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Oral History Interview with Massimo Vignelli, 2011 June 6-7
Oral history interview with Massimo Vignelli, 2011 June 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Massimo Vignelli on 2011 June 6-7. The interview took place at Vignelli's home and office in New York, NY, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Mija Riedel has reviewed the transcript and have made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Massimo Vignelli in his New York City office on June 6, 2011, for the Smithsonian Archives of American Art. This is card number one. Good morning. Let's start with some of the early biographical information. We'll take care of that and move along. MASSIMO VIGNELLI: Okay. MIJA RIEDEL: You were born in Milan, in Italy, in 1931? MASSIMO VIGNELLI: Nineteen thirty-one, a long time ago. MIJA RIEDEL: Okay. What was the date? MASSIMO VIGNELLI: Actually, 80 years ago, January 10th. I'm a Capricorn. MIJA RIEDEL: January 10th. -
Designersresearch – Copy
GraphicGraphic DesignersDesigners ResearchResearch MASSIMO VIGNELLI Massimo received his ar- chitecture degree from the Politecnico di Milano. Married Lella Vignelli and together they created a small design studio: the Lella Unimark International was launched and Massimo Vignelli Office of Design in New York as Massimo Vignelli ex- and Architecture, Milan. panded his buisness. -US National Park Service -Saint Peter’s Church NY inte- rior (1977 ) Subway Map MTA NY City Transit Authority 1953 1960 1966 (1970) 1957 1965 (1967) 1971 American Airlines In this period, Vignelli attended the Moving to Chicago,US and School of Architecture and Universi- founding Unimark Interna- ty of Venice. tional. Vignelli resigned from UI and established his new corporation: Vignelli Asso- ciates. W I M C R O U W E L Crowel is a graphic design- er and typographer born in the Netherlands. In 1963 he founded the studio To- tal Design, now called To- tal Identity. His most well known work has been for the Stedelijk Museum. His typography is extremely well planned and based on very strict systems of grids. He has also designed ex- positions, album covers and identity systems. He has published two type- faces Fodor and Gridnik, digitized versions of both are available from The Foundry. S A B A U L S S Saul Bass was an American graph- He hand draws ic designer. He was most of his de- best known for his signs. He also design of motion Saul is best known makes anima- picture title se- for simple, geomet- tions. He uses quences, film, film ric shapes and their visual meta- posters, and clas- symbolism. -
Massimo Vignelli
Massimo Vignelli Alexander Fusté Studio I Fall 2014 Massimo Vignelli, born and raised in Italy, brought to America a new style of minimalist and grid based design. Massimo did so with his wife and business partner Lella Vignelli. He began designing professionally in 1950 and never stopped until he passed on May 23, 2014.1 He and his team created the faces of some of the most iconic and well known branding and designs in the world. Because their philosophy of design isn’t limited to just graphic design, they focused on many projects in many fields throughout their career. Because, to the Vignelli’s, “If you can’t find it, design it.”2 Massimo’s interest in Graphic Design began in Italy pre his marriage to Lella. It was here that he realized that he wanted to continue his life pursuing ‘good design’ in America with Lella. This idea of ‘good design’ was not simply limited to graphic design. Vignelli says in his book “Design is one” that “subjects change, materials change, processes change, but the creative and investigative mind proceeds relentlessly”.3 This process is applied to all created objects. After he arrived in America he cofounded Unimark and was the design director.4 This was a great starting point for Vignelli and gave him many opportunities. However, it was when he and Lella founded Vignelli Associates, did they really skyrocket to the design superstars they are today. 5 Massimo worked on a basic grid system throughout his the career. Why the grid? Because Massimo believed that good design is timeless and the grid will 1 AIGI. -
Kathy Brew in Conversation | Inspiration
