Visualising the Boundariesof architecture and graphic design

By Steven Price MA Communication Design, Central St Martins, London 2000.

2

Visualising the Boundariesof architecture and graphic design

By Steven Price MA Communication Design, Central St Martins, London 2000.

3

This dissertation is an ‘observation’, not an argument of right or wrong, good or bad design. It is

not about changing the world, it is about trying to observe and understand the boundry between

architecture and graphic design, and how we as viewers, users, consumers, and products of,

interpret the language of these two disciplines. It is a study concerning the relationship and

interaction between the the public and built space.

This dissertation was inspired from one quote, and an exhibition called ‘Paperjam’. Firstly, from the

book ‘Envisioning Information’ by Edward R Tufte, I became immediately captivated in to the

notion of how we interpret, visualise and conceptualise information; questioning how we can best

escape the static flatland of screen and paper to visually represent the rich visual world of

experience that we live in.

The second source of inspiration is ‘Paperjam’, which involves a collaboration between myself, Red

Design (who produced the brief), and other contributing designers: We have been asked, by Red

Design, to challenge the current state of ‘standardisation’ and ‘conformity’ within flyposters that we

all see smothered around our cities corridors, walls, doors, pillars, posts and billboards.

It was this initial realisation that we have become accustomed to an ‘en masse’ of information;

residing somewhere between architectural form, design and visual (design) information. It was this

boundary that I found so intriguing, because these are two disciplines that have an enormous

impact upon our everyday life. It was also the self realisation that I could not define the term

Graphic Design, or my placement within that discipline; which is the precise reason I decided to

partake in an MA to begin with.

Abstract4

‘The time has arrived for a scholar to write a doctoral dissertation on signs. He or she would need literary as well as artistic acumen, because the same reason the makes signs Pop Art (the need for high-speed communication with maximum meaning) makes the Pop Literature as well.’

Robert VenturiLearning From Las VegasThe Forgotten Symbolism of Architectural Form, pg.80MIT Press (1998).

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1.0

1.1

1.2

1.3

2.0

2.1

2.2

3.0

4.0

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31

34

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60

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Introduction

The realm of Architecture

The metaphysical language of The Lloyds Building

Inside:outside (the Lloyds building)

The process of movement

Defining the arena of Graphic Design

Visualisation of Information

Breaking Boundaries: Wipeout Three

Interaction of Boundaries

Epilogue: Authors of information?

Bibliography

Appendix

16

‘The world is complex, dynamic, multidimensional; the paper is static, flat.

How are we to visually represent the rich visual world of experience and

measurement on mere flatland?’

Edward R Tufte

Envisioning Information, Introduction, page 9.

Graphics Press. Cheshire, Connecticut.

17

Introduction

The purpose of the written and printed word has not changed since its early pioneers and

practioners began the art of the printed word in the fifteenth century1

. Its primary function is not

just about captivating the reader, but to provoke a reaction: a thought, an emotion, a mental (and

sometimes physical) response.

The disciplines of Architecture and Graphic Design will be the main focus points of this

dissertation. Together they have a far more literal presence and effect upon our everyday lives than

probably most people are aware of. Similar to the written word, they provoke, and communicate

information that challenges a response and reaction. Different forms and functions will inevitably

create various reactions from the user, observer, or passer-by.

This dissertation is not a formal argument of ‘good’ or ‘bad’, ‘right’ or ‘wrong’, it is a chance to

investigate and reflect upon the new and varied ways in which designers and architects are using, or

rather, should be using more varied and challenging methods of technology to convey the meaning,

the message (an example would be John Warwicker's on-going project of the Federation Square in

Melbourne, Australia, See figure.27). It is the boundaries between the physiological language of the

two disciplines that I see as interacting with each other. Except at the moment (in many cases) I feel

there is a serious lack of any consideration or responsibility on the part of the designer concerning

the sprawl of information we see attached to the walls and corridors of of urban environments.

The structure of this dissertation will be divided in to three main segments. The first section will

take an insight into the role of Architecture, outlining a brief physiological history of the necessity,

evolvement, and understanding of the discipline. The section will explore the symbolic language

and presence of Architecture and how those independently provoke meaning to our everyday

experiences and visual dialogue. Proceeding this will be an indepth case study, analysing the Lloyds

Building in London; assessing its function, form, its physiological language within its surrounding

location, and the notoriety of its structural characteristics and language.

Similarly, chapter two will study the discipline of Graphic Design, elaborating on what the current

boundaries and conditions are, and what the role of the designer is in todays evolving state of flux.

The section will discuss the objectives and evolvements of the discipline with the emerging, and

ever expanding technological advancements; and how those progressions have enabled a more

compatible link between the designer and the architect. Using examples I shall elaborate on this to

further reflect, not necessarily a ‘correct’ or ‘right’ way to work, but of a more considered,

responsible approach towards the interaction of the two disciplines: not only for the innovation or

18

Introduction

creation, but the for the contextual benefit of the user. This will all be supported by a case study to

emphasise the evolvement and progression by investigating the Sony Playstation game ‘Wipeout’,

which from the early stages of concept through to production was a creatively inspired

collaboration between Psygnosis and the graphic design company, The Designers Republic. A

design company renowned for their elaborate, visual statements within the printed realm, which is

now crossing boundaries and progressing into (amongst others) the computer games world. This case

study will address all these elements, discussing movement from the flat two-dimensional print

world to the three-dimensional flatland2 on screen, and how their own personal responses and

experiences from our ‘rich visual world of experience’3 aided the process of discovery and creation.

‘The public realm is defined as much by graphic designers, as it is

by architects.’ 4

The final section (3.0 interaction of boundaries), will encapsulate all of the elements discussed

within sections one and two. I will investigate the routes and possibilities of interaction alongside

the desire and necessity for there to be a more considered use space between the boundaries of

Architectural and Information Design.

Architecture and Graphic Design: two disciplines whose basic principles have universal application:

Neither are restricted to unique theories, language or culture, and so evolve on a constant state of

flux. This dissertation is about observation, not argument; it is a reflection, studying the current

language of communication within architecture and graphic design. In theory it is an enormous

field of study to cover, but I have specifically chosen to narrow that field by studying precise

examples from both disciplines, which combine in section three to form a singular study of

location, language, and contextual awareness, ahead of my final conclusion.

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Footnotes

1. James MoranFit to be Styled a Typographer’, The Society of Typographic Designers, page 1.

2. The idea of ‘Flatland’ is based upon the classic by Edwin A Abbott, entitled ‘Flatland, A Romance of Many Dimensions’. (penguin classics)

3. Edward R TufteEnvisioning Information, introduction, page 9.Graphics Press. Cheshire, Connecticut.

4. David HeathcoteEye Magazine, ‘Growing up in Public’, page 4.

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‘The masterly, correct, and magnificent play of masses brought together in light.’

Le Corbusier

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‘No matter how much architecture evolves, its primary function is to provide

shelter.’ 3

Architecture has had a consistent presence in history and the conscious mind. Since the early stages

of evolution mankind has sought to survive and protect itself from the climate, predators, and the

elements in varying forms. In doing so dwellings were constructed from natural materials, that

became environments for rest and for the birth and raising of siblings. This progressed, and

dwellings were soon modified, especially where climate was concerned. Builders (or chief

Architects) began to adapt buildings according to the local climate, by benefiting from the usual

local materials. It is these precise methods that are still in existence today (see figures 11 & 12),

both in a physical form (the city of Perta in Jordan see figures 12 & 13), and contextually in the

basics of Architectural education. Climates are broken down into three simple elements:

Hot and Dry climates required thick walls to keep the heat out in the day,

the use of light colours to reflect the suns rays, and small narrow windows to

minimise glare. At night the heat captured in the thick walls helps to

insulate the dwelling in the cool of the night.

Cold and Wet areas require thick, dark walls; usually brick or wood to keep

both the heat in and the cold out, and large windows to increase the source

of natural light. Steep roofs were used to disperse off ice, snow, and rain, and

buildings were built close together to provide warmth and outside shelter.

Lastly, Hot and Humid areas use screens or thin walls to let air pass through,

but to keep heat out; verandah's and over-hanging roofs provide shelter, and

shade for outdoor areas. In the rainy season shallow overhanging roofs throw

off rain, and houses/dwellings were built on stilts to provide protection from

floods, insects, and larger predators.

These simple, yet highly effective techniques that were evident then, are still used in modern

construction techniques.

It was as a result of these techniques, and the evolvement of society that gave birth to the early

stages of civilisation. Bringing with it the development of Architecture which had, and still has a

primary function within modern society: serving as a constant, and permanent, reminder of our

history, whilst inspiring our future.

1.0 The realm of Architecture26

1.0 The realm of Architecture

‘Architects have been bewitched by a single element of the Italian landscape:

the piazza. Its traditional, pedestrian-scaled, and intricately enclosed and is

easier to like than the sprawl of Route 66 and Los Angeles.’ 4

Architecture is an aesthetic part of our heritage; additionally it causes emotional responses because

of our conscious awareness of its aesthetic form. It exists everywhere, it sculpts the environments

that we live, eat, work, and sleep in. Contextualising these points is made easy just by walking

around the City of London where we can see the essence of Old English ‘Tudor’ Architecture at

Liberty’s, and Roman Collesium elements in the facade of Selfridges, which ironically is now

completely covered with a single piece of artwork (see figure 14) measuring nine hundred feet mong

by sixty feet high. To emphasise the actual facade of the building Simon taylor stated:

"I conceived this work as a contemporary version of the Elgin marble frieze

from the Parthenon, peopled with modern day Gods', to adorn a temple of

shopping." 5

These aspects emphasise the physiological significance of the buildings, simply through using

elements of historical value. This draws on our previous knowledge, and enables us to determine

interpretation and meaning.

Architecture provides both public and private spaces for the populous to interact with, and use on a

daily basis. It sculpts environments, spaces of movement and interaction, which is subsequently

controlled by certain elements that determine the successful navigation and understanding of a

space by the:

Physical elements, which are the buildings themselves, the traffic that moves

around them (continuous and controlled), by navigational factors: traffic

lights, artificial lights, and signage.

Sequential element, which is directly affected by the time of day: a

cityscape/space will transform in appearance: at night time as a result of

artificial lighting, albeit street lights, or neon/building illuminations.

Buildings will take on the appearance of simple silhouettes projected against

the night sky, unlike their appearance when bathed in natural daylight.

Social elements, can project key forms of communication related to an area

or space. For example Brick Lane in the heart of London's East End suggests

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ethnic community, and minority, namely the Sikh/Muslim religion, and

significant cultural boundaries. By contrast, across the road and walk for five

minutes and you find yourself in the heart of the Financial District, or ‘The

City’. The environment here is suggestive of power, control, tradition, history,

and leadership on an intimidating scale. All these factors , with our previous

experience, shape our perceptions to varying degrees.

