At Issue Vol5 No2

7/28/2019 At Issue Vol5 No2

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@issue:Volume 5, No.2The Journal of Business and Design

Corporate Design FoundationSponsored by Potlatch Corporation

Delphine Hirasuna

PentagramKit Hinrichs, Design DirectorAmy Chan, DesignerContr ibut ing Writers

Cover Photography

Major I llustrat ion and Pho tography

Ed itor ia l A dvisory B oard

jndationJens Bernsen-Danish Design CentreAgnes BourneAgnes Bourne Inc.Kit HinrichsPentagramDelphine HirasunaHirasuna EditorialPeter LaundyDoblin GroupJames PatellGraduate School of BusinessStanford UniversityChristopher PullmanWGBH Educational FoundationFor more information

Boston, MA 02116Telephone: 617-350-7097Fax: 61 7-451 -6355E-mail: [email protected] Wide Web site:
mailto:[email protected]:[email protected]


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Futur ist Paul Saffoon DesignTechnology futuris tPaul Saffo discussesthe challenges ofdesigning interactiveobjects that "think"on their own.2

The S t ree tBeautiful and smart,JCDecaux's elegantstreet furniture helpsto reduce sidewalkclutter and providesa place to hang ads.

Words Count!Branding isn't limitedto images. Thisquiz tests your recollection of popularadvertising slogansand jingles.14

The $4,000 CommaCan a comma endup costing $4,000?Yes, in rare cases.But it's easy to avoidthe problem throughearly attention todetails.2 4

6

Picture ThisWhether a travel

guide or a sciencereference book, DK

Eyewitness Books(see page 16) give

real meaning tothe term "visual

communications."

Open fo r B usinessAlcoa wanted employees to communicatein a more openway, so it eliminatedwalls and createdopen spaces in itsnew headquarters.

Des ign andBusiness ClassicEqually loved byBoy Scouts andastronauts, theSwiss Army Knifeis a handy tool tohave for quick fixesand fast rescues.


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I S S U E

F u t u r i s t P a u l S a f f o o n D e s ig nW h a t w i ll t h e f u t u re h o l d fo r b u s i n e s s a n d d e s i g n ? P a u lSaffo, di rec to r o f the Ins t i tu te fo r the Fu ture in S i l i con Val ley ,t a l k s a b o u t t h e i m p a c t of n e w i n fo r m a t i o n t e c h n o l o g i e s w i thP e t e r L a w r e n c e , c h a i r m a n of C o r p o r a te D e s i g n F o u n d a t i o n .

In this increasingly d ig i ta l an d vir tual w o r ld , i st h e d e s ig n o f p h y s ic a l t h in g s s t i l l important?A bs o lu te ly . I t h ink phys i c a l des ign i s moreimpor tan t than eve r bec aus e w e a r e no tju s t des ign ing inan imate ob je c t s anymore .Compute r s , now in eve ry th ing , a r e mak ingob je c t s in t e r a c t ive . Tha t means tha t des ign e r s mus t des ign phys i c a l th ings tha t a r es eamles s l inks to the e l e c t ron i c . They mus tth ink l e s s in t e rms o f des ign ing an ob je c tand more in t e rms o f des ign ing a p ro c es s .Why is the shiftfrom object to process important?W he n ob je c t s w e re inan im ate , you bu i l t ana r t i f a c t tha t r emained ine r t un t i l s omeonep i c ked i t up and d id s om eth ing w i th it .N o w w e ' r e b e g i n n i n g to s e e m o r e d e v i c e s w i th r u d i men ta ry in te l l igenc e and the ab i l i ty to r e s pond to thee n v i r o n m e n t a r o u n d t h e m .How is this a change from the desktop computer days?I t means that the age of in ter face is over . In ter face as ac o n c e p t m a d e s e n s e w h e n c o m p u t e r s j u s t s q u a t t e d onour des ks an d w a i t ed for u s to do s ometh ing . I t m ades e n s e w h e n w e h a d tw o p a r a l l e l w o r ld s t h e p h y s i c a lw or ld of " r ea l i ty" tha t w e o c c up ied , and the pu re lys y m b ol ic " c y b e r s p a c e " w o rl d t h a t c o m p u t e rs o c c u p i e d .

Paul Sa ffo is director of theInstitute for the Future, a 30-year-old foundation tha t providesstrategic planning and forecasting services to business andgovernment. Renowned as aforecaster of long-term information technology trends and theirimpact on business and society,Saffo served in 1997 as aMcKinsey Judge for the HarvardBusiness Review and was namedone of the 100 "Global Leadersfor Tomorrow" by the World Economic Forum. He is a memberof the AT&T Technology AdvisoryBoard and the World EconomicForum Global Issues Group.

W e p e e r e d i n t o c y b e r s p a c e t h r o u g h t h ep o r t h o l e of t h e c o m p u t e r s c r e e n . C o m puters , for the mos t par t , had no idea thatany th in g w as on the o the r s ide of thes c r een . Bu t now th rough a c ombina t ion o fs e n s o r s , b a n d w i d t h a n d e v e r y t h in g e l s e ,w e ' ve b las t ed tha t s c r een aw ay . Com pute r sa r e i n v a d i n g p h y s i c a l s p a c e , m o v i n g e v e rdee per in to ou r l ives . Th a t ' s w hy des ign e r s nee d to e l imin a te the w ord in te r f a c ef rom the i r vo c abu la ry and th ink in t e rmsof in te r a c t ion .Define the differencebetween interface and interaction?With in te r f a c e , you c an p re t ty muc h p re d i c t eve ry th ing . I t i nvo lves a l imi ted num

ber o f fo rmal , ve ry s ty l ized ex c hang es . Wi th in te r a c t ion , you mus t des ign fo r the unexpec ted . Compu te r s nolonge r w ai t for us to do th ing s ; they ' re do ing th ings ono ur behalf, a n d w e m a y n o t e v e n k n ow t h a t a c o m p u t e rex i s t s in s ide . I n te r a c t ion imp l ie s a deeper s ymbio t i cr e l a t i o n s h i p . T h a t c a n h a v e a d o w n s i d e , a s w e w i t n e s s e d i n t h e 1 9 8 7 s t o c k m a r k e t c r a s h , w h e r e p r o g r a mt rad ing s o f tw are bas i c a l ly c ompu te r s t a lk ing to o the rc o m p u t e r s w ere so bus y t a lk ing to ea c h o the r theyd idn ' t have t ime to l e t hum ans in on the c onver s a t ion .


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I s i n t e r a c t i o n a l s o a b o u tc o n n e c t i n g the a n a l o g w o r ld w i th the dig i ta l wor ld?I t ' s a big pa r t of it. The r e a s o n c o m p u t e r s are b e c o m ing so a b u n d a n t is due in no smal l par t to the s e n s o rre vo l u t i on . C a rma ke rs are a l re a dy a dd i ng mi c rose nsorsto every thing from emiss ion sys tems to t i r e hubs , andm i c r o s e n s o r s are f inding the i r way i n t o o t he r a pp l i c a t i ons . We ' re ba s i ca l l y ha ngi ng e y e s , e a r s , and se nsoryorga ns on the c o m p u t e r s , a s k i n g t h e m to obse rve thep h y s i c a l w o r l d on our be ha l f and, not s t oppi ng t he re ,w e ' r e a sk i n g t h e m to m a n i p u l a t e it. The m o r e you c o n n e c t c o m p u t e r s to the p h y s i c a l w o r ld , the m o r e thei s sue of i n t e r a c t i o n b e c o m e s i m p o r t a n t .How will supercomputing andsensor technology change the design of things?T h e y are giving us the abi l i ty to de ma t e r i a l i z e t h i ngs ,put less stuff in our stuff. For i n s t a n c e , in the pa s t , thew ay to c h a n g e the p e r f o r m a n c e on a car e n g i n e was bybor i ng out the cy l inders di f fe rent ly and bui l d i ng a lot ofphy s i ca l stuff. Now we can j us t sw a p in a new c h i p . W h a tw e ' r e r ea l l y do i ng he re is making ever more e ff i c ientphysi ca l s tuff l ighter, cheaper, faster, more effect ive.What is obsolescence in a cyberspace world?Eve ry t h i ng is obso l e t e . Tha t ' s one of the rea l ly darks i de s to all t h i s . The m o m e n t you put a c o m p u t e r i n t os o m e t h i n g , you a c c e l e r a t e its o b s o l e s c e n c e . The obvi ous re a son is t ha t it's going to get r e p l a c e d by be t t e rc o m p u t e r s . But the sub t l e r p rob l e m is tha t bi t s rot andsof tw are rot s , it fa l l s apar t , it d e g r a d e s and b e c o m e su n r e l i a b l e . So y ou ' re go i ng to see p e o p l e h a v i n g tor e p l a c e p e r f e c t l y g o o d d e v i c e s b e c a u s e the sof tw arep a r t is a g i ng too fast and b e c o m i n g u n r e l i a b l e .What role can designers play in responding to this?D e s i g n e r s are k e e p e r s of the l a r g e r p i c t u r e . In s o m ew a y s , d e s i g n e r s are the c o n s c i e n c e of our a r t i f a c t s ,they look at things f rom an o u t s i d e - i n p e r s p e c t i v e .T h e y can add di me ns i ona l i t y in a way tha t t radi t iona le n g i n e e r s and c o m p u t e r s c i e n t i s t s c a n ' t do b e c a u s et he y ' r e too c l o s e to t h e i r m a c h i n e s . I t h i nk t ha t de s i gners l ive on the e d g e of tha t point w here a r t ifac t and thep h y s i c a l w o r ld i n t e r a c t . T h e i r job is a l m o s t one ofma t e r i a l a l che my , r e conc i l i ng the obj e c t w i th the w o r l da n d m a k i n g the two coe x i s t .Is this view of designers widely shared?N o. D e s i g n e r s are the R o d n e y D a n g e r f i e l d s of thei ndus t r i a l age. "The y don ' t get no r e s p e c t . " O c c a s i o n

