The short-lived stand of Pruit-Igo

Pruit Igoe was a large urban housing project designed by Minoru Yamasaki in early 1950s. It consisted of around 30 tall buildings-some housed less than a thousand people and others were 'boarded up'.

This infamous complex began to decay in the late 60's due to crime, segregation, and poverty. What could have caused such transgressions in this world? When I watched this clip, all I saw was a post-apocalyptic world that sat beneath stormy clouds. It could have been the stoic atmosphere of tall buildings standing so grim next to and behind each other. This reminded me of Batman's Gotham city,

BRAND ON THE RUN

This article frightened and inspired me, especially in the end when it warned the reader about this new tactic super brands use for marketing called "guerrilla marketing". What's even more frightening is that this article was written a decade ago and they have been rapidly successful in finding new and improved ways of luring customers in. To think that subvertising would be an effective tool in marketing is kind of sick, albeit clever. Perhaps the Adbusters will come up with a more witty comeback to this sort of reverse-psychology tactic as a means to open the eyes of society to the (mal)intents of super-brand marketing. While reading this article, I couldn't help but refer back to the First Things First manifesto as the objectives clearly state that design should be used for good. The Adbusters are crusaders of this manifesto, spreading awareness of the iniquitous activity of super-brands. Radiohead is also a part of this mission in letting its audience see them as a band alone. By prohibiting ads on their stage, they are allowing their music to be a pure form of art instead of some gateway to all sorts of products that are totally unrelated to their music. This piece is not just to make designers aware, but it's also a plea for them to fight back.

HELVETICA

Of the remaining time we had in class, I was glad we were able to watch some of this film because I heard other professors talk about it and I'd been wanting to see it. The film included many important graphic designers today such as Rick Poynor, Massimo Vignelli, and Michael Bierut, who shared their opinions on Helvetica as well as a tour of their workspaces. Many designers believe that Helvetica contains a meaning and style that no other font could match up with because it is so unique in its own. Nowadays, it is used in public everywhere- from buses to billboards to everyday signs because it is increasingly recognized as a great-looking font. One popular and recent brand that uses it as part of its character is American Apparel.

There is some tension from the apparent 'overuse' of Helvetica, however. Even though it is such a wonderful font, the constant use is thought to depreciate it. Also, I think that slapping Helvetica on anything to display a pleasing image is just playing the safe card. There should be more variety and risk attempted with type as a means to create something great.

Nevertheless, Helvetica will always be one of greatest fonts of all time because its freshness, wherever placed, is contained at some level.

We need to be BAD

Bad, that is, in reference to design. This article from PRINT magazine provided a unique, unusual layout and an eye-opening perspective to the world of design. Although I always knew that Mercedes was a symbol of wealth, it never crossed my mind as to how the spread of that symbol affected our culture. This status of power and wealth burgeoned ever since design had been recognized as a major benefactor in marketing, by the marketers. I've always looked up to and strove to emulate professional designers during my career as a designer, because they are successful and happy in what they do. As I admire the encouragement of this article to go henceforth with the 'right thing' to do, another part of me is reluctant to believe in this. This is probably because I'm afraid that clients will automatically turn the freethinkers down and move on to the next designer who will accord to their wishes. Then again, there would have to be at least some faith in this way of designing in order for it to flourish. I think that due to the economy now and the unknown future, it is hard to accept and believe in this article's said 'idealized' way of marketing.

Pioneer Modernism

In Paul Greenlhalgh's book, he talks about the two phases of Modernism and their purposes. The first of the two was called Pioneer Modernism, a phase that "was essentially a set of ideas, a vision of how the designed world could transform human consciousness and improve material conditions." To have been only a set of ideas could mean that this phase was not taken far enough to be recognized as "the" Modern movement. The objective of this phase was to 'transform human consciousness and improve material conditions'. A distinct trait of Pioneer Modernism was their belief in theology that was integrated into this concept. This was deemed appropriate and highly beneficial to preaching universality in design, however, it was not successful in being carried out by constructional means. Instead, this was widely spread throughout manifestos in Europe since literature seemed to be the medium that allowed that concept to be understood.