Movement perception along a street is governed within the structural order of constants: the road,

the lamp-posts, the pavement, the sky, and the buildings: constants, and purpose aid the

comprehension of any space. Other methods of understanding form, and in particular, ‘new/

modern’ form, is to compare it with the value systems of those that preceded them, the previous,

the past:

‘What is not new is not that the world lacks meaning or has little meaning,

or has less than it used to; it is that we seem to feel an explicit and intense

daily need to give it (the world) meaning: to give meaning to the world. This

need to give meaning to the present, if not the past, is the price that we pay

for the over abundance of events corresponding to a situation we call

‘supermodern’ to express its essential quality: Excess.’6

This quote reflects our using previous, and recorded knowledge to create meaning, but it is

concerned with the element of actual time. The symbolism of Architecture is not just about

chronological meaning, it is about dealing with the physiological aesthetics of structural form and

function. Although a building can suggest a number of historical styles, its urban space owes

nothing to historical space, like a new canvas, it precedes the last piece of work; because it is new;

whether it is good or bad depends very much upon the skill, the understanding, and the

consistency of the artist, or in terms of the following case study, the Architect. Nevertheless, in

order have construct an understanding of these elements and forms, it is important to understand

what is there, from a basic understanding of ‘a city’, to evolve the new theories and concepts of

form more suited to the contemporary attitudes of contextualising concepts. Rather than the

attachment of redundant, historical pre-determined beliefs.

1.0 The realm of Architecture28

1.0 The realm of Architecture

Footnotes

1. Louis HellmanArchitecture For Beginners. ‘What is Architecture’, page.1

2. Physiology, relating to the language of the functions and forms of architecture, not living organisms.

3. Philip JodidioBuilding a New Millennium.’Places to Live’, page 20.

4. Robert Venturi, Denise Scott Brown, Steven IzenourLearning From Las Vegas, The Forgotten Symbolism of Architectural Form.‘Architecture as Space’, page6.

5. Taylor, Simon‘XV SECONDS’A specially commissioned installation for SelfridgesInauguration: May 2000Until October 2000www.whitecube.com

6. Marc AugéNon-Places, Introduction to an anthropology of supermodernity. page 29.

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30

‘Buildings are not idiosyncratic private institutions: they give public performances both to the user and the passerby.’

Louis HellmanArchitecture For Beginners. ‘What is Architecture’, page.1

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The Lloyds building is about movement. Whilst it is an iconic gesture of ‘modern’

architecture, it also represents one of the most respected and traditional financial

establishments in the world. It has proved to be an overwhelming experience from an

aesthetical, purely visual stand-point. A construction that demands and challenges the viewer

to observe, and interpret. Like a canvas in an art gallery, it captures your attention from afar,

its sheer magnitude draws you near for a closer inspection; only at this point will the full

interpretation of its statement become clear.

Its collaboration of functions, materials, solutions and myriadic facades captures the

profoundness of the structure. It is patently impossible to separate the two great elements; of

time and place, whose function has always been indispensable in any great architecture work.

As you walk around the site you are confronted by a mass of very definite forms whose precise

relationships change with every step you take. Forming a facade that has many permutations

and statically evolves, creating an interdependent anatomy of interaction:

‘Wherever you look, whatever you see, composes into the equivalent of pictorial compositions.’1

Typical to the Rogers’ Partnership team, all the formal physical language manages to arrange

and re-arrange itself with every step. Every detail of the building; a handrail, a spiral staircase,

door knob, or window frame acts as a microcosmic2 variant, so to label it a ‘High-Tech’

building is a fallacy, and an overall detraction from the idiosyncratic language and function.

Similar to labelling a painting ‘Red’ just because the artist used red paint, ‘High-Tech’ is a

label usually used to depict the materials and components that form the structural elements,

but it is an inaccurate description to place on the artistic quality of the building. ‘High-Tech’

is a descriptive narrative to depict the materials and components, not the language or function

which is a primary reason for the existence of any building. It is no more than the

combination of all the particles that when assembled together, produce a three-dimensional

form.

The very notion of three-dimensional design involves ‘real-space’, or constructed space for

the purpose of making it visible. All the particles constructed together in the Lloyds Building

combine to produce the mechanism, the machine, the form, whilst individually functioning

as delineator's.

1.1 The metaphysical language of The Lloyds Building32

Still, all art, or design is a matter of organisational configuration of all the key elements. It is

the relationship of one unit, one element to another, or one cluster or group of elements to

another group. Individualistic interpretation gives rise to the term ‘artwork’.

‘We envision information in order to reason about, communicate, document, and preserve that knowledge.’ 3

A garden, for instance, already exists, but only when the elements of stones, pebbles, grass, flowers and weeds are assembled together. It is the nature of experience and language, it is about how we transform and interpret information to produce the message, the purpose: it is about envisioning information.

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1.2 Inside:outside the Lloyds Building34

Figure 15.2The Lloyds building, LondonPhotograph by Richard Bryant

Architecture 3sPioneering British 'High-tec', Phaidon, London

Figure 15.3The Lloyds building, LondonPhotograph by Richard Bryant

Architecture 3sPioneering British 'High-tec', Phaidon, London

1.2 Inside:outside the Lloyds Building

The Lloyds Building strikes a fine balance between permanence, transformation, and contradiction. Observing the building at close quarters, you are presented with an array of shapes that protrude from the building layer, upon layer. The aesthetics of these multiple layers and intervals, is not simply that the decoration emphasises the construction, but the visual splendour is multiplied by the knowledge that each feature has its individual function. Every single detail was conceived from a conceptual function; everything from air vents, and duct pipes, to the lavatory ducts on the outside of the building to allow for easier repair, and even complete unit replacement. Richard Rogers defined his aim at Lloyd’s as being:

‘to create poetry out of basic enclosure, by translating technology into form.’ 4

For many, the building may take on the appearance of a machine, and as previously referred to, a‘High-Tech’ structure with its many facets of steel, glass, concrete, and spiral staircases descending from the highest point of the building. The Lloyds building is not a simple structure as to the naked eye it appears complex. In contrast with buildings that take on a more refined, minimal, post-modern structure, for example The Seagram Building, in New York, designed by Ludwig Mies Vander Rohe in 1958 (see figure 16) its cubic structure is articulated by extruded bronze I-beams imposed on a dark glass curtain wall.:

‘The inescapable drama of the Seagram Building in a city already dramatic with crowded skyscrapers lies in its unbroken height of bronze and dark glass juxtaposed to a granite-paved plaza below. The sitting of the building on Park Avenue, an indulgence in open space unprecedented in midtown Manhattan real estate, has given that building an aura of special domain.’ 5

What is not distinguishable from the facade of the Lloyds building, is that it too built from the basis of a cubic rectangle, from the epicentre of the atrium inside the site, which is extruded and manipulated into many facets and layers. Much like a cubist painting from Pablo Picasso, or Ben Nicholson (see figures 17 and 18), it has an abstract form constructed of varied angular and obtuse surfaces to physical, disguise its original formation. This is also a contradiction, for whilst it has many permutations and surfaces, its purist ambience is functionality in its simplest form, turning the functions of a building inside out so that the physical functions are infact precisely the form that you view.

‘It is a place for individualists, a fact that Richard Rogers and his team could

never forget when they were designing its new headquarters.’7

37

The Lloyds Building strikes a fine balance between permanence, transformation, and contradiction. Observing the building at close quarters, you are presented with an array of shapes that protrude from the building layer, upon layer. The aesthetics of these multiple layers and intervals, is not simply that the decoration emphasises the construction, but the visual splendour is multiplied by the knowledge that each feature has its individual function. Every single detail was conceived from a conceptual function; everything from air vents, and duct pipes, to the lavatory ducts on the outside of the building to allow for easier repair, and even complete unit replacement. Richard Rogers defined his aim at Lloyd’s as being:

‘to create poetry out of basic enclosure, by translating technology into form.’ 4

For many, the building may take on the appearance of a machine, and as previously referred to, a‘High-Tech’ structure with its many facets of steel, glass, concrete, and spiral staircases descending from the highest point of the building. The Lloyds building is not a simple structure as to the naked eye it appears complex. In contrast with buildings that take on a more refined, minimal, post-modern structure, for example The Seagram Building, in New York, designed by Ludwig Mies Vander Rohe in 1958 (see figure 16) its cubic structure is articulated by extruded bronze I-beams imposed on a dark glass curtain wall.:

‘The inescapable drama of the Seagram Building in a city already dramatic with crowded skyscrapers lies in its unbroken height of bronze and dark glass juxtaposed to a granite-paved plaza below. The sitting of the building on Park Avenue, an indulgence in open space unprecedented in midtown Manhattan real estate, has given that building an aura of special domain.’ 5

What is not distinguishable from the facade of the Lloyds building, is that it too built from the basis of a cubic rectangle, from the epicentre of the atrium inside the site, which is extruded and manipulated into many facets and layers. Much like a cubist painting from Pablo Picasso, or Ben Nicholson (see figures 17 and 18), it has an abstract form constructed of varied angular and obtuse surfaces to physical, disguise its original formation. This is also a contradiction, for whilst it has many permutations and surfaces, its purist ambience is functionality in its simplest form, turning the functions of a building inside out so that the physical functions are infact precisely the form that you view.

‘It is a place for individualists, a fact that Richard Rogers and his team could

never forget when they were designing its new headquarters.’7

The building is occupied by a myriad of insurance underwriters. The financial district, or ‘The City’ as it is referred to, is an area steeped in financial tradition with a deep sense of the

1.2 Inside:outside (the Lloyds building).38

Figure 15.3The Lloyds building, LondonPhotograph by Richard Bryant

Architecture 3sPioneering British 'High-tec', Phaidon, London

39

40

1.2 Inside:outside (the Lloyds building).

1. Patrick HeronArchitecture 3, Pioneering British ‘High-Tec’.Chapter 3, Richard Rogers Partnership, Lloyds Building.

2.Microcosm refers to the miniature detail of the ‘community’ of complex unity within the structure.

3. Edward R TufteEnvisioning Information, ‘Escaping Flatland’, page 33.

4. Kenneth PowellArchitecture 3, Pioneering British ‘High-Tec’.Chapter 3, Richard Rogers Partnership, Lloyds Building. A Great London Monument.

5. A. James Speyer. Mies van der Rohe, page 30.

7. Kenneth PowellArchitecture 3, Pioneering British ‘High-Tec’.Chapter 3, Richard Rogers Partnership, Lloyds Building. A Modern Marketplace.

8. Patrick HeronArchitecture 3, Pioneering British ‘High-Tec’.Chapter 3, Richard Rogers Partnership, Lloyds Building. ‘Built Against The Odds’.

9. Richard RogersFrom Barbie Campbell Cole and Ruth Elias Rogers, ed. Richard Rogers + Partners. p19.

10. ‘Wall Climber's’ is the title Rogers gave to the glass elevators that scale the Lloyds exterior.

11. Patrick HeronArchitecture 3, Pioneering British ‘High-Tec’.Chapter 3, Richard Rogers Partnership, Lloyds Building. ‘Built Against The Odds’.

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1.3 The process of movement

1.3 The process of movement

The materials used to construct the Lloyds Building also contradict the ‘norm’. It is not constructed using the favoured portland stone of the area, but concrete, combined with glass blocks that use triple glazing to produce a sparkle effect. It uses moulded steel that sculpts the service towers to create a ‘spinal’ appearance, emphasising the structural strength, and stability and power, together with the glass lifts (or ‘wall climbers as they are called, see figure 19), lavatory ducts and riser's. These serve to emphasise the visual expression of ‘served and servant’ in the basic strategy of core versus perimeter spaces.

The many facets, of the source materials used also change the physical colouring of the site depending upon the time of day and weather. There is a different view for every individual, dependent upon where that person is situated, emphasising the building’s highly individual purpose, presence, and persona.

‘Buildings are not idiosyncratic private institutions: they give public performances both to the user and the passerby. Thus the architect's responsibility must go beyond the client's program and into the broader public realm.’ 9

The sense of movement is captured in the equipment that transfer, and convey employees, and visitors around the site. On the exterior the transparent fluidity of movement is represented by the glass wall climber's1 0 . The power of the building is not the actual building perse, essentially it is the publics reaction and interpretation of it.

