OfficeUS, the U.S. Pavilion at the 2014 Venice Architecture Biennale, was conceived as a working architecture office that explored the ways in which U.S. architectural practice has influenced the discipline around the world over the past 100 years. Pentagram’s Natasha Jen and her team have designed OfficeUS Atlas, a new book that compiles and interprets the research assembled in the exhibition’s OfficeUS Repository, an archive of nearly 1,000 projects produced by U.S. offices abroad between 1914-2014. The publication is the second in the four-volume OfficeUS book series, following OfficeUS Agenda, also designed by Jen and published last year.
A massive, 1,232-page compendium, Atlas is structured around a highly organized mix of firm profiles, project data, press records, and infographics that detail the transformations of the U.S. architectural office and its international impact over the past century. The book design builds on the graphic identity Jen developed for the OfficeUS installation, which utilized a visual language built out of the efficiencies of office culture.
OfficeUS Atlas is published in partnership by Lars Müller Publishers and Storefront for Art and Architecture, the lead organizer of OfficeUS. The book will be launched at a panel discussion to be held on Tuesday, April 28 at 7 pm at Storefront for Art and Architecture, 97 Kenmare Street in New York City.
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John Rushworth has developed a brand strategy and visual identity for Ten Trinity Square, a redevelopment of the former Port of London Authority building in the City of London consisting of a private members club, 41 luxury residencies and a Four Seasons hotel. It is the first investment of Chinese conglomerate Reignwood, outside of Asia in super prime real estate.
The brief was to reinvigorate the purpose of the building and create a long-term vision that would also support Reignwood’s future investments in the sector. To do this, the project had to be positioned in a way that recognised its location, architecture and historical importance.
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Success Academy is the largest and highest performing network of charter schools in New York City. Founded and led by former city councilwoman Eva S. Moskowitz, Success Academy’s growing group of publicly funded, privately operated schools includes 24 elementary schools, seven middle schools and one high school that provide education for nearly 9,500 students across the city. Primarily serving underprivileged children, SA consistently has the highest test scores of any schools in New York, regularly outperforming institutions in wealthier communities. Tonight Success Academy will celebrate its own continuing “success” at its Third Annual Spring Benefit.
Pentagram’s Michael Bierut and his team have designed a graphic identity for Success Academy that conveys the schools’ innovative educational mission. The system extends to environmental graphics that help motivate students and build school spirit at Success Academy locations, which share space with New York City public schools.
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Partner DJ Stout and designer Carla Delgado in Pentagram’s Austin office have redesigned the flagship publication of the Museum of Fine Arts, Houston (MFAH). The second issue of the new magazine will be mailed this month. In addition to completely revamping the publication, the Pentagram team, working closely with the MFAH’s Director, Gary Tinterow, and the museum’s Publisher in Chief, Diane Lovejoy, changed the title’s name from MFAH Today to The Museum of Fine Arts, Houston Magazine, or “h Magazine” for short.
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Emily Oberman has designed a new identity for Bike New York, a non-profit organization that promotes cycling throughout the city.
Spring has finally sprung, and New Yorkers are hopping on their bikes to greet the beautiful weather. Just in time for the cycling season, Pentagram’s Emily Oberman and her team have rolled out a bold new identity for Bike New York, the city’s leading proponent of biking as a practical, sustainable, and healthy means of transportation and recreation. Along with the identity, the update includes a redesign of the Bike New York website, cycling guides and other collateral, and looks ahead to the organization’s biggest events, the TD Five Boro Bike Tour and Bike Expo New York, scheduled for May 1-3.
With a growing network of over 900 miles of bike lanes and the recent launch of the Citi Bike bike-share program, cycling in New York is more popular than ever. Over the past year and a half, Oberman and her team have been working with Bike New York on elements of its brand identity and messaging, with the goal of helping the non-profit organization better engage and connect with all of New York’s riders. While creating the new identity, the team designed the promotional campaigns for last year’s Tour and Expo, which previewed the new look.
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Paula Scher has designed a new identity for The New School that utilizes a custom font with letterforms in three different widths.
The New School has been at the vanguard of innovation in higher education for almost a century. Founded in 1919, the progressive university in New York’s Greenwich Village now combines design thinking with varied areas of study: from liberal arts to performing arts, from global policy to social research. Pentagram’s Paula Scher has designed a new identity for The New School and its constituent institutions—Parsons School of Design, Eugene Lang College for Liberal Arts, and Mannes School of Music, to name just a few—that reflects the university’s unique interdisciplinary approach.
