Super Joyful, Super Graphics — A Joyful Journey through Super Spaces
‘How has the propagation of joy in graphic and architectural practices had an effect on spatial experiences through the Supergraphic movement?’
JO Y
Super Joyful, Super Graphics — A Joyful Journey through Super Spaces, evidencing how the propagation of joy in graphic design and architectural practices had an effect on spatial experiences through the Supergraphic movement.
Design has the power to comfort us, anger us, sadden us, or even bring us joy. However, it seems to be an unconscionable blind spot in our awareness1 as a society. Graphic design gives tangible identities and personalities to our trinkets and spaces, to that effect one could say supergraphics are the most overt way of bestowing a space with its own unique identity. You can’t miss the bright and bold dynamism of Supergraphic spaces. Oversized graphic elements, break the confines of their architectural holdings, inviting the viewer to emote with carefully crafted realities, each with their own pace, personality and perception.
At this current moment, joy is a ‘hot’ topic. Now more than ever we consider our mental health and sense of personal fulfilment as a primary part of
our wellness. As previously seen in the 1960s, when supergraphics first substantiated themselves, joy springs forth in a time marked by economic and social instability2. In their original timeline supergraphics formed part of a postmodern rebellion against utopianism, the bland adherence to form follows function and mass production3, comparatively, in our time, they’re the designers attempt at a radical shake up of minimalism and monotony.
It is the hope that the following super inspiring, super charged, supergraphic spaces evidence the ways in which, designers: past present and future, have the phenomenal ability to create a new visual culture. A culture, that is kinetically bold and joyously enriching to the lives of those who experience them.
1 Barnard, M 2005, Graphic Design As Communication
2 Shearcroft, G. (2021) ‘The Joy of Architecture: Evoking Emotions Through Building’, Architectural Design.
3 Barnard, M 2005, Graphic Design As Communication.
The early supergraphic pioneers of the 60s and 70s were amongst other artists, designers and architects who choose to ‘humanize’4 and alter the physicalspatial experience injecting a sense of bold dynamism through installations ‘so gigantic’5 that they could not be ‘contained within the frames of a single architectural plane’. They responded to a ‘tumultuous decade’ through bold stripes, geometric shapes, three-dimensional form and a ‘radical use of colour’6. As described by Life magazine in 1968: ‘the whole idea of supergraphics is to knock down walls with paint… To change the apparent shapes of room, bring order to the rambling space, break up box like confines’7 The dimension shifting work of these artists, forms part of a larger story: the transition to postmodern design as well as the propagation of joy in the design consciousness. Therefore, forming a hard fought for counter-culture, which we still enjoy as designers to this day. Although it is manifesting in a different way in the form of metamodernism8 as well as relational aesthetics9, altermodern art/experiences10 as theorized by Nicolas Bourriaud, which we will explore this later in the article.
4 O’Connor, Z. (2018) ‘The impact of colour on behaviour’, Artichoke, (65)
5 Smith, Ray C. 1977. Supermanerism: New Attitudes in Post-Modern Architecture.
6 Brooks, T. and Shaughnessy, A. (2014) Supernew supergraphics
7 LIFE. 1968. For shortening hallways, camouflaging radiators and changing the shape of rooms – it’s super graphics!. LIFE. 64(18}
8 Notes on Metamodernism. 2022. Metamodernism: A Brief Introduction | Notes on Metamodernism.
9 Bourriaud, N. and Lachance, M. (2015) ‘LA CRISE DE L’ÉCHELLE HUMAINE. (French)’, Art-Press, (427) Relational Aesthetics - Art/design through wich the ‘the public became a participant, a collaborator -- voluntary or involuntary’.
