreative FagskoleOpplag: 001
The Empire State Building 4+5 Milton Glaser 6+7 Elmgreen & Dragset 8+9 Oscar Niemeyer 10+11 Jonathan Ive 12+13 Paul Rudy 14
De tiDligere magasinene aktuell kunst og kunst for alle ble slått sammen til ett magasin fra 2010. magasinet fikk flere reDaksjonelle siDer, større breDDe og nytt Design. ka&D vil alltiD by på interessante og nærgåenDe kunstnerportretter, atelierbesøk, kunsthistorie, samtiDskunst, invest-eringsobjekter, Design- eller arkitekturhistorier, instruktivt stoff, utstillingsomtaler, kurs- og rei-setilbuD og mye mer. magasinet som er norDens leDenDe kunst-, Design-, og arkitektur magasin retter seg mot De som vil investere i eller kjøpe kunst, til De som kun vil lære og lese om kunst, arkitektur og Design, og til Den aktive kunstneren. ka&D er et magasin som gjennom året gir en unik mulighet til å bli kjent meD De største norske og utenlanDske kunstnerne, få en presentasjon av kunst på en folkelig måte, samtiDig som Det er et eksklusivt og tiDsriktig magasin.
empire state building
‹ 4 › Ka&D
the empire state builDing is a 102-story lanDmark anD american cultural icon in new york city,
uniteD states, at the intersection of fifth avenue anD west 34th street.
empire state building
Ka&D ‹ 5 ›
the empire state builDing is a 102-story lanDmark anD american cultural icon in new york city,
uniteD states, at the intersection of fifth avenue anD west 34th street.
It has a roof height of 1,250 feet and with its antenna spire included, it stands a total of 1,454 ft high. Its name is derived from the nickname for New York, the Empire State. It stood as the world’s tallest building for 40 years, from its completion in 1931 until construction of the World Trade Center’s North Tower was completed in 1972. Fol-lowing the destruction of the World Trade Center in 2001, the Empire State Building once again became the tallest building in New York.
tekst: wikipeDia.org
The Empire State Building is designed in the distinctive Art Deco style, and has been named by the American Society of Civil Engineers as one of the Seven Wonders of the Modern World. The building and its street floor interior are designated landmarks of the New York City Landmarks Preservation Commission, and confirmed by the New York City Board of Estimate. It was designated as a National Historic Landmark in 1986. In 2007, it was ranked number one on the List of America’s Favorite Architecture accord-ing to the AIA. The building is owned and managed by W&H Properties. The Empire State Building is currently the third tallest skyscraper
in the United States (after the Willis Tower and Trump International Hotel and Tower, both in Chicago), and the 15th tallest in the world. It is also the fourth-tallest freestanding structure in the Americas. The Empire State Building is currently undergoing a $550 million renovation, with $120 million spent in an effort to transform the building into a more energy efficient and eco-friendly structure. Receiving a gold leadership in the Energy and Environmental Design (LEED) rating in September 2011, the Empire State Building is the tallest LEED certified building in the United States.
Design anD constructionThe Empire State Building was designed by William F. Lamb from the architectural firm Shreve, Lamb and Harmon, which produced the building
drawings in just two weeks, using
its earlier designs for the Reynolds Building
in Winston-Salem, North Carolina, and the Carew
Tower in Cincinnati, Ohio (designed by the architectural
firm W.W. Ahlschlager & Associ-ates) as a basis. Every year the staff
of the Empire State Building sends a Father’s Day card to the staff at the
Reynolds Building in Winston-Salem to pay homage to its role as predecessor
to the Empire State Building. The building was designed from the top down. The general
contractors were The Starrett Brothers and Eken, and the project was financed primarily by John
J. Raskob and Pierre S. du Pont. The construction company was chaired by Alfred E. Smith, a former
Governor of New York and James Farley’s General Builders Supply Corporation supplied the building materials. John W. Bowser was project construction superintendent.
Excavation of the site began on January 21, 1930, and construction on the building itself started symbolically on March 17—St. Patrick’s Day—per Al Smith’s influence as Empire State, Inc. president. The project involved 3,400 work-ers, mostly immigrants from Europe, along with hundreds of Mohawk iron workers, many from the Kahnawake reserve near Montreal. According to official accounts, five workers died during the construction.Governor Smith’s grandchildren cut the ribbon on May 1, 1931. Lewis Wickes Hine’s pho-tography of the construction provides not only invaluable documentation of the construction, but also a glimpse into common day life of workers in that era. The construction was part of an intense competition in New York for the title of “world’s tallest building”. Two other projects fighting for the title, 40 Wall Street and the Chrysler Building, were still under construction when work began on the Empire State Building. Each held the title for less than a year, as the Empire State Building surpassed them upon its completion, just 410 days after construction commenced. The building was officially opened on May 1, 1931 in dramatic fashion, when United States President Herbert Hoover turned on the building’s lights with the push of a button from Washington, D.C. Coincidentally, the first use of tower lights atop the Empire State Building, the following year, was for the purpose of signaling the victory of Franklin D. Roosevelt over Hoover in the presidential election of November 1932.
architectureThe Empire State Building rises to 1,250 ft at the 102nd floor, and including the 203 ft pinnacle, its full height reaches 1,453 ft–89 16 in The building has 85 stories of commercial and office space representing 2,158,000 sq ft. It has an indoor and outdoor observation deck on the 86th floor. The remaining 16 stories represent the Art Deco tower, which is capped by a 102nd-floor observatory. Atop the tower is the 203 ft pinnacle, much of which is covered by broadcast antennas, with a lightning rod at the very top.
