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Magazine Editors
BY
TAXI
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Exclusive Highlight on TAXI Design Network
Interview with Julie Lasky from I.D.
TAXI >>When you took over I.D., you mentioned to the New York Times that your vision for the magazine as ‘Popular Mechanics under the hands of Isaac Mizrahi, an extremely admired designer for his sense of panache. What qualities do you admire about him?
Julie Lasky >> He’s smart, funny, and versatile. And judging from his behavior in the documentary film, UNZIPPED, volatile, too. People may look at the tendency to fly off the handle as unprofessional or even childish, but I see it as a refreshingly spontaneous. (Of course, I’m not the target.)
TAXI >>As the editor-in-chief of one of the industry's leading publications, what is your perspective of the role of print media as compared to online magazines?
Julie Lasky >> People love to go on about the beautiful tactility of print media, and who’s to argue? Yet media are tailored not to our senses but to our habits. Radio survives because it allows us to multitask—we can feed the baby while listening to NPR. We don’t love it because we’re starved for sound, just as we don’t love print because we’re starved for something to touch. What’s great about print is that we can curl up with it, notate it, read it on the subway over someone else’s shoulder, cart it off the beach, or hunker down with it with a glass of wine. So until online magazines meet the demands of the bathtub, the sofa, and the commute, they will be zippy adjuncts to print—valuable for their energy and reams of information, but not the kind of meat that will satisfy couch potatoes.
TAXI >>After reviewing the 52nd Annual I.D. Review, I gained several newfound and inspiring perspectives on industrial design. However, is there really a "design angle" to everything?
Julie Lasky >> I think so, if you interpret design to mean organizing raw elements into an assemblage that has a particular function or purpose. If that sounds like a foolishly broad definition, try narrowing it. You’ll find how quickly you need to expand your parameters.
TAXI >>What about trade agreements and medical science? How do you quantify the design aspect of such disciplines?
Julie Lasky >> Trade agreements are designed from mutual economic interests; medical procedures are designed from doctors’ equipment, experiences, and test results. Yes, the word is appropriate to these disciplines though it’s more descriptive than quantifiable, and often there’s no burning reason to exercise it.
TAXI >>You mentioned that unlike architecture, other design disciplines don't have a sustained critical tradition. How do you think the dialogue between designers and critics can be further improved?
Julie Lasky >> By representing design as a series of judgments contoured by aim, materials, budget, manufacturing capabilities, sustainability considerations, client expectations, marketing demands, tastes, fashions, and not least the tendency of every step in the process to be accomplished by teams rather than individuals. Once a design is finally squeezed out of this gauntlet, it meets the world with a host of unanticipated consequences both deleterious and delightful. Those need to be represented, too.
TAXI >>What do you hope to see, or think is lacking from design media coverage?
Julie Lasky >> More subtlety and ambiguity. Design coverage right now is mostly a sales pitch—a chatty declaration of virtue that isn’t much different from catalog copy.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Julie Lasky >> “Print” is a good one. It used to mean the process—and result—of creating multiple impressions with ink. Now it means marks left on paper—never mind how they got there. Will the word outlive hard copy? If thin, fluttering writing surfaces disappear from the earth, will we still refer to the weavings of typography on a computer screen as print? Will children use “print” to describe their wobbly disconnected letterforms? I hope so.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Susan S Szenasy from Metropolis
That means I try to look at everything, read everything, talk to people whose knowledge and opinions I trust on any subject that I try to tackle. It’s a painstaking process, but I love the discovery and then the understanding.
TAXI >>Please share with us your perspective of corporate social responsibility in the design context. What do you think the design industry is doing right, and what is lacking?
Susan S Szenasy >> I feel that any corporation that uses designers as stylists for the next hot product is socially irresponsible; we don’t need one more toaster or another model of gas guzzling van. What we need are products that can be beautiful and functional during their useful life, then be disassembled and recycled into the materials stream. Any designer who doesn’t offer those services is a mere stylist and is simply feeding the market.
And any corporation that greedily feeds the market at a time when the earth is supporting more people dependent on fossil-fuel power than at any one time in human history is unethical and irresponsible. A knowledgeable designer can ask the important questions about sustainability; an ethical corporation takes these questions seriously. Unfortunately, not enough designers are educated enough in the long-term effects of materials and industrial processes to ask the right questions--yet.
