BRYE & KO | Architectonics
Brye Kobayashi. Graphic Designer from Hawai‘i.
brye kobayashi, brye, bryeko, brye & ko, brye design, brye kobayashi design, bryeko design, design, graphic design
portfolio_page-template-default,single,single-portfolio_page,postid-312,ajax_fade,page_not_loaded,,qode-title-hidden,overlapping_content,qode-content-sidebar-responsive,wpb-js-composer js-comp-ver-5.0.1,vc_responsive
Architectonics – Rem Koolhaas

Based on the architect and 2000 Pritzker Prize laureate, Rem Koolhaas, this project explores his design philosophies through the use of typography. Focusing on three core foundations of his architecture, a box containing a book, series of fliers and set of cards were created.


The Generic City, a phrase Koolhaas uses to describe the adaptable and limitless potential of mega cities, where buildings from the outside do not reveal what goes on inside. Printed on standard 8.5″x11″printer paper – a readily accessible material – the entire project is easily reproduced on a laser jet printer. The container made from inexpensive #60 and #80 Pacesetter paper, with nothing but a name and number designated on the outside. The material, form and subtle use of typography do not specify to the viewer of what is to come.


The Paranoid Critical method – borrowed from Salvador Dalí – is a way of viewing things from multiple perspectives, and is the foundation of the form of this project. The book is made up of multiple little booklets connected together by the deck of cards, and each booklet unfolds into a flier on the reverse.Each page and card are numbered, corresponding to the order in which they are arranged. Every element can be read alone, or together in a sequence, offering the reader multiple methods of viewing the project.


The Animated Building, a term coined by Koolhaas, is a distillation of his background in screen writing. This method of arranging spatial elements into a continuous narrative is expressed in both the narrative of the book and the process of unboxing and unfolding the project. Thus, the form itself is as much a narrative as the content of the text.