form and structure in traditional japanese architecture as
TRANSCRIPT
Retrospective Theses and Dissertations Iowa State University Capstones, Theses andDissertations
1-1-2001
Form and structure in traditional Japanesearchitecture as an alternative grid system solutionfor Western magazine designVenina TandelaIowa State University
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Recommended CitationTandela, Venina, "Form and structure in traditional Japanese architecture as an alternative grid system solution for Western magazinedesign" (2001). Retrospective Theses and Dissertations. 17545.https://lib.dr.iastate.edu/rtd/17545
Form and structure in traditional Japanese architecture as
an alternative grid system solution for Western magazine design
by
Venina Tandela
A thesis submitted to the graduate faculty
in partial fulfillment of the requirements for the degree of
MASTER OF FINE ARTS
Major: Graphic Design
Major Professor: Edward J. Lehner
Iowa State University
Ames, Iowa
2001
Copyright © Venina Tandela, 2001. All rights reserved.
11
Graduate College
Iowa State University
This is to certify that the Master 's thesis of
Venina Tandela
has met the thesis requirements of Iowa State University
Signatures have been redacted for privacy
Signatures have been redacted for privacy
iii
TABLE OF CONTENTS
LIST OF FIGURES
ABSTRACT
CHAPTER 1. INTRODUCTION
CHAPTER 2. JAPANESE ARCHITECTURE
2.1. Japanese Art, Tradition, and Culture
2.1.1. Japanese Religion
2.1.2. Ukiyo-e Painting
2.1.3. Ethnics and Languages
2.2. Space, Forms, and Structure in Japanese Architecture
2.3. The Modular System of Japanese Traditional Architecture
2.4. Katsura Imperial Villa
2.5. Japanese Influences in Western Architecture
2.5 .1. Mies Van der Rohe
2.5.2. Charles and Henry Greene
2.5.3. Frank Lloyd Wright
2.5.4. Richard Neutra
CHAPTER 3. GRAPHIC DESIGN
3.1. Grid Systems in Graphic Design
3.1.1 . The Art of Typography
3.1.2. Symmetrical and Asymmetrical Balances 3.1.3. The Grid
3.1.3.1. Background
3 .1.3 .2. Function and Purpose
3.2. Traditional Grid System 3.2.1. Josef Muller-Brockmann
3.2.2. Jan Tschichold
3.2.3 . Paul Rand 3.3. Non-traditional Grid System
3.3.1. Neville Brody
3.3.2. April Greiman
3.3.3. David Carson
V
X
1
4
4
4
5
8
10
22 27 40 41 43
45
49
51
51
51
53 54
54
54
56 57 62 67 72 72 78
82
lV
3.4. Magazine Design 87
3.4.1. Introduction 87 3.4.2. Function and Purpose 88
3.5. The Grid System in Magazine Layouts 91
3.5.1. Introduction 91 3.5.2. Magazine with Traditional and Non-traditional Grid System 92
3.6. Japanese Influences in Western Design 93
3.6.1. Josef Muller-Brockmann 94 3.6.2. Jan Tschichold 95 3.6.3. Paul Rand 95
CHAPTER 4. PROJECT DEFINITION 97
4.1. The Purpose of The Study 97 4.2. The Process and Analysis 97
4.2.1 . Table of Contents 99 4.2.2. The MetView Article 100
4.3. The Study 101 4.3.1. Study 1 101
4.3.1.1. The Analysis of Table of Contents 103 4.3 .1.2. The Analysis of The (Met View) Article 108
4.3.2. Study 2 115 4.3.2.1. The Analysis of Table of Contents 115 4.3.2.2. The Analysis of The (Met View) Article 122
4.3.3. Study 3 129 4.3 .3.1. The Analysis of Table of Contents 129 4.3.3.2. The Analysis of The (Met View) Article 136
CHAPTER 5. CONCLUSION 143
APPENDIX A. THE LAYOUTS FROM STUDY 1 148
APPENDIX B. THE LAYOUTS FROM STUDY 2 156
APPENDIX C. THE LAYOUTS FROM STUDY 3 164
REFERENCES CITED 172
ACKNOWLEDGMENTS 178
V
LIST OF FIGURES
Figure 1. Ando Hiroshige. Tanabata Festival at Shichu Han-ei. Ukiyo-e painting 7
(Tokyo: Fonn and Spirit ©1986 Harry N. Abrams, Inc.)
Figure 2. Japanese characters: Katakana and Hiragana
(A Guide to Reading & Writing Japanese ©1959 Charles E. Tuttle Co., Inc.) 9
Figure 3. Four major islands in Japan: Kyushu, Shikoku, Honshu, and Hokkaido 11
(Gardner's Art Through The Ages, Ninth Edition© 1991 Harcourt & Brace Co.)
Figure 4. Variation of Torii from the simplest to the complex form 12
(Japanese Architecture ©1936 Dai Nippon Printing Co.)
Figure 5. The typical forms of Shoji screen 16
(Measure and Construction of the Japanese House ©1985 Charles E.
Tuttle Company, Inc.)
Figure 6. Fusuma, the opaque paper panel
(Measure and Construction of the Japanese House ©1985 Charles E.
Tuttle Company, Inc.)
Figure 7. The moon-shaped gate inside the Chinese garden
(West Meets East: Mies Van der Rohe © 1996 Birkhauser Verlag)
Figure 8. The examples of the brackets in Japanese residences
(What is Japanese Architecture? ©1983 Kodansha International Ltd.)
Figure 9. Piet Mondrian. Composition Blue, Yellow, and Black
(Gardner's Art Through The Ages, Ninth Edition © 1991 Harcourt &
Brace Company)
Figure 10. Kane shaku or Carpenter's Square
(Living Architecture: Japanese ©1970 Grosset & Dunlap, Inc.)
Figure 11. The detail constructions and standard sizes of Tatami
(Measure and Construction of the Japanese House ©1985 Charles E.
Tuttle Company, Inc.)
17
18
19
21
22
24
VI
Figure 12. The detail of the 4.5 mat-room
(Measure and Construction of the Japanese House ©1985 Charles E. Tuttle
Company, Inc.)
25
Figure 13. The various arrangements of Tatami-mat 26
(Measure and Construction of the Japanese House ©1985 Charles E. Tuttle
Company, Inc.)
Figure 14. Katsura Imperial Villa 29
(Living Architecture: Japanese ©1970 Grosset & Dunlap, Inc.)
Figure 15. The interior example of the Shinden style
(What is Japanese Architecture? ©1983 Kodansha International Ltd.)
Figure 16. The interior example of the Shoin style
(What is Japanese Architecture? ©1983 Kodansha International Ltd.)
Figure 17. The interior example of the Sukiya style
(What is Japanese Architecture? © 1983 Kodansha International Ltd.)
Figure 18. The floor plan of Geppa-ro teahouse or 'The Moon-Wave Tower'
(Katsura. Tradition and Creation in Japanese Architecture ©1960
Zokeisha Publications Ltd.)
Figure 19. The floor plan of Shokin-tei teahouse or 'The Pine-Lute Pavilion'
(Katsura. Tradition and Creation in Japanese Architecture ©1960
Zokeisha Publications Ltd.)
31
32
33
34
35
Figure 20. The floor plan of Shoka-tei teahouse or 'The Flower-Appreciation Pavilion' 36
(Katsura. Tradition and Creation in Japanese Architecture ©1960
Zokeisha Publications Ltd.)
Figure 21. The floor plan of Shoi-ken teahouse or 'The Laughing-Thoughts Pavilion' 37
(Katsura. Tradition and Creation in Japanese Architecture ©1960
Zokeisha Publications Ltd.)
Figure 22. The inside view of the Shokin-tei teahouse 39
(Gardner's Art Through The Ages, Ninth Edition© 1991 Harcourt & Brace Co.)
Figure 23. Katsura Fencing 40
(Katsura. Tradition and Creation in Japanese Architecture ©1960
Zokeisha Publications Ltd.)
vii
Figure 24. Mies Van der Rohe. Casa F amsworth, 1945-1950
(West Meets East: Mies Van der Rohe ©1996 Birkhauser Verlag)
Figure 25. Charles and Henry Greene. Irwin House, Pasadena, California
( Greene & Greene: Architects in the Residential Style © 1977 Morgan & Morgan Inc.)
43
44
Figure 26. The examples of Japanese house plan (left) and Frank Lloyd Wright's house 46
plan (right)
(Frank Lloyd Wright and Japan © 1993 Chapman & Hall)
Figure 27. Frank Lloyd Wright. Fallingwater, 1935
(Frank Llyod Wright and Japan ©1993 Chapman & Hall)
Figure 28. Ando Hiroshige. Agematsu, Japanese woodblock painting (top) and
Frank Lloyd Wright. Fallingwater (bottom)
(Frank Lloyd Wright and Japan© 1993 Chapman & Hall)
Figure 29. Richard Neutra. Kauffman House, Palm Springs, California
(RichardNeutra ©1971 Simon and Schuster)
Figure 30. The golden section
(The Grid ©1978 Van Nostrand Reinhold Company)
Figure 31 . The grid system
(Typographic Design: Form and Communication. ©1983 Van Nostrand
Reinhold)
47
48
50
52
55
Figure 32. Josef Muller-Brockmann. Zurich Tonhalle. 'Beethoven ' concert poster, 1955 58
(Josef Muller-Brockmann Designer: A Pioneer of Swiss Graphic Design
©1995 Verlag Lars Muller)
Figure 33. The grid system from Josef Muller-Brockrnann's book, Grid System in
Graphic Design
( Grid Systems in Graphic Design © 1981 Hasting House)
61
Figure 34. The standard grid system for Penguin Book cover 65
(Jan Tschichold: A Life in Typography ©1997 Princeton Architectural Press)
Figure 35. The cover of Typographische Mitteilungen 66 (Jan Tschichold: A Life in Typography ©1997 Princeton Architectural Press)
Figure 36. The Christmas edition cover of Direction magazine 68
(A Designer's Art© 1985 Yale University Press)
Vlll
Figure 37. IBM logo 69 (Paul Rand© 1985 Phaidon)
Figure 38. The cover and inside spreads of Arena magazine 75 (The Graphic Language of Neville Brody 2 © 1996 Universe Publishing)
Figure 39. The Fuse project 77 (The Graphic Language of Neville Brody 2 © 1996 Universe Publishing)
Figure 40. April Greiman. The CalArts viewbook 79 (Hybrid Imagery© 1990 Watson-Guptill Publications)
Figure 41. April Greiman. CalState Student Union, Facade banner, 1997 79
(Hybrid Imagery© 1990 Watson-Guptill Publications)
Figure 42. April Greiman. LUX PICTURES, push animation, 1997 81 (Hybrid Imagery© 1990 Watson-Guptill Publications)
Figure 43. The cover and inside spread of Beach Culture magazine 83
(The End of Print: The Graphic Art of David Carson © 1995 Chronicle Books)
Figure 44. Ray Gun magazine, issue 25 85
(The End of Print: The Graphic Art of David Carson© 1995 Chronicle Books)
Figure 45. Ray Gun covers with different kind of mastheads 85 (The End of Print: The Graphic Art of David Carson © 1995 Chronicle Books)
Figure 46. Ray Gun inside spread 86
(The End of Print: The Graphic Art of David Carson © 1995 Chronicle Books)
Figure 47. Metropolitan Home, vol. 32, no. 6. Table of Contents 99
Figure 48. Metropolitan Home, the Met View Article 100
Figure 49. The first alternative grid system using some parts of the Middle Shoin compound 102
Figure 50. The spread using the first alternative grid system 103
Figure 51. Table of Contents experiment #1, #2, #3, and #4 using the first alternative 105 grid system
Figure 52. The layout for Table of Contents using the first alternative grid system 107 from the Middle Shoin compound
Figure 53. The MetView Article experiment #1, #2, #3, and #4 showing with the grid 109
and without the grid (bottom)
ix
Figure 54. The spread for the Met View article using the first alternative grid system 114
from the Middle Shoin compound
Figure 55. The second alternative grid system using some parts of the Old Shoin compound 116
Figure 56. The spread using the second alternative grid system 117
Figure 57. Table of Contents experiment # 1, #2, #3, and #4 using the second 118
alternative grid system
Figure 58. The layout for Table of Contents using the second alternative grid system 121
from the Old Shoin compound
Figure 59. The MetView Article experiment #1, #2, #3, and #4 showing with the grid 123
and without the grid
Figure 60. The spread for the Met View article using the second alternative grid
system from the Old Shain compound 128
Figure 61. The third alternative grid system using some parts of the Middle Shoin 130
and the Old Shoin compounds
Figure 62. The spread using the third alternative grid system 131
Figure 63. Table of Contents experiment #1, #2, #3, and #4 using the third alternative 133
grid system
Figure 64. The layout for Table of Contents using the third alternative grid system 135
from the Old Shoin and the Middle Shoin compounds
Figure 65. The Met View Article experiment #1, #2, #3, and #4 showing with the grid 138
and without the grid
Figure 66. The spread for the MetView article using the third alternative grid 142
system from the Old Shain and the Middle Shain compounds
X
ABSTRACT
This study brings together the Eastern aspect of architecture and the Western aspect of
graphic design in utilizing the grid system. In addition, this study introduces the synergetic
solution of some Japanese architectural principles and applies it to the Western graphic
design. Specifically, it addresses the possibility of applying the form and structure in tradi
tional Japanese architecture as an alternative grid system to the Western magazine design. ,
Because the graphic designer has many elements to work with such as the headlines,
the pull-quotes, the images and the captions, the blurbs, and the body text, s/he needs to
divide the space into active and inactive spaces. The grid system, as a tool, offers a device for
structural continuity for sequential layouts inherent in magazine design, it can allow for a
pleasant flow throughout the composition, and allows the designer to clearly communicate
throughout the composition and create a balance of information and negative space for the
readers to rest their eyes on.
A series of experimentation using the grid system of one historical structure of tradi
tional Japanese architecture was designed to support this study. This study suggests that in
the practical world, the structural system of traditional Japanese architecture is conceivable to
be used as an alternative solution for both traditional and/or non-traditional grid systems in
Western magazine. However, there are certain circumstances that need to be considered
beforehand.
CHAPTER 1. INTRODUCTION
The objective of this study is to bring together the Eastern aspect of architecture and
the Western aspect of graphic design in utilizing the grid system. Specifically, it focuses on
the modular system of the traditional Japanese architecture and the modern Western publica
tion design.
It is quite apparent that Japan has its own unique and fascinating culture that is known
all over the world, -from the Sushi bar to the Japanese Zen garden, from Honda to Sony
electronics, from Geisha to Kabuki theater, from Anirne to Manga, and from Kimono dress to
the traditional tea ceremony. Along with their extreme development of modern technology,
the Japanese retain their traditional culture along with developing the lifestyle of pop-culture.
They preserve the traditions as well as introduce the innovations. Thus, for example, a tradi
tional kimono remains steadily alive alongside modern fashions. It is common to see girls
and women wearing kimonos in downtown Tokyo blending harmoniously with others who
wear modern dress.
Similar to their culture, the traditional Japanese buildings, such as Shinto shrines and
Buddha temples blend harmoniously with the skyscrapers. The Japanese preserve all the
aspects of their traditional architecture. The traditional Japanese architecture has a strong
foundation of the form, structure, material, space, and modular system that has been used
from many years ago. The Japanese are very consistent when it comes to the basic structure
of their buildings. They have a specific measurement that can be applied to most parts of
their residences, from the roof to the wall and the floor. It precisely divides the room in a
horizontal plan, and divides the wall and the roof in a vertical plan. Besides those basic
components, flexibility is also one of the most essential characteristics of Japanese architec
ture. As an example, the Shoji screen works as an indoor and outdoor access to the outside
2
residences. In addition, it is very essential in traditional and modern Japanese architecture for
nature to blend harmoniously as a whole with the human-made structures. "Natural color and
texture and the dominant structural module unify these various rhythms, textures, and shapes
into a single composition" (Carver 1955, p.80). The Japanese relationship with nature is very
intimate and close. They honor nature like no other culture.
In line with architecture, the field of graphic design has a standard grid structure as
well. In the beginning, the grid structure started to become popular in Europe, especially in
Switzerland after World War II. The grid in graphic design is very important when it comes
to publication design, for example newspapers, magazines, and posters; because it is very
effective in terms of its function as a standard guideline to arrange the typographic and visual
elements systematically and logically in a given layout. The clarity and effectiveness of the
grid system as its main foundation in publication design brings the great influences in history
of graphic design up to the present. Newspapers and I?agazines apply the grid system to
divide the active areas of type and image and also to simplify the layout.
The grid system has been developing up to the present moment. As Josef Mtiller
Brockmann says, "The grid as a controlling principle in the form we know it today still
remained to be invented" (Muller-Brockmann 1981, p.7). Many designers try to modify,
invent, manipulate, and break the traditional grid into the non-traditional grid, known as an
alternative grid system.
This study is composed of five chapters: Introduction, Japanese Architecture, Graphic
Design, The Project, and Conclusion. As has been stated, the first chapter introduces a brief
summary of the elements of Japanese architecture and the graphic design, especially in
publication design. The second chapter, which is the first part of the Literature Review of this
study, provides the history of Japanese cultures, such as its religions, languages, arts, and
ethnic backgrounds. It is followed by the history of traditional Japanese architecture, specifi
cally their modular system. This chapter emphasizes one particular structure, the old ancient
3
Imperial Palace as an exemplar for a strong modular system in traditional Japanese architec
ture. The last section of this chapter discusses the influences of Japanese art and/or architec
ture in Western architecture. The third chapter or the second part of the Literature Review,
covers the graphic design part, for example, the history of grid systems, the development of
the traditional and non-traditional grid systems with some examples of the work of graphic
designers, introduction to magazine design, grid systems in magazines, and the influences of
the Japanese cultures on the Western graphic design. Soon afterward, the information based
on the Literature Review will be explored in the Project section. As Martin Solomon says,
"An exciting part of designing is discovering, through experimentation" (Solomon 1986,
p.11 ). The fourth chapter examines the traditional Japanese grid system applied as an alterna
tive solution to Western magazine design. This chapter also shows several experiments with
alternative grid systems in two different magazine layouts -chosen by the author. It is fol
lowed by the analysis section, which includes the study of the modular system that brings
together the Eastern and Western cultures from two different areas of studies, the Eastern
architecture and the Western graphic design. From this study, the result of which alternative
grid systems are more suitable, whether it improves the original spread or not at all, will be
discuss in the conclusion section. The final chapter summarizes, explains, and concludes all
the chapters in this study with some ideas for future study.
4
CHAPTER 2. JAPANESE ARCHITECTURE
2.1. Japanese Religion, Art, Tradition, and Culture
2.1.1. Japanese Religion
Shinto, The way of the Gods in Japanese, was the native religion of Japan before
Buddhism spread to Japan from China through Korea in the middle of the sixth century. Even
though Buddhism became widely worshipped, Shintoism has been the primary religion of
Japan until now. Many Shinto shrines and artifacts can be found everywhere in Japan, espe
cially in Kyoto. Shinto itself means, "a collection of beliefs that manifests itself over the
landscape in a profuse but uneven scatter of diverse natural and man-made forms at many
scales and with various degrees of definition" (Shelton 1999, p.153). In other word,
Shintoism does not believe in a deity or a creator, since it only worships the elements of
nature, such as mountains and trees. According to Shintoism, there is a non-hierarchical
decentralized and fragmented landscape; and intellectually, there is no framework for organ
izing it into a conceptual whole.
In Shinto, spirits or Kami dwell in almost every living and nonliving aspects of nature: the sun and the moon; rivers and mountains; wind and thunder; fertility and production, trees and rocks, islands and waterfalls, and some animals and even human- beings, for all beings are potentially Kami. (Shelton 1999, p.152)
When Buddhism religion spread to Japan, its volunteers began to build Buddhist
temples in most of Kyoto's area. Together Shintoism and Buddhism became part of Japan's
life. Buddhism did not replace Shintoism, but came to coexist with it since both share the
same beliefs. Buddhists believe, "everything in this world is only the temporary coexistence
of its composing elements and subject, therefore, to decomposition" (Bognar 1985, p.27). In
5
his book, Learning from the Japanese City, Barrie Shelton writes, "All things arise and pass
away. Life is a constant cycle of birth, death, rebirth, growth or decay. The 'death' remains
very much alive with his spirit; either feared and destined to reappear in some living material
or earthly forms, or banished to another world" (Shelton 1999, p.157).
The other part of Buddhism, Zen (Ch' an) Buddhism was brought to Japan from China
in the thirteenth century during the Ashikaga period. Zen was the ideal religion for the Samu
rai since the latter placed high values on loyalty, courage, and self-control. The self-confi
dence required of Zen's character also fit well with the Samurai. Zen is the process of medi
tation that helps Buddhists to be reborn, reach Nirvana, and unite with the world. According
to Zen, truth cannot be explained by words. "Enlightenment comes from intuition gained through
direct religious ascetic practices, not from any intellectual understanding or knowledge of written
Buddhist doctrine .. . " (Shelton 1999, p.47). Words such as earth, clouds, wind, mountains, and
rivers show Zen Buddhism and Buddhism have the same belief. In Zen Buddhism, the
meditativeness and tranquility of nature's beauty play a great part. It can be seen in products of
Zen philosophy, such as various landscape paintings, the tea ceremony, the architectural style, and
the Zen dry garden that uses rock and sand to depict water. According to Mies Van der Rohe,
Zen is known for its orientation towards plain naturalness and concentration on the ideas
and perceptions of everyday life. Zen leads to calm, and directly addresses the essence of
humanity; it creates a feeling for balance, beauty and dignity. (Blaser 1963, p.108)
These days, Zen philosophy is very popular among Western cultures and is reflected through
many aspects of life , such as the interiors and exteriors of residences, fashion, candles, food,
gardens, and so on.
2.1.2. Ukiyo-e Painting
Among other things, religion also influences Japanese works of art. Both Buddhism
and Shinto believe that nature is the main part of the Japanese's life. Landscape painting and
6
poetry about nature were the famous kinds of art in Japan and also in China many years ago.
Most of the traditional art in Japan is derived from ancient Chinese art. The Japanese tradi
tional painting, for example, primarily consists of linear brush strokes with decorative flat
ness of images and colors and, therefore, is similar to Chinese pictorial art. There is no depth
or any form of shadows. Japanese painters sometimes apply the correct scale proportion, but
sometimes not. The pure Japanese art deals with visual facts rather than with abstractions,
idealizations, or visionary rendering. The scroll paintings, for instance, capture nature in its
unrealistic and flat linear form.
A famous example of the tradition Japanese painting is Ukiyo-e painting of the Edo
period ( 1603-1868). The term ukiyo-e means "pictures of the floating (passing) world or the
world of suffering" (Walker Art Center, p.60), which were introduced and quite famous
among the Japanese, particularly in Kyoto. The Ukiyo-e can be a colorful drawing, a
woodblock print, or a painting. It captures the essence of lusciousness, women's delicate
beauty, and numerous activities in everyday life; for example, kitchen's maids, geishas,
merchants' wives, drunken concubines, sumo wrestlers, Kabuki actors, and even erotic
scenes. Most of the people who bought ukiyo-e lived in the modern community. Women
usually bought Ukiyo-e to follow the most recent fashions and men bought Ukiyo-e to see
their favorite Kabuki actors, geishas, and concubines. Pictures of beautiful women (bijin-ga),
usually geisha or women of high social status, were the most popular ukiyo-e subjects at that
time. Furthermore, landscape pictures with themes such as Mount Fuji (the highest peak),
hills, regions, shrines, temples, famous places inside and outside Edo were frequently found
in ukiyo-e prints as well. Ando Hiroshige is an example of one of the famous Ukiyo-e land
scape painters of the Edo period (Fig. 1).
7
Figure 1. Ando Hiroshige. Tanabata Festival at Shichu Han-ei. Ukiyo-e painting
8
2.1.3. Ethnic groups and Languages
The major ethnic groups living in Japan are the Tungus, Mongolian, Malayan, and
Ainu. They migrated to Japan centuries ago from different routes and periods. The Tungus
and Mongolian ethnics went through a process of contraposition and mixing in the prehis
toric Korean peninsula. In addition, there were some immigrants from the neighboring coun
tries of China and Korea. All these ethnic groups came together to form the Japanese race
with a rich culture and a diverse ethnic background.
In view of the existence of various ethnic groups in Japan, many language influences
and changes happened in Japan. The languages of the immigrants from different ethnic
groups influenced the Japanese characters. Chinese characters were introduced to Japan
around the 4th-5 th century AD by Korean scholars. There are similarities between words and
grammatical constructions of ancient Japanese and southern Korean and similarities between
phonetics of Polynesian languages and modern Japanese. The major characters in Japanese
language consist of Chinese, Japanese, and sometimes Roman characters. Then, the Japanese
characters are divided into three groups: Katakana, Hiragana, and Kanji. Katakana (kana
means phonetic symbols), is used to translate foreign words that are not originally from
Japan (Fig. 2). Hiragana consists of native words and the daily language that needs to be
combined with Kanji in order to create words (Fig. 2). On the other hand, Kanji can stand
alone because each character in it carries its own meaning. It is not like a Western character
that does not have any meaning when it stands by itself. It is a fact that there are only twenty
six letters in some Latin based alphabets (fifty-two if combine the upper and the lower cases).
On the contrary, Kanji that was originally formed from Chinese characters during the seventh
century, has over fifty thousand characters and is still expanding and is incomplete. Kanji
employs the Chinese character, but it uses Japanese pronunciation. Sometimes the old char
acters emerge to form a new meaning, and sometimes one character can have more than one
9
SYLLABARY
Katakana and Hiragana
7 : -:7 7 cba! - t Ji Jt) al
1, / ~ \i \ i ! l l\
• 1 l I
'/ : ' ,, 7 '> I '> ...
) I
) I u u
.... ',. '- ' _I_ - 7- ..I.. z 7~ e e
~o
- -t:i- }; i - thi3 0
tJka 7 fJ ~\ J -b 1) \ ka
-=t-/al - - 4 ~ - - -:\ 5 - -'- ki
1ku / 7 <ku < T.e !)
)- T l 1ke l i- lt
Figure 2. Japanese characters: some examples of Katakana and Hiragana
meaning. Japanese character, Katakana, grows mostly by incorporating and slightly modify
ing the two old iconic systems, Kanji and Hiragana .
In spite of the fact that Japanese borrows Chinese characters, does not mean they
share the same grammar and meaning. In Design Writing Reasearch, Ellen Lupton and J.
Abbott Miller define the differences between Chinese and Japanese characters,
10
The Japanese and Chinese spoken languages are totally different in their grammar and phonology. While many Chinese characters could be exchanged directly for Japanese words, some features of Japanese are impossible to translate ... Japanese is heavily inflected, meaning that the basic form of a noun, verb, or modifier changes in different grammatical settings. Chinese, in contrast, has few inflections ... A Chinese char
acter could be used to stand for a Japanese word or syllable unrelated in meaning but similar in sound. (Lupton 1996, p.47)
The composition and placement of the characters in Japanese is the same as Chinese, from
right to left and vertically from top to bottom. Nowadays, it is common for modern Japanese
newspapers and magazines to display texts in both vertical (traditional) and horizontal (West
ern) formats on the same page. Furthermore, since the characters are pictographic, the dis
tinction between characters and true pictures is blurred. They can mingle nicely together,
unlike Western characters that do not mingle with pictures.
2.2. Space, Forms, and Structure of Japanese Architecture
Japan is located near the great peninsula of Korea and between the Pacific Ocean and
the sea of Japanese. It consists of four major islands -Kyushu, Shikoku, Honshu, and
Hokkaido- and many small islands (Fig. 3). The climate changes dramatically from sub
tropical and oceanic with warm rain and high humidity in the summer to semi-frigid conti
nental with cold and snow in the winter. Almost every year, there are many geographic and
climatic changes that occur in Japan; for examples, severe earthquakes, dense humidity,
typhoons, and many volcanic activities.
Nature plays an important role in Japanese architecture due to the fact that the Japa
nese cherish nature as the main part of their lives. As was stated previously, they live so close
to nature that it serves as an inspiration for their life. The rhythm of nature blends harmoni-
11
Figure 3. Four major islands in Japan: Kyushu, Shikoku, Honshu, and Hokkaido
ously with the buildings from inside and outside. Shinto and Buddhism believe in the con
nection between nature and timber and in the changeability. Shinto shrines, for example, are
always built from timber since the primary purpose of the shrine is to convey the soul back to
the God; thus, the construction must be made from nature to imply eternity. There is Torii, a
fourfold wooden gate that can be found only in Shinto shrines. Torii is perfectly cut with a
simple form and without curves or colors (Fig. 4). It stands in the center and in front of the
shrine.
Unlike the Western world, the word 'architecture' does not literally exist in the Japa
nese tradition. The word zoka means the construction of houses, and the wordfushin means
the collection of funds for the building or rebuilding temples. These are the common terms
that have been used for many years. Japanese architecture began when an enclosed area was
set up to create an architectural space. The fence, as an enclosure of the infinity, divides the
space. Space in Japanese architecture is very significant; for example, in Zen Buddhism, the
concept of honored space plays a dominant role in life. As Norman F. Carver, Jr. writes in
12
i__,- ,A ,......._J
-
Figure 4. Variation of T5rii from the simplest to the complex form
Form and Space of Japanese Architecture,
Zen affirmed the reality of immediate experience and yet declared its indivisibility from a present defined as the moving infinity . ... Space was felt to be the only true
essential for only in space was movement possible. Space was the universal medium
through which life moved in constant transformation, in which place and time were
only relative states. (Carver 1955, p.130)
Architecture according to the Japanese must be shibui, meaning it has to fulfill six
characteristics -quiet, beautiful, simple, subdued, original, and stable. Simplicity in Japanese
architecture becomes the characteristic of uniqueness. The simple materials that they use, the
way they leave the timber surface unpainted to show its natural color, the simplicity of the wall
panels, and the fresh woven floor mats are used as references by some of Western designers.
13
There is an old Japanese verse that artistically describes the simplicity of Japanese residence:
A cottage stood there, a human abode,
Of sticks tied together and covered with straw, Another morrow, the ties gone and the thatch scattered,
Sees it reduced to wilderness, from which it came! (Anesaki 1933, p.31)
The traditional Japanese residence is all one floor, this means that every activity like
eating, sleeping, chatting, and sitting is performed in the same place. Although at first glance,
the interior residence seems empty and spacious since it has little furniture and fewer decora
tions, it looks very highly artistic as a place of serene meditation. In general, the interior of a
Japanese residence is very simple in its construction, material, and composition. The room
can be used for many purposes because it does not have a specific function and usually
contains less furniture because the Japanese do most of their activities on the floor. The low
table and cushions are the only main furniture in the house. Futons or bedding are usually
rolled up and kept in the closets during the day. From the Western viewpoint, it might seem
dull, boring, and uncomfortable since it is very rigid and empty. As a matter of fact, however,
it is calm and comfortable for the Japanese since they see it from a different aspect and
perspective. Basic or raw materials, simple geometric forms, the skeleton rectangular frame
system with translucent screens, and the natural color of the floor mats are the main elements
in traditional Japanese residences.
Japanese traditional architecture used wood for its architecture because almost 90%
of ancient Japanese islands are covered with forests. Timber is very suitable for humid and
summer seasons, especially during the rainy season because it gives sufficient ventilation
through its surface. Unlike stones or bricks, timber is not durable, but it is less damagable
during earthquakes and other natural disasters. Timber has more strength and flexibility to
resist an earthquake than stone or brick buildings. Old buildings are very rare in Japan,
except for religious complexes and castles. Old buildings are not common because of the
enormous damage suffered during World War II and during natural disturbances. Everything
14
seems temporary; thus, most of the traditional Japanese buildings were destructible, replace
able, or even moveable.
Moreover, there are special ways in which timber was used in Japanese traditional
architecture. For the reason that the Japanese value the rich texture of the timber surface -
timber lives and breathes from the skin or surface- it is left unpainted and unpolished to
show its natural appearance. The natural color is the main characteristic of Japanese architec
ture. The Japanese never sand-papered, polished, or painted the timber surface to retain the
natural gloss of the surface form; thus, outdoor walls sometimes look so pale and washed by
rain, especially as time goes by.
Flexibility is another part of Japanese architecture. Flexibility, as related to buildings,
means being changeable as anything inside and/or outside is removable. It is essential to keep
it flexible because of earthquakes and other disasters that occur in Japan. The mat cover,
screen partitions, and the board ceilings can be quickly packed up and carried away. The
external surface of the residence personifies the flexibility of the residence. Most of the
interior walls are used as moveable folding partitions, which are not permanent. It is easy for
the Japanese to rearrange the room by sliding or removing the screen panel inside the resi
dence. The screen panel can be used as an enclosure and/or as a frame since the arrangement
of removable sliding-screen partitions gives an indoor-outdoor access, in which case, there is
no boundary between the nature (outside) and building (inside). "The meeting of architecture
and nature was the key to spatial expression" (Carver 1955, p.150). It makes the Japanese
residences blend smoothly into the surrounding natural environment.
Western architecture is familiar with the terms: 'window', 'door', and 'wall.' On the
other hand, those terms seem nonexistent in Japanese traditional architecture because most of
the actual wall does not exist as a wall but as a screen panel. The wall is not so important as
the main structural form in Japanese traditional architecture. On the contrary, the column is
the main important form in Japanese traditional architecture because it supports the house.
15
Because of that, the Japanese have taken great pride in their craftsmanship in construction.
The screen panel is used as a wall; it slides open from one room into the other rooms or to the
outside. The sliding panel also creates a smooth, continuous rhythm that enriches the tradi
tional Japanese residence. The basic wall panels consist of skin (screen panel) and skeleton
(woven bamboo or a dark cedar). The skeleton forms a structural, rectangular, geometrical
shape that continuously repeats all over the residence.
The shoji screen, a translucent screen panel, is made of very thin strips of white
translucent pine that covers the frame on one side (Fig. 5). The translucent papers are pasted
horizontally from the bottom and continued upwards to prevent dust from accumulating. The
silhouette of shoji screen as an outer screen covers most of the windows and sliding door
panels. There is no glare, no shadows, and only a soft diffusing shadow from outside. When
the shoji screen is closed, it gives a subdued and diffused light that reflects inside the room
and it shows an excellent contrast of black and white patterns from the exterior through the
interior. The shoji screen is usually used for the outside wall, facing the veranda or corridor,
and it serves as a door, window, and space enclosure. The standard measurements of the shoji
screen are the width, based on the column distance, and the height, based on the distance
between upper and lower tracks. The shi5ji screen is a kind of a replacement for glass win
dows in traditional Japanese residence. As a matter of fact, there is an actual window (mado)
in Japanese traditional architecture; however, it is rarely used in Japanese residences. If the
Japanese apply this window in their house, it will probably in the kitchen and bathroom.
Mada is similar to shoji screen, but in smaller in scale and cannot be used as a passage.
The fusuma screen similar to the shi5ji screen, is covered with heavy opaque paper of
a brilliant white color, pasted on both sides. The fusuma is usually used as a room partition
and a room door inside the residence without or with few printed patterns or a mural on its
panel (Fig. 6). The basic colors offusuma-gami (fusuma papers) are white, yellow, cream,
gray, or light brown. The skeleton structures of bothfusuma and shoji screens are extraordi-
16
. . . . . . .
m m I~ s3
I
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.:, E [
! II
Ha1~11 1\ ~ li~Wi( \\~~ i1)~[~ 1\\~ ~\\I 1\1 \\ll~i l\
- -MM\.WCWfl'l\:,C,f'#,1",Cl WJi' t1:lh tkre!.btj ur.dou'r~ ......_ atuior
Figure 5. The typical forms of Shoji screen
narily weightless to reduce disintegration in the lower track when they slide the panels sev
eral times. The translucent screen fromfusuma reflects the texture from the garden outside
and sometimes is decorated with an ornate woodblock painting, similar to a Chinese
woodblock painting. Landscape can be view from inside the residence as a picture framed in
the rectangular immense screen panels. The rectangular screen panel is left unpainted to
show the natural color of timber. The Japanese traditional residence has several large rectan
gular screen windows, partitions, and doors for an indoor-outdoor access. They always
combine natural and man-made forms into a unified whole. They generally called it 'borrow
ing a space' since they borrow nature from outside and put it as a picture frame inside the
residence.
Framing, inside the garden, also used in ancient Chinese architecture, is a place to
pause for a while in preparation for entering another location. It is kind of a sacred journey
'"' -- --- ---------·
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17
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Figure 6. Fusuma, the opaque paper panel
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from one part to another. Framing gives a little hint about what is inside the next place and is
also used as an interlude and a hint to visitors before they enter the next location in the gar
den. 'Framing' originally adapted from the Chinese garden, with the identification of a moon
shaped gate ( circle-shaped gate) is designed to let only one person at a time pass through
(Fig. 7). They built it so low and small, so that people have to pause, take a deep breath, and
enjoy the scenery before they continue to other locations. On top of every frame or gate,
there is a piece of wood (a plaque) with a title or a prose describing what is inside the next
location.
As was mentioned earlier, the column is another major element in Japanese traditional
architecture. There are four primary columns that are used as an ornament as well as a struc-
18
Figure 7. The moon-shaped gate inside the Chinese garden
ture to support the roof from the inside. "The bracket complex consists of two basic parts, the
bearing block (masu) and the bracket arm (hijiki)" (Nishi, p.36) (Fig. 8c). In Ancient China
and in some Buddhist temples in Japan, the brackets seem very complex with a lot of blocks
on top of each other, which are more like an ornament rather than a column itself (Fig. 8b). In
Japanese style, the column is more basic and is called the 'boat-shaped bracket arm.' It
consists of the purlin (the long beam that attaches to the inside roof) and a simple single
bracket between the purlin and the column (Fig. 8a).
The roof is one of the main important elements in Japanese traditional architecture as
well. There are many variations of roof design in Japan, such as the gabled roof, hipped roof,
19
a b C
Figure 8. The examples of the brackets in Japanese residences
pyramidal roof, and hipped roof with gables. The Japanese roof has two interesting things
that cannot be found in Western architecture, the slope of the roof and the curves of the
eaves. The Japanese roof style is quite similar to the Chinese roof style; however, there are
some slight differences between the styles. The Chinese roof style is fully decorated with a
sharp point and bright colors, and is very exaggerated, whereas the Japanese roof style is
very refined, subdued, and merges delicately with nature. The gentle slope of the Japanese
roofs form a harmony with the hills and trees that make them appear as though they are part
of the landscape instead of a man-made structure.
There are two kinds of ceiling structures in the traditional Japanese residence: the first
one is a decorative roof, kesho yane, and the second one is a ground roof or no-yane. The
kesho yane structure solved their traditional architecture problem -the heavily decorated
brackets that shows inside and outside the residence- by eliminating the deep projecting
extension with bracket and supporting the space and structure between beams and brackets.
Consequently, the beams and brackets are completely hidden between the roof and ceiling.
The kesho yane block or masu-gumi is a decorative bracket system that creates the look of a
real and precise structure. "Masu-gumi is a structural detail for supporting the overhanging
eaves," writes Kishida (Masuda 1970, p.22). The consistency between the real structure and
20
the implied structure, the softening of the interior vertical dimension, allowed a visual ex
pression of precision and delicacy and a gentle human feeling for space (p.125). It then
becomes a unique characteristic of the Japanese structural architecture system.
The rhythm in Japanese interior residence is in proportion with rectangular shapes,
similar to Piet Mondrian's arts from the De Stijl movement. The shoji screen, beams, and
shelves show Mondrianesque patterns inside the Japanese residences. De Stijl, founded by
Theo Van Doesburg was popular in 1917-1931 in Europe. "De Stijl artists were searching for
an expression of the mathematical structure of the universe and the universal harmony of
nature" (Meggs 1983, p.321). Mondrian's arts are mathematical, and geometric forms in
asymmetrical compositions reflect the De Stijl movement. Mondrian limited his colors to
primary colors (red, blue, and yellow), primary values (black, white, and gray), and primary
directions (horizontal and vertical). Similar to Japanese screen panels, Mondrian's paintings
are asymmetrical but harmoniously balanced. The horizontal and vertical lines contrast
directions creating a strong perfect balance (Fig. 9).