10 Tate. 2022. Altermodern, Tate Britain. As theirized by Bourriaud, ‘Altermodern’ is used ‘to describe how artists are responding to the increasingly global context in which we all now live’
‘so gigantic’ that they could not be ‘contained within the frames of a single architectural plane’
C. Ray Smith 1977
Compleated by Jean-Philipe Lenclos, in 1969. Supergraphic treatment of a shipyard building wall, located on the edge of the seaside resort - Port Barcarès, Languedoc-Roussillon, France. Painted corrugated iron. Photo demonstrates the super-massiveness of this installation.
Jean Philipe Lenclos
When considering the progression from modernist to postmodernist culture, the work of the renowned French colouriste11 Jean-Phillipe Lenclos is an excellent litmus test of those changing times. His installations feature an exuberant array of carefully coloured dynamic shapes and typographic forms. In comparison with the work of other supergraphic artists, Lenclos’ portfolio appears to be a little on the reserved side, (if you can believe that).
His exceptional understanding of the geographical nature of colour, and appreciation of the effect of colour on the urban environment: resulted in a deeply considered experience, the discipline of which can be likened to that of ‘hard-edged Swiss design’12: a movement from which many of the original supergraphic designers found their origins.
One of Lenclos’ last Supergraphics before he went on to work in as a colour advisor (across art and design fields from environment to textile design) was a playground mural at a School in Aubervilliers France. Set amongst the monotonous concrete, brickstone wash of the outer Paris suburbs, the primary school L’école Robespierre, contracted Lenclos to produce a mural for their outdoor recreation area in 1972. Although, in terms of wider recognition, the location of this mural wouldn’t go on to win him any acclaim, the piece is iconic in own right.
The snake like path of the arched sections shows that distinctive kinetic boldness which was synonymous with early supergraphics. It inspires movement within the space, making it an inherently joyous and playful environment for the children. The segmented rainbow has a distinct sense of belonging amongst the smiling children, reassuring
us of the renewed optimism and brighter outlook for the forthcoming generation. Notwithstanding the fact that, one could argue that a white wall in the habitual presence of children is an antonymous combination; the white negative space gives the impression that one could simply run along the coloured path and continue on upwards to the sky. This mural hallmarks of an interesting time in the French (and wider global) consciousness surrounding children. During this time there was a huge focus from the art and design world on child development and wellness. Two examples of which were the magazines ‘CREE’ and ‘L’Architecture d’aujourd’hui’. Both of which devoted a great deal of their content towards creative solutions for children. The existence of these publications evidences an ‘idealistic/optimistic vision of a society they believe their generation is about to change, or at least to improve’13. This optimism is a key characteristic amongst the supergraphic movement, the want to create a space which enriches experiences and transcends its respective spatial confines. One could also make an interesting observation that supergraphics have a true sense of place amongst children, we often see them installed in schools. Perhaps it represents the joy of being free from the wider burdens of which the world imposes upon us?
11 Brooks, T. and Shaughnessy, A. (2010). Super graphics : graphic design for walls, buildings and spaces. London: Unit Editions.
12 Brooks, T. and Shaughnessy, A. (2010). Super graphics : graphic design for walls, buildings and spaces. London: Unit Editions.
13 Boyer, Loïc. 2022. Designing spaces for the child in France by the early 1970s according to CRÉE magazine. CREE - A French magazine, in print between 1968 and 1975, which aimed to ‘include the child in a more global project of social utopia, by constructing - in the true sense - a place for him or her’.