The Empire State Building was the first building to have more than 100 floors. It has 6,500 windows and 73 elevators, and there are 1,860 steps from street level to the 102nd floor. It has a total floor area of 2,768,591 sq ft; (the base of the Empire State Building is about 2 acres. The building houses 1,000 businesses and has its own zip code, 10118. As of 2007, approximately 21,000 employees work in the building each day, making the Empire State Building the second-largest single office complex in America, after the Pentagon. The building was completed in one year and 45 days. Its original 64 elevators are located in a central core; today, the Empire State Building has 73 elevators in all, including service eleva-tors. It takes less than one minute by elevator to get to the 80th floor where visitors can take another elevator or stairs to the 86th floor, where an observation deck is located.) The building has 70 mi (113 km) of pipe, 2,500,000 ft (760,000 m) of electrical wire, and about 9,000 faucets. It is heated by low-pressure steam; despite its height, the building only requires between 2 and 3 psi of steam pressure for heating. It weighs approximately 370,000 short tons. The exterior of the building was built using Indiana limestone panels.
The Empire State Building cost $40,948,900 to build (Equal to roughly $500,000,000 in 2010). Long-term forecasting of the
life cycle of the structure was implemented at the design phase to ensure that the building’s future intended uses were not restricted by the requirements of previous generations. This is particularly evident in the over-design of the building’s electrical system.
Unlike most of today’s skyscrapers, the Empire State Building features an art deco design, typical of pre–World War II architecture in New York. The modernistic stainless
steel canopies of the entrances on 33rd and 34th Streets lead to two story-high corridors around the elevator core, crossed by stainless steel and glass-enclosed bridges at the second-floor level. The elevator core contains 67 elevators.
The lobby is three stories high and features an aluminum relief of the skyscraper without the antenna, which was not added to the spire until 1952. The north corridor contained eight illuminated panels, created by Roy Sparkia and Renée Nemorov in 1963 in time for the 1964 World’s Fair, which depicts the building as the Eighth Wonder of the World, alongside the traditional seven. These panels were eventually moved near a ticketing line for the observation deck.
The building’s lobbies and common areas received a $550 million renovation in 2009, which included new air conditioning, waterproofing, and renovating the observation deck; moving the gift shop to the 80th floor. Up until the 1960s, the ceilings in the lobby had a shiny art deco mural depicting inspired by both the sky and the Machine Age, until it was covered with ceiling tiles and fluorescent lighting. Because the original murals, designed by an artist named Leif Neandross, were damaged, reproductions were installed. Over 50 artists and workers used 15,000 square feet of aluminum and 1,300 square feet of 23-karat gold leaf to re-create the mural. Renovations to the lobby al-luded to original plans for the building; replacing the clock over the information desk in the Fifth Avenue lobby, as well as installing two chandeliers originally intended to be part of the building.
milton glaser
‹ 6 › Ka&D
milton glaser
Ka&D ‹ 7 ›
Glaser was born into a Hungarian Jewish family in New York. Glaser was educated at Manhattan’s High School of Music & Art, graduated from the Cooper Union in 1951 and later, via a Fulbright Scholarship, the Academy of Fine Arts in Bologna under Giorgio Morandi He was greatly inspired by his sister’s partner, who studied typography at a great depth at the current time.
tekst: wikipeDia.com
In 1954 Glaser was a founder, and president, of Push Pin Studios formed with several of his Cooper Union classmates. Glaser’s work is characterized by directness, simplicity and originality. He uses any medium or style to solve the problem at hand. His style ranges wildly from primitive to avant garde in his countless book jackets, album covers, advertisements and direct mail pieces and magazine illustrations. He started his own studio, Milton Glaser, Inc, in 1974. This led to his involvement with an increasingly wide diversity of projects, ranging from the design of New York Magazine, of which he was a co-founder, to a 600-foot mural for the Federal Office Building in Indianapolis.Throughout his career he has had a major impact on contemporary illustration and design. His work has won numerous awards from Art Directors Clubs, the American Institute of Graphic Arts, the Society of Illustrators and the Type Directors Club. In 1979 he was made Honorary Fellow of the Royal Society of Arts and his work is included in the Museum of Modern Art, the Victoria and Albert Museum, the Israel Museum and the Musee de l’affiche in Paris. Glaser has taught at both the School of Visual Arts and at Cooper Union in New York City. He is a member of Alliance Graphique International.
Mil
ton
glas
er in
c.M
ilton
Gla
ser,
Inc.
was
est
ablis
hed
in 1
974
in M
anh
atta
n,
and
is s
till
prod
ucin
g w
ork
in a
wid
e ra
nge
of
desi
gn
disc
iplin
es,
incl
udin
g: c
orpo
rate
ide
nti
ties
(lo
gos,
sta
-ti
oner
y, b
roch
ures
, sig
nag
e, w
ebsi
te d
esig
n, a
nd
ann
ual
repo
rts)
, env
iron
men
tal a
nd in
teri
or d
esig
n (e
xhib
itio
ns,
inte
rior
s an
d ex
teri
ors
of re
stau
ran
ts, s
hopp
ing
mal
ls,
supe
rmar
kets
, hot
els,
and
oth
er re
tail
envi
ronm
ents
), pa
ckag
ing
(foo
d an
d be
vera
ge p
acka
ging
), an
d pr
oduc
t de
sign
. Som
e of
the
firm
’s c
urre
nt c
lien
ts in
clud
e T
he
Bro
okly
n B
rew
ery,
Jet
Blu
e, T
arge
t, C
oach
, Tr
ump,
Ele
ven
Mad
ison
Par
k, A
less
i, Ju
illia
rd,
Th
e R
ubin
Mus
eum
of A
rt, T
hea
tre
For A
New
A
udie
nce
, T
he
Sch
ool
of V
isua
l A
rts,
Br
ead
Alo
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nd P
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Rot
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gst o
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s.
awarDsIn 2004, Glaser won a Lifetime Achievement award from the Cooper-Hewitt National Design Museum. In 2009, he was awarded the National Medal of Arts by President Barack Obama.
showsIn addition to commercial
enterprises, Milton Glaser’s work has been exhibited world-wide.
