Pentagram’s Justus Oehler and his team in the Berlin office have updated the brand identity of JLL , the global real estate services provider. The new logo accompanies the shortening of the company’s name from Jones Lang LaSalle to JLL.
A leader in its category, JLL specializes in commercial real estate services and investment management and employs 48,000 people in 1,000 locations in 70 countries around the world. The JLL symbol is known as the “Worldmark” and represents a truly global company comprised of multiple strands of expertise working in collaboration. Oehler and his designers have retained the iconic symbol for the refresh, but made it red to help it better stand out and added shading to make it more dimensional.
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The “Manifesto Series” of discussions presented by the Storefront of Art and Architecture in New York invites artists, architects, critics and historians to participate in a spirited exchange of ideas about architecture. Established in 2010, the ongoing series is one of Storefront’s signature programs and reinvents the manifesto form as a way to develop and encourage new thinking in short, concise events with a polemical context.
Pentagram’s Natasha Jen and team have designed a new series of books based on the talks. Issued by Storefront in partnership with Lars Müller Publishers, the first two titles in the series are 01: Formless and 02: Double, with more to follow. Jen’s design for the series captures the immediacy and inventiveness of the talks with a dynamic format that rethinks the structure of the book as an object.
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Creating a modern, robust identity for the world’s most respected wine merchants, Berry Bros. & Rudd, who are still based in their original home of No. 3 St James Street, was a particular challenge. Berry Bros.& Rudd are the direct link between the makers and the drinkers of wine.
The new identity had to feel as if it had always existed. The previous manifestation had been created in the 1980′s and had no reference to the company’s history or authenticity. To uncover its lost stories, Pentagram scoured the grounds of their original home at No. 3, researching and photographing a host of branded artefacts spanning five centuries. Studying wine labels, walls and old publications a great array of typographic styles were found, each with their own eccentricities.
Continue reading “Berry Bros. & Rudd: Part 1, Core Identity”
New York’s diverse music scene travels underground for Music Under New York, the program of MTA Arts for Transit & Urban Design that brings quality music to the commuting public. Established in 1985, Music Under New York presents over 7,500 performances annually in the MTA’s subways and railroads. More than 350 soloists and groups currently participate in the program, performing music in genres ranging from Aboriginal didgeridoo, bluegrass, and Brazilian jazz to traditional Chinese orchestral music, soul and klezmer.
Pentagram’s Paula Scher has designed a new identity for Music Under New York that launches today with the program’s 27th annual auditions, which are being held at Grand Central Terminal’s Vanderbilt Hall. Inspired by MTA New York City Transit’s iconic subway signage, the new branding will be used to identify Music Under New York performers throughout the transit system. Scher is serving on the panel of 35 judges for today’s auditions, which will select approximately 20 new performers to add to the roster.
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In his new book Build, Memory (Monacelli Press), the award-winning architect James Stewart Polshek chronicles his fifty-plus-year career in a unique “memoir of projects” that tells his story through 16 key works. (The title is a play on Vladimir Nabokov’s memoir, Speak, Memory.) Polshek writes a candid personal narrative that details his experience designing landmark projects such as the William J. Clinton Presidential Center in Little Rock, the Newseum in Washington, DC, and the Rose Center for Earth and Space at the American Museum of Natural History in New York. Pentagram’s Paula Scher and team have designed the book with a clear, cogent format that complements Polshek’s articulate and accessible writing.
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Type surrounds us everyday in countless forms—on screens and publications, on signs and buildings, on products and packaging—and in just as many varieties. Created by Pentagram’s Abbott Miller and produced and curated by Monotype, Century: 100 Years of Type and Design is a new exhibition at the AIGA National Design Center in New York that celebrates the incredible diversity of typefaces and their integral role in design over the past 100 years. Organized as part of AIGA’s centennial year, the show opened this week and will serve as the hub of two months of presentations, lectures, workshops and receptions.
Miller’s exhibition design for Century transforms the AIGA gallery into an immersive environment of typography. The walls and ceilings have been dotted with hundreds of typographic periods drawn from the Monotype library, and a pair of dynamic animations further express the variations of different typefaces. The design sets the stage for the remarkable host of artifacts on display, including rare works from the archives of leading design organizations including Monotype, AIGA, Pentagram, Mohawk Paper, the Type Directors Club, Condé Nast, Hamilton Wood Type and Printing Museum, the Type Archive, the Herb Lubalin Study Center at Cooper Union, Alan Kitching and the Museum of Printing.
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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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Abbott Miller’s identity for Century features a letter “C” rendered in segments of Monotype fonts.
Created by Pentagram’s Abbott Miller and produced and curated by Monotype, Century: 100 Years of Type and Design is a new exhibition at the AIGA National Design Center in New York that celebrates the integral role of type in design. Organized as part of AIGA’s centennial year, the show opens this Thursday, May 1, and will serve as the hub of two months of presentations, lectures, workshops and receptions.
Century features a host of rare works and unique artifacts from leading design organizations including Monotype, AIGA, Pentagram, Mohawk Paper, the Type Directors Club, Condé Nast, Hamilton Wood Type and Printing Museum, the Type Archive, the Herb Lubalin Study Center at Cooper Union, Alan Kitching and the Museum of Printing.
Miller was honored with the AIGA Medal this year. His exhibition design for Century transforms the AIGA gallery into an immersive environment of typography. The walls and ceilings have been dotted with hundreds of typographic periods drawn from the Monotype library. The idea of multiplicity is reinforced in Miller’s mark for the exhibition, a letter “C” rendered in segments of different Monotype fonts. In an animation created for the gallery, the “C” cycles through hundreds of typefaces that move like the minute hand on a clock.
Century is free and open to the public and remains on view through June 18 at the AIGA National Design Center, 164 Fifth Avenue, New York City. Read more about the exhibition here.
Pentagram’s Eddie Opara and team have developed a comprehensive new identity system for Codecademy and the user interface for the platform’s redesigned website, which launched earlier this week. Inspired by coding, the identity has been conceived as an adaptive kit of parts that can be extended as the company grows and establishes partnerships with other organizations.The designers worked closely with the Codecademy co-founders and lead designer Manuel Lima on the program.
“Codecademy is a business we’ve built to help everyone in the world learn the skills they need to make things and find jobs,” says Zach Sims. “We think our new look will make Codecademy’s impact even greater for the millions of people who have already started learning on the platform, as well as future users who want to code.”
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