2.3. The Modular System of Japanese Traditional Architecture
Japanese traditional architecture applies some kinds of measurement systems to their
floor plans. A measurement system helps for standardize procedures to the point of forming a
complete vocabulary and grammar of the whole building. Unlike Chinese architecture that
applies curved lines a lot, it is obvious that most of traditional Japanese architectural plans
utilize straight lines horizontally and vertically even in the measurements.
Back in the period around the fourteenth century, the ancient Japanese utilized the
Kane shaku (the Carpenter's square) or the Japanese foot as a traditional Japanese unit of
21
Figure 9. Piet Mondrian. Composition Blue, Yellow, and Black
22
length. The Carpenter's square is an L-shaped steel scale. The long arm is 1 shaku and 5-6
sun long, the short arm is 7 .5-8 sun long. In Western measurement standards, 1 shaku is 11.9
inch. Shaku means kane kobai or an inclination of 45° (Fig. 10).
1 ri = 150 j6 = 1500 shaku 1 j6 = 10 shaku = 100 sun= 1000 bu = 10000 rin 1 shaku = 10 sun= 100 bu= 11.9 inches= 30.3 ems
1 = chogen-kobai 2 = chogen 3 = tangen -4 = chuko-kohai
5 = nobikane-kobai 6 = tangen-kobai 7= chuko 8= 1 shaku
1 = tatemizu 2 =yokomizu 3 = 1 shaku
Figure 10. Kane shaku or Carpenter's Square
Later on, the Japanese developed another measurement unit, ken. Ken divides the
interval between two columns of a wooden structure. One Ken is equal to 4 sun or 4.76
inches. Ken gradually became standard measurement in residences because of its close rela
tionship to human measurements and its practicality. Subsequently, the ken measurement is
divisible into two standards, the kyo-ma (1 ken= 6.5 shaku) and the inaka-ma (1 ken= 6
shaku). Kens kyo-ma is more complicated compared to Kens inaka-ma; thus, inaka-ma is
more popular and is replaced the ja unit (10 shaku). Soon afterward, it became commonly
used in residence measurements and became standard unit of Japanese measurement because
it measures the center-to-center distance between columns.
23
Subsequently, Japanese traditional architecture started to utilize the floor mat, tatami,
as another measurement system in the sixteenth century, due to the increase of its use in
residences. They do not use the size of the mat as a module function, but they count the
number of mats contained in each room to determine the organization horizontally and verti
cally. For example a room can be a 4.5 mat room or a 6 mat room. Tatami provides the pro
portions for all other elements of the structure, from the plan to the elevation structures, and
helps to divide the floor area into a variety of asymmetrical forms in the Japanese residences.
The word Tatami was originally Tatamu, meaning 'to fold or to pile up' (Engel 1985,
p.36). The size of Tatam is based on the size of a specific sitting arrangement for two men
that can be moved and folded. There was a thickly knit straw mat in the Kamakura period,
called tsuka-nami that had previously been used as a natural cushion in the upper-class
residences. It was moveable, depending on where they wanted to sit. Then, they combined
tsuka-nami and Tatamu into Tatami. Later, during the Muromachi period (1338-1573), Shoin
style (the upper-class traditional Japanese residence style) was introduced by covering the
entire floor with tatami for the first time.
Tatami is a tightly packed, soft, light-colored, stiff igusa raw-straw mat that is bound
together with stout strings. The size of Tatami is fixed to a double-square proportion or a 3 x
6 feet (910 x 1,820mm) rectangular shape, and is two inches thick. The upper surface is
covered with a straw-matting or woven rush that shows ornamental and constructional pat
terns. The edges are trimmed proper and square and the two longer sides are bound on the
upper surface and edges with a strip of black linen an inch or more in width.
According to Heinrich Engel, the three main constituent parts of Tatami are:
• toko (floor), thick straw under part
• omote (surface), thin reed cover • fuchi or heri (edge), cloth tape binding (Engel 1964, p.41) (Fig. 11).
The fuchi or heri is usually a strip of black linen or cotton, but in teahouses or other upper-
24
class residences, they changed it to a strip of silk with patterns. The color of strips vary from
black, dark blue, brown or gray.
"The size of Tatami is also consistent with the placement of the columns and other
vertical elements within the building to give the floor mat even greater visual authority"
(Shelton 1999, p.34). Tatami as a modular co-ordination, helps to determine most measure
ments of both the plan and the elevation in the residence; for examples, floors, walls, furni
ture, and roof. It gives the uniformity and harmony of proportions, and creates the style of the
residence appearance as well. Tatami has a standard size and may be arranged in varying
patterns to produce rooms of different sizes. It is easy for the Japanese to estimate the size of
Figure 11. The detail constructions and standard sizes of Tatami
25
a room by arranging tatami into specific patterns. The arrangement of tatami fits tightly in
the direction of closely wound spiral. It has the effect of keeping the eye within the space and
emphasizes the center of the room as the main area. To determine the size of the room, they
lay the mat in the following numbers: two, three, four-and-one-half, six, eight, ten, twelve,
fourteen, sixteen, and so on (See Fig. 13 for more details). The corners of four mats are not
affirmed to join together, usually the corners of two mats have to go against the side of a
third with two short ends to form the perpendicular angle (Fig. 12). It visually fractures the
floor into strips of areas and creates an asymmetrical division of space.
Figure 12. The detail of the 4.5 mat-room
The advantages of tatami as a traditional modular system lie in the fact that it fixes a
standard unit of size, is flexible and moveable. Tatami is a unique platform in traditional
Japanese house that usually is used as a bed, seat, table, and walkway. The Japanese never
wear shoes inside the residence because tatami is very fragile and very soft-matted; it easily
dents and breaks. They usually put their shoes or sandals at the front entrance, before enter
ing the residence. Besides, it is not polite to enter the residence with shoes on because it is a
rule that no dirt from outside can come inside.
26
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Figure 13. The various arrangements of Tatami-mat
I I
I I I I
11
II I I I I II II
27
As was cited previously, Tatami was used in the upper-class residences long time ago.
It was also used in some of the teahouses and ancient palaces although its arrangement was
more complicated. Most of the traditional Japanese residences now are designed according to
the same modular system and esthetic principles applied to teahouse or palaces. One example
of an ancient palace that used the pure Japanese traditional architecture is Katsura Imperial
Villa or Katsura Detached Palace in Kyoto.
2.4. Katsura Imperial Villa
Kyoto, known as Heian-kyo, was the last imperial capital of Japan from 794 until
1869 when the Emperor Meiji moved the capital to Edo (Tokyo, as we call it today). Heian
ky6 means the capital of peace and tranquility because the beautiful hills and mists that have
surrounded Kyoto throughout the years. Kyoto was designed based on the grid plan of the
ancient Chinese tradition, a rectangular grid that is three and a half miles long from the North
to the South and three miles wide from the East to the West. Kyoto, as the last imperial
capital, is fortunate as most of the shrines, temples, palaces, and some antique buildings
survived War World II and are still preserved. Kyoto is also known as the heart of Japan
because it bears the Japanese history of arts and culture.
One of the famous palaces in Kyoto is Katsura Imperial Villa (also known as Katsura
no Rikyu or Katsura Detached Palace). According to Kenzo Tange, "Since it [Katsura Impe
rial Villa] was the residence of an imperial prince, it lay claim to the title 'palace'; and since
it was beyond the confines of the imperial court at Kyoto, it was considered 'detached"'
(Tange 1965, p.46). The word 'katsura' itself refers to a tree of the Cercidiphyllum genus, but
has connotations of a more romantic nature (Naito 1977, p.129).
28
Katsura Imperial Villa is one of traditional Japanese architectural masterpieces and
the largest palace in Southwest Kyoto, near the Katsura river. It shows how the Japanese built
the palace by incorporating nature and buildings together. Katsura Imperial Villa was origi
nally designed by Kobori-Enshu in the Momoyama period (1573-1614). In the words of
researcher Akira Naito, "The Momoyama period in Japan has been compared with the Euro
pean Renaissance, because it too was an age characterized by an upsurge of humanism and a
revival of classical culture" (Naito 1977, p.133). The land of Katsura Imperial Villa actually
belonged to the Hachijo family before it became the property of the Imperial Prince
Toshihito. Katsura Imperial Villa, generally speaking, is a palace that has been used as the
imperial family retreat and an imperial guesthouse.
There are three main houses in Katsura Imperial Villa: the Old Shoin, the Middle
Shoin, and the New Palace (Fig. 14). These houses were repeatedly reconstructed and were
built in three stages at different periods. It took almost fifty years to complete the villa under
the direction of three princes from different generation: Imperial Prince Toshihito ( 1579-1629),
his son, Imperial Prince Noritada (1619-1662), and the third prince-Yasuhito (1703-1767).
As was pointed out earlier, Prince Toshihito was the first emperor who owned the
Katsura Imperial Villa. He constructed the Old Shoin in 1616. When he died in 1629, nobody
took care of Katsura until finally in 1642 his son, Prince Noritada (also known as prince
Toshitada), began adding another house when he reached 23 years old. Prince Noritada's
interests in poetry and art reflect in the second house, the Middle Shoin. He added the Middle
Shoin in 1641 , a year before his marriage. The year of the construction can be proved by the
paintings on the wall and door panels by the Kano brothers who worked for the imperial
court and Edo Castle around 1640-1641. Prince Noritada occupied the Middle Shoin for his
major personal quarters in the Katsura Imperial Villa. Since he used the Middle Shoin as his
personal quarters, he added a kitchen, servants' rooms, a waiting room, and other small
rooms to it. As soon as the construction of the Middle Shoin was finished, he arranged it so
lm;perilil YiBa, ktau.ra General plan.1;400
. :::::::::;;! : :::: : .
29
• I " ::--.if."
A tea~pariiion ~m) B. <>Meat huiliiinr c~oin) C middle building (eldi-shoin) D ml:16t re08nt b«pldmi (rmm..hoin)
Figure 14. Katsura Imperial Villa
30
that the Old Shoin joined with the Middle Shoin. As it is located on the map, the Old Shoin
on the East side of the Middle Shoin is the entrance for guests, and the music room on the
West side is the private area for Prince's wife. The music room is a place for Japanese harps,
flutes, lutes, and other musical instruments. The veranda located in the southwest end of the
music room serves as an entrance to the New Palace.
The New Palace or Shin-Goten, is located on the westernmost wing of the main area.
Prince Noritada added this palace because he adopted a son of the ex-emperor Go-Mizunoo,
Prince Sachi (later known as Prince Yasuhito ). It was the imperial tradition to build a separate
house for the adopted son. In this case, Prince Noritada decided to build a place for his
adopted son inside the Katsura Imperial Villa in 1654. The New Palace is also known as
Miyuki Goten (The Imperial Visit Palace), the largest complex in Katsura Imperial Villa since
it was continuously built for ten years, from 1654 to 1663. Some rooms were added, repaired,
and changed right after the death of Prince Noritada in 1662. The famous architectural style
in the New Palace is the unique shelving style, exactly like the style of the Manshuin Lesser
Shoin, a residence built in 1656 by Prince Noritada's younger brother, the Priestly Imperial
Prince Ry5sh5 in Kyoto. As Akira Naito describes in Katsura, A Princely Retreat:
... besides the window are a cabinet and shelves that turn at the corner of the room and
continue along the west wall. This is famous in Japan as 'Katsura shelving' or 'true
shelving.' In contrast to the flowing lines of Kano Tan'yu's monochrome ink paint
ings on five of the cabinet door panels, the arrangement of the cabinets and shelves
creates geometrical patterns reminiscent of Mondrian. (Naito 1977, p.146)
The materials of this shelving are foreign expensive woods that symbolize sukiya
style (this style will be explained afterwards). In each screen panel, there are four different
forms of baskets for flowers. Each basket contains different kind of flowers depending on the
four seasons: cherry blossoms and wisteria for the spring; cotton roses for the summer;
chrysanthemums for the fall; and plum blossom, camellias, and narcissuses for the winter
(Naito 1977, p.125). The geometric pattern is very obvious throughout the palace, especially
31
in the shelving area. It shows Mondrianesque patterns with complicated patterns of asym
metrical geometric shapes.
Katsura Imperial Villa, as was cited previously, has three main houses: the Old Shoin,
the Middle Shoin, and New Palace. Each house has its own architectural style: shinden,
shoin, and sukiya, respectively. The shinden style is the oldest style in Japanese traditional
architecture style. "The word (shinden) literally means 'the hall for sleeping"' (Nishi/Kuzumi
1983, p.64). The residence with shinden style always faces the South and is usually in front
of the courtyard. In the Old Shoin, the front is facing the ponds where the festivities and
other events took place. The interior of the shinden style contains many curtains, bamboo
blinds, a wooden floor, folding screens (byobu), a moveable mat (the early version of tatami
mat), and picture scrolls (Fig. 15). The Old shoin was the first place where the prince met his
guests. The Shinden residence is typically perceived as a place of entertain the guests.
curtain bamboo blinds
screen
Figure 15. The interior example of the Shinden style
' l-:: ··')-
32
The shoin style was developed during the Mumomachi period (1338-1573). As was
mentioned earlier, the shoin style is usually found in the upper-class traditional Japanese
residences. The shoin style is the symbol of the beginning of the new modern residential
architecture in Japan. "The word shoin literally means 'the writing hall"' (Nishi/Kuzumi
1983, p.74). The Middle Shoin contains some typical elements of the shoin style, such as
large window panels, a decorative alcove (tokonoma), bookshelves, a built-in desk,fusuma
with patterns, shi5ji screens, and the modular structure of tatami mat that covers the entire
floor (Fig. 16).
alcove
;; built-in / '"'·-·"'"""·=~··- -~-- ~ ~~
desk / (mat) _
Figure 16. The interior example of the Shain style
The last style, sukiya style, is similar to the shoin style but has fewer decorative
patterns. Each sukiya room has its own characteristic and always looks different from each
other. "The word sukiya means "abode of refinement," and the most successful examples of
the sukiya style combine the elegance of the formal shoin style with the relaxed atmosphere
33
and artistic idiosyncrasies appropriate to a man of taste" (Nishi/Kuzumi 1983, p.80). Nishi
and Kuzumi also mention, " ... the sukiya philosophy of restraint, simplicity, and refinement
that it embodies" (Nizh/Kuzumi 1983, p.105). The sukiya style is simpler than other styles
and more open to the natural surrounding. The sukiya style residence always has open ceil
ings and gardens around it, which can be seen in the New Palace at Katsura Imperial Villa.
Inside the New Palace, there is an ornamental panel with some small details of Japanese art,
which is also typical of the sukiya style (Fig. 17).
Figure 17. The interior example of the Sukiya style
In addition to the main houses in the center, there are five exotic teahouses of various
styles in the Katsura's garden. The first teahouse, Geppa-ro or 'the Moon-Wave Tower,' was
built by Prince Noritada three or four years later after the reconstruction of the Middle Shoin
(Fig. 18). Geppa-ro was first recognized as Moon-Plum teahouse because it replaced the
Plum tree that was supposed to be there. It was also a reminiscent of his father, Prince
34
Figure 18. The floor plan of Geppa-r8 or 'The Moon-Wave Tower' (1) Central Gate. (2) Imperial Carriage Stop. (3) Pantry. (4) First Room.
(5) Second Room. (6) Entrance Room
Toshihito, who loved plum trees so much. The ceiling of Geppa-r8 is very spacious and high,
even though it is a one-level building. The kesh8-yane structure exposes the shape, natural
color, and texture of the timbers as a decorated ornament inside the teahouse.
The Shokin-tei or 'the Pine-Lute Pavilion' is located across the Geppa-r6 and the pond
(Fig. 19). Inside the Shokin-tei teahouse, there is a plaque handwritten by Prince Toshihito's
elder brother, which proves that the Shokin-tei was built in Prince Toshihito's period. How
ever, the building does not look like the original teahouse because Prince Noritada added and
35
Figure 19. The floor plan of Shokin-tei or 'The Pine-Lute Pavilion'
(1) Running water for washing hands. (2) Entrance to Tearoom. (3) Tearoom. (4) First Room.
(5) Second Room. (6) Pantry. (7) Kitchen. (8) Hearth. (9) Cabinet. (10) Hearth. (11) Closed Cabinet. (12) Tokonoma Alcove. (13) Pantry. (14) Site of Bridge. (15) Boat Landing
renovated some parts afterwards. The Shokin-tei teahouse expresses a less formal structure
and richer natural patterns. The placement of the rocks scattered around the teahouse creates
an asymmetrical form.
The next teahouse Shoka-tei or 'the Flower-Appreciation Pavilion' is to the South
from the Shokin-tei teahouse. Since it is located on the highest point in the garden, people can
see a complete view of the main villa from this teahouse (Fig. 20). It is a simple and small
36
Figure 20. The floor plan of Shoka-tei or 'The Flower-Appreciation Pavilion'
teahouse that looks like a regular tea shop in an old Japanese downtown and surrounded by
some Cherry trees.
The last teahouse is Shoi-ken or 'the Laughing-thoughts Pavilion' (Fig. 21). This is
the only teahouse with an abstract name because the other teahouses have concrete terms for
their names. Chinese poet, Li Po (701-762), inspired its name. "Li Po retired to a hermitage
and spent his time laughing at the vanity of the ordinary world" (Naito 1977, p.129). As
37
Figure 21. The floor plan of Shoi-ken or 'The Laughing-Thoughts Pavilion'
(1) Pantry. (2) First Room. (3) Second Room. (4) Third Room. (5) Hearth. (6) Storeroom.
(7) Tokonoma. (8) Toilet. (9) Boat Landing. (10) Lantern
Kenzo Tange writes, "The Shoiken (Laughing-thoughts Pavilion) is named from the ancient
saying 'a single twig, the coming of autumn makes me smile,' and from a quotation from the
Chinese poet Li Po's book Questions and Answers in the Mountains:
When they ask me what I think
Of living in the azure mountains,
I laugh and do not answer
That my heart here finds rest ... " (Tange 1965, p.25)
38
Shoi-ken is unique from its name to its structure, compared to other teahouses in
Katsura Imperial Villa. Unlike the other teahouses, Shoi-ken has its own bathroom, kitchen,
servant's place, and some rooms that appear as a house by itself. The decoration of this
teahouse is highly stylized. For example, the six windows in this teahouse do not look like
ordinary rectangular Japanese windows; they are circle-shaped windows, instead.
Actually, there was another teahouse in Katsura Imperial Villa -Chikurin-tei or 'the
Hall of the Garden Forest'- but it had disappeared by the time Prince Toshihito took over the
palace from the Hachijo family.
Katsura Imperial Villa, with an area of 66,000 square meters contains the three main
houses, which are surrounded by fantastic gardens and teahouses. The placement of the three
main houses is in a unique shape, a zigzag plan with the main house (the Old Shoin) in front.
Therefore, visitors cannot see all the main houses at once but they have to pass each house
one by one.
Everything that has been described earlier as the major structures and elements of
Japanese traditional architecture can be seen here as Katsura Imperial Villa represents an
example of Japanese traditional architecture. The use of Tatami modular system in the Mid
dle Shain, the New Palace, and some of the teahouses, is apparently visible from the structure
of its ceiling, walls, screen panels, and floor. The framing in each palace gives a fabulous
view from inside and outside. People can view various scenery when they look at the garden
while they are outside, and they will see a specific view of a certain area from the inside (Fig.
22). The Japanese usually choose the best view of the garden to show from inside the house
as part of the house decoration.
The Japanese love to combine nature and man-made forms. In Katsura Imperial Villa,
nature always blends harmoniously with the buildings, from the tatami mat that looks very
refreshing with its smell of fresh and pure straw to the skeleton timber structure of shoji
screen panels. The texture of naked timber can be seen in every wall as the Japanese never
39
Figure 22. The inside view from the Shoikin-tei teahouse
paint the surface form. The texture gives an interesting rhythm on the floor, similar to the
wall's surface. Even the fencing that they use is a living bamboo that weaves together into a
naturally growing fencing. This particular fencing is also well known as 'Katsura fencing'
(Fig. 23).
Katsura Imperial Villa is the most important artifact for Japanese traditional architec
ture. Akira Naito beautifully describes Katsura Palace as, " ... one of the most avant-garde
creations in the history of Japanese art. Because of its deliberate tenseness, thorough going
subjectivity, and emphasis on keen-wittedness, it remains a beautiful world of dreams" (Naito
1977, p.134 ). Nishi and Kuzumi also write about Katsura as an 'unimpeded relaxation in the
midst of nature' (Nizhi/Kusumi 1983, p.79).
40
Figure 23 . Katsura Fencing
2.5. Japanese Influences in Western Architecture
"Young architects, forget Rome, go to Japan!" exclaimed Walter Gropius after his
return to Cambridge from the Far East in the early 1950s (Lancaster 1983, p.186). Traditional
and Modern Japanese architecture become the inspiration for Western architecture. In the
beginning, the Westerners discovered syntax and idioms: surfaces, modules, volumes, struc
tures, space, flooring, and the total environment. On the contrary, the Japanese invented the
modular structure, natural philosophy, and minimal space, which was followed by the West
ern research on the essence of the architectural phenomenon at this time.
Japanese traditional architecture has its own strong philosophy, of being so close to
nature. The simplicity of the interior and exterior, modular structures, and unique characteris-
41
tics cannot be found elsewhere, except in Japanese buildings. Jiro Harada describes the
characteristic of Japanese architecture in The Lesson of Japanese Architecture,
Japanese buildings are built of wood, and they are dominated by the roof, which has deep eaves; branched brackets occur on religious edifices, and the members, usually,
are left unpainted. The Japanese love of nature demands the use of natural materials.
(Lancaster 1983, p.166)
The use of natural materials, organic forms, and the involvement of nature with the
man-made structures became popular among the Western architects. Frank Lloyd Wright
writes, " . . . I found that Japanese art and architecture really did have organic character. Their
art was nearer to the earth and a more indigenous product of native conditions of life and
work ... " (Wright 1938, p.173). The influence of Japanese art and architecture affects most of
the Post-modernist Western architects. Some of them are Mies Van der Rohe, Richard Neutra,
Charles and Henry Greene, and Frank Lloyd Wright.
2.5.1. Ludwig Mies van der Rohe (1886-1969)
Mies van der Rohe became interested in Chinese architecture and Chinese philosophy
because of LaoTze. Mies actually applied Far Eastern philosophy 'to project such experi
ences into the relationship of Man to space, building and living -into constructions and
structures' (Blaserl, p.34). Traditional Chinese architecture and Japanese traditional architec
ture share the same architectural principles, even though Japanese traditional architecture is
simpler in terms of the structure and the interior. The interplay of ( outside and inside) spaces,
which is the Far Eastern philosophy, is part of Mies' design structure as well. He tried to
create an interaction between the inside and the outside of a building. "Inside is outside is
inside, the concept of an intermingling of exterior world and interior space" (Blaser!, p.56).
Even though Mies van der Rohe never went to Japan, Japanese, as well as Chinese
architecture influenced Mies' works.
42
He regarded Japanese architecture as the perfect expression of a method based on an
absolute distinction between the envelope and the framework, to such an extent that it
could be reduced, as in his own American works, to an ideal equation: architecture =
rational architecture (Masuda 1970, p.3) .
Mies van der Rohe was a good acquaintance of Frank Lloyd Wright and Peter
Behrens. He also became acquainted with Teitaro Suzuki, the great Zen-master, and started to
apply Zen philosophy of naturalness to his work. He introduced his famous principle of less
is more, which is similar to the Japanese philosophy of simplicity, order, space, and
minimalism. "By introducing the principle of relationship to space, Mies van der Rohe cre
ated a complete design solution. Space without relationship is total isolation, completely
unconnected to its surroundings" (Solomon 1986, p.13). Wester Blaser describes the similari
ties of Mies' works and Japanese traditional architecture in West meets East: Mies van der Rohe:
(1) the progression away from inner space and the smallest but nevertheless essential
unit, the "Tatami" floor mat;
(2) the raising of the building above the floor;
(3) the visible differentiation of skin and skeleton;
( 4) the open plan without fixed walls, and the void within the space;
(5) the inclusion of the environment so that the garden becomes part of the house -
and from out of all these preconditions, the clear and formal subdivision of the
building in a generous aesthetic equilibrium (Blaser 1996, p.109).
One example of Mies van der Robe's work that represents the influence of Japanese
traditional architecture is the Farnsworth House (1945-1950) (Fig. 24). Here, he applied the
principle of skin and skeleton from the traditional Japanese architectural structure, but he replaced
the skin or the shoji-screen with clear glass and the skeleton/ the timber with concrete or steel. The
amount of natural light comes from outside and the huge white wall inside the house with the
open space, creates a spacious minimalism and simplicity of a Japanese house.
43
Figure 24. Mies van der Rohe. Casa Farnsworth, 1945-1950
2.5.2. Charles and Henry Greene (1868-1957 and 1870-1954)
"In America, the Japanese influence spoke most fluently in three-dimensional terms,
in architecture," writes Karen Current, "[T]he new American architectural trend absorbed and
used many of the Japanese elements ... The simplicity and honesty of the Japanese structures
touched a sympathetic nerve in American feeling ... " (Current 1977, p.3).
The influence of Japanese architecture also affected the work of the Greene brothers.
Charles and Henry Greene, Los Angeles architects, certainly admitted that they loved Japa
nese art and architecture. They applied some Japanese motifs and architectural style, such as
the irimoya roof form (the beams extended beyond the wall and supported by the brackets)
and the oriental timber structure in their work. They contemplated nature and blended the
man-made structures with their natural surrounding. Charles R. Ashbee writes about the
influence of Japanese art and architecture on the works of Charles Greene,
44
I think C. Sumner Greene's works [are] beautiful; among the best there is in this country. Like [Frank] Lloyd Wright the spell of Japan is on him, he feels the beauty and makes magic out of the horizontal line, but there is in his work more tenderness, more subtlety, more self effacement than in Wright's work. It is more refined and has more repose. (Makinson 1979, p.150)
One example of the Greenes' work is The Irwin House, a California bungalow in
Pasadena (Fig. 25). The traditional wood structure is combined with the natural beauty of
mountains, hills, valley, trees and flowers situated around the Irwin House. The wood that the
Greenes used remains in its natural wood tones. This is similar to Japanese traditional archi
tecture for the Japanese believe wood is a sacred material. The Greenes were always con
cerned about the use of color in their work. For example, a warm color is used for the inside
room when the sunlight appears and the changing color of the exterior, which effects from
the sunlight, is based on the position of the house. According to the Greenes, " ... home should
be of natural textures and colors; the exterior should disappear into the landscape rather than
impose itself upon it" (Current 1977, p.12).
Figure 25. Charles and Henry Greene. Irwin House, Pasadena, California
45
2.5.3. Frank Lloyd Wright (1867-1959)
Frank Lloyd Wright, for some reasons, always denied that neither Japanese art nor its
architecture affected his work at all. He admitted only that he collected some of Japanese
woodblock prints for as a side interest. "The Ukiyo-e and the Momoyama, Japanese architec
ture and gardening, confirmed my own feeling for my work and delighted me, as did Japa
nese civilization which seemed so freshly and completely of the soil, organic" (Wright2,
p.206). As a matter of fact, however, according to Charles R. Ashbee, a personal friend of
Wright,
The Japanese influence is very clear. He (Wright) is obviously trying to adapt Japa
nese forms to the United States, even though the artist denies it and the influence
must be unconscious. It is particularly evident in the way he brings out the pictur
esque element in his buildings. (Nute 1993, p.3)
In addition, Peter Blake writes, " ... he [Wright] was much more strongly influenced by
Katsura Palace ... and only his increasing arrogance could obscure the fact to his own eyes"
(Blake 1976, p.306). One of Wright's fellow architects, Thomas Tallmadge, believes the
Japanese home influences Wright's works, "From the Japanese ... he [Wright] learned to
make doors and windows an integral part of the design, not floating on its surfaces" (Satler
1999, p.148).
Even though Wright denied the Japanese influences in his works, there are many
similarities between his works and Japanese traditional architecture. For examples, the mu
tual integration of natural surroundings, the use of timber as natural material, and the hori
zontal emphasis employed by Wright had been used in Japanese traditional architecture as
standard devices. "Several of his [Wright] organic ideals were embodied in traditional Japa
nese art and architecture, and Japanese architectural forms were digested in his process of
design" (Nute 1993, p.5) . Furthermore, Wright simplified his architectural style into certain
geometric forms and applied a similar module of the Tatami (3x6 ft) grid structure (Fig. 26).
46
Figure 26. The examples of Japanese house plan (left) and Frank Lloyd Wright's house
plan (right)
He tried to dissolve the distance between the outside and the inside as an open space by using
a window screen, similar to the shoji-screen in Japan. "My sense of wall was not a side of a
box. It was an enclosure to afford protection against storm or heat when this was needed. But
it was also increasingly to bring the outside world into the house, and let the inside of the
house go outside" (Wright 1938, p.139).
One example of Wright's work that represents the look of an American modern house
in the Japanese tradition is Fallingwater (1935), the retreat of Edgar J. Kaufmann (Fig. 27).
It is located in the Allegheny mountains of southwestern Pennsylvania. It is called
Fallingwater because the house actually sits over a stream near a waterfall with the structure
of flat roofs, and concrete walls with an outdoor/indoor access. The form of the house is so
closed to nature that seems like it grows from the site and belongs to the ground. "The shape
that make up the Kaufmann house are simple yet complex, sturdy yet light as air, studied yet
casual, well defined yet intangible and functional though somewhat elusive and unreal"
(Lancaster 1983, p.160).
47
Figure 27. Frank Lloyd Wright. Fallingwater, 1935
The taste and influence of Japanese style is reflected in this house, as there are some
similarities between Wright's Fallingwater and Ando Hiroshige's woodblock print. As Kevin
Nute points out in Frank Lloyd Wright and Japan, " ... the print Agematsu, depicting a Shinto
shrine overhanging the famous Ono waterfall in Nagano Prefecture, might perhaps have
influenced the similarly precarious sitting of Fallingwater" (Nute 1993, p.114) (See Fig. 28
for comparison).
48
Figure 28. Ando Hiroshige. Agematsu, Japanese woodblock painting (top) and
Frank Lloyd Wright. Fallingwater (bottom)
49
2.5.4. Richard Neutra (1892-1970)
Richard Neutra, who was born in Vienna, was a great friend of Frank Lloyd Wright.
He came to New York in 1923, moved to Chicago for a while, and later settled in California.
Neutra became interested in Japanese architecture after traveling to Japan in 1930s for a
lecture tour. He unified the Eastern and Western cultures in his buildings by bringing natural
environment and geometrical structural forms all in one. Most of his buildings have flat roof
and floor planes, unpainted fresh timber, horizontal beams, and huge clear glass panels that
join nature and the building together.
Neutra was perhaps the first Westerner to call attention to the pleasant sounds and smells
that can come from architecture. This is especially true for the Japanese house, in which
faint aromas emanate from natural substances left unpainted, and these same materials
muffle rather than reverberate sounds at full intensity. (Lancaster 1983, p.188)
There are many contemporary buildings in California whose structures are similar to
traditional Japanese architectural style. As Clarence W.W. Mayhew writes in the article The
Japanese Influence,
The problems of topography and the climate conditions of both California and Japan are
very much the same, thus it seems quite logical that there shall be similar architectural
conclusions and a borrowing of ideas of design and materials. (Lancaster 1983, p.185)
Richard Neutra brought a new idea to Western architecture by introducing some of
Japanese traditional architecture style in his works. For example, he constructed a house for
Edgar J. Kaufmann (the same client of Wright's Fallingwater) in Palm Springs, California
(Fig. 29). The house illustrates how "the flat-topped roof ... spreads out close to the ground
amidst huge jagged rocks and scanty desert vegetation, the landscape resembling a Japanese
hira-niwa or flat garden of raked gravel" (Lancaster, p.186). The overall view of this house
appears slightly Japanese in its lightness of construction. The flat roof planes, the clean-cut
geometrical lines contrast with nature, and the light beams are typical of Japanese architec-
50
ture. Rupert Spade describes the Kaufmann House as "a 'desert house' where 'horizontal
roofs hover over transparent glass walls and dry-jointed stone extends in an almost Miesian
manner along the cruciform plan of the house ... the house looks out on to a treeless land
scape"' (Spade 1971, p.126).
Figure 29. Richard Neutra. Kauffman House, Palm Springs, California
51
CHAPTER 3. GRAPHIC DESIGN
3.1. Grid Systems in Graphic Design
3.1.1. The Art of Typography
Typography, according to Willi Kunz, is "the art of designing letters and composing
text so that they may be read easily, efficiently, enjoyably" (Kunz 1998, p.5). Typography as
a substance of visual communication deciphers the meaning of language and conveys the
information behind it. Consequently, what is the actual meaning of typography according to
another graphic designer? Anthony Froshaug states,
The word typography means to write/ print using standard elements; to use standard elements implies some modular relationship between such elements; since such relationship is two-dimensional, it implies the determination of dimensions which are
both horizontal and vertical. (Bierut 1999, p.177)
Each element in typefaces has its own unique two-dimensional shape. To create a
structural and proportional character, the typographer draws horizontal and vertical lines and
optically conceives a proper space relationship between characters. If there is no space be
tween letters and sentences, it will reduce the readability because it is difficult for the reader
to distinguish the words.
Similarly, space is also very important in a structural building because it creates a
smooth transition from room to room and from the building to nature. Typographic design is
in line with designing a building; once the architect miscounts the certain measurement, the
building can easily fall down. The general principle of architecture is similar to typography in
graphic design because both are dealing with form and structure. As Steven Heller states in
his article, New Life in Print, " ... the form of a house may be determined by its practical
52
purpose, but in the case of typography the aesthetic side in the question of design makes
itself clearly manifest. .. Both typography and graphics art are always concerned with surface
(plane) design" (Bierut 1999, p.46).
Architectural principles affect the area of graphic design, as Allen Hurlburt writes in
his book, Layout,
. . . the development of modern graphic design derived many of its ideas and principles from the discipline of architecture. Frank Llyod Wright, Le Corbusier, Walter Gropius
and Mies van der Rohe all made major contributions to twentieth century form and, in
the process, influenced the shape of graphic design. (Hurlburt 1977, p.8)
Architecture and typography learned to use a precise and specific measurement to create a
balance design many years ago. As a matter of fact, in China, they used mathematical meas
urement in their town planning since 1500 BC. The builders of pyramid of Egypt used a precise
mathematical thinking in order to form a symmetrical structure. In ancient Greek architecture, the
main measurement of the Panthenon was introduced as the golden section (Fig. 30).
Figure 30. The golden section
53
3.1.2. Symmetrical and Asymmetrical Balances
Symmetrical balance in both architecture and graphic design shows a classical style
and very structural forms. For example, the Parthenon, with its structural column and central
axis in Roman architecture, and the old Roman book layouts, with the position of visual
elements and text in the center and/or justified alignment, give us a sense of classical and the
traditional quality, as everything fixes in the center and proportionately balances on both
sides. Symmetrical design is simple to create since the main point is always stressed in the
center and divides the sides in equal balance.
Asymmetrical balance became popular in the twentieth century. Unlike symmetrical
balance that was influenced by Roman architecture, asymmetrical balance was inspired by
traditional Japanese architecture. In traditional Japanese architecture, the arrangement of the
shelving and Tatami mat in a certain format creates an asymmetrical design (see Fig. 13),
which is also similar to Piet Mondrian's works in the De Stijl movement (see Fig. 9).
Mondrian had already applied Japanese asymmetrical design and simplicity forms in the two
dimensional surface of his paintings long before the graphic designers used asymmetrical
balance in their designs. His works, in turn, inspired a new generation of graphic designers
who started to apply asymmetrical balance in their designs.
Asymmetrical design is called dynamic symmetry because it gives a dynamic look of
the overall composition. Unlike the symmetrical design, the asymmetrical design is difficult
to create since it is off-center and the designer needs more skills to balance its sides. When
designing an asymmetrical composition, the designer ought to use the grid system as a dis
tinct solution to balance and organize the elements in the design layout.
54
3.1.3. The Grid
3.1.3.1. Background
What do we mean by a grid? The dictionary defines the word 'grid' as "a network of
uniformly placed horizontal and vertical lines for locating points by means of coordinates"
(Hurlburt 1978, p.9). Alan Swann, an editor, writes, "A grid is the geometric division of
space into precisely measured columns, spaces, and margins" (Swann 1989, p.6). The grid
system has been used since Johann Gutenberg laid his letters and formed a sentence, then a
paragraph. "An elemental grid is based upon a "Cartesian" coordinate system of intersecting
and perpendicular axes" (Carter 1983, p.68). It is also based on 'the repetitive rhythm of
carefully placed units' (Lewis 1978, p.86). It has horizontal and vertical partitions that divide
the space into certain proportional areas. In Western culture, the horizontal partition is more
important than the vertical partition because the Western reader scans the page horizontally.
3.1.3.2. Function and Purpose
The grid system serves as an imaginary guideline and/or framework that divides two
dimensional active and inactive space layouts for the typographic and visual elements in a
properly balanced relationship (Fig. 31). At the same time, the grid system allows the de
signer to place the elements in a powerful and effective way and to create a dynamic negative
and positive composition in a given space. The grid system solves various design problems,
for example, the placement of the body text and illustrations on magazine, newspaper, news
letter, catalogues, brochures, poster, annual report, and so on.
Lines of text ranging from simple to complex, depending on the design concept and
the content of the layout can be divided by the grid. The more complex the grid is, the more
flexibly the designer can interacted with the composition layout. In order to achieve a great
grid system and to determine the best proportion of his/her grid, the designer needs to build
c
c I= I=
~ c
==
== ~ = -
=
"
55
; ., ; 12·1< QCc =
Figure 31. The grid system
= -
= =
=
i =
the design concept and find the definition of the problem beforehand. Paul Rand, America's
foremost graphic designer, explains that, "[a grid] may seem very simple on the surface but
working with a grid is not simple. So much depends on the material the designer is called on
to incorporate into his designs and the virtually endless surprises he encounters" (Hurlburt
1978, p.18). Using the grid system allows the designer to create many different compositions.
In other words, the grid offers unlimited variation of layouts and helps the placement of the
text, images, captions, margins, and columns, once one solves and decides the kind of grid
he/she wants to work on. "[The] grid system is an aid, not a guarantee. It permits a number of
possible uses and each designer can look for a solution appropriate to his personal style. But
one must learn how to use the grid; it is an art that requires practice," clarifies Josef Mi.iller
Brockmann, a Swiss graphic designer (Hurlburt 1978, p.26). Further, the grid system produces
and conveys a clear visual communication in the typographic composition.
56
3.2. Traditional Grid System
Tracing back from its original root, the grid system has been around for quite a while.
The Romans utilized modular systems in their architecture and they even applied the grid to
divide the column and margin in their books. The traditional grid system, according to Allen
Hurlburt, is divided into vertical and horizontal lines, "The vertical lines of the grid will
control the inner and outer margins, define the type columns, and determine the space sepa
rating them. The horizontal lines of the grid will determine the head and foot margins, the depth of
the type columns, and the location of the headlines and visual material" (Hurlburt 1978, p.24).
The oldest traditional grid system is the orthodox design grid that was developed in
Switzerland, Ulm, Basel, and Zurich in particular. It is based on "a uniformly spaced combi
nation of horizontal and vertical lines that produce a pattern of squares similar to those on a
graph sheet. This grid calls for the not-always-easy-to-attain standardization of the horizontal
and vertical measurements based on the line-space (type height plus the space between the
lines) of the dominant text face" (Hurlburt 1978, p.22).
The geometric composition was introduced by Bauhaus and Swiss Design, also
known as International Typography Style, and contributed the grid as a fundamental of
compositional system. Swiss Design, as a movement, is seen as an aesthetic style rather than
an attitude. For example, Swiss Design often appears cold, rigid, very constructed, and
suggests hostility to pleasing. Other than vertical and horizontal grid systems, many Swiss
designers like Josef Muller-Brockmann, apply it diagonally to create a great dynamic effect.
Swiss Design is strongly characterized by its strict composition on the basis of the
grid system. Many Western graphic designers begin to apply the principle of the Swiss grid
system in their designs, which can be seen in the development of graphic design history
throughout the centuries. The following sections provide information on some Western
57
graphic designers -their background history, influences, philosophy, and their contribution to
graphic design - who utilized a strong typographic style and the traditional grid system in
their designs.
