Hernan Diaz Alonso talks with Barbara Bestor about her “Silent Disco” installation at the SCI-Arc gallery. He begins by asking Bestor about the installation’s relationship to the work that produced by her office. Diaz Alonso asks about the relationship of “weak form,” to the installation, leading to a general discussion her interest in both style and academics. Bestor and Diaz Alonso discuss the fabrication process, and the signficance of the materials. Bestor fields questions from the audience. Asked about the graphic agenda of the installation, Bestor cites Bridget Riley. Finally, she addresses in more detail her interest in plywood and plexiglass.
Video Archive | Graphic design (25)
Bestor fields questions from the audience. Asked about the graphic agenda of the installation, Bestor cites Bridget Riley. Finally, she addresses in more detail her interest in plywood and plexiglass.
In order to discuss the concept of Design Fusion, D’Elena plays a video from her thesis project. The software used to design the models of the video is Cinema 4D. During the questions and answers session D’Elena explains her ideas about the relationship between architecture and graphic design, describing it as a brother to brother relationship instead of a parent to child relationship.
Jessica D’Elena divides the lecture in several design categories, explaining each one by walking the audience through her publications. These categories are Design Archeology, Design Narratives, Design Genealogy, Design Dialog, Design Authorship and Design Fusion. In order to discuss the Design Fusion D’Elena plays a video from her thesis, addressing the relation of architecture with graphic Design.
D’Elena divides the lecture in several design categories, explaining them by walking the audience through her publications. During this part of the lecture, she discusses Design Archeology, Design Narratives, Design Genealogy, Design Dialog and Design Authorship. D’Elena describes in detail the publications 4:3Me, Ground Undercontrolled, They are Machines, It has all been done before, and It is a Building.
Michael Rock presents the work of 2×4 from the past ten years. Their design for Any magazine uses two type faces and one grid for the entire series. Their design of Mark Taylor’s book Hiding uses shifting typography and paper types. He describes how they make physical mock-ups of books, such as the Rem Koolhaas and the Harvard Project for the City Lagos. Their work involves many collaborations with OMA and AMO such as the Guggenheim in Las Vegas, the IIT McCormick Tribune Center, and a series of projects for Prada.
Brian Roettinger introduces Michael Rock of 2×4 whose work involves architecture, art, fashion, and cultural projects for such clients as the Brooklyn Museum, Knoll Textiles, and Prada. Much of their work takes the form of collaborations with designers including Lindy Roy, Richard Gluckman, and Rem Koolhaas. Currently on display at the SF MOMA, 2×4’s projects are avant garde yet always rooted in the context of their subject matter.
Michael Rock of the graphic design firm 2×4 presents projects that give insight into how the firm works. Going beyond designing text and layouts, they use physical models and forms for their books as demonstrated in their Velcro covered and inside-out books for the Olympics. Similarly, they experimented with stacking multiple books together and physical tabbing Lagos in collaboration with Rem Koolhaas and Harvard. Uncity is a 14″x58′ continuous foldout, while their work for the furniture manufacturer Vitra consisted mostly of collages. Another collaboration with OMA, the Guggenheim in Las Vegas is an example of their two-dimensional work beginning to infect three-dimensional spaces.