His most notable single-man shows include:
• Museum of Modern Art, New York (1975)
• Centre Georges Pompidou, Paris (1977)
• Lincoln Center Gallery, New York (1981) • Houghton Gallery, The Cooper Union,
New York (1984) • Vicenza Museum (1989)
• Galleria Communale d’Arte Moderna, Bologna (1989)
In 1991, h
e was com
mission
ed by the Italian
governm
ent to create an exhibition in tribute to the Italian artist, Piero della Francesca, for part of the celebration
s on the occasion
of his 500th anniversary. T
his show opened
in Arezzo, Italy and one year later (under
the sponsorship of Cam
pari) moved to
Milan
. In 1994, T
he C
ooper Un
ion,
Mr. G
laser’s alma m
ater, hosted the sh
ow in
New
York.
In 1992, an
exhibition
of draw-
ings titled “T
he Im
aginary Life
of Clau
de Mon
et” open
ed at N
uages Gallery, Italy, an
d in
1995, an adapted version
of th
is show
was exh
ibited in
Japan’s Creation G
allery. 1995 also brought a G
laser exhibi-tion
to the A
rt Institute of
Boston. In 1997, the Suntory M
useum, Japan, m
ounted a m
ajor retrospective of The
Pushpin Studios, featuring past an
d present w
orks b
y Milton
Glaser an
d
other Push
pin artists. In
O
ctober 1999, Mr. G
laser’s illu
strations of D
ante’s
Purgatorio were exhibited at
the Nuages G
allery in Milan,
Italy, and Nuages organized a
large exhibition of M
r. Glaser’s
work durin
g the 2000 C
arnevale
in V
enice. M
r. Glaser’s w
ork is now
represen
ted in th
e perman
ent collection
s at th
e Museum
of Modern
Art, N
ew Y
ork; Th
e Israel M
useum, Jerusalem
; the N
ational A
rchive,
Smith
sonian
Institute, W
ashin
gton, D
.C.; an
d th
e Coop
er Hew
itt Nation
al Design
M
useum, N
ew Y
ork.
is a graphic Designer, best known for the i love new york logo, his “bob Dylan” poster, the “Dc bullet” logo useD by Dc comics from 1977 to 2005, anD the “brooklyn brewery” logo. he also founDeD new york magazine with clay felker in 1968.
‹ 8 › Ka&D
dragset & elmgreen
Ka&D ‹ 9 ›
dragset & elmgreen
Elmgreen and Dragset met in 1995 and moved to Berlin in 1997, where they converted a large 100m2 building into a home and studio.
tekst: wikipeDia.com
Since 1997, the artists have presented a great number of architectural and sculptural installations in an ongoing series of works entitled ’Powerless Structures’ in which they transformed the conventions of the ’white cube’ gallery space, creating galleries suspended from the celing, sunk into the ground or turned upside down. For the Istanbul Biennial in 2001, they constructed a full-scale model of a typical Modernist Kunsthalle descending into the ground while located outdoor among ancient ruins. Further exhibitions include transforming the Bohen Foundation in New York into a 13th Street Subway Station in 2004, siting a Prada boutique in the middle the Texan desert in 2005, and their The Welfare Show in 2006 at Serpentine Gallery, London, and the Power Plant Contemporary Art Gallery, Toronto, which was critically acclaimed.Their best-known project is Prada Marfa, inaugurated in 2005.
tiergartenElmgreen and Dragset won the German Government’s com-petition in 2003 for a memorial in Tiergarten park in Berlin, in memory of the gay victims of the Nazi regime, which was unveiled in May 2008. For the 2008 Venice Biennale they curated the exhibitions in the neighboring Danish and Nordic Pavilions an unprecedented merging of two international exhibition venues. For their show, they invited fellow artists Maurizio Cattelan, Tom of Finland, Han & Him, Laura Horelli, William E. Jones, Terence Koh, Klara Lidén, Jonathan Monk, Nico Muhly, Klara Lidén, and Norway Says.
DraMa queensIn 2007, Elmgreen and Dragset developed Drama Queens, a theatre play about Twentieth Century art history with six remote-controlled fiberglass versions of iconic sculpture, for Skulptur Projekte Münster. During the 2008 Frieze Art Fair, they staged ”Drama Queens,” this time enlivened by the voices of leading stage stars such as Kevin Spacey, at The Old Vic. In 2011, their design Powerless Structures, Fig.101 won a famous annual competition to be displayed on the fourth plinth of London’s Trafalgar Square. this time enlivened by the voices of leading stage stars their kitsch brass sculpture of a boy astride a rocking horse questions the tradition for war monuments to celebrate either victory or defeat.
recognitionElmgreen & Dragset were nominated for the great Hugo Boss Prize in year 2000, and in 2002 they won the Preis der Nationalgalerie at the Hamburger Bahnhof, Berlin.
michael elmgreen anD ingar Dragset, the artists who work as a collaborative Duo. Dragset lives anD works in berlin; elmgreen lives in lonDon anD works in berlin. they are known for artwork that has wit anD subversive humour, anD also aDDresses serious cultural concerns.
We are the kind of artists who only meet a few of the people
who purchase our works.Elmgreen & Dragset
oscar niemeyer
‹ 10 › Ka&D
His buildings are often characterized by being spacious and exposed, mixing volumes and empty space to create unconventional patterns and often propped up by pilotis. Both lauded and criticized for being a “sculptor of monu-ments, he has been praised for being a great artist and one of the greatest architects of his generation by his supporters.
tekst: wikipeDia.com
His works include public buildings designed for the city of Brasília, and the United Nations Headquarters in New York City.
early lifeOscar Niemeyer took his German surname from a grandmother with roots in Hanover. He was born in the city of Rio de Janeiro in 1907 in Laranjeiras neighborhood, on a street that later would receive the name of his grandfather. He spent his youth as a typical young Carioca of the time: bohemian and relatively unconcerned with his future. He concluded his secondary education at age 21. The same year, he married Annita Baldo, daughter of Italian immigrants from Padua. They have one daughter, Ana Maria, five grandchildren, thirteen great-grandchildren and seven great-great grandchildren.He started to work in his father’s typography house and entered the Escola de Belas Artes (Brazil), from which he graduated as engineer architect in 1934. At the time he had financial difficulties but decided to work without payment
in the architecture studio of Lúcio Costa and Carlos Leão. He felt dissatisfied with the architecture that he saw in the streets and believed he could find a career there.In 1945, he joined the Brazilian Communist Party, and in 1992 he would become president of that party. Niemeyer was a boy at the time of the Russian Revolution of 1917, and by the Second World War he became a young idealist. During the military dictatorship of Brazil his office was raided and he was forced into exile in Europe. The Minister of Aeronautics of the time reportedly said that “the place for a communist architect is Moscow.” He visited the USSR, met with diverse socialist leaders and became a personal friend of some of them. Fidel Castro once said: “Niemeyer and I are the last Communists of this planet.”
