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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. -
Fall 2016 Newsletter
Fall 2016 CHI College Dean’s welcome CHI Theatre & Music 2016/17 theatre season LA Art & Art History Marientina Gotsis and the art of solving problems CHI, DXB, Architecture JED Adrian SmithCHI comes to Projecting the Forum CHI College Projecting the future: a UIC legacy the future: a DET Design Industrial Design at IDSA conference UIC legacy LIS, VCE Architecture City views: School of Architecture represented in Lisbon and Venice CHI College In memoriam CHI Architecture Legos Brick by Brick at the Museum of Science and Industry DET Industrial CHI Design High in the Modern Wing: Amir Berbic’s installation at the Art Institute of Chicago Design at IDSA CHI College Alumni step out at Steppenwolf NYC Design conference The future, now ACC Art & Art History Congratulations, Daniel Dunson CHI College Sides to our story: east side/ west side collaborationsLIS School of University of Illinois at Chicago College of Architecture, Design, and the Arts Architecture to Lisbon and Venice CHI East side/ west side collaborations Dean’s UIC College of Architecture, Design, and the Arts 2 Fall 2016 has arrived at the University of an arts center for UIC and the city of Geissler, Beate, Oliver Sann, and Brian Illinois at Chicago College of Architecture, Chicago. You can also read descriptions and Recent faculty publications Holmes. Volatile Smile. Nuremberg: Moderne welcomeDesign, and the Arts (CADA), and the see images of luminous design concepts Kunst Nurnberg, 2014. learning environment here is as vibrant as for a new visual and performing arts facility The faculty of UIC's College of Harmansah, Omur. -
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. -
The World Technology Network
The World Technology Network WTN Homepage 2004 World Technology Award MAILING LIST SIGN UP About Us World Technology Nominees Name: Summit 2004 First: World Technology Please click on a category for more information Awards 2004 Last: Previous Events/ Awards The Arts Health & Medicine Email: World Technology Biotechnology IT - Hardware Focus: Intelligence Communications Technology IT - Software Becoming a WTN Associate Design Law The Membership Education Marketing Communications For specific enquiries contact us. Member News Energy Materials Sponsorship Inquiries Entertainment Media & Journalism Contact Us Environment Policy Ethics Social Entrepreneurship Our Sponsors/ Partners Finance Space The Arts Mr. David Byrne - Pace/MacGill Gallery Mr. Mengbo Feng - Search WTN.net Media Lab, Central Academy of Fine Arts Ms. Felice Frankel - MIT Mr. Perry Hoberman - University of Southern California Mr. Search The Web Steve Jobs - Pixar Prof. Tetsuo Kogawa - Tokyo-Keizai University Ms. Victoria Vesna and Mr. James Gimzewski - Department of Design | Media Arts, and UCLA Prof. Marcos Novak - MAT/UCSB Dr. Hunter O'Reilly - Loyola University Chicago Mr. David Rokeby Prof. Carlo H. Sequin - Univ. of California, Berkeley Prof. Jeffrey Shaw - University of New South Wales Ms. Yukiko Shikata Mr. Leo Villareal Biotechnology (Individual) Dr. Reuven Agami - The Netherlands Cancer Institute Dr. Richard Begley - 454 Life Sciences Dr. Andre Koltermann and Dr. Ulrich Kettling - DIREVO Biotech AG Dr. Robert Langer - MIT Dr. Pierre-Marie Lledo - Institut Pasteur Dr. Alton Morgan - InNexus Biotechnology Inc. Dr. Toshiaki Noce - Mitsubishi Kagaku Institute of Life Sciences Prof. Ehud Shapiro - Weizmann Institute Prof. Thomas Steitz - Yale University; Howard Hughes Medical Institute Prof. Jennifer Thomson - University of Cape Town Dr. -
The Ukrainian Weekly 2004, No.46