Media, Gender, and Identity

David Gauntlett discusses today's societal issues of media, gender, and identity in an excerpt from his book. For the sake of this discussion, I think that gender and identity should stand as one because they are both affected by media. To answer the question: are we victims to branding, advertising, and media? I believe that we are, to an extent. However, David makes a point that we design our own lives and that media serves as a guidance in that process.

There is some influence from what is advertised and displayed, but we also hold our own ideals of individuality. This seems to be a catch-22 situation, however, because individuality is derived and driven by media. Older generations are probably not as much victimized by the media, as David mentions that they are so mindset about the 'traditional' standards. I think we can all admit that there is at least some dependency on image--even people in their mid 40's and 50's like to buy expensive cars as a status symbol. Image affects not just the person who wears it, but everyone around them. If someone bought a Hummer (albeit gasguzzling & wasteful to environment) it is likely that the car in front of them in the speed lane will make way because of its intimidating size. Many people feed on their own image to feel better about themselves, to feel happier, powerful, and more in control. It was amusing to read how magazines such as Cosmopolitan and Glamour repeat the same advice, each time in a more surprising way. This can be viewed negatively or positively, depending on the reader's self-esteem, I think. I feel that there is an inevitable relationship between people and the media- the media feed off us and vice versa.

This connection allows designers to become more aware of the purpose of their work and how it affects not just what/who they are working for, but society as well- more specifically the gender and identity issues. We need to ask ourselves how a piece of media relates to others as we seek what is beneficiary to society and what is not.

Since we (the younger generation) already live in the age where new traditions are more liberal and accepting, I wonder if we will be further accepting to new trends over time. Not that I disagree, but I am curious of David's theory that "conservative attitudes develop throughout population as we get older."

First Things First... Then & Now

Ken Garland's manifesto "First Things First" (1963) calls for graphic designers to use their talents for the better of society, instead of making crass visual displays for materialistic things. I agree with the notion of thinking outside the materialistic world and considering what will benefit society in the present and future. This reminded me of my trip to Korea during the summer of 2009. Besides the very different manners of Korean civilians, the environment was a great factor of the culture shock that ran over me; one example is the signs of public transportation that communicated to civilians the intent of cleanliness and respect. It was honest and respectful by itself. During my time there, I have noticed minuscule littering on the streets and waiting areas compared to New York or any urban cities in the states.

Besides the betterment of environment, I believe that our skills in graphic design should be applied to textbooks and educational tools to encourage and rev up students' learning. Many of the textbooks that students buy provide information but lack enthusiasm or interest, in a visual manner. For instance, I'm using a book for my 20th c Architecture class called Modern Architecture since 1990. At first glance, the overall look of the cover is pleasing to the eye. The structure and form of text is rendered in a way that allows some ease in reading. There is also a nice alignment in the columns of text from each other and from the edge of the paper. In my opinion, however, I think they could have done more to add some 'zing' to the book because the ongoing format tends to make me tired. I personally think that a visually-enhanced material will boost the students' interest in the subject and provide an easier learning experience.

The First Things First Manifesto was updated in the new millennium. This new version was published in Emigre magazine by many designers, including Ken Garland. A little change I found amusing in this version was the list of products used to identify the material world in which graphic design worked for; in the 1964 manifesto, the list included "cat food, stomach powders, detergent, hair restorer, striped toothpaste (haha), aftershave and beforeshave lotion, etc..." In this updated version, the items are the following: dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer, and heavy-duty recreational vehicles. This change of the manifesto signifies the importance of graphic designers becoming aware of design from the old to the new. This does not, however, stray away from the issue of graphic design being applied to commercial value. The new version encourages change of priorities in graphic design so as to increase the value of "more useful, tasting and democratic forms of communication." Advertising will always be there for designers to depend on because it is vital for marketing any product.

Great works by a great graphic designer: Jason Little, Creative Director of Landor Assoc., who won 48 awards from the likes of D&AD, The NY Type Directors Club, Graphis, and Wolda:

http://www.behance.net/JasonLittle

And some extra inspiration on the side...