first worksIn 1936, at 29, Lúcio Costa was appointed by Education Minister Gustavo Capanema as the architect of the new headquarters for the Ministry of Education and Public Health in Rio de Janeiro. In 1939, Niemeyer assumed the leadership of the team of architects (Lúcio Costa, Carlos Leão, Affonso Eduardo Reidy, Jorge Moreira, Ernani Vasconcellos and Niemeyer, with Le Corbusier acting as a consultant) responsible for the Ministry that had assumed the task of shaping the ‘novo homem, Brasileiro e moderno’ (new man, Brazilian and modern).Following Niemeyer’s request, the headquarters were
renamed Palácio Gustavo Capanema in 1985. It was the first state-sponsored modernist skyscraper in the world, and of a much larger scale than anything Le Corbusier had built until then. Completed in 1943, when he was 36, the building which housed the regulator and manager of Brazilian culture and cultural heritage developed the elements of what was to become recognized as Brazilian modernism. It employed local materials and techniques, like the azulejos linked to the Portuguese tradition; the revolutionized Corbusian brises-soleil, made adjustable and related to the Moorish shading devices of colonial architecture; bold colors; the tropical gardens of Roberto Burle Marx; the Imperial Palm (Roystonea oleracea), known as the Brazilian order; further allusions to the icons of the Brazilian landscape; and specially commissioned works by Brazilian artists.In 1939, at 32, Niemeyer with Lúcio Costa designed the Brazilian pavilion at the New York World’s Fair (executed in collaboration with Paul Lester Wiener). Impressed by the executed Pavilion, Mayor Fiorello La Guardia awarded Niemeyer the keys to the city of New York. Costa explained that the Brazilian Pavilion adopted a language of ‘grace and elegance’, lightness and spatial fluidity, open plan, curves and free walls, which he termed ‘Ionic’, contrasting it to the contemporaneous stern Modernist architecture, which he termed ‘Doric’. By mid-twentieth century, Brazilian architectural Modernism had been recognized as the first national style in modern architecture by Reyner Banham. The international
oscar ribeiro De almeiDa niemeyer soares filho is a brazilian architect specializing in international moDern architecture. he is a pioneer in exploring the formal possibilities of reinforceD concrete solely for their aesthetic impact.
oscar niemeyer
Ka&D ‹ 11 ›
architectural periodicals of the 1940s and 1950s dedicated hundreds of dithyrambic pages to the ‘chosen land of the most original and most audacious contemporary architecture’, followed by monographs on individual architects like Niemeyer and Affonso Eduardo Reidy.
the PaMPulha ProjectIn 1940, at 33, Niemeyer met Juscelino Kubitschek, who was at the time the mayor of Belo Horizonte, capital of the state of Minas Gerais. He and Minas Gerais Governor Benedito Valadares wanted to develop a new suburb to the north of the city called Pampulha, and commissioned Niemeyer to design a series of buildings to be known as the “Pampulha complex”. Brazil’s first listed modern monument was Niemeyer’s Pampulha Church of São Francisco de Assis. The Pampulha complex included a casino, a dance hall and restaurant, a yacht club, and a golf club distributed around the artificial lake. A weekend retreat for the mayor was also constructed near the lake.
The buildings were completed in 1943, and provoked some controversy. They received international acclaim following the 1943 ‘Brazil Builds’ exhibition, at the New York Museum of Modern Art (MoMA). The conservative Church authorities of Minas Gerais refused to consecrate the church until 1959, in part because of its unorthodox form, in part because of the altar mural painted by Candido Portinari. The mural depicts Saint Francis of Assisi as the savior of the ill, the poor and, most importantly, the sinner.Pampulha, says Niemeyer, offered him the opportunity to ‘challenge the monotony of contemporary architecture, the wave of misinterpreted functionalism that hindered it, and the dogmas of form and function that had emerged, counteracting the plastic freedom that reinforced concrete introduced. I was attracted by the curve – the liberated, sensual curve suggested by the pos-sibilities of new technology yet so often recalled in venerable old baroque churches. […] I deliberately disregarded the right angle and rationalist architecture designed with ruler and square to boldly enter the world of curves and straight lines offered by reinforced concrete. […] This deliberate protest arose from the environment in which I lived, with its white beaches, its huge mountains, its old baroque churches, and the beautiful suntanned women.
the 1940s anD 1950sIn 1947, at 40, his worldwide recognition was confirmed when Niemeyer traveled to the United States to be part of the international team working on the design for the headquarters of the United Nations in New York. Niemeyer’s ‘scheme 32’ was approved by the Board of Design, but he eventually gave in to pressure by Le Corbusier, and together they submitted project 23/32 (developed with Bodiansky and Weissmann), which combined elements from Niemeyer’s and Le Corbusier’s schemes, but was primarily based on Niemeyer’s scheme. Despite Le Corbusier’s insistence to remain involved, the conceptual design for the United Nations Headquarters, approved by the Board, was carried forward by the Director of Planning, Wallace Harrison, and Max Abramovitz, then a partnership. In the previous year Niemeyer had received an invitation to teach at Yale University; however, his visa was denied. In 1950 the first book about his work was published in the USA by Stamo Papadaki. In 1953, at 46, Niemeyer was selected for the position of dean of the Harvard Graduate School of Design. His Communist Party membership meant that, for the second time, he was refused a visa to enter the United States.
