New York City is known for its canyons of concrete, but the metropolitan area also encompasses over 5,300 acres of forests and 3,100 acres of wetlands and river systems. (Altogether, New York City’s natural parkland would fill Manhattan from the Battery to 125th Street in Harlem.) The Natural Areas Conservancy is an affiliate of the New York City Department of Parks and Recreation with the mission to protect, restore, and manage the expansive natural areas already within the city’s urban park system. Pentagram’s Paula Scher has created a new identity for the organization that brings the beauty of these spaces to the fore.
The identity utilizes photography to show exactly what the Natural Areas Conservancy is trying to preserve. The program uses photographs by Joel Meyerowitz that were originally commissioned by NYC Parks for the 2009 book Legacy: The Preservation of Wilderness in New York City Parks. Scher suggested the images be used for the Natural Areas identity, and Meyerowitz gave access to the photos as a gift to the city.
“People see Joel’s photos and say, ‘That’s New York City?,’” says Scher.
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Partner DJ Stout and designer Barrett Fry in Pentagram’s Austin office have designed a new sign and additional branding materials for the second location of Lucy’s Fried Chicken on Burnet Road. The sign Stout and Fry created for the original South Congress Avenue restaurant in 2012 featured a dark-haired Lucy holding a chicken leg and kicking one of her own human legs through the magic of old-school neon animation. The Pentagram team worked with Austin’s retro-sign guru Evan Voyles on that sign and the new one, which features a sassy redhead. Owner James Holmes named the restaurant after his grandmother who taught him how to make fried chicken.
“At first he was thinking it would just be the exact same sign,” says Stout. “But we suggested introducing a new girl, maybe her sister, for the second location. This time Lucy’s holding a bucket of chicken and wearing a blue dress with white polka-dots.”
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A former printing factory originally built in 1910, The Printing House in New York’s Far West Village is an iconic landmark of the area’s industrial past. First converted to condominiums in the 1980s, the building has relaunched this year with a new renovation that transforms many of its units into luxury loft-style residences. Pentagram’s Luke Hayman and team have created a brand identity and marketing campaign for The Printing House that plays off its origins to position it as a chic, contemporary place to live in one of the city’s most desirable neighborhoods. Pentagram partner Emily Oberman collaborated with the team on messaging, writing and creative direction for the advertising.
The designers worked closely on the project with Corcoran Sunshine Marketing Group and the building’s developer, Myles J. Horn, who specializes in renovating and repositioning existing properties. The new conversion reconfigures 104 of the building’s 184 existing condominiums into 60 larger residences designed by the award-winning architectural firm workshop/apd, with a private mews designed by Gunn Landscape Architecture. Taking its cues from the renovation, the branding highlights The Printing House as, in the words of the campaign tagline, “A Revolution in Industrial Luxury.”
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December 2014 marks the 10th birthday of Sage Gateshead, one of Britain’s leading music centres in the Northeast of England. During the past ten years Sage Gateshead, built by Foster + Partners, has had a footfall of over five million people, hosting a variety of musical performances from classical to pop to folk.
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Construction on New York’s Cathedral Church of Saint John the Divine first started in 1892, when ring tones were pealing bells and messaging involved printed handbills. Work on the uncompleted building continues, but the Cathedral has put the finishing touches on a new website that helps it spread the good word to a 21st century congregation. Designed by Pentagram’s Michael Bierut and team, the site integrates the new identity Bierut has created for the institution, most recently implemented on signage for the Cathedral grounds.
With its broad range of programs, the Cathedral is a community and cultural institution as much as a place of worship, and serves a large constituency that goes well beyond its home neighborhood of Morningside Heights. The designers worked closely with the Cathedral to structure the website’s content and establish clear, simple appearance standards to meet the needs of its wide audience. Bandwidth Productions led the site’s technical implementation. The site also has responsive functions to work specifically for iPad and iPhone, extending the reach of the world’s largest cathedral to more ethereal mobile applications.
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Nestled in the corner of the Royal Academy’s Annenberg Courtyard is the Keeper’s House, a 19th Century house full of historic and artistic grandeur. Having once served as the residence for the Royal Academy’s Keeper, the building has been sensitively restored to retain many of its original details, from vaulted wine cellars to old ceiling beams and hearths dating back to the 1660s. Hospitality is at the heart of this secretive Mayfair townhouse, which features a new restaurant, bar, lounge and secret garden.
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Quick Link: How the Guggenheim Got Its Visual Identity
Animation of the Curly One Productions logo.
The animated graphic identities that appear at the end of a television show serve as quick, distinctive signatures for the producers behind the program. Pentagram’s Emily Oberman and team have designed the identity for Curly One Productions, the company of the producer Corin Nelson. Oberman recently collaborated with Nelson on the opening titles and graphics for “The Queen Latifah Show”, for which Nelson is one of the executive producers. Nelson is a five-time Emmy Award winner who has executive produced, run or developed a number of series including “Chelsea Lately,” “The Nate Berkus Show,” “The Rosie O’Donnell Show,” “The Sharon Osbourne Show,” and “It’s On With Alexa Chung.”
The Curly One name was inspired by Nelson’s own signature curly locks, and the logo—literally, a “curly” “1,” get it?—is a mix of grit and glamour that sums up her personality: a little bit rock ‘n’ roll, feminine, smart and funny.
“I love to design production company logos because they only appear for two seconds, and so you get to do something cool, fun and memorable for just an instant, and people get to know it over time,” says Oberman. “It’s the Snapchat of logos!”
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It may be October in the rest of the world, but in New York it’s the month of Archtober, the annual festival of architecture and design. For the third year running, Pentagram’s Luke Hayman and team have designed the graphics for the event, building on the yellow rectangle of the Archtober identity they developed for the inaugural edition in 2011. For the third festival, this simple graphic frame has been joined by the three-sided shape of a triangle.
Continue reading “New Work: Archtober 2013″
Ten years ago Pentagram’s Paula Scher designed the graphic identity for Jazz at Lincoln Center, the country’s premier institution for jazz performance. Now Scher has revisited her classic identity with an update that riffs on the existing logo and expands it into custom typography for the institution.
The refreshed identity simplifies the original wordmark to make it more contemporary. The original identity accompanied Jazz at Lincoln Center’s 2004 move into its home at the Time Warner Center on Columbus Circle, several blocks away from Lincoln Center proper. Now that Jazz is recognized as a major cultural institution in its own right, the update clears away the “at Lincoln Center” and leaves the organization as exactly what it is: Jazz.
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