3.2.1. Josef Muller- Brockmann
The designer '.s work should have the clearly intelligible, objective, functional and
aesthetic quality of mathematical thinking.
- Josef Muller-Brockmann (Muller-Brockmann 1981, p.10)
Josef Mario Muller was born on the 9th of May 1914 in Rapperswill, Canton St. Gall,
Switzerland. He took courses at the Zurich School of Arts and Crafts. He then continued
studying architecture, history of art, and graphic design at University of Zurich and at the
Federal Institute of Technology. He was the head of the Graphic Design department of the
School of Art and Crafts in Zurich from 1957 to 1960.
Ernst Keller, his mentor at the Zurich School of Arts and Crafts, influenced Mtiller
Brockmann in his teaching methods and views on design. When Muller-Brockmann taught at
the School of Arts and Crafts in Zurich, he focused on functional and objective graphic
design in his program, similar to what Keller taught. Alfred Willimann, another mentor from
the Zurich School, introduced Muller-Brockmann to typography and the Bauhaus style in a
photography class.
Muller-Brockmann was a co-founder of New Graphic Design magazine along with
Richard Paul Lohse, Hans Neuburg, and Carlo Vivarelli in 1958. These three people were
editors and publishers. New Graphic Design informed the aims and the achievements of the
Swiss school, presented modern graphic design and also the artistic background of modern
graphic design. Eighteen issues appeared until 1965 when the magazine was shut down due
to the financial problems. In 1968, Muller-Brockmann founded The Muller-Brockmann & Co.
58
advertising agency with three partners: Peter Andermatt, Ruedi Ruegg, and Max Baltis. It
was an advertising and design company for industrial, commercial, and cultural clients that
lasted until 1984.
When Muller-Brockmann was almost 40 years old, he made an impassioned and
sudden appearance on the stage of constructive graphic design through his poster designs.
Poster design fascinated him since Muller-Brockmann believed that the medium was ideal to
express all of his approaching design principles. Most of his poster designs are very construc
tive (using the grid system) - whether it is image/form or typography (Fig. 32).
Figure 32. Josef Muller-Brockmann. Zurich Tonhalle. 'Beethoven' concert poster, 1955
59
From looking at his works, he was greatly influenced by constructive design. He
focused on concrete and rhythmical composition with strictly constructive planar design in
his poster designs. He reduced his design resources to typography alone, and achieved his
theme expression. The reduction of type sizes and the functional organization of the informa
tion in asymmetrical arrangements are the design principles behind his works. In an interview
with Eye Magazine, he says, "In my work, however, I have always aspired to a distinct
arrangement of typographic and pictorial elements, the clear identification of priorities. The
formal organization of the surface by means of the grid, a knowledge of the rules that govern
legibility (line length, word, and letter spacing and so on)" (Schwemer-Scheddin 1995, p.10).
His posters are symbols of his beliefs, his courage, his integrity, his respect for quality, and
his appeal to the dignity of his audiences. His attitude was based on integrity, on a sense of
social and cultural responsibility, and on the designer's uncompromising professional ethics.
His principles were influencing the concepts and attitudes of designers, so they could help to
solve visual communication problems by using a mathematical structure as their foundation
of layouts.
As a graphic designer, educator, author, and consultant, Muller-Brockmann published
several books about Constructivism and Concrete Design to express his principles and idea
tion. His books are The Graphic Artist and his Design Problems ( 1960), A History of Visual
Communication ( 1971 ), History of The Poster ( co-writer with his second wife, Shizuko
Yoshikawa, a Japanese artist) (1971), Grid Systems in Graphic Design (1982), and Photo
graphic Posters-From their Origins to the Present Day. He produced The Book of Principles
behind IBM's Graphic Design while he was working as design consultant in IBM Europe in
1988. He died in Switzerland on August 1995.
"[Mtiller-Brockmann's] strong interest in typography and photography worked
synergistically to give birth to an abstract Brockmann style, which is also called [the] Swiss
style" (IDEA 1984, p.28). In his article published in the American magazine Industrial De-
60
sign, Mtiller-Brockmann presented the ideas of modernism in Swiss architecture, art, and
graphic design. He was the first person who advertised the Swiss Graphic Design and was
known as a strong pioneer of the Swiss Design. The public preferred to remember the term
Swiss Graphic Design by identifying it with some specific designers; Mtiller-Brockmann was
one of them.
Millier-Brockmann was fascinated by the 20s typography and advertising design. He
studied the works and theories of Lissitzky, Moholy-Nagy, Tschichold, Burchartz, and the
Rasch brothers. He concentrated on the objective of the 30s Swiss Graphic Design. Further
more, he studied Zen Buddhist culture more deeply when he was in Japan, which reinforced
his belief in focusing on fundamentals. He was a man who identified with grid. Subsequently,
he began to use Tatami -the traditional rice straw mat in Japan- as his main grid. He success
fully brought Eastern influences to Swiss graphic design.
According to Mtiller-Brockmann, "The grid makes it possible to bring together all of the
elements of design -typography, photography, and drawings- into harmony with each other. The
grid process is a means of bringing order into design" (Hurlburt 1977, p.83). When interpreting
Josef Mtiller-Brockmann's works, Yvonne Schwemer-Scheddin writes in Eye Magazine,
The grid allows endless individual variations ... Its applications are as varied as the
designers themselves. For the naive designer it is no more than an aid ... The grid is
an organizational system that enables you to achieve an orderly result at a minimum
cost. The task is solved more easily, faster and better. It brings the arbitrary organization of text into a logical system in keeping with the content (Schwemer-Scheddin 1995, p.14-15).
Mtiller-Brockmann shared his strong knowledge about the grid system in Grid Sys
tems in Graphic Design. This book precisely describes the constructive grid as an instrument
for typography and pictorial conception and, moreover, it is about the purpose of grid, its
philosophy, and the methods of how to use grid. Examples, systematic analysis, and diagrams
are included in this book as well (Fig. 33). Mtiller-Brockmann explains: "The use of the grid
61
system implies:
• The will to systematize, to clarify
• The will to penetrate to the essentials, to concentrate • The will to cultivate objectivity instead of subjectivity • The will to rationalize the creative and technical production processes • The will to integrate elements of colours, form, and material • The will to achieve architectural dominion over surface and space
• The will to adopt a positive, forward-looking attitude • The recognition of the importance of education and the effect of work devised in a con
structive and creative spirit" (Muller-Brockmann 1981, p.10).
text columns
column intervals
flow line
spatial zone
grid modules
margins
Figure 33. The grid system from Mtiller-Brockmann's book, Grid System in Graphic Design
62
3.2.2. Jan Tschichold
Simplicity of form is never poverty; it is a great virtue. - Jan Tschichold (Lewis 1978, p.89)
Jan Tschichold was born on April 2, 1902 in Leipzig, Germany. He became familiar
with typography at an early age because of his father's profession as a sign painter and letter
ing artist. Young Jan wanted to become an artist; however, his parents did not think it was the
best profession and sent him to the Teacher Training College at Grimma, near Leipzig. He
continuously kept studying type design in his leisure time. His ability as a calligrapher in his
early age was remarkable. After he spent three years at Teacher Training College, he decided
to pursue his desire in type design at the Academy for the Graphic Arts and Book Production
Trade in Leipzig in 1919.
In August 1923, Tschichold went to see the first exhibition of the Bauhaus movement
at Weimar, which impressed him and opened his eyes to modern typography and the Bauhaus
style. According to Ruari McLean, " . . . the Bauhaus artists tended to use type as a component
of abstract art rather than for communication. Their typography was wild, sensational, eye
catching, but in terms of legibility, impractical" (McLean 1, p.8). Man Ray, Laszlo Moholy
Nagy, and El Lissitzky especially inspired Tschichold.
Tschichold was a well-known pioneer among other modern typographers because he
was the first person who offered the rules of the new typography, not just for bookcovers, but
also magazines, newspapers, and others. He was a modernist designer who had a lettering
and calligraphy background in his early years and combined those backgrounds into a new
system in his modern typography. By 1925, he published 'Principles of Typography' ,which
ran as follows:
• The new typography is purposeful.
• The purpose of all typography is communication. Communication must be made in the shortest, simplest, and most definite way.
63
• For typography to perform its social function, there must be organization of its component parts, both internal (i.e. content) and external (consistent use of printing methods and materials).
• Internal organization is restricted to the basic elements of typography: letters, figures, signs, lines of type set by hand and by machine. (McLean 1975, p.29-30).
Tschichold, then, set those principles in his first influential typography manual book,
Die Neue Typographie (The New Typography) three years later in Berlin. On page 68 (Eng
lish translation), he writes, "Asymmetry is the rhythmic expression of functional design ...
The liveliness of asymmetry is also an expression of our own movement and that of modern
life" (McLean 1975, p.9). "Asymmetry permitted subtle rhythms and tensions, which com
plemented those being explored by modem abstract painters and sculptors like Mondrian, El
Lissitzky, Kandinsky, and Malevich" (p.39).
Furthermore, Tschichold was one of the designers who arranged a traditional grid
system in an asymmetrical layout with sans-serif typography. He chose a sans-serif typeface
simply because it is quite easy to read and symbolized modernism. The form of sans-serif
typefaces is very simple compare to serif typefaces. "His predilection for sans-serif over serif
typefaces was based on what he and other modernists believe were objective truths" (Heller
1997, p.106). According to Wolfgang Weingart, a Swiss graphic designer, "Sans-serif typog
raphy and objective photography -photographs that do not seduce or make exaggerated
claims- were positioned on an underlying mathematical grid verticals and horizontals in a
harmonic relationship derived from objective and functional criteria" (Heller 1997, p.144 ).
Herbert Bayer, a Bauhaus graphic design, applied sans-serif typefaces without capital letters
in his works. To him, "Capital letters, like punctuation marks, are functional since they signal
the beginning of sentences, proper names, different meanings of words, and so on" (McLean
1997, p.8).
Ruari McLean explains the meaning of Tschichold's asymmetric layout and his
choice of typeface in his work,
64
... symmetric involved putting words and sentences into shapes, which were decorative and artificial, and had nothing to do with their meaning, and were therefore false.
Asymmetric, also, was 'dynamic' and not 'static'; it was therefore in harmony with
the age. Its typeface was san-serif, because in sans the forms of letters were shorn of inessentials and stripped down to their basic, elemental shapes (McLean 1975, p.13).
Tschichold moved to Basel in 1933 and then he was chosen as a designer to re-design
the Penguin Book series in England in 1947. He totally put himself into Penguin Books by
contributing his principles and his expertise in typographic details. He introduced many
refinements into Penguin Book covers. Further, he even set a standard grid of the Penguin Book
cover (Fig. 34). After working for three years at Penguin Books, he went back to Switzerland
and became head of the Munich Academy of Graphic Arts in Switzerland and a consultant in
the F Hoffman-La Roche, the pharmaceutical firm in Basel. He won several awards; includ
ing some from AIGA (American Institute of Graphic Arts) and the Gutenberg prize of Leipzig. He
died of cancer in Switzerland on August 11, 1974.
"Tschichold was always concerned about the importance of the typographic details.
The detail in his own work only appeared in his centrist style" (IDEA 1984, p.104 ). It is
amazing to see most of his later works whether it was a book jacket, a film poster, or the
inside layouts, changed into the classical style: symmetrical, typographic detail, and center
axis layouts; which is the opposite of his theory of Modern typography that he writes in his
book, Asymmetric Typography, "Center typography always lacks individual character, so that
one advertisement tends to look like another" (Tschichold 1967, p.21). In Pioneers of Mod
em Typography, Herbert Spencer also mentions about Tschichold's return to a classical style,
Shortly before the beginning of the second world war, Tschichold began gradually to turn away from 'the new typography' - which he then equated with Fascism - and
to return to that strictly classical and symmetrical style of typography which he had
so fervently, and convincingly, criticized during the preceding decade (Spencer 1983, p.152).
One thing that never changed from his designs is the simplicity and the cleanness with a
strong structure, shown in this example of one of his cover designs (Fig. 35).
65
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Figure 34. The standard grid system for Penguin Book cover
Tschichold's sixth book Typographic Design, was published in 1935 and translated
into the English version in 1967. This is the first time his book shows his new fresh design
and ideas. It has serif and sans-serif typefaces arranged on the same page as well as the mix
of symmetrical and asymmetrical layouts.
Tschichold designed many typefaces and one of his last serif typefaces, Saban, is the
combination of three different techniques: handsetting-type, Monotype, and Linotype. It was
manufactured in Frankfurt in 1966. Sebastian Carter, in Twentieth Century Type Designers,
writes, "Saban is an admirable face, strong yet restrained ... The Roman capitals in particular
are so handsome that one regrets that no titling fount was produced ... " (McLean 1997, p.14).
66
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rndan alima.n Otto biloumbwgef' hllid>ffl~ n'!!lll1<k>Utd'! ..... • I IINl!t#ky i._,..., mohol~y moln4r fl fau jOMl'ln•• mola•hn klMt 1111:l'MIU•n
I
Figure 35. The cover of Typographische Mitteilungen
67
3.2.3. Paul Rand
Design is so simple, that's why it is so complicated.
- Paul Rand (Heller2, p.225)
Peretz Rosenbaum, known as Paul Rand, was born on August 15, 1914 in Brooklyn,
New York. Born in a Jewish family, Paul had a difficult time in the beginning of pursuing his
interest in art, although, he finally studied Art at Pratt Institute. He then took a course in Art
Student League of New York with George Grosz, a member of the Berlin Dada group, and he
also studied at Parsons School of Design in New York.
Graphic designer El Lissitzky, architect Le Corbusier, and other artists, such as Paul
Klee, Picasso, Miro, Duchamp, and Dubuffet influenced Rand the most. He was also inspired
by Jan Tschichold's modern typography principle after reading an article about Tschichold's
book, Die Neue Typographie.
When Rand was 22, he worked as a freelancer for Apparel Art, a famous male fashion
magazine. He did an excellent job there and in the following year, he was promoted to Art
Director for Apparel Art and Esquire magazines. He introduced juxtaposed layouts of cut and
paste photographs for magazine covers because at that time, magazine designers used only
illustrations or fine art paintings as covers. By 1938, he got an offer to design some magazine
covers for Direction, a cultural magazine. He used a splendid metaphor to convey the mes
sage in each cover. For example, in the Christmas 1940 issue, he used barbed wires criss
crossing with some blood around it (Fig. 36). It contains two meanings: firstly, it symbolizes
a wrapped Christmas present, with the barbed wire representing the ribbon and drops of
blood representing Christmas ornaments, and secondly, it references the situation of World
War II at that time. Rand applied the grid system in most of his designs. It can be seen in this
cover, which shows a good example of the grid system in asymmetrical layout. He balanced
the masthead on the top left-hand corner to the red dots on the opposite side. He carefully
68
Figure 36. The Christmas edition cover of Direction magazine
divided the layout into four spaces: two column grids vertically and horizontally. In addition,
he created a proportional balanced between the positive and negative spaces on the layout.
Rand was a technical consultant and designer for International Business Machines
Corporation (IBM) and Westinghouse Electric Corporation. His notable trademark designs
such as IBM, UPS, ABC, and Westinghouse, are based on a pure and simple form that lasts
for a long time.
In his book, A Designer's Art, he writes, A trademark, which is subject to an infinite number of uses, abuses, and variations,
whether for competitive purposes or for reasons of 'self-expression,' cannot survive
unless it is designed with utmost simplicity and restraint- keeping in mind that sel-
69
dom is a trademark favored with more than a glance. Simplicity implies not only an aesthetic ideal, but a meaningful idea, either for content or form, that can be easily
recalled. (Rand 1985, p.34)
His most famous trademark with stripes is the IBM logo. "For the typographer, stripes
are rules; for the architect they are a means of creating optical illusions" (Rand 1985, p.39).
The stripes in IBM logo mean efficiency and speed of technology, and also tie together as a
unit. The IBM logo with those blue stripes looks very bold, simple, structural, contemporary,
and full of energy, which portray the ideology of IBM Company (Fig. 37).
- ----------- --- ·-- ----· == --· ---- ---- - - _ _._ - - - --·--- -' - --- ~ ---- .. -:::·:···:>:i::::ji:(:k.-- --- - ,_ - _,_ - - ll• !!!!!!l!!!!lllll!lill" - -- - ---- ---- - - - ---·.:::: ············ ······ ··········· ····· -_, !!!!!!l!!!!lllllilliiiiiliiil" - Y -
Figure 37. IBM logo
He used a trademark or visual pun in his ads; therefore, people immediately recog
nized his ads among the others. His influences in advertising, book, and magazine design
affected modern graphic design up to this present. In the biography of Paul Rand, Steven
Heller writes, "His magazine and advertising layouts wedded functional simplicity to abstract
complexity .. . they were conceptually sharp and visually smart. Every detail was strategically
planned to attract the eye and convey a message" (Heller 1995, p.13).
70
Rand's design is more like an art: it is very playful and witty. For him, graphic design
is a media of conveying messages intelligently and interestingly. In A Designer's Art, Rand
writes, "Readership surveys demonstrate the significance of humor in the field of visual
communication . . . Radio and television commercials have made tremendous strides in the use
of humor as a potent sales device" (Rand 1985, p.101).
The pure simple form, hierarchy, fresh color, negative space, and abstract metaphor
always appear in Rand's work. "[Paul Rand's] art is not abstract and not concrete, because he
has the rare ability to recognize the right place for every means of expression and, . . . he finds
for each work the right relationship and the right proportion of the work as a whole," states
Giovanni Pintori (Kamekura 1959, p.13). Rand's book and magazine covers, magazine
layouts, and poster designs illustrate very simple-form pictures like child's scribble and
drawing, collage, and montage with bright colors, proportional contrast, and strong positive
and negative spaces. His simple and minimalist form conveys a powerful message and is full
of content. It looks simple and easy to create, but it is complicated.
Paul Rand is a master in manipulating space because of his understanding of the value
of space. He often applies a minimum pictorial element as a visual pun or a metaphor, and
combines it with a powerful typographic layout that conveys a significant message to the
audience. He did that intentionally in order to get the audience's attentions. In his book A
Designer's Art, he writes, "To believe that a good layout is produced merely by making a pleasing
arrangement of some visual miscellany (photos, type, illustrations) is an erroneous conception of
the graphic designer 's function" (Rand 1985, p.4). He also describes the two major designer
problems, "To anticipate the spectator's reactions and to meet his own aesthetic needs. He must
therefore discover a means of communication between himself and the spectator" (p.7).
As a writer, Paul Rand wrote many books about design theories and used only his
own works as illustrations; for example, Thoughts on Design (1947), The Trademarks of Paul
Rand (1960), A Designer's Art (1985), Design Form and Chaos (1993), and From Lascaux to
71
Brooklyn (1996). He died on November 26, 1996, the same year he published his last book,
From Lascaux to Brooklyn. His first book, Thoughts on Design was "a well written, pre
cisely structured collection of concise commentaries, which combined Bauhaus analysis,
Jungian psychology and homespun candour" (Heller2, p.77). In Thought on Design, he writes
" . . . the designer does not, as a rule, begin with a preconceived idea. His idea is the result of
subjective and objective thought, and the design a product of the idea . . . Briefly, the designer
experiences, perceive, analyzes, organizes, symbolizes, synthesizes" (Rand 1947, p.3-4).
Rand also did some illustrations for children books together with his former wife,
Ann Rand; for instances: I know a Lot of Things (1956), Sparkle and Spin (1957), Little 1
(1962), and Listen! Listen! (1970). He designed the illustrations as if it is not only for chil
dren, but also for adult audiences because he applied a lot of design principles in it. He
played with size contrast, primary, secondary, and tertiary colors, lines (visible lines, vertical
and horizontal lines, circular lines, and contour lines), shapes (organic and geometric shapes),
and space (negative and positive space, and flat and deep space). Today, those books are
difficult to find and have become collectible items.
As American's greatest modern graphic designer, Paul Rand received many awards,
including the Hall of Fame of New York Art Directors Club, Royal Designer for industry in
London, American Institute of Graphic Arts Gold Medal, Type Directors of New York, Club
Medal, Professor Emeritus of Yale University, Honorary lecturer of Philadelphia College of
Art, and Honorary Degrees from Tama University Tokyo, Pratt Institute, Parsons School of
Design, Yale University, University of Hartford, and Philadelphia College of Art.
72
3.3. Non-traditional Grid System
If there is a traditional grid system, there must be an opposite of it since people tend
to create something opposite from a thing that already exists. Thus the rules of the non
traditional grid system are opposite to the ones of the traditional grid system, indeed. Many
modern designers nowadays tend to create something new, flexible, and outrageous. A
Deconstructive type, for example, as a radical way of looking at type as images is being used
by contemporary designers, such as Neville Brody, April Greiman, and David Carson. Brody
and Carson break through the fundamental rules of typography and create a whole new look
of type based on textures, colors, images, and shapes. There are many things in typography
design that need to be improved and explored. In line with typography design, the non
traditional grid system also becomes popular and its use has grown among modern publication
designers.
3.3.1. Neville Brody
I wanted to communicate to as many people as possible, but also to make a popular
form of art that was more personal and less manipulative.
-Neville Brody (Wozencroft 1996, p.8)
Neville Brody was born and grew up in Southgate, a suburb of North London in
1957. He studied art in school and continued studying Fine Art at Homsey College of Art.
The more he learned about fine art, the more he realized that the world of fine art had be
come elitist and fascinated only with a specific gallery market. "Why can't you take a
painterly approach within the printed medium? I wanted to make people more aware rather
than less aware, and with the design that I had started to do, I follow the idea of design to
73
reveal, not to conceal," says Brody (Meggs 1983, p.466). He then made a decision to pursued
graphic design instead of fine art. He took graphic design courses at the London College of
Printing (LCP) in 1976. LCP was the most competitive graphic design college in Europe at
that time. He tried to bring a different understanding of communication to design works
during his course of study at London College of Printing.
The first person who influenced Brody during his study at LCP was Ian Wright, who
had attended LCP a year before him. Brody admired Wright's works because he created a
very fantastic illustrative type.
In 1977, punk rock became the major influence in London life. It affected Brody's
way of life as well. Punk rock gave him confidence he needed and its energy motivated him.
"You should pursue an idea, do it, stop, then go on to the next one" as quoted from Wire's
Pink Flag, Brody's favorite group music in London (Wozencroft 1988, p.5) .
Futurism, particularly Boccioni's and Marinetti's works, also influenced Brody's
work, more so its typographic experimentation than its philosophies and attitudes. For in
stance, . Pop-art or popular art that is part of futurism, very influential on Punk, inspired him
as well. Pop-art was a celebration of the commercialism that developed out of the fifties.
Like Pop Art, Brody chose to apply an expressive graphic sensibility to a commercial subject.
The other areas that influenced Brody's work can be seen through the artworks of
Man Ray and Laszlo Moholy-Nagy. Man Ray's poetic photography forms and wrap objects
in their surrealist language. "Laszlo Moholy-Nagy, a participant in the Bauhaus of the 1920s,
in Germany, believed in the 'unconscious education of man,' not from a pedagogic stand
point, but from an awareness that even if his chosen medium of the Photogram might to some
be simply 'pleasing,' then its deeper impression would in time, be recognized" (Wozencroft
1985, p.8). Both of the men defined many of the limits of photographic form that have to be
transcended. They described themselves as painters instead of photographers.
Furthermore, the geometric forms of the Russian Constructivist artists, especially
74
Alexander Rodchenko, have influenced Brody. Rodchenko destroyed the motion of the artist
by experimenting with a wide range of artistic areas. In order to question the boundaries
between those areas, Rodchenko directly applied the language of everyday life in his work on
posters, photographs and book jackets. "For Rodchenko, design was a means of the artist coming
between his work and the needs of his public: 'a design to interact"' (Wozencroft 1985, p.8).
According to Jon Wozencroft in his book, The Graphic Language of Neville Brody,
Brody was known as the best British Graphic Designer in his generation in 1988. Most of the
work Brody did were record album covers for rock music and magazines. Brody never
thought about working for magazine in the beginning, that is, not until he showed his portfo
lio to Nick Logan, an editor of Smash Hits, a British pop magazine. Logan then set up The
Face magazine with a small budget for Brody. Subsequently, after 18 months, Logan invited
Brody as to be art director for The Face, a magazine that focused on music, film, pop-culture,
art, and dance. He designed spreads for several magazines and also an art directed Arena
magazine from 1987 to 1990.
Brody always works with images, not type. He once confessed,
I'd always dealt with images. I found myself out of necessity having to get the same
emotive impetus from the way I used type. I hated type. It was out of frustation,
because I was falling into the trap of treating type in the same way as everybody else.
I thought typography was boring, overladen with traditions that would repel change.
(Wozencroft2, p.9)
He was scared of using type. He felt totally incompetent with typography due to the fact that
he missed the traditional training early on and this made him feel that he was not a real
typographer. On the other hand, it was an advantage for him because he had not been tied
down to it. He had no respect for the typography of the Dadaism and Russian Constructivism
( especially Alexander Rodchenko) at all.
Tradition in typography was not entertainment for him; communication, he felt,
should be entertaining. People should not feel limited to the range of typefaces made avail
able to them by typesetters, especially in the computer-age era. Hand-drawn type was a
75
reaction against the growing use of computerized setting, where one did not need to know
anything about type to create something interesting from it. From time to time, Brody uses
hand-drawn type for his designs. He treats typefaces more like images. He began designing a
series of geometric San-serif typefaces for The Face. He used Letraset on The Face because
he wanted to control each individual letter.
Brody brought a unique graphic image to The Face and Arena magazines (Fig. 38).
He wanted to show a new look of magazine layout to the reader by putting some dynamic
letterforms as images into The Face and Arena that seemed more or less the same as David
• I II ! ____
,,,_ ___ _ ----~
Figure 38. The cover and inside spreads of Arena magazine
76
Carson's RayGun magazine today (Refer to David Carson section). "I wanted people to
challenge The Face. The argument was this - how can design bring a greater dynamism to
the content, now that we live in a predominantly visual age?" says Brody (Wozencroft 1996, p.9).
The magazine, for him, is a dimensional object that exists in time and space, and has
a continuation in graphic elements. Brody fabricated the elements of the layout into an ex
pressive graphic statement. Type and image become objects composed against each other to
achieve a dynamic layout.
Brody then developed some kind of guidelines using the grid system in designing a
magazine. Magazine needs to show the reader where to start, where the feature begins, where
another feature is, and so on. On the cover, the masthead is the focal point on the entire
magazine, followed by the blurb. The table of contents page and the blurb act as a key ele
ment in the magazine. The blurb tells what and where each feature is by numbering each
page. The consideration of the size of page numbers, position on the page, and typeface is
important as well as the use of symbol, form, a white space or a different typeface that can
lead the reader's eye to start reading the feature. A headline instantly grabs the reader' atten
tion and attracts the reader to read the feature.
Brody introduced a sense of rhythm - creating breathing spaces, space to consider and
think. An editorial exists on many levels - it does not contain only words. Any design colors
the way one reads the content. The typeface, its size, the spaces between it, the position - all
affect the way the reader reads a piece.
In 1990, The Fuse project was set-up in Brody's studio as a non-profit, non-commer
cial endeavor. Fuse, a magazine that acts as an experimental forum for digital technology, is a
medium to highlight the possibility of digital typography (Fig. 39). Fuse promotes a dialogue
on the state of digital typography and its effect on language by contrasting print and digital
media. Fuse waives the copyright law that encouraged purchasers to manipulate and abuse
the given typefaces. Fuse is also a project that was devised as a collective approach to culti-
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Figure 39. The Fuse project
vating ideas and creating a new graphic language. Digital type is now common in everyday
life - not as something newly-fashioned.
Fuse magazine, the magazine of the future, brings a sense of life and danger to the
current chaos of communication, breaks the boundary of traditional rules, and induces an
expressive response. Most of the active audiences are teenagers and students.
Brody is fascinated by the technology of computer, whereas he sees computer key
boards as a musical instrument for composing a masterpiece. The computer allows designers
to reach the range of any form of composition; blurred, overlapped, and pixelated types seem
possible now. Shape and outline become increasingly more important than the fine detail of
a serif. Brody likes to combine the unrelated fonts, arrange the words in peculiar configura
tions, or manipulate them on the photocopier into illegible shapes and proportions.
Together with Stuart Jensen, Brody opened FontShop International, which is part of
Fuse project. It aims to assimilate the new digital language into society by the means of
promoting and marketing new typefaces through commercial type foundaries. Brody is
currently working in his own studio in London.
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3.3.2. April Greiman
Color, texture, materials, shape, word, and image, scale and space, myth and symbol -all are brought into play because the end result is, in effect, a three-dimensional
object that communicates a message, whatever the scale or medium.
-April Greiman (Farrelly 1998, p.9)
April Greiman was born in 1948, on Long Island, New York. She earned her Bachelor
of Fine Arts degree, majoring in graphic design and minoring in ceramics from the Kansas
City Art Institute. In the early 1970s, she studied with famous graphic designers, Wolfgang
Weingart and Armin Hoffmann at the Basel School of Design in Switzerland. She developed
what she learned from Swiss graphic design into a new concept in graphic design. "April
Greiman took the ideas developed at Basel in a new direction, particularly in her use of color
and photography" (Meggs 1983, p.451 ).
Greiman was inspired by the color of the Native American Culture, Buddha's philoso
phy of life, and Jung's philosophy as described in his book, Memories, Dreams and Reflec
tions. In 1976, she moved and opened her own studio, April Greiman Inc., in Los Angeles. In
the same year, she was introduced to Edith Sullwold who studied at the Jung Institute in
Zurich. Sullwold helped Greiman in discovering more about sign, color, myth, and symbol.
Greiman often experiments with color. According to her, " . . . color, myth, and symbol
add meaning and content to visual communication" (Farrelly 1998, p.12). The color choices
of her designs evolve from time to time. She discovers color from different aspects of life. In
her early works, she used pastel colors that she adopted from the Native American culture
(Fig. 40). Later on, she shifted to the scientific colors in her motion design (Fig. 41). She
sees color from the eye of science and technology, not from the artist's eye.
Greiman's first experiment with Apple Macintosh computers was in 1984 and she
became attached to this machine thereafter. She was fascinated by how this tool can do many
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Figure 40. April Greiman. The CalArts Viewbook
Figure 41. April Greiman. Cal State Student Union, Fa<rade banner, 1997
80
interesting things that cannot be done by hand. She believes that "art and science are simply
two sides of the same coin" (Farrelly 1998, p.14). Being interested in new technology and
design softwares, in 1996, she decided to change her company name, April Greiman Inc. into
Greimanski Labs to make it sound more high technological.
Greiman was the Director of the Visual Communications faculty at CalArts
(Calfifomia Institute of the Arts in Valencia) in 1982. She published her first book, Hybrid
Imagery: The Fusion of Technology and Graphic Design in 1990, which showed her design
works. She received many awards, such as the National Endowment for the Arts, Hallmark
Fellowship, Grand-prize winner at Macworld's first Macintosh Masters Art Contest, AIA
(American Institute of Architects) Award, and AIGA (American Institute of Graphic Arts)
Medal for Innovation.
As a pioneer of computer generated graphic design, Greiman brings the art of visual
communication to the next level. She takes the advantage of the new technology and experi
ments with it. She explores, mixes, and matches many design media, such as photomontages,
collages, paints, copy machine, die-cuts, silk-screen, and manipulation in digital images.
The sense of grid system seems to gradually evaporate in her layout because of the
way she creates a sense of depth and volume, which can be seen in her designs nowadays
(refer to Fig. 41 ). She sometimes does not use the grid system at all and randomly places the
images on the layout. The floating forms of images and types with shadows, overlapping
elements, diagonal lines and types, and perspective forms create depth and bring the layout
into a dynamic hybrid space. Accompanied by the art of technology, she merges the motion
graphics into a two-dimensional design or vice versa. The following example shows her
computer-aided design for LUX, a motion picture company (Fig. 42).
Greiman still works in her Greimanski Labs and joined Pentagram's Los Angeles
office in 2000.
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Figure 42. April Greiman. LUX PICTURES, push animation, 1997
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3.3.3. David Carson
Designers of posters, magazines and even web sites inhale change from the air
around them and exhale it onto the page, freezing it in two dimensions.
- David Carson (Blackwell 1997, p.18)
David Carson, a native Californian, was born in 1945. He studied sociology at the
University of Arizona to become a sociology teacher, but abruptly decided to change his
career and transferred to San Diego State to study commercial art. He planned to transfer to
Oregon College of Commercial Art before he got an internship offer at Surfer Publications in
Los Angeles. He attended a three-week workshop at Rapperswil, Switzerland where he
studied about typography and design with Hans-Rudolf Lutz, who influenced him the most.
Hans-Rudolf Lutz showed him "how vernacular forms had communicative power, as well as
how type could be made expressive through a process of abstraction" (Heller4, p.59). Carson
also admires American abstract expressionism artists, such as Mark Rothko and Franz Kline.
Both artists' works are very abstract.
Carson's first job was as art director for Transworld Skate hording magazine from
1983 to 1987. It was a heavy task for him because the magazine contains 200 full-color pages
each month. He decided to move to Massachusetts and worked for Musician magazine. after
designing 17 issues, he stopped working there and applied for various jobs on the East Coast.
He got an offer from Surfer Publications in Los Angeles earlier where he had completed his
internship. It was the beginning of his career as art director for Beach Culture, a surfing
magazine.
Carson successfully transformed Beach Culture magazine into a radical and experi
mental design piece (Fig. 43). He does not design a traditional layout with a rigid grid struc
ture but creates playful spreads and allows the reader to participate. The overlapped,
letterspaced, scattered, overprinted type, non-grid layouts, and some abstract visual puns are
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Figure 43. The cover and inside spread of Beach Culture magazine
84
what make his designs of the articles difficult to read. "My goal is to have the reader turn to a
page and get a feeling -some kind of internal reaction- that hits his soul, that makes him
want to read" (Heller 1992, p.63). Carson seemed to create a new revolution in magazine
layout. Beach Culture magazine definitely surpassed the other magazines. He wanted his
magazine not only as a medium to convey the news, but also to express and communicate the
information in different ways. Unfortunately, his freedom in designing Beach Culture maga
zine ended when the magazine was suspend publication in 1991.
After Beach Culture magazine folded, Carson got an offer from the same company to
re-design Surfer, a conservative magazine. He appeared to know the subject matter well
because he is a professional surfer. Unlike Beach Culture, Surfer is an image dominant
magazine with less type. This did not mean, however, that Carson could not design the same
way he used to for Beach Culture. He still ignored certain rules by eliminating the folio, and
overlapping and scattering the headline and body text.
In 1992, Marvin Jarrett, former publisher of Creem, recruited Carson's Beach Culture
team to work on a new music magazine, called Ray Gun. Carson's contribution to RayGun
was a big success. He did amazing jobs that expand the distribution internationally and
increase the circulation of Ray Gun magazine up to 120,000. He turned the magazine into a
hip rock and roll magazine and a place where the readers could contribute their works, such
as sketches, photographs, and paintings. Carson seems to have a lot of fun in directing Ray
Gun. His experimentations in radical design always appear in every issue. Each issue has its
own unique elements that cannot be found in other magazines. For example, in issue 25, he
designed the cover as a continuation of the inside article, which was for the first time of the
history of magazine design (Fig. 44). Each issue of Ray Gun magazine has different styles of
masthead (Fig. 45).
Carson designed some posters, advertisements for magazines, newspapers, and broad
cast ads for television; for clients, such as Nike, Pepsi, MTV, and Sony. He also worked with
85
aygun
Figure 44. Ray Gun magazine, issue 25
Figure 45. Ray Gun covers with different kind of mastheads
86
Lewis Blackwell and published two books, The End of Print: The Graphic Design of David
Carson (1995), David Carson: 2nd Sight (1997). He then worked with Steven Heller and
published his recent book, Fotografiks (1999).
Carson is a master of controversial typography. Legibility is not part of his design
theory. He has changed the world of graphic design by breaking the boundary of the tradi
tional grid system showing a new look of visual communication. His layout compositions are
very dynamic and innovative for the 90s. He successfully manipulates typefaces, so that it
does not look like typeface anymore - which is similar to what Neville Brody did in his
magazine design in the 80s.
It is difficult to see if there is a guideline or a framework in his magazine layout. For
instance, there is no spacing between letters and words, the text bleeds-off the page, the
column width is never consistent, and the placement of page number is off (Fig. 46). He
breaks all the standard guidelines of publication design. Carson mentions in The End of Print,
"The fact that the layouts of Beach Culture and Ray Gun have no discernible grid, doesn' t
Figure 46. Ray Gun inside spread
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mean that they would always reject the grid. They might be freeform, but that doesn't make it
a rule" (Blackwell 1995, p.25). Similar to April Greiman, Carson also does not follow the
grid and randomly places all the elements in the spread, as if it is a canvas for an abstract
painting. According to David Bryne, "David's work communicates. But on a level beyond
words" (Blackwell 1995, p.6). Carson's works for magazine layout is more like an art com
position because it is difficult for the readers to read, but easy for them to see and enjoy.
Carson is surely an influential graphic designer for many modern young designers of
the 1990s. He currently works and lives in New York City.
3.4. Magazine Design
3.4.1. Introduction
In the history of publication design, particularly in magazine layout, graphic design
has always been part of its process. In general, graphic design plays a substantial role as a
medium or a channel of communication. In order to convey a message to the audiences, the
designer ought to translate the 'abstract' message by using visual and verbal aesthetic forms
that catch the audiences' attention instantaneously.
"Magazin is the French word for store and a magazine is a store-house of informa
tion" (Heller3, p.95). Magazine had been around for quite a while. The development of
magazine design began when people strive to decorate it as a work of art and be more spe
cific in categorizing it. Until this moment, there have been several magazines based on
hobbies and special interests, such as cooking, fashion, sport, business, computer, wine, art,
skateboard, surfing, music, interior, craft, and so on. In addition, many furniture, fashion, and
electronic brand-name stores have launched their own magazine lines to promote their stores;
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for example, Space by IKEA, The Book by Neiman Marcus, Spiegel by Spiegel, Colors by
United Color of Benetton, Target by TARGET, Sony Style by SONY, and so on.
According to Paul Rand, "Graphic design is essentially about visual relationships -
providing meaning to a mass of unrelated needs, ideas, words, and pictures. It is designers'
job to select and fit this material together- and make it interesting" (Rand 1985, p.xiii) .
"Specifically, a graphic designer is one who creates ideas that are expressed in words and/or
pictures, and generally solves problems of visual communication" (p.xi). The role of graphic
designer in magazine design is as much important as the advertisers who pay to advertise
in the magazine. The designer carefully chooses the legible typefaces and arranges the
cover image, the blurb, the headline, the illustrations, the table of contents, and body
text, thus he/she can visually convey, present, and communicate the information clearly.
Hence, before designing a magazine, the designer has to know where it will distributed, the
purpose, the target audience, the contents, and the estimated price of the magazine.
3.4.2. Function and Purpose
At bookstores or newsstands, people will notice various magazines with attractive
covers divided into certain categories on the racks. Nowadays, most magazines become
popular because of their information, visual appeal, and services. So, what exactly is the aim
of the magazine, in addition to being an information and entertainment source?
In designing a magazine layout, the designer must first develop the concept and
consider the style that would represent the image, the budget, the specialty, and the target
audience of the magazine, such as whether it is for children, teenagers, adults, or higher,
middle, and lower classes. The content itself has to meet the consumers' expectations and
reflect the quality of the magazine.
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Further, the content and the arrangement of the same magazine in each country are
not the same. Generally speaking, it is very obvious that language is the major issue between
Western and Eastern cultures. As an example, the arrangement of type in Western magazines
is different from Eastern magazines. The Japanese and Chinese read vertically from top to
bottom, right to left and people in Arab countries read horizontally from right to left, on the
contrary, the readers in Western read horizontally from left to right. Also, the readers in
Western open the magazine from right to left because the binding is on the left side. The
Japanese and Chinese, however, open the magazine from left to right due to its right-side
binding.
Different kinds of magazines are currently available. Unlike the magazines in 1960s
that contained much information, the current magazines have their own specifications and
specializations. There are magazines for architecture and interior design only, women maga
zines, sports magazines, business magazines, outdoor magazines, and so on. Each has its own
style and character, which is based on its purpose and designed to target a specific audience.