ally, one or two fa mous de s i gne rs are p a r a d e d out infront of the p u b l i c , k i n d of l ike a t r a i ne d se a l , but t h e np e o p l e d o n 't u n d e r s t a n d w h a t d e s i g n e r s do. D e s i g n e r sst i l l st ruggle for r e l e v a n c e . The g o od n e w s is t ha t therole of de s i gn is going to b e c o m e s t e a d i l y and e ve rm o r e c e n t r a l to the future of w h a t ' s g oi n g on h e r e .Does that mean designersare going to get more respect?N o, I t h i nk t he y ' r e go i ng to get l e s s . I t h i nk the s t rugg le is going to c o n t i n u e . It's a lot e a s i e r for c o m p u t e rs c i e n t i s t s to p r e t e n d to k n o w s o m e t h i n g a b o u t d e s i g n ,e ve n t hough t he y ' r e i gnora n t on the sub j e c t , t ha n for

d e s i g n e r s to p r e t e n d t h e y k n o w c o m p u t e r s c i e n c e .C omput e r s c i e n t i s t s and e n g i n e e r s are going to end updr i v i ng the proc e ss . Hope fu ll y , t he y w i ll be w i l li ng toco l l a bora t e w i th de s i gne rs .What other responsibilities must a designer assum e?I t used to be t ha t de s i gne rs ma de an obj e c t and w a lk e daw ay. Today the e mpha s i s mus t sh i f t to d e s i g n i n gthe ent i re l i fe cyc le . For i n s t a n c e , d e s i g n e r s can m a k ea plas t i c bag t h a t ' s not j u s t an o b j e c t , but a p r o c e s sd e s i g n e d to phot ode gra de unde r sun l i gh t . Some t h i ngsy o u w a n t to b e c o m e p a r t of the na t ura l e nv i ronme nt ,o t he r t h i ngs you w a n t to last forever. If y ou ' re me re l yt h i n k i n g in t e r m s of d e s i g n i n g an obj e c t , you may orm a y not be gi v i ng pe op l e w ha t t he y a c t ua l l y ne e d .Is technology affecting current aesthetic trends?Ine v i ta b l y , w he ne v e r t h i ngs get faster, too t e c h n o l o g i -


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c a l , they s ta r t out be in g very ut i l i t a r ian an d then sw ingt o t he ba roq ue . In t he ' 3 0s , t oa s t e rs w i th s t r e a ml i ne df ins w e re de f i n it e ly ba ro que . The pe r sona l c om put e rhas gone from " y u c a n ha ve a ny co l or y ou w a nt a sl ong a s i t ' s pu t t y " t o t he ca ndy - co l ore d i M a c . T h i n g sa lw ays s ta r t out ut i l i t a r ian an d then ge t s ty l ized.I've noticed that you take noteson paper but use the latest technology.Yes, I w r i te i n a pa p e r j ourn a l , use a pa p e r c a l e nda r ,and c arry a Palm Pilot V. But i t 's not a retro thing. Th ere 'sa word t ha t ' s l e a k i ng i n t o our voc a bul a ry : p ros t a l g i a .A nostalgia for things that don't yet exist . I think too

i es igners s t i l l s t rugg lefor re levance. The goodis t h a t t h e r o l e o fis go ing t o become

a n d ever moret o t h e f u t u r e o f

o n h e r e . "ma n y pe opl e suf fer f rom pros t a l g i a w he n i t c om e s tocomput e r s a nd a re no t a sk i ng ha rd que s t i ons a boutw hat w i l l rea l ly serve them. Some peop le use a Pa lm Vfor a c a lendar . I f they a re shar ing the i r c a len da r w i tho t he rs a nd cons t a n t l y cha ngi ng da t e s , t ha t ' s g re a t . Inmy case , I absolute ly va lue my Palm V as an addressbook , bu t no t a s a c a l e nda r . I f som e one w a nt s to se eme, t he y mus t con t a c t me . I purpose l y ma ke my se l fh a r d t o s c h e d u l e .

I use a jou rna l for notes bec au se I l ike to integra tegra phi c s , i ma ge s a nd t e x t . For me , comput e r s a re no tgood enoug h ye t for note taking . How ever , w hat I don ' tge t f rom my notebook i s pure searchabi l i ty , but tha t ' sno t e nough t o pus h m e i n to e l e c t ron i c s . Tha t da y w i llcome eventua l ly . That sa id, I s t i l l ca rry enough e lect r o n i c s my Palm V, pager , c e l l ph on e and la pto p

to get nervous in a l ightn ing storm.Your t o o l s l e t y o u t a k e y o u r o f f i c e w i t h y o u .Wi l l o f f i ces as a phys ica l p lace b eco me o b so le te?N o, I don ' t t h i n k t ha t o f f ic e s w i l l d i s a pp e a r , j us tc ha n ge . Hi s t o ry show s us t ha t t he sha pe of our o f fi c e sha s be e n dr i ve n by t he re a l i t y o f i n forma t i on t e chnol o gy . F o r i n s t a n c e , t h e in t r o d u c t i o n o f t e l e p h o n e sa l l ow e d c om pa n i e s t o se p a ra t e t he i r e xe c u t i ve o f fi c e sf rom t he i r f a c t o r i e s . Whi l e i t de ce n t ra l i z e d t he comp a n y , it c e n t r a l i z e d f u n c t i o n s . W h i t e - c o l l a r w o r k e r sb e c a m e c o n c e n t r a t e d i n M a n h a t t a n , a n d h i g h r i s e sw e r e b u i l t t o a c c o m m o d a t e t h e m . In t h e f u t u r e , n e wc onc e n t ra t i o ns o f w orke rs a re l i ke l y t o fo rm. P l a c e sl i k e A s p e n , C o l o r a d o , m a y t u r n in t o a k n o w l e d g ee nc l a ve for t he very w e a l thy , a nd p l a c e s l i ke Sa n t a Fe ,N e w M e x i c o , m a y b e f a v o r e d b y m i d d l e - c l a s s c o m p u t e r c o m m u t e r s .How can business and designuse technology to get closer to customers?One w ay to reac h them i s through the World Wide W eb.A c om pany 's w ebsi te , in par t i c ula r , i s grou nd zero forc o l l a bora t ive de s i gn w i th cu s t ome rs . The We b i s a next raordinar i ly plas t i c medium and lends i t se l f to rapidc o n s u m e r f e e d b a c k .Do old technologies die away?More commonl y I t h i nk t he y ge t r e i nve n t e d . TV d i dnot ma ke ra d i os a nd movi e s obso l e t e . I t d i sp l a ce dradio f rom our l iving rooms as a cent ra l medium, buta t t he sa me t i me , ra d i o co -e vol ve d w i t h t he a u t omo bi l ea nd t he sub urbs i n t o be i ng t he a ud i o w a l l pa pe r for ourc a r s . TV di sp l a ce d movi e s a s t he ma i n v i sua l me di umi n our l i ve s , bu t t he movi e i ndus t ry re sponde d by re s t ruc t u r i ng i t s e l f t o de l i ve r a more compl e x e n t e r t a i n m e n t e x p e r i e n c e . T h e t e c h n o l o g i e s d i d n ' t d i s a p p e a r ;t he y w e re s i mpl y re de f i ne d t o se rve c ons um e r ne e dsi n n e w w a y s .Will people soon be working only in cyberspace?People w ork bes t in t eam s w hen they trus t eac h other .For t ha t , y ou ne e d fa ce - t o - fa ce i n t e ra c t i on . Th a t ' s w hymore pe opl e a re t r a ve l i ng i n a i rp l a ne s . I f y ou don ' tw a n t to f ly , k i l l y our co mpu t e r . The more y ou c om mu ni ca t e e l e c t ron i ca l l y , t he more y ou ' re go i ng t o ne e dfa ce - t o - fa ce me e t i ngs . And once y ou me e t f a ce - t o - fa ce ,you' re going to cont inue the conversa t ion e lec t roni ca l ly .I t ' s a feedback loop; there i s no subst i tute for face- to-fa ce i n t e ra c t i on .


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J e a n - C l a u d e D e c a u xC h a i r m a nJ C D e c a u x S . A . , P a r isJean-Claude Decaux created the concept of providingcities with advertising-supported street furniture in1964 and built it into a worldwide business.

A s a y o u n g m a n m o r e th a n 3 5 y e a r s a g o , J e a n -C l a u d e D e c a u x m a d e a l i v i n g p o s t i n g b i ll s o nb u i l d i n g s a r o u n d P a r i s . H i s m o d e s t l i v e l i h o o dca me t o a n a brup t ha l t a f t e r t he l oca l gove rnme ntd e c l a r e d t h is p r a c t i c e i l l eg a l . T h a t ' s w h e n D e c a u xc a me up w i t h a be t t e r i de a one t ha t w oul d a ll ow h i mto c ont in ue po st ing bi l l s and do it in a w ay tha t w ouldcont r ibute to the qua l i ty of l i fe and beauty of the c i ty .

