MGMT., the exhibition designers write: ‘An exhibition at the Boston Society of Architects. Curated and designed by MILLIGRAM-office with graphics by MGMT., Rights of Way: Mobility and the City is a global exploration of mobility and transportation in cities. The exhibition features dozens of examples of visionary urban thinking, showing how the city is shaped by the ways people move through it.’
The BSA writes: ‘The exhibition will examine large-scale urban futures, contemporary examples of innovative design for transit and public space, historical attempts at remaking the city, and individual adaptations of mobility systems.’
‘Rights of Way demonstrates that our urban environment is the result of constant negotiation among designers, policy makers, the private sector, and individual residents. By claiming that access to mobility is access to opportunity and that everyone has his or her own “right of way,” this future-oriented show reveals how those public rights are always at play in the shared commons of the city.’
The Syracuse Connective Corridor
The Syracuse Connective Corridor is about ‘place-making’ — connecting university and community assets to create a place where talent wants to live, work and invest.
The Connective Corridor is a nationally recognized example of university engagement. The multidisciplinary project is reshaping the face of the City of Syracuse through new urban spaces and streetscapes, bike and pedestrian paths, public art, parks and landscapes, green infrastructure, façade improvements, historic preservation, neighborhood revitalization, signage and branding, and events programming. The Corridor is a linear stage that connects University Hill with downtown Syracuse, providing a platform for interaction between the campus and an engaged creative community. And, it is collaboration that strengthens the education experience, as well as the community.
Belvedere Square Market signage
Tal Leming writes: ‘One of my favorite things about being a typeface designer is seeing what people do with my typefaces. Case in point: Ohm. This typeface started as a piece of lettering that then turned into a type design parlor game that then turned into a typeface. I had no idea if anyone would ever use it, let alone what it would be used for. But, designers have used it to great effect.
‘Well, not too long ago a really weird thing happened. I got a tip that I should go to a nice market near my home here in Baltimore. My wife and I showed up at the appointed time and grabbed a quick bite. While we were eating our lunch, a truck pulled up. A truck carrying some Ohm. Literally, a truck carrying some Ohm. I took a picture to prove it:
‘(Faces obscured to protect the innocent guys who were quite puzzled by the weirdo excitedly taking pictures of their truck.)
‘As it turns out, the market was getting a brand new sign. The typeface used on the sign was Ohm. Did I mention that I live near this market? And that it specializes in local grown and produced products? Small world…
‘Neat! But wait… I drew Ohm to look as if each letter was made from a single tube. I did a little research on neon tube mechanics, but I decided that it was more important for the letters to look like neon than to be accurate technical drawings. Anyway, upon further inspection of the sign as it was being installed, I noticed that each “tube” representing a letter was actually made of numerous real tubes:
‘OMG! OMG! OMG!!!!! Seriously, this is one of my favorite things ever. I’m a huge nerd about the technicalities of constructing letters, so this hidden detail amuses me so much. At night, it all blends together perfectly:
‘So, in summary, this sign features a neon interpretation of a typeface that itself is an interpretation of neon letters. If I was still in art school, I would write a wordy essay about this and it would probably earn an A- in that Understanding Post-Modernism class that I didn’t do too well in.’
New York design studio Pure+Applied designed this exhibition which appeared at the Museum of the City of New York. They used Ohm throughout the exhibition, most notably turing it into a real neon sign!
‘…it is impossible to separate the development of modern New York from the automobile’s evolution. The city and the car were both expressions of the technological hopes of early modernism. They reflected a wide-ranging sense of possibility, in which speed, ease and power would seemingly become available to all …We can see that utopian spirit at the exhibition, too, in 20th-century imaginings of the city’s future, with hovering skyways and voluptuous roads sliding into and out of buildings.’ — Edward Rothstein The New York Times
RISD thesis exhibition
Rhode Island School of Design’s 2011 Graduate Thesis Exhibition Identity, designed by Benjamin Shaykin.