TAXI >>You mentioned in your address at the University of Oklahoma that the undying respect that architects and designers have for their clients are at odds with the needs of the people. How do you suggest this dilemma be mediated?
Susan S Szenasy >> Although it’s essential, and highly ethical, for architects and designers to respect the needs of their clients—after all the client pays the bills, and we naturally respect the person or corporation that takes on a financial risk—sometimes the aims of the client can be in direct conflict with human health. It turns out that the design community has a much larger responsibility than the responsibility to the bottom line.
The design community is in a powerful position to be advocates for human well-being which requires for all design specialists to have a deep understanding of materials, methods and processes that don’t do harm to the earth and its creatures. The client and the designer have a shared responsibility to keeping the environment healthy for all living creatures; this responsibility should inform the bottom line.
TAXI >>You also mentioned in the same speech that "socially and environmentally conscious citizens are often dismissed as BMWs". Given that a collective effort can be stronger and more sustainable, how do you propose other BMWs in the design sector, as a collective and being able to work towards making a lasting difference to our society?
Susan S Szenasy >>I believe in a collective of many individual voices backed up by the same ethical motivations. The number of environmental advocates among designers is growing. How do I know this? When I think of how few architects talked about green buildings only a couple of years ago, and how often the subject comes up today, I see a real groundswell. LEED, the U.S. Green Buildings Council’s rating system for green buildings, is largely responsible for this.
The USGBC is not a government agency, but an advocacy group made up of manufacturers, architects, designers, public advocates, and others who have some power to influence the building industry for the better. It’s a great example of how people, together and with an honourable goal, can change the world.
TAXI >>You also spoke about building on what we know about. Given the recent spotlight on environmental issues, as illustrated notably by Al Gore's documentary, how can designers use and build on that knowledge and be more responsible for their works?
Susan S Szenasy >>The momentum that Gore’s film has given the environmental movement cannot be underestimated. Most designers I know have seen it or are about to see it. Only the most cynical will discount the information Gore presents; and frankly I have no time for cynics, they stop things from changing by dragging us down into negativity. The more designers talk about the environment, the more they will incorporate sustainability into their work.
It’s a slow process because today’s practicing designers have to do a great deal of remedial work; but that’s what CEUs (continuing education units) are for, to keep up with current developments in the profession. The best designers take it on themselves to attend as many conferences, seminars on green design as they can find; they read, talk, experiment, hire people who challenge them—getting information form many different sources is essential now, and incorporating what you learn into your everyday practice is what a responsible designer does.
TAXI >>Judging from the current situation, what do you think is the biggest obstacle to generating more awareness and empathy towards the environment?
Susan S Szenasy >>I think we are too comfortable. Most Americans have great lives of convenience and entertainment. We think that 70 degree rooms, 24/7, 365 days a year is our birth right.
We think we need 50 steady foot-candles to light our workplaces, and have forgotten about the sun and the moon which connect us to the universe. We have evolved into techno-men and women who value technology over nature. Yet we know, intuitively, that nature is what keeps us alive. This imbalance between technology and nature is in need of fixing.
TAXI >>As someone who is poised on the forefront of architectural and design development, could you kindly enlighten us on the upcoming trends for 2007 and beyond?
Susan S Szenasy >>We will see more and more architects and designers embrace sustainable thinking and use technology to support this thinking. For instance, we now have software programs that can test how a building will relate to local conditions of sun, wind, and vegetation even before it’s built.
We see the development of super-light-weight materials which will make construction less energy dependent; we see a re-evaluation of interior materials and furnishings in terms of human health (if they create the kind of chemical stew that makes your eyes water in some hotel rooms, for instance, designers will not specify them).
We see the concept of design for disassembly as an essential way of putting post-consumer materials back into the manufacturing process rather than into the landfill. We see more attention paid to way-finding, accessibility simply because 78 million baby boomers will force the market to be kinder and gentler to the aging who, by the way in their case, will never admit to being old.
We will see a new and refined collaboration between several design discipliners who will also call in experts from the natural and social sciences to create complex, environmentally friendly communities, buildings, and interiors.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Susan S Szenasy >>Humanism.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Patrick Burgoyne from Creative Review
Designers who can absorb influences from all over (and who are open-minded enough to seek influence from beyond the comfort zone of the familiar) and then find a means of incorporating all those myriad influences in a coherent body of work are the most interesting.