‘Optimism is a key characteristic amongst the supergraphic movement’
Deborah Sussman
When one discusses joyful supergraphics it would be negligent to omit the work of Deborah Sussman. A cornerstone of the early of the super graphic movement, ‘Her bold use of colour, pattern and abstract geometric forms’ 14 truly questioned what any space had the potential to be. In the spectrum of supergraphics her work is amongst the most vibrant, the wash of vivacious colours in any of her designed spaces immediately animating the soul: allowing for this joyful celebration of design which rejects the concept of modern functional blandness. A constant boundary pusher, ‘she managed to carve out a remarkable career early on in an industry dominated by men’15, Sussman’s work with her husband Paul Prejza for the 1984 Los Angeles Olympics was no exception to this boundary pushing. According to Sussman ‘the whole idea was to expose and express the cultures of the Pacific Rim that impact and define Los Angeles and southern California’16 this act of celebrating of one’s visual diversity and culture at the time, opened up a new dialogue and ‘set a new benchmark for Supergraphics in commercial and social
settings’17, contributing to a significant visual cultural moment, thrusting supergraphics and joyful design into the mainstream consciousness of the 1980s. Notwithstanding the fact that, their work was heavily criticised at the time of its conception, the identity remains one of the most respected and unique Olympic designs to this day. The identity screams the youthful optimism of America, and in my opinion, it is one of the best examples of joyful environmental design of all time. The Olympics are an experience to be soaked in, celebrated; an event in which we witness the peak of human performance, as such Sussman and Prejza divine an ebullient and electric sense of place. The brightness of semi-fluorescent drapes, painted surfaces, signage and sculptural structures permeated throughout the gargantuan sprawl of ‘43 art sites, 28 game venues and three villages’18. A notably 80s colour palette the array of bright pinks, vibrant oranges, and lively teals, establishes a zingy melange when accompanied by the more subdued yellows, purples and reds.
Visitors recreation area, shaded with pink and orange drapes, hanging between scaffold-like structure.
A twist on the American flag - painted pavement, portraying a sense of the ‘American dream’.
The view at the side of the olympic swimming, colourful furnishing plasted from wall to ceiling. Pink mesh drapes, purple, green, pink and orange striped banners and multicoloured banding adorn the space in Sussmans over-the-top style.
As stated by Joy Monice Malnar a specialist in the ‘sensory experience of the built environment’ (in her book Sensory Design) ‘a place is always sensed’19: this brightness, abundance of colour and dynamic shape, (although some more conservative visitors might have found to be a stringent on the eyes), inspire the senses. As a form of successful communication, joyful spaces use emotional design to ‘appeal not only to the linguistic mind, or to the observer’s eye, but to a whole body that interacts with an environment that graphic design is also part of’20. This event displayed all these hallmarks for joyful supergraphic design: encouraging movement and optimism: showing the characteristic kinetic boldness and altering of spatial perceptions that we expect with early supergraphic works. Therefore, it enabled the visitor to move through and experience the space dynamically, the vividness of the designed environment burnishing the experience into their memory: the smell of a chlorine pool forever associated with hot pink drapes.
14 Cartwright, J. 2022. Looking back over the life of designer Deborah Sussman. It’s Nice That.
15 Shaughnessy, A. (2010). Supergraphics in a super world, Super graphics : graphic design for walls, buildings and spaces.
16 Shaughnessy, A. (2010). Interview – Deborah Sussman, Super graphics : graphic design for walls, buildings and spaces. London: Unit Editions.
17 Brooks, T. and Shaughnessy, A. (2010). Super graphics : graphic design for walls, buildings and spaces
18 Brooks, T. and Shaughnessy, A. (2010). Super graphics : graphic design for walls, buildings and spaces, Pp.58, London: Unit Editions.
19 Malnar, J.M. and Vodvarka, F. (2004) Sensory design. University of Minnesota Press.
20 Caldas. S, Fuster. A, Elisava Escola Superior De Disseny (2019) Design, create, thrill : the power of graphic design to spark emotions. Barcelona, Spain: Hoaki.
‘some more conservative visitors might have found to be a stringent on the eyes’
Morag Myerscough
In real terms, supergraphics in their pure form were a ‘short-lived architectural erruption’21 in which designers and architects expressed their rejection of hard-nosed modernist principles: responding to a ‘supernew’ ‘supermodern era through ‘super’ expression. However, today, they have substantiated themselves to be this wonderful cultural art-design asset which still resonates within our new culture of relational aesthetics, altermodern and metamodernity.