Using custom typography, the identity establishes an iconic brand for The New School as a whole, while also setting apart the university’s different schools, institutes and programs. The identity introduces a groundbreaking bespoke typeface called Neue that is composed of extended letterforms. The typeface is revolutionary in its combination of regular, extended and very extended widths of the same font programmed together and used all at once. The typography embodies the progressive mission of The New School and represents a technological advance in the art of type design.
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Over the course of seven seasons, the landmark series “Mad Men” has charted the rise of ad man Don Draper in the “Golden Age” of advertising in 1960s New York. Today AMC unveils a special installation that commemorates the show’s impact in the city. Designed by Pentagram’s Lorenzo Apicella, Michael Bierut and Emily Oberman, the monument takes the form of a sleek, elegant bench that features the iconic graphic of Draper from the show’s opening title sequence. Pentagram project coordinator Julia Lindpainter worked closely with AMC and the bench’s fabricator, DCL, to manage the design’s careful execution.
The bench is located outside the Time & Life Building, the fictional home of Sterling Cooper Draper Pryce (changed to Sterling Cooper & Partners in the sixth season), where Draper and fellow characters Roger Sterling, Peggy Olson, Joan Holloway and Peter Campbell work in the series. “Mad Men” creator Matthew Weiner and stars Jon Hamm, Elisabeth Moss, January Jones, Christina Hendricks and John Slattery were on hand today for the sculpture’s unveiling.
The installation coincides with the show’s final seven episodes, which kick off on Sunday, April 5. The bench will be on display in the Time & Life Building Plaza at 1271 Avenue of the Americas (between 50th and 51st Streets) for fans and passersby to enjoy from March 23 through the summer.
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In 2013 Pentagram’s Austin office created World Wildlife, the new flagship publication for World Wildlife Fund (WWF) based in Washington DC. WWF—the group with the iconic panda logo—is the world’s leading conservation organization. WWF works in 100 countries and is supported by 1.2 million members in the United States and close to 5 million around the world. WWF’s unique way of working combines global reach with a foundation in science, involves action at every level from local to international, and ensures the delivery of innovative solutions that meet the needs of both people and nature.
Now partner DJ Stout and designer Kristen Keiser in Pentagram’s Austin office have redesigned WWF’s gift catalog, WWF’s annual fundraising effort. In addition to gifts like T-shirts and tote bags, WWF supporters are given the opportunity to make symbolic adoptions of wildlife around the world, and based on the level of their donations receive a formal adoption certificate, a species spotlight card, a full-color photo and a soft plush representation of the animal, or animals, they care about. The donations generated by the catalog are used in general support of WWF’s conservation efforts around the world. So far the Winter 2014-2015 gift catalog has increased sales by 10 percent.
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Opening titles for “Unbreakable Kimmy Schmidt,” the new Netflix comedy from “30 Rock” creators Tina Fey and Robert Carlock.
In the extremely funny “Unbreakable Kimmy Schmidt,” the new comedy from “30 Rock” creators Tina Fey and Robert Carlock, the titular heroine is rescued from a doomsday cult after 15 years of living underground and must use her irrepressibly cheery spirit to navigate contemporary New York. Pentagram’s Emily Oberman and her team have designed the identity and opening titles for the show, which debuts today on Netflix.
Played by Ellie Kemper (Erin on “The Office”), Kimmy is the living embodiment of spunk (and normally we hate spunk), a fish-out-of-water who is naïve and sheltered but blissfully well-equipped to deal with any situation, usually with hilarious results. Oberman’s ebullient graphics echo Kimmy’s sunny disposition with bold typography, a bright tween-age color palette, and a generous sprinkling of fairy dust. For the opening titles, the designers collaborated with “songify” artists the Gregory Brothers, who brought their special magic to a beyond-catchy theme song, written by composer Jeff Richmond, and who also created an extended viral-video version of the song.
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In the two decades that Pentagram’s Paula Scher has worked with The Public Theater, there’s one thing she’s never designed for the institution: an annual report.
To celebrate an important season that saw an increase in membership and donors, and as well as the development of several landmark productions, The Public has issued “Public Speaking,” a review of its activities during 2013-2014. Drawing on her iconic identity for The Public, Scher has designed a lively and engaging publication that helps the institution strengthen its relationship with its community and audiences.
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