Pentagram’s Michael Bierut contributes the cover illustration for this weekend’s edition of The New York Times Book Review. Timed to the July 4th holiday, the issue features a review by George Packer of two new books that look at how many Americans are discontent with U.S. government and the existing political system, and what it might take to incite another revolution. Charles Murray explores the issue from the right in By the People: Rebuilding Liberty Without Permission, while Chris Hedges takes a left-leaning view in Wages of Rebellion.
Bierut illustrates this bipartisan back and forth with two hand-painted drawings. The cover pictures a U.S. flag that replaces its stars and stripes with arrows that point right or left, and an interior image features a face-off between arrows in Republican red and Democrat blue. Bierut is, of course, no stranger to arrows and politics, or new takes on the U.S. flag.
This week KIPP NYC College Prep High School celebrates the graduation of the second class of seniors who have studied at its new state-of-the-art building in the South Bronx. Pentagram’s Michael Bierut and his team have designed the program of signage, wayfinding and environmental graphics for the school, which is the first high school in the KIPP NYC network of 11 public charter schools and serves over 900 students in grades 9 through 12.
KIPP stands for “Knowledge Is Power Program,” and KIPP NYC students regularly outperform their peers at other New York schools and boast higher graduation and college matriculation rates. (KIPP NYC College Prep sees an extraordinary 100 percent of its students go on to apply for college.) This mission of educational empowerment extends to the graphics of the new building, which encourage students to think, learn and problem-solve as they encounter a series of codes, puzzles and riddles that have been integrated into the school environment.
Construction kicked off this week on Cornell Tech, the $2 billion, 17-acre campus for technology on Roosevelt Island in New York City. Pentagram’s Michael Bierut and his team are designing the identity for The Bridge at Cornell Tech, an innovative corporate co-location building on campus that will bring together students, companies, researchers and entrepreneurs to collaborate and interact, all under one roof.
Developed by Forest City Ratner Companies and designed by Weiss/Manfredi, the Bridge is the centerpiece of Cornell Tech and is conceived as an incubator that connects—or “bridges”—the gap between academia and industry leaders. The seven-story, 200,000-square-foot building will contain loft-like spaces where students and entrepreneurs can work with stunning views of Midtown Manhattan as the backdrop. Cornell Tech is set to occupy one third of the building, with a mix of startups and larger companies in the rest. The campus also includes an academic building and residential building, and is scheduled to open in summer 2017.
To launch The Bridge, Bierut and his team created a teaser video that highlights the idea of connection. The clip pictures a series of graphic intersections, then pulls back to reveal the Bridge logotype, set in the distinctive, tech-inspired font Three Six by Muir McNeil. The visuals are accompanied by propulsive music composed by Jacob Rosati.
Do typefaces matter? In July 2012, the filmmaker and author Errol Morris published a short and rather enigmatic quiz on the website of The New York Times. Without really understanding its purpose, over 45,000 people responded to the quiz, which purported to address the question “Are You an Optimist or a Pessimist?” Morris’s real goal, however, was to determine whether the choice of typeface had any effect on a message’s believability. His answer: It does.
This experiment is the focus of Pentagram Papers 44: Hear, All Ye People: Hearken, O Earth. Designed by Pentagram’s Michael Bierut and Jessica Svendsen, the book republishes the two-part Times essay in which Morris revealed the results of his test, and is set almost entirely in the typeface that he determined to be most trustworthy: Baskerville.
This Sunday the landmark AMC television series “Mad Men” signs off with its final episode. But just because the show is over, that doesn’t mean you have to say goodbye to Don Draper: he lives on in a custom one-of-a-kind bench installed for the summer in midtown Manattan.
Over the course of seven seasons, viewers have become obsessed with the meticulously detailed world of ad man Draper and his colleagues in the “Golden Age” of advertising in 1960s New York. We caught up with several fans who reflected on the show’s impact—and what just might happen in the last episode—as they visited the Mad Men bench. In the words of one fan, “Unfortunately all things come to an end, but we’ll always have reruns.”
Designed by Pentagram’s Lorenzo Apicella, Michael Bierut and Emily Oberman, this “monument to Mad Men” transforms the iconic graphic of Draper from the show’s opening title sequence into a sleek bench where fans can “drape” like their hero. As one visitor told us, “How often do you get to sit next to Donald Draper?”
The bench is on display outside the Time & Life Building, once the fictional home of Sterling Cooper Draper Pryce, at 1271 Avenue of the Americas (between 50th and 51st Streets) through the summer.
Project Team: Lorenzo Apicella, Michael Bierut and Emily Oberman, partners-in-charge and designers; Jonathan Correira, designer; Matthew Clare, associate and designer; Dragan Skuljevic, designer; Julia Lindpaintner, project coordinator.
This weekend Expo Milano 2015, the world’s fair, opened in Milan, Italy. Organized around the official theme “Feeding the Planet, Energy for Life,” the Expo features exhibits and events from 147 participating countries—including 54 national pavilions—that explore ways to produce healthy, safe and sustainable food for the world. Pentagram’s Michael Bierut and his team have created the identity and environmental graphics for the USA Pavilion, which is designed by James Biber of Biber Architects.
Titled “American Food 2.0, United to Feed the Planet,” the USA Pavilion focuses on innovations in the farm-to-table food model and sustainable production. Biber’s striking design for the Pavilion reinterprets the architectural forms of the barn and other agricultural structures and includes a 7,200 square-foot, football-field-length vertical farm that has been planted with a variety of vegetables, grains and herbs. The harvestable crops are grown in hydroponic planters on louvers that open and close like shutters, giving the building a feeling of transparency. (In addition to “farmers” tending to the fields each day, there will be periodic performances by acrobats.)
Success Academy is the largest and highest performing network of charter schools in New York City. Founded and led by former city councilwoman Eva S. Moskowitz, Success Academy’s growing group of publicly funded, privately operated schools includes 24 elementary schools, seven middle schools and one high school that provide education for nearly 9,500 students across the city. Primarily serving underprivileged children, SA consistently has the highest test scores of any schools in New York, regularly outperforming institutions in wealthier communities. Tonight Success Academy will celebrate its own continuing “success” at its Third Annual Spring Benefit.
Pentagram’s Michael Bierut and his team have designed a graphic identity for Success Academy that conveys the schools’ innovative educational mission. The system extends to environmental graphics that help motivate students and build school spirit at Success Academy locations, which share space with New York City public schools.