Last night, the London Design Medal was awarded to French design duo Ronan and Erwan Bouroullec. As with previous years, Domenic Lippa and his team designed the graphics for the awards as part of his work with LDF.
For the eighth year running, Domenic Lippa and his team have designed the visual identity and promotional materials for London Design Festival, one of the biggest events in the design world. Running from 13th-21st September across London with the V&A as its centre, the Festival includes exhibitions, talks and workshops about a range of design disciplines.
London is a huge and unplanned city where even the most experienced visitors can lose their way. This year Lippa is honouring London’s chaotic nature by challenging visitors to “Lose yourself in the London Design Festival”.
OfficeUS, the U.S. Pavilion at the 14th International Architecture Exhibition in Venice, opened on June 7 with an identity, environmental graphics and publications designed by Pentagram’s Natasha Jen and team. Conceived as a working architecture office, the installation explores the ways in which U.S. architectural practice has influenced the discipline worldwide over the past 100 years. Jen’s identity for the Pavilion provides a dynamic visual language that is built out of the simple efficiency of office culture.
Jen worked on the project as part of a team organized by the Storefront for Art and Architecture in collaboration with PRAXIS Journal, and with research lead by the MIT Department of Architecture. The group was selected by the U.S. Department of State to represent the U.S. at the Biennale. The New York-based architecture firm Leong Leong developed the Pavilion design.
Harry Pearce has donated 10 personal photographs from the streets of Naples to the ‘Made in Cloister’ project, for which he designed the identity in 2013.
The images were shot during Pearce’s research for ‘Made in Cloister’ and these photographs have been printed with the aquatint etching technique by Vittorio Avella’s artisan printing house. 10 signed images of each print, 750cm by 530cm in size are being exhibited within the ruins of Naples’ oldest cloister, Santa Caterina from the sixteenth century, close to the Aragonese Walls and Porta Capuana, and are being sold to support the project.
There’s nothing quite like experiencing New York City on a bike, especially on a beautiful spring day surrounded by thousands of fellow riders. This Sunday, May 4, over 32,000 cyclists will bike 40 miles of traffic-free streets in the annual TD Five Boro Bike Tour, presented by the non-profit organization Bike New York. Pentagram’s Emily Oberman and team have designed the graphics for this year’s Tour, as well as the promotional campaign for Bike Expo New York, a two-day event that leads up to the big ride. The graphics look ahead to Oberman’s design of a new identity and website for Bike New York, which launches this summer.
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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.”