Shop & Browse Inspiration In Conversation Kathy Brew Kathy Brew The Design Is One codirector talks behindthescenes with the Vignellis Kathy Brew found her way into film by way of a long career in media and contemporary art. After working in the Bay Area for fourteen years, Brew returned to her native New York in 1994 to begin work as an Associate Producer for “City Arts,” Channel 13’s Emmy-award-winning program on the visual and performing arts. While working on that series, Brew met her husband, Roberto Guerra, an accomplished filmmaker and longtime friend of the modernist designers Lella and Massimo Vignelli. In 2014, Roberto Guerra passed away on Massimo Vignelli’s birthday, January 10, after a six-month fight with pancreatic Photograph by Ana de Orbegoso cancer. Just months later, Massimo died at his home in Manhattan. He was 83. The last film that Brew made with her late husband, Design Is One: Lella & Massimo Vignelli, was created from footage that captures the Vignellis full of vim and verve, before health complications began to interfere with their ability to work. Along with Helvetica—a documentary film about Massimo Vignelli’s favorite typeface—Design Is One has helped catapult the Vignellis to a new level of public consciousness. After interviewing the Vignellis and former co-workers, Brew and Guerra compressed almost fifty years of work by the creative couple into the eighty-minute feature film, introducing many to the duo that helped shape America’s typographic urban landscape and the entire field of design in the latter half of the 20th century. -
Antonio Citterio Pag
Indice generale General index Maniglie d’autore Ottone / Brass Indice generale della serie Rosetta Fine / General index of the Slim Rosette series pag 5 Legenda codici di identificazione articoli / Legend of articles identification codes pag 6 Sistemi di fissaggio / Fixing versions available pag 8 Certificazione e Qualità / Quality Certifications pag 9 Certificazione Classe 4 / Class 4 Certification pag 10 Legenda finiture / Finish options pag 12 Zirtanio: trattamento protettivo ad alta resistenza / Zirtanio: high grade protective coating PVD pag 13 Indice generale delle serie / General series index pag 14 Indice dei designers / Designers index pag 17 Catalogo prodotto / Product Catalogue pag 18 Legenda Maniglie in Ottone Patrimonio senza tempo / Timeless Heritage collection / Brass door handles pag 232 Il nostro patrimonio senza tempo / Our heritage timeless pag 234 Inox / Stainless steel Legenda codici di identificazione articoli / Legend of articles identification codes pag 254 Indice generale delle serie / General series index pag 16 Indice dei designers / Designers index pag 17 Catalogo prodotto / Product Catalogue pag 256 Informazioni tecniche / Technical informations pag 279 Informazioni tecniche speciali / Special technical specifications pag 291 Made in Italy Maniglie d’autore È un approccio quasi sartoriale a contraddistinguere la produzione di Valli&Valli, la storica azienda di Renate appartenente al gruppo ASSA ABLOY. Grazie all’esperienza che solo una realtà con oltre ottant’anni di storia può garantire, Valli&Valli è in grado di proporre linee di prodotti sempre innovative che alimentano con eleganza la sua offerta. È l’industrializzazione che si sposa con il lusso della personalizzazione, per una proposta sempre di più ‘su misura’. Un percorso innovativo: maniglie di concezione totalmente industriale e prodotte con un processo rivoluzionario di ingegnerizzazione, che possono al contempo essere declinate in infinite personalizzazioni, rispondendo alle esigenze specifiche dei clienti. -
Massimo Vignelli
6.0 | GERARCHIE FUNZIONALI | SCUOLA / DIPARTIMENTO / AMMINISTRAZIONE SCUOLA DI INGEGNERIA CIVILE, SCUOLA DI INGEGNERIA CIVILE, AMBIENTALE E TERRITORIALE AMBIENTALE E TERRITORIALE SCUOLA DI INGEGNERIA INDUSTRIALE SCUOLA DI INGEGNERIA INDUSTRIALE E DELL’INFORMAZIONE E DELL’INFORMAZIONE SCUOLA DI INGEGNERIA SCUOLA DI INGEGNERIA EDILE /ARCHITETTURA EDILE /ARCHITETTURA SCUOLA DI ARCHITETTURA SCUOLA DI ARCHITETTURA E SOCIETÀ E SOCIETÀ SCUOLA DI ARCHITETTURA CIVILE SCUOLA DI ARCHITETTURA CIVILE SCUOLA DI DESIGN SCUOLA DI DESIGN DesignVerso è una collana dedicata ai designer della comunicazione, immaginata come allegato alla rivista Multiverso, Università degli Studi di Udine. Comitato editoriale: Prof.ssa Daniela Calabi Prof.ssa Cristina Boeri Prof.ssa Raffaella Bruno Collaboratori e consulenti: Dott.ssa Monica Fumagalli Dott. Lorenzo Rabaioli Dott. Marco Valli Direttori editoriali: Fiorani Sara Gori Alessandro Magnelli Giulia Restifo Pilato Simone www.mvdesignverso.tk Design della Comunicazione C2, A.A. 2018/2019. Laboratorio di Fondamenti del Progetto EDITORIALE Attraverso questa monografia sono state esaminate l’ideologia e le influenze celate dietro al lavoro di Vignelli, rivelandone un’identità che rimarrà un riferimento nel corso degli anni, Per la sua increbile chiarezza e coerenza. Massimo Vignelli è molto di più delle sue opere, che nonostante siano di grandissima rilevanza, sono un punto di partenza per riassumere il suo pensiero e la sua identità: i suoi insegnamenti hanno tracciato una linea guida nel campo del design, alla quale designer emergenti e non possono ispirarsi per imparare i fondamentali della disciplina. Da questo deriva il taglio editoriale che si è deciso di adottare. Si è proposto Vignelli sotto una luce inusuale, diversa, insolita: vengono ripresi gli aspetti salienti della sua vita, dal fondamentale ruolo della moglie con la quale era in grande sintonia, al suo rigore, alla sua ben nota disciPlina, analizzando gli aspetti del movimento moderno del quale lui si erge come colonna portante. -