To that extent, Morag Myerscough a ‘Born and Bred’ London, designer has rooted her career (spanning this Postmodern, Metamodern transition period) in ‘creating a sense of joy and belonging for all those who encounter it’22. Featuring a fantastical array of colours and patterns, her work challenges ‘how colour pattern and words can change urban environments and people’s perceptions of spaces into places’.
In 2011 Myerscough won the 1.7-millionpound pitch for the ‘Designer Maker User’ exhibit in the new London Design Museum. Part of the wider ‘Designer Maker User’ exhibit, the supergraphic is directly viewable upon entering the museum. The display creates a sense of excited anticipation whilst conjuring a childish sense of joy.
Reminiscent of early supergraphics the bright pastel pattern acts as a surprising contrast to the otherwise clean Scandinavian-esk pine panelled, softly lit interior. Although, this installation is one of Myerscough’s more subdued aesthetic creations, it firmly demonstrates this meta-modern agenda for environmental design: to bring joy and enrichment to an otherwise bland space, portraying the ‘informed naivety’23 of metamodernism: satisfying the ‘yearning for meaning—for sincere and constructive progression and expression’ through the relational aesthetics of the space’24. A multi-sensory experience: the wall consists of ‘a mechanical billboard mechanism to alternate between the words ‘Designer’, ‘Maker’ and ‘User’’25. Spinning on their axis’ every few minutes, the slats turn in a gradual left to right: revealing the next word in the phrase; in doing so a soothing maraca/rain like symphony is projected across the space, a sound that is both calming and thrilling in a way that almost signifies the everchanging and ever-evolving nature of design: the embodiment of the cogs of time. The truly ‘relational’ nature of this work is your ability to interpret and identify with the piece as you feel, Myerscough
commented that ‘This way, people could choose who they want to be’26, ‘Designer Maker’ or ‘User’, encouraging you to draw upon your own life experience in order to decide how you feel in the space. When we discuss the intangibility of joy as a design principle and emotion of which we experience; we make associations, with optimism, happiness, nostalgia as well as childishness. What I have found in this investigation into Supergraphics is that: memory, nostalgia and childishness are concurrent themes running alongside our perception of joy; and, although we demonize this construct of being child-like, is it not simply a feeling of freedom? Freedom from obligations, emotional baggage, the freedom to experience the moment for what it is? As explained by Sara Caldas in her emotional design book Design, Create, Thrill! ‘the primitive essence of our existence’ means we are attracted to, ‘bright colours as well as round and symmetrical shapes’ on a ‘subconscious level’27, this use of bright vivid colour can be used to evoke a deep connection with the spaces. This innate quality of their work, in my opinion, makes Myerscough one of the most influential emotion focused place making designers practising today.
22 Myercough. M, (2022) About.
23 Notes on Metamodernism. 2022. Metamodernism: A Brief Introduction, Notes on Metamodernism. http://www. metamodernism.com/2015/01/12/ metamodernism-a-brief-introduction/
24 Bourriaud, N. and Lachance, M. (2015) ‘LA CRISE DE L’ÉCHELLE HUMAINE. (French)’, Art-Press, (427), pp. 43–49.
25 Myerscough, M. 2022. Designer Maker User.
26 Myerscough, M. 2022. Designer Maker User .
27 Caldas. S, Fuster. A, Elisava Escola Superior De Disseny (2019) Design, create, thrill : the power of graphic design to spark emotions.
‘Although we demonize this construct of being child-like, is it not simply a feeling of freedom?’
The truly ‘relational’ nature of this work is your ability to interpret and identify with the piece as you feel.
