Located on Washington St., behind a grand banking hall facing a public plaza on Main Street, the vestibule is significantly larger than the original built in 1967. Where narrow exterior stairs previously led to a simple entrance lobby, two wider stairs now lead to two entrance lobbies, seating areas, and secure access controls into the building’s elevator lobby. The materials and details of this larger vestibule draw directly however from those of the original, and its form and siting aim to enhance the original experience of entering the building from the street.
Best known for their classic modern silverware designs, Robert Welch have recently opened a new store in Bath, England, with designs by Lorenzo Apicella and his team in San Francisco.
Located in Broad Street, in the heart of Medieval Bath, the store’s interior design language builds on Apicella’s Robert Welch flagship studio store in Chipping Campden, completed in 2009. There, a series of sparsely lit cottage rooms were opened up and connected to a central Design Studio and a story wall featuring the life and work of Robert Welch.
In Bath, the same focal displays are also at the heart of the store, this time scaled to suit a space typical to this part of the city—long and narrow with a busy street on one side and a small public courtyard on the other.
With the world economy in tailspin, splashing out on expensive gifts for your loved one might be a bad move these holidays.
But fear not, because the Pentagram annual holiday card is here to help. Darling I got you a paperclip features a set of twelve gift tags that show how with a little creative thinking, even the cheapest present can show the richness of your love.
The presents featured include dental floss, a tennis ball, some batteries, a box of matches, a pack of sweeteners, and, of course, a paperclip.
Pentagram’s Lorenzo Apicella has designed a new branch for M&T Bank in Newburgh, New York. The branch is the sixth to be completed using our design language for M&T, testing its adaptability and visual impact across a wide spectrum of site types and branch sizes.
Apicella has worked with M&T since 2008 to develop a distinctive brand language for the bank and its branches, to help set M&T apart from its competitors and create a 360-degree experience of the brand. The architecture demonstrates the core values of M&T with a forward-looking design that communicates both openness and security. Like M&T’s other new branches, the building has been constructed to Leadership in Energy and Environment Design (LEED) standards.
Lorenzo Apicella and his team in San Francisco have designed a trade show environment for Mercury, a leading provider of point-of-sale (POS) payments technology. It debuted at the 2012 Retail Solutions Providers Association (RSPA) RetailNOW convention in Las Vegas and marked the rollout of Mercury’s new expression of their brand.
Drawing from Mercury’s new visual identity of a stylized letter “M,” the design revolves around three 16-foot high “talk towers” where Mercury personnel engage POS resellers, software developers, and merchants in dialogue about their technology-enabled products and services. Multiple displays around the towers convey the sense of progressive technology at the heart of Mercury’s business and draw visitors to and through the space.
Pentagram was founded 40 years ago today, on June 12, 1972, in London by the designers Alan Fletcher, Colin Forbes, Theo Crosby, Kenneth Grange and Mervyn Kurlansky. The company was formed when Pentagram’s predecessor, Crosby Fletcher Forbes, added two new partners, Grange and Kurlansky, expanding the multi-disciplinary partnership to five.
For the anniversary the 19 current Pentagram partners, under the creative direction of Harry Pearce, have designed a series of posters for the 40 years since Pentagram’s birth. Each partner created posters for two or three different years, and the only parameters for the series were the use of black, white and red (Pentagram Warm Red, of course). The subjects range from significant historic or cultural landmarks—see Paula Scher’s tribute to the 1977 New York blackout, Daniel Weil’s depiction of the fall of the Berlin Wall in 1989, Emily Oberman’s salute to the 1991 release of Nirvana’s Nevermind, or Luke Hayman’s take on the 2008 financial crisis—to events in Pentagram’s history, like the founding of Pentagram Berlin in 2002, commemorated in a poster by the office’s partner, Justus Oehler. Some partners take an illustrative approach. In her three posters, Natasha Jen, working with Pentagram designer Jin Kwang Kim, has created landscapes featuring iconic Pentagram projects. (In a demonstration of Pentagram’s longevity, Jen, the company’s most recent partner, designed the poster for the year 1973, which predates her birth.) In his poster for 1982, DJ Stout depicts the company as a collection of chairs, offering a “seat at the table” for designers for 40 years.
The posters are presented in a special newspaper produced by Newspaper Club that was given away as a gift at our recent 40th anniversary party in London. The anniversary has also been commemorated in “The Forty Story,” the short film created by Naresh Ramchandani.
Here’s to 40 more!
Pentagram was founded on June 12, 1972, and turns 40 this year. To celebrate the occasion we’ve created a short film that tells the story of a boy born on the day Pentagram opened and how his life has been tracked (and kerned) by four decades of Pentagram design.
Written by Naresh Ramchandani and Tom Edmonds
Directed by Christian Carlsson
Additional animation by Simone Nunziato
Voiceover by Daniel Lapaine
Sound design by Iain Grant and Wam London
Music by Graeme Miller
Titles by John Rushworth
Design by Pentagram
Thanks to Diddy, our posters for the Yale School of Architecture have been in the spotlight. Michael Bierut and his team have been designing the series of posters—over 70 to date—for the past dozen years. The latest, issued earlier this month, was created for Yale Architecture’s symposium “Structure of Light: Richard Kelly and the Illumination of Modern Architecture.” Kelly was a lighting designer known for his collaborations with modernist architects including Ludwig Mies van der Rohe, Louis I. Kahn and Philip Johnson. The poster uses the series’ simple design parameters—black, white and type—to make the symposium title, set in Hoefler & Frere-Jones’s Tungsten, look like architecture emerging from the dark.
Michael Bierut’s original sketch for the poster after the jump.