TAXI >>What are the effects of globalisation in the world of design?
Patrick Burgoyne >>Many designers are extremely concerned that their profession has become complicit in the ill effects of globalisation and over-consumption. As the shapers and distributors of communications on behalf of corporations, graphic designers have played a central role in globalisation – increasingly, they are discussing this and wondering where they go from here. Finding a role for design in creating sustainable growth for developing economies must now be a priority.
TAXI >>Design influences from the East and West today – is it a matter of divergence or convergence?
Patrick Burgoyne >>I guess I addressed that in 1 – hopefully all designers are open to influence from anywhere. Certainly it has never been easier to see work and find out about designers from all over the world. There is graphic life beyond Europe and New York!
TAXI >>Can you identify an environment that nurtures and fulfils the potential of designers?
Patrick Burgoyne >>The one sector that used to be so reliable for fostering new creative talent, and allowing graphic designers to express themselves to a degree that would not be possible in other areas is music. But no-one in their right mind would set out to make a career from designing record sleeves any more. Arts and cultural institutions are probably the next best hope but, again, they are increasingly being branded and run as businesses with all the demands and restrictions that entails.
In very literal terms, I think that if you are a designer, you are engaged in what the jargon terms “cultural production” and therefore, it would seem sensible to be based somewhere that is a centre for that culture in all its forms. In other words, if you live in a city, you will be immersed in a huge array of influences and opinions which ought to inform your work.
On a wider level, there’s a definite yearning among designers to do “something more” with their talents – that the traditional model of the designer as service provider, solving communications problems on behalf of a client is no longer satisfactory. Opportunities to do this are limited at present as most clients still view graphic designers as mere service providers and decorators. So, in order to fulfil their potential designers may need to break out of the client/service relationship and find ways to produce work that doesn’t rely on someone else asking (and paying) for it.
TAXI >>You are an editor in a respected visual communication publication, the author of numerous design books and have played judge for Construction New Media Awards. What, do you believe, drives innovation?
Patrick Burgoyne >>Often it comes from adversity, and when that is the case, it often brings the most impressive results of all. Finding a novel and elegant solution to a problem, especially one that makes the maximum use of limited resources, or makes a virtue of restrictions, is the epitome of the designer’s craft.
TAXI >>From your experience, how can communication design raise the stakes in the business world?
Patrick Burgoyne >>It needs to demonstrate its value as more than just decoration of frippery and it needs to step away from simply promoting consumption. Ideas like Nike+, where the work of R/GA was absolutely central to the success of the whole project are the way forward, especially as the work was about providing a useful and ingenious service rather than just a sales message.
TAXI >>In your capacity as an editor, what is the single most critical quality any self-respecting communication designer should possess?
Patrick Burgoyne >>Do I have to choose just one? I could give you three: intelligence, curiosity and good taste.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Patrick Burgoyne >>Sustainability, but it’s going to be a very misused and misunderstood word.
..........................................................................................................
Read OTHER INTERVIEWS on DESIGN LEADERS
Sanja Rocco & Henry Steiner
Michael Hockney, Garry Blackburn & Simon Elliot
Lorraine Gauthier & Andrea Marks
..........................................................................................................
© 2003 - 2007 by TAXI Design Network. All rights reserved.
Interview with Julie Lasky from I.D.
 | TAXI >> You were the Managing Editor of PRINT and then, an Editor of INTERIORS from 1998 - 2001. It's been more than four years since you took over the helm at I.D. How do you think your editorship has evolved over this period of time?
Julie Lasky >> I’ve evolved in many ways as an editor. The trick seems to be in dancing the fine line between creativity and self-indulgence. The former GLAMOUR Editor Ruth Whitney famously said that if you’re not offending your readers and advertisers at least once a month, you’re not doing your job, but that philosophy doesn’t give enough credit to I.D.’s audience, which is made up of thoughtful people who are delighted, not repulsed, by unexpected points of view. I’m lucky that way. |
TAXI >>When you took over I.D., you mentioned to the New York Times that your vision for the magazine as ‘Popular Mechanics under the hands of Isaac Mizrahi, an extremely admired designer for his sense of panache. What qualities do you admire about him?
