Mag

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eSteven Holl

April Greiman

NYU Department of Philosophy .................................................. P1-12 by Steven Holl Architects

by AIGA

P13-20 .............................................. April Greiman’s Biography

NYU Department of Philosophy

The Dean of the Faculty of Arts & Sciences and a committee of Philosophy Professors collabo-rated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials.

The Dean of the Faculty of Arts & Sciences and a committee of Philosophy Professors collabo-rated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials. The Dean of the Faculty of Arts & Sciences and a committee of Philos-ophy Professors collaborated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials.

The Dean of the Faculty of Arts & Sciences and a committee of Philosophy Professors collabo-rated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials. The Dean of the Faculty of Arts & Sciences and a committee of Philos-ophy Professors collaborated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials.

The Dean of the Faculty of Arts & Sciences and a committee of Philosophy Professors collabo-rated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials. The Dean of the Faculty of Arts & Sciences and vation of phenomenal properties of materials.

by Steven Holl Architects

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Originally located in the Silver building, a mixed use facility for classrooms and academic de-partments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic de-partments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic de-partments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new pres-ence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the De-partment of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic de-partments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.

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New York City, October 2nd 2007 — With the opening of the new academic year, Ste-ven Holl Architects has completed renovation of the interiors of an 1890 building at 3-5 Washington Place for the Department of Philosophy in the Faculty of Arts & Science at New York University (NYU).

Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic depart-ments, the Department of Philosophy is now consoli-dated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philoso-phy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and aca-demic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic depart-ments, the Department of Philosophy is now consoli-dated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver build-ing, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained un-touched, the new interiors give the.Department of Philosophy a luminous image.Original-ly located in the Silver building, a mixed use facility for Department of Philosophy a luminous image.Original-ly located in the Silver building, a mixed use facility for classrooms and academic departments, the Depart-ment of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Phi-losophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic depart-ments, the Department of Philosophy is now consoli-dated new presence in both the city and on campus.

Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic depart-ments, the Department of Philosophy is now consoli-dated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic depart-ments, the Department of Philosophy is now consoli-dated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic depart-ments, the Department of Philosophy is now consoli-dated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philoso-phy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and aca-demic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Originally located in the Silver building, a mixed use facility for classrooms and academic departments, the Department of Philosophy is now consolidated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.Philosophy a lumi-nous image.Originally located in the Silver building, a mixed use facility for classrooms and academic depart-ments, the Department of Philosophy is now consoli-dated new presence in both the city and on campus. Although the historic exteriors remained untouched, the new interiors give the Department of Philosophy a luminous image.

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The facility includes faculty and graduate student of-fices, seminar rooms, a periodicals library & lounge and a ground floor 120-seat cork auditorium. Steven Holl Architects organized the 30,000 square feet of interi-ors around a concept of the phenomenal properties of light and materials. A new porous stair, changing its direction at each floor, vertically connects the six-lev-el building through shifting light and shadow and is designed to encourage social interaction. This verti-cal connection in light is activated by the presence of faculty members and students and by a prismatic film splitting the available sunlight periodically. The light effect in the stairwell changes according to the sea-sons and the time of day.The facility includes faculty and graduate student offices, seminar rooms, a peri-odicals library & lounge and a ground floor 120-seat cork auditorium. Steven Holl Architects organized the 30,000 square feet of interiors around a concept of the phenomenal properties of light and materials. A new porous stair, changing its direction at each floor, ver-tically connects the six-level building through shifting light and shadow and is designed to encourage social interaction. This vertical connection in light is activat-ed by the presence of faculty members and students and by a prismatic film splitting the available sunlight periodically. The light effect in the stairwell changes according to the seasons and the time of day.The facility includes faculty and graduate student of-fices, seminar rooms, a periodicals library & lounge and a ground floor 120-seat cork auditorium. Steven Holl Architects organized the 30,000 square feet of interi-ors around a concept of the phenomenal properties of light and materials. A new porous stair, changing its direction at each floor, vertically connects the six-lev-el building through shifting light and shadow and is designed to encourage social interaction. This verti-cal connection in light is activated by the presence of faculty members and students and by a prismatic film splitting the available sunlight periodically. The light effect in the stairwell changes according to the sea-sons and the time of day.The facility includes faculty and graduate student of-fices, seminar rooms, a periodicals library & lounge and a ground floor 120-seat cork auditorium. Steven Holl Architects organized the 30,000 square feet of interi-ors around a concept of the phenomenal properties of light and materials. A new porous stair, changing its direction at each floor, vertically connects the six-lev-el building through shifting light and shadow and is designed to encourage social interaction. This verti-cal connection in light is activated by the presence of faculty members and students and by a prismatic film splitting the available sunlight periodically. The light effect in the stairwell changes according to the sea-sons and the time of day.