Every magazine line tries to entertain the readers by displaying a variety of information and
creativity in its layout. As an example, music magazines for young audiences have a different
look and feeling from economic magazines for businessmen.
Magazines can be categorized into middle and upper scale, which is primarily based
on the reader or the general population who buy them, the quality of paper of the magazine,
the advertisements, the quality of the article, the cost, and how many times in a year they
publish it.
Avertisements help and support the life of the magazine. We shall not forget that adver
tisements are also part of the magazine and are not placed randomly in every magazine
spread. For instance, the interior design magazine always has furniture and house utility ads.
The placement and size of each ad depends on how much the advertisers are willing to pay
and where they want it to appears in the magazine. The size of an ad varies depending on
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whether it is quarter-size, half-size, full-size, double size, or near the front page or at the end,
or near the back cover. Each advertisement is placed based on its purpose and its sale-product.
In the 1920s, magazines started to develop gradually and graphic designers became
seriously involved in their production. Graphic designers researched the consumers' behavior
and reactions towards the contents and messages of magazines. As a result, the designer has
to determine whether certain information is important to read first or whether it is simply
enough to scan it in order to assist the readers in comprehending the message. The designer's
tasks are to read, understand, and typeset the copy before starting to design, especially when
it comes to designing a publication layout; therefore, one must know the content of each article.
Moreover, the designer's goal is to help consumers visualize the message by design
ing or choosing a suitable and legible typeface. As Ruari McLean, points out, "Typography is
the means by which written words are conveyed in the most direct, economic and unbiased
way to recipients, making the best use of contemporary printing techniques" (McLean 1975,
p.15). It is essential to have an understanding of typography, because choosing a clear and
legible typeface immediately catches the reader's attention. The designer fails in delivering
the message when the typography is ambiguous and ineffective. If it is crystal-clear, one
accomplishes in visualizing a strong and effective communication.
In order to provide an effective communication, the designer is obligated to show a
clear hierarchy in the layout. Complexity, especially in publication design, creates an unclear
hierarchy and difficulty for the readers. Simplicity, on the other hand, provides various alter
natives in the placement. The designer has to remember that there are already many other
components inside a magazine layout; for example, headline, blurb, subtitle, image, caption,
text, pull-quotes, initial cap, and page number. Consequently, one does not have to add an
other problem by creating a complex layout. As Martin Solomon says, "The success of a
composition is determined by the selection and juxtaposition of the other elements within a
designated space" (Solomon 1986, p.12).
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The term 'Less is more' by Mies Van der Rohe reflects the idea of simplicity and
minimalist in architecture. For example, people in Japan believe in nature and simplicity.
Most of the Japanese architecture buildings are very minimalist and open spaces. However,
'Less is more' not only for architecture, but also for graphic design. As Steven Heller points
out, "Swiss designers believed that introducing subjective content distracted from clear
communication" (Heller 1999, p.14). As a matter of fact, by reducing the complexity in the
layout, the viewer can be more focused on an important visual message. Steven Heller and
Anne Fink write in their book, Less in More, " ... in a field of complexity, magazine designs
based on less have better chance of attracting attention" (Heller 1999, p.95).
Generally speaking, simplicity in magazine design enhances legibility, builds hierar
chy, increases the effectiveness in communication, brings white spaces as a main part of the
layout, directs the reader to focus on certain areas, and provides a comfortable space for eye
resting as well. Although it looks minimal and plain, to create a simple magazine layout is
quite complex. The designer needs a precise and clear grid system as a framework in order to
determine exactly the placement of each element in given space.
3.5. The Grid System in Magazine Layouts
3.5.1. Introduction
The essence of designing a magazine is the same as the essence of constructing a
building in architecture. It requires a structural system as its foundation to accomplish a
legible and entertaining layout. Once the designer sets the parameter, it is easy for him/her to
follow the format or the template. In line with the exterior buildings, an interesting magazine
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cover instantly promotes the contents of the magazine and draws the viewer's attention.
The grid system in magazine layout as an invisible framework offers order and conti
nuity to multipage, sequential design, and it also determines the active and inactive spaces of
the layout since the designer has many elements to work with, such as the headline, the pull
quote, the image and caption, the blurb, and the body text (Fig. 45). The grid system, as a
tool, offers a device for structural continuity for sequential layouts inherent in magazine
design, gives a pleasant flow throughout the composition, allows the designer to clearly
communicate throughout the composition, and creates a balance of information and negative
space for the readers to rest their eyes on. Josef Muller-Brockmann, in Grid System in
Graphic Design, writes, "The use of the grid as an ordering system is the expression of a
certain mental attitude in as much as it shows that the designer conceives his work in terms
that are constructive and oriented to the future" (Mtiller-Brockmann2, p.10).
3.5.2. Magazine with Traditional and Non-Traditional Grid System
Magazines that apply traditional a grid system in their layouts are usually traditional
magazines, such as National Geographic, Fortune, Times, Life, Better Homes and Gardens,
Readers Digest, etc. Magazines with non-traditional grid system are generally contemporary
magazines magazines, such as Mountain Bike, Beach Culture (no longer available), Ray Gun,
RollingStone, Spy, Madison, Wallpaper, Metropolitan Home, Real Simple, Cyan, Simplicity,
Hot dot, Nylon, and among others.
Magazines with a traditional grid system clearly divide the spreads into two, three, or
four columns throughout the magazine. Everything is placed in the right order and follows
the publication's rules. For examples, the masthead is at the top and on the front cover, the
Table of Contents is always at the beginning, and there is a distinct separation from one
paragraph to another with space for margins and the folio.
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As mentioned earlier, grid systems in magazine layouts help the placement of body
text, photos, and illustrations. When it comes to the magazine with non-traditional grid
system, however, it does not mean there is no grid system at all, yet it is not as formal as a
traditional grid system. The columns can be varied in every article inside one magazine. For
example, it is possible to have two, three, four or six columns in every article in one maga
zine. The grid can be diagonal, circles, and randomly place; thus, the designer has more
flexibility in arranging the elements. An alternative grid system can be made from route
maps, architectural blueprints, stair-case, wire fences, leaves, world map, charts and dia
grams, and so on.
3.6. Japanese Influences in Western Design
The Japanese culture has been inspiring the rest of the world for many years now. Its
influences, especially in paintings and prints, started to grow in European during the Art
Nouveau period of the eighteenth century.
The word Japonisme was coined in 1872 by the French art critic Philippe Burty ( 1830-1890), who used it to describe the enthusiasm for Japanese artifacts which
developed in Paris during the 1860s. Burty subsequently described the meaning of Japanism as 'a new word coined to designate a new field of study, artistic, historic
and ethnographic.' (Nute 1993, p.28)
According to Clay Lancaster, "The French and English developed the art of Japan
ning, using resin lac (shellac) in place of varnish from the true lacquer tree (Rhus
vernicifera). Designs of figures and landscape objects were usually raised in gessoed relief.
Backgrounds were black, red, green, and tortoise shell" (Lancaster 1983, p.13). The art of
Japanism is like a Ukiyo-e, the Japanese woodblock painting (refer to Chapter 1). Ukiyo-e
and Japanism capture nature in its unrealistic and flat linear form.
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The influences of Japanese art started long time ago, with the Japonisme style in Paris
around 1800s and the construction of Japanese tea gardens in England. Piet Mondrian, a
Western artist, for instance, was inspired by the Japanese architecture. His juxtaposition of
his paintings, asymmetrical balance, and geometrical depicted the shelves and tatami floor
mats in traditional Japanese architecture structure. The flat color and linear two-dimensional
image are in line with Japanese woodblock painting. In addition, the use of minimal color
represents the principle of Japanese minimalism.
In the area of graphic design, there are some graphic designers who have also been influ
enced and inspired by Japanese art and/or architecture. The following examples provide some
background information about graphic designers who were influenced by Japanese art and/or
architecture.
3.6.1. Josef Millier-Brockmann
As a pioneer of Swiss graphic design, Josef Mi.iller-Brockmann strictly used a struc
tural grid system in his work. As cited earlier, he was influenced by the Tatami grid, tradi
tional Japanese architectural grid system and applied it in his poster designs. He brought the
Eastern influence to Swiss graphic design. He admitted how he admired and inspired by
Japanese culture.
The following is his conversation with Yvonne Schwemer-Scheddin from Eye maga
zine, about Japanese influences:
(Yvonne) What influence did Japan have on you when you taught there?
(Mtiller-Brockmann) In Japan I saw Noh theatre for the first time and was instantly
captivated. Every movement of the Noh actor is measured and bursting with tension. Nothing is left to chance, yet it is full of life and poetry. Japanese temples also had a
profound effect on me. I discovered the secrets of Zen landscape architecture only a
couple years ago when I spent two days out of four in Kyoto studying Zen gardens.
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(Yvonne) Why was Japan interested in the Swiss school?
Muller-Brockmann) At the end of the 1950s Japan's interest in the West was enor
mous. Then came the 1960 World Design Conference in Tokyo, to which I was in
vited. I outlined my teaching method. The next day two school presidents invited me
to come and teach in Tokyo and Osaka. I think at first the best-known Japanese de
signers and architects came to my Sunday classes out of curiosity. I told them to study
their own history, which contains everything they need for good design: the Noh
theatre, the temples, the gardens. Their Japanese teachers at the time spoke only of
Europe. (Schwemer-Scheddin 1995, p.16)
3.6.2. Jan Tschichold
Jan Tschichold was interested in Japanese and even more so in Chinese calligraphy.
He collected several woodblock paintings. In addition, he published three Chinese and Japa
nese printing books; Early Chinese Colour Printing, Chinese Blocks: the origin of book
printing, and Chinese Colour Prints from the Ten Bamboo Studio. His calligraphy, similar to
Japanese calligraphy in employing some abstract symbols, taught him to create beautiful and
flowing type as an image. Calligraphy, whether it is Chinese, Japanese or Western, applies
the same concept. It is spontanuous, flowing like nature (organic), and pictographic.
Tschichold's design is in line with Japanese art because his design is flat, solid, and clean,
which is minimalistic for a graphic design style.
3.6.3. Paul Rand
According to Bernard Rudofsky, "Paul Rand is most akin to the Japanese in his
singular economy of means. Throughout the best of his work he succeeds in presenting an
idea, a message, with a minimum of pictorial elements and, characteritically, without loss of
charm" (Kamekura, p.11). Simple and minimalist designs always appear in Rand's works, for
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instance, the book jacket that he designed for ARP. He used minimal typography and minimal
color (one color only). Steven Heller comments on Rand's ARP book jacket, "Rand's title
pages were always minimalist" (Heller 1995, p.92). Rand's illustration is flat, witty, simple,
and bold in color, which is similar to Japanese woodblock painting. Japanese painting is very
subtle, tranquil, and delightful. "His simple forms and fresh colors reveal a purity possessed
only by very great art; it is this purity which forms a link between his work and the essence
of Japanese art tradition" (Kamekura 1959, p.9). Further, Rand's childish scribble is like
Japanese comic strip (Manga). For instance, Rand's children books show flat, bold colors,
linear, simple image forms, like a cut and paste paper or an outline drawing.
Yusaku Kamekura, a Japanese graphic designer, writes about the influences of Japa-
nese philosophy in Paul Rand's works,
[Rand] was especially enamored of Eastern philosophy, and on occasion I detect very
Japanese feelings in his works. I'm not referring to mere exoticism with a Japanese
bent. What I see is something much deeper and more spiritual. Indeed, his forms are
often more "Japanese" than those of most Japanese artists ... When we Japanese look
at Paul Rand's works and ponder the futility of our struggle to absorb Western culture,
we are stunned to recognize traditional Japanese style -styles which we Japanese have long forgotten- running beautifully and refreshingly through them. (Meggs
1997, p.187-188)
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CHAPTER 4. PROJECT DEFINITION
Experimentation requires ideology, research, application, and perception, all of
which stimulate your imagination and increase the scope of your design.
- Martin Solomon (Solomon, p.56)
4.1. The Purpose of The Study
This study explores some architectural principles of one of the Eastern cultures,
Japanese culture, and applies them to the Western graphic design. Furthermore, it shows the
structural system employed in traditional Japanese architecture that presumably can be used
as an alternative grid system solution for magazine designs. By doing so, the study provides
the opportunity for designers to play with, explore, and recreate the magazine layout, to give
it the contemporary look, to offer more flexibility, and to add another vocabulary in the
history of magazine design.
4.2. The Process and Analysis
The medium of this study is the Metropolitan Home (MetHome) magazine which is a
bimonthly modem contemporary interior design and architectural magazine. The author
chose this magazine by reason of this is the first experimentation utilizing the grid system
from eastern architecture and this magazine has potential design elements that can be devel
oped by applying this alternative grid system and by adding the eastern aspects in it. For this
study, the November and December 2000 issue, volume XXXII, number 6 was randomly
chosen. The original layouts of Table of Contents and one of the short articles will be shown
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with some descriptions prior to the experimentation. The author did the exploration using the
following editorials: Table of Contents and the (Met View) short article. The author analyzed
and transformed those layouts into several new layouts using the same editorial but applying
the new approach of the Tatami mat as a grid system, in this case the three major compounds
of Katsura Imperial Villa or Katsura Detached Palace. The author chose this palace because it
has some strong examples of the modular system in traditional Japanese architecture. Katsura
Imperial Villa was built not at the same time, but sequentially built in different periods;
therefore, there are many mixed cultures behind each compound that makes them extraordi
nary and more interesting.
The author selected three different compounds of the Palace as the alternative grid
system because as it was mentioned earlier, each compound was built from different periods
and it has unique structures and patterns so that can be developed as an alternative grid
system for magazine design. This study is divided into three major parts. The first part will
apply an alternative grid of some sections of the Middle Shoin compound to Table of Con
tents and the (MetView) article. This new grid system solution will be used as a traditional
grid system only (refer to Chapter 3, section 3.2. Traditional Grid System). The author
showed some thumbnails and enlarged one of the layouts as a good example. The second part
will be similar to the first part, but it will use the grid of a section of the Old Shoin compound
instead. This grid will be used as an example of the transition between traditional and non
traditional grid systems. Ultimately, the third part will apply an alternative grid of the middle
area of the Middle Shoin and the Old Shoin compounds. In this part, the author explored the
grid as a non-traditional grid system (refer to Chapter 3, section 3.3. Non-traditional Grid
System) and captured the essence of the Japanese tradition and their garden.
The following sections ( 4.2.1 and 4.2.2) describe the existing layouts of the original
magazine completed with the format size.
99
4.2.1. Table of Contents
The Table of Contents layout is divided into a four-column grid with left and right
margins of 6p9 picas, top margins of 1 0p0.6-13p6 picas, and bottom margins of 6 picas (Fig.
47). The format size is 9x10.75 inches, which is slightly bigger than the standard of 8.5xll
inches. Table of Contents consists of two pages that are separated by three pages advertise
ments . This arrangement seems confusing at the beginning, but the Metropolitan Home
designer utilizes a small sign ( continued to page #) on the first page of Table of Contents to
indicate a continuation to a certain page number.
METROPOLJTANHOMEnov/dec2000.w .. x,:irn.o:w e TW~1rtAoi-..e.Jful
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tit *~fl'lwli-O.~·~~WiJ.rn,w:.M:w,~--~~•-~1;.,.,,..Wc,a'"f'',<.i~ ....-,~.,..«l_f1t>~IO:'W-11W~·br_~
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ffl -~~~~~Wl••-~ "'~,.,.._i-,i,.&"""'1~~,...--;f_l~~~
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Wfnlt«.itit ""'-"">11:••-.t!O~-~->lto:f«,-~ ... -;.,~-·-""'·--"'"''""""~-~W""'"""'"'-•"11«-.(--
Figure 47. Metropolitan Home, vol.32, no.6. Table of Contents
100
4.2.2. The MetView Article
In line with Table of Contents, the two-page Met View article is not on the consecutive
pages (Fig. 48). The first page starts on page 124 and its second page is on page 128. However,
there are still some connections and identifications that indicate those pages belong together. For
example, the designer uses the same column, grid system, and illustration style on both pages.
This article has a traditional three-column grid with left and right margins, a justified alignment,
and a centered title. San-serif typeface is used for the title and the pull-quote. The size of serif text
typeface is 10 points, which is a standard range for body text (the standard size is 10-12 points).
The size of the first illustration is almost half size of the page, but the second illustration becomes
smaller and has more text on the following page. It is common to have less text and more negative
space on the first introductory page and more text on the following pages.
Figure 48. Metropolitan Home, the MetView Article
101
4.3. The Study
4.3.1. Study 1
The first alternative grid system is represented by one section of the Middle Shoin com
pound (Fig. 49). The author chose this section because it has an unsual symmetrical and structural
elements that are suitable for the first study since it will be used as a traditional grid system. This
symmetrical grid consists of 12 Tatami mats (refer to pg. 25-26) and divides into four vertical
columns and three horizontal columns. However, this grid is not a full 4x3 column grid because
there are two horizontal columns instead of one vertical column in the upper-middle part and the
combination of two Tatami mats in the upper right comer (see Fig. 50 for more details). The
margin proportions for this study is not like an ordinary/ standard margin since the author used the
alternative grid system based on Tatami mat, thus she also used the margin proportions based on
the edges of the Tatami mats that bound with a strip of black linen an inch or more in width (refer to
pg. 24). Each study has a proportional margin size, which is not too narrow nor too wide. In
agreement with what Josef Mtiller-Brockmann says, "It is a good idea not to make the mar
gins too narrow so that inaccurate trimming does not spoil the look of the page" (Mtiller
Brockmann2 ,p.39).
The following experimentation is using this new alternative grid system solution for Table
of Contents and the Met View article (Fig. 51 ). The author designed four thumbnails for each
article. Each thumbnail shows the layout with the visible grid system, which clearly indicates the
placement of the elements on the layout. In addition, she provided the thumbnails without the grid
next to the one with the visible grid. At the end of the experimentation, she analyzed the layouts
with the new grid system.
102
Katsura Imperial Palace
I
The Old Shoin
The Middle Shoin
Figure 49. The first alternative grid system using some parts of the Middle Shoin compound
103
Figure 50. The spread using the first alternative grid system
4.3.1.1. The Analysis of Table of Contents
The first experiment is using the new alternative grid system for Table of Contents.
Here, the grid system does not work well because the author applied the same two-column
layout without using the horizontal column. Thus, the layout of the experiment looks similar to the
original layout ( see Fig. 51 experiment 1: Table of Contents). The drawback of this layout is the
vertical column (double mats) in the upper-right corner which seems malfunctional because the
author did not take into the account while arranging the design elements.
In the second experiment (see Fig. 51 experiment 2: Table of Contents), the author
combined all three vertical columns into one column for the body text and arranged all the
104
images vertically on the right column that appears similar to the traditional grid system. The
grid starts to work well in this layout because all the elements are placed inside the structure.
During the third experiment (see Fig. 51 experiment 3: Table of Contents), the author
divided the body text into three columns, placed all the images on top, enlarged the page
number for each article, put all the information on the first, second, and third columns, and
changed the placement of the masthead vertically on the right column. The author also moved
all additional information, such as The Editor's Page, Mailbag, Ask David, Doctor Swatch,
Recipes, and Resources, to the middle instead of the bottom of the page.
During the fourth experiment (see Fig. 51 experiment 4: Table of Contents), the
alternative grid system begins to work well. It is different from the previous experiments
because it seems like the grid leads the author in placing all the elements in the right place.
Instead of putting all the images on the same spot (previous experiments), the author arranged
and balanced all the images on every vertical column. The author did not isolate the fourth
column just for the masthead, but added to it by placing one image and the cover information
as well. This fourth experiment is derived from the third experiment with a slight change on
the placement of the images. The look of the structural and Swiss traditional grid system is
visible in this layout; however, there are more flexibilities for the placement because of the
interesting shape of the Tatami grid.
105
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METROPOUTANHOME ,,,,,,x.cwm
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METROPOLITANHOME "'"·""'' ,oc-0 \-.no.,
43 1~ .. -T-.11<.or_,, _____ ,...,
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!ft.! ::=!:"~8!'.:t!':.:.~"!.i.,~ ~==-":::,=•l,.,.;, 1tll ~~:..";...~ ... ~~::...-.-.. --
13:' ~~~~i:.~~ ... ----··--· ~ ii.':':'~~~==-=
Figure 51. Table of Contents experiment #1 (top) and experiment #2 (bottom) using the first
alternative grid system
_J a CL @ H w ~
-.,,.-..,.., ..I
106
45 r-.,,>lyl~":Ji-o.,_,.._...,,.,.. ,_,.. __ ,,..,_ .. ...,.,--,.
116 w..-i~ ....... 11,~:w,,,i.., ..,...,,.,.,,,., -~--_,..,.,Nil_t_ ~,...._..,.w
116 --..""'~ ,,.o,,,,,,,_, -~-"'-"""""' ~;:-,.,,:..~
<O
g
§ N
@ 0 >= 0 z w :i 0 :c z ~ _J
0 0... 0 cc 1-w ~
Figure 51 (continued). Table of Contents experiment #3 (top) and experiment #4 (bottom)
using the first alternative grid system
45 Take Note by Mone Hirst OJr koor~ shopping eye picks out fashion fabrics for sofas and stainless steel flatware from liffan}'.
48 TheWom The busy buzz on what's new and what to do.
50 Metro: Travel An insider's travel guide to tho best places to eat, stay, shop and visitfrom the Berksh:ros to Berlin.
56 City Report San Francisco by Dia'1o Dorrans Saeks The City by the Bay is boomingheating up America's fuvorite urban destination.
62 Color Ways: Orange Aid by Sarah Lynch It's name means "fruit of gold•-· and it's a bright idea "'tiose time has corne.
74 My House: Village Voice by Nuala O'Faolain An Irish writer who lives in a cottage by the sea heads to Greenwich Village tcx ~'1spiraticn.
107
87 Met kids: Colorfonns by Susan Morgan Design supotstar Dav,d Rockwell couldn't raioo his first-bom in a boring, ugly or off-ttie-mck room, no, could ho?
98 Editors' Cholco~ Seats for the Petite pro<Jucod by Doretta SponMo Not for adults only: These chairs for children are as high s~~e ac; the grown-up classics that inspired them.
112 Tech Notes: Click Plcks by Bonnie Schwartz Lot yct.B' aching feet stay home ,n a lovely soak whfo your fingers find gi'fts for ~-ourself and others on~line.
116 Weekend Kitchen: Hot Gobbler by Donna Paul Boston's ctlowder ma&1ar Jasper 'Nhito turns his leftover turkey into something hot, hea1y and delicious.
ON TI-iE COVER 1he living area of 650•:,quare-foot South Beach shidio penthous!! is a lasson in small-spnce rnr-ow11on. ProdJood by Linda O'Keeffe. Ft,otograph by Quentin Bacon. Soo page 206.
~
~ ::0 0 ""'O 0 r ~ z ::r:: 0 s: m z 0
~ m 0 ~ 0 0 0
::, 0 a,
Editor's Page 32. Mailbag ~JS Ask David 82 Or. Swatch i 2.?.. Recipes 230 Resourcos 234
102 Tho Big Idea.: Simply Grate by Michael L.assoll A shower floor that's safe, comfortable and chic.
104 Met Homes: Seasons Readings by Sarah Lynch A treasure trow of big books for happier holidays.
108 Good Buys: Digital Decisions by David Elrich Three great digital c-..ameras for budgets that range from cybercafO choap to photographies wonder.
124 Met Views: When .. Good Design• Goes Bad by Jlaron Belsky Now that parnd·dD°'hTI design is available at laf'Qet, can a penctulurn swir.g to the ornamental be far behind?
132 Collecting: aumsh on Modernism by Ca"l.l Greerberg The rr:i11oonium has finaEy tumod, and so have price9-upward--on rare pieces from tr.o 20th contliry.
252 Trend Watch: Beyond tho Fringe by Tara Mclellan 11:'s rv:rt.jl.~1 for frayed udges arryrnoro: Fringe goos maximal.
Figure 52. The layout for Table of Contents using the first alternative grid system
from the Middle Shoin compound
108
4.3.1.2. The Analysis of The (Met View) Article
The (MetView) article was originally placed on consecutive pages, however, the
Metropolitan Home designer separated it by inserting several pages of ads in between. The
author believe, the idea to combine those two pages into one spread is more practical because
of the common elements that unite the two pages of the article.
In contrast to the original, the author designed the layout of this article so that the
pages could be placed either side by side or separated. For example, in the first experiment
(see Fig. 53 experiment 1: The MetView Article), the author arranged all the images on top of
the first column and spread them all horizontally. The author combined those three columns
into one column in order to place the body text on the first page and then changed it to two
column layout on the second page. The drawback of this experiment is that the author began
the first paragraph of the article in the middle of the grid, therefore, it seems lost there. When
the readers see the article without the grid, they will not know that the author is actually
using the alternative grid from the traditional Japanese architecture -not the regular grid
system because it looks no different than an ordinary four-column layout.
During the second experiment (see Fig. 53 experiment 2: The MetView Article), the
author placed the body text in the lower vertical column and created some negative spaces in
the middle. She left the 2/3 of far right vertical column empty and started the first paragraph
by placing a small icon or illustration to indicate where to start. The images, whether they are
on the first or second page, are in the same position.
During the third experiment (see Fig. 53 experiment 3: The MetView Article), the
author took the advantages of the whole far right vertical column and placed the body text
there. Here, the illustrations take almost half of the space of the first page. The author arranged the
placement of the title in the middle.
109
The fourth experiment is slightly different from the previous ones (see Fig. 53 experi
ment 4: The MetView Article). The author took all those four columns and combined them
into one column for the placement of the body text on the first page. The title of the article is
placed vertically on the double vertical column and is used as a bridge between the illustra
tions and the body text. On the second page, the text is placed within the two middle col
umns, combined into one. The illustrations are placed near the center of the body text. The
relation between the two pages is clear because the way the author arranged the illustrations
is alike and the vertical shape of the body text on the second page looks similar to the vertical
title on the first page.
i-i:-."""'"9Goo:1 ~...i. .... Wtn:l_t'Y~ ......_.,_.,,.. .. ~,.. ..... ..-.....~ #,.;,.,_,_...:,._, __
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~-.,.,,.,- .... ... 111!1- __ ...,. ""'-....., l il ;, ... ~ ...._ ... ....-.,.!llt', n 1_. _.,. ~,_~"' --i" ~ffllOllrd •0:1r111r111 lla,,n.aNM'ltill<dl,,lliJ.- ..... tr tw ELl<l-'lllal ~ pmolldado-•hi a.iitanor- aM-Q n ht ~ .... .-.w. w...t.t ... ..... lli,<IIWII ,...111 .,llllla-.y....,.,~t-. ...
Figure 53. The MetView Article experiment #1 showing with the grid
when "good design" goes bad Now that ioss-ls-moro, !orm· rollows· funct/on modemism /S
lMJilabie from Targtlt. wilJ Jr s0011 L-s tastviess to have good tiistv?
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Thl-a/Good°"81;'1-h~t,,,~-nl~h1ll 111201.IM tor 1l,;o1g....___,, _ _,•~uif t> ..,.~--O't,h--._.,_ l'lo-hMl>y..--tiog,n:.-rd.i-d<-.,~bW'l<tlM_ .. ...... F,,mc.MIIQotl-rdf'l.- ......... 1'-__ b....__rd~ f(l,t'lp,<4.e:.1'111_..,Qooa ..... lltdltv,~ll'll_, __ Nl)QIC&'l'I-• -·--... EUIOao:IO.OV, 11~-----------"'""°"__ ,_lo~N--<Ufl-.._ .. .._d--,.,_,..yo,r.i, .-...m,------Thl~d91Y'Offi1¥be~1<1~-'llilnallcr,d-dlli0'1ffi1¥nolbe~ ~ b..t l llon,,fi, n 1111¥,' - C...,~ ~.-.:ICEOofOEO, h~i:socu:t-ClllliQn""'hll ___ il_,_olQooa°"'9' , _ ......, ,_ ...,,, _ _._.,._VU.1"ht-""1'l<
110
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lho~- " --•--b--...-____ _ nowriotbffiocl"-"'Spotvo.
- - '"""-"'•-~tal-or•,.,... b-..-~ .... ........ lffdlm._ • ~""~ "'-'-"'°"'""c,.,.;n. MM:a.~..-i~cl-~1)11,faol ... oa.rre--~l'ufaftfal-_.,..,.,, ... ..-Uy-~P,--.IQ,n-....._ ......
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Figure 53 (continued). The MetView Article experiment #1 showing without the grid
Now that Jess-is-more. form-fo#ows-!\Jncflon modemism is avu,'lablo hom T11f9'.?t. w!li it sooo bo tasl~ss le hmm good WSl<1?
when "good design" goes bad
:-.. :.:t..,,~= -·-- .. --.... ____ _ ---h-kD___ ,..hl_ .-...,1.1r1u,o,,...d,_..
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111
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~-hl.M- ...... ID nv,1or-.--....... ti"Qllllw:!Njlcait --· -<IO...-;,-,M:l'I ~l>dillWIMlt"alU• '"01.,...._..,l(p.n.•WI .......... ..._,n._ llo..l!ll,,od<'lh~II __,.,,.,..... ..... ..., matlllaam:11111.'e.-,, ~--~·M.nc:ft--hlc,'lllr"9 <ieoqwt'O' ......... "Oioov> t.abloomo .. .-.~ arn.lh,...,_d•-~ ._ ... ....,,,_'lb, '-ID"r~'
~ .. --11DIII iaad1_Ht_>te 'ib,,Edlm?larc>.lor-.:.. loatdvnd•..,_'hll __.__,.,....undlta _,..__,_ .... l'lll"-,1
Ila b..-lKX>.lh _ct.._ .......... _ ,..,...,.Na .......... ,t,ayt, .... .._ ---°"""""~· Ntw'lbl<~.....,,...., :: ~ °::' :-: ~Fmo,lll~,nd ~u:;::n--~-= ~tt"QIIIDW•lb'f
,.__,.,_,.hl_Wail ... .,,. ..... 111---ci, ....... •--d~Cb>cl C:.0V,..,, pig ID 0,, ..._..
~ ........ ~ aifx:tohll .. ..,.._ __ ...,,tlA.,_, .. .., tylDgol ia lDi.-cu~ ..,,...n_,, ...... -n.,,w1111trv,'hll ...... d•l<n:1Mh~'hll _,,.ID~cu-. to.. .. in:ir-. ...... ~-plaiib,~ __ ..... "" ........ ~ ltv'hlllt__,n.,.t,d i.-•--1¥..-t.;r..~-... ---· Clood°"'9'1migt,tbe-· __ tu ___ ..,
h!l-'11,~r<lh""""' -.'Clood°"'"Vllll'lll
IID!--~IID!~ ..., .. llit"ll..-lorhl "'1ln:to,11a'""""fllJIII ~---·-Pa ........ ...-d°""9'.t Ntw-."'-dJlt-hll'..-tl<i-m:d__,._ 'l'.l<ul°""VI..-IIWtNI.' -~t._noll)II.
Figure 53 (continued). The MetView Article experiment #2 showing with the grid (top) and without the grid (bottom)
when . good design
goes bad
Now that less-ls-more, frxm-folows-flnctlon modernism ls 8V8ll8ble hum Targa~ wll It soon be tastaless to have good taste?
W.~~w~ ...,.,.,., .... --.-1>1,"0oo:IO.V,."krdl-\t. ... ~--on:1-::.=.--:=~ = :i:.:: =: gallrd-.Gol>!D'"""" - ............... , )IDIJ ..... !::"u,w.:':.~ =-=d~---= ~==-.,~ -·-..,.,..,."' ... ~- ... ·b-dfflllrQtw,g,INI ---~Good °""""""" .. __ _ f>l'-f-,,-p,w.:j <Xl'MI, .......:I rd~ ~--...-...:...~ ,.__.tn:INi-0,11,,_. locorw,,cactiocl.lllrQh --llfl)ir<Yat"r"'II~ _..._.._ ....... :::-w!...~": .. ..,..., ... _rd_ ==-,_-"::.: •DIIIV'_Ni_ .. -~t,,o.,gt(~on---d Owloonl~fa,,-rdt-.
h-dN_,,IIQt --h~drnoci.n,r,,• ~~Ox<IO.V,.
Tht.,_d0tco°""9!hl~t,'E>,........ rdcioov-hh
=:.:.!,:-O.!: 1-Q~b_,awt~o-t,ti---twh _........,,~ ... "" -"-_.,,...,_ .. _ .. -Fv!,C....Kl!n... Pru ......... ,iw~ ., __ n:llffl.
-....--,._... :,:..,~-=--= .... ro1_,_,.,.,.,
&.,;IQaocl~lo_.,.. --------- -----~---,_.,~ ... --_.,_, ....... .,, ..... -~'f"-SE.lt-------Tho _..,.lll..,.."'lll'bl ~.,~-.,,. ,_d_m,v,,.... l'dbtpioi«la..l,b..1111 ~n-.·.,.DN:I ~.,.,.._rdO!Dd DED,h~ll'D<U:C· dolll,llmNi ___ ,,
-=-dO>Cd°'"'l,,Jt..
::-r>':.,-: ... "::'.:a~ _ , Wt,.,...,.-,111 ::""'«~== ---·-r. ..... ot,,b.<l~~Fnrl< ~- .. .... bffl~ ........... ..
---·l<:Milll-. ,.._.,_..~ ....... rd .... ~..,..,gtr--.·
"Ooo:lo.t;,,lll'dal:n.t.,._ pwlod:f'rlj.,,._,'111...b,J;-l'wktll&'dol-
112
lu,, .... rd__,..,_,,., tNtfflllrQ•-~ Sll,d,, ... _.,,l.idbr,,, --~~ O--rd~ct."Olln .., • mli,t,I ... ~ -~ .... .,, h<l>-l-,.,.noil .......... ol t,ol-br.0...:...,d.n¥b.t ....... rd-llmnlc,
-n.~-"' ---~""-i:tm-•h---alPltrl~ --Mtfl.-d•.._ ----... -glotir ..... .,,.,._,_ ... ..,..,,~-.. ~---V-d --,,, _____ _ --"'-~~ arp1oo,o-..--• caw,_..,f\lfAftFar~1>1911--,uy"""""' --......_.,_ac_.i ... ---,._,,w. __ _ tt'Q~kfflfl\lalol.l ,b,'tdt>ll>t......._r,r ..__.,_.._..., 1/qodt>I ............ i-... --n ..,_.,, ___ ~'M11'dt>I-===-..::
lwJ)IMl_h.,,_• --.n.-..i.,-:,:::,:-;;,'::.,: =-~..-i,ludln/
Hawdt>....--µ,11/adl -«rtvfodd-•l'LI· ~1llil'l-on.yb,twl-l'l•----Tho~ ..... ~. .,.--..,•~NldliiVI --•ll')Dd--'&ory 1:tio<:11-•IIOr)"-_ ... lltqGMig,wi'"QI> _ _ "OIIIIJI,__,.., .....,~..,._. ......... al . -.iu-•--.'lb.~I>.., _ .... o.iw-----1>111 lalldl_ttl_M 'lb.J.Edolon'll..rlltor--.:a. 111~a11-,-tc ....__)'W"""' .. W-.9at>-.-.:lno1'-l ·•-i------o1~n •--------....- .. a,yn<111"-..., .. ~&¥fl,• __ ...,_~.,, 111~al~lft><Wo al-..C,,_..__ .. CIWal'-.-.i&--on .. ~Cltlt\~- ..... -"'- ..... lol>llla--,
---c:tt,dl.·t-.--- ......... m"8t>g.~-.,_ci.alPOO,..C:11. 0oocl OMvl"""IJli"lll>g,o __
o.v---..i..pnq ~ ........... llbo... ...,...U,IUt.J ... .., Yyl>_ .. _,,...,.,..,.... -.11"¥ ... lll1alhot ... lllh'QIINl"ar-. alalnS.1'thllOH"a0Cl'ria _.,~..,,...wi, kfflOlllpn,-1>.,.._ -,_~--•-b:uG"lt-.ar-._..., ......... ___,,~ ..... ,_ .... tit,'_
r,rkmM<l,dad_r,r_ ~--· Good0.V,r,1cf'tt.-,. -.iu-•-tor hpu9)'-.-U.-.:lhl.tllr!y .-. 'G>aclO.V,lal'IOI llbcUl-b.lllbcUl<DTl>OIW9 ....... "'",,_trr ... ~vdct\h•~
---.g - · - Pp --•~al<IIIVl• --~dM(Q,r, M-hFcrtlQ-mal,._..,._ UXll:l°""Vl_)'W_. lnJtoqt,_,.,.,..
Figure 53 (continued) . The MetView Article experiment #3 showing with the grid (top) and
without the grid (bottom)
.,_.,.,,.,,w_n1_,.i._fll''<k>ado-i,,_•Nld•_,.,_t..,.~por,-.-~----cra --nholll-.-.-... 1n:1-..-rd~..-o1g1aor,;-a..11,,........,,n1_...._. IMl•ll"'J_h .. .-~.,_,-_....,. ..... 1. _ _.,,,......,.b.t,..._ __ d""'1z.""-
PIKle'nlnloolor.\W;tallr<11allCUIQUt--lD• .... ...X...-.OOd .. ~olll. h&........a.c:N11.
lt-.-d..-VffVl ... ab-_,mllngOoodO.V,_h ____ R'_...,,....,pnd--.,~nl ..,,,.,....,,.....l'Mgcn.,...-,,Nt ... _11 _____ ... <IIOl;nil.._. .. ..,,__l.llr'Q .. ,_,,_ __,._.,,.cr~_._ _._.._.,.....,,.-..,."'""""'_,...,,.._,_,...ot>a.1tw lljOllldt-.-rd"°"'·~---I0......,.__.. ... _,.1<1Nq,_hll_'NI_ !lob,,-"""'-'t,c,.q1.uPonh-dO..rd~-rdh_d .. ._,.191_.....,...___.,. ~"'--~OoodONv'lltwklM.dOoodO.V,-w:~i,,,e,_,-----~ .... ,112Do.EUb1..--.i-.--•~Ol't,,IO.,_.ga,da_Orfl<n-1_.t..hl-n:i-,,--~--~ID--th:u:lll_..,Fi<imc.M,--r<1~-..,1t.~t>----rdun&n l'Wrl~,.~.OooddooV>llbollt'llt>ll)Olord•---~-l_,1--lo.
llllfOoodO.V,IJ~----- ........ _..__,-_~---- .. -. ... ---1-. 11 ro.al--~,p.1&1,1--..ioc---Thol>«Galftd ..... ...._.bo~IO
113
--.g,,dlt _____ ....,,_,,, -. .. --cµ,'IS--.11..._d--~,._.. ~--....--Tho~al--,..._. bo~t>..t-elack-nil-ol-~ ......... bo llli¥d<U.b.cllo~h"'-'-o.Ad~hrdorn1 CEOall;El, .. Jnlllillupo:Ld--.,fmlhl~rl ol:jllldldOoodO.V,Jt..p,,.,u:t,-~ahl'M, V&k.a'hl'lm Pb.1. -~---- .. ...,.._~----., bfflJ'ta-~-·---.-----111rg FrnOl!Yyt-----~- .. a.-."l:loli<lla."""°1'_..,._.,_"""'""11-.t. rd----~'°'--· ~..,- ..... -....a;,on1 _ _,_ llAndlmrdo,....duc&'GmllOool!;J,llrd-.th~ ttv._•1,o,...._,-,:-~1llld--tua._....,_,. __ ,
"6\wlnl~d:>-t>t.,noM'Qa-~ -. ... _.,_bm,rciw--~glf!W'lrd..,._..., .--.,,i...._ __ --Nbllicdt-.__.,.,.,_._., .. _ Dllpat""'<V1¥1U ....... nl_.......,,_'lho ~-"---•--b'-~------<IP'lll!I~ -.... "'V'l-"•---tm-.... ...-i;r,, u.._.....--.-...,~~-11~ t.-,w..llldGcodO.V.ltMca.~-"""" ,,,_.....,l)lldocl __ d.n,g __ eo,w,_.,
--ic.--i:,,.,11,1~-~
"""'""""~"'--llagod .. ~-.11o-,11l---~~lun .... clltl -,,:1o111,t.-O'QM..l_.._...,W'l"dol,... ffV"'hl .. ,_..,..,,~nl~~-.rmdMf'IW.,<Dl-.-..n---..-. ...