Internally, escalators are used extensively throughout the building. Initially they were only supposed to service the first floor from the atrium, but were expanded to reach the fourth floor thus enabling a fluidity of movement to flourish by providing easier access. Escalators provide the perfect sense of motion for the occupants. It was this further attention to detail by Rogers that amplified the mechanical mechanism of the escalators by using glass panels. providing a simple, yet concise celebration of movement - much like the glass wall climber's. Detail which had clearly been inspired by his earlier work with partner Renzo Piano when designing the external escalators that scale the outside of the Pompidou Centre, which to this day remain the most popular iconic characteristic of the building:

‘A key part of the design strategy was that Lloyds should be, like the Pompidou, a place of movement.’1 1

The Lloyds building had not only the practical functions of the user in mind, but managed to represent every detail in the physiological language. The core to this site was communication.

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1.3 The process of movement

Not just between the client and the Architect, but between the Architect’s interaction, communication, and consideration of the user. It’s a canvas that the architect uses to tell his/her story. Essentially it is about narrative, visualising a journey of thought, a testimony to the architects process of creativity.

During the final stages of writing this study of the Lloyds building, I endeavoured to take another visit to the site as I am still fascinated by it. As you leave the traditional facade of Leadenhall Market behind you, and enter Lime street you are immediately

challenged to comprehend the posture, strength and conviction of a building that demands your attention. It is an architectural experience which enriches and serves to inspire the populous.

It is impossible to surmise or define the effects of all types of architecture, by generalising about there interpretation. Interpretation is about indifference, personalisation, and above all a reflection our our individual journeys of experience and recollections, that we use to attach meaning, in order to interpret. The purpose of Architecture, like graphic design, is to communicate, to create order and understanding. To enable movement, shelter, protection, and control. There are many forms and factors leading to interpretational differences, but the point is the same, to influence and affect people.

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‘Our “interface” with the world nearly always involves graphic design of some kind. The marks on the street, on the walls and in your wallet were lately someone’s brief. Our cars, our clothes and our litter are all covered with identity projects: graphic design is everywhere.’

David Heathcoate

‘Gowing up in public’.

Eye Magazine Volume 9, issue 34 page 4.

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2.0 Defining the arena of Graphic Design

Graphic design is the most ubiquitous of all the arts; as David Heathcote3 states: ‘it is

everywhere, much like architecture.’ The inspiration for this dissertation as previously

stated, originated from the quote by Edward R Tufte that questions the visual world of

information and interaction particularly within the urban environments that we

encounter on a daily basis. Our cities walls and corridors have become overpowered by

visual clutter that is is now part of the fabric of modern urban environment. The

flyposters 4, the billboards, the endless sprawl of information that invades our ‘space’,

our ‘landscape’, our ‘environments’. We as designers are guilty parties in this pursuit and

continue to be so.

This chapter is about addressing those concerns. Discussing the language of the current

environment of ‘Graphic Design’, and following on to debate how this current wave of

conformity and standardisation needs to evolve, so that designers begin to acknowledge,

and take responsibility for their direction and execution of projects. To distinguish not a

‘right’ way, but a more persuasive variety of new ‘possibilities’.

‘The key is the flow of information, no matter what form it takes. Some call

it Globalisation, and fear that new, unknown competitors will take their

place. Others view the flow of information as an unprecedented enrichment.

Those who greet the present future with an open mine - understand that this

revolution is not about standardisation but about diversity.’ 5

In a recent discussion, on this subject with John Warwicker of Tomato (see appendix for the

transcription), I was directly propositioned to define what I meant by ‘Graphic Design’.

Somewhat confused I simply replied: “Well that is why I am doing an MA!”, and so it is.

From a personal perspective I did not understand the term ‘Graphic Design’, for it is simply a

title. It has become a discipline that requires many diverse elements and skills, and the

products of this discipline can be seen all around us. Graphic design is a contradiction in

itself, and yet considered by some as a ‘dead’ title.

“Graphic design is dead. I think it is, it died about a few years ago, it was a false thing anyway. I mean graphic design was constructed in the mid-sixties, by the likes of ken garland who wanted to get more money out of advertising agencies.” 6

After my discussion with John Warwicker, I felt that whilst there appeared to be some

validity in his ‘opinions’, he was inhospitable in his attitude. Questioning why, instead

46

containers. In doing so the strategies of design become translucent and self-effacing,

rather like a paper back book, the design becomes invisible. Conformity and

standardisation of graphic design becomes visible when the content becomes diverted by

the attraction or appearance of the container. The conformity and standardisation of

bold colourful pictures, large typesetting straplines, logo’s, sexual provocation, and

brand identity; which can be seen in many of the flyposters sprawled across every wall,

pillar, door and window.

‘The majority of information (so desperately conveyed) is lost in the bland

quagmire the individual posters create when viewed ‘en masse’’ 14

This clutter of information breeds contempt to the content. Such examples of

‘Chartjunk’15 data would suggest that numbers, details, are tedious, uninteresting, and

therefore need an element of brashness to enliven the message, the information, the

content. This transformation using graphical or photographical cosmetics only

emphasises the complete lack of consideration for the content, the process, the narrative.

‘As designers, we need to remember that our subject is not the art of

expression but the art of forethought.’16

Worse still is the contempt for the audience. ‘Chartjunk’ designs can only suggest that

the reader is ignorant and nonchalant about how information is displayed, when infact

many are the complete opposite, as a result of the electronic information age. However,

posters were meant to be read from a distance, with strong images, large typesetting, and

simple data information. These formats of designing are not examples of ‘bad’ design,

but designs that fail to escape from there flatland, there two-dimensional, static

existence, instead they simply contribute to the mass sprawl. Much like the Duck shed

(see figure 21) from Las Vegas, proving that we are all living in an age where simply

constructing decoration albeit in graphic design or architecture, is no longer an

acceptable standard of visualising information.

The role of the designer has long since evolved alongside the progressive, and rapidly

developing realm of information technology. We are now asked to design more than

corporate identity, posters and record sleeves. The discipline demands that graphic

designers not only understand the advancing mediums of new media, but can also

47

Graphic design is complex; it combines words and pictures, numbers and charts,

photographs and illustrations. Therefore in order to succeed graphic design demands the

clear thinking of a particularly thoughtful individual who can translate these elements so

that they all add up to something distinctive, or useful, or playful, or surprising, or

subversive, or somehow memorable. They will attach personal experience to the visual

language in order to effect translation. Graphic design, like architecture, deals with

language and information, and simply put, it is about making marks that enable the art

of visualising ideas:

‘Drawing is a very important tool for me. maybe the ultimate result is

different from what was first intended, but through the tool of drawing you

travel through the project and understand the result.’ 11

48

2.1 Visualisation of Information

2.1 Visualisation of Information

‘Layering and fragmentation, if used for stylistic effect, can also be a way to avoid making a decision.’ 11

To visualise information, is to interpret the interaction of colour, image, word, numbers

and art. The formats of information, be it a road sign, or a page from the bible, is

managed by the mediums of line, layout and colour, together with symbols and

typography. These mediums are ‘standards’, which are there as a guide, derived from

visual principles that apparently inform us of what mark to make, and the right place is

to make it.

On a daily basis we navigate through the complexities of our three-dimensional world.

The information systems that guide our journey, however are entrapped within an

infinite world of two-dimensional flatlands12, namely paper and screen. It is in this

dimension that all communication takes place between the originator's and recipients.

Parallel to architecture, graphic design, or the design of information can provoke

emotion, response, and meaning to the recipient, without the knowledge that he/she is

observing an item of designed, contextualised, and conceptual artwork. Unlike

architecture, information is not always so apparent, so obviously constructed, and yet

the resolution, the resolving power of the paper, the screen, the sign is of the upmost

importance. The scales of which are as complex and diverse as architecture, yet the

method, process, and objective is very similar; communication.

‘Like the other extensions of man, typography and psychic and social

consequences that suddenly shifted previous boundaries and patterns of

culture. In bringing the ancient and medieval worlds into fusion- or, as some

would say, confusion- the printed book created a third world, the modern

world, which now encounters a new electric technology or a new extension of

man.’ 13

With the inevitable expansion of electronic mail and electronic technology as a whole

(the internet, mobile telephones, digital television) it means that the movement of

information is altering our typographical culture. As sharply as print modified the

medieval manuscript and educational culture. Information, or rather the supply and

demand of it is ever present on our streets, in our printed matter, and in our homes; it

constantly surrounds us.

Communicating information is about focusing in on content, rather that content

50

of questioning the lack of innovation, and challenging the disciplines mass appeal.

Warwicker seemed to feel more content in engineering creative titles: ‘Strategists’,

‘Creative Consultants’, and ‘Information Sculptors’ 7. Rather than making an inquiry and

challenging his and his piers motivation and methods.

‘Graphic Design’ is present in both the private and public realms, it embraces concerns

both economic and ergonomic, and is influenced by many disciplines including art and

architecture, philosophy and culture, literature and language, science and politics, and

performance. It touches everything we do, everything we see and everything we buy. We

see it on everything from billboards to Bibles, on taxi receipts and on web sites, on birth

certificates and on gift certificates, on the folded instructions inside jars of aspirin and

on the thick pages of children’s' picture books. Graphic design is the street signage we

use to navigate. It is the Nike ‘swoosh’ and the monochromatic front page of The Times

newspaper. It is the tags on clothes in stores, postage stamps and food packaging, it was

the propaganda posters inviting you to join ‘King and Country’ to fight for the ‘Honour

and the Glory’, and it is the brainless junk mail which falls through our letter box each

day. It is the rollovers, the buttons, arrows, tabs, and the so-called ‘functional’ elements

of the ‘New Media’ that is now all pervading through every medium and channel of

communication available within modern society.

‘So we click. Scroll up. Page down. life on the screen becomes a rigorous, cartesian journey from east to west, north to south, an aesthetically simplistic, curatorially ill-defined flip-book, in which four dimensional experience is retrofitted to conform to the two-dimensional representation.’ 8

The process of Graphic Design is a progressive journey, each project providing an

experience, a process of directional thought much like architecture. It is a facility for

expansion and extension of knowledge and placing a title upon this expanding discipline

is made harder because we are in it, part of it, a product of it, and trying constantly to

understand it. The work produced is the evidence of the process of process 9.

‘all work is about experience and the mapping of that experience, and for us

Tomato is where we go to compare these maps. In effect we bring a map (or

maps) from one territory and overlaying one upon the another to see what

happens. This is how our individual work evolves, and how we work

together.’ 10

2.1 Visualisation of Information 51

program and develop there designs to perform within the various mediums. From Web

sites to printing matter, to television sequences, cdrom’s, interactive booths, and even

interfaces for computer games.

The latter of which will be investigated in the following section, discussing the role of

the designer Mike Place from The Designers Republic with the series of Sony

Playstation games Wipeout 17. Levels of involvement that required Mike Place to develop

the interface for the game, identities for the virtual racing teams, animation sequences

for the titles, and even virtual billboards and television screens that are mounted on the

side of the three dimensional cityscapes; of which the architectural construction was also

apart of the brief. Wipeout is a prime example of how the role of a graphic designer,

who has previously made his mark in print, has diversified into the arena of constructed

three-dimensional environments within a screen for the use of interactive entertainment.

2.1 Visualisation of Information52

Footnotes

1. Andrew Blauvelt‘Towards Complex and Simplicity’Eye, The International Review of Graphic Design.Page 38, Issue 35, Volume.9 Spring 2000.

