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Content includes:
An hour with Le Corbusier
Apartment Milan
Consistency in Vico Magistretti’s design
Prefabrication for interiors
New sofa for Arflex
An industry through the Triennali
Two-light lamp
Aspects of architecture
Marco Zanuso. A house in Milan
Alvar Aalto
Cinema and theater: more form than substance
Encounters with art, Vitality of the sign today
Production review
Where to buy
Shops abroad

Direction: Sergio Mazza
Editing: Giuliana Gramigna
Graphics: Bob Noorda / Unimark
Photographs: Ballo, Bosio, Colore Industriale, Coluzzi, De Pratelli, Benedetti, Mari, Mulas, Savio, Studio 22.

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Linked Information

Ottagono 01, 1966. Design by Bob Noorda / Unimark
Ottagono 01, 1966. Design by Bob Noorda / Unimark
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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Graphis is one of the industries most long-standing magazines. It was first published in 1944 and founded by Walter Herdeg and Walter Amstutz in Zurich, Switzerland. It was released bimonthly and was trilingual, with articles in English, French and German.
Elizabeth Resnick is a Professor Emerita, former chairperson of the Graphic Design Department, and current part-time faculty at Massachusetts College of Art and Design, Boston, Massachusetts, since 1977. She ran her own independent Boston design studio from 1973 to 1996, working with many high-profile clients and is a passionate design curator who has organized seven comprehensive design exhibitions. I interviewed Elizabeth about her journey in the field, her early influences and some of the many items in her collection.
The background of Kamekura's mark designs is his boldness in eliminating all the waste, combining simplification derived from Japanese traditional family crests and Western intellectual mechanics of formation with a sharp modern sense of composition.

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Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.