Figure 53 (continued). The MetView Article experiment #4 showing with the grid (top) and
without the grid (bottom)
Now
that
les..
'i··iS
•·mor
e, f
orrn
-foflo
ws-
func
tion
mod
erni
sm is
av
aila
ble
from
Tar
get,
will
it s
oon
be
tas
tele
ss t
o h
ave
go
od
tast
e?
By
Aar
on B
elsk
y.
~
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CJ)
Q) 0 0)
:: C
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Q) u u 0 0 0)
C
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.c
3 W
ei<. H
:o t
ll'tf
W ~ e
nd y
ou w
t be
SIIT
OU
1d8d
by
'G::x
x:l D
esig
n."
Nld
• w
on't
be 1
h9 p
otte
d pm
-TIS
end
'NO
Od-
galn
des
ks 1
hat
wem
on:
::e
arno
st II
M!f
S8I
n h
otel
lob
tlles
. ns
teod
, yo
u w
t frlC
I con
cret
e w
tace
s en
d 11
.rriu
e m
ade
of g
lass
end
sta
el. G
o to
yo,
., ro
om e
nd y
ou f
f'8f
feel
&S
r yo
u n
n th
e sp
alla
l eq
..M
llen
t of
ai
Nm
en s
ut w
::m w
th a
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nt
st)
tii,
cas
ual
bl.A
rT
rin
al s
ufac
es i
'lstll
ad o
f cl
trtz
, 1l
of8I
pa
ttern
s an
d co
lor.
Ye
ttti
s Is
no
t at:,
c:ut
q.Je
hot
al fl
'lBri<
sted
to a
amal
, se
lect
a.d
en
ceo
fth
e d
eeig
\-fJB
:Hle
l!:e.
It's
B n
el!o
nMdB
ctm
.
The
Wfl
'/ a
l mal
dng
ttos
1hat
crl
tics
h8'IB
bee
n ce
lt-g
G::x
x:l D
esl
gl s
noe
the
last
Wen
d W
st" (
17,t 'M
'ich
Ire/
mea
n pa
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, rr
ute
d e
nd
sllt1
'ti rr
ed
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gm
e s
o ff
&'lB
tre
sn 1
nat k
's av
aleb
lB a
t Tir
get.
M:i
1ha
t dB
sql I
s rT
'M"I
I to
caM
1'"/
cec:
het:
Vsh
g th
e re
M-/
lr8ns
i.cer
1 S,
,,-t"Q
1ne
stap
ler
or
cany
ng &
wns
<rite
's s
tmEm
lned
~ m
8El"l
S 1
hat y
ou n
a
~ m
odem
man
or
wo
mE
rl 'M
"IO a
ns 8
00
L(
the
~ o
f hi
here
end
no
N. E
vBry
thi,g
from
hot
el n
terl
ora
to c
orr
l)U
ler
exte
riors
t"e
s be
canB
B c
lesi
g"l s
tate
men
t th
at
&iq
:lr8
6S
8S
1ha
t 'M'.1
11cM
aw.
Be
o; t
xiom
ers
l:l'o
uglt
~ o
n th
e w
a1c.
ol 0
1E
re9
end
As-,
' Eam
es e
nd th
e in
nl'.M
ltions
ol 1
he s
pace
age
hav
e ~ e
rmra
oe
d th
e tr
aw
i'lg
s al
rro
derT
"lsm
&S
noot
algl
a·M
lled
Goo
d O
esig
,.
The
id9e
. al G
ood
Oe
sig
l was
fist~
by
Ello
pe
a, l
r'C
htec
ts E
r1d
de
sig
lers
n th
e 19
20s.
But
for a
long
tin
e, m
oder
rism
was
see
n as
app
ea1n
g cr
if t
oa
i av
ent-
gard
eellt
e. o
--.,,n
r&
ee
nt~
t-e
sltl&
fas
hion
he
iJS
!rym
ad
e r
al-t
hin
eieg
!l1c
e an
d al
-bla
d<
rrtt
nal
lsm
~ t
o 'M
'lic:h
W9
shou
ld a
ll as
pire
. Fr
om C
tM,
l<la
rl m
odel
s en
d Pr
ada
i.nfc
rms,
t t
'BS
spr9
Bd
to ~
-6h
e8ts
end
flm
tln
\l<
]eirl
prcx
1Jce
s hi
s <l
'Ml).
Goo
d cl
esig
l iS
both
t'Ml7I
sMe e
nd a
o m
ass-
mar
ket 1
hat y
ou c
an, e
scap
e i
6Yet
'1 if
you
'Mr!
t to.
a.rt
If G
ood
De
sig
l 16 ~
-vh
n d
oes
that
IB!M
tho9
8 se
htm
e a
vait
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& e
llti8
1-p
eop
lo v
,t,o
hBY
e ~ n
eed
to c
teJa
rge
ltl8
stat
us c
µi?
131
,,w
e, a
l th
ose
of y
ou 'M
'lO r
epla
ced
yo,.,
Ea1
y M
l6IC
8'l
v.;t
h J
8')
en
e9
e t
ruta
lsrl
: T
he
pe
ncU
m o
f st
yte
may
be
stlr
i"lg
to
self
wn
e a
va,t
.gm
te e
Wst
-pe
ople
v,t
,o
hBYe
vis
cera
l ne
ed t
o ct
ellr
gef
"est
atu
srµ
:,?B
er,,
,ere
,alt
ho
seo
lyo
u'M
'lO
rep
loc:
edy
cu
Eat
,, M
'lEri:
.M w
ith J
Bp
n,s
e ~ T
he p
an
cU.m
of
stye
ma
y
be
swtt
Qto
9M
"'g
l::8
:::k
. 'lt
tsro
tla
ldrr
ttn
als
tde
sg
'lmll)l
no
tbe
p
lay
ed
O..
C,b
!Ali
SC
8fl
att
yrl
~.•
say
sDtr
J.d
l<d
ey
,b.n
:lere
nd
CEO
ol 0
:0,
the
p'8S
tigb
us i
:roc
i,a-
desi
gl ll
rm 1
hal
spec
ialz
9B n
o
bjB
ctso
lGo
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sq,(
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uss
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isa
slh
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m
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atn
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,
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g,
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a<
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so
l
form
s 1h
al 'M
'1191
'1't p
os.
$b
8 ~
--
the
IT'O
St o
tMou
s ED
a:WT1
)IB b
ei-
g
Fn
n(
Get
ry's
m
aste
rwor
k.
the
he
-fo
rm G
ug
ge
me
m t
v\J9
lUTl
In
B
IJa:
>. "
Bes
ides
,"KB
1ey5
1ry9
, "lt
'sla
sli::
::nto
'M:l'
lt!IO
IT'l8
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ert,
l!f'
ldso
me
pe
op
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sti
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igia
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cti
cn
"
Kel
By
also
ltr
i3 t
hat
1te
i1cr
easi'
VY
IEwg
e a,d
CM
WS6
00
1S
UT
'«
a.it
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de
rrM
ds
mor
ed'lo
loe.
'G
oo
d D
esg
'l Is
no
t at
>out
lhll
perf
ect
lrr(
lrn
,mn
.·h
err
us9
6.W
els
o~
a~
olc
l'fe
mrt
peo
pls
tu
d th
er"O
M1
pers
onal
iden
titie
s..
Hll,
wt
a,d
v,m
>ey
do s
eem
to
be rn
emg
a cc
meb
ack.
~
StM
:k.
1h11
mes
1eJ
of 1
Ud
form
, !"
"ON
pre
sent
s pl
aS'tl
c g
ird
en
g'0
ITI8
S
end
ays
tal
chfn
:We
rs '
Mttl
a s
trag
"t f
ace.
A
asta
al!o
n H
imM
n
~ 1
te k
:>gic
ol
1h11
do-
K-~
rr
rin
asm
ol
the
t-tm
e
Dep
J4:
with
C
U'"K
)' bu
t fl
rrie
', M
d s
omen
ow ~
tool
s. T
he
bero
q..e
8lfl
:lB89
8Sof
tJe
ri 1
1'9
88
pop
!.B
"b-f
ashi
on p
t"Cto
slu
Jts
as
1te
ab
slra
:;t m
oden
ist b
Tm
of P
ah
l Sp
rg.s
,
WlS
l:o
ne
ni,
jtlh
rko
fase
lth
erd
eb
ral~
bB
dta
ste
ora
no
sta
lgla
fo
r m
an
,~
-ra
ther
tw
, er
tific
iBly
siT1
Jified
, tin
es
is r
MD
'"IQ
1
hlllf
Y'/
~o
lG::
xx:l
De
sg
,. N
.M>
ss,~
'sre
talt
err
pa
o
l rr
ttn
al c
tjec
ts,
pid
e a
pa
ce o
..n-tl
N(M
t Yt
:ri<'
s ~
Flm
ilxe
Fai
' w
as
gve,
-1
to
18th
-cen
ti.,y
roc
ooo ~
po
rce
rla
lnfl
gu
tle
s.t
.ura
yM
:l&
Ssta
ge
dth
e~
ffiJ
N
baca
M,
he -
,.s,
, !
el th
er9
was
aom
Blh
,g n
issn
.l ta
n lf
ff c
iet.
I cl
ct'l't
do
• to
be
sens
atic
lnm
a r
ue. I
ask
ed m
,d.
'WrP
f do
I \'8
l.e
tt"l
gs
lhet
n
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l:IIB
. fJ
'l:L
SS
-poc
iJoe
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u"d
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ll rri
oflB
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o:ts,
m:id
eni7
'M¥
do I
dsl
tB p
atte
m M
d fr
agie
obj
ects
, ltg
s.
Fig
ure
54.
The
spr
ead
for
the
Met
Vie
w a
rtic
le u
sing
the
fir
st a
lter
nati
ve g
rid
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115
4.3.2. Study 2
The second alternative grid system is the one used by some sections of the Old Shoin
compound, which consists of 6 Tatami mats (refer to pg. 25-26) with one of the mats on the
bottom is divided into half-size. The author chose this particular section because it has a notable
asymmetrical grid that is suitable for this second study since it will be used as a transition from
traditional to non-traditional grid system (refer to Chapter 3, section 3.2 and 3.3) (Fig. 55). This
asymmetrical grid is divided into three vertical and two horizontal columns. The unique shape of
this grid is contributed to the the left side by dividing it into two vertical columns, and the half size
of the upper right and middle columns joined into one horizontal column (Fig. 56). Again, as
it was cited earlier in Study 1, the margin proportions are based on the edges of the Tatami
mats that bound with a strip of black linen an inch or more in width (refer to pg. 24).
4.3.2.1. The Analysis of Table of Contents
In the first experiment (see Fig. 57 experiment 1: Table of Contents), the author
arranged all the body text and images on the right side of the layout and used the half-size
Tatami on the bottom to place the images. The advantages of this experiment are the negative
spaces around the elements, especially in the left vertical column and all the information can
be found easily. The layout looks clean, nice and very traditional. But still, the overall layout
does not achieve the target because it does not look like the transition between the traditional
and non-traditional grid system.
During the second experiment (see Fig. 57 experiment 2: Table of Contents), the
author moved the body text to the right and switched the position of the masthead and the
illustrations. She also placed all additional information vertically on the right. In this experi
mentation, the author introduced the visual punctuation (the hairline), which can be seen in
116
Katsura Imperial Palace
I
The Old Shoin
The Middle Shoin
New Shoin
Figure 55. The second alternative grid system using some parts of the Old Shoin compound
117
Figure 56. The spread using the second alternative grid system
the upper part of the masthead. Subsequently, the illustrations look slightly heavy on the top;
therefore, the author moved them back to the bottom when she did the third experiment. This
experiment shows the transition quite nicely.
During the third experiment (see Fig. 57 experiment 3: Table of Contents), the author
maintained the placement of the body text and added another illustration to balance the body
text. The masthead was rotated 90° and placed on the first vertical and horizontal columns.
The layout looks similar to the previous experiment but the author moved the illustration to
the bottom of the page.
For the final experiment (see Fig. 57 experiment 3: Table of Contents), the placement
of the text is not only horizontal, but also vertical. The author designed the juxtaposition of the
body text and illustrations in the layout and created a different way of reading and viewing
118
the magazine. She rotated the second body text by 90° and placed it in the (top) second
vertical column. The masthead is moved to the second horizontal column. Basically, the first
vertical column is used only for the masthead and the description on the cover. At this mo
ment, the layout looks traditional, but yet non-traditional at the same time because of the
readers need to rotate the magazine 90° in order to read the other part of body text. The grid
is quite interesting since it provides the horizontal Tatami mat in the upper right side corner.
--~ 124 ...
METROPOLITANHOME NOV/DEC 2000 vol.Xl001, no.6
~ ~..::.:,..~;:...U-·- 1112 ~•,!!.~-..,,--.. ... _...., ____ ,...... ... .,._ ..... ha...., __ l<of-
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• .,~ 124 •
Figure 57. Table of Contents experiment #1 using the second alternative grid system
--t~Mor•tw ... ....,.,., ............. ,.._,. __ i~.,...,., ___ ,,,,r,.,..,.
8 ~,:,.,._,_.,.._ .. ., --.... ,--.-~,.,,.., .... _ ..... ... -.... --~ ....... _,. __ ~~=z-~~
2 :=.::::; __ ,. __ 4 s=·~;-;=t-7 Wg,=~~=---~--... ,_ _... ... ~-~b" ...... -V ___ .. _ __ ,..,, __ "'" ___ .,. METROPO TANHOM
~Q.V/DEC 20 0 vol.xxx11, no.6 •*""' ,-e· -- --•• ~-~ .. -,
119
•r-' 124 •
METROPOLITANHOME NOV/DEC 2000 vo1.xxx11, no.6 , ...... -~-------
4 liliii.,~
r.__ W' . 124
Figure 57 (continued). Table of Contents experiment #2 (top) and experiment #3 (bottom)
using the second alternative grid system
120
!45,..i'W ..... _., ... i ~===-=.::...-==-!4a 1!,o w...J
Ft~:===~ B6t.ns-. ... ,.,,..,._,,.,., ! ;; .. :=-~--~ 62 """"~C,,-4',I
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--~ 124 .)
/. -~ t .,. 124
Figure 57 (continued). Table of Contents experiment #4 using the second alternative grid system
w :a: co
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121
45 Take Note by Arlene Hi'1lt Our keoo shoppir.g eye picks out fa.<tlion fabrics fOf sofas and stahess steel flotw.are from Trr.tmy.
48 TheWord The busy buzz on What's r,.-;m ar.d what lo do.
50 Metm: lravcl An ~'lsiol<''s travei glide to tho best p:aoos to oat, stay, shop and visit- from the Ber'o<shires to Ber1iri.
56 City Report: San Francisco by Diane Dorrans Saek.'i Tho City by the Bay is booming--heating up America's favorite urban destination.
62 Color Ways: Orange Aid by Sarah Lynch U's namo mo.'ll'lS "fruit of gold•- and it~ a bright idoo whooo time has corr,e.
7 4 My House: Village Voice by Nuala O'Faolain An Irish •Nritor 'M'lO lives h a cottage by the sea heods to GIOO'l'o\lktl Village for ir:spiration.
87 Met kids: Colorforms by Susan Morga,, Design S:.JPEl(Star David Rockwell couldr, 't raise his ti'sl-bom in a boring, ugly Of' otf-tho-mck roorn, no, could he?
98 Editors' Choice: Seats for the Petite produced by Doretta Sperduto N-Ot for ad..1;ts ooly: Thase chairs for ch;ldroo nro as high st}1e as the giown-up classics that Inspired them.
Figure 58. The layout for Table of Contents using the second alternative grid system from
the Old Shoin compound
122
4.3.2.2. The Analysis of The (Met View) Article
During the first experiment ( see Fig. 59 experiment 1: The Met View Article), the
author attempted to apply the same idea of rotating the magazine used in study 4.3.2.2 to the
experiments with the Table of Contents. The final product looks interesting when it comes to
reading, but it is inconvenient when it comes to function, since the readers have to rotate the
magazine in several directions in order to read the whole article.
For the second experiment (see Fig. 59 experiment 2: The MetView Article), a visual
punctuation from the illustrations was added. The author shrank the illustrations and put them
on the left and right margins. The drawback of this layout lies in the use of the horizontal
columns. The author did not take the advantage of the horizontal columns as much as the
vertical columns. For example, the first paragraph and the bar lines start in the middle of
nowhere. There is no certain horizontal columns to indicate the placement of design ele
ments. However, when one sees the layout without the grid, it looks nice and sharp with an
open space balancing text and with a small accent of the bar lines. The elements properly
balance and flow from the first to the second page. The hierarchy of the first page is very
distinct since the author emphasized the title and place it in the first vertical column.
The bars and the color background are added during the third experiment (see Fig. 59
experiment 3: The MetView Article). The juxtaposition of the bars fills the open space and
dances rhythmically with the body text and illustrations. The author began to take the advan
tages of the odd space of the grid and created an asymmetrical and geometrical layout which
still looks symmetrical. The transition from traditional to non-traditional grid system works
successfully in this layout. The placement of the title in the colorful bars adds a dynamic
accent to it. She also used a single bar as a link from the first to the second page. The natural
earth tone colors of the background perfectly blend with the illustrations and the body text.
The fourth experiment is totally different from the previous experimentations (see
123
Fig. 59 experiment 4: The MetView Article). The author filled only one-third of the first page
and left the rest with the open space. In addition, the two columns were combined into one
for the body text. The repetition of the illustrations across the page gives the sense of
continuation. The word "when" from the title stretches out horizontally and overlaps the
illustration. The juxtaposition of the illustrations on the second page creates a playful and
interesting layout. The grid system in this experimentation does not really show the transition
between traditional and non-traditional grid system because of the negative spaces which
leave the grid system under utilized.
Figure 59. The MetView Article experiment #1 showing with the grid
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124
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Figure 59 (continued) The MetView Article experiment #1 showing without the grid
Walk • ..,w..- .... .,.., .. 1,o
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125
_11:::dip_ .. _~ ......... _,,,_.,._~ t,,,b,,'- .. --...... bot111-o.vy'I-. .. __ ~ "'-""""---~- .... -.. -~----~ .. -.--::::.:: :.:" .=!.. ~ 'Goodllof/gr,f/...i-..it.pwlKl:M-,g ._,.,...,___~..,~- ...... _""""" ______ _ Rl\ ... aod..,_d<>_ .,"",,,.,.... -f'l-..!ilaittc.h-alU:I'°""' ,_-~o,,dorli,vn,&aodC,,----·~-,_,__, _ __ .,._,"' .. _..,..,,,.,. _,,, .. _o.>d_,_,..,l,J ..,_,rd.,..._llll!ldr.D• -Thlbftq.a ==-... ~~-:"":: .....
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Figure 59 (continued). The MetView Article experiment #2 showing with the grid (top) and
without the grid (bottom)
126
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Figure 59 (continued). The MetView Article experiment #3 showing with the grid (top) and without the grid (bottom)
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127
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Figure 59 (continued). The MetView Article experiment #4 showing with the grid (top) and without the grid (bottom)
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129
4.3.3. Study 3
The third alternative grid system is the one used in the middle section of the Middle
Shoin and the Old Shoin compounds. The whole idea of Katsura Imperial Villa is basically a
huge garden with some small teahouses and traditional compounds, therefore, there are many
plants, hills, gates, paths, and ponds. Nature and structures blend together nicely. The section
that the author chose is the Japanese dry garden that connects Middle and Old Shoins, thus,
there is no specific Tatami-mat for this area; instead, there is only a huge unique asymmetrical
space that is suitable for the non-traditional grid system experiment.
If this grid system can be used as an alternative solution for traditional grid system, it
might work for non-traditional grid system as well. And since the first study is focused on the
traditional grid system and the second study is focused on the transition between non-tradi
tional and traditional grid system, then the third study will focus on the non-traditional grid
system. The author designed some non-traditional grid layouts with diagonal text and color
background and introduced some alternative typefaces. This alternative grid system brings
the flexibility of the traditional Japanese garden to the structural publication layout. Similar
to the second alternative grid system from study 2, this study also brings the new horizon of
designing and viewing the magazine.
4.3.3.1. The Analysis of Table of Contents
As it was mentioned above, the third alternative grid system conveys not only the
structure of traditonal Japanese architecture, but also the influence of Japanese culture. The
author brought the Japanese garden and expressed it in this experiment; for examples the
juxtaposition, up and down hills, the partition from one garden to another (see Fig. 7), the
flowing elements, minimalism and simplicity, and the spontaneous of the Japanese to place
130
Katsura Imperial Palace
I
The Old Shoin
Figure 61. The third alternative grid system using some parts of the Middle Shoin
and the Old Shoin compounds
131
T I
I -
-
~ I
Figure 62. The spread using the third alternative grid system
the rocks as a walking path that creates nice zigzag patterns and shapes.
For the first experiment (see Fig. 63 experiment 1: Table of Contents), the layout
seems unsuccesful in terms of using the grid to create a totally different look of the magazine
layout because of the rigidness of the vertical and horizontal format that looks very structured
and "Swiss design-like." The author arranged all the text in the center and equalized it with
the placement of the images on the left top and on the left bottom. The outline of the grid
system was introduced onto the layout, which starts to bring the new essence of walking
paths on the layout. In addition, she placed the brief description for certain articles next to the
related images, therefore, when the readers see the image in Table of Contents, they can read
the description instantly without having to scan it. The text flows nicely and traces the outline
of the grid. All the elements have the balanced hierarchy and an easy-to-follow structure.
132
During the second experiment (see Fig. 63 experiment 2: Table of Contents), the
author skewed and tilted all the elements to create a playful and a new look of the magazine
layout, which references to David Carson's style. Everything seems falling out of the place.
All the elements are not exactly on the grid, but off the grid. The author played with the
magazine masthead and slanted half of it at the bottom. The top of the words supposedly
lined up with the two lines on the bottom, but since the author slanted the words, it becomes
off the grid. She enlarged the first letter and cropped it. On the other hand, the sense of
Japanese influences can be seen through the minimal use of elements and spaces. The use of
black and white also shows the modern Japanese influences. There is a sense of continuation,
serene, and flow. The author was successful combining and conveying the idea of Japanese
culture in this experiment.
The diagonal text is introduced during the third experiment and becomes the center of
attention (see Fig. 63 experiment 3: Table of Contents). The right-ragged of the text shows
long and short sentences that creates a flowing walking-paths of Japanese garden and fits
well with the whole composition. The juxtaposition of the illustrations on the top enhances
the layout. The small indication is placed diagonally in the right corner as a repetition of the
diagonal body text. The mixture of vertical, horizontal, and diagonal text formats enriches the
whole layout. Again, the author successfully applied the simplicity on this layout.
On the fourth experiment (see Fig. 63 experiment 4: Table of Contents), the author
applied the greyish color to represent the Japanese stones from the Zen Dry garden. The word
"M" as an icon for the starting point is in the background. The author broke the boundary by
skewing the whole grid system instead of the design elements only in order to create a new
diagonal layout that looks dynamic and modem. The layout seems very cold and rigid, however,
the author balanced it by adding an anomaly to the layout -the colorful illustrations from one of
the featured articles that stands out and brightens the whole layout.
133
4.3.3.2. Table of Contents Experimentation
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Figure 63. Table of Contents experiment #1 (top) and experiment #2 (bottom) using the third alternative grid system
134
I I j
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Figure 63 (continued). Table of Contents experiment #3 (top) and experiment #4 (bottom)
using the third alternative grid system
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135
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ON THE COVER The Mng an.a o# 6SO-aqu&19-foot South Beach Sh.do penthouse Is lesson a r, amal-space renovation. Procb:od by lh:ia O'Keeffe. Photograpt, by Ouentii Bacon. See page 206.
Figure 64. The layout for Table of Contents using the third alternative grid system
from the Old Shoin and the Middle Shoin compounds
136
4.3.3.2. The Analysis of The (Met View) Article
For the first experiment (see Fig. 65 experiment 1: The MetView Article), the grid
system is repeated several times and becomes a background pattern. The overlap texts in the
far left vertical column in the first page and far right vertical columns in the second page are
referenced to David Carson's style (refer to Chapter 3, section 3.3.3.). The drawback of this
experiment is that the design reduces the readability and legibility because of the overlap text
and the background pattern. The body text traces and skews the outline of the grid. Similar to
the previous experiment of Table of Contents in study 3, the author brought a different look
of the magazine layout. The title has a different letter size and textures in it. In the second
page, the columns are randomly placed in the grid. The Japanese influences are hardly seen
in this layout.
During the second experiment (see Fig. 65 experiment 2: The MetView Article), the
author was more focused on the Japanese minimalism. The body text is irregularly skewed in
the lower part of both pages and leave a huge amount of white space that is dominantly
covered the whole spread. A single small image is placed near the blurb in the first page and
two small images are placed above the body text in the second page. The title of the article is
quite small size but the author added a bold accent into it. The word "bad" creates an
anomaly for the title because of its red color and the rest of the words are black. The Japanese
influences of negative space and simplicity of the design show in this layout and bring the
sense of serenity as well. There is no sign of grid system in this experiment which indicates
one of the characteristic of non-traditional grid system.
The third experiment has a unique feature because the author began to use a very
rigid and structural shape that crosses the margin (see Fig. 65 experiment 3: The MetView
Article). She eliminated the margin and arranged the images and text in it. The illustrations
are placed vertically on the upper-left comer in the first page and she balanced them with the
137
blurb that crosses the guther on the bottom. Some images are repeated in the second page to
create a balance page. The third column in the second page was placed very close to the
corner. It is very risky to do this because sometimes the publisher trims the edges after bind
ing the magazine. However, it brings a new look of the magazine design.
For the fourth experiment (see Fig. 65 experiment 4: The MetView Article), the
body text traces the contour of the grid system and each paragraph has different earthy-tone
color coordination. All the illustrations has the same size and put randomly in every grid to
represent the stone path in Japanese garden. The title rotates vertically, locates in the corner
of the page, and repeats twice in both pages to balance the spread. The blurb lays horizontally
in the middle of the body text and continues to the second page with a serif italic typefaces
that makes it different from the body text. This experiment shows the non-traditional grid
system quite well and the earth tone colors in the body text create a path that leads the eyes
from one page to the next page. It is different from the previous experiments in this study
because the first page has more text compare to the second page, which is very unusual for
the magazine design. The first page usually has less text and images and it becomes more text
in the next pages. Nonetheless, the rules do not apply in this layout and it creates a whole
new idea of applying non-traditional grid system in magazine design.
The overal drawback of study 3 is the lack of legibility and readibility, which is the
main concern for a magazine since its primary function is as a medium of communication.
On the contrary, the advantage of the magazine using this non-traditional grid system is
creating an artistic masterpiece from the regular magazine spread as it is a canvas and brings
the new look of magazine design. Perhaps it could be possible to use this non-traditional grid
system as long as the type is legible (see Fig. 65 experiment 2: The MetView Article) or the
designer provides certain spaces to put the type that can be readible somewhere else;
therefore, the readers can enjoy the excitement of the layout and still can read the story.
138
Figure 65. The MetView Article experiment #1 showing with grid (top) and without
the grid (bottom)
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139
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Figure 65 (continued). The MetView Article experiment #2 showing with the grid (top) and
without the grid (bottom)
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140
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141
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143
CHAPTER 5. CONCLUSION
This study discerns the significance of Eastern and Western cultures by introduc
ing select Japanese architectural principles and applying them to the Western graphic
design. It addresses the possibility of applying specific forms and structures of tradi
tional Japanese architecture as alternative grid systems for Western magazine design.
Grid systems in Eastern architecture and Western graphic design can have univer
sal grounds. It is possible to apply grid systems from one area of study to another, as
well as to different cultures. This study examines how the foundation of modular systems
found in traditional Japanese architecture may be applied to Western graphic design.
Josef Muller-Brockmann, a Swiss graphic designer was influenced by Eastern culture
and brought Eastern concepts to Swiss graphic design (refer to Chapter 3, section 3.2.1) .
The author specifically chose traditional Japanese architecture as her alternative grid system
for this study since the Japanese apply Tatami mats proportion as the fundamental grid that
have 1 :2 ratios.
To effectively compare a Western magazine that uses a Japanese Tatami grid with
one that uses a traditional text-based Western layout content must be same. With this in
mind, the Tatami layout seems to offer more possibilities for dynamic composition due
to the fact that the Japanese arranges the Tatami mat in the unique direction of a closely
wound spiral (see Fig. 13). The Tatami mat is fundamentally arranged for dynamic
changes in direction and orientation. Studies 1-3 increasingly reflect this dynamic with
study 3 reflecting the most flexible approach to Tatami grid use.
The proportion of a magazine layout using a Japanese Tatami grid is different
from ones using Western grids because Tatami mats have 1 :2 ratios. Margins in Tatami
mat based grids are the same all the way around (refer to pg. 24). Margins in Western
144
grids are based on the Golden Section, which specifies that the top and the left sides are
to be proportionately the same, the right side is to be smaller than the left side, and the
bottom side is to be larger than the top and left sides.
The first study using the Tatami grid as an alternative grid system reflects West
ern design principles. In chapter 4, during study 1, the author applied the alternative grid
as a traditional grid system with strictly horizontal and vertical columns. The experiment
shows parallels between Swiss graphic design and an alternative grid system from tradi
tional Japanese architecture. Both use grid systems with specific sizes and ratios. In
study 2, the author takes a more flexible approach by applying an alternative grid as a
transition between traditional and non-traditional grid systems. As a result, effective
visual communication is maintained in combination with distinctive magazine design.
Study 3 is even more flexible than study 2. The author took an alternative grid and
"pushed" it to create a new deconstructed state, adopting a sense of Japanese nature and
tradition. She then utilized elements to create a contemporary magazine layout.
Theoretically, many Eastern grid systems may work for this purpose. In applica
tion, however, traditional Eastern grids for Western magazine layouts work only some
times. For example, the grid used in study 1 as a grid-based solution organizing page
elements works in theory and also in practice because most of the principles of tradi
tional grid systems can be applied to the layout. The layout in study 1 looks dynamic
and there are a variety of compositions that may be made because of its unique Tatami
mats arrangement. In study 2, the grid is used as a transition from a traditional to a non
traditional grid system. Similar to study 1, study 2's alternative grid works in theory. In
one of the application, however, the reader is required to rotate the magazine to read it.
The approach is interesting, but problematic because although study 2 works for pages
and spreads, it does not work for the whole magazine. Study 3 appears unworkable
because the body text suffers from poor legibility due to overlapping words. Production
145
costs would increase because of more negative space in the layout resulting in more
pages. The author, therefore, lists several circumstances that need to be considered
before application of alternative grid systems:
• First, will this alternative grid system solution serve as a traditional or non
traditional grid systems?
• Does an increased use of negative space and therefore increased production
costs meet or exceed the publisher's budget?
• Will there be Western audience acceptance of Eastern layouts and reading
changes?
• Is the alternative approach suitable for the target audience and magazine
concept?
• Can the alternative grid be applied to the entire magazine layout?
Above are merely some parameters for designers to consider before applying
alternative grid systems to Western magazine design. Following application of historical
Japanese architectural grid structures to various magazine layouts, the author found
many opportunities to develop and expand the Tatami grid. A grid system using a Tatami
mat basis offers dynamic possibilities. Designers may use the structure of the Tatami
grid with the freedom of an alternative approach to traditional layout.
This study offers a method of looking at other cultures and using those resources
for inspiration and/or alternative grid system solutions. There are many kind of alterna
tive grid structures that can be used for design works. In general, this study enriches the
vocabulary of graphic design, inspires the designers as to possibilities that are available,
and connects the Eastern and Western culture. For this study, the author chose traditional
Japanese architecture as her alternative grid system solution because Japan has a fasci
nating cultural background. For example nature plays an important role in Japanese
culture, the Shinto philosophy of Kami (refer to Chap. 2 section 2.1.1 ), the simplicity
146
and minimalism, and the modular system from Tatami mat that impact the way the author
introduced and applied the alternative grid for the Western magazine layout. The grid
was adapted from Katsura Imperial Villa, one of the examples of the ancient traditional
Japanese architecture. Other designers may apply different kinds of structures, but the
main idea is the same; looking at different sources aids in the construction of dynamic
visual communication.
The issue of whether the traditional Japanese architecture influenced the Western
magazine design in grid structure or not, depends on perception. If a designer is curious
about new approaches to composition for magazine design, grid structures of traditional
Japanese architecture offer a different conceptual approach. If, on the other hand a de
signer wishes not to become involved with the cultural and philosophical background of
an alternative grid system, a formal appreciation may be gained.
Currently, Western magazine seems transformed by contemporary lifestyle maga
zine design with the influences of Fine Arts, Zen philosophy, Deconstructivism, and
Post-minimalism. Western magazines began to change progressively in appearance when
art director Alexey Brodovitch (1898-1971) brought his sense of art, photography, and
graphic design to Harper's Bazaar, a fashion magazine. Although many magazines create
elegant, modern looks on their layouts these days, there are others that create funky and
outrageous looks to target young and trendy audiences. Today some magazines provide
sources of information and entertainment as well as introduce fine art concepts through
their layouts.
If provided additional opportunities to investigate and extend this study, the
author would consider:
• Applying the form and structure of the traditional Japanese dry garden as an
alternative grid system.
147
• Applying the grid structure of the traditional Japanese architecture to interactive
kinds of media, such as website design, animation, and television.
• Applying the grid structure of the traditional Japanese architecture to Modern
Japanese magazines instead of Western magazines.
• Applying the grid structure from other forms, such as wire fences, stairs,
electronic circuit boards, the window shape of the skyscrapers, texture of
leaf, and so on .
148
APPENDIX A. THE LAYOUTS FROM STUDY 1
ON THE COVER The i1v,ng araa ol 650·square•toot South Beach studio penthouse 1s a ;e:ssor 1n sma.U•space renovatJOI" Produced by Lroa O'Keeffe. Photograph by Quentir Baro,. See page 206
METROPOLITANHOME NOV/DEC 2000
45. Take Note by Arlene Hirst Our keen shopping eye picks out fashion fabrics for sofas and stainless steel flatware from Tiffany.
48. The Word The busy buzz on what's new and 'Nhat to do.
50. Metro: Travel An insider's travel guide to the best places to eat , stay, shop and visit- from the Berkshires to Berlin.
56. City Report: San Francisco by Diane Dooans Saeks The City by the Bay is booming-heating up America's favorite urban destination.
62 Color Ways: Orange Aid by Sarah Lynch It's name means "fruit of gold"- and it's a bright idea whose time has come.
74. My House: Village Voice by Nuala O'Faolain An Irish writer who lives in a cottage by the sea heads to Greenwich Village for inspiration.
87 Met kids: Colorforms by Susan Morgan Design superstar David Rockwell couldn't raise his first -born in a boring, ugly or off-the-rack room, no, could he?
98. Editors Choice: Seats for the Petite produced by Doretta Sperduto Not for adults only: These chairs for children are as high style as the grown-up classics that inspired them.
volumexxx11, no.6
102. The Big Idea: Simply Grate by Michael Lasseil A shower floor that 's safe, comfortable and chic.
104. Met Tomes: Seasons Readings by Sarah Lynch A treasure trove of big books for happier holidays.
108. Good Buys: Digital Decisions by David Elrk:h Three great digital cameras for budgets that range from cybercaf8 cheap to photographies wonder.
112 Tech Notes: Click Picks by Bonnie Schwartz Let your aching feet stay home in a lovely soak while your fingers find gifts for yourself and others on-line.
116 Weekend Kitchen: Hot Gobbler by Donna Paul Boston's chowder master Jasper White turns his ~ ftover turkey into something hot, hearty and delicious.
124. Met Views: When "Good Design' Goes Bad by Aaron Betsky Now that pared-down design is available at Target, can a pendulum swing to the ornamental be far behind?
132 Collecting: Bullish on Modernism by Cara Greenberg The millennium has finally turned , and so have prices-upward-on rare pieces from the 20th century.
252. Trend Watch: Beyond the Fringe by Tara Mclellan It's not just for frayed edges anymore: Fringe goes maximal.
Editor's Page 32 Mailbag 38 Ask David 82 Dr. Swatch 122 Recipes 230 Resources 234
ContentscontinuesOfJpage 16
ON THE COVER The living araa of 650-squam-foor South Beach studio penthousa ~ a lesson in smal·-space renovallon Produced by unda O'Kec!'!e Photograph by OJem,n Bacori Soopage206
149
METROPOLITANHOME NOV/DEC 2000 volumexxx:11, no. 6
45 Take Note by Arlene H,rst Our keen shopp•ng eye picks out fashion fabrics fOf sofas and stalnless steel ~atware from Tiffany
48 TheWord The busy buzz on what's new and w'hat to do
50 Metro: Travel Art 1ns1der's trave, gU1de to the best paces to aat. stay. shop and visit- from the Berkshires to Berlin
56 City Report: San Francisco by Diane Dorrans SaeK.s The City by the Bay 1s booming--heatong up America's favortte urt::>an oesllnation
62 Color Ways: Orange Aid by s.,,,at, Lynch It's name means 'fruit of gold"- and It's a bnght idea whose t1rne has come.
74 My House: Village Voice by Nuala O'Faolain An Irish 'Miter who lives ,n a cottage by the sea heads 10 Green wen Vd age for Inspra1Ion.
87 Met kids: Colorfonns by Susan Morgan Design superstar Oa\lid Rockwell couldn't raise his first-born in a oonng, ugry or o1-the-rack room. no. cou!d he?
98 Editors' Choice: Seats for the Petite produced by Doretta Sperduto Not for adults only· These ch8Jrs for children am as h,gh style as the grown-up c:~cs that inspired them.
102 The Big Idea: Simply Grate by Michael L.assell A shower floor that's safe, comfortable and chic.
104 Met Homes: Seasons Readings by Sarah Lynch A treasure trove of big books fOf happier holidays
108 Good Buys: Digital Decisions by David 8nch Three groat digital cameras for budgets that range from cybercaf8 cheap to phO!ograohics wonder
112 Tech Notes: Click Picks by Bonnie Schwartz Let your aching feet stay hOme in a lovely soak while your fingers find gr.ts for yourself and others on-line
116 Weekend Kitchen: Hot Gobbler by Donna Pau' Boston's chowder master Jasper 'Nh1te turns his !ettover lut'My into something hot. hearty and del cious
124 Met Views: When •Good Design• Goes Bad by Aaron BetsKy Now that pared-down design is available at Target can a pendulum sw ng to ttie ornamental be far behind?
132 Collecting: Bullish on Modernism by Cara Greenberg The millennium has finaHy turned, and so have price5-(Jpwatd-on rare pieces frOfll the 20th century
252 Trend Watch: Beyond the Fringe by Tara rvcleHan It's not just for frayed edges anymore; Fnnge goes maxima
Editor's Page 32 Mailbag 38 Ask David 82 Or. Swatch 122 Recipes 230 Resources 234.
124
Contents C-OntirV.Jes on page 16
45 Take Note by Anene Hirst Our keen shopping eye picks out fashion fabrics for sofas and sta:nless steel flatware from Tiffany
48 The Word The busy buzz on 'Mlat's new and what to do
50 Metro: Travel AA insider's travel guide to the best places to eat, stay, shop and Vis tfrom the Berkshires to Bertn
150
87 Met kjds: Colorforms by Susan Morgan Design superstar Dal/ld Rockwe.! couldn't raise his first-born 11 a bof'lng, ugly or off-the-racK room, no, could he?
98 Editors' Choice: Seats for the Petite produced by Doretta Sperduto Not tor adults only: These chairs for children are as high stye as the grown-up classics that inspired them.
ON THE COVER The MV:r'IQ an111. of 650 square foot South Boecl'l studo pontt\ou$1:1 is a lesson 11'1
smail-soacercnovalion PrtXLcod by Lmda O'Kooffo Pholograoh b-j 0...0,t,n 8&cOf1 See-206
112 Tech Notes: Click Picks by Bonnie Schwartz Let your aching feet stay home 1n a lovely soak wtiile your fingers find g;'ts for yourself and others on-line
116 Weekend Kitchen: Hot Gobbler by Donna Paul Boston's chowder master Jasper White turns nis leftover turkey into something hot. hearty and delicious
Editor's Page 12 Mallbag 38 Ask David 8? Dr. Swatch Recipes ~3U Resources 1<1
56 City Report: San Francisco by Diane Dorrans Saeks The City by the Bay is boorn,ngheating up America's favorite urban destination.