www.ukrweekly.com INSIDE:• Viktor Yanukovych agrees to TV debate — page 5. • Preserving a POW chapel in Lockerbie, Scotland — page 14. • Ukrainian American Veterans hold convention — page 15. Published by the Ukrainian National Association Inc., a fraternal non-profit association Vol. LXXII HE No.KRAINIAN 46 THE UKRAINIAN WEEKLY SUNDAY, NOVEMBER 14, 2004 EEKLY$1/$2 in Ukraine Ukraine’sT presidentialUIt’s official: YushchenkoW wins first round by Roman Woronowycz the western and central regions of the puzzled. campaign comes Kyiv Press Bureau country, while Mr. Yanukovych received “I am satisfied,” began the prime min- the overwhelming majority of votes in ister while addressing journalists at his KYIV – The Central Election eight eastern and southern oblasts, as headquarters in an appearance broadcast to the United States Commission officially announced on well as in the Crimean Autonomous on all the major television stations, and November 10 that National Deputy Republic. The result set the stage for a then added, “As for the first round, I by Yaro Bihun Viktor Yushchenko had won the first run-off between the lawmaker and the compare it to a soccer match, one in Special to The Ukrainian Weekly round of voting in Ukraine’s presidential prime minister, as Ukrainian election law which I was playing on foreign territory,” election by just more than a half percent- dictates when no candidate receives 50 explained Mr. Yanukovych. WASHINGTON – The Ukrainian age point. percent voter support. While in European soccer rules, a vis- presidential run-off election campaign It was a somewhat unexpected turn- Mr. Yushchenko, his face still showing iting team gets an extra credit in the came to the U.S. -
Samsung Petition
No. 15-___ IN THE Supreme Court of the United States ———— SAMSUNG ELECTRONICS CO., LTD., SAMSUNG ELECTRONICS AMERICA, INC., AND SAMSUNG TELECOMMUNICATIONS AMERICA, LLC, Petitioners, v. APPLE INC., Respondent. ———— On Petition for a Writ of Certiorari to the United States Court of Appeals for the Federal Circuit ———— PETITION FOR A WRIT OF CERTIORARI ———— MICHAEL T. ZELLER KATHLEEN M. SULLIVAN B. DYLAN PROCTOR Counsel of Record QUINN EMANUEL URQUHART WILLIAM B. ADAMS & SULLIVAN, LLP DAVID M. COOPER 865 S. Figueroa Street QUINN EMANUEL URQUHART 10th Floor & SULLIVAN, LLP Los Angeles, CA 90017 51 Madison Avenue (213) 443-3000 22nd Floor New York, NY 10010 VICTORIA F. MAROULIS (212) 849-7000 QUINN EMANUEL URQUHART kathleensullivan@ & SULLIVAN, LLP quinnemanuel.com 555 Twin Dolphin Drive 5th Floor Redwood Shores, CA 94065 (650) 801-5000 Counsel for Petitioners December 14, 2015 WILSON-EPES PRINTING CO., INC. – (202) 789-0096 – WASHINGTON, D. C. 20002 QUESTIONS PRESENTED Design patents are limited to “any new, original and ornamental design for an article of manufacture.” 35 U.S.C. 171. A design-patent holder may elect infringer’s profits as a remedy under 35 U.S.C. 289, which provides that one who “applies the patented design … to any article of manufacture … shall be liable to the owner to the extent of his total profit, … but [the owner] shall not twice recover the profit made from the infringement.” The Federal Circuit held that a district court need not exclude unprotected conceptual or functional features from a design patent’s protected ornamental scope. The court also held that a design-patent holder is entitled to an infringer’s entire profits from sales of any product found to contain a patented design, with- out any regard to the design’s contribution to that product’s value or sales. -
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. -
Perspectives on Retail and Consumer Goods
Perspectives on retail and consumer goods Number 7, January 2019 Perspectives on retail and Editor McKinsey Practice consumer goods is written Monica Toriello Publications by experts and practitioners in McKinsey & Company’s Contributing Editors Editor in Chief Retail and Consumer Goods Susan Gurewitsch, Christian Lucia Rahilly practices, along with other Johnson, Barr Seitz McKinsey colleagues. Executive Editors Art Direction and Design Michael T. Borruso, To send comments or Leff Communications Allan Gold, Bill Javetski, request copies, email us: Mark Staples Consumer_Perspectives Data Visualization @McKinsey.com Richard Johnson, Copyright © 2019 McKinsey & Jonathon Rivait Company. All rights reserved. Editorial Board Peter Breuer, Tracy Francis, Editorial Production This publication is not Jan Henrich, Greg Kelly, Sajal Elizabeth Brown, Roger intended to be used as Kohli, Jörn Küpper, Clarisse Draper, Gwyn Herbein, the basis for trading in the Magnin, Paul McInerney, Pamela Norton, Katya shares of any company or Tobias Wachinger Petriwsky, Charmaine Rice, for undertaking any other John C. Sanchez, Dana complex or significant Senior Content Directors Sand, Katie Turner, Sneha financial