Victoria and Albert Museum

1. Critique the logo

Does the logo relate to the architecture, galleries, and collections? 

Describe the overall essence/energy?

The logo contains a V, followed by the symbol “&” which is integrated into the right crosshatch of the letter A.  Notice that both of the letters (V and A) and slightly larger in size than the symbol &, allowing them to stand out as the primary focus of label, and thus the name “Victoria and Albert” becomes a primary focus as well.

            Also notice how the swirls and circular dimensions of the symbol “&” contrast with the rigidity of the two letters which border it.  The symbol “&” is also fully integrated into the letter A, as one of it’s feet becomes the horizontal crosshatch for that letter.  Both of these facts give off an essence of elegance integrated into solidarity, the organic with the geometric.  This reflects the nature of art, the ability to use hard skill to produce beauty, and is especially a reflection of both the Ironwork and Islamic Middle East collections.

2. Cast Courts

Describe your immediate impression(s) of walking into the Cast Courts (Gallery 46a / 46 / 46b) Gallery 46 possible closure. What educational purpose do these collections provide to visitors?

My initial impression upon entering the Cast Courts was one of grandeur.  Operating much like a cathedral, the main attractions, such as Trajan’s Column and the Statue of David, worked to draw my gaze skyward.  This made me truly feel the visceral weight of history, and helped to convey how small I was within the context of those who’ve come before me. 

            I believe the educational purpose of these collections were twofold.  As already mentioned, the collection inspires both awe and respect for the ability of past civilizations to create such works of beauty.  But they also work to communicate the values and the history of that time period.  For example, the Statue of David illustrates the great emphasis placed on the beauty of the human form, whereas Trajan’s Column literally tells the story of Roman military exploits.  Thus, in one swoop we are given both a knowledge of civilizations long past, but also a due respect for them.

3. Isotype

Do the icons/symbols represented in the Isotype exhibition have greater personality than the international system of signs? Elements to consider: legibility, color, dimension, mood, etc. Does this method of information graphics (image + text rather than text exclusively) communicate with a broader range of individuals? Exhibition location: Gallery 17a / 18a

The international symbols definitely seem to have a better degree of legibility than the symbols found within the Isotype collection.  This is mainly due to their black and white color scheme, which stands out very well and is both crisp and easy to see.  Also notice the uniformity of height and dimension within the international symbols, so that they appear less like images of people and more simply as units.  Thus, because they are better suited for legibility and also uniformity, they are would be better recognized globally than those found within the collection.  On the other hand, the non uniformity in both color and size of the images found in the Isotype collection allow them to convey moods and a sense of artistic freedom not necessarily found within the international symbols.

            This method of including imagery with text definitely communicates with a broader range of individuals.  In essence, the uniformity of the international symbols has allowed us to create a language of images, independent of the written languages that often serve to separate foreign peoples from one another.  Thus, it is a globalizing art, one that serves functionally to connect and bridge language barriers.

4. Pattern

Compare and contrast a pattern from the Ironwork collections (Galleries 113-114) with a pattern from the Islamic Middle East collections (Gallery 42) textile, vase, tiles, etc. Elements to consider: figure/ground, color, repetition, scale, rhythm, mood, etc.

In these two examples (one from Ironwork and one from Islamic Middle East), I believe the similarities in design far outweigh some of the more superficial differences between them.  Of course one object is a black, iron wrought overhang while the other is a colorful, circular plate.  What is most surprising, however, is the degree of similarity despite these differences.  The primary element connecting these two pieces is the way in which an organic element was arranged so that it felt both geometrical and symmetrical, so that there is a sense of balance within the vibrant life conveyed. 

            In the Ironworks piece, we see a set of five angels with looping, curling wings set along leaves that border a semicircular structure in the middle, which also contains a leaf/shell within its borders.  However, although the absence of straight edge lines evokes a sense of organic development, the symmetry (notice how the angels project off the center piece as perfect mirror images) keeps us grounded in pattern and design.

            The same may also be said of the Islamic Middle East piece.  Notice how the flower petal design as well as the color scheme (blue, brown and green) evoke a sense of life and the organic, whereas their symmetry around the center conveys pattern.  Inevitably, it is the symmetry and design that works to structure the organic and truly give it beauty.

5. Underground

How do elements of the Underground (identity/architecture) contrast to the Metro transportation in Madison? Feel free to discuss logo, color, bus stops, signage, mapping, etc. Exhibition location: Gallery Architecture Room 12a

In this section I mainly want to discuss the different elements utilized in the design of the two systems’ respective logos.  The Underground logo, to a small degree, uses elements found within other galleries of the museum.  For example, we see the mixture of a circle stamped with a hard, horizontal crossbar across the middle.  Thus, to some extent we have here the return of that classic mix between organic and symmetrical/design.  It is simple yet elegant.  Also notice that this is truly the primary focus of the logo, not necessarily the word “underground” written inside.  Although “underground” is very legible and centrally placed, it is the contrast in shape (circular vs. straight) and the symmetry they create that truly grab the attention of the viewer.  This combination serves to create one of the most memorable logos I’ve seen since arriving in London.

            The Madison Metro logo, on the other hand, does nothing of the sort.  Simply tilting the frame of the logo seems to imply speed, but really it just serves to destroy that element of symmetry and solidarity that the Underground logo evokes so well.  Also notice how the Metro system overemphasizes the letter “M”, whereas the Underground logo emphasized the shape of the logo itself.  The difference, quite simply, is that the letter M, or any letter for that matter, is not very memorable, and certainly doesn’t evoke an idea of the Madison metro system.  I have seen the letter M a million times in other places, and so choosing this as one’s primary logo leaves the logo stranded in the land of unoriginality.  Even the color scheme ruins the symmetry, as there really is no reason to have those colors only at the top, or even to have them at all.

            The difference in busses is also notable.  London’s busses are a bold red, and are also contain a double deck which has served as an icon of the city for quite a while.  And once again Madison’s buses fall flat.  There is nothing memorable in their color scheme, and certainly nothing in their design that evokes originality or allows it to be remembered.

            Thus, I would encourage the Madison Metro system to take a look at the Underground logo and bus design and attempt to find their own logo and therefore a new identity.

6. Object of appreciation

Provide a short description of your favorite object from the collections? Please provide label information such as name, date, origin, etc. Why would you return to this object for greater contemplation? 

            I would have to say that my favorite object within the collection was Trajan’s Column, found within the Cast Courts.  It is a truly beautiful Roman work erected in A.D. 113, and is dedicated to the military exploits of Emperor against the Dacians of the Danube Frontier in the year A.D. 101-102 and 105-106.  This object stands at a surprising height of 38 meters and carries the story of those military exploits, told by the carvings that surround the column from top to bottom.

            The reason I’d return to this item is simply because it was this item that truly elicited an emotional response from me.  Not only did the height of the object strike me with awe, but also the carvings.  The carvings not only serve to please the eye, but also to tell a historical story.  And there is beauty in this, for the same reason that there is beauty in literature.  This column is not only pleasing to the eye, but it reminds us of the importance to record events, for the driving need to remember.  That is why I found this item the most striking in the museum, and I would definitely return to further contemplation.