De c a ux ' s i nsp i ra t i on ca m e one s t o rmy da y w he n henot i ce d pe op l e ge t ti ng soa ke d w hi l e w a i t ing fo r a c i tybus to come by . Why not offe r to bui ld bus she l te rs forfree in exchange for the r ight to se l l adver t i s ing on

t he m, De ca ux t hought . He t ook h i s p roposa l t o t heMayor of Lyon and got permiss ion to go ahead. Thatra iny day mark ed the s ta r t of the w orld ' s l a rges t s t ree tfu rn i t u re compa ny w i th p r o j e c t e d r e v e n u e s in 1 9 9 9of $1.4 bi l l ion, pr imari ly genera ted f rom advert i s ing.

Toda y t he s t r e e t fu rn i t u re o f J C D e c a u x S .A. i si ns t a l l e d i n more t ha n 1 , 200 c i t i e s a rou nd t he w or l d .In ear ly 1999, i t a cqui red Havas Media Communica t ion-Out door Adve r t i s i ng , Europe ' s l a rge s t b i l l boa rd a dve r t i s i n g f i r m , e x t e n d i n g t h e c o m p a n y ' s p r e s e n c e i n t o3 1 c o u n t r i e s a n d m o re t h a n 1 1 , 0 0 0 c i t ie s .

Ove r t he y e a rs , t he compa ny ha s e xpa nde d i t s s t r e e tfu rn i t u re o f fe r i ngs f rom bus she l t e r s a nd k i osks t on e w s r a c k s , t ra f fi c s i g n a g e , l i g h t p o s t s , l i t t e r b i n s ,be nche s , i n t e ra c t i ve i n forma t i on pa ne l s a nd a u t oma t i cp u b l i c t o i l e t s . "When I c r e a t e d t he f ir s t a d ve r t i s i ngbu s she l te r , f ree of c harg e to loc a l author i t i es , I w anted

W it h n e a r ly 5 0 % o f th e w o r ld ' s po p u la t io n n ow livin g in u r b a n a r e a s , J C D e c a u x


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@ S S U Et o r emedy the p rob lem o f d i l ap ida ted equ ipmen t ; tof ight agains t surplus and uns ight ly adver t is ing , and, byreva lu ing i t , mak e know n the l ive ly ro le tha t qua l i tyadver t i s ing c an p lay , " s ays D ec aux , w ho s t il l manag esthe p r iva te ly ow ned c om pany a long w i th h i s s ons , J ean -F r a n c o i s a n d J e a n - C h a r l e s . "Our m a i n c o n c e r n h a sbeen the c l ean l ines s o f c i t i e s and the s e t t ing up o fpub l ic serv ices essen t ia l to the comfort of c i ty dw el lers ."

Although the f ie ld of pr ivate contrac tors vying forc i t y c o n t r a c t s h a s b e c o m e c r o w d e d , J C D e c a u x h a s d i s t inguished i tse l f by produc ing s t reet furni ture that i sas a t t rac t ive as i t i s func t ional . In addi t io n to i t s ow nin -hou s e t a l en t , it has c omm is s ioned s ome 3 0 of thew or ld ' s bes t a r c h i t e c t s and des ign er s to c r ea te a w idearray of s t reet furni ture that i s sens i t ive to the cu l turalu rban nuanc es o f the i r na t ive c oun t r i e s . J ean -Mic he lWi lmot te , P h i l ippe S tar c k , Mar io Be l l in i , S i r N or ma n

J e a n - F r a n c o i s D e c a u xC hi e f Ex e c u t i ve Of f i c e rJ C D e c a u x S . A . , Pa r i sJean-Francois Decaux is CEO of the family-owned business and oversees operations inNorthern Europe, the U.S., Australia and Canada.F o s t e r , M a s s i m o V i g n e l l i , M a r t i n S z e k e l y , C h a r l e sG w a t h m e y , R o b e r t S t e r n , P e t e r E i s e n m a n , KnudH o l s c h e r a n d J a m e s P o l s h e k a r e a m o n g t h e l e g e n d a r yn a m e s w h o h a v e c o n t r i b u t e d to J C D e c a u x ' s f u r n it u r el ine . P o r s c he ' s des ign depar tmen t , S ty le P o r s c he , a l s ouse d i ts af fin ity for the s t ree t to c om e up w i th s t r ik ingdes igns , a s d id the Mac k in tos h S c hoo l o f A r c h i t e c tu rein G las gow , S c o t l and .

J CD ec aux s ees it s r o le a s des ign in g w ha t F renc ha r c h i t e c t J e a n - M i c h e l W i l m o t te c a l l s a c i t y ' s " i n t e r i o ra r c h i t e c t u r e , " d e s e r v i n g o f "as muc h though t a s tha tg iven to p r iva te s pac es . " I t be l i eves tha t bus s he l t e r s ,

t s t r e e t f u r n i tu r e e n h a n c e s t h e qu a lit y o f io n s o f c i ty d w e l le r s .


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kiosks and other s t ree t furni ture a re too integra l to theurb an land sc ape to be buil t w i thout at tent ion to aesthet ic s.

Sadly , thi s phi losop hy i s not a lw ays share d by loc a loff i c ia l s . "Public design i s a l l too of ten an inharmon i o u s p i e c i n g t o g e t h e r of c h e a p s o l u t i o n s , " o b s e r v e sDa ni sh a r ch i t e c t Knud Hol s che r , a dd i ng t ha t " J C De ca uxa t t a c h e s g r e a t i m p o r t a n c e t o t h e q u a l i t y o f d e s i g nw hi c h it fu ll y a da p t s to t he ch a ra c t e r of e a c h c i t y . "

J C D e c a u x h a s e v en a d a p t e d P a r i s ' r e n o w n e d M o r r iskiosk into a var ie ty of hi s tor i c and contemporary s ty les .Increas ingly , i t i s deve loping mul t i func t iona l kiosks tore duc e s i dew a l k c l u t t e r a nd prov i de publ i c a me ni t i e s

w h e r e t h e y a r e w e l c o m e dmos t . Through t e chnol og i ca l i nnova t i ons de ve l ope dby t he compa ny ' s e x t e ns i veR & D a r m , m a n y J C D e c a u xa d v e r t i s i n g k i o s k s n o wi n t e gra t e ne w ss t a nd s , bo t t l e ba n ks , w a t e r fount a i ns ,t e l e p h o n e b o o t h s , c l o c k s ,a u t oma t i c pub l i c t o i l e t s ,t i c k e t d i s p e n s e r s , i n t e r a c t ive informat ion te rm ina lsa nd e ve n a u t oma t i c ve ndi n g m a c h i n e s .

The compa ny a l so i si n t r o d u c i n g a n e w g e n e r a t ion of "smart furni ture"

A Neat D isplayNewspaper vending boxes are eyesores in most cities. By housingdifferent newspapers in a singlestructure, JCDecaux provides anattractive way to display them andreduces sidewalk clutter at the samet ime. The backside of the box,facing the street, offers a horizontalpanel for advertisements.

such as informat ion kiosks tha t have the smal les t poss ible footpr int in c om bina t ion w i th the la rges t ava i l able LCD to ensure easy legibi l i ty . In addi t ion, i t hasspur re d t he de ve l opme nt o f a ne w de v i ce t ha t g i ve spa sse nge rs on- l i ne bus i n forma t i on for spe c i f i c rou t e s .C ommut e rs r e ce i ve t ha t da t a e i t he r on J C De ca ux ' spa tented hand-he ld Infobus pager or in the bus she l te rs .A not he r compa ny s i gna t ure i s t he s c rupul ous se r v i c i ng of i ts f a c i l i t i e s, w h i c h p rov i de s p re m i umva l ue to a dve r t i s e r s w ho don ' t w a n t the i r m e ssa ge sde se c ra t e d by va nda l s a nd t u rne d i n t o a n urba n e y e sore .More t ha n 3 , 500 se rv i c e e mpl oy e e s ma i n t a i n t he compa n y ' s s t r e e t fu rn i t u re w or l dw i de . Any broke n g l a s s isre p l a c e d w i t h in 24 hours . Graf fi ti i s s c oure d c l e a n . Inplac es l ike Am sterdam w here graff it i has bec ome a p ubl i ca r t fo rm, J C De c a ux ha s e qu i ppe d i ts ma i n t e n a nc e w orkers w i th motorb ikes so they c an rem ove i t a l l the fas te r .


