Design Meeting Point hosts the First Design, Architecture and Construction Cybershow
In recent times, Internet has become an indispensable medium for the internationalisation of contents. This would account for the success of cyberspace fairs. With basic costs radically lower than at real fairs, these events attract a large public and allow firms to present their most novel and interesting products.
From 17th April until 6th May, Design Meeting Point will be holding the First Design, Architecture and Construction Cybershow, during which firms will be offered space to present their latest designs. The show will also be equipped with various complementary applications, such as a news service and a catalogue arranged by firm and product.
For companies, participation in a virtual fair represents an unmissable opportunity to strengthen brand image. Nowadays, in fact, a firm must pay particular attention to its presence on the Net as it is one of the furthest reaching media and competition is extremely tough. Knowing how to be present at the most accessible sites, much visited by the target audience, is essential to reinforcing the corporate image of any company on an international scale.
Mario Eskenazi, winner of the National Design Prize Architect of Letters
by Quim Larrea
In a singular building, located in the famous gothic quarter, is Mario Eskenazis studio/home or perhaps home/studio, conveniently separated from each other by a door. " I decided to roll my home and studio into one because I live mostly in my studio. The studio is actually an extension of my home. I enjoy being in an atmosphere that is relaxing for me and for everyone else".
When Mario talks about a job he constantly uses "we", insistent when referring to the authors of the work. "We" means himself, Ricardo, Diego and Gemma, the team that forms his studio and for which he considers himself the representative. "I learn a lot from everybody in the team".
Without a doubt, a great deal of his success is due to close collaboration with the client. "I work with people I get on with". Notice how the use of "with" neatly substitutes the traditional "for", thereby giving the definition of the relationship between client and professional unexpected warmth. This close relationship is maintained with clients like publishers Paidós, with whom he has been working since 1976, or with Evax, (another long-term collaboration- nearly twenty years).
His work on Paidós projects is particularly outstanding. Designing covers for different collections over such a long period of time must have been an intense creative challenge. Giving each collection its own coherence, establishing a joint discourse between the different collections and being constantly innovative whilst never losing visual impact is a complex maze which Eskenazi has navigated with elegance.
It would not be fair to reduce the work of this team to the design of book covers. Complete graphic products such as the development of the Banco de Sabadell identity are beautifully clean. The brand image is such a ductile concept that small modifications in colour or typeface give it an extraordinary adaptability, which allows it to extend to all the business areas of the group whilst never once losing its global meaning.
The Pans & Co. Project is a different case. Here a compact base is constructed, rather like a graphic foundation, in the form of chessboard-like black and yellow and on this he builds utterly diverse images, thus giving rise to a vast and attractive work. The list of clients can be easily amplified by mentioning the restaurant group Tragaluz, Retevisión, the University of Valencia, furniture companies Andreu World and Perobell, Zumtobel, Sinia and many more.
At this point in the article, the reader should be reminded that Mario Eskenazi is an architect and, although he does not work directly in this profession, he has adopted what the heavyweight Italian theorists call project culture or, in the designers own words, "We start with ideas that are not stagnant, that can be developed." This style, of understanding a project in such an architectural manner, makes his work rationalist. Nothing is gratuitous.
Albert Einstein vehemently declared, "Most fundamental ideas in science are especially simple and, generally, can be expressed in a language everyone can understand". Perhaps the same could be said of graphic design.
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Cover for the Comunicación collection, by Paidós
Corporate image for El japonés restaurant
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