Posts Tagged ‘design’
“What’s a bigger mystery box than a movie theater?”*…
“Eastern Bloc Architecture: 50 Buildings that Defined an Era” is a collaborative series by The Calvert Journal and ArchDaily highlighting iconic architecture that had shaped the Eastern world. Each publication has released a round-up of five– so ten in total– Eastern Bloc projects of different sorts. The above, from: “Eastern Bloc Architecture: Sci-fi Cinemas.”
More where that came from at “Eastern Bloc Architecture: 50 Buildings that Defined an Era.”
* J.J. Abrams
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As we take our seats, we might send brief birthday greetings to Valentin Sergeyevich Pavlov; he was born on thus date in 1937. A Russian economist and politician, he served as Prime Minister of the Soviet union for 9 month in 1991. During his tenure he oversaw a major currency reform and (concerned to prevent the break-up of the USSR) he attempted to shift the locus of power from the President– Gorbachev at the time– to the Prime Minister and the Cabinet of Deputies. When that move failed, he joined a coup attempt… which, when it too failed, cost him his post and landed him in prison.
“When I was a boy the Dead Sea was only sick”*…
Does your local craft brewery’s logo helpfully inform you that the business was “Est. 2019”? Is the sign outside the trendy coffee shop down the street proud to declare it was “Est. 2016”? Logos declaring the year that a company was founded are gaining rapid popularity. In particular, businesses like these seeking to adopt a hipster aesthetic appear to append an “Est.” to their logos just as often as they use crossed objects or mustaches in their trademarks. Why the sudden popularity of this visual quirk?
Before the use of corporate logos or illustrations became common practice in the 20th century, newspaper advertising was largely a typographic exercise. And aside from strategically setting your ad in one of the few typefaces available for use on the paper’s printing press or inserting a snappy slogan, there was little that companies could do to communicate a positive message, or vibe, about themselves. But one way to concisely tout a business’s bona fides was to attach an “Est.” followed by the year the company was founded in. This would show that the firm wasn’t some fly-by-night operation, but that it was trustworthy, legitimate, and, well, “established.”
This convention became widespread, eventually making its way into many company logos themselves, but over time it seemed to acquire an unfashionable air of stodginess.
Analysis of United States Patent and Trademark Office (USPTO) data shows that the use of “Est.” and its variants in American trademarks bottomed out during the heyday of the counterculture movement in the 1970s when it was certainly not considered hip or very relevant to be associated with the establishment in any way.
But the data show that in recent years, “Est.” has made quite a comeback, appearing in trademarks at a rate 17 times higher in 2020 than in 1980. Businesses ranging from car washes to barbeque restaurants to soccer teams are all eager to let you know the year they were founded…
A new wave of company logos all include the same three-letter abbreviation: “Why Nostalgic Logos Are Booming Right Now.”
* George Burns
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As we proclaim our bona fides, we might recall that it was on this date in 1991 that Nirvana’s second album, Nevermind, (their first with drummer Dave Grohl) was released. While their debut album Bleach had done well enough with the relatively few critics who heard it, it had failed to chart. Nevermind, by contrast, became an unexpected commercial success, at its peak selling 300,000 copies per week; cumulatively (so far), over 30 million copies. It was also a critical success, among the most acclaimed albums in the history of music. In all, it was materially responsible for bringing both grunge and alternative rock to a mainstream audience… and for ending a period of dominance by hair metal.
“I traveled far and wide through many different times”*…
Fifty years ago this month Harold D. Craft, Jr., published a remarkable black-on-white plot in his Ph.D. dissertation at Cornell University. A stacked series of jagged lines displayed incoming radio waves from pulsar CP1919, as detected at Arecibo Observatory in Puerto Rico. Several months later the chart appeared as a full-page visualization in Scientific American, this time with white lines on a field of cyan [above]…
Scientific American
In 1977, the image was included in The Cambridge Encyclopaedia of Astronomy…
… where, two years after that, Factory Records graphic genius Peter Saville discovered it and adapted it as the cover art for Joy Division’s debut album, Unknown Pleasures. He reversed the image from black-on-white to white-on-black, against the band’s stated preference for the original. “I was afraid it might look a little cheap. I was convinced that it was just sexier in black.”
It has, of course, become an icon.
* Joy Division, “Wilderness,” from Unknown Pleasures
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As we tap our toes, we might recall that it was on this date in 1985 that the U.S. Senate held hearings on what they called “porn rock.” The session was convened at the urging of the Parents Music Resource Center, a group founded by Tipper Gore, wife of Senator and later Vice President Al Gore; Susan Baker, wife of Treasury Secretary James Baker; Pam Howar, wife of Washington realtor Raymond Howar; and Sally Nevius, wife of former Washington City Council Chairman John Nevius, and devoted to forcing the music industry to affix Parental Advisory stickers– “warning labels”– to albums and CDs deemed to contain morally challenged material (like the “Filthy Fifteen” songs the group condemned).
Three musicians– Frank Zappa, John Denver, and Dee Snyder– testified in opposition to the proposal at the hearing… which was in the end moot, as the industry, afraid of negative publicity, agreed voluntarily to begin the labeling.