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"This company is def ined by a love for good tas tea n d a c e r t a i n a e s t h e t i c s a n d q u a l i t y , " s a y s J C D e c a u xU S A CEO Be rnard P a r i s o t, bas e d in N ew Y ork. "F romthe a r c h i t e c t s w e w ork w i th and the s t r ee t fu rn i tu r ethey c r ea te to the w ay w e ' ve des igned ou r l e t t e rhea dand the w ay w e keep ou r s t r ee t fu rn i tu r e c l e an , D ec auxis a bus iness bui l t on those bel iefs ."A l t h o u g h J C D e c a u x i s c u r r e n t l y i n h u n d r e d s o fEuropean c i t i e s , i t s en t ry in to the A mer i c an mar ket is re la t ively recent . Through a b idding process ,in 199 5 it w on a c ontrac t from the c i ty of San Franc is cot o p r o v i d e k i o s k s a n d a u t o m a t i c p u b l i c t o i l e t s , apatented produc t or ig inal ly inventedto r ep la c e the pissoirs of Par is . Thec ompany found an un l ike ly a l ly inf i lm direc tor Franc is Ford Coppola ,a na t ive S an F ranc i s c an . A n admi re rof F r e n c h i n d u s t r i a l d e s i g n ,Coppola had asked to see the enginee r ing o f the new pub l i c to i l e t s ona v is i t to Par is , and w as invi ted byJ e a n - C l a u d e D e c a u x , a n a v i d f i l mf a n , t o t o u r t h e c o m p a n y ' s R & Df a c i l i t i e s . B a c k h o m e , C o p p o l al a u d e d " M o n s i e u r Decaux.. .a t r uec onno i s s eu r o f a r t and des ign , " anda d d e d " h o w w o n d e rf u l it w o u l d b ei f a man l ike th i s and h i s ex c ep t iona l c ompany c ou ld des ign a c i tyo f the fu tu re . "

S a n F r a n c i s c o s i g n e d a 2 0 - y e a rc o n t r a c t w i t h J C D e c a u x fo r 2 0 u n i versal ly access ib le automat ic publ ic to i le ts and 90 k iosks ,70 of w h i c h a r e new s s tands and 20 tha t d i s p lay a r t provided a t no cos t to the c i ty . San Franc is co has s inceexpa nded i t s pa r tn e r s h ip ah ead o f s c hed u le to in c lu de3 0 add i t iona l to i l e ts and 1 3 5 more k ios ks . O u t s ide ofM o s c o n e C o n v e n t i o n C e nt e r, 1 4 J C D e c a u x s t r e e t l a m p s ,des igned by P h i l ippe S ta r c k , s t and as e l egan t ve r t i c a ls c u lp tu re d u r ing the day, low er ing au tomat i c a l ly to aho r izon ta l posi t ion a t dus k w hen the l igh t s c om e on .

W hi le the ide a o f a c qu i r ing f ree s t r ee t fu rn i tu r ed e s i g n e d b y r e n o w n e d a r c h i t e c t s is e n t i c i n g t o m a n yc a s h - s t r a p p e d l o c a l g o v e r n m e n t s , t h e J C D e c a u x p r o gram isn ' t r ight for every c i ty . In 1992, Seat t le reques teda full l ine of s treet furniture, but vetoed the deal because

Prototype RunwayAn extensive R&D department supports thecompany's street furniture program, from thefirst phase of design through engineering andproduction. Full-scale prototypes are installedon an outdoor runway outside its offices nearParis. There they are tested and inspectedfor workability, safety, ease of maintenance,user convenience and overall quality beforebeing placed on the street.

i t d i d n ' t w a n t t h e c o n t r a c t to i n c l u d e a d v e r t i s i n g .JCD ec aux , in tu rn , i s on ly in te r es t ed in c i t i e s tha t haves u f f i c i en t popu la t ion and pedes t r i an s t r ee t t r a f f i c togenerate adver t is ing revenue to suppor t i t s s t reet furniture program.

The c ompany makes no apo log ies fo r i t s adver t i s i n g - d r i v e n b u s i n e s s . "In Europe , the l eve l o f adver t i s i n g c r e a t i v i t y h a s a c t u a l l y g o n e u p b e c a u s e o f o u rs t r e e t f u r n i t u r e . I t ' s b e c o m e a r e a l s h o w c a s e fo r a da g e n c y c r e a t i v e p e o p l e , " s a y s S u z a n n e D a v i s , s e n i o rv i c e p r e s i d e n t , J C D e c a u x U S A . I n S a n F r a n c i s c ot o o , J C D e c a u x k i o s k s a r e n o t e d f o r t h e i r u p s c a l e

a d v e r t i s i n g d i s p l a y .JCD ec aux i s beg inn ing to ga r

ner a t tent ion on the Eas t Coas t asw e l l . H ow ever , c i ty po l i ti c s w i t hp u b l i c h e a r i n g s , l o c a l c o n t r a c t o rr e q u i r e m e n t s , e t c . p r e s e n t m a n yo b s t a c l e s . I n 1 9 9 8 , J C D e c a u x ,i n p a r t n e r s h i p w i t h G E C a p i t a lS e rv i c es , en l i s t e d s even d i f f er en ta r c h i t e c t s and des igner s to c r ea tec oo rd ina te d s t r ee t fu rn i tu r e p ro to type s for New Y ork Ci ty. But las tJ u n e , M a y or R u d o l p h G i u l i a n i ' sa d m i n i s t r a t i o n s u s p e n d e d i t ss e a r c h f or n e w b u s s h e l t e r s , n e w s s t ands and to i l e t s .

JCD ec aux i s hopefu l tha t N ewYork C ity w i ll re c ons ide r tha t de c i s ion . I t 's easy to see w hy: The w inn ing c ompany , in the c ompe t i t ive

b idd in g , c ou ld have expec ted g ross r even ue of be tw een$ 1 b i l l i o n a n d $ 2 b i l l i o n o v e r t h e 2 0 - y e a r c o n t r a c tf r o m a d v e r t i s i n g i n c o m e , a g a i n s t a n i n v e s t m e n t o fabou t $1 00 mi l l ion to bu i ld the s t ru c tu res , a s w e l l a sthe cos ts of mainta in ing them. I t i s a lso promised greatp rom ot iona l va lu e a s the p rov id e r of f ix tu res d es ig na ted as N YC ' s o f f i c i a l s t andard .N o n e t h e l e s s , J C D e c a u x c o n t i n u e s to m a k e p r o g r e ssin b r ing ing to A m er i c an s t r ee t s the s ty le andfunc t iona l i ty a l r eady f ami l i a r to Europeans . Las tyea r , in a demons t r a t ion p rog ram, Ch i c ago took on2 4 of t h e c o m p a n y ' s p e d e s t a l n e w s s t a n d s . J C D e c a u xe x p e c t s a n R F P ( r e q u e s t f o r p r o p o s a l ) f o r a m o r eexpans ive l ine of s t reet furni ture to be is sued shor t ly .

l i


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I S S U EM u l t i f u n c t i o n a l B u s S h e l t e r sSince JCDecaux inventedthe first advertising busshelter in 1964, it has cont inually incorporated newweather-resistant materialsand introduced servicessuch as telephone boothsthat waiting passengerswant most. B u s S c h e d u le

JCD ecaux embraces technology thatoffers greater conven ience to the public. Its

In fob us paging device alerts passengers tobus arrival times on a specific route. Some

shelters also post arrival updates electronically.

A u t o m a t i c C l e a n i n gThe universally accessible automatictoilet is ingeniously engineered so

that it cleans itself after every use.It features a self-cleaning floorand a self-flushing toilet, with

a seat that retracts into a wall forsanitizing and warm -air drying.

U n i ve r s a l l y Ac c e s s i b l e To i l e tSituated in much-traveled pedestrian thoroughfares in San Francisco, JCD ecaux'spublic toilets offer state-of-the-art featuresthat make it universally accessible to everyone. The exterior panels of the structurefeature Q a street map of the area sincemany people using the facility are touristsand instructionswritten in multiple languagesand braille.

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Clear Line of SightThe clear surfaces ofJCDecaux shelters alloweasy maintenance and givepassersby a v iew of the adposter from various angles.Large backlit panels illuminate the posters at nightmaking them visible fromgreat distances. Rigorous Maintenan ce

JCDecaux keeps its street furniture cleanand w ell-maintained for user comfort andto assure advertisers that their posters willbe displayed in the most appealing setting.

Pictogram InstructionsTo assist the city's m anyforeign visitors, instructionsfor the coin-operated publictoilet are largely explainedthrough pictograms Q . Insuitable for people withsmall children, the toiletsare automatic to allow a

of 20 minutes pervisit, discouraging undesirable long-term use.

The company i s a l so commit ted to new technology andn e w a v e n u e s o f e x p a n s i o n i n A m e r i c a , s a y s J C D e c a u xU S A C E O B e r n a r d P a ri so t . I n 1 9 9 8 , J C D e c a u x e s t a b l i she d i t s Ma l l Sca pe ope ra t i ons , a p rogra m t ha t pos i t i ons t he U.S . shoppi ng mall a s a n e w a d v e r t i s i n gm e d i u m . J C D e c a u x s i g n e d a n e x c l u s i v e 1 5 - y e a r c o n t r a c t w i th th e S i m o n P r o p e r t y G r o u p , t h e w o r l d ' sl a rge s t c om me rc i a l r e a l e s ta t e ow ne r a nd ma na ge r . Asa re su l t, J C De c a ux w i ll i ns t a l l ove r 5,000 a dve r t i s i ngs t r u c t u r e s i n 1 3 0 m a l l s i n 3 5 s t a t e s . I n a d d i t i o n , i ts i g n e d a c o n t r a c t w i th U r b a n S h o p p i n g C e n t e r s ,Ame r i ca ' s t h i rd - l a rge s t shoppi ng ce n t e r ope ra t or . Tha td e a l a d d s m o r e t h a n 3 5 p r e s ti g i o u s malls l i ke Wa t e rTowe r P l a ce i n C hi ca go , Sa n Fra nc i s co Shoppi ng C e nt rea nd C opl e y P l a ce i n B os t on .

" I t ' s a n e x t e ns i on of our bus i ne ss . Wi t h t he i rm i x t u r e o f e n t e r t a i n m e n t a n d r e t a i l , A m e r i c a n mallsa re more l ike a r e c re a t i on of y our t r a d i ti ona l dow nt ow na r e a s . T h e y e v e n h a v e n a m e s l i k e 'Town C e n t e r , ''Town S q u a r e , ' " s a y s P a r i s o t . "We've b e e n w o r k in gw i th d e v e l o p e r s f ro m c o n c e p t . T h e y w a n t t h e m t oi n c o r p o r a t e s i g n a g e , t o f u n c t i o n l i k e a d o w n t o w n . "J C De ca ux USA' s co l l e a gue s i n Europe a re now e xpl or i ng t he i r ow n ve rs i on of t hose Am e r i c a n e f for ts .