62 Color Ways: Orange Aid by Sarnh Lynch It's name means "fruit of goldM -and it's a bright idea ~tiose time has come
74 My House: Village Voice by Nuala O'Faolain An :rish wnter wtio lives 1n a cottage by the sea heads to Greenwich Village for insp1rat:on
102 The B19 Idea: Simply Grate by Michael l..assei! A shower flOOf that's safe comfortable and chlC.
104 Met Homes: Seasons Readings by Sarah Lynch A treasure trove of big booKS for happier ho·Jctays
108 Good Buys: Digital Decisions by David Brich Three great digital cameras for budgets that range from cybercafe cheap to photographies warder.
124 Met Views: When "Good Design" Goes Bad by Aaron Belsky Now that pared-down design is ava:lab!e at Target, can a pendulum swing to the ornamental be far behind?
132 Collecting: Bullish on Modernism by Cara Greenberg The miilenn;um has finally turned, ana so have prices-upward-on rare pieces from the 20th century
252 Trand Watch: Beyond the Fringe oy Tara Mclellan :rs nor µat for frayed edges anymore Fringe goes maximal.
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45 Take Note by Arlene Hirst Our keen shopping eye picks out fashion fabrics for sofas and Stain1ess steel flatware from Tiffany
48 The Word The busy buu on what's new and
'Nhattodo
50 Metro: Travel An Insider's travel guide to the best
places to eat, stay, shop and visi1-from the Berksh,res to Berlin.
56 City Report: San Francisco by Diane Oorrans Saeks The City by the Bay .s boom1ngheat1ng up Arrerica's tavonte urban destinaton
62 Color Ways: Orange Aid by Sarah Lynch It's name means "fruit of gold•
and it's a bright idea whose time
has come.
74 My House: Village Voice by Nuala O'Faolam An Irish writer who lives in a cottage by the sea heads to Greenwich Village for inspiratiOn
151
87 Met kids: Colorforms by Susan Morgan Design superstar David Rockwell couldn't raise his first-born in a boring, ugly or off~the-rack room, no, could he?
98 Edrtors' Choice: Seats for the Petite produced by Doretta Sperdute Not for adults only: These chairs for children are as high styie as the grown-up classics that
inspired tliem.
112 Tech Notes Click Picks by Bonrie Schwartz Let 'f04S aching feet stay home in a lovely soak while your fingers find gifts 'or yourself and others on-line
116 Weekend Krtchen: Hot Gobbler by Donna Paul Boston's chowder master Jasper vVhite turns his leftover turkey into something hot, hearty and delicious
ON THE COVER The ,iv.ng area or 650-square-!oot SoV'l'I Beach slue.ho penthouse is a iesscn in srna!H;pace rsnovatiOn Prod\X'ed by Linda O'Keel"e. PhOtogtaph by Qu1;W>I~ Bacon. See page 206
~ m -I :JJ 0 7J 0 r
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Editor's Page :f2 Mailbag !R Ask David 9£. Dr. Swatch 2£ Recipes 23lJ Resources
102 The Big Idea: Simply Grate by Michael Lassei! A shower floor that's safe comfortable and chie,
104 Met Homes: Seasons Readings by Sarah Lynch
A treasure trove of big booi<S for happier hoiidays
108 Good Buys: Digital Decisions by David 8rich Three great dig ta! cameras for budgets that range from cybercafe
cheap to photographlCS wonder.
124 Met Views: When Good Design• Goes Bad by Aaron Betsky Now that pared-down design is available at Target, car, a pendulum swing to the ornamental be far behind?
132 Collecting: Bullish on Modernism by Cara Greenberg The m1ilenn um has finally turned, and so have prices-upward-on rare pieces from the 20th century
252 Trend Watch: Beyond the Fringe by Tara Mclellan It's not µst for frayeo edges anymore· Fringe goes maximal.
132
wh
en
"g
oo
d d
esi
gn
" g
oe
s b
ad
N
ow
tha
t le
ss-i
s-m
ore,
for
m-f
o/lo
ws-
func
t1on
mo
de
rmsm
is
avai
labl
e fr
om T
arge
t, w
ill ,t
so
on
be
tast
eles
s to
hav
e g
oo
d ta
ste?
By
Aar
on B
els
ky
Wal
k in
to fM
'r-1 w
Hot
el a
nd Y
oU .,
.,.;1
be s
l.lTO
!X'd
ed b
y "
Goo
d D
esig
n."
And
It '
MO
l'1't
be
the
pot
ted
palm
s a
nd
wo
od
-gra
ri d
esks
tha
t w
are
once
alro
ost
\.ri-.
'8l's
al i
n ho
tel
lobb
ies.
hst
aa
d,
you
Vl'ill
flnd
con
cro
te
Ma
ce
s e
nd f
un
'llxe
mad
e of
gla
ss a
nd
ste
el.
Go
to ,
p.x
roo
m a
nd
you
may
foo
l as
H yo
u ar
e in
th
e
spat
ial
equi
vale
nt o
f an
Mna
ni S
lit
wor
n v.
ith a
T-s
hirt
sfyi
ish,
cas
ual
but
mnl
mal
sut
aces
hst
ood
of
chii
tz,
flora
l pat
tern
s an
d co
lor.
Yet
tiis
is n
ot a
bo
uti
qu
e ho
tel m
arke
ted
to a
sm
all,
se1o
cl a
udie
nce
of th
e de
sign
-sav
vy e
lite.
It's
a n
atio
rr-M
de c
han
.
The
Wfl'
/ of
mak
ng t
hngs
tha
t cr
itics
hav
e be
en c
allin
g G
ood
Des
ign
sinc
e th
e la
st W
o1d
WBT
(by
'Mlic
tl
they
mea
n p&
oo-O
OM
1, m
..rte
d an
d sl
ight
ly m
achi
ned)
has
gon
e so
mai
'lstre
am t
hat i
t's a
vaila
ble
at T
arge
t. A
rd t
hat
desi
gn I
s m
ea
it t
o C
00'./
8'/
cach
e1::
Usi
ng t
he n
f.1oM
,,/ tra
'lsk.
Cen
t 9M
nglJ
18 s
tapl
e( o
r C
&<fy
tng
Sam
sorv
te's
stre
amin
ed u
ggag
e m
ea
,s t
hat
YoU
we
a 1h
oro.
.qiy
mod
em m
an o
r 'M
'.lfTl
8r"I
'M"lO
ca-
es
aboo
l th
e st
yles
of I
ha h
ere
and
ro
N.
Eve
rylh
ing
from
hot
el i
nter
iors
to
com
pute
r ex
teri
ors
has
beco
me
a de
sign
sta
tem
en
t th
at e
:,vre
sses
tha
t 'N
Of1
dvie
w.
Soc¥
bo
om
era
bro
ught
up
oo t
he
v.o
n,;
of Q
lar1
es a
nd
Ray
Eam
es a
nd
th
e m
ova,
ions
of
the
spac
e ag
e ha
ve '
M10
1ehe
arte
dly
emb
race
d t
he
trap
ping
s of
m
odEY
l'lism
as
nost
alg~
·fuel
ed G
ood
Des
ign
The
idea
of G
ood
Des
gl
was
firs
t pr
omug
ated
by
Eur
ope&
, IY
Chi
lect
s a
nd
des
igne
rs in
the
192
0s.
Bvt
fo
r a
long
tim
e, m
oder
nism
was
see
n as
app
eali
ng m
ly to
ai /M
V'lt
-gw
de e
llte
. Qr.
yin
rec
ent
year
s ha
s th
e fa
shio
o In
dust
ry m
ade
rali-
thn
ele
genc
e an
d al
l-~
ack
rll
llm
alis
m s
omet
hing
to
'Mic
h w
e sh
oud
all
aspr
e. F
rom
Caw
tl IG
eir"I
mod
els
and ~ ll
'lifo
rms,
It h
as s
pre
ad
to
hous
ew!Y
es,
mee
ts a
nd
fum
lture
(K
lei1
pro
duce
s hi
s CM
fi).
Goo
d de
sl£r
! is
bo
th h
gh
sty
te a
nd
so
mas
s·m
erke
t th
at
you
CW1't
esc
ap
e I
t ev
en if
you
wan
t to
But
if G
ood
Des
ign
is EI
Y0fy
M'IE
ll'a, v
.her
e do
es th
at l
eave
th
ose
sel
fsam
e av
ant•Q
<W"d
e el
itist
-p
eo
ple
who
have
vis
cera
l n
ee
d t
o c
hall
enge
the
st
atus
q
uo
?
Bew
i:re,
all
tho
se o
f yo
u v.
1"0
repl
aced
V
olJf
Ear
ly
Am
eric
an w
ith J
apc¥
,ese
bru
tais
m: T
he p
en
dJu
m o
f st
yie
may
be
st;r
i)g
to
sv...i
ng b
ack.
'Th
s no
tion
of m
inim
alis
t de
s'9fl
rra-
/ no
t be
pla
yed
out,
bu
t It
is c
erta
rily
in p
lay,
' sa
ys D
avid
Kel
ley,
fO
Lnde
r an
d C
EO
of
DE
O,
the
pras
tlglo
us p
rodu
ct-d
esig
n fir
m t
hat
spec
ializ
es in
obj
ects
ol G
oo
d D
esig
n (It
has
gM
efl us
SUC
h S
leek
goo
ds a
s th
e P
am V
a.K
a '1
he P
alm
Plo
t.")
Wnh
tod
ay's
com
pute
ra,
he e
xp
u)S
, "d
esl
gle
ra c
m m
ake
all
kind
s li
ghli
lg d
esig
ner
tngo
~-
"Des
i!}'
ha
s be
ccm
e so
sha
llo.v
, ju
st
of f
orm
s th
at w
er8!
"1'\
poss
ible
bef
ore'-
the
mos
t ol
:Mou
s e
xwn
ple
ab
out
the
radi
us o
l a c
omer
; bu
t the
m is
so
rruc
h m
ore.
You
hav
e to
be
wig
Fr
ank
Geh
ry's
m
aste
rwor
k.
the
free-
form
G
ugge
nhe
im
say
som
ethi
ng."
Mu
set.
m i
n B
ilbao
. "B
esid
es.'
K
elle
y sa
ys.
'it's
la
sho
n t
o w
ant
sorn
elhn
g di
ffer
ent,
and
som
e p
eo
ple
!'W'e
star
ving
for
dire
ctio
n."
Des
igne
rs I
M
Mau
-er
wan
t to
te
l us
str
li s
torie
s: H
is I
Mie
m I
ve
You.
Ed
son
? L
an
o.
for
lnst
<¥1C
e. i
s a
hci
og
1m
ol
a lig
ltbut
> t
hat
Kel
ley ~ t
hh
ks t
hat
the
lncr
aasn
gy !
age
and
div
erse
con
sum
er
clh
txe
de
ma
ids m
ore
cho
ice
. "G
oo
d
Des
ign
sl n
ot
ab
ou
t th
e pe
rfec
t tt,
g in
,-mor
e: h
e m
uses
. "b
ut a
lso
help
ilg a
lot
of d
iffer
ent
pe
op
le b
uild
the
ir cw
n p
ers
on
al i
dent
tties
. •
Fun,
wrt
and
whl
lTls
y d
o s
eem
to
be
ma
krig
a c
omeb
ack
Phili
ppa
Sta
rck,
th
e m
aste
r of
flu
id
form
, rc
w p
rese
nts
plas
tic
gard
en
gx;
me
s an
:l cr
ysta
l d
a'd
elie
rs w
ith
a st
ralg
lt l
ace.
R
esto
ratio
n
1-m
:JwM
l che
lerl
ges
the
k:Jg
c of
the
do
-It-
~
mn
irn
,jsm
ol t
he
Hom
e D
epot
with
citx
i<y
but
fani
liw,
and
som
ehoN
mrr
wit
ic,
tool
s. T
he b
aroQ
ue e
xces
ses
of M
iwnl
are
as
PoPU
O'
for
fasn
ion
phot
o sh
oots
as
the
ab
stra
ct m
od
am
ist fo
rms
of P
aJm
Spr
ings
.
IMla
t one
mig
ht 1
hink
of a
s ei
ther
del
iber
atel
y b
ad ta
ste
or a
nos
\figi
a fo
r m
ore
com
plic
ated
, ra
ther
th
an
artJ
fidal
ly
sim
plifi
ed,
tnle
s Is
irr
-.aiin
g th
e ve
ry [l
U'N
OO
(S o
f Goo
d D
esig
n.
Al M
oss,
lvw
-ha
ltWl's
reta
ll te
mp
le o
f mH
mal
oqB
Cts
, pr
ide
ol p
a:8
du
r1ng
New
" Y
on<s
Con
tem
pora
y Fu
mitl
xe F
ar w
as g
ven
to 1
8111
· c8
!"1\u
ry
roco
co
Ny
mp
hen
bu
rg
porc
er1a
1n
figur
ines
. M
txra
y M
oss
stag
ed t
he N
yrnp
henb
urg
show
bec
ause
. h
8 s
ays,
·1
Iott
ther
e w
as
som
ethf
lg m
issi
ng f
rom
my
cf101
. I
did
n't
do i
t to
be
sens
atio
oal
or
cute
. I
aske
d IT
T,'SG
II, 1
/m.j
do
I v
alue
thl
lgS
!ha
t ar
e In
dest
ruct
ible
, m
ass•
prod
uood
an
d f
unct
iooa
l [in
otr
er
wor
ds,
mod
em]?
1/m
.j do
!
disl
ike
patte
rn
and
fragi
le
obje
cts,
th
ng
s w
here
fu
nctio
n is
n't
reie
vmt?
/v
'd y
et
I s;m
the
lg
.lin
es a
s br
lian
t,
and
I so
dd
erl
y
raal
zed
that
we
give
val
ue t
o ttw
lgs
for
diffe
rent
rea
sons
. /v
'd a
l lh
OSe
thin
gs: I
had
rej
ecte
d, I
sud
denl
y m
isse
d.·
How
do
desi
gner
s ju
stify
su
et,
soe
mng
y od
d be
havi
or a
s, pu
tthg
18th
-cen
t!XY
fig
u1ne
s a•
twit1
in
a
stor
e lik
e M
oss?
T
he
late
st
buzz
wor
d in
th
e pr
ofes
sion
is
'nar
rativ
e,·
mea
nin
g 1
hat
desi
gn m
us
tel a
go
od
tale
. "E
very
obj
ect h
as a
sto
ry,·
says
M..n
ch-b
ased
the
disa
ppea
rs v
.nen
you
tum
off
the
lg,\
Bot
h th
ere
and
not
ther
e. i
i is
a
littlo
par
ablo
abo
ut t
he m
.-acl
e of
lio;
til,
aid
it v
.Qlk
s be
caus
e th
e
desi
gner
has
cap
ture
d th
e st
ory
In o
oe m
a.go
cr1C
I tit
le.
Con
stan
tin
Boy
m,
a N
ew Y
ork
desi
gner
fM
lOU
S f
or h
is B
uld
hg
s ol
D
isas
ter
mod
els
of s
u:h
Stn
JCIU
'BS
as t
he O
klE
tlorn
a Fe
dera
l Bu
ldn
g a
id t
he
I.Jrr
oom
be(s
cab
in,
agre
es.
We
bel
ieve
th
at t
he m
ost
Impo
rtan
t
thng
is to
tell
a sl
ory
'MIil
M o
bjec
ts,·
he
says
.
\Afla
t w
e m
ay s
oon
be
see
ng,
then
, is
a
nev.
-cl
ass
of ~
oduc
ts
Goo
d D
esig
f1
isn'
t go
ng t
o g
o ~
-D
esql
e,-s
will
kee
p r
Tlf:N
"',Q
ob
ject
s th
at a
re s
impl
e, a
fford
able
and
use
fli,
but t
he
y wi
M a
fso
try
to
ge
t u
s to
use
OU
im
agin
atio
ns.
Th
ey
will
tell
us
stor
ies.
The
y v-A
I se
ll th
ings
th
at
<Ye
one
of
a kJ
nd.
All
the
tecm
olo
gy
that
se
ems
to
perv
ade
ou
won
d. f
rom
cel
l p
ho
ne
s to
tt.o
se l
ustro
us r
eN
pla
stic
s.
dis
ap
pe
as
as w
e, f
ocus
on
that
one
bea
utifu
tlt
lg t
hat
is st
rMg
ely
impe
rfect
bec
ause
It w
as m
ade
by h
and
or f
rom
rec
ycle
d m
ater
ials
or
was
pur
pose
ful")
-' "m
atfo
rmed
."
Goo
d D
esig
n m
igh
t be
eve
ryv.
,t,,e
re,
but
ther
e's
still
roo
m
for
the
pu-e
i-J b
ea
vtlfu
an
d t
he u
tterl
y us
eles
s. "
Go
od
Des
ig-i
is n
ot a
bout
sfy1
e,
but
abo
ut
com
posi
ng .
....tth
th
e rig
ht
ma1
eria
ls f
or t
he n
ght
func
tion
n a
conc
eptu
ally
ntem
stng
wey
.' sa
ys P
aola
Arlt
oneA
i, a
cu-a
tor
of d
~g
, at
NeY
I Y
on<s
Mus
eum
of
Pv1o
derr1
M-
the
Fort
Kno
x of
mod
erni
sm,
"Goo
d D
esig
n m
akes
you
th
ink.
" /v
'd ll
'lC.llX
1lt
has
no s
tyle
By
Aa,
on B
et sk
y.
No
w th
at le
ss-,
s-m
ore,
for
m-f
ollo
ws-
func
tion
mo
de
rnis
m ,:s
av
aila
ble
from
Tar
get.
will
it s
oo
n b
e ta
stel
ess
to h
ave
go
od
tast
e?
wh
en
"g
oo
d d
esig
n"
go
es b
ad
a
rd s
tool
. G
o to
yr»
room
cn:
l yo
u C
9!l)'
ing
Sam
scot
e's
stre
M'll
ne
d
as ~ c
ny t
o 1
11 8
\ffi
l-Q
a'de
ma
yfe
ela
sily
ou
¥e
fl1h
espa
tial
ugga
ge
mea
ns
1tla
l yo
u ar
a a
eWte.
~
Flro
cerl
f')'
OO
'"S
ha
slh
ef
ecµ
vale
rt a
en
Arm
in s
i.,1
w
oo
i ~ m
odEw
'n IT
Wl
or ¥
iOIT
iill'l
fa
s/io
n
ind
ust
ry
mad
e ra
il-th
in
wiltl
aT
-stw
tsty
li:S
h,
casu
elb
ul
Ylh
oC
3"8
Sab
:lu
thest
)mo
llh
e
ele
gln
::e
ard
al-
bla
d<
rrri
na
lism
mri
"MI
!iUfa
c:es
h<
ite!
Kj
ol d
'tlt
z,
he
rea
rdf'
ON
Eve
r,-t
t,gfr
omt'o
tEI
sun
eth
r,g
to
~ w
e sh
ou
d a
l fl
ora
lpat
terr
,Sar
dco
lor,
Yett
isis
'n
teri
ornt
oCO
'Tl)
'.Jle
rext
et'o
-sha
s !I
Sl)
ftl.
Fn
:mC
aM
iKle
inm
xle
ls
ncta
bo
uti
qu
eh
ole
ll'M
'Ke
tad
toa
b
eca
oo
a
desi!
J1
stat
EJ'
riffit
th
at
ard
Pto
oeu
nh
ms
,ilh
essp
-aad
to
srra
l. s
elec
t au
dien
ce o
f1he
oos
lg"i
-ax
pras
ses
tt,a
l ~
-Ba
t7i
hous
ewam
s,
shoo
ts
an
d
furn
iture
sa,M
/elt
e.f
san
ati
oo
-Ykl
ech
ain
. b
oo
ma
rsU
OU
!tll!
.4lo
nlh
e\l
i()'
\(o
f (K
lein
p
nxl
uce
s t.
s
own)
. G
ood
Th
o~
ofrn
ru-r
glti
'gs!
h81:
crit
ics
i'n:I
Ya
to'ls
ol
lhe
spe
ce a
ge n
ave
mes
s-m
M<e
tlhB
l:you
ca-i1
esca
pe
hBve
bo
on
cak)
g
Goo
cl
D8
sqi
v.oo
le
het
vtq
em
brac
ed
the
It ev
en t
you
war
t to
W<
'l<.r
n0
80
/Wl-
ble
lard
yo
uw
il si
no
elh
el8
stW
::n
.1W
et(b
yv
.tjj
'i
trap
pf'g
Sof
mo
de
msm
asl
l:lE
lttj
a-
be S
UIO
I.Tde
d t,,
, 'G
ood
De
sig
l' It-
et lf
l8E
l'l p
arad
-dc7
.wl.
rru
ed a
rd
fuel
ed G
oo
d D
esi
gl
iu ~
Go
od
Doo
g, i
s ~
a.
wh
am 0
00
$ 1
hat
leav
e th
ose
sall-
ard
woo
d-o;
rar,
dosk
s th
at
wer
e rn
eins
trew
n th
at
It's
avai
able
at
1
re id
ea o
f Goo
d D
esq
l was
frst
S
Ml8
a
-.ff
lt-g
a,d
e
elti
st-
pe
op
le
orce
etro
st\/W
81S
a1fl
ho
tello
b-
T!W
g81.
H1d
tte
td
esg
,ism
&E
nto
~
byE
l..r
op
!m&
'Cti
lects
Y
lho
hiM
IWIC
U'll
no
od
toch
ale
ng
e
bles
.hst
800,
)0.J
wil
frd
con
aete
C
TT
M1
'f
cach
et
Usn
g
the
nwll
y cn
:ld
oo
g,e
rsh
the1
92
0s.
&.f
b
lhesta
tus~
?
surf
ooas
ardf
o.m
tual
lmE
lofg
lass
lra
r,sj
ucm
t S
win
glin
e st
aple
r O
f al
c:r"
'(ltm
e,
rro:
lem
srnw
asse
en
Fu
,, w
it in
:1 'M
'1mSf
oo
seem
to
be r
nal<
ilg a
co
me
ba
ck F
'1ili
ppe
Slw
ci(.
lhe
ma
ste
f of
fue
l IO
fJTl,
ncm
pr
eson
ts
pla
stic
ga
rden
~
cn:I
cry
stal
dlw
ldei
ern
'Mth
a
stra
igll
fac
e.
Res
tOO
llbl
~ d
lalle
ng
es
lhe
logk
: of
th
e do
-11-
','0'J'
SOII
min
imai
sm
of
the
Ho
me
Da
po
lwit
tich
..ri
<yb
ut
1Mlll
iiw",
ar"ld
som
eh)w
rc:tl
"la1t
ic,
tool
s. T
he ~
OQ
..e e
xces
sos
of
Mil
m !
Ye
as
popu
w f(
)( la
shlo
o p
ho
to
sho
ots
as
th
e a
bst
ract
mo
de
ms\
loo
ns
of P
am S
p+
gs.
Wla
1 o
ne r
rig,
I tt
rt o
f as
e11h
er
delib
erat
ely
ba
d ta
ste
er a
nos
tal·
gia
for
rro
re (
)()(
11)ic
ated
, ra
ther
tha
-iw
tifi
cia
ly~
,lin
esis
inva
ding
th
e ve
ry
bu
lwa
,ks
of
Go
od
Des
ign.
At
Mo
ss,
Ma
rtia
tta
n's
re
tail
tem
ple
of m
inm
al o
bjec
ts,
p-d
e
of
pla
ce
durin
g N
ew
Y
ork'
s C
ait
em
po
o:r
y Fu
rritl
..rn
FM w
as
gt-,,
oo
to
18th
-ce
ntu
y ro
coco
--
Mu
rra
y M
oss
st
ag
ed
th
e
Nym
ph
eo
bu
g
show
be
caus
e,
he s
ays,
"I f
elt
ther
e w
as s
ome
thin
g m
issi
ng
from
m
y di
et
I
ddn1
do
it to
be
sens
atio
nal
or
cute
I as
ked
mys
elf,
IMl-/
do
I v
all.J
e
thin
gs
that
a
e
inde
stru
ctib
le,
mas
s-p
rodu
ced
and
ll.
nctlo
nal
[r'l
ott,a
--v.
ods,
m
odem
]? W
r'f
do I
dis
like
pat
tern
an
d
lragH
e
obje
cts,
th
ings
'M
lBl"e
fu
nctio
n
lsn1
rele
va-1
1? A
rd y
et I
'SIM
the
figu
Tie
s as
brla
-"rt,
and
su:
loen
·
tyre
aiz
ed
lha
t'N
6g
,.,9
vakJ
ato
thn
gs
for
diffe
rent
rea
sons
. A
rd
al t
ho
se t
mg
s I
had
refE
)Cle
d, I
SU1d
lrlf
mss
ect.·
Ho
w d
o o
osig
ners
)Js
lify
Sl.d
1 0
0E
lfl"l
l"l9
fy'o
dd
be
ha
vio
rasp
u:
tng
18
th-c
entu
y fi
g.m
es
a-t\A
.t1
in a
sto
re li
ke M
oss?
The
lat
est
bu
llw
ofd
in
th
e
prof
essi
on
is
·narra
we: m
eri
'1g
tha
t de
sigl
m
ust
te
jl a
go
od
ta
le.
"Eve
ry
obje
ct
ha
s a
stor
y,·
says
Mm
k:h
-b
ase
d
the
lighl
ing
desi
gner
Ing
a M
au-e
r. 'D
esg
, h
as
beco
me
so
shaH
ow,
just
atx:
iutt
he r
adi:J
s ol
a co
mer
; bu
t th
ere
is
so
mu
ch
mor
e.
You
ha
\-8
to S
B,J
som
ethn
Q.'
Des
igne
rslk
eM
cure
rwa
'ltto
tell
us S
l.d1
stone
s: ti
s 'M
rere
Ml
YO
J, E
disc
n? u
mp,
for
inst
!n:e
,
is a
hol
ogrw
n ol
a i
git
bu
tl t
hat
dise
ppeE
w"s
'M'W
l',O
UIU
Tlo
ffth
e
light
. Bo
th th
effl
and
no
t tt'
leffl
, It
is
a lit
tle
P«
ab
le
ab
ou
t th
e m
iracl
e o
f lig
ht,
and
ii ~
be
cau
se
the
de
sig
ne
r h
as
capt
u"8d
1ha
stc
ry in
one
mag
e a
nd
tit
le.
Ca
ista
nti
n
Bo
ym,
a
New
Yor
i< d
esi
g)e
t la
m::o
s !O
f hi
s B
ltil
gs
of D
sast
er
mod
els
of
such
st
ruc
-l\x
es
as
the
Oc:
1Mom
a F
eder
al !
Ud
~ a
nd
the
l.Xla
lXlm
ber'S
cab
in.
agoo
s.
We
be
lieve
th
at
the
mo
st
~th
ing
lsto
tela
stc
ry
'Mltl
YI
obje
cts,
' he
say
s. \
/vtia
.t W
O m
ay
soon
be
SOO
"lg,
than
, is
a
rvm
cla
ss a
pro
cluc
ts.
Goo
d 0
esg
, is
n't
goin
g to
go
a,N
'ctf
.
Des
igne
rs
will
ke
ep
mak
ing
objo
cts
that
ar
e si
mpk
3,
affe
rd
oclle
aid
use
tu,
but t
hey.
...,
. al
so
try t
o g
et
us t
o us
e o
u m
agin
a
tlons
, T
he
y w
ill te
l us
st
orie
s.
Th
ey 'M
Ii se
ll t
tin
gs
that
ae
one
a a
kn:l
. Al
l tne
toc
h-n
ob
gy
that
seem
s to
p
erv
ad
e
ou
w
orld
from
ce
ll p
ho
no
s to
th
ose
1us1
rous
rlM
pas
ties
, di
saw
ews
as ..
..e fo
cus
oo t
hat on
e t:J
eaut
1fu
ttig
tha
tlsslJ
IDJE
WY
~I
be-
caus
e tt
was
rm
de
by
h!r
d ex
from
rec
ydad
mat
eria
ls e
x w
as
DJJX
>OOU
v 'm
alfo
rmed
."
Goo
d D
esi
gn
m
igh
t be
f.M
!IY·
v.tia
re,
but
ther
e's
st•
roo-
n fe
r lh
epu
-ely
bea
rtif
tia'
ldth
evtt
oo
,"
usel
ess.
'G
ood
Des
ign
is
not
tCI0
1 sr
-,ie,
but
al:
oJt ~
with
th
e rig
ht
mat
eria
ls
for
the
righ
t ftn
:tk:>
n in
a
con
oe
ptu
aly
inte
rest
ing
way
," sa
ys
Pao
la
Am
ore!
!, a
cua
tor
o(
desg
1 a1
New
Yor
!<'s
Mus
el.rn
of
lv1o
dern
A
rt-
the
Fort
Kno
x ol
mod
erni
sm
'Goo
d D
esig
n rra
l<.8
s ',(
)lJ
trtt
..'
lvld
th:lu
;t1t h
as n
o s
tyie
.
By
Aar
on B
ets
ky
wh
en
.
go
od
de
s,g
n
go
es b
ad
No
w th
at le
ss-is
-mor
e, f
orm
-fol
low
s-fu
nctio
n m
oder
nism
is
avai
labl
e fr
om T
arge
t, w
ill it
so
on
be
tast
eles
s to
hav
e g
oo
d ta
ste?
W f!ir<. into
a-i
y w
Hot
el
ard
you
v.t
be s
uro
trd
ad
~
'Goo
d D
esig
n."
/vld
it W
O'l't
be
the
po
tted
p.V
rnS
ard
woo
d-11
ain
desk
s th
at
wer
e o
nce
iW
OOSt
U1
ive
rsa
j in
hol
el b
bb
ios
hst
ea
d,
you
wil
fin
d co
ncre
te
SU
!face
sEW
'ldftz
nitl.
.rem
adeo
f g
lass
ffls
too
l.G
oto
}O
llro
cm
Md
you
may
leal
as
rt yo
u w
en
th
e sp
a-tia
l e
qu
iva
len
t o
f~
MTl
MI
stit
v.or
n v.1
lh a
T-si
wt
styl
ish,
ca
sual
bu
t m
inim
al
sufa
ces
inSt
ead
of d
lntz
, flo
ral
patte
rns
ard
COO
". Y
et tt-
.s is
no1
a bo
utiq
ue h
ole'
rM'k
ete
d t
o a
smal
l,
sele
ct
au
di8
f1C
6
of
the
des.
g,-s
avvy
eh
e. I
t's a
nat
irn
v.id
e ch
ain
.
The
W8
'f o
f rr
m,g
ltl
gs t
hat
criti
cs h
ave
bee
n c
aNr,g
Goo
d D
esq
l si
nce
the
last
INor
ld W
?L
(by
'Nhi
ch
they
m
ea
ri
par
ed
OO
'Ml,
mu
ted
an
d sl
ight
ly
ma
chn
ed
) ha
s go
ne s
o m
ain
stre
am
that
it'
s av
aila
ble
at
Tar
get
.lv
ldth
atd
eslg
nis
mea
it
to
COfr<
Mt
cach
et:
Usi
ng
the
nf/l
Mi
tran
slllo
ont
SW
tlglin
e st
apla
-CY
ra
ry-
r,g S
arns
crite
's
strn
a'T
"hld
lug
gage
me
a,s
Iha
! yo
u ar
e a
thor
oogh
fy
mod
ern
miY
1 CK
'M!r
Tl0
fl 'M
"lO c
a,e
s ab
out
the
s¥
9so
lth
eh
ere
ard
OO
N.
E.<e
ryth
i'lg ro
n ho
tel
riten
ors 10
co
rrµ
Ae
r ex
terio
rs h
as b
ecom
e a
desi
g1 s
tate
men
t th
at e
xpre
ss
that
wor
kMew
. Ba
t,.,,
ooom
ers
bfo
ug
ht
up
on
the
WOO
< ol
~ a
nd R
ay E
ames
and
the
the
mo.
-atlc
ns o
f the
spa
ce a
ge
have
~ed
ly
em
brac
ed
the
trapp
ngs
of m
oder
risr
n as
n
osl
ltj,
3-fu
eled
Goo
d D
esg
i
The
idea
of
Go
od
Des
ign
was
lis
t pr
omjg
ated
by
Eu-Q
Pea'l
.!W
dila
cts
ard
des
ig"lE
r"S
t7 th
e
19
20
s.
But
ICY
a lo
ng
~me,
m
odar
rism
was
see
n as
app
eal
r,g O
N,/
to a
i 8\
fflt-
9<ff
l,3 e
lite.
On
ly
in
rece
nt
year
s ha
s th
e fa
shia
l n
du
stry
m
ade
rai-t
m
8leg
!'r"C
e a
rd ~ r
rnT
'8i&
n so
rne
ti"g
to
'Mic
ti w
e sh
:ud
al
a-,pr
e_ M
tl'TI
C,a
Mi
Klan
rro
das
Md
Pra
da 1
.111
cfm
i, it
has
sp-e
ad
to~
.sl-
.eo
o.E
n'.
lfu
li
tlle
O<
)ein
pro
cix;
es
his
OYv
fl).
Go
od
de
sig
,isb
olli!
igh
sl)
18
an
d so
m
ass
-rr.a
r.<et
ttl
a1
you
cm
no
t e
sca
pe
it
even
If
you
"""1
10
But
if G
ood
Des
ign
Is
(Mjry
w
t.ern
, v.
t.ere
do
es
that
le
ave
thes
e se
lfsam
e av
ant-Q
<Vde
ei
tist
-p
eo
ple
....
to~
llis
cera
J
need
to
ch
allo
ngo
the
stat
us
quo?
Bew
.Ye,
al
!hos
e ol
you
...
.to r
ep
oce
d y
a.I
Eal
y N
ne
rlcm
'N
ith ~
t:rut
aism
: Th
e p
end
ull
rn
of
styl
e m
ay
be
star
ting
to
swng
b
ack
"T
his
no
tio
no
lmH
na
istd
esig
ima
y
no
t be
pt
ayed
ou
t, bu
t it
1s
cert
ajn
ly
in
play
,· sa
ys
Daw
:! K
elle
y,
fOlf'
lder
a
rd
CE
O
of
IDE
O,
the
pres
tigio
us
pro
du
ct
de
sq
l fr
m t
net
spec
a!-
izes
n
ob
ject
s of
('1
l()d
D
esig
'"I (
II ha
s
!Jl,-1
3l1
us s
uch
slee
k go
ods
as
the
PaJm
V
a.
k.a
"the
Pa
Jm
Pio
t.')
Wit
h
tod
ay'
s C
Qm
plJl
ers,
he
e
xp
ails
, 'd
esq
lers
cm
rM<e
all
kind
s of
fo
rms
that
Y
o9'e
n't
poss
ible
be
fore
·-th
e m
ost
obvi
ous
exa-
T1p
le
bein
g Fl
'Wlk
G
ehry
's
mas
terw
ork.
th
e fro
ofo
im
Gug
gem
eim
M
useu
-n
in
Bilb
ao.
'Bes
ides
," K
elle
y sa
ys,
'it"s
fas
hon
to
W8r
'1t
scm
ettW
"lQ
di
ffere
nt,
cn::l
sc
.-r,e
p
eop
le a
re
sta
-vllg
lo-d
rect
ion
."
Kel
ley
also
th
inks
th
at
the
rcrea
s-rw
age
ard
ckse
co
nSllT
lef
cultu
re
derT
\cV1
ds
""'8
ch
oce
'Goo
d D
esig
l is
rot
abou
t th
e
P8'fe
ci: th
rg a
l),'n
'08.
' he
rruse
s. 'l:
uta
lso
he
lpin
ga
lolo
fliff
ere
nt
Fui
, 'M
t .rd
vJi
irns
y d
o s
eem
to
be m
akil
g a
corn
eb
a'.;
k_ ~
Stw
d(,
the
mas
ter
of 1
'Ud
km'1
, f"l
<JW
pr
esen
ts
ptas
tlc
gard
en
g,om
es /
rd C
fySt
al
ctw
ldol
iers
'Mth
a s
traig
'rt f
ace.
Res
toro
bOn
l-lw
dv,-a
r&ch
alle
ng8S
the
k)gi
col
the
Clo
-lt-y
ou,s
elf
min
mal
ism
ol
the
Ho
me
Dep
ot w
itt,
CU
lky
w
fwnl
la,
<¥"Id
SO
n'l8
how
ror
rmtl
c.
tool
s. T
he O
OO
QJ8
exc
esse
s o
l M
«n
are
as
po
pJa
r IC
Y fa
shio
n ph
oto
shoo
ts
as
the
abst
ract
rroo
oo-.s
t la
ms
of P
OO
l Sj:m
gs
'lvha
l cn
e rn
git
tti'v
< of
as
eith
er
delib
erat
ely
bed
tast
e CY
a n
osta
igi
a fc
r m
ore
ccm
pic.
ated
, ra
ther
tt
m ~ s
impi
fled,
tin
es is
In
vadi
ng
the
very
bu
lv,,a
rks
of
Go
od
Des
tg,.
At
Mos
s.
Man
natta
n's
ret~
\err
pe
olr
nrw
na
lot;
ec'
ls,p
rid
e
of
plac
e d
um
g
New
Y
on<s
C
onte
wrp
orar
y F
unitu
re F
air
was
gi
ven
to
18th
-c:e
ntur
y ro
coco
--'""""
M
UIT
8y
Mo
ss
stag
ed
the
f'¥r,
phen
bu"g
sh
ow
beca
use,
he
say
s, 1
fel
t th
ere
was
SO
'llE
l
thW
lQ
mis
sing
fro
m
m-t
die
t. l
did
n't
do
ltto
be
SB
l'"lS
8ti
ala
la
cute
. I
aske
d rr'
,'S&
H,
IM"'r
f do
I
valu
e th
ings
th
at
are
inde
st
ruct
llle
, m
ass-
pn
du
ced
an
d
func
tiona
l [in
ot
her
wor
ds,
mod
eml?
1/1
/rr,/
do
I
disl
ike
patte
rn i
n:!
fragi
le c
qe
cts,
th
ng
s
v.tie
re
fLnc
tion
Isn'
t re
leva
nt?
krd
-,e
t I
Sf:
ffl
the
fig.m
es
as
tri~
. W
ld s
u:ld
en-
ly r
eaiz
ed
that
IN
8 Q1
Y8 v
ijJe
to
thin
gs f
cr
diffe
rent
rea
sons
. .A
nd a
ll th
ose
ttw-g
s I h
ad r
ejec
ted.
I s
oode
n,y
mss
ed.'
HoY
,, d
o d
esi{
1ler
a µ
8llf
y su
ch
SOO
fflf"
9V o
dd
t:o
ah8I
Aa"
as p
ut
Ing
1 B
th-c
entU
'Y f
ig.m
es a
·lwirl
n
asta
eik
etv
toss?
Th
e~
test
t>uz
zwor
d in
th
e pr
ofes
sion
is
'rmat
iw,"
me
crilg
tria
l d
8si
gl
rn.is
t to
ll a
goo:
l tiW
&.
"Eve
ry
ctje
ct h
as a
sta
y,'
say.
; M
Jich
base
dthe
light
ingd
eS9'
Bl'"
h\1)
tv
1au-
8',
'Des
ign
has
bec
om
e so
sh
allo
N,
just
OOO
U1 t
he
rad
ius
of
a ca
ner;
D
J!
then
3 IS
S
O
m..d
1
ll"0
8.
You
ha
ve to
sa
y so
me
,... ,
De
sg,e
rs li<
.e M
aure
l" w
a--it
to te
a
us s
uch
stcr
ies:
Hs
'Mle
re I
ve
You,
Ecl
son?
Lar
Tll t
a n
sta
rca
, Is
a h
olo{
1a-n
of
a ig
1tb.
Jb t
ha
t
dis
ap
pe
ws
v.he
n y
ou
tum
oft
the
iglt
. B
oth
ther
e a,
x:1
rot
ther
e, I
t Is
a
little
pa
rabl
e ab
out
the
mira
cle
of
light
. an
d it
wo
rks
beca
use
the
desi
gner
ha
s c.
aplU
'ed
1he
sto
ry in
one
mag
e an
d tit
le.