2. David Heathcote is a Cultural historian, residing in London and York.

3. ‘Flyposters’ refers to the posters that we see pasted to the walls of our cities; concerned mainly with advertising (but sometimes propaganda) for the commercial sector, aimed at the consumer to buy, and purchase everything from music, to computers, etc.

4. Philip Jodidio. Building A New Millennium, pages 12-13

5. David Heathcote. ‘Growing up in Public’ Eye Magazine.

6. Rick Poyner‘Information Sculpture’Eye Magazine.

7. Jessica Helfand‘The Univernacular Rules’Eye Magazine,

8. The ‘Process of Process’, Extracted from John Warwicker’s article on his/tomato's’ work ethic.Process: A Tomato Project.

9. John WarwickerProcess: A Tomato Project.

10. Catherine Slessor‘The Architect as illustrator’Eye, The International Review of Graphic Design.Issue 35, Volume.9 Spring 2000

11. Drentell Helfand, Jessica.Sensory Montage.Eye Magazine 25, Volume 7 Summer 1997.

12. Flatland is based upon the classic by Edwin A Abbott, entitled ‘Flatland, A Romance of Many Dimensions’ (penguin classics). Also a more modern viewpoint: How can modern painting, abstractionism, escape flatland? came from, Frank Stella, ‘Working Space’ (Cambridge, 1986).

13, Mc Luhan, Marshall (1997)Understanding Media, The Extensions of Man, page 171.

14. Hamish XXXXXXX, and Edward XXXXXXX, Paperjam brief. see appendix.

15. Edward R TufteEnvisioning Information, Escaping Flatland, page 34.

16. Hobson, Jamie.The End of The Line.Eye Magazine 25, Volume 7 Summer 1997.

17. Wipeout: is a futuristic racing game set within constructed arenas and cityscapes.

2.2 Breaking Boundaries: Wipeout Three

‘Graphic designers are not just making pages, they have become Directors of Information’ 1

Graphic design is not an isolated or an independent discipline. It has become inspired and influenced by a dynamic cross section design disciplines, especially concerning the expansion of the ‘Information Age; where it is positioned at the very core of ‘Visual Communication’ . By trade graphic designers have been trained to analyse and research the visual empowerment of a product, from conception to actual design and realisation. Even though the general public are perhaps not aware of the discipline, they are most certainly aware of the marks and visual statements that are created, which have formal qualities, precise shapes and precise content, which the public understand, be it a book, a poster or a web site. They all communicate more than just aesthetics, they are informative containers that communicate content.

‘Within the broad province of the arts, design and visual communication,

Graphic Design will remain recognisable as a discipline for some time to

come. But it will merge more and more with the other disciplines.’ 2

The Designers Republic is an example of a company that has diversified into other mediums, be it architecture, new media, or interactive games. Currently they are collaborating with the architects Sadar and Vuga from Slovenia, who commissioned DR3to design a new book entitled ‘4 Texts and 1 Photograph’. This is not a new collaboration of the two companies mixing there mediums, DR have also worked with Sadar and Vuga on a recent exhibition in Orleans.

‘Alot of our recent work has involved architectural images. So it was good to

be working on an actual building to deconstruct and explore. We’re known

for our print work so the idea is that this book is a real display of that. It

uses all of our knowledge.’ 4

In the introduction of this dissertation I stated that DR were perhaps best known for their print work, which is emphasised in the quote above. Michael Place, from TDR, also comments that the experience of producing the forthcoming book ‘4 Texts and 1 Photograph’ enabled them to display there work by draw on there knowledge of both the discipline of graphic design and their personal experience of the architectural discipline.

This is not the first time that TDR have embarked on a project that both expanded and demanded an extensive inclusion of various skills, inspired from their individual knowledge.

55

Back in September 1995 Sony Playstation launched Wipeout with graphics by Designers Republic (see appendix for detailed history). Together with the successful launch of the Sony Playstation and the highly successful game Wipeout, TDR embarked on a relationship that would see a further two progressive versions of the series Wipeout.

Wipeout is primarily a futuristic racing game. Players chose a craft to race in, which individually have there own racing team logos and identities, then they chose a course with which to race on. Each track has its own levels of individuality; from the level of difficulty, to typographic representation which reflect that nature and environment of the course.

Whilst deciding upon the best way to structure this dissertation I was introduced to Wipeout Three by a friend. From my existing knowledge of contemporary design it was relatively easy to distinguish the games booklet design to be that TDR’s. However, after studying the involvement that DR had had with the introduction sequence, and then the interface design, it became clear that the discipline of Graphic Design has indeed expanded. Every detail appeared to have been conceptualised and designed, in order to create an element of consistency within the product. The initial interface and infrastructure of the screens seemed to transport you from the idea that you were not in a Sony Playstation game, to a sophisticated, almost ‘non-game’ environment (see figure 23). The introduction sequence itself was of particular importance setting the mood with its irratic slow and fast motion graphical journey, that conveys a narrative, a story.

‘NW: Again that intro sequence was of great importance to us. We wanted to

create something that felt different, that wasn’t all fucking techno, and drum

and bass. With that in mind we reviewed the past storyboards, and decided

we would reverse the action from being something slow and quiet to loud

and fast, by mixing both emotions of movement. The result displayed a

narrative, a story that had no real meaning, but emotion: like a film.’ 5

This section will concentrate on the conceptualisation, design, and language that were all factors of integrating the ‘look and feel’ for Wipeout 3. In a recent interview with Michael Place (the Designers Republic) and Nicola Westcott (Psygnosis, see appendix), we discussed the project, TDR’s precise involvement, direction, and their analysis on the project since then:

‘MP: Wipeout, for us, was not just about designing an interface for a game,

it was an entire collaboration between Psygnosis and ourselves. Wipeout

Three represented a progressive series’ of work, from the early concept stages of

Wipeout One, to Wipeout three, we have continually progressed, questioning

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how we could not necessarily change the products aesthetics, but evolve it.’ 6

The obvious connections with Wipeout and the architecture delve deeper than the fact that the collaboration of DR and Psygnosis developed environments of architectural resemblances. Like any other project that a graphic designer has, Wipeout had specific objectives and creative directions that had to be achieved, similarly to the objectives set by the development committee of Lloyds when they commissioned Richard Rogers Partners to design there new building. those links are about process, experience, language, information, communication, and narrative.

“What does architecture do? it shapes the world. Good architecture takes your

breathe away, and makes places.” 7

The introduction sequence in Wipeout could be equivalent to the initial appearance or emergence of a new building, intriguing to look at, to respond, to understand. Once your attention is captured you seek to investigate the game, or the building further, it captures something different which evokes a response, a quest for knowledge, experience, possibly involvement, or even interaction? It is a game, it is there to be consumed, and played. Most consumers perhaps have not even noticed the details which have gone into producing a game with such a magnitude, and even though it has not been the highest selling Wipeout game in the series, the people involved at Psygnosis and the DR have received highly acclaimed critical appraisal.

“MP: Ironically, although the game did not sell that well, we have actually

become best known for the work we did on the entire Wipeout series more so

than our print work, and yet we are primarily, by passion, a print based

company.” 8

The design and planning of information spaces, beit a billboard, magazine cover, web site, or flyposter has become an integral part of mirroring the temporal conditions of the built environment. Graphic designers, like there audience, are influence by the very essence of experience, and recreating that experience to produce work that astounds, affects, and causes response, and meaning. Wipeout is a good example of a product that appeals to a mass market, both in age and in size, it has a univernacular objective which is represented by stylish overviews and intellectual displays of navigational function. Similarly to the signage of a building, it informs and directs, and if successful, should perform these objectives with minimal clutter and confusion. As a discipline graphic design is expanding into mediums which have little or no boundaries, apart from ones of technological abilities.

2.2 Breaking Boundaries: Wipeout Three 57

‘The young discipline of graphic design seems to be exploding at a time when

its theoretical characteristics and foundations have barely been formulated.’ 9

Graphic design, or ‘Visual communication’10 as it has also been entitled, has become a complex territory of design disciplines. These disciplines have become intricately linked through an elaborate array of media; television, on-line media, various publication formats for print, CD-ROMS, performance and exhibition spaces, and film. It is here that the boundaries of graphic design become blurred, almost extinct, leaving the contextual production of communication to be merged into one another media’s. What is important in this multi-diverse discipline of visual communication and information is that it is possible: a word and an image, words and images, can have a meaningful connection, regardless of there medium. What must be questioned is the responsibility of the graphic designer, the visualiser of information within these spaces, and even more so within the realm of architecture. Does it have any meaning beyond the two dimensional representation fabricated realm of signage and identity within a built environment of architectural status? Can the designer, in collaboration with the architect, become more than just the messenger, but the author of information?

2.2 Breaking Boundaries: Wipeout Three58

1 & 2. Bruinsma, Max.Learning to read and write images.Eye Magazine 25, Volume 7 Summer 1997.

3. DR or TDR refers to Designers Republic or The Designers Republic. 4. Place, Michael.The Well.Creative Review, August 2000, page 39.

5. Westcott, Nicola.Psygnosis.Interviewed on Sunday September 17th 2000.See appendix for full transcription.

6. Place, Michael.The Designers Republic.Interviewed on Sunday September 17th 2000.See appendix for full transcription.

7. Januszak, Waldemar.THE BBC PROGRAMME (get name)BBC2 programme, Wednesday 12th August 2000 8pm (check date).

8. Place, Michael.The Designers Republic.Interviewed on Sunday September 17th 2000.See appendix for full transcription.

9. Bruinsma, Max.Learning to read and write images.Eye Magazine 25, Volume 7 Summer 1997.

10. Warwicker, John.A Virtual City in a Global Square.Eye Magazine, Issue 34 Volume.9 Winter 2000

Footnotes 59

‘When I use a word,’ Humpty Dumpty said in rather a scornful tone, ‘it

means just what I chose it to mean - neither more nor less.’

‘The question is,’ said Alice, ‘whether you can make words mean so many

different things.’ 1

Carroll, Lewis

Through the Looking Glass, Chapter Six.

Penguin Books (1994).

3.0 Interaction of Boundaries.

The relationship between the human memory and that of images and words that it observes cannot easily be determined. The formation of the image by the human brain is a unpredictable process, made up of associations and expectations. We can all perhaps remember memories from when we were younger, memories, snapshots of events, places, occasions, perhaps even memories that have relevant explanation or meaning. Images derived from feelings and observations, reactions, sensations, emotions, we manage to attach values and meanings, which expands our experience and knowledge which becomes stored in the mind. It is stored as a consequence of a delicate process of ‘psychological choreography.’ 2. The visualisation of a remembered image, or indeed a single word, is archived, like a sound bite of visual information.

‘What happens when people talk about architecture? Are sullen lumps of

concrete, steel and glass animated by the words that we shower upon them?

Or does every word spoken or written about it diminish a work of

architecture and deprive it of a part of its being?’ 3

The relationship that a person has between what he/she is observing, and the process that they initiate to record that information is an underlining link between graphic design and architecture; because graphic design, like architecture, deals with language and information, both disciplines are concerned with making marks that enable the art of visualising ideas, beit a building a bus shelter, or a printed book.

The connection between Wipeout and the Lloyds building, is that they both provoke interpretation, to create meaning and response, they both incourage interaction and use. Both graphic design and architecture communicate information, they each have a designated purpose, a function to interact and entertain, or in the case of the Lloyds building; to provide shelter, serve its occupants, and allow the passage of movement inside and around the building.

