#vignell

[vignellicenter]

Abe Hirschfeld, who made a fortune building parking garages, turned a parking garage at 330 East 61st Street into an exclusive fitness club in the 1980s.

In 1979, Vignelli Associates designed a logo, brochure, stationery, and membership materials for what their own brochure deemed “a country club in the heart of the city”

“A unique sporting club offering tennis, squash and racquetball”

“No sport and racquet facility like exists anywhere.”

By 1984, the club was the place to be seen with many celebrity sightings [for example, Cher, Diana Ross, Liza Minelli, Arnold Schwarzenegger, David Bowie, Mick Jagger, Ashford and Simpson, Brooke Shields]

Quotes from a 1984 NY Times article about the health club’s social scene:

''The Vertical Club is today's Studio 54''

“People join other health clubs to get in shape before they join here''

“Pure Fellini''

“It is better socially than a singles bar because it's not so obvious”'

Here is what the VC brochure promised:

“Court time at your convenience is always assured, because Vertical Club membership is strictly limited. … The congeniality and prestige of the club us maintained by our Admissions Committee, which interviews and approves all applicants.”

Staff are ready “to make each visit to the Vertical Club a delightful leisure experience.”

Courts

“Courts are stacked vertically atop one another. Each level of the vertical club is equivalent to four stories; the building is the height of a 20-story structure.”

“Architect Eugene Ho has created tennis “al fresco” through open, retractable siding on the courts.”

Courtside Restaurant and Bar

“The glass-walled, elevated Courtside Restaurant overlooks our two exhibition tennis courts and glass-sided racquetball court.”

Graphics

“Vignelli Associates are designers of tremendous scope.”

Fee schedule

“Resident + spouse Initiation fee $4000 plus $125/mo”

And speaking of the 1980s, join us next week for our next Open Houses which will highlight artifacts from the archives from the 1980s. Check out our events page on our website for more details [link in bio]

9/25-9/26, 2024 10am-4pm

And in the spring with a completely different displays of 1980s artifact!

3/26-3/27, 2025 10am-4pm

[sfry391-blog]

Project 3: the final stage

After battling with my project’s form I ended up giving in and deciding to keep it  simple by making my project into a book format. I think this format is easier to follow and looks smoother.  Now that it’s done and I’m looking back on the evolution of my project I think there is something to be said about how much a design can change even if you have an extremely clear idea of how you want it to look in your head.  I started with 5 completely random designers: Jacqueline Casey, Barbara Kruger, Massimo Vignell, Alvin Lustig and Muriel Cooper. Although part of me I wish I had looked at Alvin Lustig, just because his designs were so different, I have learnt so much about design through investigating Casey. One of the main reasons while I chose her was how wide her scope of design work is. I always worry that  maybe I’ll finish uni and start working and hate design so it’s good to have proof that you can study one thing and then become extremely successful in a completely different area. Additionally as a history nerd, I thought her lifetime was the so unfortunate in terms of world events, born right after World War I then lived through World War II, Vietnam war, Cold War and Korean War  I guess you don’t get to choose when you are born. 

I’m proud of my final outcome. It is completely outside of the way I usually format and structure my designs so it was fun to come out of the box I put my design work in. I really enjoyed playing around with different approaches (even though I may or may not have had several breakdowns over the look of this project) 

Here’s the link to the final: 

https://issuu.com/s3839207/docs/jacqueline_casey_interview 

[mishalogic]

URIEL!

Ovis vignel

Arkars or Sharpo wild sheep

Habitat: mountain area, grasslands, open woodlands

with gentle slopes!

Gestate for five months.

Males have curly horns, females have flat horns>

Mammals.

Family: Bovine. ... Wikipedia facts

[sciencespies]

Australia’s first rocket is set to launch into space in April 2023

https://sciencespies.com/space/australias-first-rocket-is-set-to-launch-into-space-in-april-2023/

Australia’s first rocket is set to launch into space in April 2023

The Eris rocket developed by Australian company Gilmour Space will be the first Australian system to go into orbit if it successfully launches next year

Space 20 November 2022

By Alice Klein

The Eris rocket under construction

Gilmour Space

Australian company Gilmour Space has nearly finished building a rocket that it will attempt to launch into space in April 2023. If successful, it will be Australia’s first homegrown orbital spacecraft.

“Space [technology] is one of the key enablers of society – it’s good for a nation to have access to space capability if it can,” says Adam Gilmour, a long-time space enthusiast who co-founded the company after working in banking for 20 years.

The rocket, called Eris, will stand 23 metres tall and weigh over 30 tonnes. It will be powered by five hybrid engines that contain a solid fuel and a liquid oxidiser.

