Starting from the beginning, Poulin traces iconic structures,

telling their stories and illustrating their use of graphics. From

the Cathedral at Chartres to the Basilica of Santa Maria Novella,
to the Taj Mahal, all have integrated the written word in graphic
form as a part of their design.
Moving on to the modern age, the industrial revolution and
discovery of electricity of course changed everything, offering
even more opportunity for the incorporation of graphics. Take
for example the Paris Metro. Architect Hector Guimard’s
entrances for the Paris subways are classic symbols of the art
nouveau movement, the typography an essential element of the
architectural design.
I loved seeing the Horn & Hardart Automat featured. I
remember begging my mother to go there – even at a young
age, I was clearly influenced by the graphic styling of this iconic
institution.
Walter Gropius’ Bauhaus in the 1920’s and the related de Stijl
movement, were instrumental in promoting a multidisciplinary
approach to all visual arts. Without getting into a serious art
history discourse, suffice it to say that Poulin makes a strong
case for the important influence this movement had on modern
graphic design and architecture.
I worked in Rockefeller Center for years and never took for
granted this amazing architectural masterpiece. Integrating the
buildings with graphics, sculpture and an early example of
urban planning, it is as iconic today as it was in 1929 when
work commenced. I hope that people realize the significance of
Edward Durrell Stone’s 30 Rock for more than its eponymous
show!
Whether a ubiquitous well-known example of popular culture
or a lesser known integral part of everyday life, such as Jock
Kinneir and Margaret Calvert’s sign system for the British
roadways, each case is presented and illustrated in digestible
bites.
Poulin and his firm are well represented in the volume. From
the Brooklyn Botanic Garden Entrance to the Morgan Stanley
World Headquarters Building Facade to the New York Public
Library for the Performing Arts at Lincoln Center, Poulin has
been transforming our environment and affecting our daily
lives for the better.
Incorporating a graphic message into the architecture of a project can provide a big
message with minimal construction and cost. More importantly, it can also reinforce the
spatial definition. In the case of the children’s library at Fort Washington, the graphics on the
giant lampshades were used to define a series of “rooms” and create distinct environments.
We were able to use the New York Public Library image data bank, which was pretty great.
The graphics have created an entire little world in each of those lampshades.

Graphic Design vs. Architecture

 ARCHITECTURE

 GRAPHIC DESIGN

 ISSUE 04
THURSDAY, APRIL 14TH, 2011

It might be surprising to learn that Jennifer Sage, principal of NY-based architecture

firm Sage and Coombe, believes graphic design plays not just an important role in
architectural design, but a necessary one. We chat with Sage about why graphic
design can be considered an architectural savior.

How does implementing graphic design in an architectural project “save it”?

We see it as tied into the basic understanding of the building. And in some cases, it’s
because you can get a big statement with a tighter budget.

Many of your architecture projects involve graphic design. Why is that?

Incorporating a graphic message into the architecture of a project can provide a big
message with minimal construction and cost. More importantly, it can also reinforce
the spatial definition. In the case of the children’s library at Fort Washington, the
graphics on the giant lampshades were used to define a series of “rooms” and create
distinct environments. We were able to use the New York Public Library image data
bank, which was pretty great. The graphics have created an entire little world in each
of those lampshades.

What can graphics communicate within a building that the building alone
can’t?
We see it as a tool for bringing a different scale and sometimes a new texture into a
project that does not otherwise have the budget or program for a refined materiality.

Is ‘branding’ as big of a buzzword in architecture as it is in other forms of

design?
I don’t believe that it plays as big of a role in architectural work, particularly in
institutional or public work, though in our retail projects, the language of the
architecture reinforces the personality of the brand.

How are photography and traditional 2-D artwork starting to play a larger role
in architecture?
As the technology is more accessible to everyone, it is easier to take advantage of it
as a medium for architectural expression. Flat artwork has always been integral to
the best buildings. The availability of the new technology allows us to take a stronger
role in conceptualizing and bringing the two dimensional imagery into architecture.

Wayfinding systems, signage, and environmental graphic design have all

become examples of how architecture and graphic design work together. Can
you elaborate on how you’ve integrated these mediums into a project your firm
has done?
We have tried to use signage and environmental graphics to reinforce the character
and intentions of the architecture. At all our designs for children’s libraries, we made
use of words—in poems, word searches and in different languages—to enliven the
experience and reinforce the association with reading. In our retail projects, our
signage takes more liberties in message and tone. Whenever possible, we try to take
the opportunity to collaborate with graphic designers and artists, expanding the
conversation about spatial intentions.

http://www.wearedesignbureau.com/projects/graphic-design-vs-architecture/