Throughout this ‘observation’ of both disciplines, keywords have been repeated, on purpose, so that as you read them you recall them, you initiate a link, a record of words that combine together to form a contextual connection between the disciplines of architecture and graphic design. Words such as; meaning, function, form, movement, information, dominating, decoration and construction. The most important word is interaction, because through this process of interaction people interpret meaning, depending upon their individual taste and understanding. This dissertation and section of the ‘Interaction of Boundaries’ is not concerned with the individual or there preference for architecture or design. It is concerned with the interaction of the

61

3.0 Interaction of Boundaries.

disciplines that effect there everyday life. I have discussed both disciplines independently, in order to establish the conditions and boundaries of each discipline, and the means with which to understand them as independent disciplines, each existing in a realm of language, function and form of there own.

‘In order to understand and engage the city of space, it is necessary to examine

the represent relation of urban space and built form. What must be

confronted directly is that the relation does not presently exist; contemporary

urban space and form occupy mutually exclusive position.’ 4

This quote serves as a means to symbolise the realm that I believe graphic design interacts with architecture, but because such a realm is under a constant state of flux it is almost impossible to define that boundary of interaction. Except to say that my initial inspiration for this subject matter is the exhibition Paperjam (see appendix for details), an exhibition which has challenged designers to examine their role within the urban environment. Portraying the contemporary state of flyposter design as existing in a ‘bland quagmire’, leading to an overload of information constructed under a template of ‘conformity’ and ‘standardisation’. This dissertation is not concerned with the infrastructor of the design within those posters, billboards, or adverts, but the awareness and observation of those boundaries. This section will produce examples which seem to have awoken to the awareness for a more responsible conceptualised approach to the realm of public/urban space and built environment, namely through collaborations between architect’s and designer’s.

‘Every message in any medium is affected by the interpretations of designers

and viewers. The contexture and evanescence of erratic signs induce new

patterns of meaning.’ 5

The Vietnam Veterans Memorial in Washington D.C (see figure 23) is another example of architecture and design collaborating to create a space of considered information. The memorial achieves its visual and emotional strength by means of micro design. From a distance the collection of names of 58,000 dead soldiers appear on the black granite emphasises what 58,000 actually means. As the viewer approaches the names appear from a blurred grey shape and resolve into individually carved names. The designer, Maya Ying Lin, proposed that the names appear in chronological order according the date of death rather than by name:

62

3.0 Interaction of Boundaries.

‘There were over 600 Smiths; 16 people named James Jones had died in

Vietnam. Alphabetical listing would make the Memorial look like a telephone

book engraved in granite, destroying the sense of unique loss that each name

carried.’ 7

The combination of the detailed design and the architecture of the Memorial captures the spirit of the individual, for those listed among the dead and for those who visit to pay there respects. This is not an example of what designers should be doing instead of billboards, but it is an example of how design can communicate alongside architecture, through a more integrated and responsible process. Combining the fundamental enrichments of two disciplines enables the message to be emphasised through powerful, domineering, emotional piece that demands respect for the dead and those individuals visiting to find the names of there loved ones:

‘The busloads of tourists appear not so much as crowds but as many separate

individual faces, not as interruptions at an architectural performance but

rather as our colleagues.’ 8

In complete contrast to this piece is the language and function concerning the ‘information sprawl’ in our urban environments (see figure 24) that I have mentioned throughout this dissertation. Referring to the ‘en masse’ of public and built space that has become smothered in adverts, billboards, flyposters, flyers, and signs, gigantic digital screens; decorated on the sides of buildings, on doors, buses, and lorries. We have become witnesses to a realm of ‘Extreme signage’ 9, and a ‘Broadscape of visual information overload’10. New York is perhaps the prime example of how London may become, where entire wallscapes of ‘unique architectural space express difference’11, by being overun with adverts.

Bites of information advertising cars, loft space, banks, and storage are suspended, elevated by steel frameworks infront of buildings, and on street corners. This ‘outdoor advertising’12 has become more than just a paper poster billboard, today it involves a progressing display of information through varied techniques and formats: wrapped around transit vehicles, taxi’s, vinyl mesh wallscapes, and eight stories high display screens purpose-built to wrap around the built environment. For decades Times Square in New York has been a spectacle of oversized illuminated or moving signs. In today’s climate is in display, such as the NASDAQ MarketSite Tower at number four Times Square:

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3.0 Interaction of Boundaries.

‘The “tower” is an eight storey, 10,000 square-foot curved panel of state-of-

the-art-light-emitting diodes, created by Saco Smartvision in Montreal. It is

architecturally integrated into the building and is the largest such display in

the world.’ 13

Having seen the NASDQAQ screen first hand, I can confirm that it is quite a sight (see

figure 25). However, at $16 million dollars, they are not going to be appearing on every street corner, but according to Gary Nelven, President of Smartvision, “these will one day replace billboards”14. The emergence of constructed billboards and wrap-around ‘light-emitting diode’ displays systems is perhaps an inevitability with the global expansion of the ‘information highway’, but perhaps if the actual form of these containers are constructed to emerge themselves in to the architecture, as does the NASDAQ screen, then perhaps that is at least is considerate to the public and built space.

However, there are organisations in America, such as Stayfree Magazine, that tackle and protest against the invasions of public space, debating “about who actually owns public space?” 15. This signage ‘renaissance’16 was the sudden vacuum of space left behind the disappearance of the outdoor tobacco advertising since Spring 1999. According to the Outdoor Advertising Association of America, the expulsion of tobacco advertising freed up enormous amounts of space that had been long held by the tobacco companies, further more the enhancement of the ecommerce, information highway, and global expansion of consumer brands has lead to an increase in demand for public spaces to become more than just unique areas of urban environment.

‘After 15 or 20 years in the profession I discovered that design is just a

language and the real issue is what you use that language to do.’ 17

In the interview with John Warwicker (see appendix) I was also asked if the interaction between graphic design and architecture meant that a billboard could be defined as an architectural space? In answering that question now, after researching this subject I would have to say, no. It is merely a constructed container that can be attached to a piece of construction to act as decoration. As Tibor Kalmann states in the quote above; design is just a language, the issue is how you use that language to emphasise the meaning. Long after the question posed by John Warwicker, I came across an example of a billboard that, like any other billboard, contained an advert, but with a conceptual connection to its urban space (see figure 26). A poster conceptually produced by Nick Bell for the National Athsma Campaign, 1994 (in collaboration with Chris Arnold at Draft

64

Worldwide Advertising Agency). The billboard poster is signpainted in glue to register pollution by airbourne particles adhering to it, thereby revealing the message: ‘This poster has been up for just two weeks. Imagine what your lungs must look like’ . Although this is still not an architectural space, it is a billboard, it is an advert, it does exist in a container constructed and attached within an urban space. The difference being that the language and concept of the content both reflects and uses its urban space and container emphasise the message.

“Consumerism is running uncontested,” states the manifesto, “it must be

challenged by other perspectives expressed, in part, through the visual

languages and resources of design.” 18

The ‘Interaction of Boundaries’ has addressed examples of contemporary work that has resulted from either a direct collaboration between the disciplines of architecture and graphic design, or it has presented examples of work that questions the boundaries of information and advertising within the realms of public and built space. It is an observation, not a critique of the current state of design, nor is it questioning the moral and ethical values of our space and its intervention with advertising. What it does demonstrate is the parameters with which designers can now apply to designing within public and built spaces.

It is simply not possible for designers to completely move the emphasis away from the product and marketing, and progress towards the exploration and production of a new kind of meaning. Instead designers can challenge the continuing “reductive and immeasurably harmful code of public discourse”, from simply being mediators for commercial clients. To successfully establish this as a new means of approaching work designers need to understand the specific cultural boundaries with which they work and our effect as mediators in the process of design.

3.0 Interaction of Boundaries. 65

Footnotes

1. Carroll, LewisThrough the Looking Glass, Chapter Six.Penguin Books (1994).

2. Helfand, JessicaDescribe/draw a favourite memoryEye Magazine. Issue 35, Volume.9 Spring 2000.

3. Forty, AdrianWords and BuildingsThames & Hudson (2000).

4. Pope, AlbertLadders, The Open City.Princetown Architectural Press (1996).

5. Bruinsma, MaxThe aesthetics of TransienceEye Magazine. Issue 25, Volume 7 Summer 1997.

6. Foges, ChrisConsultancy Profile: Nick BellGraphics International. Issue 65, May 1999.

7. Scruggs C, Jan & Swerdlow L, JoelTo heal a Nation: The Vietnam Memorial (New York, 1985).Extracted from:Tufte R, EdwardEnvisioning InformationMicro/macro Readings(Graphics Press. Cheshire, Connecticut, 1990)

8. Tufte R, EdwardEnvisioning InformationMicro/macro Readings(Graphics Press. Cheshire, Connecticut, 1990)

9. Voulangas, AngelaThe good, the bad, and the ugly.Graphics International Issue 77, 2000.

10. Term envisioned by Ralph Ardill (Head of Marketing at Imagination), at the ‘Creative Summit’ in Sunderland 1999. Extracted from:Parrinder, MonikaJust say no...quietly.Eye Magazine. Issue 35, Volume 9, Spring 2000.

11, 12, 13 & 14. Voulangas, AngelaThe good, the bad, and the ugly.Graphics International Issue 77, 2000.

15. "How to Look at Billboards"By Howard GossageExtracted from:http://www.stayfreemagazine.com/admap/howardgossage.html

16. Voulangas, AngelaThe good, the bad, and the ugly.Graphics International Issue 77, 2000.

17. Kalmann, TiborInterviewed by Moira CullenEye Magazine. Issue 20, Volume.5 Spring 1996.

18. Parrinder, MonikaJust say no...quietlyEye Magazine. Issue 35, Volume.9 Spring 2000.

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4.0 Epilogue: Authors of information?

4.0 Epilogue: Authors of information?

Graphic design can be seen as a narrative exploration and the process of visualising and conceptualising ideas and thoughts into a narrative map formed by experience. Graphic Design is not advertising, it is about visualising the context of information; advertising is just one medium where this is utilised.

This study began with a quote from Edward R Tufte, speculating how we, as visualisers of information, can escape the static flatland of the screen and paper, to best reflect the rich visual experience of the world. The examples I have used, such as Nick Bell's billboard promoting awareness for Asthma and the diversification of The Designers Republics' involvement in the Sony Playstation series of Wipeout are relevant in this context. These expressed methods in which we can use the product or our experience to interject into the process of visualising our thoughts and ideas into any medium relevant to communicate the idea effectively.

The boundaries between architecture and graphic design cannot be identified by a singular medium, image or written word. It exists in complex, multidimensional, parallel systems of information within further diverse mediums and formats. The relationship between architecture and graphic design can be seen as the interaction between two disciplines. This should, in theory, lead to the establishment of parameters for identifying functional responsibilities.

Designers, however, will need to fully embrace the contextual aspects of both public and built spaces as well as any other deimnsaional space that requires a consider and challenged approach. Their contribution will need to be innovative if they are to be accepted by the wider audience, not as the mediator, the middle man between principal and client, but as the author of original information.

Innovation by the graphic design community at large will be pivotal in designers ollaborating more closely to break down the historical barriers and myths about what it is we do. This development will be evolutionary rather than revolutionary. The question should be: is this likely? If so, how innovative will designers need to be and what form will this innovation adopt if designers are ultimately to collaborate with other disciplines more closely?

