Posts tagged ‘1960s’

A tribute to Massimo Vignelli


The below ran in Lucire today, though it is equally suited to the readers of this blog.


Massimo Vignelli, who passed away on May 27, was a hero of mine. When receiving the news shortly before it hit the media in a big way, from our mutual friend Stanley Moss, this title’s travel editor and CEO of the Medinge Group, I posted immediately on Facebook: ‘It is a sad duty to note the passing of Massimo Vignelli, one of my heroes in graphic design. When I was starting out in the business, Massimo was one of the greats: a proponent of modernism and simple, sharp typography. His influence is apparent in a lot of the work done by our brand consultancy and in our magazines, even in my 2013 mayoral campaign graphics. A lot of his work from half a century ago has stood the test of time. There was only one degree of separation between us, and I regret that we never connected during his lifetime. The passing of a legend.’
   This Facebook status only scratches the surface of my admiration for Vignelli. There have been more comprehensive obits already (Fast Company Design rightly called him ‘one of the greatest 20th century designers’), detailing his work notably for the New York subway map, and—curiously to me—glossing over the effect he had on corporate design, especially in the US.
   Vignelli, and his wife Lella, a designer in her own right and a qualified architect, set up the Vignelli Office of Design and Architecture in Milano in 1960, which had clients including Pirelli and Olivetti. In 1965, they moved to New York and Vignelli co-founded Unimark International (with Ralph Eckerstrom, James Fogelman, Wally Gutches, Larry Klein, and Bob Noorda), where he was design director. It was the world’s largest design and marketing firm till its closure in 1977.
   The 1960s were a great time for Vignelli and his corporate identities. He worked on American Airlines, Ford, Knoll, and J. C. Penney, and the work was strictly modernist, often employing Helvetica as the typeface family. Vignelli was known to have stuck with six families for most his work—Bodoni was another, a type family based around geometry that, on the surface, tied in to his modernist, logical approach. However, there were underlying reasons, including his belief that Helvetica had an ideal ratio between upper- and lowercase letters, with short ascenders and descenders, lending itself to what he considered classic proportions. The 1989 WTC Our Bodoni, created under Vignelli’s direction by Tom Carnase and commissioned by Bert di Pamphilis, adheres to the same proportions.
   Although my own typeface design background means that I could not adhere to six, there is something to be said for employing a logical approach to design. American corporate design went through a “cleaning up” in the 1960s, with a brighter, bolder sensibility. Detractors might accuse it of being stark, the Helveticization of American design making things too standard. Yet through the 1970s the influence remained, and to my young eyes that decade, this was how professional design should look, contrary to the low-budget work plaguing newspapers and books that I saw as I arrived in the occident.
   When the Vignellis left Unimark to set up Vignelli Associates in 1971 (and later Vignelli Designs in 1978), their stamp remained. The MTA launched Vignelli’s subway map the following year, and like the London Underground map by Harry Beck in 1931, it ignored what was above ground in favour of a logical diagram with the stops. Beck was a technical draftsman and the approach must have found favour with Vignelli, just as it did with those creating maps for the Paris MĂ©tropolitain and the Berlin U-bahn.
   New Yorkers didn’t take to the Vignelli map as well as Londoners and Parisians, and it was replaced in 1979 with one that was more geographically accurate to what was above ground.
   In 1973, Vignelli worked on the identity for Bloomingdale’s, and his work endures: the Big Brown Bag is his work, and it continues to be used by the chain today. Cinzano, Lancia and others continue with Vignelli’s designs.
   Ironically, despite a rejection of fashion in favour of timelessness, some of the work is identified with the 1960s and 1970s, notably thanks to the original cut of Helvetica, which has only recently been revived (a more modern cut is commonplace), and which is slightly less popular today. Others, benefiting from more modern layout programs and photography, look current to 2010s eyes, such as Vignelli Associates’ work for the Museum of Fine Arts, Houston.
   The approach taken by Lucire in its print editions has a sense of modernism that has a direct Vignelli influence, including the use of related typeface families since we went to retail print editions in 2004. Our logotype itself, dating from 1997, has the sort of simplicity that I believe Vignelli would have approved of.
   Vignelli was, fortunately, fĂȘted during his lifetime. He received the Compasso d’Oro from ADI twice (1964 and 1998), the AIGA Gold Medal (1983), the Presidential Design Award (1985), the Honorary Royal Designer for Industry Award from the Royal Society of Arts (1996), the National Lifetime Achievement Award from the Cooper–Hewitt National Museum of Design (2003), among many. He holds honorary doctorates from seven institutions, including the Rochester Institute of Technology (2002). Rochester has a Vignelli Center for Design Studies, whose website adheres to his design principles and where educational programmes espouse his modernist approach. It also houses the Vignellis’ professional archive.
   He is survived by his wife, Lella, who continues to work as CEO of Vignelli Associates and president of Vignelli Designs; their son, Luca, their daughter, Valentina Vignelli Zimmer, and three grandchildren.

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Posted in branding, business, design, marketing, typography, USA | No Comments »

Is super-city opposition super-softening?