Architects organized the 30,000 square feet of interi-ors around a concept of the phenomenal properties of light and materials. A new porous stair, changing its direction at each floor, vertically connects the six-lev-el building through shifting light and shadow and is designed to encourage social interaction. This verti-cal connection in light is activated by the presence of faculty members and students and by a prismatic film splitting the available sunlight periodically. The light effect in the stairwell changes according to the sea-sons and the time of day.The facility includes faculty and graduate student offices, seminar rooms, a peri-odicals library & lounge and a ground floor 120-seat cork auditorium. Steven Holl Architects organized the 30,000 square feet of interiors around a concept of the phenomenal properties of light and materials. A new porous stair, changing its direction at each floor, ver-tically connects the six-level building through shifting light and shadow and is designed to encourage social interaction. This vertical connection in light is activat-ed by the presence of faculty members and students and by a prismatic film splitting the available sunlight periodically. The light effect in the stairwell changes according to the seasons and the time of day.The facility includes faculty and graduate student of-fices, seminar rooms, a periodicals library & lounge and a ground floor 120-seat cork auditorium. Steven Holl Architects organized the 30,000 square feet of interi-ors around a concept of the phenomenal properties of light and materials. A new porous stair, changing its direction at each floor, vertically connects the six-lev-el building through shifting light and shadow and is designed to encourage social interaction. This verti-cal connection in light is activated by the presence of faculty members and students and by a prismatic film splitting the available sunlight periodically. The light effect in the stairwell changes according to the sea-sons and the time of day.The facility includes faculty and graduate student of-fices, seminar rooms, a periodicals library & lounge and a ground floor 120-seat cork auditorium. Steven Holl Architects organized the 30,000 square feet of interi-ors around a concept of the phenomenal properties of light and materials. A new porous stair, changing its direction at each floor, vertically connects the six-lev-el building through shifting light and shadow and is designed to encourage social interaction. This verti-cal connection in light is activated by the presence of faculty members and students and by a prismatic film splitting the available sunlight periodically. The light effect in the stairwell changes according to the sea-sons and the time of day. The facility includes faculty and graduate student offices, seminar rooms, a peri-odicals library & lounge and a ground floor 120-seat cork auditorium.

The upper level floors, containing the faculty offices and seminar rooms, have been designed in different shades and textures of black & white inspired by Lud-wig Wittgenstein’s book “Remarks on Color”. Steven Holl Architects have designed furniture, coat hooks, light fixtures, and door handles for the Department of Philosophy. In 2004 Steven Holl Architects was select-ed for the interior renovation by a joint committee of University Administrators, the Faculty of Arts & Science Dean’s Office and the Philosophy Department for the sensibility and philosophy in its work.

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The Ground level, utilized by the entire Univer-sity, contains a new curvilinear wooden audito-rium on a cork floor.The upper level floors contain Faculty Offices and Seminar Rooms which are done in different shades and textures of black & white, according to the texts in Ludwig Wittgenstein’s book “Re-marks on Colour”. The building exits within the NoHo Historic District and is within the jurisdic-tion of the New York City Landmarks Preserva-tion Commission. The upper level floors contain Faculty Offices and Seminar Rooms which are done in different shades and textures of black & white, according to the texts in Ludwig Witt-genstein’s book “Remarks on Colour”.The upper level floors contain Faculty Offices and Seminar Rooms which are done in different shades and textures of black & white, according to the texts in Ludwig Wittgenstein’s book “Remarks on Co-lour”. The building exits within the NoHo Histor-ic District and is within the jurisdiction of the New York City Landmarks Preservation Com-mission. The upper level floors contain Faculty Offices and Seminar Rooms which are done in different shades and textures of black & white, according to the texts in Ludwig Wittgenstein’s book “Remarks on Colour”.Wittgenstein’s book “Remarks on Colour”. The building exits within the NoHo Historic District and is within the jurisdiction ittgenstein’s book “Remarks on Colour”. The building exits within the NoHo Historic District and is within the ju-risdiction of the New York City Landmarks Pres-ervation Commission. The upper level floors contain Faculty Offices and Seminar Rooms which are done in different shades and textures of black & white, according to the texts in Lud-

The upper level floors contain Faculty Offices and Seminar Rooms which are done in different shades and textures of black & white, according to the texts in Ludwig Wittgenstein’s book “Re-marks on Colour”. The building exits within the NoHo Historic District and is within the jurisdic-tion of the New York City Landmarks Preserva-tion Commission. The upper level floors con-tain Faculty Offices and Seminar Rooms which are done in different shades and textures of black & white, according to the texts in Ludwig Wittgenstein’s book “Remarks on Colour”. The building exits within the NoHo Historic District and is within the jurisdiction of the New York City Landmarks Preservation Commission.The upper level floors contain Faculty Offices and Seminar Rooms which are done in different shades and textures of black & white, according to the texts in Ludwig Wittgenstein’s book “Re-marks on Colour”. The building exits within the

The Dean of the Faculty of Arts & Sciences and a committee of Philosophy Professors collabo-rated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials.

The Dean of the Faculty of Arts & Sciences and a committee of Philosophy Professors collabo-rated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials. The Dean of the Faculty of Arts & Sciences and a committee of Philoso-phy Professors collaborated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a con-cept which organizes the new spaces around light and phenomenal properties of materials.