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Bibliography: Books

Abbott, Edwin A (1998)FlatlandA Romance of Many DimensionsPenguin Books, England.

Augé, Marc (1995)Non-PlacesIntroduction to an Anthropology of SupermodernityVerso, London, New York.

Bell, Michael & Leong, Sz Tsung (1998)Slow SpaceThe Monacelli Press, New York.

Carson, David (1996)David Carson: 2nd SightGrafik Design After The End Of PrintLaurence King, London.

Forty, AdrianWords and BuildingsThames & Hudson (2000).

Hellman, Louis (1996)Architecture For BeginnersWriters and Readers, New York.

Koolhaas, Rem & Mau, Bruce (1995)S, M, X, XLOffice for Metropolitan Architecture.010 Publishers, Rotterdam.

Jodidio, Philip (1999)Building A New MillenniumTaschen. Kohn, London, Madrid, New York, Paris, Tokyo.

Le Corbusier (1999)Le Corbusier Talks With StudentsFrom the Schools of Architecture.Princeton Architectural Press, New York.

Lerup, Lars (2000)After The CityThe MIT Press, Cambridge, Massachusetts, and London.

Lewis, Carroll (1994)Throught the Looking GlassPenguin books.

McLuhan, Marshall (1997)Understanding MediaThe Extensions of Man.MIT Press.

McLuhan, Marshall & Fiore, Quentin (1968)War and Peace in the Global VillageHardWired, San Francisco.

McLuhan, Marshall & Fiore, Quentin (1967)The Medium is the MassageAn Inventory of Effects.HardWired, San Francisco.

Moran, James (1978)Fit To Be Styled A TypographerA History of the Society of Typographic Designers Eva Svensson, Western Press, London.

Pope, Albert (1996)LaddersArchitecture at Rice 34Princeton Architectural Press, New York.

Russell, S James (1998)Architecture 3sPioneering British ‘High-Tec’Phaidon, London Sobel, Dava (1998)LongitudeThe Story of a Lone Genius Who Solved the Greatest Scientific Problem of His Time.Fourth Estate, London.

Tomato; Steve Baker, Michael Horsham, Karl Hyde, Jason Kedgley, Rick Smith, Simon Taylor, Dirk Dooran Van, John Warwicker, Graham Wood(1996)Process; A Tomato ProjectThames and Hudson, London.

Tufte, Edward Rolf (1990)Envisioning InformationGraphics Press. Chesire, Connecticut

Tufte, Edward Rolf (1983)The Visual Display of Quantitative InformationGraphics Press. Chesire, Connecticut

Tufte, Edward Rolf (1997)Visual ExplanationsImages and Quantities, Evidence and Narrative.Graphics Press. Chesire, Connecticut.

Tufte, Edward R (1997)Visual Statistical Thinking:Displays of Evidence for MAking DecisionsGraphics Press. Chesire, Connecticut.

Venturi, Robert, Scott Brown, Denise, & Izenour, Steven (1998)Learning from Las Vegas:The Forgotten Symbolism of Architectural Form.The MIT Press, Cambridge, Massachusetts, and London.

Venturi, Robert, (1998)Complexity and Contradiction in ArchitectureHarry N. Abrams, Inc,, New York.

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Bibliography: Web sites & Television programmes

Architecture Week 2000:http://www.archweek.com

Great Buildings Online:http://www.GreatBuildings.comhttp://www.greatbuildings.com/buildings/Seagram_Building.htmlhttp://www.greatbuildings.com/buildings/Lloyds_Building.html

Manhattan Architecture:http://www.bestofcolumbus.com/daniel/seagram.htm

Online Encycopedia: Ludwig Mies Vander Rohehttp://www.encyclopedia.com/articles/08464.html

Quotation/inspiration:http://www.inspire.org/MainIndex.html

Richard Rogers & Partners:http://www.richardrogers.co.ukhttp://www.GreatBuildings.com/architects/Richard_Rogers.html

Royal Institue of British Architects Online Library:http://riba-library.com

Sir Norman Foster & Partners:http://www.fosterandpartners.com

The Seagram Building: Ludwig Mies Vander Rohe:http://www.greatbuildings.com/buildings/Seagram_Building.html

Wipeout 3:http://www.gemonthly.com/previews/wipeout3/http://psx.ign.com/previews/11070.htmlhttp://psxmovies.ign.com/media/previews/video/wipeout9.mov

Smartvision:http://www.smartvision.com/portfolio/nasdaq.html

Stayfreemagazine:http://www.stayfreemagazine.com/admap/howardgossage.htmlhttp://www.stayfreemagazine.com/admap/pictures.htmlhttp://www.stayfreemagazine.com/admap/timeline.html

White-cube:www.whitecube.com/simontaylor/selfridges.html

Petra & Jordan:http://www.raingod.com/angus/Gallery/Photos/MiddleEast/Jordan/UmmQais.htmlhttp://www.raingod.com/angus/Gallery/Photos/MiddleEast/Jordan/Petra/PetraCentre.htmlhttp://www.raingod.com/angus/Gallery/Photos/MiddleEast/Jordan/images/KerakCitadel01.jpg

The Tate Modern:http://www.tate.org.uk

‘Building of the year 2000’Written and Presented by:Waldemar Januszczak© Channel Four Television Corporation MM

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Bibliography: Magazines/articles

Bilak, PeterTYP. Keywords: Chat-room. Dutch Design. Hotline. Internet. Friends. Max Kisman. Peter Mertens. Typography.• • • (Pilot issue) May 2000graphic design/visual culture magazine.

Bruinsma, MaxThe aesthetics of Transience.Eye. The International Review of Graphic Design.Issue 25, Volume.7 Summer 1997.

Foges, ChrisConsultancy Profile: Nick Bell, page 14.Graphic International. Issue 65, May 1999.

Heathcote, DavidAgenda. Growing Up In Public, page 4.Eye. The International Review of Graphic Design.Issue 34, Volume.9 Winter 1999.

Helfand, JessicaScreen. The Univernacular Rules, page 8.Eye. The International Review of Graphic Design.Issue 34, Volume.9 Winter 1999.

Held, UrsulaInterview with Jean WidmerThe International Review of Graphic Design.Issue 34, Volume.9 Winter 1999.

Helfand, Jessica‘We know who you are...’Eye, The International Review of Graphic Design.Issue 29, Volume.8 Autumn 1998

Holmes, RussellThe work must be read.Eye. The International Review of Graphic Design.Issue 29, Volume.8 Autumn 1998.

Poyner, Rick‘Information Sculpture’Eye. The International Review of Graphic Design.Issue 13, Volume.4 Summer 1994.

Poyner, RickDesign is Advertising.Eye. The International Review of Graphic Design.Issue 29, Volume.8 Autumn 1998.

Slessor, Catherine ‘The Architect as illustrator’Eye, The International Review of Graphic Design.Issue 35, Volume.9 Spring 2000

Voulangas, AngelaThe good, the bad, and the ugly.Graphics International, Issue 77.

Warwicker, JohnWork in Progress. A Virtual City in a Global Square, Eye. The International Review of Graphic Design.Issue 34, Volume.9 Winter 1999.

Warwicker, JohnArchive. Learning From Las Vegas, Big Book, Little Buildings page 46.Eye. The International Review of Graphic Design.Issue 34, Volume.9 Winter 1999.

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Appendix: History of Wipeout, received from Nicola Westcott via email.

From: <Nicky_Westcott@scee.net>To: "steven price" <steven@b-side.fsnet.co.uk>Subject: Re: INTERVIEWDate: Fri, Sep 22, 2000, 17:09

Concerning the whole series of wipeout, why did Psygnosis feel the necessity to outsource a large segment of the conceptual design work?

>Wipeout-it was originally intended (by marketing) that DR would just do the packaging for the game, as it was being developed completely separately. I though that was a rather silly thing to do, so we extended the brief to include some of the in-game elements- that way the game and the box would at least have some relevance. Both sides were a bit unsure of the degree of involvement that DR could have in game because neither had done anything like it. As it became obvious that it was working we added more elementsfor them to do. At this stage all the work DR provided was entirely cosmetic as they had no involvement in any element that affected gameplay, with the exception of the weapons system icons which they developed taking into account all relevant factors (size/position on screen/representation of information etc)-

>>Wipeout2097-we all felt much braver with this one and able to be much more involved, so DR were actively involved in much of the decision making. EG: designing the front end menus with us and producing a much more involved weapon displaysystem. They also worked on the teams providing a sort of corporate image for each, by doing team logos, colour schemes and artwork promoting the corporate sponsors to place around the track. I also wanted Mike to doartwork specially for the intro and worked with him to produce the flash screens, as well as loads of new logos just for the intro to jazz up the city (lady/hoppa/angryman etc). These logos remain DRs but this was their origin.

>>>wip3out-This was was the true collaboration of DR/Psygnosis where we worked really closely together throughout, and they truly conceptualised the style from the ground up, much more so than either of the previous two.

I know that doesn't really answer your question but I hope it gives you a good idea of the evolution of the whole thing.

cheers..nicky

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Transcription of a discussion with:Michael Place (MP), Graphic Designer at The Designers Republic,& Nicola Westcott (NW), Head Artist SCEE Leeds [Psygnosis].by Steven Price (S)18.09.00 [14:11pm]

S. so did you have a chance to read over the draft copy that i sent you?MP. er..bitsNW. i did in the bath this morning....but i think it might be a good idea to hear a little synopsis from yourself again.S. ok...well this dissertation is based on the area that resides somewhere between architecture, design and visual (design) information. i have set the whole thing out very simply, giving each area (i.e architecture) its own chapter; talking about its language, its form and functional meaning within society. then using one example for each, i have produce case study to emphasise my argument, or rather ‘observation’. for the architecture chapter i used the example of the Lloyds Building in London as my reference, and within the design/information chapter i will be using the example of Wipeout 3. Or rather i will once we have had this discussion about it...MP. ok.S. the reason being that wipeout seems to be directly related to the areas of architecture, design and visual (design) information, if only virtually. more so given that a design company such as yourselves (the designers republic), are usually known for their print work, are now renowned for the work they did on the Wipeout series....i guess, firstly, what i want to try and drive at is the role you played with Psygnosis in relation to your responsible for the identity, and the 'decoration' for the construction within the games environments?NW. well, when we first started with the Wipeout game we were looking to obviously try and and produce something that was not just a great game to play, but was apart of a whole package. which is why we brought in TDR (the designers republic), because we knew about them and there work, and once they were in we began working as a whole team. the TDR were never just the designers, much as we were never just the programmers. it was a collaboration of skills and creativity from the earliest stages of conceptualisation through to production.then we arrived at Wipeout3 (wip3out). as a team we approached this project with the objective of, for the third time in relatively quick succession, progressing the whole of the games concept, design, and feel to the next level.S. which is where the collaboration came into play even more so i suppose? what about the intro sequence, because that to me set the whole scene for the game?NW. actually i must say that i was really happy with the intro sequence. i just sat down one day and looked at all the previous story boards from the past two games. i decided very early on that this intro was, like the rest of the game, going to be different. instead of having loud