Julie Lasky >> He’s smart, funny, and versatile. And judging from his behavior in the documentary film, UNZIPPED, volatile, too. People may look at the tendency to fly off the handle as unprofessional or even childish, but I see it as a refreshingly spontaneous. (Of course, I’m not the target.)
TAXI >>As the editor-in-chief of one of the industry's leading publications, what is your perspective of the role of print media as compared to online magazines?
Julie Lasky >> People love to go on about the beautiful tactility of print media, and who’s to argue? Yet media are tailored not to our senses but to our habits. Radio survives because it allows us to multitask—we can feed the baby while listening to NPR. We don’t love it because we’re starved for sound, just as we don’t love print because we’re starved for something to touch. What’s great about print is that we can curl up with it, notate it, read it on the subway over someone else’s shoulder, cart it off the beach, or hunker down with it with a glass of wine. So until online magazines meet the demands of the bathtub, the sofa, and the commute, they will be zippy adjuncts to print—valuable for their energy and reams of information, but not the kind of meat that will satisfy couch potatoes.
TAXI >>After reviewing the 52nd Annual I.D. Review, I gained several newfound and inspiring perspectives on industrial design. However, is there really a "design angle" to everything?
Julie Lasky >> I think so, if you interpret design to mean organizing raw elements into an assemblage that has a particular function or purpose. If that sounds like a foolishly broad definition, try narrowing it. You’ll find how quickly you need to expand your parameters.
TAXI >>What about trade agreements and medical science? How do you quantify the design aspect of such disciplines?
Julie Lasky >> Trade agreements are designed from mutual economic interests; medical procedures are designed from doctors’ equipment, experiences, and test results. Yes, the word is appropriate to these disciplines though it’s more descriptive than quantifiable, and often there’s no burning reason to exercise it.
TAXI >>You mentioned that unlike architecture, other design disciplines don't have a sustained critical tradition. How do you think the dialogue between designers and critics can be further improved?
Julie Lasky >> By representing design as a series of judgments contoured by aim, materials, budget, manufacturing capabilities, sustainability considerations, client expectations, marketing demands, tastes, fashions, and not least the tendency of every step in the process to be accomplished by teams rather than individuals. Once a design is finally squeezed out of this gauntlet, it meets the world with a host of unanticipated consequences both deleterious and delightful. Those need to be represented, too.
TAXI >>What do you hope to see, or think is lacking from design media coverage?
Julie Lasky >> More subtlety and ambiguity. Design coverage right now is mostly a sales pitch—a chatty declaration of virtue that isn’t much different from catalog copy.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Julie Lasky >> “Print” is a good one. It used to mean the process—and result—of creating multiple impressions with ink. Now it means marks left on paper—never mind how they got there. Will the word outlive hard copy? If thin, fluttering writing surfaces disappear from the earth, will we still refer to the weavings of typography on a computer screen as print? Will children use “print” to describe their wobbly disconnected letterforms? I hope so.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Susan S Szenasy from Metropolis
 | TAXI >> I really admire your grit, as demonstrated from your impressive biography. I also remember that your training in design journalism was on the job. How did you manage to conquer and overcome the odds and high expectations?
Susan S Szenasy >>I never thought of my work, or my life (which are actually the same), as overcoming the odds or conquering anything. I just knew what I loved doing—which is visual and verbal communication, whether I do the communication or am on the receiving end of it—and I accepted jobs that lead me in that direction. As for the high expectations, I learned very early on, during some miserable early failures, that the only way I can do worthwhile work is when I’m completely informed about the subject. |
TAXI >>Please share with us your perspective of corporate social responsibility in the design context. What do you think the design industry is doing right, and what is lacking?
Susan S Szenasy >> I feel that any corporation that uses designers as stylists for the next hot product is socially irresponsible; we don’t need one more toaster or another model of gas guzzling van. What we need are products that can be beautiful and functional during their useful life, then be disassembled and recycled into the materials stream. Any designer who doesn’t offer those services is a mere stylist and is simply feeding the market.