It is unclear that the “Tipper sticker” was/is effective in preventing children from being exposed to explicit content. Some, citing the “forbidden-fruit effect,” suggest that the sticker in fact increases record sales, arguing as Philip Bailey of Earth, Wind & Fire has: “for the most part [the sticker] might even sell more records… all you’ve got to do is tell somebody this is a no-no and then that’s what they want to go see.”
“The magician and the politician have much in common: they both have to draw our attention away from what they are really doing”*…
Across his work as a designer and the publisher of CentreCentre books, London-based Patrick Fry is always looking for a stone unturned. This fascination with niche nuggets of cultural history has led to a unique selection of books, from a deep dive into Great British Rubbish, or forgotten postcards from South Yorkshire. His most recent venture, however, is into a subject a little more familiar – magic!
A long-time fan of traditional magic posters for their “lavish illustrations with magicians performing the impossible and their outrageous names written in fancy lettering,” surprisingly publishing a book on magic ephemera was something Patrick had never considered. This was largely due to it being “a world that has been recorded plenty” and against the criteria he would usually look for in a book, until he came across the vast magic collection of Philip David Treece.
Found during a scroll through Twitter, Patrick came across Philip’s magic history blog, Collecting Magic, where he writes about his collection of ephemera and apparatus spanning the past 25 years. Thankfully for Patrick too, “Philip isn’t primarily concerned with the monetary value of the pieces, and as such has amassed a fascinating array that speaks more of the social history surrounding everyday working magicians.” Presented with a huge collection of gems “away from the large-scale stage magicians… it quickly became clear that the less famous and smaller-run design pieces would create a brilliant book.”…
For fans of conjuring or design or (like your correspondent) both: “Magic Papers dives deep into the flamboyant design of magic ephemera.”
* Ben Okri
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As we say “abracadabra,” we might recall that it was on this date that Universal released “Trolley Trouble” from Walt Disney Studios. The first Disney cartoon to spawn a series, it featured Oswald the Lucky Rabbit (the creation of Walt’s long-time collaborator Ub Iwerks). Oswald featured in 27 successful animated shorts– but Disney lost the rights to Universal. So, he and Iwerks created a new featured character, Mickey Mouse.
On this date three years later, Pluto made his debut (with Mickey) in the short, “The Chain Gang.”
“Every spirit makes its house, and we can give a shrewd guess from the house to the inhabitant”*…
Where did the very idea of assigning numbers to homes come from? As Deirdre Mask writes in her fascinating new history of street addresses, The Address Book, house numbering is a product of the Enlightenment, and was undertaken originally not to aid citizens but to make it easier to tax and conscript them. “House numbers exist not to help you find your way,” Mask writes, “but rather to help the government find you”…
The familiar American address system of odds and evens running concurrently down opposite sides of the street comes from Philadelphia, where Clement Biddle established it in 1790, according to Anton Tantner’s odd and delightful Address Numbers: Pictures of a Forgotten History. It was also in Philadelphia that the idea of assigning each block its own 100-number range was pioneered, in 1856. Both systems have spread across the world, though other systems still persist: the “horseshoe” method of numbers running sequentially down one side of the street and then back on the other side, so that No. 1 sits across from the highest number on the block; a “distance scheme” in which the number on a house refers to its distance from a given point. There are still plenty of places in the world where addresses are not used. In most towns in Costa Rica, for example, locations are given narratively (“fifty meters west of the town hall,” etc.), since houses have no numbers and, “as in the song of U2,” writes the Costa Rica News, “the streets have no name.”…
Think of your address numbers as your house’s earrings. Your house projects a certain aesthetic to your neighbors, intentionally or unintentionally, a set of visual cues that can be read along lines of class, taste, aspiration, and style. The numbers on your house do more than identify your address for the postman; deployed properly, like the perfect pair of earrings, house numbers accentuate a harmonious visual message in concert with the design around them. Sometimes that message is one of individuality: My house, the numerals say, reflects my own personality, and is unlike any other house you might encounter. Sometimes it’s a message of conformity: My house fits in securely with all my neighbors’.
I recently walked every single street in my ZIP code in the Northern Virginia suburbs, cataloging the house numbers I saw along the way and mapping them, block by block for 1,114 blocks. This absolutely scientific survey yielded significant data about how styles of house numbers propagate across neighborhoods and significant observations about how house numbers “speak” to the passersby they address…
Serif or sans serif?… Dan Kois (@dankois) explores what that can tell us: “How people style their house numbers.”
* Ralph Waldo Emerson
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As we do a number, we might recall that on this date in 1956 President Dwight D. Eisenhower signed the Federal-Aid Highway Act, landmark legislation that funded a 40,000-mile system of interstate roads that ultimately reached every American city with a population of more than 100,000. Today, almost 90% of the interstate system crosses rural areas, putting most citizens and businesses within driving distance of one another. Although Eisenhower’s rationale was martial (creating a road system on which convoys could travel more easily), the results were largely civilian. From the growth of trucking to the rise of suburbs, the interstate highway system re-shaped American landscapes and lives.