Geoff Shearcroft
In an architectural context, changing times and societal awareness towards issues such as energy efficiency and sustainability has meant an architect’s job is far more physically and socially complex compared to that of their predecessors. These existential responsibilities and considerations also extend to the human enjoyment of the space. In relation to metamodernism the ‘joy’ created by designed spaces also seeks the ‘emotional connection, empathy and hope, even if it deals with the absurdity of present-day actualities’28
One agency that does such is: Agents of Change a London based Architecture firm which appear to be the revolutionary cat amongst the pigeons, when it comes to their design approach. The subject of ‘joy’ being in the main stakeholder in their company statement: ‘we create buildings, places and experiences that are joyful and engaging’29, this agency considers the human experience and enjoyment of a space to be the driving force of their design decisions.
Geoff Shearcroft the co-director of AOC’s is an ardent advocate for the propagation of joy in architecture, this focus on joy resonates through his work and the work of AOC, having stated in his 2021 article ‘The Joy of Architecture’ for the new Multiform magazine, that ‘joy is crucial in architecture and that this joy is not about adherence to styles or prescribed spatial protocols, but emotional engagement’30. One of Shearcroft’s great inspirations is the world-renowned architect Louis Kahn, although, a modernist, his work seems to transcend the stereotypical adherence to function, ‘they are products of a creative imagination informed not only by academic training and deep historical understanding, but also by an immeasurable aesthetic intuition’31. Kahn once remarked: ‘I think joy is the key word in our work. It must be felt’32, thus, we are shown that joy is universal in the human experience. Shearcroft focuses on ‘working with cultural institutions and community groups’33 he shows a real passion for human enrichment through relational aesthetics and pushing of metamodernism: enforcing a ‘renewed drive towards the humane, towards accepting the marginalised and helping the underprivileged’34.
AOC’s design for the Young V&A which is due to open to the public in 2023, works towards empowering young people, and displays a clear link to the early works of the supergraphic movement, not quite on the extravagance of Sussman’s work, but more likened to the considered expression of joy seen in the work of Jean-Philipe Lenclos. The space has a distinctly 60s bright yet subdued colour palette, featuring bold geometric shapes and huge neon bubble-esk typographic signage.
Although, at a glance, the wider space appears a little disorderly, with three similarly clashing tones of teal, it is without a doubt playful. Once again, we see this inherent playfulness, capturing the essence of childishness in a refined way. The large blocks on the left and right ground arcade walkways, striped poles invite you to view the space as if it were a playground, leading one to imagine themselves running along the corridors, jumping on the blocks, and sliding down the spiral staircase as if it were a slide.
28 Tate. 2022. Altermodern | Tate Britain.
29 AOC Architecture. 2022. AOC Architecture.
30 Shearcroft, G. (2021) ‘The Joy of Architecture: Evoking Emotions Through Building’, Architectur¬al Design, 91(1).
31 Wiseman, C. (2020) Louis Kahn : A Life in Architecture. Charlottesville: University of Virginia Press.
32 Louis I Kahn, 1973: Brooklyn, New York (Perspecta vol 19), The MIT Press.
33 AOC Architecture. 2022. AOC Architecture.
34- Stoev, D. (2022) ‘Metamodernism or Metamodernity’, Arts (2076-0752), 11(5).
‘we see this inherent playfulness, capturing the essence of childishness in a refined way’Mock up of wall along upper corridor, acting a sneak peak of the exhibit inside.
The world is as much of a serious place today, as it has ever been, our lives are often filled with, unpleasant news, situations, and tasks: as designers our work is a reflection of the culture and society around us. Moreover, this relationalist meta-modern movement (of which we are all participants), seeks to focus on the joys of life, the emotional connection between the designed, designer and participant. As designers, creators, and artists our work is our method of communication to a wider audience, it is a dialogue between us and the public. The work of each of these four designers/architects evidences the humanization of spatial design, the rejection of bland functionality, carrying this a sense of optimism, the breaking of spatial perception through joyful attempts at communicating with the audience. It is super exciting to see this propagation of joy through supergraphics in place making environmental design, revitalizing an almost lost artform and enriching our spatial experiences. So, this is my call to action, create super-inspiring, superspaces to super-charge your/our environments.
We call you to design for joy.