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A final test conducted in early November found that each engine could generate 115 kilonewtons of thrust – “enough to pick up three or four SUVs [sports utility vehicles] each”, says Gilmour.

The company expects to finish building Eris by March and is planning a test launch from a site near Bowen in north Queensland in April.

The rocket will be fitted with a lightweight satellite and aim to enter low Earth orbit.

“We’re confident it will take off the pad, but no first launch vehicle from a new company has ever successfully gone to space on the first try,” says Gilmour. “What generally happens is the second one works, so we’re building two of them so we can learn from the first and succeed with the second,” he says.

If the launch is successful, it will make Australia the 12th country in the world to send one of its own orbital rockets into space, joining the US, UK, Russia, China, Japan, South Korea, North Korea, France, Israel, India and Iran.

Most of the funding for the project has come from venture capital, with the Australian government contributing a small amount.

A test of the rocket engine

Gilmour Space

Following a successful launch, Gilmour Space plans to build bigger rockets that will be able to carry payloads of up to 1000 kilograms into low orbit. This would allow it to launch satellites for the Australian government and private companies for use in mining, agriculture, communications, defence, Earth observation and other areas.

“We’ve been using other countries’ rockets for the last 50 years, but there are a lot of restrictions,” says Gilmour. “If you’ve got an Australian launch vehicle, then if you’re an Australian company or the government, you’ve basically got unfettered access,” he says.

Aude Vignelles, the chief technology officer of the Australian Space Agency, says that having space capabilities would give a boost to Australia’s national well-being. “Australia’s geographical advantages and political stability [also] make us an attractive destination for launch activities,” she says.

If Eris successfully gets to orbit, it will be the first rocket with hybrid engines to do so, says Vignelles. Most rocket engines contain fuels and oxidisers that are both solids or liquids, since they tend to be more powerful. But several companies are developing hybrid engines that have one component in solid form and the other in liquid form, since they have the potential to be safer, simpler and cheaper.

Gilmour Space also has ambitions to build rockets that can carry astronauts by 2026.

Sign up to our free Launchpad newsletter for a voyage across the galaxy and beyond, every Friday

More on these topics:

#Space

[katjohnson01]

Michael Bierut

17/12/2019

Bierut studied graphic design at the university of Cincinnati’s College of Design, Architecture, Art and Planning. He worked for ten years at Vignell Associates before joining Pentagram as a partner in 1990. At Pentagram he had some big brand interest who asked him for work, he was as well known graphic srtist with several commissions. He is a senior critic in graphics at the Yale School of Art and a lecturer in the practice of design and management at the Yale School of management. He is a cofounder of the website ‘Design Observer’ and is the co-editor of the five-volume series ‘Looking closer: Critical Writings on Graphic Design’. His books were used and he described how to use graphic design to sell things, explain things, make things look better, make people laugh, make people cry and (every once in a while) change the world. 

[calummacdonald01]

This was an interesting article that overviewed an interview with Massimo Vignelli, a renown Graphic Designer. He designed the New York transit systems mapping and signage, he speaks about specifically chosing to use the type face Helvetica beacause it is ellegant, clean, and a readable typeface in his opinion. (as well as mine) Vignellis created loads of other iconic logos and has repeatedly said how limited his selescfion of type faces are, having only about 4 which he truly uses, he says that good design is about arangement and clarity. He prefers readable type over expressive camouflage which as he states does not even emit expression, but only a bad sense of design. I am a fan only Vignell, his design and taste as well as his knowledge of design is extensive, and the NewYork Transit Systems Design is one of my favorite designs.

[cardstumble]

Vignellism by Anthony Neil Dart - quotes by Vignelli

 https://www.pinterest.com/ZoePerisson/massimo-vignelli/

[aaronblythesketchbookunit1-blog]

There is two styles that I could utilise for this calendar the first option would be to create a beautifully designed functional chart like the Vignelle Calendar or to do a satirical take on the usual bad design of star charts.

[wellwornwornwell]

The black silk knit tie: Vignelli

[dandesigns]

Finally, from Massimo I learned never to give up. He was able to bring enthusiasm, joy and intensity to the smallest design challenge. Even after fifty years, he could delight in designing something like a business card as if he had never done one before. It was Massimo who taught me one of the simplest things in the world: that if you do good work, you get more good work to do, and conversely bad work brings more bad work. It sounds simple, but it’s remarkable, over the course of a lifetime of pragmatism and compromise, how easy it is to forget: the only way to do good work is simply to do good work. Massimo did good work.

from Michael Bierut's moving eulogy to the great Massimo Vignelli, 1931-2014

[vignellicenter]

The Stendig calendar has remained a classic for decades! It is not for the faint of heart at 48 inches wide by 36 inches high with bold black and white alternating pages (it even had a brief stint with color page in the 1980s). Designed in 1966 by Massimo Vignelli and has been produced every year since!

