In the age of knowledge, architecture is the storyteller.
The year was 1969. In what he called an “Unwarranted Apology” for the discipline, architectural theorist Reyner Banham argued that while technological advances have often dictated innovation, architecture has often been late to adapt. His revelation, so obvious today by 21st century standards, was that mechanical engineering and architectural design cannot be separated.
Both palette and canvas, glass is infinitely mutable and eloquently transmissive. The seduction is powerful.
It is impossible to separate glass from light. It simply does not exist without light behind, below, before, above, or through it. It is that intrinsic relationship that draws designers and artists to choose glass as their medium. And as technology continually refines manufacturing techniques and lighting options, the possibilities inherent in glass are virtually limitless.
At the Renzo Piano-designed New York Times Building, Pentagram melds signage, architecture, and brand identity for Times Squares’ founding tenant.
When Pentagram was brought on to conceive the façade identity for The New York Times Building, it was obvious that signage should be integrated with the building’s innovative brise soleil, a curtain wall of white ceramic rods designed to control light and heat intake.
Fabric structures, the once and always lightweight workhorse, create a limitless design dimension.
Twenty years ago, the phrase “fabric architecture” referred to an outdoor tent or restaurant awning. Today, an ever-expanding palette of materials and vastly improved structural, lighting, and graphic technologies allow fabrics to escape the awning and take on new roles: multimedia canvas, iconic sculpture, branded totem, and architectural skin, just to name a few.
Please join us to discuss the programming over the last year, our plans for the 2014, gain your input regarding the direction, events and programming that you, the members, would like to see moving forward.
We would also like to thank our SEGD New York 2013 Chapter Sponsor, Designtex, for continued support throughout the year, and Design Communications and CREO Industrial Arts for their support with events this year.
Restored, reinterpreted and remounted in 1996, the fourth-floor fossil halls at the American Museum of Natural History are home to many world-renowned specimens. New graphics help communicate new scientific thinking about evolution, and help visitors understand the practice of science. The Hall of Vertebrate Origins explains how early vertebrates came out of the oceans on to land. Specimens and models are hung overhead, with labels on railing beneath them. All exhibits in the main path can be taken apart with a hex wrench, useful for special events and dining occasions.
The client, an architectural and construction magazine publisher, wanted a high-end design that nevertheless connected it to the "industry." A combination of industrial materials and lights, together with stylish, curved walls and "ceilings," was the result. Oversized color reproductions of magazine covers were displayed in a surprising, dramatic way. The centerpiece conference room was framed by curving, black-framed shoji screens. A distinctive table finished the look.