In Brazil, he designed São Paulo’s Ibirapuera Park 1951, the Copan apartment building and the JK Building in Belo Horizonte. In 1952-53, he built his own house in Rio de Janeiro, the House at Canoas, and, in 1954-60, the Niemeyer luxury apartment building in Belo Horizonte.In 1955, at 48, Niemeyer designed the Museum of Modern Art of Caracas (MAM Caracas). According to him, this project marked a new direction his work was beginning to take, exemplified by his government buildings for Brasilia.It was at the Canoas House that Juscelino Kubitschek visited Niemeyer one September morning of 1956, soon after he assumed the Brazilian presidency. While driving back to the city, the politician ‘eagerly’ spoke to the architect about his most audacious scheme: ‘I am going to build a new capital for this country and I want you to help me […] Oscar, this time we are going to build the capital of Brazil.’
Niemeyer organized a competition for the lay-out of Brasília, the new capital, and the winner was the project of his old
master and great friend, Lúcio Costa. Niemeyer would design the buildings, Lucio the plan of the city.In the space of a few months, Niemeyer designed a large number of residential, com-mercial and government buildings. Among them were
the residence of the President, the House of the deputy, the National Congress of Brazil, the Cathedral of Brasília, diverse ministries, and residential buildings. Viewed from above, the city can be seen to have elements that repeat themselves in every building, giving it a formal unity.Behind the construction of Brasília lay a monumental campaign to construct an entire city in the barren center of the country, hundreds of kilometers from any major city. The brainchild of Kubitschek, Niemeyer had as aims included stimulating the national industry, integrating the country’s distant areas, populating inhospitable regions, and bringing progress to a region where only cattle ranching had a foothold. Niemeyer and Lúcio Costa used it to test new concepts of city planning: streets without transit, buildings floating off the ground supported by columns and allowing the space underneath to be free and integrated with nature.The project also had a socialist ideology: in Brasília all the apartments would be owned by the government and rented to its employees. Brasília did not have “nobler” regions, meaning that top ministers and common laborers would share the same building. Of course, many of these concepts were ignored or changed by other presidents with different visions in later years. Brasília was designed, constructed, and inaugurated within four years. After its completion, Niemeyer was nominated head chief of the college of architecture of the University of Brasília. In 1963, he became an honorary member of the American Institute of Architects in the United States; the same year, he received the Lenin Peace Prize from the USSR.Niemeyer and his contribution to the construction of Brasília are portrayed in the 1964 French movie, starring Jean-Paul Belmondo.In 1964, at 57, after being invited by Abba Hushi, the mayor of Haifa, Israel, to plan the campus of the University of Haifa, he came back to a completely different Brazil. In March President João Goulart, who succeeded President Jânio Quadros in 1961, was deposed in a military coup. General Castello Branco assumed command of the country, which would remain a dictatorship until 1985.
exile anD Projects overseasThe leftist position of Niemeyer cost him much during the military dictatorship. His office was pillaged, the headquarters of the magazine he coordinated was destroyed, his projects mysteriously began to be refused and clients disappeared. In 1965, two hundred professors, Niemeyer among them, asked for their resignation from the University of Brasília, in protest against the government treatment of universities. In the same year he traveled to France for an exhibition in the Louvre museum.The following year, Niemeyer moved to Paris. Also in 1966, at 59, he travelled to the city of Tripoli, Lebanon to design the International Permanent Exhibition Centre. Despite completing construction, the start of the civil war in Lebanon prevented it from achieving its full utility.
He opened an office on the Champs-Élysées, and had customers in diverse countries, especially in Algeria where he designed the University of Science and Technology-Houari Boumediene. In Paris he created the headquarters of the French Communist Party, Place du Colonel Fabien, and in Italy that of the Mondadori publishing company. In Funchal on Madeira, a 19th-century hotel was removed to build a casino by Niemeyer. Another prominent design of his was the Penang State Mosque in George Town the state capital of
Penang, Malaysia in the 1970s. While in Paris, Niemeyer began designing furniture which was produced by Mobilier International. He created an easy chair and ottoman composed of bent steel and
leather in limited numbers for private clients. Later, in 1978, this chair and other designs including the “Rio” chaise-longue were produced in Brazil by the Japanese company Tendo, then Tendo Brasileira. The easy chairs and ottomans were made
of bent wood and were placed in different Communist party headquarters around the world. Much like his architecture, Niemeyer’s furniture designs were meant to evoke the beauty of Brazil, with curves mimicking the female form and the hills of Rio de Janeiro.
1980s to 2000In 1988, at 81, Niemeyer was awarded the Pritzker Architecture Prize, the most prestigious award in architecture, for the Cathedral of Brasília.From 1992 to 1996, Niemeyer was the president of the Brazilian Communist Party. As a lifelong activist, Niemeyer was chosen as a powerful public figure that could be linked to the party at a time when it appeared to be in its death throes after the demise of the USSR. Although not active as a political leader, his image helped the party to survive through its crisis, after the 1992 split and to remain as a political force in the national scene, which eventually led to its reconstruction. He was replaced by Zuleide Faria de Mello in 1996.He designed at least two more buildings in Brasilia, small ones, the Memorial dos Povos Indigenas (”Memorial for the Indigenous People”) and the Catedral Militar, Igreja de N.S. da Paz.In 1996, at the age of 89, he created the Niterói Contemporary Art Museum in Niterói, a city next to Rio de Janeiro. The building is cantilevered out from sheer rock face, giving a view of the Guanabara Bay and the city of Rio de Janeiro.
