art 222 typography portfolio
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ach day our world changes, the old quick-ly vanishing, displaced by inspired new designs, new perspectives and brilliant imaginative creations. Society seemingly demands it, our fascination and appetite
for embracing the new apparently endless. E
Article by Richard AnwylMarch 5, 2008
Feature Story 2322 Feature Story
Opening Spread
ho of us is not awed by the scale of Dubai’s
architecture, amused by the latest television com-mercial, drawn to the val-ue and logic of the Prius Hybrid automobile or the aesthetic and functional design of Apple’s iPhone?
But what of the aban-doned—what respon-sibility do we have for preserving our displaced creations, yesterday’s symbols of inspiration, logic and creative inge-nuity? Champions for the salvation of one such
creation is the Center for Design Study, where I serve as executive direc-tor. This Atlanta nonprofit foundation is battling to preserve a seminal piece of America’s design his-tory that for 20 years was mounted on the cafeteria wall of the CBS building. While some may not be aware of this inspiring three-dimensional me-morial to typography, many are familiar with its creator, Lou Dorfs-man. The CBS cafeteria wall is as legendary as its visionary designer and art director. Conceived in the mid-1960s and ultimately
completed in 1966, the expansive wall, spanning over 35-feet wide and 8-feet tall, is a national design treasure. In pro-ducing the wall Dorfsman enlisted support from life-long friend and design legend Herb Lubalin. Lubalin, along with Tom Carnase, masterfully crafted the typography for the aptly dubbed “Gas-trotypographicalassem-blage.” Dorfsman, now ap-proaching 90, considers the wall his magnum opus, his gift to the world. Unceremoniously dis-
W carded by CBS manage-ment in the early 1990s, the wall’s nine panels were thankfully salvaged by New York designer Nick Fasciano. Time and improper storage had ravaged the monument, however, leaving it in a state of disrepair. The Center for Design Study, having acquired the wall, is engaged in fundraising to support the meticulous and extensive restoration required. The goal is to see Dorfman’s wall re-stored to its full integrity and as part of a perma-nent traveling exhibition on historical American
Feature Story 2422 Feature Story
design, to serve as a tool for education and expanding awareness of the value of intelligently applied design. The wall is a window to the past that should be built up, not torn down.
Too many once-re-vered icons may now only be found in books and journals or in some digitized visual library; the least fortunate are committed only to mem-ory. Countless pieces of art and design are silently destroyed each year, lost forever, receiving only quiet bereavement after
the fact. Many are lost to ignorance, either to their very existence or as
historical symbols of our professions contributions in shaping our culture and
its values. Loudly signal-ing acknowledgment to the inherent value of our
professions artifacts, and the importance of their preservation, AIGA’s
installment of a nation-al design archive at the Denver Art Museum is to be applauded. But is it enough to simply belong to an organization that supports the design field’s creative contributions? I believe the answer to be a resounding no—we must each personally challenge ourselves to take respon-sible action, to celebrate not only the new but to respect our industry’s valued legacy and pre-serve the esteemed work of those who came before us.
D o r f s m a n , n o w approaching 90, considers the wall his magnum opus, his gift to the world.
Opening Spread
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