And any corporation that greedily feeds the market at a time when the earth is supporting more people dependent on fossil-fuel power than at any one time in human history is unethical and irresponsible. A knowledgeable designer can ask the important questions about sustainability; an ethical corporation takes these questions seriously. Unfortunately, not enough designers are educated enough in the long-term effects of materials and industrial processes to ask the right questions--yet.
TAXI >>You mentioned in your address at the University of Oklahoma that the undying respect that architects and designers have for their clients are at odds with the needs of the people. How do you suggest this dilemma be mediated?
Susan S Szenasy >> Although it’s essential, and highly ethical, for architects and designers to respect the needs of their clients—after all the client pays the bills, and we naturally respect the person or corporation that takes on a financial risk—sometimes the aims of the client can be in direct conflict with human health. It turns out that the design community has a much larger responsibility than the responsibility to the bottom line.
The design community is in a powerful position to be advocates for human well-being which requires for all design specialists to have a deep understanding of materials, methods and processes that don’t do harm to the earth and its creatures. The client and the designer have a shared responsibility to keeping the environment healthy for all living creatures; this responsibility should inform the bottom line.
TAXI >>You also mentioned in the same speech that "socially and environmentally conscious citizens are often dismissed as BMWs". Given that a collective effort can be stronger and more sustainable, how do you propose other BMWs in the design sector, as a collective and being able to work towards making a lasting difference to our society?
Susan S Szenasy >>I believe in a collective of many individual voices backed up by the same ethical motivations. The number of environmental advocates among designers is growing. How do I know this? When I think of how few architects talked about green buildings only a couple of years ago, and how often the subject comes up today, I see a real groundswell. LEED, the U.S. Green Buildings Council’s rating system for green buildings, is largely responsible for this.
The USGBC is not a government agency, but an advocacy group made up of manufacturers, architects, designers, public advocates, and others who have some power to influence the building industry for the better. It’s a great example of how people, together and with an honourable goal, can change the world.
TAXI >>You also spoke about building on what we know about. Given the recent spotlight on environmental issues, as illustrated notably by Al Gore's documentary, how can designers use and build on that knowledge and be more responsible for their works?
Susan S Szenasy >>The momentum that Gore’s film has given the environmental movement cannot be underestimated. Most designers I know have seen it or are about to see it. Only the most cynical will discount the information Gore presents; and frankly I have no time for cynics, they stop things from changing by dragging us down into negativity. The more designers talk about the environment, the more they will incorporate sustainability into their work.
It’s a slow process because today’s practicing designers have to do a great deal of remedial work; but that’s what CEUs (continuing education units) are for, to keep up with current developments in the profession. The best designers take it on themselves to attend as many conferences, seminars on green design as they can find; they read, talk, experiment, hire people who challenge them—getting information form many different sources is essential now, and incorporating what you learn into your everyday practice is what a responsible designer does.
TAXI >>Judging from the current situation, what do you think is the biggest obstacle to generating more awareness and empathy towards the environment?
Susan S Szenasy >>I think we are too comfortable. Most Americans have great lives of convenience and entertainment. We think that 70 degree rooms, 24/7, 365 days a year is our birth right.
We think we need 50 steady foot-candles to light our workplaces, and have forgotten about the sun and the moon which connect us to the universe. We have evolved into techno-men and women who value technology over nature. Yet we know, intuitively, that nature is what keeps us alive. This imbalance between technology and nature is in need of fixing.
TAXI >>As someone who is poised on the forefront of architectural and design development, could you kindly enlighten us on the upcoming trends for 2007 and beyond?
Susan S Szenasy >>We will see more and more architects and designers embrace sustainable thinking and use technology to support this thinking. For instance, we now have software programs that can test how a building will relate to local conditions of sun, wind, and vegetation even before it’s built.
We see the development of super-light-weight materials which will make construction less energy dependent; we see a re-evaluation of interior materials and furnishings in terms of human health (if they create the kind of chemical stew that makes your eyes water in some hotel rooms, for instance, designers will not specify them).
We see the concept of design for disassembly as an essential way of putting post-consumer materials back into the manufacturing process rather than into the landfill. We see more attention paid to way-finding, accessibility simply because 78 million baby boomers will force the market to be kinder and gentler to the aging who, by the way in their case, will never admit to being old.
