International Corporate Identity 2

Hardcover: 400 pages
Publisher: Robundo
Language: English Japanese
ISBN-10: 494761336X
ISBN-13: 978-4947613363
Product Dimensions: 30 x 21.2 x 4 cm
Release Date: 1992

Design: Takaaki Bando

The original meaning of design is to make something invisible visible, to give something without a look. Its word elements are the Latin prefi>In the design World, it is vociferously and manifestly proclaimed by most the modernism has come to its irredeemable end. Yet, we should bear in mind that modernism and the whole design genus pertaining to modernism, whether it be de Stijl orthe Bauhaus, was more than a style or a fashion. It was a movement inspired by a spirit. New thing will Iosetheir novelty as that novelty wears off with time. And though revival may be the antithesis that restores the faded novelty to its pristine sheen, it vviil not be the spring from which the flow ofthe next generation will rise. in our present time, the computer is making its inroads also into the design area at a rapid pace and bring innovations in design work of far reaching consequences. It promise to be the source ofnew designs based on the computer as a tool with built in skills. Butthe role ofthe computer in design is that of a tool, a tool of eminent convenience and aptitude. it is notthe source, the creative originator from which design take their origin.The confusion goes still very deep.
This book is more than a mere collection of records.
It is a manifest trying to cross the bridge toward the next generation.The role it attempts to play is to introduce the main‘ trends in the Cl design activities by inviting designs from all over the world. We consider as most important the originality of expression, the view that looks toward the origins which have led the expression, the philosophy and ideas behind the design activity, and the originality of this philosophy. Why
is originality so essential? The answer is that nothing short of originality has the power to shape a new generation. Before we rnoan that our present world is in disarray, let us be aware of the fact that every generation feels that its generation is
in chaos. Forthe authors of this Yearbook, nothing could
be more gratifying than the notion that it may in some form or other have given a lead in crossing the bridge toward the next generation. Only expression can go beyond expression. Finally, l would like to remind our readers that the selections and interpretations presented in this Yearbook have been made by Evolution Graphics as in the past.

社会に対して「閉じつつ均質化するCーシステム」 に 陥りかねない。関わるデザイナーはビジュアル・コミュニケーターでなく、

しかし、 デ・スティルにしろバウハウスにしろ、そのモダニズムの系譜とは、様式や様相ではなく、精神を駆り立てる運動にあったことを忘れてはなるまい。
新奇なものは新奇な分だけ早く褪色する。リバイバルは、常に時代のアンチテーゼにはなり得ても、次の時代を切り拓く原動力にはなり得ない。昨今、急速な勢いでデザイン分野へコンピュータが導入され、作業は革新されてきている。 コンピュータがスキルを内包した道具であるため、コンピュータによつて新たなデザイン様式が誕生するかのような期待感もある。しかし、コンピュータは魅惑的なツールではあっても、デザインの源泉を豊かなものにするソースにはなり得ていない。混迷は、いまだ深い。

本書は単なる記録集ではない。 次の時代への橋渡しとなることを願って、広く世界から作品を求め、CIにおけるデザイン活動の主要な動向を紹介する役割の一端を担った。
表現のオリジナリティは もちろん表現の源泉を探る視点、デザイン活動の背景に存在する思想のオリジナリティも尊重している。
オリジナリティのないものには、新たな時代を創造する力がないと確信しているが故である。 現代は混沌としていると嘆くより、状況はいつも同時代の人間にとって混沌としていることに気づくのも大切だろう。 本年鑑が僅かにでも次の時代を導くことが示唆できるならば、このことにまさる喜びはない。デザイン表現は、表現行為によってしか超克されないのだから。最後に、本年鑑で紹介する作品の選考と解説文は、前回に引き続き、Evolution Graphicsが担当したことをお断りしておく。

There are 2 comments

  1. Jonathan

    Interestingly they got the company name wrong for the Boymans work. The company was called 8vo. Octavo was the name of the self published typography journal that they became famous for. Odd that this wasn’t picked up on before it was printed.

    Looks like an interesting book. Might have to track down a copy. Thanks for sharing, it is a great site.

    1. spread

      Hello Jonathan

      Many thanks for your posted comment and interest in SPREAD.

      I couldn’t find the wrong what you pointed.
      Thank you very much.

      I feel very clear, thanks to your explanation now.

      I agree it’s not good because the book is really interesting.


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