I f t he U.S . subs i d i a ry i s be g i nn i ng t o i n f l ue nceE u r o p e a n o p e r a t i o n s , i t ' s t h e c o m p a n y ' s c o n t i n e n t a lt r a d i t i ons t ha t ma y he l p cha nge t he fa ce o f Ame r i ca nurban l i fe . Much of the outdoor adver t i s ing in Europehas long been accepted as a l ive ly kind of s t ree t a r t ,w i t h a d a ge nc i e s t u rn i ng ou t some of t he i r mos t sophi s t i c a ted w ork for use on c i ty s t ree t s . The U.S. , of c ou rse ,has a di f fe rent hi s tory of the med ium . Inc ons i s tent a tbe s t , much of t he count ry ' s ou t door a ds a re r e l e ga t e dto bottom-of-the-barrel b i l l b o a r d s t a t u s . J C D e c a u x ' ss t r e e t fu rn i t u re e l e ga n t l y f ra me s ou t door a ds , show c a s ing them in la rge back- l i t kiosk panels . In doing so,t he compa ny he l ps e l e va t e t he me di um, e nha nc i ng t hequa l i ty of w hat is a l ready an inev i table pa r t of urb anl ife, a nd ma ke s i t more pa l a t a b l e fo r c i t i e s t o i ncorpora te i t into the i r urban des ign planning ma ki ng s t r e e tfu rn i t u re w ork do ubl e du t y a s a n a dve r t i s i ng fo ruma nd me a ns t o re d uc e s t r e e t c l u t t e r.

" I t ' s a n obvi ous u rba n so l u t i on , " s a y s t he compa ny ' sU S chief, P a r is o t . " J C D e c a u x w a n t s t o e n h a n c e t h equal i ty of l i fe and offer se rvi ces a t no cos t . "

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Few things are more maddening - or effective, depending on how you look at it - than having a silly advertising jingle stuck in your head. Ask practically anyoneto repeat some that come to mind, and you'll be bombarded with taglines and slogans, often for productsthat haven't been produced in decades. Like children's

S3MV13 a31SOd3 S . D 9 0 1 1 3 M "OS 33 33 00 3SHOH 113MXVW '62 30 NV dn SN I 1 V 11 N 3 a fl d d ' 8 2 dHOS S , 1 1 3 d d l / W 3 ' L Z d 3 Z 11 3 S - V > 1 V 'd 3 i n d ^ O O 3 1 d d V 'LI A ^ l d V " S ' f l '91 9 1310IAI '51 SSdddXd NV 0l d3 ^V ' V I 0 N I M d 3 0 d f i a ' S I S3NI1d lV a 3 11 N n '2 1 SIAV ' I I S30Vd M 0 1

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rhymes, these marketing slogans are part of our culturalvocabulary. We love them because they're approachable,friendly, to the point. They speak to who we are as individuals and what we want. They humanize the brandand give it personality as well as an identity. Try matching these slogans ^ ^ ^ to their products.The Pausehat RefreshesDifferent

Kind ofCompany.A DifferentKind of Car.

YouDeservea B r e a kTodayW O R D SC O U N T !

We'reNumber Two.We TryHarder.

Think DifferentIfe B r i n gG o o dT h i n g s

ALittleDab'llDoYa

The WorldOn Time

G e t aP i e c eo f t h eR o c k

Does She,or Doesn'tShe?

Melts inYour Mouth,Not in YourHand

Good tothe Last DropThey're G-r-r-reat!

V 3 lAISIAI 'QZ l Oy i VI O SSIIAI 'VZ ^ 3 3 d 0 1 A y g -Z IS IV I -H V IS 22 N I lM U V H 3 ' 1 2 l V 3 d O , l ' 0 2 0 l d l 3 3 1 3 ! V d 3 N 3 3 ' 6 1 X 3 0 3 3 ' 8 1113 9 ' 0 1 S . a i V N O a 3W '6 V1O3-V0 OO '8 Ndf l lVS 'L 3 >\ I N ' 9 V 0 3 1AI01 "9 X3I/MI1 'V d H~Z ' S O IV l O d 'Z S3I/\II1 X^OA M 3 N 3 H 1 ' I

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P i c t u r e T h i sAt a t im e w h e n p r i n t c o m m u n i c a t o r s a r e l a m e n t i n g t h a tb r o a d c a s t a n d e l e c t r o n i c m e d i a h a v e c a r v e d d e e p i n r o a d sinto the i r m arke t , Br it ish pu b l i sh e r DK Eyew i tness Booksis sel l ing mil l ions of visually lavish travel guides and refere n c e b o o k s w o r ld w id e b y m a k i n g w o rd s a n d p i c t u r e s w o rktoge ther on the pr in ted page .

Christopher J . Dav is , Dep u ty Ch a i r m an& Publisher, DK P u b l i sh in g , L o n d o nWith DK Publishing since it was founded in 1974, Davisfirst served as publishing director and then became deputychairman in 1987 when Christopher Dorling retired.

Do u g las A m r in e , E d i to r - in - Ch ie f ,DK E y ew i tn ess T rav e l G u id es , Lo n d o nAmrine spearheaded the launch of the DK EyewitnessTravel Guides in 1993. Today with his 42-member staffin the UK, he oversees creative teams in over 10 countries.

S a y t he w ord " re fe re nc e boo k" a nd mos t pe opl et h i nk of some t h i ng bor i ng a nd a ca de mi c . B ut DKEyew i tness Book s i s prov ing tha t doesn ' t hav e tobe the ca se by show i ng re a de rs i n p i c t u re s w ha t o t he rbooks on l y t e l l t he m i n w ords . S i nce DK i n t rod uc e d i tsEyew i tness ser ies in 19 88 , i t has sold over 40 mi l l ioncop i e s i n 44 l a ngua ge s (a nd t ha t ' s no t count i ng t hemi l l ions of other books packaged under the DK imprint ) .

W ha t ma ke s DK Ey e w i t ne ss B ooks so c omp e l l i ngi s a " l e x i gra phi c " de s i gn s t y l e de ve l ope d by Pe t e rKi nde rs l e y . A gra phi c de s i gne r by t r a i n i ng , Ki nde rs l e yc o- foun de d DK w i t h e d i t o r C hr i s t oph e r Dor l i ng in1974 t o pa cka ge books fo r s a l e t o ou t s i de publ i she rs .The n i n 1982 , DK be ga n publ i sh i ng h i gh l y i l l us t ra t e dr e f e r e n c e b o o k s o n i ts o w n .D e s p i t e t h e c o m p a n y ' s s u c c e s s ,K i n d e r s l e y f e l t t h a t b o o k s i ng e n e r a l w e r e n ' t k e e p i n g u pw i th t h e s p e e d a n d e n t e r t a i n me nt va l ue o f b roa dca s t me di a .His search for a solut ion led toa d e s i g n a p p r o a c h th a t i n t e g r a t e d w o r d s a n d i m a g e s in a

P a r e n t C o m p a n y : Dorling Kindersley Holdings PLCBusiness L ine: Publisher of reference books,CD-ROMs and broadcast programsP r in c ip a l O f f i c e r : Peter Kindersley,Chairman and CEORevenue: $3 32 .7 m il l ion U.S., f iscal 1 999N u mb e r o f E m plo y e e s W o r ld w id e : 2 , 5 0 0

w a y t ha t c onve n t i ona l books ha d ne ve r don e . B y w ra pp i ng e xpos i t o ry t e x t a round s i l houe t t e d i ma ge s , DKbooks use d p i c t u re s t o g i ve me a ni ng t o t he w ords a ndw ords to g ive me a ni n g to t he p i c t u re s .

In 1987 , DK t e s t e d t h i s l e x i gra phi c conce p t i n ach i l d re n ' s r e fe re nce se r i e s , c a us i ng a se nsa t i on worldw i de . "The s t y l e l e d us t o bu i l d a w hol e c h i l d re n ' sbu s i n e ss ou t of book s ba se d on t ha t l ook a nd a l so t ot a ke i t i n t o o t he r a re a s , " s a y s C hr i s t ophe r Da vi s , DK' sd e p u t y c h a i r m a n . P a r e n t s a n d e d u c a t o r s q u i c k l ye m b r a c e d t h e l e x i g r a p h ic a p p r o a c h , an d D K b e g a nhea r ing from peop le w ho told them tha t even d yslexi cc h i l d re n l ove d it s books . "Fa c e d w i th a g ra y wa l l ofsol id text , c hi ld ren w i th learn ing di ff i cul t i es a re of ten

i n t i mi da t e d , " Da vi s t he or i z e s ." B u t w h e n w o r d s a n d p i c t u r e sa re l i nke d i n b i t e - s i z e chunks ,they find i t easier to 'graze ' ont he pa ge a nd a bsorb ma na ge able amounts of t ext . They cansee tha t the text i s expla iningt h e p i c t u r e a n d t h e p i c t u r ebr ings the text to l i fe . "

16


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This s igna ture s ty le of a l l DK Eyew i tness boo ks h asprove d e qua l l y compe l l i ng t o a du l t ma rke t s e gme nt st ha t DK s t a f fe r s d i v i de i n t o " show me " a nd " t e l l me "p e o p l e t hose more s t i mul a t e d by i ma ge s t ha n w ords ,a nd v i ce ve r sa . R i c h w i t h c on t e n t , Ey e w i t ne ss booksuse a l ive ly mix of ful l -color p hoto grap hs an d i l lus t ra t i ons , c u t a w a y a n d c r o s s - s e c t i o n v i ew s , 3 - D m o d e l sa nd ma ps t ha t he l p re a de rs v i sua l i z e t he sub j e c t . Thea c compa ny i ng t e x t a c t s l i ke a vo i ce ove r , e xp l a i n i nga nd a d d i n g ne w l e v e l s o f i n forma t i on t o w ha t t her e a d e r s e e s .