Cersaie Bologna | International Exhibition of Ceramic Tile
INTINTERNATIONAL EXHIBITION OF CERAMIC TILE AND BATHROOM FURNISHINGS 28 SEPTEMBER - 2 OCTOBER 201 Cersaie Bologna | International Exhibition of Ceramic Tile ... ERNATIONAL EXHIBITION OF CERA AND BATHROOM FURNISHINGS Home > Events > Protagonists Protagonists Claudio Musso Digicult Network Oscar G. Colli Biographical notes Columnist for the magazine “il Bagno Oggi e Domani” of which he was co-founder and editorial director. He is been part for about 16 years of the ADI’s Permanent Observatory of Design. From 2008 to 2010 he directed the selection and publication on the ADI-Design-Index of the best products and services among which the winners of the “Compasso d’Oro” are selected. He held many conferences and talks with students in various universities and he is often moderator for conventions and seminars about interior design and industrial design. Marco Vismara Architect Biographical notes Studio D73 by Marco Vismara and Andrea Viganò is specialized in architectural and design projects in a wide international dimension. Studio D73 deals with interior design, different commercial and private projects, from analysis to production, and carries out the project phases thanks to a very efficient team of professionals based in the headquarter in Italy and the two other offices in Moscow, Tunis and Tbilisi. Within the past few years, Studio D73 has grown and reached many countries abroad, mainly in Russia, East Europe and North Africa, with the aim of keeping growing in new countries in the near future. State-of- the-art design project solutions by Studio D73 include Spa, hotel, showroom, and residential buildings. Giampietro Sacchi Interior designer Biographical notes Interior designer and director of the masters “High education design” at POLI.design – Polytechnic University of Milan. -
Download New Glass Review 11
The Corning Museum of Glass NewGlass Review 11 The Corning Museum of Glass Corning, New York 1990 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within derVoraussetzung ausgewahlt, da(3 sie the 1989 calendar year. innerhalb des Kalenderjahres 1989 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1990 Alle Rechte vorbehalten, 1990 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-122-X ISSN: 0275-469X Library of Congress Catalog Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 9 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 Is das Jury-Mitglied, das seit dem Beginn der New Glass Review Jury Statements A1976 kein Jahr verpaBt hat, fuhle ich mich immer dazu verpflichtet, neueTrends und Richtungen zu suchen und daruber zu berichten, wel- chen Weg Glas meiner Meinung nach einschlagt. Es scheint mir zum Beispiele, daB es immer mehr Frauen in der Review gibt und daB ihre Arbeiten zu den Besten gehoren. -
Ygb(I)V: Horizontal Color in the New York Subway
Robert R. Stenson Intro to Archaeology Joanna S. Smith 25 October 2007 R(o)ygb(i)v: Horizontal Color in the New York Subway The subway arrives in color. In our minds, our stations, and our maps, the New York City subway system arrives in colors: red, blue, orange, green, purple, etc. Whether you are holding a map, navigating the station, or standing on the platform, deciphering this subway means using color as a tool of instantaneous and conscious differentiation. That is, when we trace a line with our finger, spot a sign, or peer into the tunnel, we are consciously looking for a specific color, and can know instantaneously whether or not a train is “ours.” But the nature of this scheme is to operate in a “vertical” orientation. As we ride toward our destination, we ride with a color; as we glide north and south beneath the grey city, moving against the horizontal grid of cross-streets, the A train remains blue and the 1 remains red—no matter what station, either West 4th or 200th. But little-known in the New York subway complex is a limited, enigmatic system of “horizontal” color, bands of colored tile on station walls—a system which, theoretically, gives us the sense not of moving with a color, but through changing colors: green at West 4th, red at 200th etc. As a result of poor documentation and limited use, however, what we know of the colors is preserved primarily on the subway station walls; a once-modern scheme has silently become archaic, found only in an archaeological context. -
Poltrona-Frau-Icons.Pdf
