The Construction Barrier as a Design Medium Bauzaune - ein Neuland für Gestalter L'Enceinte du chantier - nouveau domaine du design II Stanley Mason The hoardings that are put up around building sites were discovered 1 1 as a means of visual communication at a very early stage. Upon this J v transient yet conspicuous background agitators, wags and the lonely i champions of lost causes seized the opportunity to address themselves t to a wider public. And here the poster, having risen to the status of a popular message-bearer, found its first home. This co-operation of builders and planners with advertisers and sub-J versive elements long remained a matter of chance, if not of pure op- I portunism. Today, when we are beginning to talk about total environ- ments, something more is needed. And Jerry Berman Associates of It - San Francisco had something more to offer. The construction barrier in this instance was put up around the site 1) Part of the construction barrier, with an information panel and other design elements. 2) A night view of the walkway with lighting fixtures in coloured recesses. 3) An example of the use of colour. The roof recesses change from orange in the fore ground to yellow at the far end of the passage. 4) The trees - leafless for the winter - are in keeping with the avenue they skirt. 5) Beyond the winter tree can be seen a recessed area with coloured peepholes through which 'sidewalk superintendents' can follow the construction work. 6) A close-up of the observation holes for passers-by. 1) Teil eines Bauzauns mit einer Informationstafel und andern Gestaltungselementen. 2) Nachtaufnahme des Durchgangs mit Beleuchtungskörpern in farbigen Nischen. 3) Beispiel von Farbeffekten. Die Dachnischen wechseln von Orange im Vordergrund hiniiber zu Gelb am Ende des Durchgangs. 4) Die Baume - im Winter kahl - sind der Strasse, die sie saumen, angepasst. 5) Hinter dem winterlichen Baum eine Nische mit farbigen Gucklöchern, durch die Neu- gierige die fortschreitenden Bauarbeiten verfolgen können. 6) Grossaufnahme der Gucklöcher für Passanten. 1) Partie de l'enceinte du chantier: panneau d'information et autres éléments de design. 2) Vue nocturne du passage couvert, avec ses recoins éclairés. 3) Exemple de l'emploi de la couleur. Les recoins du plafond sont oranges un bout du passage pour devenir jaunes a l'autre. 4) Les arbres peints (ici sans feuilles, en hiver) s'harmonisent avec l'ambiance de la rue. 5) Derrière l'arbre, on apergoit une niche avec des trous d'observation colorés ménagés pour les badauds désireux de s'informer des progrès de la construction. 6) Gros plan des trous d'observation. 4 of a 34-million-dollar skyscraper to be erected in downtown San Fran cisco for Transamerica Corp., a big finance and insurance company. It measured no less than 700 ft. in length. And it was expected to be there for a matter of two years. Jerry Berman was never one to refuse a challenge. Now 34, he has had his own firm for the past twelve years. His agency is today one of the best known on the West Coast of the United States. When he entered the poster business in 1967, he designed the Haight-Ashbury' poster (Graphis 135, p. 57) which soon ranked among world bestsellers. Berman's own comments on the assignment are worth hearing: 'Most of the construction barriers that are thrown up in cities are real eyesores. The general public is put to enough inconvenience by con struction, particularly in San Francisco, where new [Continued on page 576]

Graphis de | 1971 | | page 28