Con
stM
tin
Boy
m,
a
New
Yor
k d
es9
)0r
fim:iu
s lc
r h
s B
Jild
ings
of
Dis
astw
mod
els
of
such
st
ruc•
lu
res
as
the
Odw
lcm
a Fe
dera
l B
ukri
g an
d th
e U
nabo
mbe
r'S
cab
in,
agre
es.
"We
belie
ve
that
th
e m
ost
mpo
r1cV
1t !
hilg
is t
o te
l a
stor
y
witt1
iri
ctj
ects
.' re
S£f
/S.
\/vt1
at
\NE
lmay
SO
Clfl
bese
eing
.lh
en
,is
a ne
w c
lass
of
pnxf
l.ci
s. G
ood
Des
ign
isn'
t go
ing
to g
o a
.MJv
.
Des
igne
rs
will
ke
ep
mak
ing
obje
cts
1hat
are
slm
p~.
affo
rd
eole
lrd
use
flj,
bu
h?
)' Y
il al
so
try
to g
et u
s to
use
CU
"~
oons
. T
hey
will
te!I
us
stor
ies.
The
y 'M
Ii seM
lhn
gS t
ha
t ar
e cn
e o
la~
.Mth
ete
ch
·ro
log
ylh
at
seem
s to
pe
rvad
e O
lX
wor
icl,
from
ce
ll ph
ooes
to
th
ose
kJst
rous
reN
pas
ties,
dis
appe
ars
as w
e fo
cus
en t
het cn
e be
autif
u th
ng
tha
t is
st
rang
ely
JTip
erfe
ct
be-
cru
se I
t w
as m
ade ~ t
wd
CK
from
J'9
C'p
ed m
ater
ials
cr w
as
pxp
ose
fully
'mal
lorm
ed.'
Goo
d D
esi
gl
rnig
,t
be
fMJI
Y·
v.t.e
re.
but
ther
e's
stil
room
fa
th
ep!J
01yb
ea.J
tlflA
andl
heut
terty
us
eles
s.
'Go
od
D
eslg
i is
not
an
Jt
Sfyi
e, b
.A o
cnt ~
with
th
e ri
gil
mat
eria
ls f
cr t
he
rlg1t
ft.
r)ct
lon
In
a
con
cep
tua
lly
inte
resh
ng
Wfr/
.' sa
ys
Pao
la
Anl
onol
i, a
cu-a
la o
f d
esi
gl
at
New
Yc:
Ws
M.J
oo.x
n o
l M
od
em
M-
lheF
cttK
mii
:ofr
no
der
rlsm
. "G
oo::!
Des
ig1
mak
es y
ou l
hii<
..
Nd
ll"o
l.q
ltM
Sn
osty
le
No
w t
hat l
ess-
is-m
ore,
for
m-f
ollo
ws-
tunc
t,on
mod
em,s
m 1
s av
aila
ble
from
Tar
get,
will
it s
oo
n b
e ta
stel
ess
to h
ave
go
od
tast
e?
By
Aar
on B
elsk
y
"'O cu .n
(f)
Q) 0 0)
::: C
0)
.(f)
Q)
"'O
"'O
0 0 0)
:: C
Q)
.c s
Wal
k i"l
lo fJ
O/ W
Hot
el E
lli y
ou w
ill b
e S
lmU
"ld
ed
by
'Go
od
Des
igi.
' And
K w
on·t
be th
e po
tted
PeW
TIS a
n:!
wo
od
-ga
in d
esks
tha
t w
ere
once
al
mo
st tr
iJef
"sal
r1
hote
l k:
>bbl
es.
nste
ed,
you
wil
fnd
conc
rete
suf
aces
ar'd
funi
ture
mad
e of
gas
s M
d s
tool
. G
o to
yo
., ro
om M
d y
ou m
ay
feel
a.s
If yo
u ar
e i'l
1he
spa
tiaJ
eqliv
alen
t of
M M
TW
li su
it w
orn
v.ith
a T
-shi
rt s
~is
h,
casu
al b
ut r
rtt-
na
l su
iace
s i'l
stee
d r:A
dw
ltt,
flo
ral
patte
rns
Md
coi
or Y
et t
is Is
no
t a
bout
Jque
hot
el r
Mk
eted
to a
sm
all,
S8le
ct a
ucie
nce
of th
e d
esig
,·sa
wf
elite
. K's
a na
tiorM
1l.1
e ch
ai1
The
>Na
-I of
mak
ing
thin
gs t
hat
Cfill
CS h
ave
been
cal
li,g
Go
od
De
sg,
srx:
e th
e la
st W
orld
Wa
r (b
y w
hch
the
y fT
l8W
l pw
ed-d
oY,f
\ m
uted
Md
S
l~tt
y m
oc:h
f1ed
) ha
s go
ne s
o m
ains
tream
tha
t It'
s av
aila
t:iie
at
Ta-g
et. A
nd t
hat d
esg
, ~ rT
'i&El
'll to
fll
N8Y
cac
het:
Usi
'lg th
e ne
wt,.J
tran
sluc
oot
Sw
irtj
ile
stacl
er o
r ca
-ryi
ng &
msc
:rlle
's st
re.r
ni"l
ed u
ggag
e m
eMs
that
you
are
a ~ m
od
em r
rm o
r w
crn
,:ri
'MlO
ew
es a
bo
ut
the
sfy1
es o
f the
her
e M
d r
oN
. E
w!y
lhln
g fro
m h
otel
nte
riOl""
s to
cor
rput
er e
xteriO
l""s
has
beco
me
a de
si9'i
slat
emen
t th
at e
xpre
sses
!M
t w
oncM
ew.
Bab
y b
oom
ers
trou
gh\
up
on
the
WOO
< of
Ol8
11es
Md
Ray
Ea.m
es W
ld 1
he m
oval
lort
s of
the
sp
ace
age
hav
e 'M
"Ole
hea1
edly
em
b"ac
ed t
he
tra
pp
ing
s of
mod
erni
sm a
s n
ost~
-fuol
ed G
ood
Des
ign
.
The
idea
of G
ood
DeS
ign
was
frs
t pr
orru
lgat
ed b
y Eu
-ope
M E
W"d
l~ec
ts a
nd
des
,gne
rs 11
the
192
0s. B
ut fo
r a lo
ng 1
1me,
mod
erns
m w
as s
een
as a
ppea
ling
orfy
to
an 8
\lcW
lt-ga
rde
elrte
. O
nty
11 re
cent
yea
,s h
as t
he f
ashi
on n
dust
ry m
ade
rail-
thin
ele
g.Y
)Ce
and
all-b
lack
min
imal
ism
so
met
hng
to v
.hd
l w
e sh
ou
d a
l as
pire
. Fr
OO
I ~ K
lel"'
I m
odel
s an
d P
rada
lri
orm
s, r
t ha
s sp
<ead
to
hOus
ewcw
"es,
shoo
ts W
ld n
.mll
l'0
(Kle
in p
rodu
ces
his
O'M
l). G
oo
d d
eSig
n is
bot
h t,
igl
styl
e an
d s
o m
ass
-ma
ket t
hat y
ou c
an't
esca
pe It
eve
n If
you
wa
-it to
.
But
It G
ood
Des
ign
Is e
very
v,,tw
e, 'M
'We
does
tha
t ie8
Ye
thos
e se
lfsam
e ev
a"lt-
gard
e el
ttist
-pe
ople
'M"lo
hav
e yi
scer
al n
eed
to c
haJl
enge
1he
st
atus
quo
? B
ewae
, ~ t
hose
of y
ou 'M
lO r
ep!a
ced
',Q
I.I"
Ear
ty A
Ale
rican
'Mth
Jap
ar-e
se a
vtal
ism
: T
he p
en
du
l.rn
of
styi
e m
ay b
e sw
tlng
to
selfs
ame
avan
t-gar
de
elrtl
st-
peop
le
'MlO
h
ave
vi
scer
al
need
to
~ t
he s
tatu
s <P
)? B
ewar
e, a
l th
ose
of y
ou w
tio r
epao
ed y
nx
EM
)' A
mer
ican
"M
th J
ap
a)e
se t
.Ual
ism
: T
he p
eno.
.uT
I of
Sly
le m
ay
be s
tcltn
g 10
svk
g b
eck
'Tli
s no
1Jcn
of rn
iTre
ist d
es,ig
1 m
ay n
ot b
e
pler
,ed
a.rt,
but
K is
cer
tari/
r'I
pay,•
say
s D
EMd
Kel
ey,
lord
E,-
Wld
CEO
of
OEO
, 1h
e ~ p
rod
x:t-
de
slg
i fir
m t
hat
spec
ialz
e,s
n ob
ject
sofG
:xx:
:IDes
ig,\1
(has
!JV
81'1
US
such
slee
kgoc
xisa
s1he
Par
n V
a.k
a "t
he P
am A
lol.
j
With
tod
ay's
ca
rµrt
ern
. he
e.x
plai
'ls,
"de
sgle
rs c
a,
mak
e al
l«ld
s of
lo
ons
that
v.e
rm't
poss
ible
bef
ore"-
!he
rro
st o
t:Mou
s ex
arrp
e b
an
g
Frr
i G
etY
y's
ma.s
tet'N
OO<.
1he
fre
e-lo
on
Gu
gg
em
em
t.1
useU
T1
i1
Bilb
ao.
"Bes
ides
," K
aley
say
s, "
it's ta
sHoo
to w
ant
sorn
ett-
g di
ffere
nt,
Md
som
e pe
ople
Ml
sti=
r-klg
fer
dir
eclio
o."
Kel
l&y
<ISO
1tr
is th
at 1
he n
o-ea
si"lg
ly J
a,ga
Md
drv
orse
CO
'lSU
Tl8
I"
cutix
a o
em
.n:i
s m
ore
d"oc
8. "G
ood
De
sql 1
s no
t ab
out
the
perfe
ct
1tw
lg ~
.·
he r
ruse
s. '
but also
~ a
k:>t
of
dffe
rent
peo
ple
bA:j
thei
"CJM
1per
scna
lide
ntlt
ies.
'
Fu
,, v
.it a
nd v
Jim
sy d
o s
eem
to
be
mak
r9 a
ccm
eb
ack
. A
"lilip
pe
Stm
:k.
the
mas
ter
of fl
uid
IOIT
n, ro
N p
rese
ntS
i.;e
s11c
g&
<cle
n gn
omes
a
nd
cry
,,ta
ldw
"'d
elie
rSw
rttl
a~
face
R
esto
ralio
n~
e
dla/
u"lg
es t
he
bJ1C
of
the
dO-it
-y(lU
"Sel
f rr
wvn
ahsm
of
Iha
Hom
e D
epot
'M
th
ck.n
(y W
fc
r'l'"li
la,
and
SC
fl'"l
el'n
.y ro
man
tlc,
tool
s.
Th
e
MO
QU
B a
xces
ses o
f~
a-a
as p
optA
ar fa
-!as
tion
ph
oto
sho
ots
as
the
abs!
l'OC
I mod
erni
st lo
ons
of P
ahl S
pmgs
,
\-'ohla
t O
l"l0
mg
it tt
in<:
of a
s at
her
delib
erat
el-/
bad
tast
e a-
a n
ost
allj
a
b" m
om c
anpl
ieat
ed,
rath
er t
rm w
tffid
a'ly
si'r
pifia
d, t
me
s is
rM
ldn
g
the
veKY
l:Ju
M'a-
ks o
f Goo
d O
esg,
. N
. M
oss,
Mcm
attM
"s ~ t
em
pe
of r
rww
nal
oqoc
tS,
prid
e of
plo
ce d
un
g N
ew Y
ork'
s ~
Fu
rmu
a
Fair
was
Q
IY8!
'l to
18
th-c
entu
ry
roco
co
l'iym
phen
l:>IJ
g
porc
el1a
n flg
i.mes
. tv
\.nay
Mos
s st
aged
th
e ~ ~
beca
use,
he
says
, i
felt
ther
e w
as S
CYT
lB!tr
ig r
riss
ng
Ira
n m
y di
et.
I ctt
i't d
o It
to
be
soo
satlo
r'IO
I a
rute
. I a
sked
mys
elf,
Wht
do
I v
akJe
ltw
'gS
that
!V
e in
dest
n.ci
Dle
, rM
SS
-pro
dx
:ed
an
d fi
.nc1
klnEI
I r1
1 ot
her
wor
ds,
rrod
em]?
Wht
dO
I c.i
s!ike
pat
tern
and
lrag
ie c
tjec
ts.
ltw)g
s.
l56
APPENDIX B. THE LAYOUTS FROM STUDY 2
ON THE COVER Thef'l'rv-of650--111u--'ootSouth aeac:tist.dopenthouse s a1Bsson11 smal-soacerenov.1100 PrQo..lcedt;,ylr,oeQ•K81Jfte Photograph by o..ntin Bacon Saa page 206
METROPOLITANHOME NOV /DEC 2000 vo1.xxx11, no.6
45 Take Note by Anene Hirst 102 The Big Idea; Simply Grate OUr keen shopping !fye ~cks out fashion fabncs by Mdlael L.assell for sofas and stalrliess steel ffatwaro from Tiffany A shower fioof that's safe, comfortable and chic.
48 The Word 104 Met Tomes: Seasons Readings The busy buzz oo what's new and what to do by Sarah Lynch
A troasure trove of big books for happier holidays
50 Metro: Travel AA .ns1der's travel guide to the best places to eat, 108 Good Buys: Digital Decisions stay, shop and visit- from !he Ben<shires to Bar11n by David Eirich
Three great d,grtal cameras for budgets that range
56 City Report: San Francisco from cybercaf0 cheap to photograph;a; wondar.
by Diane Dorrans Saeks 112 Tech Notes: Click Picks The C,ty by the Bay is boorrnng-heabng up
America's favonte urban destination. by Bonnie Schwartz Let your aching feet stay home in a :ovely soak
62 Color Ways: Orange Aid while your fingers find gifts for yourself and
by Saran Lynch others on-1,ne
It's name means 'fruit of gold'- and rt's a bnghl 116 Weekend Kitchen: Hot Gobbler iOea whose time has come
by Donna Paul
74 My House: VIiiage Voice Boston's chowd8" master Jasper \Mite turns !is
by Nuaia O'Faolain lefl:O\lef tl.J1<ey mo sornethng hot. hearty & deictous
An lnsh writer whO lives in a cottage by the sea 124 Met Views:- When •Good Des1gn• Goes Bad heads to Greenw,ch V•ttage for inspiration
by Aaron Betsky
87 Mat kids: Colorforms Now that pared -down design is available at
by Susari Morgan Target. can a pendulum swing to the ornamental
Des:gn superstar Oav1d RockWell couldn't raise be far betvnd?
his first -born 1n a bonrig, ugly or oft -the-rack 132 ConectJng: Bullish on Modernism room. no. could he?
by Cara Greenberg
98 Editors· Choice: Seats for the Petite The rnillet"num ras fr,aJi tuned, and so have
produced by Dorena Sperdute pnces-upwa'd--o rare pieces from the 20tn ce,tury
Not for adurts only: These Chairs for children 252 Trend Watch: Beyond the Fringe are as h,gn style as the grown-up class·cs mat
inSp;red them by Tara Mclellan It's not 1ust for frayed edges anymore: Fringe goes maximal
Editor's Page >L Mailbag J8 Ask David 82 Dr. Swatch Recipes '30 Resources 23
METROPOLITANHOME NOV /DEC 2000 vo1.xxx11, no.s
ON THE COVER 1no-w-,garooot650-squar&-lootSov1rlflolchs!Udioperrt>iouse•ak!Jllot'lnamal•apecertlll(Ml1,on ProdlleedD)luldoO"~lil PrlOl~byOuen:i1Bacon.SMpage,206
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1 02 The Big !dee: s,mply Grete by Michael Lassell A Showof floor that's sa!o, comfortablo ood ch,c
1 04 Mot Tomes: Soasons Readmgs by Sarah Lynch A treasure !rove of blQ books for haPPJOI' hOIK'.lays
1 08 Good Buys: Dogrtal Decisions by David Elnch Ttvoo gmai cilgrtal came,as fof budgets that range from c:yt:MYcalO choap 10 pootographlcs WOOOCI'.
112 Tech Notes: CIiek Pocks by Bonnie Schwartz Let your act\lng feet stay home 11"1 a lovely soak
wtl1le your frngws find gifts tor yourself and otherson-I....e.
11 6 Weekend Kitchen: Hot Gobbler by Donna Paul Boston's d'Xlwdflr ma.ste, Jasper \Mlte lUTIS his eftovor ti.Ikey n1o something hot hea1y & dolicious
1 2 4 Met v;ews: When "Good Des;gn" Goes Bad by Aaron Betsky Nowtha1 pared-down design Is available at Target, can a penduh.rn sWing to tho orrwnental
be far benlnd?
132 Collecting: Bullish on Modernism by Cara Grocnborg The ~ernk.m has fnalty tuned, li'ld so have
~ rara 1)19Ces from the 20ttl CElfllury.
252 Trend Watch: Beyond the Fringe by Tara Mclellan It's not r,.ist for frayed edgos anymo«r Fnnge
goes maKlmal
Editor's Page 32 Mallbag 36 Ask David 82 Or. Swatch 1:?? Recipes 230 Ri,sources 234
CD 0 C
45 Take Note by Arlene Hirai 0Uf koon shopptng oyo picks out fashOn labncs for sofas and stainless steel natwa.ra from Trffany
48 TheWord The busy buzz on what's flf1N and what to do
50 Metro: Travel AA !f"lside!'s travel guide to the best piaces to eat stay. shop and VIS,1- from the Berkstwes to Ber1in
56 City Report San Francisco by Diane Dorrans Saeks The City by the Bay is booming--heat,ng up America's favorite urban destinat!Ol'I.
62 Color Ways: Orange Aid by Sarah Lynch It's name means 'fruit of gold'- and it's a bright Idea whose t,n,e has come
7 4 My House: VJHage Voice by NuaJa O'Faolain AA lnsh 'Miter who lives 1n a cottage by the sea heads to Gmen'Nich v,~aga tor lll5P1ration
8 7 Me1 kids: Colorforms by Susan Morgan Design superstar OaVld Rockwell couldn't raise
rus first-born 1n a bonng, ugly or off-the-rack room, no. could he?
98 Editors· Choice: Seats for the Petite produced by Doretta Spe,duto Not for adults only: Those cl'l&rs for children are as high style as the grown•up claSSICS that f'lsplJOOlhem,
158
ON THE COVER Thaiw,garNof6&'.l-.,._footSou:t'Beed1s:udopsnt,ooN••..scn .-. ~l'lll"C7VBtlOn ProdJClldbyl.Jr10il.O'KNlfl Pt,ot~t,yO..........Bacon $Mpage206
Editor's Page 32 Mailbag 38 Ask David 82 Or. Swatch 122 Recipes 230 Resources 234
1 02 The Big Idea: s,mply Grate by Michael LasseJ A shower floor that's safe, comfortable and chc
1 04 Met Tomes: Seasons Readings by Sarah Lynch A treasure trove of big books for "app,er holidays.
1 08 Good Buys: Digital Decisions by David Elnch Three great digital cameras for budgets lhat ~ from cybercaf! cheap to photographies wonder.
11 2 Tech Notes: c1;ck P,cks by Bomie Schwartz Let your aching feet stay home ,n a lovely soak 'Mll~ your fngers t'lnd grtts for yourself and otnerson-line
11 6 Weekend Kitchen: Hot Gobbler by Donna Paul Bostons chowder master Jaspe, 'MYte nms i-.s tlftCMll" tlJksy into somethng hot. he!i'ty & delicioui
12 4 Me1 Views: When "Good oes;gn• Goes Bad by Aaron BetsKy t-.ow tha1 pared-down design ts avaiable at Target, can a pendulum SWtng to the ornamental be far behind?
132 Collecting: Bullish on Modernism by Gara Greer1berg The mwn..rn has fnaly tl..med, and so NJV8 ~ raro pieces fn:rn the 20!t'I C0"'itury
252 Trend Watch: Beyond the Fringe byTaraMCleftan It's not )US! for frayed edges anymore. Fnnge goe,ma,m,,J
132
Contwitscon1nJeSonoage l8
45 Take Note by Mene Hirst Our keen shoppi11Q flye picks out fashion fabncs for sofas and stainless steel flatware from Tiffany
48 TheWord The busy buzz on v.t,&t's new and what to do.
50 Metro: Travel AA Insider's travel guide to the best places to eat, stay, shop and visit- fro<r the Berkshires to Ber1in
56 City Report: San Francisco by Diane Dorrans Saaks The City by the Bay Is boominir--heattng up America's favorite urban dastination
62 Color Ways: Orange Aid by Sarah Lynch It's name means "fru<t of gold'- and it's a bnght idea whose t1ma has come
7 4 My House: Village Voice by Nuala O'Fao!ain AA Irish writer who lives 1r1 a cottage by the sea heads to Greenwich V~lage !of ,nspiration.
8 7 Met kids: Colorfonns by Susan Morgan Design superstar David AockweU couldn't raise his lir,;,1-bom In a bonng, ugly or off-the-rack room, no, coold he?
98 Editors' Choice: Seats for the Petite produced by Doretta Sperdute r-..ot fol' adurts only: Thcso chairs for chrtdrcn are as high st)'ie as the grown-up classics that inspired them
159
1 0 2 The Big Idea: Simply Grate by Michael Lassell A shower floor that's safe. cotr.for-.ablc and cnie
1 04 Met Tomes: Seasons Readings by Sarah Lynch A treasure trova Of b~ books for happier hohdays
1 08 Good Buys: DigttaJ Decisions by Oavld 8rlct, Th!'86 great dlgr-.al cameras for budgets that rir,ge trom c:yben:afe C'leao to photographK:S wonder
I 1 2 Tech Notes: Click Picks by Bonnie Schwartz lei your aching feet stay home 11 a lovely soak """111e vour fingers find gffts for yo,.,rsetf and others on-line
11 6 Weekend Kitchen: Hot Gobbler by Donna Paul Boston's choWdcr master Jaspor ¼hto tt.rns his
lertoYefturkeyntoscrneh)Qhot,tl9cYly&deliclous.
1 2 4 Met Views: When •Good Design" Goes Bad by Aaron Betsky Now that pared-down design is availabie at Target. can a pandulum swng to the ornamental be far beh,nc!?
132 Collecting: Bullish on Modernism by Cara Greenberg The milern.rn has fnally tunea. and so have ~ rare paces lloT'I It"$ 20th witury
252 Trend Watch: Beyond the Fringe by Tara f\.'clellan It's not Just for frayed edges arrymore Fnrtge --
METROPOLITANHOME NOV /DEC 2000 vol.xxx11 , no.6 ON THE COVER T'ia!ivng!IAl&o/55(}-~fwtSoJttiBaacliatuciopemha.., .. aa\es&onf'small-wacen,rio•all,;1, Prodo..ceC bV I.rid.I O'Ke&1'9. r'holo<;.lraori oY OJarLn Bacoo SN~ 206
wfri)®ITTl '3'3 @@@<dl <d] ®~•@ITTl 5151
@@®® [b)~<d] ByAaronBets~
)f- Now that less-is-more, form-follows-function modernism is available from Target, will it soon be tasteless to have good taste?
~
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llli~ilit~f~ li11!l!lf!II t.1H1l_•'iill 13 ••••••~ ! • ~i1B•·! ~i I ~1:a•l1l1•1 1 t;ii •• ~~i1 l•fi1Jl1i1I •allil~II ' ~ ;r,11 11111
*
!PU!1U!P 0 dt•ig ~•u
ii,,> l~1_i~;-l; ;i&upm -~ & 1lf••~~loi W
~1 - -_~_ir~-1~ R• nnP i~(:.·iadH §~ -r~i:nJ[ - fi! ~ •Pi ;I 1d'.d•;1 -lh'Hj~-a 1d.id,:~!l
Walk ,nto l¥1Y w Ho1e1 anc1 you wi~ oo Sl..ffOIJf"(jed by 'Good Desig, • Aro ~ 'NOO~ be lhe
potted parns and wood-grain desks that were once almos1 llllversal ii hotel lobbies. hs\ead , you WI mdcoocretesll'iacesandltmturemadeofg!Ms
and steel Go to yo;s room and you may feel as ~ youareflthespallalequvalen:ofanArmanisu:t worn with a T-shirt stylish, casual but rrinrTl8I Sllfocesinstaad ol ctintz,lloralpattemsandcolor. Yet ths is riot a ooutiQue hotel rTWketed to a smal,
select audience of the design-sawy elite. It's a
r,atior,.w:techa,n
lhewa-fofmakngtr.'lgsthalcrtticshavebeeri
caling Good Design shce !he last World W-..: (by v.tich 1n8y me.-1 pa-ed-OOM\, m.Iled and slig11jy machined) has gone so mainstream that ifs avai8b1e 81 Tatg9t And that desi\71 Is m&a'll to
COf'M.IY cachet: Using tl7e r,(!Wfy tr8!7slucent Swinglioo stapler or carrying Samson~e·s
streamlined luggage means that )'OI.J are a th:lroogtjymodemrTW1orwomi.-,whocaresabou1
thes*solth!lhereandrYJN. Everytingfrum ~elill81'o-sto000l)Uterextert::nhasbeccrnea
design statement that expresses that worldwrw. Baby bocmefS t:rougt,t up on th!! work of 01ar1es !l'ldRayE&'nes!l'ldth!lhrovaOC'f\Soflrespace age~ ~edly embraoed Ire trapphgs of l"l"1!Xl8rlm as nostalgia-fueled Good Desig,.
UiF~ ~-r~h ! Hi Lh-.t ·
11r:· ·1111 1111 ~er 1gtil !~•~i!~ii 11i_ li lli o!'•l~~~- i~j
-~i ;~1•i1~,, ~s. J•~ 11 -l!II tf; ~~jiHi
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iii~! ~st! 1 ~~: !!; -l~i!~ l1 11 l!l1! 1111 .~! -1 !11• 110~ . ~=•· !!~ii }§~tlifil! ii~i
At Moss, Mantiattan's retail temple of mn mal
oc,ects, ride of place dU'ing New York's Contempora-y Furniture Far was given to 181h
oent\xy rococo~ port;&'laii fig..rnes
MIJl'l'ay Moss staged the Nympt,enb\.rg st"IO'N because, he says. 'I fett there was somettr,g
missing from my diet . I octl~ 00 It to be S8lSational
orCUle.l askedmtSelf. 'M-rtdol~tings1hat .windastrvctitie,mass-proo.iced!l'ldfurcbor\alf,n
other .....ads, mcx:Jem]7 Wrry 00 I dtsli<e panem Md friqeobjectS.lhings'M"lereltrctioo!sn1relevant"
And yet I sa-N me figu1nes as brilliwit. and I
suddeny realized that we give \/8Ml to thrtgs for different reasons. And al l those lhngs I had
re)8Cled, lsudden,yrnssed.'
l[f!l~t!~ 1~-[:!111 ·•~~1;:11 - ~~,;ilii
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ii~~ i ~·I~ ::,::~s,~~,:t.wloo;: ~ J~i{ 'i i~ astorelikeMoss?The lat6Slbuzzword in lhe
,e: 2" ~ 2. ~: ~ prolessicFiis 'NmtiY8,'fll81WlQtnat desqllT'I..IS ~j ~j~i& ..,,_,.,_.,_.,ot,ect...,uo,y: ..,, i ~ • i ~ . ~- ~ ,..,.,, _ _,,., !iii"~ • """'""""""'Mox~.·°"""''"'""""' · ; 1- if~ so~,-juStaboutlheracius of acomer;tu ~~a~--~}
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091
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t w
e ~
v.llu
e to
thi
ngs
for
diff
eren
t re
asoo
s.
Md
al
l !h
ose
1h
iogs
I
had
reje
cted
, ls
ud
der
iym
isse
d.'
Ho
w
do
d
esi
gn
ers
Ju
stify
su
ch
seem
ingl
y o
dd
beha
\nO
I' 11
s p
utt
hg
18t
h-c
enti.
.ry
fig
lme
s a
-!W11
n
ast
ore
like
""'°
55
7T
he
lato
otD
.JZ
ZW
Ol'd
rlth
o
rro
;j(l
is o
f su
et,
Stru
:::IL
l'OO
as
the
Od
alo
ma
Fed
eral
B
uild
ing
Md
Ire
L.n
abom
bor's
cab
in,
egao
s. W
e
bo
lie
"8lh
alt
rem
ost~
lhin
gis
tote
lasto
,y
v,itt
,91
ob
jee
tS,"
he
says
'M"e
t wo
rney
soo
n b
e s
eein
g, t
hen,
is
a r.
f:W
cla
ss
of p
rod.
lets
. G
ood
Des
ign
isn
't P
lQ 1
0 go
aw
flf.
Da
sig
lors
wlk
oo
pm
akl
ng
OO
!OC
lslh
ala
raS
fTl]
le,
affo
rdab
le a
nd u
sefu
l, bu
t lt
l6')
'wl
els
ol1
y to
gol
us
to
use
our
maj
na.1
i0ns
. T
hey
vM
tel
us s
torie
s.
Th
ey'M
I se
jl lt
ing
s th
at
we
one
of a
-in
d. A
ll Ir
e te
d1
no
log
y th
at
seem
s to
per
vacl
e ou
r w
orld
, fm
n ce
ll p
ho
ne
s to
th
ose
lust
rou
s n
ew
pl
astic
s.
~ a
s l'"
9 !o
rus
oo
that
one
bea
utif
u \t
rig
th
at Is
str
.:n
;iett
rrp
erf
act
be
cau
se ~
was
mad
e 1:1
1 h
an
d o
r fro
m r
ecy
cle
d m
ate
ria
ls o
r w
as
plSp
OO
Ofu
ily
"mal
form
ed.'
Goo
d D
esig
n m
ig1t
be
eve
ryM
lllfe
, W
th
ere'
s st
• ro
om f
or t
he p
u-el
y bo
autif
\..i a
nd I
re i.
flMy°
USl
'!IE&
.
·Go
od
D
esi
gn
is
n
ot
ab
ou
t st
yla,
bu
t a
bo
ut
com
po
si,g
.,..
;1h
tho
r1gn
t m
aten
als
for
the
r1{tr
t
func
tion
n a
conc
eptu
al~
hte
rest
i'lQ
~
,'
says
Pao
ia A
<1to
neli,
a C
U"a
tor
ol d
o&gn
al N
ew Y
ork'
s
Ka
ley
also
thi
n<.s
that
th
e l
'1C
ffl8s
ingy
lw
ge
and
~ I
s "r
arat
Mi,·
l'l1
8WW
1Q t
ha
t de
slg1
rru
s M
us8U
'l'1
of
Mo
de
m
M~
th
e F
ort
Kno
x of
diY
orse
CO
OS
Lm
EII
' ru
nxe
derT
'a-1d
s rn
oro
choi
ce
tell
a g
oo
d t
ale.
"E
.,),
y oo
ject
hes
a s
tory
," sa
ys
mod
en'is
m.
'Goo
d D
esi1
11 m
aMS
~ t
rwlk
.' Ar
id
"Go
od
D
esig
n si
n
ot
abou
t th
e pe
rfec
t th
ing
Mtl
lid'
l-b
ased
the
11
1()u
glt h
es n
o s
tyie
.
in,,
mo
re,"
he
mus
es.
'bu
t al
so
help
i"lQ
a l
ot of
ci
fl&en
t pe
op
le b
uk
lth
ei' C
IY,fl
pers
or,e
l icl
on1i
tias.'
Fui
, w
it a
nd
v.t
imsy
00
see
m t
o b
e m
eki-l
Q
a
oom
ebac
i<..
Pt-4
ippe
Sta
rck.
th
e m
aste
r of
lu
d fo
rm,
OO
N pr
esen
ts p
last
ic g
Erd
8n
IT'O
f'Tl8S
Md
c,y
stel
ch
ande
liers
w
rtt1
a st
raig
ht
face
R
esto
rauo
n
Har
dwar
e d
lale
ng
6s
the
logi
c or
the
do-
~-',O
XS
61f
min
ima
lism
ofl
he
Ho
me
De
po
t'N
lltl
clln
(yb
ut
flWTl
ii.Y,
and
som
ehow
rom
arlti
c:,
tool
s. T
he tw
oQ
uo
axo
osse
so
f~¥
£1
asp
op
.Ja
-fo
rfa
slio
np
ho
to
shoo
ts a
s th
e llO
Slr
a;t
rn
od
efr
lst
lam
s of
Pal
m
-·
lgltl
llQ d
esg
)af
lng
o M
&.m
'. "D
esil,
l has
boc
:om
8 so
sh
!!lc
fN,j
uste
bo
l.A
the
rad
iuso
fao
on
e.-
:bu
t
ther
e is
so
rruc
h m
ere.
You
hav
e to
say
scm
ett.
ig.
De&
gner
s .i.
.e M
alx
er
wa1
1 to
tol
us
sud'
1 st
orie
s
Hs
'Ml!
lre
Ne
Yoo
, E
dson
? t.
an
p,
for
lnst
arlc
e, iS
t1
ho
og
'arn
oft
11
gh
tt.l
,Jb
1h
a1
di~
v.h
!nyo
u
!l.m
off
the
light
. Bot
h th
ere
and
no
t the
re,
tt Is
al'
lttle
p;y
ab
le a
oout
th
e r
rj,a
ci(l
of
igh
t, a
nd
~ ',
"JO
I\($
beca
use
the
de-s
igne
t he
s C
8p
llie
d th
e s
tory
no
ne
imag
e an
d ti
tle.
C
oost
Mtin
Boy
m,
a N
ew Y
ork
dosl
g'le
rlOO
'lOU
S f
or h
is B
uld
rlg
sofD
isa
stw
Wal
k 1n
10
Ml'/
w
Hot
i:1
Md
Y
oU
w11
oo
suro
..ro
ed tl
'jl 'G
ood
Des
ql.
' And
II: l
'oO"l't
be
lhe
po
tte
dp
ei'n
sin
::lw
oo
cl-g
ain
oo
slcs
tha
lwe
roo
nce
alrr
ost ~
i'l t
'Ole
llobb
ies.
rlS
tood
, y
auW
II
fln
do
on
aete
9l.
l'fa
cesi
n::
1M
ito
.lem
ad
eo
lgla
ss
in:!
ste
el.
Go
10 y
o.I
roo
m i
n:!
Yo1
J m
eyfo
ol B
S W
y
au
ni'
ltle
spatl
al8
CJ,
M1
18
r1:o
lan
MT
iari
aA
I
~w
ltlaT
•sh
ln.s
l)1
1sh
,cas
ual
bu
tmri
mal
8U
'fec:
es l
nsla
ed o
l cH
ntz.
lor
sl p
onem
s m
co
lor.
Yet
lhls
lan
oc
a b
ou
tiQ
ueh
ota
IT18
l'kOO
Kl t
oasm
el,
sele
ct a
i...
den
ceo
l !h
e d
&s,
lg'l-
-sa
wye
ite.
lt'S
11
f"lll
lk:n
,,4do
ctw
:lil.
Th
ew
tfjo
lf'r
dW
lgth
r1g
slte
.talt
k'.
:8h
EN
eb
eeo
call'
9 G
ood
Des
ign
srce
t-&
1as1
: 'No
r1d
Wet
\bt
'M
'ktl
lhe
yme
mp
e,e
d-<
i:JM
l,IT
IJte
da
nd
8llg
llty
mac
thld
l ha
s g
on
e
90
mu
istr
ea
m
!hot
It'
s IM
llatm
atT
l!rg
BI.
And
tt
vn
do
olg
lie
me
irit
lO
con
wy
ca
chet
U
sng
the
n6
My
tran
suce
nt
Swln
ghr,e
st
aple
r o
r ca
rf)'l
og
Sam
soni
te's
stre
am
lne
d
ugga
ge
mea
ns
that
Y
oU
ere
a th
oro
uji
y m
odem
man
av,
,om
sn ..
..t-.o
Cll
'88
abo
ut
th8
sty
leso
f!h
eh
mtn
:1n
ow
.EY
ery
tt-t
igfr
om
h
ote
lna
ib"s
toco
rrµ
Jte
reid
erb
sh
asb
eco
me
a
de
sq
l st
atem
ent
tha
t e
xpe
sse
s th
at
wo
,tcM
ew.
Bo
o,b
oo
me
rst"
lro
ug
lt~
on
the
'M)f
ko
/Qm
es
Md
Rav
Ew
nes
Md
the
h'lo
vatio
ns o
1 th
e sp
ace
age
ha
w ~ e
rroa
oed
lhe ~ a
l m
od
em
sm a
s ro
stal
Qia
-fue
led
Goo
d D
esq
i.
Now
that
les
s-is
-mor
e, f
orm
-fo
llow
s-fu
nct
ion
mod
erni
sm Is
av
aila
bfe
fro
m T
arge
t, w
tll ,t
soo
n b
e t
aste
less
to
ha
ve g
oo
d ta
ste
?
Wrt
rl
tods
y's
com
pute
rs,
h8
ex
plai
ns,
'd99
i!Jl8
fS
c.r
i m
ake
all
l<n:
:ls o
f ta
ms
that
wem
n't
po
sso
le
befo
re"-
the
mos
1 ot
Mou
s ~
be
ilg N
ln{
Geh
-y's
mas
te!W
Ork
. th
e fre
e-fo
rm
Gu
gg
ert
lem
M
uS6l
..m
In B
ibao
"B
esid
es.'
Kel
ley
says
, ·~
·s
fash
on
to
w
a<
it so
rne
lhn
g c
iffao
-ent
, M
d
som
e
pe
op
lea
e~
tct-
dro
ctl
on
.
Killle
ye
iso
ltw
'lksth
ett
ne
in::
rea
sh
gylw
ga
Md
dver
se C
OO
SU
1lE
II" cu
'lu'e
dem
ands
mor
e ch
oic
e.
'Go
od
D
esig
n si
no
t ab
out
the
pe
rfe
ct
tllnQ
1Wly
rTlO
ffl.'h
erru
ses.
·bu
la1
so
~a
1o
tol
dffa
rent
peo
ple
b.j
jj t
iler
OM
l pe
rsm
al i
dent
rtie
s.'
Ft.n
, 1W
Md
'M'W
TISY
do
soo
m t
o b
e m
akr,.
-i a
co
meb
ack
.Ph
lip
pe~
them
ast
t'fo
f!U
dfo
rm,
now
JY9
SOOI
S pl
astic
goo
en !
J"O'
T19S
m
crys
tal
chan
dalie
fS
with
a
stra
ight
fa
ce.
Res
torn
tion
Ha
-dw
are
ch
alle
ng
esth
elo
gic
oft
he
do
+~
f rT
"ri-n
aism
ol
the
Hom
e D
ep
ot
'MIil
ck
ri(y
but
f!
Yll
la-,
w'd
soo
ieh
Ow
roo
wrt
ic.t
oo
ls.l
het
:wo
cµt
exoo
sses
of M
lam
: Ml
as P
QP1
.W fo
r la
shlo
n i;
mto
sh
oots
as
the
absl
r8ct
mod
erni
st f
orm
s of
Pa
m
-· 'Mlatonemig)t
lhH
lofa
slJt
rlef
del
ber
ato
lyb
ad
tas1
e or
a n
osl.e
lgla
lor
mor
e ~
ted
, r
athe
r lt'
W1
!Wb
foa
lyS
H'4
)ifle
d,lm
6S
iSi'I
Ya
dn
Qth
eve
ry
bu
tMn
;9o
/Go
od
Des
igl.
M.
Mos
s.
""1a
nhet
tan'
s re
tal
tem
ple
of
mH
rnal
obje
cts.
rid
e o
f pl
ace
ruin
g
Ne
w
Yon
<s
Con
tem
pora
-yF
t.m
lti.x
9F
ai"
wa
sg
/ve
flto
18
th
cenn
.ry r
oco
co
~ l
)()IC
8l"la
r, lg
l.m
&s.
M
...m
ry
Mos
s st
aged
Ih
a ~
bllg
sh
oN
be
caus
e.
he
say
s,
'I lo
ll th
ere
was
sor
nett
w-i
g
rn:S
Sn;J
fn::n
i my
diot
. I <
ial't
<lo
It to
be
sen&
atlo
nal
orw
e.l
aske
dm
yse
ll,
1/1
/NJd
olw
lue
thi'l
gsl
ha
t
iwe
roa
stru
::tll
le.
mas
s-p
,oru
::e
d M
d fl
.nc:
tiona
l ,n
olh
arw
ord
s.m
od
em
]?\/
1/t
r,<
lold
isl<
sp
ett
em
Md
!ragi
l& o
bjac
tS,
twig
s v.
tlor&
UlC
1lc,
i Is
n't r
olE
Mn?