The Dean of the Faculty of Arts & Sciences and a committee of Philosophy Professors collabo-rated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials. The Dean of the Faculty of Arts & Sciences and a committee of Philoso-phy Professors collaborated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a con-cept which organizes the new spaces around light and phenomenal properties of materials.

The Dean of the Faculty of Arts & Sciences and a committee of Philosophy Professors collabo-rated in the selection of Steven Holl Architects to design the complete interior renovation of a 1890 corner building at 5 Washington Place for the consolidation of the NYU Department or Philosophy within a concept which organizes the new spaces around light and phenomenal properties of materials. The Dean of the Faculty of Arts & Sciences and vation of phenomenal properties of materials.

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April Greiman’s Biographyby AIGA

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April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in com-munications design.

Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself se-duced by the landscape. “The des-ert is its own educational vehicle,” she says. “While most processes occur at an invisible or micro-scopic level, the desert reveals its evolution in its very existence. I

April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in com-munications design.

Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself se-duced by the landscape. “The des-ert is its own educational vehicle,” she says. “While most processes occur at an invisible or micro-scopic level, the desert reveals its evolution in its very existence. I

felt as if, for the first time, my eyes were wide open to the process of evolution, to growth, to change.”

Ten years later, in 1984, the Mac-intosh was making an unsteady entry into the design market. Most designers were skeptical of—if not completely opposed to—the idea of integrating the computer into design practice, perhaps fearing an uncertain future wherein the tactility of the hand was usurped by the mechanics of bits and bytes. A visionary few, including April Greiman, recognized the vast potential of this new medium. An avid fan of tools and technologies since childhood, Greiman quickly established herself as a pioneer of digital communications design. “The digital landscape fascinates me in the same way as the desert,” she says. This fascination comes from the core of her being, a core of perpetual curiosity and ques-tioning that fuels her desire to ex-plore and inspires the cutting-edge design work that places her at the helm of integrated design at the close of the twentieth century.

of integrating the computer into design practice, perhaps fearing an uncertain future wherein the tactility of the hand was usurped by the mechanics of bits and bytes. A visionary few, including April Greiman, recognized the vast potential of this new medium. An avid fan of tools and technologies since childhood, Greiman quickly established herself as a pioneer of digital communications design. “The digital landscape fascinates me in the same way as the desert,” she says. This fascination comes from the core of her being, a core of perpetual curiosity and ques-tioning that fuels her desire to ex-plore and inspires the cutting-edge design work that places her at the helm of integrated design at the close of the twentieth century.

Born during the baby boom and raised in New York, Greiman was endowed with a curious spirit from the beginning, and grew up in a house where questioning was encouraged and adventure was a part of life. Greiman had excellent role models in her father, mother,

Born during the baby boom and raised in New York, Greiman was en-dowed with a curious spirit from the beginning, and grew up in a house where questioning was encour-aged and adventure was a part of life. Greiman had excellent role models in her father, mother, and her great aunt Kitty, a strong and independent woman who had danced with the Ziegfeld Follies and made excellence in her career a top priority. Greiman recalls her mother as a calm, grounding influence and her father as a curious, wandering explorer who was easily distracted by whatever interesting thing crossed his path; affection-ately, they called him “the original astronaut” because he was perpetually lost in the space of his own imag-

her mother as a calm, grounding influence and her father as a curious, wandering explorer who was easily distracted by whatever interesting thing crossed his path; affection-ately, they called him “the original astronaut” because he was perpetually lost in the space of his own imag-ination. Neighbors called her family “The Flying Greimans” because they were always looking up, searching for interesting phenomena, and traveling by air.

A professional dancer with the Fred Astaire Dance School in New York City, Renee Greiman performed on television and taught classes, often enlisting the young April as a dance partner. As a result, April relates, she still knows how

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April Greiman was a designer in New York City in the mid-1970s when she decided to

leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in communications design.

Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. “The desert is its own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level, the desert reveals its evolution in its very existence. I April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in communications design.Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. “The desert is its own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level,

the desert reveals its evolution in its very existence. I April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique op-portunity to explore new paradigms in communications design. April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and en-tered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in communications design.

Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. “The desert is its own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level, the desert reveals its evolution in its very existence. I April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradi-tion for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in communications design. April Greiman was a designer in New York City in the mid-1970s

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leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Ange-les and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in communications design.

Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. “The desert is its own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level, the desert reveals its evolution in its very existence. I April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Ange-les and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to

leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los An-geles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in communications design.

Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. “The desert is its own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level, the desert re-veals its evolution in its very existence. I April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an un-certain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it

was impossible to get a decent cup of coffee. But the lack of an established design prac-tice created a unique opportunity to explore new paradigms in communications design.Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. “The desert is its own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level, Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. own educational vehicle,” she says. “While most processes

occur at an invisible or microscopic level, by the landscape. own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level, by the land-scape. own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level, by the landscape. own educational vehicle,” she says. “While most

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