Earlier this month, I attended a session on the potential of a Wellington super-city, and was interested to note that the mood, that was so dead set against one in 2010, had begun to shift. In fact, in the previous month, the outgoing chairman of Price Waterhouse Coopers (I can’t bring myself to write that as a single month), John Shewan, presented a session where he outlined the pros and cons. Super-city is in the Zeitgeist for Wellington now, and where the moves have come from, I don’t know.
   The concerns in Wellington seem to surround the issue of representation, as the popular image of super-city seems to be a tall managerial structure where a super-mayor (God help us if that term is used) sits over earlier structures. I don’t think the Auckland experience has borne this out, but there are definitely concerns over the unfunded community boards, something that Wellington might learn from.
   Judging by the responses from the session, those for a super-city seem to be around the 40 per cent mark, while those sceptical of one hover around 60—and this is a totally unscientific count. But the fact that proponents have moved from under 5 per cent to around 40 in the middle of Mayor Celia Wade-Brown’s first term is probably heartening for the super-camp, who might wish to extrapolate it heading further north come 2013.
   Our table seemed to be more pro- than anti-, and we were the last to report in. I was asked to speak on the table’s behalf and I noted to Garry Poole, CEO of the Wellington City Council, that if there was one thing worse than coming third, it was coming last. However, the efficiency argument held some sway among our participants, and that Auckland itself, according to John’s figures, was forecast to make some real savings in administration. The present system, it might be argued, is flawed anyway (what system isn’t?) so should we really wait till Wellington is in crisis mode before we consider change?
   I did add one note about the efficiency argument, perhaps lost on the audience. I pointed out that Slater Walker, the corporate raiders in Britain of the 1960s, got away with a lot because of the same argument—that its actions were necessary for the efficiency of British industry. As it turned out, it led to the demise of British industry (if I were to generalize). But, as long as we were talking about true efficiencies forced into being through legislation—for getting two councils on to the same software system is hard enough without a concerted effort—then that might be a good thing for ratepayers.
   The popular image of the super-structure might not be that relevant, and this is where technology could serve us for a change. Representation is the biggest concern of those who are against the super-city, so why not adopt technological measures, such as capturing ideas and intel electronically from around the Wellington region, so they can be used by the council? (As in 2010, I maintain that 130,000 voters are far smarter collectively than a single council.) Flatten the structure so mayor and council can hear the concerns of citizens—and keep it flattened, just as we were taught at business school. If Auckland’s biggest mistake was in community board funding, is it possible to investigate how they can remain funded properly here?
   There are way too many issues to discuss in a single blog post, but I’m just flagging some for discussion. What are your feelings out there? Is the mood shifting? Can I stop prefixing words with super-?

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Posted in business, leadership, New Zealand, technology, Wellington | No Comments »

Not quite a remake, but similar


I saw the premiĂšre episode of No Ordinary Family, plus a bit of the second, and I couldn’t help but think of this:

   Some folks fly to a strange place, have a plane crash, come back with special powers. One of them is an attractive blonde woman.
   Where it differs is that one of them looks suspiciously like a really young version of Dr Alan Quartermaine Sr on General Hospital.

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Posted in humour, interests, TV, UK, USA | No Comments »

Bonne 50e anniversaire, Renault 4


Before there was the Twingo, there was the Renault 4. It celebrates its 50th anniversary this year, as I was reminded on Tumblr earlier today. From Autocade:

Image:Renault_4.jpgRenault 4 (R1121). 1961–94 (prod. 8,135,424). 5-door estate, utility convertible. F/F, 603, 747, 782, 845, 956, 1108 cmÂł (4 cyl. OHV). Replacement for 4CV conceived as a response to CitroĂ«n 2CV, which was overtaking the Renault in sales. Soft suspension for rural buyers who might use 4s on the farm; front-wheel-drive transmission and four-wheel independent suspension. Separate chassis and body, rather than 4CV’s monocoque, for simplicity. Four-speed gearbox from 1968, the year of the 4’s facelift. GTL with 1·1-litre from 1978. Additional models added, such as fourgonette in 1962; limited-edition Parisienne in 1964 with a tartan pattern, in association with Elle magazine; Plein Air from 1968 to 1970; Rodeo from 1970 to 1987. Rebodied 4, called the Renault 6, from 1968, but the utilitarian 4 managed to outlive it. Billancourt production ceased 1987, with Slovenia the last country to put out a 4 in 1994.

   There was also its lesser known sibling, the Renault 3, a sort of poverty version of the 4:

Image:Renault_3.jpgRenault 3 (R1121). 1961–2 (prod. 2,526; other source lists 2,571). 5-door estate. F/F, 603 cm³ (4 cyl. OHV). Entry-level Renault based on the 4, but without any luxuries—no hubcaps, interior door trims, third side window, or grille. Engine in the 3CV class in France, but since a Renault 4L cost little more, most customers opted for the better specified car. Rugged and simple, rivalling base 2CVs as intended by Renault.

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Posted in cars, culture, France | No Comments »

The advertising career of Audrey Hepburn


I can’t explain why I like the Steve McQueen Ford Puma ad and dislike this one with Audrey Hepburn, even though I think the world of both actors. In terms of tacky, I reckon this one takes the cake as a celebrity endorsement:

Come to think of it, this is worse. I believe the original was Japanese (I saw stills of this campaign many years ago), but this is in Mandarin:

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Posted in marketing, TV | 3 Comments »