Thi s p i c t u re - i n t e ns i ve s t y l e , p r i n t e d on pre mi umcoa t e d pa pe r , i s unde rs t a nda bl y e xpe ns i ve t o p roduce ."The mone y goe s on t he pa ge , " Da vi s sa y s . To re coupi t s s izeable upfront cos t s , DK focuses on re ference subjec t s tha t have a long she l fl i fe and on giving each booki m m e d i a t e w o r ld w i d e d i s t r i bu t i on . Mos t non-Engl i she d i t i ons a re p r i n t e d w i t hforei gn pa r t ne r s w ho w orkne a r l y s i mul t a ne ous l y ont ransla ted vers ions tha t f i tinto the des ign. "We areable to spend more on apa ge by ha v i ng a huge communi t y o f ma rke t s t o support i t , " says Davis . "Ourb o o k s h a v e b e e n c o n c e i v e dt o ma ke sure e ve r y t h i ngba c k l i s t s a s mu c h a s poss i b l e . We t ry eve ry w hi c h w a yto keep them going." Today over 80% of a l l the t i t l esDK has publ i shed are s t i l l in pr int .As a n i n t e rna t i ona l pub l i she r , DK i s pa r t i cu l a r l yse ns i t i ve to how i ts books w i ll be re c e i ve d i n c u l t u re sa s d ive r se a s I r e l a nd a n d Ind i a . "O ne re a son for show i n g s i l h o u e t t e d o b j e c t s i n t h e k i d s ' b o o k s , " D a v i sexpla ins , " i s tha t i f a London bus or a suburban housew a s i n t he ba ck grou nd , i t w oul d conve y i n forma ti ontha t a c hi ld in Mexic o Ci ty , Ta iw an or Stut tgar t w ouldlook at and say 'this book do esn ' t w ork for m e. ' We seeourse l ve s l i ke B e ne t t on or Ga p , w he re y ou don ' t t h i nka bout t he co unt ry w he re the p rod uc t o r i g i na t e s . "

Anot he r r e a son for DK' s si gna t ure w hi t e ba c kgro undis i ts fast idious desire for absolute clari ty. For i ts anim a l b o o k s , D K p h o t o g r a p h s l i v e l i o n s , t i g e r s a n d

The First Book"The First Aid Manual," issued in1982, was the first book that DKpublished under its own imprintin the United Kingdom. While thebook relied strongly on images toexplain the subject, the famous DKEyewitness lexigraphic design stylewas yet to emerge. Nevertheless,the book went on to sell six millioncopies in 22 languages.

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I S S U E :Travel Guide ProgramSince being introduced in1993, more than 11 millionDK Eyewitness Travel Guideshave been sold worldwide.Currently the line features37 titles, including five U.S.destinations, with plans for100 titles by 2002.

EYEWITNESS > TRAVEL GUIDES

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RUSSIANPHRASE BOOK

t h e n e x t e d i t i o n . " B u i l d i n g s g e t r e n o v a t e d , o p e n i n gh o u r s a n d p h o n e n u m b e r s c h a n g e . A l l o f t h a t h a s t ob e r e s e a r c h e d a n d u p d a t e d .

The Travel Guides s taf f i s a lso concurrent ly involvedin produc ing f ive or s ix books a year in mul t ip le language s , w i th a goa l of pub l i s h ing man y more i n c l u d ing t r ave l gu ide ed i t ions fo r c h i ld r en . "We have beens e t t ing up c r ea t ive t eams ou t s ide ou r o f f i c e s and c on t r a c t ing ou t p roduc t ion in many d i f f e r en t c oun t r i e s , "Amrine s a y s . "We a l r eady have c r ea t ive t eams in I t a ly ,P o land , S ou th A f r ic a , th e U .S . , I nd ia an d S ingap ore ,a n d w i ll h a v e m o r e c o u n t r i e s c o m i n g o n in t h e n e x t

f ew mon ths . They a r e a l lw o rk ing to ou r b r i e f s , gu ide l i n e s a n d s t a n d a r d s . "

E y e w i t n e s s T r a ve l G u i d e si s a l s o w ork ing tow ard ag r e a t e r p r e s e n c e o n D K ' sw ebs i t e . "We p lan to s c an inthe en t i r e c on ten t s o f ou rTrave l G u ides s e r i e s , " s aysA mr ine . "Every s ing le doub l e - p a g e s p r e a d w i l l b es c a n n e d a n d p l a c e d o n l i n e .I t w i l l b e a t r e m e n d o u sres ou r c e of image s and in fo r ma t ion . We ' l l a l s o be pos t ingupda ted in fo rmat ion fo r ou rgu ides a s w e r e c e ive i t . "

Th i s on l ine c onnec t ion i sa na tu ra l f or D K , w h i c h ea r ly on an t i c ipa ted how peo p le now s u r f the Web . "The in fo rmat ion i s p r es en ted ins u c h a w ay tha t you c an p i c k i t up an d move in anydirec t ion . You don ' t have to s tar t f rom page one and got o t h e e n d , " s a y s A m r i n e . " I t h i n k t h e E y e w i t n e s sTrave l G u ides o r any s oph i s t i c a t ed D K re fe r enc e booki s abou t a s c lo s e a s you c an c ome to a mu l t imed iap rodu c t in a p r in ted fo rm."

Bu t tha t does n ' t me an D K fo res ees bec om ing s t r i c t lya mu l t imed ia pub l i s he r . "P eop le a c c es s in fo rmat ion inman y w ays , " D av i s exp la in s . " I t ' s o ft en eas ie r to lookup an en c yc loped i c en t ry in a book bec aus e you c an s eethe c overage a t a g lan c e . " Bu t more and more , he adds ,D K w i l l m a r k e t i ts b o o k s w i t h m u l t i m e d i a p r o d u c t sand i t s mu l t ime d ia p rodu c t s w i th books . " In the fu tu re ,I th ink w e w i l l move fo rw ard in a pa ra l l e l un ive r s e . "

Co mpanion GuideA natural extension of the DKEyewitness Travel Guides, thePhrase Books include the samekind of practical informationand logical organization thatEyewitness users have come toexpect. The cover treatmentsfor both series are the same socustomers will intuitively understand the link.

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I S S U E

are not only interested in where to eat, but what to eat-Eyewitness shows readers in crisp photographic detailike and how it is usually served.

S urvival How-to GuideForeign visitors are often stumped by basic things - what a publicphone looks like and how to use it, or the denominational value ofdifferent coins. Eyewitness presents step-by-step instructions.

Street-by-Street MapThe use of aerialstreet drawingsallows superfluousdetails to be editedout. The dottedline suggests themost interestingroute, with photosof building facadesto aid recognition.


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T h e $ 4 , 0 0 0 C o m m aYour annual report is printed. Everyone is pleased. Andthen you get the printing bill. What's this?! A $4,000 chargefor type corrections made on press! But...but...you sputterto yourself, I just added a comma and corrected a fewmisspellings!

Before you accuse the printer of gouging you, keep in mindtha t any change on press - even a single comma - isn't assimple and inexpensive as correcting a typo on a desktopcomputer. A printing plant, after all, is a manufacturingoperation involving dozens of complex, sequential processesand many workers. Stop the presses, and the impact isfelt up and down the line. The press sits idle, while theprep department scurries to fix the problem and remakef i lm, blueline and plates. More than a dozen people maybe affected, and several hours lost.

Granted, mistakes occasionally happen, no matter howcarefully the job was proofread before release to the printer.But a press check isn't the time to start proofreading; it'sintended as a last chance to make sure that all previous corrections have been made. Avoiding proofreading correctionson press is the best way to avoid incurring additional costs.But it takes cooperation from everyone and awareness thateven adding a single comma can add up to big money.

C o s t R a ti o C h a r t

Notes1 . These costs are estimates and mayvary, depending on your printer.2 . Pre-press expenses are included aspart of the sheet-fed and web press cost3. Paper is not included in the statedcosts since that varies considerablydepending on how far into the run thechange is made.People Involved:# Prep: Production Manager, Prep

I Foreman, Computer Operator/Stripper, Film Operator, Proofer.

# Sheetfed Press: Head Pressman,I Second Pressman, Feeder.

# Web P ress: Head Pressman,I Second Pressman, Feeder,

Jogger/Feeder, Flyboy.Time Involved :

> Total of time for labor andpress down time, if necessary.

W e b P r e s s

S h e e t - F e d P r e s s

Pre-press

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O N E - C O L O R C H A N G E

$1,520

O N E - C O L O R C H A N G E in mmmmmmmV V. 31 $980

O N E - C O L O R C H A N G E

$150

F O U R - C O L O R C H A N G E

$2,350

F O U R - C O L O R C H A N G E

$ 4 5 0

O n e -C o l o r C h a n g e Fou

ir-Color C h a n g e

F O U R - C O L O R C H A N G Emmmmmmmmmm(9 I 3j $ 3 , 1 7 5

S i x - C o l o r C h a n g e* M l f l i l l l H I I M J mmmmmmmmmm(T) $3,994

$4,000

$3,500

$3,000

S I X - C O L O R C H A N G E

$2,780$2,500

$2,000

$1,500

$1,000S I X - C O L O R C H A N G E

$560$ 500

J 0_2 5


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O p e n F o r B u s i n e s sW h e n A l c o a so u g h t to b r e a k d o w n t h e w a l l s t h a t i n t e r f e r e dw i th e m p l o y e e i n t e r a c t i o n a n d q u i c k d e c i s i o n - m a k i n g , it d i dso l i te ra l ly . In bu i ld ing i t s new h e a d q u a r t e r s , t h e c o m p a n yb a n i s h e d p r i v a t e o f f i c e s , d a r k c o r r i d o r s , c e n t r a l e l e v a t o rb a n k s a n d o t h e r p h y s i c a l o b s t a c l e s t h a t s to o d i n t h e w a y ofc o m m u n i c a t i o n s , i nf o rm a l t e a m w o r k a n d s p o n t a n e i ty .

