81/82 DESIGN ARTS
Application Guidelines 1981/1982
National Endowment for the Arts,
Massimo Vignelli [Designer]
Massimo Vignelli [Designer]: 81/82 DESIGN ARTS [Application Guidelines 1981/1982]. Washington, DC: National Endowment for the Arts, October 1980. Original edition. Slim quarto. Glossy printed self mailing wrappers. 32 pp. Federal application guidelines. San Antonio Architect O’Neil Ford mailing label to rear panel, otherwise a nearly fine copy.
8.5 x 11 stapled 32 page booklet outlining National Endowment for the Arts’ application guidelines in the fields of Architecture, Landscape Architecture, Urban Design/Planning, Interior Design, Industrial Design, Graphic Design and Fashion Design. Immaculately typeset in Helvetica locked into a perfect grid by Massimo Vignelli via the Federal Graphics Improvement Program of the National Endowment for the Arts.
“All the work I do is based on grids. I can’t design anything without a grid. I am so accustomed to using a grid I use it for everything, even stationery. The grid provides a tool for quick solutions. Without a grid I‘m desperate; I have no starting point. With a grid I can do a 150-page book in one day––layout, sketching, every picture in it; without sketching I can do a 300-page book in one day. Without the grid I couldn’t do it.” — Massimo Vignelli
In 1976, Massimo Vignelli won the contract to serve as the graphic consultant for the re-design of a series of publications for the Secretary of the Senate, as part of a cooperative effort of several government agencies, including the Federal Graphics Improvement Program of the National Endowment for the Arts. He gave a presentation to the Second Studio Seminar for Federal Graphic Designers on November 10, 1976 and issued a book, “Grids: Their Meaning and Use for Federal Designers,” based on the presentation.
The book starts with a short section: About Grids. “The Federal Graphics Improvement Program of the National Endowment for the Arts, recommends he grid as a device that can save the government time and money and take the guesswork out of graphic communication. It has been used successfully for many years in the commercial sector and is fast becoming a design resource throughout the government.
The book then references NASA standards manual’s definition of a grid: “a predetermined understructure that the designer can employ to give the publication cohesive style and character. It is a great organizer of material…and will save countless manhours in execution.”
And in case the federal designers were worried about creativity: “Do grids restrict designers? No. On the contrary, they are considered as an aid to the creative process.”
Massimo Vignelli uses examples of some of the projects he has worked on to illustrate the importance of the grid. The projects mentioned include: Alcoa, New York Botanical Garden, Fort Worth Art Museum, Saint Peter’s Church, Architectural League of New York, Moore College of Art, Knoll International, and, of course, the re-design of the Secretary of the Senate publications.
The 1982 AIGA MEDAL citation: “Upon the occasion of the major retrospective of the Vignellis' work exhibited at Parsons in 1980, The New York Times critic Paul Goldberger characterized Massimo (Italy, 1931 – 2014) and Lella Vignelli (Italy, 1934 – 2016) as “total designers.” They and their office have indeed done it all: industrial and product design, graphic design, book design, magazine and newspaper design, packaging design, interior and exhibit design, furniture design. Massimo and Lella work together in two ways: he concentrates on what they call the “2D”; she handles the “3D”. He's the visionary: “I talk of feelings, possibilities, what a design could be.” She the realist: “I think of feasibility, planning, what a design can be.”
The Vignellis were both born and educated in the industrial, more-European north of Italy, he in Milan and she in Udine, 90 miles away. Massimo's passion was “2D”—graphic design; Lella's family tradition and training were “3D”—architecture. They met at an architects' convention and were married in 1957. Three years later, they opened their first “office of design and architecture” in Milan and designed for Pirelli, Rank Xerox, Olivetti and other design-conscious European firms. But their fascination with the United States, which took root during three years spent here after they were married, eventually grew strong enough to lure them away from Italy permanently. “There is diversity here, and energy, and possibility,” recalls Massimo, “and the need for design.” He cofounded Unimark in 1964, which ballooned and collapsed as the corporate identification boom of the late 1960s hyperventilated, then ran out of breath. In 1972, their present office was formed: Vignelli Associates for two-dimensional design, Vignelli Designs for furniture, objects, exhibitions and interiors.
Not only do the Vignellis design exceeding well, they also think about design. It is not enough that something—a chair, an exhibition, a book, a magazine—looks good and is well designed. The “why” and the “how,” the very process of design itself, must be equally evident and quite beyond the tyranny of individual taste.
“There are three investigations in design,” says Massimo. “The first is the search for structure. Its reward is discipline. The second is the search for specificity. This yields appropriateness. Finally, we search for fun, and we create ambiguity.”
Vignelli design, in both three dimensions and two, is highly architectural in character. Massimo's posters, publications and graphic designs seem to be built in stories, separated by the now-familiar, bold, horizontal rules. Basic geometry is respected. The investigative design process moves from the inside out: “The correct shape is the shape of the object's meaning.” The Vignelli commitment to the correctness of a design has taken their work beyond the mechanical exercise of devising a form best suited to a given function. They've always understood that design itself, in the abstract, could and should be an integral part of function. More than a process and a result, design—good design—is an imperative. “Everything has its own order,” they've said. “You can't take a piece of music and scramble the notes. You can't take a piece of writing and scramble the words. You can't take a space and scramble the chairs around.”
Both in the example set by their work and by their personal commitment of time and energy, design has no advocates more passionate or effective. Both teach, write, lecture, serve on juries and boards, contribute their talent and cast to worthy causes. Unabashedly urban and urbane, their participation in the world of design is enthusiastic, inquiring, generous. The Vignellis are true believers: “When we were young and naïve, we thought we could transform society by providing a better, more designed environment. Naturally, we found that this was not possible. Now, we think more realistically: we see a choice between good design and poor or nondesign. Every society gets the design it deserves. It is our duty to develop a professional attitude in raising the standard of design.”
That sounds serious, and the Vignellis are serious about design. But it is seriousness of purpose conveyed most often through exuberance. When either Massimo or Lella says the word “design,” it is pronounced with a capital “d”: “Design.” As individuals and professionals, their commitment to design and their accomplishments in design have rewarded them well. The Vignelli office continues to thrive and assignments come from an ever more diverse range of clients. Graduates of their firm have set out on their own and established well-respected practices. Only a few of the best and brightest are hired out of the schools each year. Their calendars are crammed; their pace formidable.
“The reward?” asks Massimo, paraphrasing the question. “Why, the reward is to do all this!”