“We had always wanted to design a large calendar (3’ x 4’) with big numbers, visible from across a studio floor. Stendig provided us with such an opportunity. We designed the first one toward the end of 1966 and it was distributed in time for Christmas. By the end of December, it was already in the permanent collection of the Museum of Modern Art. Thereafter, Stendig produced it for many years. It has inspired a number of more or less successful imitations.”

Photo descriptions:

1973 unknown photographer, January 1973 in black with white typography

Stan Ries photo shoot c. 1975 which caught Massimo with three Vignelli-designed calendars: Stendig (January 1974), The Max 365 (on number 23) and the Wild Places calendar (August 1975).

1986 reshoot of three Vignelli-designed calendars: Stendig (February 1986), The Max 365 (still on number 23) and the Wild Places calendar (August 1975).

January 1969 at Unimark office

June 1969 at Unimark office with unidentified Unimark staff

Wee little Stendig calendar card! Originally 89 cents each, for a pocket version.

[vignellicenter]

For your eyes only: Ettore Sottsass

In 1973, Lella and Massimo Vignelli contacted a group of designers to make sunglass design proposals for a new “Designer’s Line” for American Optical. We have some correspondence between the Vignellis and the designers, as well as sketches and prototypes of the various ideas for the sunglasses. The project was delayed by a company reorganization at American Optical, but we aren’t sure if any of these designs were actually manufactured. 

The designers included were: Ettore Sottsass, Marc Held, Hans Hollbein, Cini Boeri, Pentagram, Roger Tallon, Gae Aulenti, Achille Castiglioni, Marco Zanusco, and Nick Roericht. 

Today we are featuring the proposed designs by the Ettore Sottsass. Are these the exact same shades Sottsass is sporting in this famous photo by Bruno Gecchelin from 1974?  https://www.curbed.com/2017/7/21/16008340/ettore-sottsass-exhibition-alexandra-lange

From his included bio: “I wear long hair in spite of my age and normally shoes with red strings which i bought in Tokyo: but I may change.”

Stay tuned as we show you some of the creative designs that were proposed by some of the other designers! And as we try to unravel the story of the “Designer’s Line.”

American Optical “Designer’s Line” project Box 467, Massimo and Lella Vignelli papers Vignelli Center for Design Studies  Rochester, New York

[acmecorpgraphicsarchive]

 via  Gridllr.com   —  grid view for your Likes!

Abe Hirschfeld, who made a fortune building parking garages, turned a parking garage at 330 East 61st Street into an exclusive fitness club in the 1980s.

In 1979, Vignelli Associates designed a logo, brochure, stationery, and membership materials for what their own brochure deemed “a country club in the heart of the city”

“A unique sporting club offering tennis, squash and racquetball”

“No sport and racquet facility like exists anywhere.”

By 1984, the club was the place to be seen with many celebrity sightings [for example, Cher, Diana Ross, Liza Minelli, Arnold Schwarzenegger, David Bowie, Mick Jagger, Ashford and Simpson, Brooke Shields]

Quotes from a 1984 NY Times article about the health club’s social scene:

''The Vertical Club is today's Studio 54''

“People join other health clubs to get in shape before they join here''

“Pure Fellini''

“It is better socially than a singles bar because it's not so obvious”'

Here is what the VC brochure promised:

“Court time at your convenience is always assured, because Vertical Club membership is strictly limited. … The congeniality and prestige of the club us maintained by our Admissions Committee, which interviews and approves all applicants.”

Staff are ready “to make each visit to the Vertical Club a delightful leisure experience.”

Courts

“Courts are stacked vertically atop one another. Each level of the vertical club is equivalent to four stories; the building is the height of a 20-story structure.”

“Architect Eugene Ho has created tennis “al fresco” through open, retractable siding on the courts.”

Courtside Restaurant and Bar

“The glass-walled, elevated Courtside Restaurant overlooks our two exhibition tennis courts and glass-sided racquetball court.”

Graphics

“Vignelli Associates are designers of tremendous scope.”

Fee schedule

“Resident + spouse Initiation fee $4000 plus $125/mo”

And speaking of the 1980s, join us next week for our next Open Houses which will highlight artifacts from the archives from the 1980s. Check out our events page on our website for more details [link in bio]

9/25-9/26, 2024 10am-4pm

And in the spring with a completely different displays of 1980s artifact!

3/26-3/27, 2025 10am-4pm