A
nd
ye
tlsa
wth
efi
gL
(ln
es
asb
rilll
en
t.e
ncl
l
9Udd
enly
rea
lized
lh
at w
e gi
ve w
ve t
o lt
Wlg
S b
diff8
fenl
t6
3SO
l"\6
. A
nd
all
thos
e ~
s
I ha
d re
joct
ed
,lsu
dcl
!nyr
ri&
sed
.'
Ho
w
do
de
sign
8"s
just
ify
such
~
od
d
bd"l!
Mor
86
pu
ttr,
g 1
81h
·081
11.1
y 1i
g.m
ea 8
-l'M
I In
a
stor
e lik
e M
oss?
Th
e la
t861
bu
ZZ
v,or
d In
th
e ro
f6SS
IOl'1
is 'r
a-ra
livc,
' mee
r..-.g
lha
tde
sg
, rr
us
tell
a g
oo
d
tale
. "E
WfY
o
bje
Ct
has
a st
ory,
" sa
ys
M..
-ich
-oo
sed
!he
lg'1
lrlg
OO
&Q
l10I
' i'lg
O M
ei.re
r. 'D
eslg
i ha
s be
cc:J
ne
sosl
'lal
cm,i
-JS
1ab
ou
tth
era
ci.
Jso
laco
mer;
tu.
\h8
'eis
sorr
uct
imo
re.
You
hav
eto
sa-/~
-
De
sig
oe
rslik
eM
iue
rwa
-itt
ote
lussu
ch
sto
rle
s:
I-is
Wn
«e
/ve
You
. E
cisa
l? l.
BT
p, f
or i
lsta
'lo
e, is
a~
ofalig
ltb
ub
lhet
diS
app
etV
swh
en~
tu
11ol
fthe
ligi
t.B
ot11
ther
&M
dn
oclh
ere
,1ti
Sar
ittle
piW
'8ble
abo
ut t
he r
mld
e o
f~
. IW
"d It~
b
eceu
seth
ed
esg
"le
rhas~
thest
ory
ino
r-,e
im
age
and
tttle
. C
onst
antin
B
oym
, a
Ne
w Y
ork
de
sqle
rfa
mo
us
forh
lsa
.Jlk
;fo
gso
fDis
ast
8f
mod
eiS
ol
8UCh
SIN
Ctlx
es
as 1
he ~ F
eder
al
att
ig m
th
e l.
klel
:Xm
ber'
s ca
bi'l,
ago
ee.
-we
be
ikM
lttW
lhe
mo
&1
~th
lng
lsto
tala
sto
,y
'Mth
an
~.'
hesa
ys.
W1
etw
em
i.y9
00
f1 b
e 90
0ing
, th
en,
Isa
new
cla
ss
of p
roci
.,cts
. G
ood
De
sq-i
isn
't go
i"lg
to g
o fM
8,/.
Dee
lg18
l"s
......
keep
~o
bja
c:t
81
hal in
Sffl
P!I.
eft
oro
eb
leM
du
selu
,bu
tlt,
eyv
.11
eis
otr
yto
9(1
1.u
s
tOU
9E
lf:J
Jm
eg
hlli
on
s.T
he
ojY
,ftt
a!u
ssto
rle
s.
Th
ey
wls
ell
tt,g
slh
et1
n1
or-
,eo
fak
lnd
.M1
he
tecm
olc>
gf t
het
see
ma
to P
8f',l
8da
cu
YoO
rld,
tn:m
ee
l ph
ones
to
th
ose
k.
lstro
us
ntr
N
plas
tics.
~
BS
we
locu
so
nth
atO
!"lllb
ee
uti
fl.i
thln
g
1het
iS ~ "
1)91
1ect
bec
llu6e
It w
as m
8de
boJ
ha
nd
atr
oo
lre
cyd
ed
ma
teri
als
orw
asp
ui:
xl6
9ft
.tv
'n"8
1orm
ed."
Goo
d D
esig
, rr
ilt'.
be
IMll)
'Y,m
'e,
but
lher
e's
stl
room
fort
hes:
:uet
-/be
autr
Uir
idth
eutte
rl',t
U69
1ess
. "G
oo
dD
eslg
nls
no
tab
ou
t~.b
uta
bo
ut
~ w
ith 1
he r
'qlt
mat
eria
ls
for
1he
r'q
lt
fulc
tio
nln
a~
i"lt
ere
sth
gW
f!tf
,'sa
ys
Pao
laA
rlto
oeli
, a
cu
ata
ol
desi
g1 a
t N
ew Y
ork'
s
Mu
seu
'Tlo
fMo
cle
mM
.-tn
eF
ort
Kn
oK
ol
rro
deo
-rm
\. '
Goo
d D
esig
1 m
ekD
s ',0
1.J
ltw
'k'
Md
thou
gllh
asno
sMB
.
By
Aar
on B
ets
ky.
GO
OD
DE
SIG
N G
OE
S B
AD
N
ow
tha
t le
ss-l
s-m
ore,
fo
rm-f
ollo
ws-
fun
ctio
n m
od
ern
ism
is
avai
labl
e fr
om T
arge
t, w
ill I
t so
on
be
tast
ele
ss t
o h
ave
go
od
tast
e?
Wai
<. r
ito
fJfP
{ W
Hot
el a
nd
you
Wl1
be 9
UrT
OU
lded
bv
"Go
od
De
sq
i.' A
nd tt
wo
n't
be
the
pott
ed p
ams
arid
v.<l
Od-
grai
n d
esk
s 1h
at w
ere
once
etn
ost
U"M
l(S
llj
fl t-
o;al
loob
ie&
. hs
taoc
t, y
ou
>MIi
lild
co
ncr
ete
su-
face
s
an
d f
l.fri
tLro
ma
de
olg
lass
and
sto
ol. G
oto
~rc
an
a'ld
you
ma
y f9
8i'a
s W
you
ae
ln th
e sp
aial
eQ.W
alen
l
ofa<
1 lv
mln
su
two
m l'.
ffl"i
a T-
stw
t sM
st,.
casu
al b
u: IT
ln'J
lal s
urfa
ces
hste
ad o
l ct
Hz,
llc
ra p
ooem
sand
co
br.
Ya
tth
s iS
no
t a
1'.>
0utQ
Jeho
telm
ail(
eted
10
a sr
ml,
saac
:ta.
dal
:::e
ctt"
e~lf
e.rs
anat
ion
wid
e m
an. T
oo W
&-1
o1 m
al<ir"
!g 1
1tgs
ll18
t cr
itics
hav
e bo
of'1
cal
lFlg
Goo
d D
esig
n m
ce \h
e 1a
st W
orld
Wet
Pl'
....
.tid
lttv
,,rr
etl
"l~
-do
M\I
TT
Jte
da
nd
~m
acti
red
/ha
sg
a,e
oo
~th
alit'
s~
atT
lr'Q
E(.
An
dlh
ltd
esi
gliS
ITT
;$1
torx
:TW
faic
he
\.l>
.:rg
1h
ar'
QM
-flr
tw1
slu
::e
nt
~ s
tapl
er o
r~
SM
iscri
le's
st~
ugg
age
rTl8
MS
tn
at y
ou
am
a~
mod
em
ma
no
rwo
me
l'lv.
41
oca
-esa
bcl
lA t
he
sty
leso
flh
eh
ere
and
rO
N E
very
thn
gtr
om
h::
llelln
teri
ors
toco
mp
ule
r
8lde
rior
s h
as
b8co
rne
a d
aa
g, ~
1tet e
,,p
ass
es
1hat
wor
ldvi
ew
Bab
v b
oo
me
rs
brC
JUg'
ll i.
p o
ri t
he
wor
k of
Clw
18s
Ray
EaT
ies
Er1d
the
O"O
Y!lt
ionS
c:J
the
spa
ce a
ge
hav
e ~
El(ly-
emb-
9ced
the
tr
ap
pri
gs
of m
ocle
nism
as
nost
algi
a-fu
eled
Go
od
Oes
igi.
The
Kje
a of
Goo
d D
esg
, w
as lr
st p
ronl
.Jga
ted
by
&xo
pew
i a
rtti
tect
s ar
-.-:l
dasJ
gr,e
rs In
the
192
0s.
Bu
t fo
r a
long
tm
e. m
od
ern
sm w
as s
een
as
appe
alin
g
With
to
de
ys c
ompu
ters
. he
~. 'd
esig
",er
s C
U1
ITlE
lke a
ll l<
h:ls
ol
form
s th
at
v.er
oo't
poss
ible
be
fore
'
\he
mos
t ob
'Jiou
s 8K
ffll
)le
bein
;;I F
rarl\
Gel
vy's
ma.
ster
w;:,
rk,
\he
fro
o-f
oo
TIG
..g
ge
rne
im M
us8
1.r
nfl
~.
"Bes
icl6
s,' K
ekly
say
s, 'i
t's fa
shio
n to
w.r
it s
omet
hing
off
eren
t. a-
id s
ome
pe
op
le a
m s
tarJ
ng f
a d
n!c
lion
.
Ka
ley a
lso
tlT»<
s th
at
the
ilcm
osi
"gy
l!r
go a
-id
div
erse
oo
r.su
m8
f <U
I\.O
"e d
em
an
ds
mo
m c
hoic
e. "
Goo
d D
esg
i si
no
tab
ou
t\h
ep
ert
ect
1tl
lng
;n,-
rno
re,'
he
rru
ses.
'b
lta
lso
~a
lolo
foff
era
ntp
oo
ple
b..
idtl
'Yli'
cw,n
per
sono
j ld
en1i
lies.
"
Ftr
i, w
!I an
d w
him
sy d
o se
em t
o b
e r
r.ak
hg a
co
me
ba
ck P
t»lip
pe S
twci
<,
the
mas
ter
ol
l1tid
fO'
TTl,
rON
pres
ents
pla
stic
ga
rde
n g
xim
es a
rid
crys
tal c
titr
oeli
ers
Ylo11l
1 a
str
aq
lt fa
ce. R
esto
ra
tio
n~
ch
ale
ng
os
the
logi
c c:J
th
e c
io-~
-ycu
se,I
! rJ
WW
nalis
m o
f th
e H
om
e D
ap
ol w
ith c
tJn
ky b
ut la
-nill
w.
a-id
som
ehow
r(rn
!Y1t
lc,
loo
's.
Tho
ba
roq
ue
oxc
ess
es
of
Mlw
nl
am
as
po
p!.
w f
or f
ashk
:wl
phot
o ~
s a
s th
e a
bst
ract
mo
de
rrls
t
toon
s ot
Pam
Sp
mg
s
v.-t
lllt
one
,,-.;g
it IIU
o
l as
eith
er d
elba
rala
ly b
ad
tas
te o
r a
noot
algi
a fo
r m
ore
con,
plic
ated
. ra
ther
th
an
8"i
ficia
ly~
.tin
asiS
in.-
ad
i'ig
the
va
,:yb
ulw
a-k
so
lGo
od
De
sig
1
At M
oss,
M&
na
tta
i's re
!all
t81'f
11)1
e of
rrt
tnlJ
obj
ects
. rid
e o
f p
lace
d.m
Q N
ew
Yor
k's
Coo
tem
pora
oyF
tmn.
re
Fair
was
giv
en
to
18
1h-c
enl\X
y ro
coco
~
porc
er1a
in
ilgl.w
1nes
. M
U'r
ay
Mos
s st
aged
th
e
~ s
how
bac
ausa
, h
e s
ays,
·1 f
elt
them
was
so
me
tltlg
rri
ssrl
gtr
om
ITTl'
die
t I di
:tl"t
do
~ t
o b
e
sen
sato
nalo
rcu
te
laske
dm
yse
l!,
YIT
T;d
olv
alu
eth
ing
slh
ata
rei'l
da
str
vcti
ble
,ma
ss-l
)f(I
OJC
(ld
an
d
ll..oc
:oon
al fr
i oth
er w
oros.
mod
em)?
'NrT
-f do
I d
!Slik
e pa
ttern
m fr
agile
oqe
c1s,
th
ing
s v.
tl8
re l
ulct
loo
1sn,
mle
wnt
? A
rid
yet I
Sl!t-
N t
he f
igJ'
na,s
as
l:)rj
iia,t
, en
d 19
.Jdd
ri,-r
&mZe
d th
at W
8 {j
ye v
alue
to t
twig
s fo
r di
ffere
nt
mas
ons.
And
al
tro
oo
thin
gs I
had
rele
cted
, I s
udde
r-t,
, mis
sed
."
Ho
w d
o oo
sqia
rs ju
Stif
y Sl
.d1
seer
rioV
'f o
dd
b8h
a.io
r as
put
ti,g
18tl7
-oer
i\l.l'
y lg
.me
s a-
1Wi1
ha
sto
re li
ke
t.-1o
ss?
The
lat8
St
t>i..i
zz.N
ad n
the
rofe
ssio
n Is
'nar
ratiY
e.'
ma
art
ig 1
hn
d8
sig
l mus
tel
a g
oo
d t
ale.
'E
very
o
bja
ctM
Sa
sto
ry,"
says
M..
ri::
h-b
ase
dth
e
ligi
tng
08Si
!Jw
ngo
Ma
llar
1)e
sg1
ha
s b
eco
me
so
st\a
klw
, :,;
st a
bout
lh8
rid
lJS
of a
com
er;
but
thar
8 iS
so
rro
cti
rno
ra.Y
ou
ha
va
to~
scm
att
..-i
g.
ittle
par
able
ebo
u1 t
he m
faci
e o
flig
lt.
and
~ W
01kS
bac
awe
the
de
sig
"la
rha
s c.
apb.
Jrad
Iha
sto
ry t
i o
ne
mag
e Er
1d ti
tle.
C-o
nst.v
itii B
c:,,m
, a N
eY.-
Yor
k de
sig'
,er f
amou
s fo
r tis~
of D
isas
ter
mod
ais
of s
uch
stn
.Jdl
.X8S
as
the
Ol4
iYlO
rna
Feoo
ral
Bu
ilon
g a
nd t
he l
klab
cnt.>
er's
ca
bn
, ag
rees
. W
e
be
lie
l.-'
81
ha
1\h
em
ost~
thn
gls
tota
las1
ory
wi1
htl
'l~
ts,•
he
sa
ys.
W1a
t w
e m
ay
so
o,
be s
eEW
lQ,
lhe
n,
is a
n&
N c
lass
o1
pro
du
:ts,
Goo
d D
esig
n iS
n't
gong
to
go
aN
af.
D
esig
r,er
s 'M
il ke
ep
IT
W'lg
oq
ect
s tn
at a
re s
impl
e, a
fford
al:je
Md
use
ft..i.
bu:
th
ey
~ tw
SO t
ry t
o g
et u
s to
use
o.,
ma
g,i
ati
on
s. T
he
y w
il t
el u
s st
orie
s. T
hey
wil
sa
l thi
)QS
tha
t ar
e o
ne
of a
~-A
JI \h
e tB
Cl"
rdo
gy
that
sea
rm to
par
V9d
o ru
wo
rd,
from
cel
l pho
nes
to t
hose
lus
trou
s n
&N
pla
stic
s, ~ a
s w
e fo
cus
en t
hat
one
t:,ea
,,..(i
t,.J
ttr,
g t
hat
Is ~ r
npef
fect
be
cau
se ~
v.as
ma
de
t,,,
har
d o
r fro
m
r8C
')doo
m
ater
1als
or
was
pu,
pose
lt.t
y 'm
alo
rme
d."
Goo
d D
esig
1 rT
iglt
be
~. W
lh
are
's s
till
room
tor
th
e p
,.xe
lybe
auti
ful
Md
th
e u
tter
ly u
saia
ss.
"Goo
d D
esig
l Is
not
abo
ut 8
1)1e
. b.
Jt a
bout
cor
rpos
r,g w
ith
the
rig'1
I m
ater
ials
for
the
rig
t,t 1
1..rd
ion
In a
oo
no
op
~ f
ller
esli
lg w
a,J.
" sa
ys
Pao
la M
tone
ai,
a ci
.ret
or o
f d
esi
gn
at
New
Yor
k's
t-.-1
uool
..,n
ol
Mod
ern
M-
lhe
Fo-
t K
'l'ox
of m
od<W
rism
. 'G
ood
Des
ig'1
mak
es y
ou th
H<.
• A
rid
th
ou
glt
ha
s ro
sty
le.
164
APPENDIX C. THE LAYOUTS FROM STUDY 3
My House: Village Voice by Nua.a o ·Faoiain AA Irish wnt.er who i!VeS rri a conage by ttwt sea heads to Greenwich V!iage for inspiranoo.
vol.xxx11, no.6
T NOV/DEC2000
METROPOLITANHOME 45 Take Note by Mane Hirst
Our keen shopping eye pCKS out lash-On faboc.s for sofas <Wld staness steel natwam from T1ffaiy
48 The Word The busy bun on wtia;:·s new ar>d M1at to de
50 Metro: Travef All 1nsidor's travel gu,ac to mo best piaecs to eat stay, shoo .n::1 VtSII:- from tho Bencshims to Berlin
56 City Report: San Francisco by Diane Dorrans Saekse has come.
87 Met kids: Coiorfonns by Susan Morgan Design superstar Da\Jld Rockweil COUidn't ra.se hlS firs1: -bom ., a boring, vgty ex otHhe--rack room, no, could he?
98 Editors' Choice: Seats for the Petite produced by Doretta Sperdute Not for adults only These chalrs tor d'ildreo are as high style BS the grown-up class!cs that inSpimd them
l2 The Big Idea: Simpty Grate by Michael Lassell A shower floor !rat's safe, comfortal:ye and c+llC
1 04 Met Homes: Seasons Readings by Sarah Lynch Alrei.surE'll'C1J" f 19 Joi ,arc""' >!'lltday!'
108 Good Buys: Digital Decisions by David Eirich Three great digital cameras for budgets that range from cybert::afe cheap to photographies wonder
112 Tech Notes: Click Picks by Bonnie Schwartz
1 16 Weekend Kitchen: Hot Gobbler by Door.a Paul Bost011's chowder rmster Jasoer !Nhi1e tll'T\S t'E ,eftcy.,er ttrtsy Into sometrxig hot, hearty and delicious
132 Collecting: Bullish on Modernism by Cata Greenberg ~ n m ~
i • 252 Trend Watch: Beyond the Fringe I
by Tara Mclellan t;:
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Met Views: When •Good Design• Goes Bad by Aaron Betsky l'bNMJ;X\'lld-<bM'ldesg, is~ll Ta,get. Dr- al)En;).jJnS\'k'gtolteOO'l!:ITS1altefa-bErtrl7
15
45 TattlltltbJlr1Nl*d 1wt-.... "',d11111f tulliMlatrittllll'NflSal 1taWtu stffl flatlan '"'9 riff-,.
48 Tlltl'iff' TlllbllJlllf:tMlbt'i .. llf lbthH.
50 lttrf:Traffl 1Jilsiftr'1trml,_.t,t111 ... , IUCfl ff qf, 1t11, - - risit l'MIM krislim t, lril
56 CilY 1'"'1: Sal Fraise, 11JlilNhlTINSltt1 f\tCilJ'bJttltllJiallHIMC-twatill:1111Aaerita'1tffllritt nMNStiuliN.
62 CMWa,s:traq:,~ bfS.allt,d
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ON T><E COVER The M,g aroa Of 650-soua,e-foot So<,th .,_ st.- ponjhouse • , ie,son >, smal-,pace , __ Produced by Linda O'K,efte, Photograph by Oueam Bacon. S.. page 206.
ON
TH
E C
OV
ER
The
IMng
are
a of
650
-squ
are
-foot
Sou
th B
each
stu
dio
pent
hous
e is
a le
sson
In s
mal
l-spa
ce r
enov
atio
n.
Pro
duce
d by
Lin
da O
'Kee
ffe.
Pho
togr
aph
by Q
ue
ntin
Bac
on. S
ee p
age
206
.
Ed
itor's
Pag
e 32
M
ailb
ag
38
Ask
Dav
id 8
2 O
r. S
wa
tch
122
R
eci
pe
s 23
0 R
esou
rces
234
vol.x
xx11
, no
.6
iMET
ROPO
LITA
NHOM
E f!l §
167
GOOd Buys: Digital Decisions by David Brien
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Weekend Kitthen: Hot Gobble, by 0oma Paw
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Met V-,ew,: When "Good Design• Goes Bad by Aaron &!Jly
Nowtharpo,_dosign is av.,HabloarT""'- ca,,,.....,,.,, swing to.__,~, be fa, behind?
Collecting: Bullish on Modernism by Cara G~
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Take Note by Mena Hirn J 011fteenshoppingeyepieks lltltfashionfabricsforsotas
: s;,~:~~ steel flarware ~
J TheWo,d ~ The busy buzz on what's new and what to do. l
6 Metro: Trave/ ij
Aninsider.,f1Mguidetothe '
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City Report San Francisco byOianeolll1'8nsSaeks TheCitybythaBayisOO<>ning-hoating,.,Amorica,_ --""-
Color Ways: Orange Aid bySarahl~ If'.! name means ·truit of QOld" -andiftabrightideawho.setime has come.
II
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y D
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hy d
o I
dhl
lke
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We
btlf
eve
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e
piit
lem
in
d h
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e o
bje
ct,,
thi
ngs
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re f
unct
ion
Isn'
t th
ing
Is t
o te
ll I
stor
y w
ith
n ob
j
rele
vant
? A
nd rt
I Wlfl
' the
figu
nnH
u b
nU11
nt. u
1d I
sud
deol
y
11iz
ed t
hat
-f: va
lue
to t
hh,g
s to
, dlf
fe,e
nt r
e;uo
ns
And
1H
W
hat
-m
ay s
oo
n b
e s
ng.
1 en
, Is
I n
seth
lngs
llw
re
ject
~ls
udde
nlym
lsS
l!'d
" d
in o
f pr
oduc
tJ..G
ood
D s
ign
I n'
t go
ing
o
go
aw
ay D
nlg
nen
w,lf
k
ob
ow
do
des
n
e u
nify
suc
h se
emin
gly
od
d b
ehav
10r u
p,
11tti
ng
0\
00
WH
EN
GO
OD
DE
SIG
N G
OE
S B
AD
Now
tha
t le
ss-i
s-m
ore,
fo
rm~f
ollo
ws•
func
t1on
mo
dern
ism
is
avai
labl
e fr
om T
arge
t, w
ill tt
soo
n be
tas
tele
ss t
o ha
ve g
ood
ta5t
e?
Wal
k in
to a
ny W
Hot
el a
nd
you
will
be
surro
unde
d by
"G
ood
Desig
n."
An
d i
t w
on
't b
e th
e
By A
.Mon
Bel
sry.
po
ttf!
d p
alm
s an
d w
oo
d-g
rain
dM
b t
ha
t w
ere
onc
e al
mos
t un
1Ver
sal i
n h
o~
lobb
ies.
Ins
tead
, yo
u w
ill f
ind
con
cret
e
surf
aces
and
fu
rnitu
re m
ade
of
gla
ss .
Mld
ste
t'!.
Go
to )
'O!J
r ro
om a
nd y
ou m
ay f
eel
as i
f )'O
!J a
,e i
n th
e sp
atia
l
equi
vale
nt o
f an
Arm
ani
suit
wo
rn w
ith
a T
-shi
rt st
ylish
. ca
sual
bu
t m
nim
al
surf
aces
ins
tead
of
chin
tz,
flofa
l pat
tern
s
and
colo
r. Y
et th
i,i; is
no
t a
bo
utiq
ue
ho
tel
ma
rke
tf!d
to
a y
najl_
se
lecta
ud
en
ce
dth
e~
elite
. ~a
na
tio
nw
ide
chai
n. T
he w
ay o
f m
akin
g th
ing
s th
at
aitic
s ha
w,
bff
n c
allin
g G
ood
Dfi
ign
sin
ce t
he l
ast
Wo
rld
War
(by
whi
ch
they
mea
n pa
red-
dow
n, m
ute
d .M
ld s
lighf
y m
achi
ned)
has
gon
e so
mai
nstr
eam
th
at
it's
avai
labl
e at
t.,g
et.
And
tha
t
Wit
h t
oday
's c
ompu
ters
, he
e~p
lain
s,
"des
igne
rs c
an m
ake
all
kind
s o
f fO
!"ms
tha
t w
ere
n't
poss
ible
be
fO!"
e·-
the
mo
st o
bvio
us e
um
ple
bein
g F
rank
Geh
ry's
mas
terw
orl::
. th
e f
ree
-fo
rm G
ug
ge
n~
m M
use
um
in
Bilb
.10
. "B
esid
es,•
K
elle
y sa
ys,
"it's
fas
hion
to
wa
nt
som
ethi
ng d
iffe
ren
t, a
nd s
ome
peop
le
are
star
ving
for
dir
ectio
fl. K
elle
y al
so t
hink
s th
at
the
inc
reas
ingl
y la
rge
and
dive
rse
cons
umer
cul
ture
dem
ands
m0l
"e c
hoic
e.
"Go
od
De-
5.ig
n si
no
t a
bo
ut
the
per
fect
th
ing
an
ymo
re,·
he
mus
es.
"but
als
o he
lpin
g a
tot
of
diff
ere
nt
peop
le
bu
ild t
he
ir o
wn
peJ
SO
nal
ide
ntit
ies.
• Fu
n, w
it a
nd
whi
m!.
y do
see
m t
o b
e m
akin
g a
com
ebac
k. P
hilip
pe S
tarc
k. t
he m
aste
r o
f flu
id !O
f'TTI,
no
w p
rese
nts
plas
tic g
arde
n gn
omes
an
d o
ysta
l ctia
nde!
iers
wit
h a
ma
igh
t fa
ce.
Res
tora
tion
Har
dwar
e ch
alle
nges
th
e l
og
k o
f th
e d
o-i
t-yo
urs
elf
min
imal
i-lm
of
the
Hom
e D
ep
ot
wit
h d
un
ky b
ut
fam
iliar
, an
d so
me
ho
w r
oman
tic.
too
ls.
The
ba
roq
ue
exc
esse
s o
f M
i;,m
i ar
e as
po
pu
lar
for
fash
ion
ph
oto
sho
ots
as t
he
a
bst
rKI
mod
erni
st f
orm
s o
f P
alm
Spr
ings
. W
ha
t o
ne
m.g
ht
thin
k o
f as
eith
er d
elib
erat
ely
bad
tast
e o
r a
nost
algi
a fO
!" m
ore
com
p~ca
ted,
ra
the
r th
an
artif
icia
lly s
impl
ified
, tim
es i-
1 in
vM!in
g th
e v
ery
bu
twa
rb o
f G
oo
d D
esig
n.
By
Aar
or,
Bel
sky
.
WH
EN
GO
OD
DE
SIG
N G
OE
S B
AD
Wal
k in
to a
ny W
Hot
el a
nd y
ou w
ill b
e su
rrou
nded
by
'Goo
d D
esig
n.·
And
it
wo
n't
be
the
potte
d p.
ilms
and
wo
od
-gra
in d
esks
th
at
wer
e o
ne
, al
mos
t u
niv
er~
I in
hot
el lo
bbie
s. I
nste
ad,
you
will
fin
d ~
onae
te s
urfa
ces
and
furn
iture
mad
e o
f gl
ass
and
stee
l. G
o to
you
r ro
om a
nd y
ou
may
fee
l as
if
you
ar,
in I
~ s
pati
al e
quiv
alen
t o
f an
Arm
ani
SI.li
t w
orn
wit
h a
T-s
hirt
styl
ish,
ca
sual
but
min
imal
sur
face
s in
stea
d of
chi
ntz,
flo
ral
pane
ms
and
colo
t. Y
et t
his
is no
t o1
bout
ique
ho
tel
mar
hted
to
a s
mal.
5ele
cta
ud
ierc
eo
f_1
he~
eit
e. ~
an
ati
on
wid
ech
ain
. The
way
o
f m
akm
g th
ings
tha
t cn
tics
have
btt
n c
allin
g G
ood
Des
ign
sinc
e th
e la
st W
orld
War
(by
whi
ch
they
mea
n pa
red-
dow
n, m
uted
and
slig
htly
mad
liri
ed)
has
go
of!
so
mai
nstre
am t
hilt
it's
ilV
aila
ble
at 1
Nge
t. A
nd t
hat
desi
gn
iS m
eiW
\t to
wm
ey c
ache
t: U
sing
the
rte
Y.fy
tm
ulu
cen
t S
win
glin
e st
ilp/e
r or
Cilf
ryirt
g S
amso
nite
's s
trea
mlin
ed l
ugg;
ige
mei
lns
thilt
)'O
I.I i
lrt
ii t
horo
ughl
y m
oder
n ~
n o
r w
oman
who
car
es i
lbo
ut
the
styl
es o
f th
e he
re
ilnd
no
w.
Eve
ryth
ing
from
hot
el
inte
riors
to
com
pute
r eK
tern
:>r$
h.is
bec
ome
ii d
e5ig
l st
iltem
erlt
that
eJ<
preS
SM t
hat
wor
1dvi
tw.
Bab
y b
oo
mtt
s br
ough
t up
on
the
wo
rk o
f C
hilrl
ei.
Rily
Eam
es a
nd t
he i
rm~
atio
ns
of
the
sp.ic
e ilg
e_ hi
lve
who
lehe
arte
dly
emb'
.ilce
d th
e_ t
rilpp
ings
of
mod
tfni
sm a
s no
stal
gia-
fuel
ed
Goo
d D
esig
n. T
he i
deil
of
Goo
d D
esig
n w
as f
irst
prom
ulga
ted
by E
urop
ean
arch
itect
s an
d
Now
th
at l
ess-
is-m
ore,
for
m-f
ollo
ws-
func
tion
mod
erni
sm
long
ti
m,.
mod
erni
sm
was
se
en
as
appe
a~ng
onl
y to
an
avan
t-gar
de e
lite.
O
nly
in
rece
nt
year
s ha
s th
e fa
shio
n in
du
stry
m.t
der
.Jit
-lh
inel
egan
c,ao
dal
lbl
ack:
m
inim
alis
m
som
ethi
ng
to v
.tiic
h w
e sh
ould
,111
asp
i,e.
From
Cal
vin
Klei
n m
odel
s an
d Pr
ada
unifo
rms.
it h
n
spre
ad
to
hous
ewar
es,
shtt
ts
and
furn
itun!
(K
lt.n
prod
uces
his
ow
n). G
oo
d
~n
isb
oth
hig
hsty
!ean
dso
ma!,
.'S
m
arkt
tth
aty
ou
can
·t~
ap
eit
~if
yo
u w
an
t to
.the
Una
bom
ber's
ai
bin,
ag
ree~
. "W
e be
lif'\/
1!
tha
t th
e m
ost
imp
ort
antt
hin
gis
tote
llil
sto
ryw
ith
an
obtK
ts,"
hesa
ys.
Wha
twrm
ayso
on b
eSff
ing,
the
n, is
a
new
cla
ss o
f pr
oduc
ts. G
oo
d D
esig
n is
n't
gcin
gto
go
<IN
~.O
esig
ne
rsw
ilke
tp
mak
ing
ob/e
cts
that
ar
e si
mpl
e,
ilffo
rdab
lt an
d us
eful
. b
ot
1hey
'MN
als
o 1
/yto
ge
tusto
use
ou
rim
ag
ina
tio
ru.
Th
eyw
ilte
l!u
ssto
rie
s.T
he
yw
ill5
ef
thin
gs
that
are
one
of
a k
ind.
A
l th
e te
d'in
olo
gyt
ha
tse
em
sto
pe
tVa
de
ou
r w
orld
, fr
omce
llpho
nest
otho
selu
stro
us
new
plil
stic
s,di
sapp
eats
asw
rfoc
uson
th
at o
ne b
eaut
iful
tN"l
g th
at iS
str
ange
ly
impe
rfec
t be
ciiu
st it
WilS
mad
e by
hilr
ld
or
from
rK
yCle
d m
ater
ials
or
w
as
purp
osef
u!fy
"mal
fom
ied.
"
Go
od
Des
ign
mig
ht b
e ev
ery,
•,tu,
e, b
ut
ther
e's
still
room
101
the
pur
ely
beau
tiful
iln
d th
e ut
terly
use
tess.
"Goo
d D
esig
n is
not
abou
t st
yle,
bu
t ab
ou
t c0
f'l'll)
OS
n9
wit
h th
e rig
ht
mat
eriil
ls f
or
the
right
fu
nctio
nina
conc
eptu
ally
inte
rest
ing
Ill
:i
-- g
way
,. 5
,il~
Pi
1oli1
A
nton
el~.
a
(Uril
tOr
of
desi
gn
at N
ew Y
Oik
's M
useu
m o
f M
odem
A
rt-th
e fO
lt
Kno
x o
f m
odff
nism
. "G
ood
Des
ign
mak
es y
ou t
hink
.• A
nd t
houg
ht h
as
no s
tyle
. w
here
fun
ctio
n is
n't
rele
vant
? A
nd
yet
I sa
w t
he f
igur
ines
as
bril
liiln
t. iln
d I
su
dd
en
lyre
ati
ied
thiltw
tgrv
evillu
eto
th
ings
for
di
ffere
nt r
easo
ns.
And
al
l th
ose
thin
gslh
ad
rejK
ted
,lsu
dd
tnly
m~
.-
How
do
desi
gner
s ju
stify
suc
h se
emin
gly
odd
beh.
ivio
r n
pu
llin
g
18th
-cen
tury
fig
urin
es a
-twir1
in
a s
tore
h
kt M
oss?
Th
e la
test
bu
zzw
ord
in
the
prof
essi
on
is
·nar
rativ
e,"
mea
ning
tha
t de
sign
mus
tel
l a
go
od
tale
."E
ve
ryo
bjK
tha
sa
sto
ry.•
~
Mum
ch-b
ased
th
e lig
htin
g de
sign
er
lngo
M
aure
r. "D
esig
n ha
s be
com
e so
sha
llow
, ju
sta
bo
utt
htr
ildiu
sofi
lco
rne
r;b
utt
he
rtis
so
mu
ch m
ore.
You
hil'>
't to
~ s
omet
hing
.•
Des
igne
rs l
ike
Mc1
ure
rwa
ntt
ote
lluss
uch
st
orie
s:
His
'Nh
tre
Are
Yo
u,
Edi
son?
Lam
p,
for
inst
ance
, iS
a ho
log1
am o
f a
light
bulb
\h
ilt
diS
ilppe
ilts
wh
en
yo
u tu
rn
off
th
e lig
ht.
Bot
h th
ere
and
no
t th
ere,
it
iS a
little
pa
rilbl
e ab
out
the
mir
ilde
of
light
, iln
d it
w
ork
sbe
cilu
seth
ed
esi
gn
erh
uC
ilptu
red
th
e st
ory
in
one
imag
e an
d ti
tle
C
onst
antin
B
oym
, ii N
ew
Yor
k de
sign
er
fc1
mo
usf
orh
isB
uild
ing
sofD
isa
sttr
mo
de
ls
ofs
uch
stru
ctu
resa
sth
eO
kla
ho
ma
Fe
de
rill
Bui
ldin
g iln
d se
lfSilm
e ilV
ant-g
arde
~it
ist-
is av
aila
ble
from
Tar
get,
wil
l it
soon
be
tast
eles
s to
hav
e g
oo
d t
aste
?
wh
o
hilv
e vi
scer
al
need
to
ch
al!e
nge
the
stat
us
quo?
B
ewar
e, a
ll th
ose
of
)'OI.I
w
ho
re
plac
e-dy
ourE
ar1y
Am
ff1C
iln
with
Jap
anes
e br
utill
ism
:Th
e pe
ndul
um
of
styl
e m
ay
be
sta
rtin
gto
swin
gb
ad
t."T
his
notio
n o
f m
inim
alis
t de
sign
m
,yn
otb
ep
laye
do
ut,
bti
tit
is
cert
ainl
y in
pl
ay,·
Sil)'S
D
avid
K
elle
y,
foun
der
and
CEO
of
IDE
O,
the
pres
tigio
us
pro
du
ct-d
esi
gn
fi
rm
tha
t sp
ecia
li2:e
s in
obj
ects
of
Goo
d D
esig
n(l
tha
sg
ive
nu
ssu
ch
sl
eek
good
s ilS
th
e
Pal
m
V
il.k.
a't
he
Pa
lmP
iloL
").
Wit
h
todi
ly's
co
mpu
ters
. he
e•
plai
ns,
"des
igne
rs
can
mak
e al
l ki
nds
of f
orm
s th
ilt
wer
en't
poss
ible
be
fore
"-th
e
mos
t ob
viou
s e1
1am
ple
bein
g F
rank
G
ehry
's
mas
terw
ork,
th
e fr
ee-f
orm
G
ugge
nhei
m
Mu
seu
min
8it
iao
. "B
esrd
es."
Kel
ley
Sil~
. "i
t's
fash
ion
to
wa
nt
som
ethi
ng
diff
ere
nt,
an
d so
me
peop
le a
re s
lilrv
ing
for
d.rt
ctio
n.·
Kel
ley
also
th
inks
th
at
the
inoe
asln
gly
larg
eilf
ldd
ive
rse
co
nsum
er
cultu
re
dem
c1nd
s m
ore
chok
e.
"Goo
d D
esig
n is
no
t ab
out
the
perf
ect
thin
g an
ymor
e,•
he
mus
es.
•bu
t al
so h
elpi
ng i
i io
tof
dill
ffe
nt
peop
le
blli
ld
thei
r o
wn
pe
rson
al
iden
tit1e
s." F
un.
wit
an
d w
him
sy
do ~
to
be
mak
ing
a co
meb
ack.
Phi
lippe
S
tilrc
k,
the
mas
ter
of
fluid
fo
rm,
no
w
pres
ents
p!
as\J
c ga
rden
gn
omes
an
d cr
ystil
l ch
an
de
he
rsw
ith
a
stra
ight
fa
ce.
Res
tora
tion
Har
dwar
e ch
illle
nges
th
e lo
gic
of
the
do-i
t-yo
urse
lf m
inim
alis
m
of
the
Ho
me
~tw
ith
clu
nky
bu
t fa
mill
ilr,
and
som
ehow
ro
miln
tic,t
oo
ls.
Th
eb
aro
qu
e
exce
sses
o
f M
iam
i ar
e as
po
pula
r fo
1 fil
sh,o
n p
ho
to
shoo
l!i
as
the
ab
stra
ct
mo
de
rnis
t fo
rms
of
Pill
m
Spr
irlgs
.
Wha
t on
e m
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178
ACKNOWLEDGMENTS
First and foremost, I thank God for giving me the capability to develop my art
knowledge and cherish it.
I would like to express my sincere appreciation to my parents for their unconditional
love, prayers, encouragement, and moral support throughout these years. Although you do
not understand what graphic design is, you have had faith in me and have given me the
opportunity to proceed with my studies prior to this level. Thank you so much for supporting
me in pursuing my career and letting my dream come true. My appreciation also goes to my
sisters, who constantly send emails, call, offer advice, and encouragement. You have kept me
company during the rough times and always remind me to go to church every week. I really
appreciate it!
Thank you to my grandfather, the classical Chinese painter, who passed away long
before I was born and who will always be my 'invisible' mentor. I am deeply grateful for
your inspiration and your artistic talent that runs in my veins.
Also to Father Bruno Arndt, who has kept my childhood drawings (I am still amazed
at how you understand each story in my drawings) and always believed that my art talent
could be useful to my professional life someday.
My thanks also go to Professor Edward J. Lehner, an astounding advisor and mentor I
have had during my undergraduate and graduate years at Iowa State University. It has been a
great pleasure for me to work with you. And also to both of my committee members,
Professor Paula J. Curran and Professor Paul Shao, thank you for sharing your excellent
knowledge that has helped and guided me until the completion of this thesis.
Last but not least, I would like to thank Professor John Gruber for your guide and
kindness, my dearest friend Tommy Yamamoto, my editor Svetlana, and everybody whose
179
names I cannot mention here who have assisted me during the process of making this thesis
fully developed.
This thesis would not have been completed without all of your help and support!
Thank you so much.