drum and bass kicking in from the start, i decided to chop it up, using really slow motion parts together with fast hyper parts: what you end up with is an amalgamation, and i think a more powerful opening...S. i would totally agree: the way i envisioned it was...ok look, one of the links that i have established through writing this dissertation is that graphic design and architecture link through there language. the function and form of both enable the language of the design, of building to convey meaning, which we interpret and use to extend our own knowledge. i pin pointed this further to say that both disciplines have considered narratives within there spaces, they tell stories of process, hold information, much like a library. so in relation to wip3out, and its intro sequence, i felt that it told a story, you had the beginning, the middle and the end. it wasn’t all loud music, and fast action, it felt considered, though-out....MP. we didn’t have much to do, if anything to do with the intro sequence, but as designers who were collaborating with Psygnosis, we all worked on the whole project together, from the intro sequence to the interface system, to the booklet design: it was a whole package of consistent design and conceptualisation. in fact it’s weird, because we have probably become for critically acclaimed for our involvement on wipeout, than any of the print work that we have done...S. which is kind of where my interest in TDR lies. the fact that here is a company which has made a real impact in the world of print media, and yet you have perhaps received more press for wipeout than anything else. although saying that, you have just recently had press coverage in Creative review (August 2000), for a new book coming out entitled, ‘4 Texts and 1 Photograph (which is due out later this year), which was another collaboration with Sadar & Vuga of Slovenia. how did that work?MP. we started working together sometime ago on an exhibition in Orleans, and more recently we went to visit one of there only constructed buildings in Slovenia, the Chamber of Commerce and Industry office. in fact it has been great working with them, because they are a small outfit, like us, we maintain a really close working relationship. one which has respect from both sides of the fence, i mean there work is fucking incredible, so to be able to have the chance to produce a book was fantastic. we just applied the aesthetics of the actual content, in this case the actual building, and let it speak for itself. not that it was an easy job, but i know the print world inside out, and with that knowledge, and the fact that we had such a good working relationship with them made it easier to work on.S. i suppose in many ways that is what i am trying to explain in my dissertation: that if these collaborations not only existed more frequently, but existed in such a collaborative set of disciplines, whereby each discipline although important on its own, combined with each other to produce the best possible results. the point being that i am not trying to say that the information sprawl we see happening throughout our urban environments is a good or

Appendix: Interview with Michael C Place and Nicky Westcott 73

bad thing, visually it isn’t aesthetically pleasing, i know that much. but it is not about the design, that’s is an argument of taste, and quite frankly, a nightmare to try and discuss on an MA level. another good example of what i am striving to emphasise in this notion of ‘collaboration’ is John Warwickers project in Melbourne, Australia. called Federation Square...MP. yeah i have read about that.S. right. well i think that like the direction that TDR has moved in is very similar to this. because John Warwicker has been involved from a very early stage, to the point where he is not just the designer, but almost apart of the architectural team. he has had quite a lot of input, judging from the article i read, in the conceptual approaches concerning the navigational system of the site, and even a wall that is being constructed from a material that he sourced which allows the metal strips/panels to be bent and twisted. once light is directed on these panels it reflects a multitude of colours to the viewer. his explanation of this was that Federation Square is about multi-culturalisation, many people from all over the world will visit this place, and walk past this wall, leaving every single person to have a different wall and selection of colour to look at. which i though was a really ingenious idea. not just letting the natural source of light and nature effect the viewer, but to allow the physical aspects of the site interact with the audience...sorry i’ll shut up now!MP. no, no i think you are right. i cant say i know that much about tomato’s involvement with that particular project, but the whole idea of collaborating with architects really inspires me. mainly because i find architecture so dominating, it has a presence, whether that is aesthetical, or just construction wise: it is such a powerful discipline. i guess there are also similarities with the idea of permanence. you mentioned before about flyposters, and information sprawl...people have become complacent with all that, they know they are being targeted, it is just another platform for advertising, where as a a printed book, that is printed well on fucking gorgeous stock has a real sense of belonging, you want to touch it, feel it, and keep it clean...NW. [nicky looks worried at this point]MP. no....[laughing] you know what i mean. it has meaning. which is where i see another link with architecture, it has permanence, a language all of its own that involves you. i just think that if i could work on more projects that were a collaboration between the two disciplines, i would be a happier designer.S. it seems that many of the designers that i have talked to are in some way inspired by architects, do you think the inspiration exists the other way around now, due to the technology that we as designers are using?MP. not sure really. from my personal involvement with Sadar & Vuga, i can only think that the answer is yes. but that maybe because we all work so well together.S. but that relationship also existed between TDR and Psygnosis on the Wipeout series, are you just real easy to work with, or is it something else?

MP. [laughing]...i guess we just approach projects with an open mind. before Wipeout we had never done anything like that before, and as we progressed through the series we had more and more involvement with the actual game, its interface, the identities, and of course the printed packaging. so i don’t think that we are necessarily special, unlike other fuckin’ design companies who go in blitzing there clients with questions and promises that we will ‘solve there problems’, i just think we approach projects openly.S. it has been stated by David Heathcote that ‘If UK graphic designers wish to tackle bigger projects, take more responsibility for social effects of their work and protect their interests, the answer may be to get organised.’ i might be inclined to agree to an extent. is this a way to avoid just banging out posters, and work with little or no consideration for its purpose or space?NW. i am not sure, because talking from my point-of-view, posters have there place in our social environments, they have a purpose within advertising. i don’t see how we can escape them?MP. i would perhaps agree. but for really small companies, and there will always be small companies, that is the only work they can get, and they have to do that work to progress to the next level.S. ok well thanks for your time, sorry to keep you out on a sunday!MP. its been a pleasure. good luck!!NW. definitely, let us know how it goes.S. thanks, i will, thank-you.

End of transcription in discussion with:Michael Place (MP), Graphic Designer at The Designers Republic,& Nicola Westcott (NW), Head Artist SCEE Leeds [Psygnosis].by Steven Price (S)Sunday 18.09.00 [16:21pm]

Many thanks to Michael Place, and Nicola Westcott for there time in organising this interview, and being there.

Appendix: Interview with Michael C Place and Nicky Westcott (cont/...)74

Appendix: Interview with John Warwicker

Transcription of a discussion with:John Warwicker (J), Tomato.by Steven Price (S)24.05.00 [11:01am]

S. my initial topic was centred around the concept of a visual identity crisis, looking closely at the levels of information that are now smothered around our environments. i realised that it wasn’t so much to do with the commercial content within the architectural space....-J. what is commercial? define commercial. define architecture. isn't a billboard is a piece of architecture? what about this table? this ashtray?S. surely those are defined as forms in 'space', not pieces of constructed architecture. surely architecture is defined by the construction and form of a building(s)?J. sure but the first thing to do is define your terms, in terms of 'what is commercial', 'what is information', 'what is knowledge', etc. because all forms of everything is information...knowledge, and content is the other area. and also there are primary things, that work on a......what most people call information, which work on an immediate level. there are other things that work in conjunction with that, or don’t have that initial/primary thing with it at all, but a secondary/tiercary. which are if you like, things that you work out afterwards rather than being worked out for you; on an immediate level. so, everything is financial; if that is what you mean by commercial, you know a painting in a gallery has a financial value to it. that ashtray is commercial: that is information. you've got to start to define your terms, you have to very clear about that from the very start of your dissertation. and by that you can say 'look this is what i mean by commercial' and give examples. but then you have got to draw the parameters for them., which is difficult.S. ...which is why i moved on and progressed from there. then i started to realise that it was not about the content of the posters/billboards at all, that wasn't what i was striving to investigate. it had everything to do with the space that the poster/billboard enveloped, which caused a form of...interaction with the surrounding space of the building/platform-J.- and the physco-geography of its reception.S. yes; in terms of the area of those platforms, and how those same areas are systemically controlled determined by the layout of the grid system of the area-J.- just like supermarkets.S.- yes exactly. at the moment that is where i have progressed: trying to develop my dissertation under the (work in progress) title of 'the role of the graphic designer within the use of architectural space. because recently i have realised that three key elements that i have found most interesting the first being: the role of the graphic designer-J.- what is a graphic design?

S.- a person that-J. does it involve typography? does that must mean someone who obeys orders, who moves things around in a rectangle, do you mean a typographer?S. am i a typographer?J. no do you mean a typographer?S. no.J. right.S. a graphic designer to me is a person/designer, who deals with information, a relays that information in a way-J. what is typography? most graphic designers don’t think. they really have no idea about content, the give a voice to that content, whether that voice is right is never taken into consideration-S.- well that’s personal perception and taste-J.- yes, but graphic design is dead. i think it is, it died about a few years ago, it was a false thing anyway. i mean graphic design was constructed in the mid-sixties, by the likes of ken garland who wanted to get more money out of advertising agencies, to show that there was something being done which clients weren't paying enough for. that’s graphic design full stop.S. what do you label yourself as then?J. if push comes to shove i say 'sculpture'-S.- 'information sculpture'?J. no, no, no i wouldn't say information sculpture, because that has connotations...er.....sculpture: giving form to thoughts. that can take on any medium, you know i work in architecture, film, typography, all those areas. its very simple, you know the exceptions are labelled at art school, which are no longer relevant to the modern world. philosophy is, and always will be.S.i am inclined to agree, but only because i am very aware of titles, and 'key words' such as the most recent, most popular 'new media', and of course 'interactive'-J.- well again ignore all those titles again, because they're all rubbish. basically if there's any condition with the contemporary world; if you're making things here and they're all making things, then it is not about the segregation of a craft, but more of a complete homogeny between thinking about articulation, and that has been singularly lacking in virtually every piece of new media, or web stuff i have ever seen.S. so in relation to architectural space-J.- define architectural space. that table is architectural space.S. mmmm...no, I don’t-J.- well it isS. a form within space. J.- yes.S. it could not be described or defined by the term architecture? what because it is a structure, and made of materials hand crafted by man? well you could say that about clothes-J.- so a billboard is architectural space?

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Appendix: Interview with John Warwicker (cont/...)

S. yes.J. so anything is architectural space?S. yes...no....mmm. Er, anyway i was present the other evening at your seminar at the AA, and was quite surprised to see and hear the reception you acquired. most seemed to find it almost impossible to grasp the 'tomato' direction-J.- yes, well architects have not much to do with the world. that’s the problem with the pathology of architecture, its finished, its gone. I am actually going back to head a programme at the AA now.S. really? that seems to me, quite ironic, that they should ask someone in your position, whatever that may be, to lecture architecture.J. i suppose so, but at the end of the day architecture is not a far cry from graphic design. it deals with information, and how best to build that information so that it communicates. its really all about process, and movement. You have to strip all of this down and determine your boundaries concerning these two disciplines, that is my advice at this moment.S. its funny, but i feel that i have gained more input and direction from mark at state design, and to some extent, yourself, than i have from the last six months on the MA. But then again i suppose it is down to the individual? especially concerning a subject like mine, it is about personal perception and observation, rather than creating an argument about the rights and wrongs of design in relation to architecture....J. i used to lecture at St Martins...S. really?J. yes, the thing is the tutors are there for your benefit, not for direction..S. yes but surely design is largely down to discussion, and conversing about a topic. isn’t that the role of a tutor?J. yes, but it also a time for you to become a more confident, independent thinker. to expand your knowledge and understanding of what it is you do.S. nevertheless it is an extremely interesting topic that i have decided to study..J. definitely!S. the hardest part at this stage is being able to pin-point and define the boundaries i guess?J. exactly. you need to outline your argument, define the areas of discussion that you want to talk about.you need to describe the conditions and values, and then once you have outlined the argument come back and we can talk again, ok?S. yes, thanks for your time.J. pleasure.End of transcription in discussion with John Warwicker.24.05.00 [11:24am]

Many thanks to John Warwicker for his time.

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Appendix: Paperjam brief, by Red Design.