Paul H. O'Neill,Chairman a n d Director, AlcoaO'Neill joined Alcoa in 1987 as chairman and CEO (apost he retired from in May 1999). He was the first person elected CEO from outside Alcoa in its 99-year history.

Martin Powell, AIA, NCARBPrincipal-in-Charge, Th e Design AllianceLead architect for the Alcoa Center, Powell heads thePittsburgh-based The Design Alliance, which handlesnumerous corporate architectural projects in Pennsylvania.

I n a p re v i ous t op j ob , Al coa c ha i rm a n Pa ul O 'Ne i l lhad such a l avish off i ce tha t one movie s tudio pa id$500,000 to use i t as a backdrop in the Michae l J .F ox f il m , " T h e S e c r e t of M y S u c c e s s . " I n a n o t h e rgove rnm e nt pos i t i on , he w orke d i n t he sha dow of t heW hi t e Ho use , s i t ua t e d in mo num e nt a l qua r t e r s w i thpa int ings on loan from the Smi thsonian. Then O'Nei l ltook over the he lm of Alcoa and got to des ign hi sd r e a m w o r k s p a c e : a n o p e n 9 x 9 f oo t c u b i c l e , i d e n t i c a lt o e ve ry one e l se i n t he P i t t sburgh he a dqua r t e r s ."My forme r Wa sh i ng t o n off ic e w a s t he k i nd ofs p a c e t h a t i n t i m i d a t e d p e o p l e , e s p e c i a l l y o u t s i d e v i si t o r s , w he n t he y w a l ke d i n , " O 'Ne i l l s a y s . " I ha d t ow o r k h a r d to l e t t h e m k n o wt h e y s h o u l d n ' t b e . F o r c e r t a i nt h i n g s , t h e r e ' s s o m e t h i n g n i c ea b o u t th a t k i n d o f p l a c e . B u tf o r a n o r g a n i z a t i o n t r y i n g t oc r e a t e h u m a n c o n n e c t i o n s t om a k e t h i n g s go f o r w a r d , i ta l m o s t k i l l s r e a l c o m m u n i c a t i o n a n d c r e a t e s a n a r t i f i c i a le n v i r o n m e n t . "

A L C O A H E A D Q U A R T E R S F A C T S H E EL o c a t io n : Pittsburgh, PAC o m p le t io n D a t e : August 1998N u m b e r o f F lo o r s : SixB u i ld in g S iz e : 242,176 square feet of offices,with 95,900 square feet of underground park ingOn-Site Employees: 4 0 0Le a d A r c h i te c t : The Design All iance, Pit tsburgh

Th at ' s the las t thing O 'Nei l l w anted to do at Alco a ."The s ize of my cubi c le says to the res t of the organi za t ion tha t they a re as important as I am as measuredby t he i r w ork spa c e , " he sa y s . "Tha t ' s w ha t i t ought t obe to ge t the organ iza t ion to w ork toge ther . You c ouldne ve r a ch i e ve t ha t i n a n o l d- fa sh i one d spa ce . "

B ui l t i n 19 53 , Al c oa ' s fo rme r 31-story h e a d q u a r t e r sre pre s e n t e d O 'Ne i l l ' s i de a o f a n o l d- fa sh i one d spa c e .Al though la rger in s ize than the new s ix-s tory bui lding,i t had jus t 11,000 square fee t of usable space per f loor ,l ow c e i l i ngs , l ong c or r i dors a nd sma l l w i ndow s . "Th e rew e re li gh t l i mi t a t i ons , he i gh t l i mi t a ti ons a nd s t ruc t u ra lw a l l l i mi t a t i ons t ha t w e n t a l ong w i t h t he 19 50 s i de a

t h a t s p a c e s h o u l d b e a s s o c i a t e d w i t h pos i t i on m o r espa ce fo r h i ghe r l e ve l pe opl e ,the leas t des i rable inte r iorspa ce fo r a s s i s t a n t s , " O 'Ne i l le x p l a i n s , a d d i n g t h a t t h es t ruc t u re i t s e l f con t r i bu t e d t oineff i c iency and r igidi ty in thew a y t h e c o m p a n y f u n c t i o n e d .

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the inhe ren t l imi ta t ions of the old offi ce tow er c ouldne ve r be ove r come , so he t ook a d ra s t i c s t e p . He ga vea w a y t h e a l u m i n u m s t r u c t u r e l ong a P i t t sburgh l a ndm a r k t o a g roup of l oca l count i e s t o be use d a s ace n t e r fo r de ve l opme nt a ge nc i e s i n t he re g i on .

The move into s ix f loors of uninte rrupted space hashe l pe d t o b re a k dow n the w a l ls s e pa ra t i ng top ma n a ge ment f rom the res t of Alcoa ' s staff. " T h e n e w d e s i g n i sreal ly important for connect ing Alcoa leadership to everyone e l se in the plac e . I t ' s a w ay for me to see and beseen in a w ay I neve r cou ld do befo re ," asser t s O'Nei l l ." In the old bui ldin g I w ould dr ive into the garag e , ge ton the e leva tor r ight by the ent ry door and go upsta i rs .I 'd run into three people on the e leva tor and tha t ' s how

ma ny pe opl e I s a w e a ch da y except for those I hads c he d ul e d a pp oi n t m e nt s w i th . Now if I ha ve so me t h i ngto do on the first floor, lun c h or w hateve r, I tak e th ee s c a l a t o r dow n a nd I s e e 50 pe op l e o r 50 pe opl e c a nsee me. I t demyst i f ies the not ion tha t CEOs are roya l tyor some t h i ng w ho don ' t ha ve a ny t h i ng t o do w i t h re a lp e o p l e . T h e r e ' s a s e n s e o f c o n n e c t i o n . "

Le a d a r c h i t e c t Ma r t i n Pow e ll of The De s i gn Al l i a nc esa y s t ha t O 'Ne i l l ha d t ha t conne c t i on i n mi nd f romt he s t a r t . "Pa u l ha d e a r l y i de a s fo r c o l l a bora t i ve w orkus i ng e s ca l a t o r s r a t he r t ha n e l e va t or s , us i ng cof fe ea re a s a nd ca fe t e r i a s a s ma gne t s fo r co l l a bora t i on . Hea l so a ske d us t o de s i gn a bu i l d i ng w i t hout ha l l w a y sb e c a u s e t h e y s e p a r a t e p e o p l e a n d w a s t e s p a c e . "

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F or O 'N e i l l , eve ry e l emen t o f the bu i ld had to beres po ns iv e to the w ork s ty le o f the fu tu re an d th eo r g a n i z a t i o n ' s p o t e n t i a l . "Going fo rw ard in to the nex tc e n t u r y , w e ' ll se e m o r e e m p l o y e e i n t e r d e p e n d e n c e .W e w a n t a n e n v i r o n m e n t t h a t f o s te r s s e a m l e s s c o m m u n i c a t i o n s a c r o s s f u n c t i o n a l a n d p r o f e ss i o n a l s p e c i a l t i e s . We ' r e mov ing to a d i f f e r en t s t age beyond thei n d u s t r i a l r e v o l u t i o n a n d m a y b e e v e n b e y o n d t h ein fo rmat ion r evo lu t ion t o o n e w h e r e t h e b l e n d i n gof p e o p l e , i n fo r m a t i o n , k n o w l e d g e a n d s k i l l s requirem o r e f r ee - fo r m g r o u p i n g a n d a s s o c i a t i o n t h a n w h a tm o s t a r c h i t e c t u r e p r o v i d e s f o r . "

P ow e l l s ays tha t w as the key r eas o n fo r p la c ingin fo rmal k i t c hen s at the c en te r o f A l c oa ' s a r c h i t e c tu ra l

p lan r a the r than a t the pe r iphe ry . The k i t c hens a r edes ign ed to be in teg ra l to the w orkp la c e , no t an e s c apef rom i t . A l c oa a l s o c hos e to r e c r ea te the a tmos phere o fa f ami ly k i t c hen r a the r than a pub l i c c a f e w here peo p le a r e more l ike ly to ke ep to the ms e lv es . "T he e f fe c to f peo p le f low ing in and ou t of the k i t c hen and in andou t o f c on fe renc e rooms has c r ea te d a mu c h more c o l l a b o r a t i v e , d y n a m i c a t m o s p h e r e w h e r e t h i n g s h a p p e na lo t fas ter ," says Pow el l .

O ' N e i l l a g r e e s . " T h e o l d s p a c e w o r k e d a g a i n s t u s .I t w as typ i c a l to go in to your c ave a nd i f you w an ted tos ee s omebody e l s e , you had to make an appo in tmen t .N o w w e h a v e m o r e u s e fu l e n g a g e m e n t s b y a c c i d e n tt h a n w e u s e d to h a v e o n p u r p o s e . "

Se rpentine FormAnchored betweentwo historic bridges,Alcoa Center mirrorsthe serpentine curveof the AlleghenyRiver in a curtain-wall of glass an daluminum. ' ' r- ll ;fWT|fl||S --rr,;

N * nSandstone Base

On the river side, the open terraceand building base are cut from thesame sandstone as the adjacentbridge supports.