We will see a new and refined collaboration between several design discipliners who will also call in experts from the natural and social sciences to create complex, environmentally friendly communities, buildings, and interiors.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Susan S Szenasy >>Humanism.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Patrick Burgoyne from Creative Review
 | TAXI >>Where on the massive world map lies an emerging design hotbed?
Patrick Burgoyne >>Everybody is hoping/expecting that the combination of an incredibly rich visual heritage and a booming economy will mean that India becomes a significant player in design. But what will the work be like? With any non-Western country, the worry for me is always that the local visual culture can be steamrollered by the desire to prove that indigenous designers can produce work to match anything created in New York or London. Consumers are complicit in this, often rejecting whatever appears “local” in favour of anything that carries a patina of ersatz Western sophistication. Hopefully, as cultures become more self-confident, they learn to value what makes them unique. The ideal is a design that is rooted in personal experience and culture, but that is also informed by the major movements and history of the profession and is open to influences from wherever. Not a narrow nationalistic style, but an intelligent response to the world and the “problem” set by a brief. |
Designers who can absorb influences from all over (and who are open-minded enough to seek influence from beyond the comfort zone of the familiar) and then find a means of incorporating all those myriad influences in a coherent body of work are the most interesting.
TAXI >>What are the effects of globalisation in the world of design?
Patrick Burgoyne >>Many designers are extremely concerned that their profession has become complicit in the ill effects of globalisation and over-consumption. As the shapers and distributors of communications on behalf of corporations, graphic designers have played a central role in globalisation – increasingly, they are discussing this and wondering where they go from here. Finding a role for design in creating sustainable growth for developing economies must now be a priority.
TAXI >>Design influences from the East and West today – is it a matter of divergence or convergence?
Patrick Burgoyne >>I guess I addressed that in 1 – hopefully all designers are open to influence from anywhere. Certainly it has never been easier to see work and find out about designers from all over the world. There is graphic life beyond Europe and New York!
TAXI >>Can you identify an environment that nurtures and fulfils the potential of designers?
Patrick Burgoyne >>The one sector that used to be so reliable for fostering new creative talent, and allowing graphic designers to express themselves to a degree that would not be possible in other areas is music. But no-one in their right mind would set out to make a career from designing record sleeves any more. Arts and cultural institutions are probably the next best hope but, again, they are increasingly being branded and run as businesses with all the demands and restrictions that entails.
In very literal terms, I think that if you are a designer, you are engaged in what the jargon terms “cultural production” and therefore, it would seem sensible to be based somewhere that is a centre for that culture in all its forms. In other words, if you live in a city, you will be immersed in a huge array of influences and opinions which ought to inform your work.
On a wider level, there’s a definite yearning among designers to do “something more” with their talents – that the traditional model of the designer as service provider, solving communications problems on behalf of a client is no longer satisfactory. Opportunities to do this are limited at present as most clients still view graphic designers as mere service providers and decorators. So, in order to fulfil their potential designers may need to break out of the client/service relationship and find ways to produce work that doesn’t rely on someone else asking (and paying) for it.
TAXI >>You are an editor in a respected visual communication publication, the author of numerous design books and have played judge for Construction New Media Awards. What, do you believe, drives innovation?
Patrick Burgoyne >>Often it comes from adversity, and when that is the case, it often brings the most impressive results of all. Finding a novel and elegant solution to a problem, especially one that makes the maximum use of limited resources, or makes a virtue of restrictions, is the epitome of the designer’s craft.
TAXI >>From your experience, how can communication design raise the stakes in the business world?
Patrick Burgoyne >>It needs to demonstrate its value as more than just decoration of frippery and it needs to step away from simply promoting consumption. Ideas like Nike+, where the work of R/GA was absolutely central to the success of the whole project are the way forward, especially as the work was about providing a useful and ingenious service rather than just a sales message.
TAXI >>In your capacity as an editor, what is the single most critical quality any self-respecting communication designer should possess?
Patrick Burgoyne >>Do I have to choose just one? I could give you three: intelligence, curiosity and good taste.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Patrick Burgoyne >>Sustainability, but it’s going to be a very misused and misunderstood word.
..........................................................................................................
Read OTHER INTERVIEWS on DESIGN LEADERS
..........................................................................................................
© 2003 - 2007 by TAXI Design Network. All rights reserved.