2002 to PresentThe Brazilian dictatorship lasted until 1985. Under João Figueiredo’s rule it softened and gradually turned into a democracy. At this time Niemeyer decided to return to his country. During that decade he made the Memorial Juscelino Kubitschek (1980), the Pantheon (Panteão da Pátria e da Liberdade Tancredo Neves Pantheon of the Fatherland and Freedom, 1985) and the Latin America Memorial. The memo-rial sculpture represents the wounded hand of Jesus, whose wound bleeds in the shape of Central and South America.In 2002, at 95 the Oscar Niemeyer Museum complex was inaugurated in the city of Curitiba, Paraná. The building is locally known as ”Niemeyer’s Eye”.In 2003, at 96, Niemeyer was called to design the Serpentine Gallery Summer Pavilion in Hyde Park London, a gallery that each year invites a famous architect who has never previ-ously built in the UK, to design this temporary structure. A publication of Niemeyer’s structure called Serpentine Gallery Pavilion 2003 was published by Trolley Books later that year.In 2004, Niemeyer, at 97 designed the tombstone for Communist Carlos Marighella in Salvador da Bahia, to commemorate
the 35th anniversary of his death. He was widowed after 76 years of marriage to Annita, Annita died at 93 years old. Also his brother Paulo Niemeyer died.In 2005, at 98, a building entitled ”Estação, Ciência,
Cultura e Artes” was approved for construction at João Pessoa, the easternmost point of the Americas.In 2006, Niemeyer at the age of 99 wed longtime aide Vera Lucia Cabreira. They married at his apartment in Rio de Janeiro’s Ipanema district a month after fracturing his hip in a fall.
2007 saw Niemeyer turn 100 and still involved in diverse projects, mainly sculptures and readjustments of old works of his that, protected by national historic heritage regulations, can only be modified by him. He is currently designing a statue showing a tiger with its mouth open and a man fighting it raising the Cuban flag against the US blockade of Cuba.On Niemeyer’s 100th birthday, Russia’s president Vladimir Putin awarded him the Order of Friendship. Grateful for the Prince of Asturias Award of Arts received in 1989, he collaborated on the 25th anniversary of these awards with the donation to Asturias of the design of a cultural centre. The actual Óscar Niemeyer International Cultural Centre is located in Avilés in Northern Spain. These modern buildings were described by himself as “a big square open to all men and women of the world, a big loge between the river and the ancient town”. The Niemeyer Center was inaugurated during the spring of 2011.In December 2008 he turned 101 Niemeyer was recovering in hospital from December 16th to December 27th, and while there he quoted saying as that being hospitalized is ’a very lonely thing I needed to keep busy, keep in touch with friends, maintain my rhythm of life.’In December 2009 after he turned 102 Niemeyer was hospital-ized for 4 days in the same hospital with an intestinal tumor, which was surgically removed. He is considered to be one of the fathers of modern architecture.
It is not the right angle that attracts me, or the straight line, hard and inflexible, created
by man. What attracts me is the free and sensual curve.
Oscar Niemeyer
We hated Bauhaus. It was a bad time in architecture. They just didn’t have any talent. All they had were rules. Even for knives and
forks they created rules.- Oscar Niemeyer
I had some good opportunities. I was lucky to have had the chance to do things differently. Architecture is about surprise.
-Oscar Niemeyer
Jonathan ive
‹ 12 › Ka&D
It’s very easy to be different, but very difficult to be better.
Jonathan ive
Ka&D ‹ 13 ›
Jonathan Ive was born in Chingford, London. He was raised by his teacher father and attended Chingford Foundation School. He went on to attend Walton High School in Staf-ford, Staffordshire, and then studied Industrial Design at Northumbria University.
tekst: wikipeDia.com
Ive married Heather Pegg in 1987. They have twin sons. The family lives in the Twin Peaks area of San Francisco.
careerAfter cofounding the London design agency Tangerine, Ive was hired in 1992 by Apple’s then Chief of Industrial Design Robert Brunner after a Tangerine consultancy with Apple. He gained his current position at Apple in 1997 as Senior Vice President of Industrial Design after the return of Steve Jobs, and since then has headed the Industrial Design team responsible for most of the company’s significant hardware products. Jobs made design a chief element of the firm’s product strategy and Ive proceeded to establish the firm’s leading position with a series of functionally clean, aestheti-cally pleasing and remarkably popular products. The work and principles of Dieter Rams, the Chief of Design at Braun from 1961 until 1995, have influenced Ive’s work. In Gary Hustwit’s documentary film Objectified (2009), Rams states that Apple is the only company designing products according to Rams’ ten principles to “good design”.
PraiseThe Sunday Times named Ive as one of Britain’s most influential expatriates on 27 November 2005: “Ive may not
be the richest or the most senior figure on the list, but he has certainly been one of the most influential as the man who designed the iPod.”
A recent Macworld poll listed Ive joining Apple in 1992 as the sixth most significant event in Apple Inc. history, while MacUser writer Dan Moren suggested in March 2006 that, when the time comes for Steve Jobs to step down as CEO of Apple Inc., Ive would be an excellent candidate for the position, justifying the statement by saying that he “embodies what Apple is perhaps most famous for: design.” However, Jobs was succeeded as CEO by Tim Cook, the company’s former COO. The Daily Telegraph rated him the most influential Briton in America on 11 January 2008.
awarDs anD noMinationsIn 1999, Ive was named to the MIT Technology Review TR100 as one of the top 100 innovators in the world under the age of 35. Ive was listed in the 2006 New Years Honours list, receiving a CBE, for services to the design industry. The British monarch, Queen Elizabeth II, was revealed as being an iPod owner in June 2005. Ive was the winner of the Design Museum’s inaugural Designer of the Year award in 2002, and won again in 2003. In 2004, he was a juror for the award. On 18 July 2007, Ive received the 2007 National Design Award in the product design category for his work on the iPhone. In July 2008, Ive was awarded the MDA Personal Achievement award for the design of the iPhone. In May 2009, Ive received an honorary doctorate from the Rhode Island School of Design and in June 2009 was named Honorary Doctor of the Royal College of Art. Fortune named Ive as the “world’s smartest designer” in 2010, for his work on Apple products. Jonathan Ive has over 400 design patents to his name.
jonathan “jony” ive, cbe is an english Designer anD the senior vice presiDent of inDustrial Design at apple inc. he is the leaDing Designer anD conceptual minD behinD the imac, titanium anD aluminum powerbook g4, g4 cube,
macbook, uniboDy macbook pro, macbook air, ipoD, iphone, anD ipaD.
paul rand
‹ 14 › Ka&D
Paul Rand was an ameRican gRaPhic designeR,
best known foR his coRPoRate logo designs,
including the logos foR ibm, uPs, enRon, westinghouse, abc, and steve Jobs’ neXt.
he was one of the oRiginatoRs of the swiss style
of gRaPhic design.