Icone Poltrona Frau Icons Icona 5 ICONA ICON [i-cò-na] sostantivo femminile [i-con] noun 1) Effi gie sacra dipinta su tavola, propria 1) (Christianity / Eastern Church -Greek Icon dell’arte bizantina e poi russa e balcanica & Russian Orthodox) a representation of Christ, the Virgin 2) In semiologia, tipo di segno Mary, or a saint, esp one painted che riproduce una o più caratteristiche in oil on a wooden panel, depicted della realtà che denota in a traditional Byzantine style and venerated in the Eastern Church. 3) In informatica, immagine che rappresenta simbolicamente 2) A symbol resembling or analogous un programma, un comando o un fi le to the thing it represents. di dati: “trascinare l’icona” 3) (Electronic & Computer Science/ dal Sabatini Coletti, Computer Science) a pictorial Dizionario della Lingua Italiana representation of a facility available on a computer system, that enables the facility to be activated by means of a screen cursor rather than by a textual instruction: “drag the icon” from the Collins English Dictionary Complete and Unabridged L’icona è un’immagine sacra diff usa in tutto An icon is a sacred image spread throughout il mondo russo e balcanico fi n dalla più remota the world of Russia and the Balkans since ancient antichità. Tuttavia nel linguaggio contemporaneo times. However, in contemporary language, il termine “icona”, e soprattutto i suoi derivati the term ‘icon’, and above all the adjective deriving aggettivali “iconico” e “iconica”, sono entrati from it (‘iconic’), is now commonly used prepotentemente nell’uso corrente ad indicare to refer to some form of semantic absoluteness. -
Addio a Massimo Vignelli, Pezzo Di Storia Del Design Italiano
Addio a Massimo Vignelli, pezzo di storia del design italiano È scomparso a New York, all’età di 83 anni, Massimo Vignelli, una tra le personalità di maggior rilievo del design italiano. Passato alla storia per il celebre slogan “Design is one”, con cui identificava che il design è “unico” e che se si è in grado di progettare una cosa, si può progettare tutto, Vignelli ha realizzato opere e lavori che sono rimasti impressi nella memoria collettiva, dai loghi di moltissime aziende mondiali fino a segnaletiche il cui potere iconico è ancora oggi immutato (come ad esempio quelle per le ferrovie italiane). Nato a Milano nel 1931, studia architettura al Politecnico e poi allo Iuav di Venezia. Il suo primo contatto con il product design avviene già da studente, collaborando alla realizzazione di alcune lampade in vetro soffiato per Venini. Fondamentale è l’incontro Elena Valle, al secolo Lella, con la quale avvia un legame professionale e personale, sposandola nel 1957. Nello stesso anno, grazie a un incarico temporaneo, si trasferisce con Lella negli Stati Uniti, facendo la spola con l’Italia per qualche anno. A Milano nel 1960 la coppia fonda il primo studio di design, operativo fino al trasferimento definitivo negli Usa, nel 1964. Qui partecipa all’avvio di “Unimark International”, studio di design internazionale e interdisciplinare, di cui è co- fondatore insieme a Ralph Eckerstrom, Bob Noorda, Jay Doblin, James Fogelman, Wally Gutches e Larry Klein. Vignelli lascia Unimark nel 1971 per fondare la Vignelli Associates, lo studio che ha attraversato la sua carriera fino ai giorni nostri. -
The Vignelli Legacy Published on Iitaly.Org (
Design is One: The Vignelli Legacy Published on iItaly.org (http://www.iitaly.org) Design is One: The Vignelli Legacy Emily Hayes (March 28, 2018) The Vignelli legacy is one that lives within the structure of New York City, and consists of simple, elegant designs that laid the basis for modernism in the United States. Massimo Vignelli and his partner Elena Valle (Lella) Vignelli conceived an iconic world of items, logos, and spaces for their international clients. Important pieces from their archive were open to the public at the Embassy of Italy in Washington, D.C. on March 16, for a lecture and exhibit opening entitled L’eredita’ dei Vignelli. The event was hosted by the Italian Cultural Institute, the Embassy of Italy, and the Rochester Institute of Technology. Photographs, sketches, book covers, maps, and brochures lined the walls of the exhibit, demonstrating the range of media and scope their work covered. New York City and Washington, D.C.’s iconic subway maps, Bloomingdale’s department store graphics, and the interior of St. Peter’s Church in Manhattan were just a few of the well-known designs the Vignelli’s created. Furniture, plate ware, clothes, jewelry, books on animal anatomy and brochures for the U.S. National Parks, all seemingly unconnected items, came together in the exhibit on Massimo [2] and Lella Vignelli [3]. Even the chairs and coffee table on the stage were Vignelli-designed. R. Roger Remington, Professor of Graphic Design from the Vignelli Center for Design at the Rochester Institute of Technology, spoke as a long-time friend during his lecture.