The city centre is being overrun by flyposters

PAPERJAM

Every wall.window.pillar.post is covered in a constant blanket of pages selling every form of nightlife and venue with panicked promotion insisting on

A STANDARD DESIGN TEMPLATE(bold centred headline)

The majority of the information (so desperately conveyed) is lost in the bland quagmire the individual posters create when viewed 'on masse'

The resulting

WASTE PAPERWASTE OF URBAN SPACEandWASTE OF INFORMATION(their primary function)

is ultimately down to lazy obvious design solution.

Respond to this statement. The resulting work will be itself 'flyposted. Each piece surrounded by its subject matter (@major poster sights in city centres) akin to the flyposter, your solution should be practical to produce and distribute, and should incorporate the paper jam logo.

77

From: mark hough <markh@state design.com>To: <steven@b-side.fsnet.co.uk>Subject: <no subject>Date: Fri, Mar 3, 2000, 16:06

[end comment] well , i don't know how to envisage it working visually - just blocks of email conversations, but we'll see.

so do you see symbol in space as opposed to form in space as the importance of design/content (message) over the actual purpose of, say, the building it's on? i see it as an area of investigation where the two units are interacting with each other, sliding. i mean, it's hard to determine the relative importance between a las vegas casino and the sheer amount of design that has been poured over it. there's no yardstick. is the sign becoming a building or the building becoming signs? neither really. i just see them as being two variables that rub together, producing this friction that sparks an interpretation. what is more demanding could well be the view that objects are being _repurposed_ in some way by the cross fertilisation - whether the method of dressing something can actually change the inherent function of it - not so much which is overriding, but which has adopted the intended method of the other. can a barn become a five star hotel if all the necessary characteristics (design, furnishings, services etc) are strapped onto it? surely it's all about conceptions...

is the whole area more concerned with our interpretation and our undoubting faith in design to tell us the truth. do we believe what we see too much? with so much (-and i'm getting back to the jam thing here-) visual clutter, is it becoming more difficult to come to a logical conclusion of whatsomething _is_ these days? a billboard's purpose is to be a billboard; a space in which to hold adverts. although, as soon as an ad is pasted to it, it's purpose shifts - it is now a billboard for that particular product. extended, altered purposes or just more _specific_ purposes? do you think weshould try to make some _thing_ for the exhibition which attacks this subject? i reckon it would be good if we can make people stop and thinkabout this dichotomy whilst at the exhibition, rather than having more eye candy to star blankly at... but how do we do it visually, without spelling it out in oversimplified (and probably clichéd) terms?

Appendix: Communication received via emailSubject: Paperjam

From: "steven price" <steven@b-side.fsnet.co.uk>To: mark hough <markh@state design.com>Subject: Re: <no subject>Date: Mon, Mar 6, 2000, 17:17

i think that we should try to produce a piece, or maybe a series of pieces that portray a transcription of discussion based on the subject -paperjam- that we we are diluting the subject matter/content to become the actual piece exhibited, people will be able to read exactly what we think the subject and project should be, thus allowing the viewer to view the fundamental reasons behind a designer(s) thought process in tackling a project.

symbol in space before form in space. i don’t actually see the two areas of 'symbol + form' working as a combined unit. if we look closely at the way our cities, and urbanised areas are being decorated i would have to say that the construction is being obviously being decorated (with flyposters/billboards), but is some cases i think that decoration is being constructed, and that to me is wrong.

if we take just the element of space, and the construction/decoration within that space, away from the overall purpose of that space, i.e the actual space a billboard takes and its affect upon the surrounding space, as apposed to the actual advert on it. then we can establish whether that space has been constructed well in respect to its surroundings, and in most cases i think that the billboards/flyposters take away the visual aesthetics of our cities structure. take piccadilly circus, or times square as examples and we could quite easily accept that those areas are huge areas that aresomewhat distinguishable from the adverts/billboards/posters/digital screens that are decorated and attached onto the construction. in these examples i would say that, yes, the architecture of the areas play a second role to theadverts; the symbol becomes the building and the building becomes the sign. how do we distinguish the difference? however NYC is NYC because of the way it is constructed, the same as piccadilly circus, and there is little or no point in asking 'what would they look like without the decoration?' that isjust the way they are. yes we could make the point that it is all down to economy and financial elements, big corporations need to make money, and places like Times Sq, and Piccadilly Circus make a lot of money from selling that space so that we the viewers are persuaded to part with money on there products to improve our lives that little bit

78

more. but this is all obvious, and not very relavent to the point in question.

i think i agree with you that the two elements collide and rub together to create a friction. but i am not so sure that the idea of an object beingrepurposed. if we are talking about the example you gave the other day about relabelling a tin of beans, then the answer is obviously 'yes' we can change the purpose of an object simply by changing its fundamental characteristics. but we are talking about 'platforms' of information that convey information that we the viewer have to interpret and dilute, for the reasons i mentioned before. i also think you hit the nail on the head when you questioned whether we attach too much faith to design to tell us the truth.

i would say that this recent state of information clutter has probably only had an existence (in any serious amount) since the late eighties/earlynineties, possibly with the explosion of the dance/club cultures. posters were, and still are 'style' adverts, they could be classed as extensions of style magazines. through the (over extensive) use of colour, large type, and unique (in most cases un-unique) design we are persuaded and 'told' thatthis band/sound is the 'coolest' thing, or these jeans are the most stylish, etc. i don’t think it is becoming harder to come to a logical conclusionabout the purpose, but possibly, does the viewer actually care anymore?

due to the visual clutter and smothering of information around of cities/urban sprawled areas we are constantly being harassed, persuaded,invaded, and questioned about of lives, our needs, and desires. i think the viewers are switching of, they are to visually literate these days, too'clever' (some might say) for 'our' (- referring to advertisers and designers alike) selves. i think the problem lies in questioning how we asdesigners/advertising companies can re-approach the markets (on the platforms we have discussed) in a new form? people are no longer obliviousto the tactics that are used to encourage us to consume, and so we must respect that and stop cluttering the walls, and billboards with meaningless clutter. would you NOT BUY the newest sound, simply because the record company hadn’t created an advertising campaign using full colour A2 flyposters, a TV commercial, a video to accompany the song, and now we are even being forced to be TWO cd singles because of the various (and most of the time) pointless remixes- what is that all about?

these are all points that tackle the objectives of the flyposter/billboard, but i am not yet decided on how we can best reflect these ideas. i have envisioned a series of [square] posters, possibly 12"x12" relaying all this information. maybe use a similar format to the way you presented your MA,challenging the viewer to trace our thoughts and ideas, forcing them to interact. but i still feel that we should try and question the format, in light of the point i made about tackling the platforms that are being already being used. how bored are you of seeing another flyposter? admittedly some of them are well designed, but so what? maybe that is thequestion?

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Appendix: Communication received via emailSubject: Paperjam (cont/...)

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Abby - The Designers Republicabby@the designers republic.com

Eduardo Chavez OVEN Digital, Sydneyeduardo@oven.com

Hamish, and Edward (Paperjam exhibition see appendix)Red Design Studio 1.1 - 1.2 - 1.311 Jew Street Brighton East Sussex BN1 1UT UKhamish@red-design.co.uk info@red-design.co.uk t: 01273.704.614

Mark HoughState Design020.7729.0171markh@state design.com

Philip O’DwyerState Design020.7729.0171philip@state design.com

Mark BreslinState Design020.7729.0171markb@state design.com

Isabel ‘Superstar’OVEN Digital, New York.isabel@oven.com

John WarwickerTomato 29-35 Lexington Street Londont: 020.7434.0955

Max KismanTYP magazine, Netherlandsmaxk@maxkisman.com

Miranda HousdenRoyal Institute of British Architects66 Portland Place London England W1N 4ADmiranda.housden@inst.riba.org

Nick Bell at UNA:london@una-design.nl

Nicola Westcott (re: Wipeout)Head Artist SCEE Leeds [Psygnosis]nicky_westcott@scee.net

Sally DaleRoyal Institute of British Architects66 Portland Place London England W1N 4ADSally.Dale@inst.riba.org

Appendix: Interviews80

Appendix: Communication received via emailSubject: VISUALISING THE BOUNDARIES OF ARCHITECTURE AND GRAPHIC DESIGN

From: eduardo@oven.comTo: steven price <stevep@oven.com>Subject: Re: [Design]VISUALISING THE BOUNDARIES OF ARCHITECTURE AND GRAPHIC DESIGNDate: Thu, Sep 21, 2000, 10:47

steve

hi there steven, have you considered the responsibility of graphic design in your dissertation? i like the way you've try to explain what graphic design does, have you considered what graphic design is capable of doing? I wonder though, should you just concern yourself with graphic design or a more broader approach to design would be desirable?

these by no means are to be taken as criticism but more as observations.

let me know what you think. cheers, eduardo

Eduardo Chavez | eduardo@oven.comOVEN Digital | www.oven.comSydney

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From: isabel superstar <isabel@oven.com>Date: Wed, 20 Sep 2000 06:12:45 -0400To: steven price <stevep@oven.com>Subject: Re: [Design]VISUALISING THE BOUNDARIES OF ARCHITECTURE AND GRAPHICDESIGN

hi steven-your dissertation interests me and i suppose getting this at 6 am is the best time for me to actually take the time to read it. hope its helpful.

responding on a very visceral level, you addressed your desire "to tackle the boundaries of graphic design, and define them." I felt that you aresuccessful with defining graphic design but are still a bit vague about the boundaries of graphic design. in fact, i feel - from the little bit of snapshot you have provided - that the ideology of graphic design isn't properly challenged nor its integrity questioned. yes, its quite nice to know how pervasive graphic design is, but does it go beyond signage and is it more than the handmaiden of pop culture? Does it have any meaning beyondcommerce and the fabrication of identity in an ecommerce-driven space?

i'm playing devil's advocate when i pose the question of graphic designs integrity, but i do think that its an important claim that you must makeespecially if you want to link it with architectural concepts of narrative/information flow.

anyway. i best off to sleep now. let me know how your thesis turns out andcongratulations ahead of time!

isabel

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Appendix: List of illustrations

1, 2 & 3. Sequential shots of a twelve storie advert in Times Square.

4. Famous DKNY illustration in New York on the corner of Broadway and Union???

5. Billboard advert on Highway, near Newark airport NY.

6. Road Sign.

7. Cuba billboard advertising Gve Guevera.

8. Information system in Havana, Cuba.

9. Flyposters on wall of derelict building in Whitechapel, London.

10. Example of Le Corbusier’s architecture.

11 & 12. Examples of builldings constructed according to climate.

13. The city of Petra in Jordan, Israel.

14. New facade of Selfridges store in London, UK.

15. Examples of the Lloyds building, London. Designed by RichardRogers Partners, 1986.

16. Examples of the Seagram Building, designed by Mies Vander Rohe, 1958.

17. Pablo Picasso (1881-1973)Bottle of Vieux Marc, Glass, Guitar and Newspaper, 1913.

18. Ben Nicholson OM 1894-1982 1945 (still life) 1945. Oil on canvas,support 838mm x 660mm

19. Lloyds ‘wall-climbers’: Glass elevators.

20. Examples of ‘Information Sprawl’ in and around London.

21. The ‘Duck’ building, taken from ‘Learning from Las Vegas’.

22. Screenshots taken from Wipeout 3.

23. Vietnam Veterans Memorial, Washington D.C

24. Examples of ‘Information Sprawl’ in both New York and Londons public and built spaces.

25. The NASDAQ digital screen display in Times Square, New York.

26. Billboard campaigning for Asthma. Designed by Nick Bell.

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