transaction without Greg Kelly, Tobias Wachinger Vats, Pooja Yadav, Belinda Yu consulting appropriate professional advisers. Project and Content Managing Editors Managers Heather Byer, Venetia No part of this publication Verena Dellago, Shruti Lal Simcock may be copied or redistributed in any form Cover Photography without the prior written © Rawpixel/Getty Images consent of McKinsey & Company. Table of contents 2 Foreword by Greg Kelly 4 12 22 26 Winning in an era of A new value-creation Agility@Scale: Capturing ‘Fast action’ in fast food: unprecedented disruption: model for consumer goods growth in the US consumer- McDonald’s CFO on why the A perspective on US retail The industry’s historical goods sector company is growing again In light of the large-scale value-creation model To compete more effectively Kevin Ozan became CFO of forces disrupting the US retail is faltering. -
Industrialdesign
National Endowment for the Arts I N D U S T R I A L D E S I G N A Competitive Edge for U.S. Manufacturing Success in the Global Economy I N D U S T R I A L D E S I G N A Competitive Edge for U.S. Manufacturing Success in the Global Economy April 2017 National Endowment for the Arts 400 7th Street SW Washington, DC 20506 Telephone: 202-682-5400 arts.gov Produced by Office of Programs and Partnerships, Design Program Jason Schupbach, Director of Design Programs, National Endowment for the Arts Content by Heidi Sheppard, Advisor for Technology Collaborations, National Institute for Standards and Technology, Manufacturing Extension Partnership; Courtney Spearman, Design Specialist, Office of Programs and Partnerships, NEA; and Katryna Carter, Design Consultant, Office of Programs and Partnerships, NEA Other Staff Contributors: Don Ball, Assistant Director - Publications, Office of Public Affairs, NEA; Bonnie Nichols, Operations Research Analyst, Office of Research and Analysis, NEA. Designed by Katryna Carter For their valuable assistance with this report, the NEA Design Program would like to thank the following people: Daniel Martinage, Industrial Designers Society of America; Susan Page Estes and Paul Hatch, DesignHouse; all those who were interviewed; and Laska Hurley, Office of Programs and Partnerships. 202-682-5496 Voice/TTY (a device for individuals who are deaf or hearing-impaired) Individuals who do not use conventional print materials may contact the Arts Endowment’s Office for Accessibility at 202-682-5532 to obtain this publication in an alternate format. This publication is available free of charge in PDF format at arts.gov. -
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. -
Designed By: Lella Vignelli
Designed by: Lella Vignelli Designed by: Lella Vignelli Acknowledgements This book is dedicated My most sincere appreciation to: to Lella Vignelli, Jan Conradi, with many thanks for an inspiration to all her patience and advice in reading and correcting my English. women designers who Mauro Sarri, who endured my forcefully stand on the continuous changes of the layouts and type to achieve this book design. power of their merits. New York, NY 2013 Massimo Vignelli Introduction For decades, the collaborative role of inspiration and incentive for young women in life and in the profession, should be based women as architects or designers working who are shaping their careers. Times are on mutual respect and appreciation for each with their husbands or partners has been changing… partner’s talent, sensibility, and culture. under appreciated. Fifty years ago, it was No partnership can exist, or last, without this standard practice that the head of the office The supporting role of the woman architect fundamental basis. was the man and the woman partner had has often been created by macho attitudes a subordinate role. At best, the woman’s of the male partner. Most of the glory went Lella and I have been partners, lovers, a creative input and professional influence to the men (not accidentally) while the married professional couple for more than was only vaguely accepted; often her women, as partner architects, found that half a century. From the beginning, our contributions were dismissed and sometimes their role was dismissed or totally ignored. relationship has been bonded by our mutual even forgotten.