Issue 314 - Digital Version

March / April 1998 Cover Image: Richard Meier, The Getty Center. Photo: Scott Frances, Esto In Issue 314 of Graphis magazine, you'll find the follwing articles: Les Ateliers du Nord: Jeker and Company, by Gordon Adler; Richard Meier: Leaving Los Angeles, by Alexandra Lange; Gaetano Pesce: No Patience for the Past, by Edna Goldstaub–Dainotto; Miho: Design Odyssey, by Stuart I. Frolick; Burce Mau: Book Maker, by Ken Coupland; Soviet Posters: The Seeds of Modern Graphic Design, by Ken Shulman; John Waters: Obsessions Rule, by Martin C. Pedersen; and Alvar Aalto, by Mel Byars. CONTENTS Cover Richard Meier, The Getty Center. Photo: Scott Frances, Esto 4 Editorial 7 Contributors to this Issue 12 Andrzej Dudzin'ski Reviewed by Karen Chambers 12 David Carson: 2nd Sight Reviewed by Ken Coupland 12 Robert Kushner Reviewed by Gianfranco Mantegna 14 Graphic Design: New Orleans' Blues by Véronique Vienne 18 Consumer Products by Yanitza Tavarez 28 Les Ateliers du Nord: Jeker and Company One of Switzerland's leading graphic designers teams up with a pair of enterprising industrial designers to produce everything from products to posters. By Gordon Adler 40 Richard Meier: Leaving Los Angeles Twelve years after winning the commission of a lifetime-with the museum now complete and his work done-architect Richard Meier faces life after the Getty. By Alexandra Lange 56 Gaetano Pesce: No Patience for the Past As a source of inspiration, Pesce's distaste for the past is matched only by his outspoken contempt for contemporary design and architecture. By Edna Goldstaub-Dainotto 66 Miho: Design Odyssey His current position as a design mentor for the Samsung Corporation in South Korea is merely the latest stop in a brilliant 40-year career as designer and educator. By Stuart I. Frolick 76 Burce Mau: Book Maker The book is alive and well. But for this Canadian designer, the challenge is a profound one-to reinvent the book in the face of technologies which threaten to overwhelm it. By Ken Coupland 88 Soviet Posters: The Seeds of Modern Graphic Design How the Soviet posters of the 1920s, espousing a future utopia of Communist socialism, actually provided the seeds of modern graphic design. Call it capitalism's final triumph. By Ken Shulman 96 John Waters: Obsessions Rule By Martin C. Pedersen 102 Alvar Aalto By Mel Byars 108 Global Report 110 Art Directors Club 112 Type Directors Club 113 German By Heinke Jenssen 129 French By Caroline Droz, Isabelle Wolf 146 The Creative Club of Belgium 152 Dan Yaccarino Illustration, New York, New York 154 Peter Liepke Photography, New York, New York