Rand was educated at the Pratt Institute (1929–1932), Parsons The New School for Design (1932–33), and the Art Students League (1933–1934). From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut.
tekst: wikipeDia.com
Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. Rand died of cancer in 1996. He is buried in Beth El Cemetery.
early life anD eDucationPaul Rand was born on August 15, 1914 in Brooklyn, New York.[1] He embraced design at a very young age, painting signs for his father’s grocery store as well as for school events at P.S. 109. Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute, Rand was largely “self-taught as a designer, learning about the works of Cassandre and Moholy-Nagy from European magazines such as [Gebrauchsgraphik].”
earl
y ca
reer
His
car
eer
bega
n w
ith
hum
ble
assi
gnm
ents
, sta
rtin
g w
ith
a
part
-tim
e po
siti
on c
reat
ing
stoc
k im
ages
for
a sy
ndi
cate
that
su
pplie
d gr
aph
ics
to v
ario
us n
ewsp
aper
s an
d m
agaz
ines
. B
etw
een
his
cla
ss a
ssig
nm
ents
an
d h
is w
ork,
Ran
d w
as a
ble
to a
mas
s a
fair
ly l
arge
por
tfol
io, l
arge
ly i
nfl
uen
ced
by t
he
Ger
man
adv
erti
sin
g st
yle
Sach
plak
at (
obje
ct p
oste
r) a
s w
ell
as t
he
wor
ks o
f G
usta
v Je
nse
n. I
t w
as a
roun
d th
is t
ime
that
he
dec
ided
to c
amou
flag
e (a
nd
abbr
evia
te) t
he o
vert
ly Je
wis
h
iden
tity
tel
egra
phed
by
‘Per
etz
Ros
enba
um,’
shor
ten
ing
his
fo
ren
ame
to ‘P
aul’
and
taki
ng
‘Ran
d’ f
rom
an
un
cle
to f
orm
h
is n
ew s
urn
ame.
Mor
ris
Wys
zogr
od, a
frie
nd
and
asso
ciat
e of
Ran
d, n
oted
th
at “h
e fi
gure
d th
at ‘P
aul R
and,
’ fou
r le
tter
s h
ere,
fou
r le
tter
s th
ere,
wou
ld c
reat
e a
nic
e sy
mbo
l. So
he
beca
me
Paul
Ran
d.” R
oy R
. Beh
ren
s n
otes
the
impo
rtan
ce o
f th
is n
ew ti
tle:
“Ran
d’s
new
per
sona
, whi
ch s
erve
d as
the
bran
d n
ame
for h
is m
any
acco
mpl
ish
men
ts, w
as th
e fi
rst c
orpo
rate
id
enti
ty h
e cr
eate
d, a
nd
it m
ay a
lso
even
tual
ly p
rove
to
be
the
mos
t en
duri
ng.
” In
deed
, Ran
d w
as r
apid
ly m
ovin
g in
to
the
fore
fron
t of
his
pro
fess
ion
. In
his
ear
ly t
wen
ties
he
was
pr
oduc
ing
wor
k th
at b
egan
to
garn
er in
tern
atio
nal
acc
laim
, n
otab
ly h
is d
esig
ns
on t
he
cove
rs o
f D
irec
tion
mag
azin
e,
wh
ich
Ran
d pr
oduc
ed fo
r n
o fe
e in
exc
han
ge fo
r fu
ll ar
tist
ic
free
dom
. T
he
repu
tati
on R
and
so r
apid
ly a
mas
sed
in h
is
prod
igio
us tw
enti
es n
ever
dis
sipa
ted;
rath
er, i
t on
ly m
anag
ed
to i
ncr
ease
th
roug
h t
he
year
s as
th
e de
sign
er’s
in
flue
nti
al
wor
ks a
nd
wri
tin
gs fi
rmly
est
ablis
hed
him
as
the
émin
ence
gr
ise
of h
is p
rofe
ssio
n.
Alt
hou
gh R
and
was
mos
t fam
ous
for t
he
corp
orat
e lo
gos
he
crea
ted
in t
he
1950
s an
d 19
60s,
his
ear
ly w
ork
in p
age
desi
gn w
as th
e in
itia
l sou
rce
of h
is re
puta
tion
. In
193
6, R
and
was
giv
en t
he
job
of s
etti
ng
the
page
layo
ut f
or a
n A
ppar
el
Art
s m
agaz
ine
ann
iver
sary
issu
e. “H
is r
emar
kabl
e ta
len
t for
tr
ansf
orm
ing
mun
dan
e ph
otog
raph
s in
to d
ynam
ic c
ompo
si-
tion
s, w
hic
h [.
. .]
gave
edi
tori
al w
eigh
t to
th
e pa
ge”
earn
ed
Ran
d a
full-
tim
e jo
b, a
s w
ell
as a
n o
ffer
to
take
ove
r as
art
di
rect
or f
or t
he
Esq
uire
-Cor
onet
mag
azin
es. I
nit
ially
, Ran
d re
fuse
d th
is o
ffer
, cla
imin
g th
at h
e w
as n
ot y
et a
t th
e le
vel
the
job
requ
ired
, but
a y
ear
late
r h
e de
cide
d to
go
ahea
d w
ith
it
, tak
ing
over
res
pon
sibi
lity
for
Esq
uire
’s f
ash
ion
pag
es a
t th
e yo
ung
age
of t
wen
ty-th
ree.
Th
e co
ver
art
for
Dir
ecti
on m
agaz
ine
prov
ed t
o be
an
im
port
ant
step
in t
he
deve
lopm
ent
of t
he
“Pau
l Ran
d lo
ok”
that
was
not
as
yet
fully
dev
elop
ed.