O AtriumO Open OfficesO KitchenO Conference Areas

Floor PlanTo allow every employeeto enjoy the natural light,al l workstations are no morethan 45 feet from windowsthat rise IVk feet high.The view looks out on theAllegheny River and thecity skyline beyond.

2 9


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@ I S S U E

To fur t he r e nco ura ge t e a mw ork , p r i va t e c l ose d-doo roff ic e s w e re no t on l y e l i mi na t e d , w orkspa c e conf i gura t i ons w e re de s i gne d so t he y cou l d be c ha ng e d i n a day .Eve n t he confe re nc e rooms ha ve g l a s s w a l ls so pe opl ec a n se e w ha t is ha p pe n i ng i n s i de . S t i ll , e ffo rt s h a vebe e n ma d e to re spe c t p r i va cy . A w hi t e sound sy s t e ma nd soun d-a bs orbe n t c e i l i ng , w a l l a nd f loor ing m a t e r i a l s r e duce no i se l e ve l s a nd e a ve sdroppi ng . Me e t i ngrooms of different sizes offer varying levels of privacya nd a c commoda t e g roups a s l a rge a s 150 . "We ha vee nough me e t i ng spa ce so e ve ry e mpl oy e e ca n be i na m e e t i n g , o u t o f t h e i r r e g u l a ra s s i g n e d w o r k s p a c e , at t h e s a m et i me , " O 'Ne i l l s a y s .

Al t hough i t w a s O 'Ne i l l 's i de ato go to an open plan, he i s blunti n h i s c r i t i c i sm of pop ul a r no t i onsa b o u t n o n - h i e r a r c h i c a l l a y o u t s ."It's not as s imple as c rea t ing ar a b b i t w a r r e n , " h e s a y s . " T h o s ea r r a n g e m e n t s a r e d e h u m a n i z i n g . "Prior to moving forw ard on arc hi t e c t u r a l p l a n s , A l c o a t e s t e d t h ec o n c e p t b y c o n v e r t i n g t h e t o pf loor of the old bui lding into anope n furn i t u re l a nds ca pe a nd s i t ua t ing i t s top nine execut ives andt h e i r a s s i s ta n t s t h e r e . I t w a s a t h r e e - y e a r c h a n g i n gw ork in pro gre ss tha t ul t imate ly proved the posi t ivesou t w e i ghe d t he ne ga t i ve s .

How ever , not a ll of Alc oa ' s top man agers imm edia te lyboug ht i n t o t he ope n p l a n . "Wi t h som e of t he h i gh-leve l exec ut ives , it w as T w orked l ike a dog to ge t thec orne r o ff ic e w i th t he p r i va t e ba t hroom a nd w hy a m Igoing to have to give al l that u p ? ' " says O'Nei l l . "Butt ha t ' s no t a bout t he good of t he o rga n i z a t i on , t ha t ' sa bout s t a t us g ra t i f i c a t i on . Pe opl e a re d i s cove r i ng y ouca n s i t r i gh t ou t i n t he ope n a nd be pr i va t e . P r i va cyi s n o t a b o u t w a l l s . "

In ma ny w a y s , pe op l e ha ve ha d to c ha ng e t he w a ythey w ork. St il l , the envi ro nm ent i s responsive to thena t ura l workf l ow a nd se ns i t i ve t o huma n ne e ds . Eve ryw orks t a t i on i s s i t ua t e d no more t ha n 45 fe e t f romHV2-foot hi gh w i ndow s . Pow e l l no t e s tha t O 'Ne i l l , a na c c om pl i she d w a t e r co l or i s t , ha s a ke e n se ns i t i v it y tol ight and be l iev es tha t na tu ra l light jus t mak es p eop le

Open WorkstationsAll Alcoa employees, including senior executives,occupy the same size 9x9 foot cubicles. Designedto encourage cross-functional collaboration, theopen plan also acknowledges that computers,voice mail, e-mail and other technologies havetransformed the way people work and the amountof space they need.

fee l be t te r . "We ge t a lot of gray days in Pi t t sburgh,"O'Nei l l says . "Yet in thi s bui lding you have a sense ofa rea l ly l ight fee l ing. You have a sense of be ing outs idea lot of the t ime. We w anted to make su re w e brou ghti n a s much na t ura l l i gh t a s poss i b l e . "

The bu i l d i ng ' s o rga n i z a t i on i s me a nt t o r e se mbl e aser ies of vi l l ages on the banks of the Al legheny River .Pi t t sburg h 's dow ntow n is def ined l i t e ra l ly and f igurat i ve l y by t he coa l i t i on of i t s t h re e sur roundi ng r i ve r s .The bu i l d i ng conne c t s t o bo t h t he c i t y a nd t he r i ve r onone fagade and Pi t t sburgh 's old fac tor ies on the other .

O 'Ne i l l 's c ho i c e of t he i nd us t r i a lw a terfront s i t e he lpe d to out l inet he bu i l d i ng ' s a e s t he t i c s . "Thi sS-sha pe d bu i l d i ng i s o rga n i z e dto face th e river," explains Pow ell ."I t ' s only 50 fee t from the w a ter,s i t u a te d b e t w e e n tw i n b r i d g e s .One br i dge i s pe rpe ndi cu l a r t othe r iver w here i t begins to cu rve ,a nd t he o t he r b r i dge s l a n t s al i t t l e aw ay . Th e r ive r be gin s tos w e e p a n d t h a t ' s a c t u a l l y t h eg e n e r a t i o n of t h e b u i l d i n g ' sc u r v e . " T h e b u i l d i n g ' s b a s e i scu t f rom t he sa me sa nds t onesuppor t s o f i t s booke nd br i dge s

to look as if i t grow s out of the riv erb an k. Alc oa alsochose to leave i t s ident i ty off the exter ior to ensure tha tno t h i ng i n t e r rup t s t he ly r i c a l w a ve - form of a l umi nu ma nd g l a s s .

The w a t e r f ron t s i t e w a s a l so a w a y for Al coa t ou n d e r s c o r e i t s c i v i c c o m m i t m e n t . A l c o a b e c a m e a p i o n e e r s u p p o r t e r of r e v i t a l i z in g P i t t s b u r g h ' s r u n d o w nindus t r ia l a rea , and O 'Nei l l w ent on to head Pi t t sburgh 'sRiverfront Commiss ion. (More than $2 bi l l ion of deve l opm ent i s now un de r w ay in tha t par t of the c i ty . )

T h e A l c o a c o r p o r a t e c e n t e r h a s p r o v e d t o b e as t ra te gy for u rba n re ne w a l a s w e l l a s co rpora t e g row t h .I t p l a y s i n t o t h e i d e a o f " c o n n e c t e d i n t e r d e p e n d e n c e "on a c i v i c a nd corpora t e l e ve l . " [Wi t h t h i s ne w bu i l d ing, ] the most important thing i s for people to be ablet o a s so c i a t e w i t h e a c h o t he r i n a n ope n w a y , a l mos tb e c a u s e t h e s p a c e d e m a n d s i t , " O ' N e i l l s a y s . " W eneed to mix func t ions , not for the sake of mixing them,but to r e f le c t how pe op l e ' s w ork br ings t he m t oge t he r . "

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A Ligh t-Filled S paceThe six-story a trium, w ithits glass-sided escalators,lets natural light penetrateto every level of the building, and gives people onevery floor a sense of connectedness. The widespread use of glass revealsmovement and activityeverywhere, contributingto the dynamic energy ofthe place.


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D E S I G N A N D B U S I N E S S C L A S S I C : S W I S S A R M Y K N I F Ehe Swiss Army Knife by Victorinox has made more timelyrescues than Superman. Astronauts have used it in outerspace. Adventurers have taken it to the North Pole, to

Light, slender and compact, the Officer's Knife includedthe blade, awl, can opener and screwdriver available on theSoldier's Knife, plus a second small blade and a corkscrew. It

the top of Mount Everest and into the tropica l rain forests of became an instant bestseller for Victorinox (named Victoriathe Amazon. In a pinch, it's been used to perform emergencysurgery, screw down loose bolts, open tin cans and file hangnails. To Boy Scouts and "damsels in distress," the SwissArmy Knife is a handy survival tool - small enough to tuck inyour pocket or keep in your purse.

This ingenious pocketknife was invented in the late 1800sby a Swiss cutler named Karl Elsener. Elsener wanted to stimulate employment in the poverty-stricken district in which hegrew up by crafting knives that were then being importedfrom Germany. He first designed a hefty multi-purpose knifefor soldiers in the Swiss Army and followed it with other profession-specific models, bearing such names as Cadet Knifeand Farmer's Knife. But none approached the success of theamazing Officer's Knife introduced in 1897.

for Elsener's mother in 1909, with the suffix "inox" meaningstainless steel added in 1921).American GIs stationed in Europe after World War IIdiscovered the inexpensive pocketknives in PX shops andbought them by the thousands to take back home. Americanshave clamored for them ever since. Today the Officer's Knife- which most people simply call the "Swiss Army Knife" - isavailable in more than 100 different combinations. The flagship SwissChamp model has 33 different features packedinto a 6.5 ounce "toolbox." Precision-engineered using 64separate parts, the SwissChamp requires more than 450processes during manufacturing. This quality has built consumer confidence - so much so that some people have evenstaked their lives on it.


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