Th
e D
ecem
ber
1940
co
ver,
wh
ich
use
s ba
rbed
wir
e to
pre
sen
t th
e m
agaz
ine
as
both
a w
ar-to
rn g
ift a
nd
a cr
ucifi
x, is
indi
cati
ve o
f th
e ar
tist
ic
free
dom
Ran
d en
joye
d at
Dir
ecti
on; i
n T
hou
ghts
on
Des
ign
R
and
not
es th
at it
“is
sign
ifica
nt t
hat
the
cruc
ifix,
asi
de fr
om
its
relig
ious
impl
icat
ion
s, is
a d
emon
stra
tion
of
pure
pla
stic
fo
rm a
s w
ell
. . .
a pe
rfec
t un
ion
of
the
aggr
essi
ve v
erti
cal
(mal
e) a
nd
the
pass
ive
hor
izon
tal (
fem
ale)
.”
corPorate iDentitiesRand’s most widely known contributions to design are his corporate identities, many of which are still in use. IBM, ABC, Cummins Engine, UPS, and the now-infamous Enron, among many others, owe Rand their graphical heritage. One of his strengths, as Moholy-Nagy pointed out, was his ability as a salesman to explain the needs his identities would address for the corporation.
Rand’s defining corporate identity was his IBM logo in 1956, which as Mark Favermann notes “was not just an identity but a basic design philosophy that permeated corporate consciousness and public awareness.” The logo was modified by Rand in 1960. The striped logo was created in 1972. The stripes were introduced as a half-toning technique to make the IBM mark slightly less heavy and more dynamic. Two variations of the “striped” logo were designed; one with eight stripes, one with thirteen stripes. The bolder mark with eight stripes was intended as the company’s default logo, while the more delicate thirteen stripe version was used for situations where a more refined look was required, such as IBM executive stationery and business cards. Rand also designed packaging, marketing materials and assorted communications for IBM from the late 1950s until the late 1990s, including the well known Eye-Bee-M poster. Ford appointed Rand in the 1960s to redesign their corporate logo, but afterwards chose not to use his modernized design.
Although his logos may be interpreted as simplistic, Rand was quick to point out in A Designer’s Art that “ideas do not need to be esoteric to be original or exciting.” His American Broadcasting Company trademark, created in 1961, then used by ABC-TV in the fall of 1962, epitomizes that ideal of minimalism while proving Rand’s point that a logo “cannot survive unless it is designed with the utmost simplicity and restraint.” Rand remained vital as he aged, continuing to produce important corporate identities into the eighties and nineties with a rumoured $100,000 price per single solution. The most notable of his later works was his collaboration with Steve Jobs for the NeXT Computer corporate identity; Rand’s simple black box breaks the company name into two lines, producing a visual harmony that endeared the logogram to Jobs. Steve Jobs was pleased: just prior to Rand’s death in 1996, his former client labelled him, simply, “the greatest living graphic designer.”
DeveloPMent of theory
Th
ough R
and w
as a recluse in h
is creative process, doing
the vast m
ajority of the design
load despite havin
g a large staff at varyin
g points in
his career, h
e was very in
terested in
producing books of th
eory to illumin
ate his ph
ilosophies.
László Moholy-N
agy may have in
cited Ran
d’s zeal for know
l-edge w
hen
he asked h
is colleague if he read art criticism
at th
eir first m
eeting. R
and said n
o, promptin
g Moh
oly-Nagy
to reply “Pity.” Heller elaborates on
this m
eeting’s im
pact, n
oting th
at, “from th
at mom
ent on
, Ran
d devoured books by th
e leading ph
ilosophers on
art, includin
g Roger Fry, A
lfred N
orth W
hiteh
ead, and Joh
n D
ewey.” T
hese th
eoreticians
would h
ave a lasting im
pression on
Ran
d’s work; in
a 1995 in
terview w
ith M
ichael K
roeger discussing, am
ong oth
er topics, th
e importan
ce of Dew
ey’s Art as E
xperience.
Dew
ey is an important source for R
and’s underlying senti-m
ent in graphic design; on page one of Rand’s groundbreaking
Th
oughts on
Design
, the auth
or begins draw
ing lin
es from
Dew
ey’s ph
ilosophy to th
e need for “fu
nction
al-aesthetic
perfection” in
modern
art. Am
ong th
e ideas Ran
d pushed
in T
hough
ts on D
esign w
as the practice of creatin
g graphic
works cap
able of retainin
g but face recognizable quality
even after bein
g blurred or mutilated, a test R
and routin
ely perform
ed on h
is corporate identities.
criticisMDuring Rand’s later career, he became increasingly agitated about the rise of postmodernist theory and aesthetic in design. In 1992, Rand resigned his position at Yale in protest of the appointment of postmodern and feminist designer Sheila Levrant de Bretteville, and convinced his colleague, Armin Hofmann to do the same. In justification of his resignation, Rand penned the article Confusion and Chaos: The Seduc-tion of Contemporary Graphic Design where he denounced the postmodern movement as “faddish and frivolous” and “harboring its own built-in boredom”.
Despite the importance graphic designers place on his book Thoughts on Design, subsequent works such as From Lascaux to Brooklyn (1996), compounded accusations of Rand being “reactionary and hostile to new ideas about design.” Steven Heller defends Rand’s later ideas, calling the designer “an enemy of mediocrity, a radical modernist” while Favermann considers the period one of “a reactionary, angry old man.” Regardless of this dispute, Rand’s contribution to modern graphic design theory in total is widely considered intrinsic to the profession’s development.
MoDernist influences
The core ideology that drove R
and’s career, and hence his lasting influence,
was th
e modern
ist philosophy h
e so revered. He celebrated th
e works of
artists from Paul C
ézann
e to Jan T
schich
old, and con
stantly attem
pted to draw
the con
nection
s between
their creative output an
d signifi
cant
applications in
graphic design
Th
is idea of “defamiliarizin
g the ordin
ary” (or “makin
g the fam
iliar stran
ge,” a strategy comm
only credited to R
ussian Form
alist critic Viktor
Shklovsky) played an
importan
t part in R
and’s design
choices. W
orking
with m
anufacturers provided him
the challenge of utilizin
g his corporate iden
tities to create “lively and origin
al” packaging for m
undan
e items,
such as ligh
t bulbs for Westin
ghouse.
