To avoid lots of nice examples getting unpublished, mainly because not always there’s time to do a bit of extra research and those links got lost on our bookmarks, we’re now on twitter.
Of course we will continue publishing extended reviews here, but in the meantime, follow us @rulesbased
Another inspiring talk at the Walker Art Center.
A contemporary design agency striving to build compelling visual brands through strategy, design and technology.
He is also author, with Hartmut Bohnacker, Julia Laub and Claudius Lazzeroni, of Generative Gestaltung, a book published just in German at the moment. My German level is very very basic so I can’t wait for the English version.
Until now, designers used the tools developed for them by programmers, meaning that the persons doing the designing adapted themselves to the system. Generative design transforms design-schooled users of digital tools into programmers of their own individual digital toolbox. This opens up new visual vistas and fundamentally alters the design process.
Quoted from the publisher website (Verlag Hermann Schmidt), where you can sign in for the English version.
We have already published their work for AOL a few months ago.
All their work is truly generative with really engaging outcomes. Among their updates since last time we visit their website, Dokfest Lounge project catch my attention especially. Check their website.
Via Swiss Legacy, I found out that some chapters from the 8vo on the outside book are available at Google Books. Unfortunately, those showcasing their flexible identities are not. The book is published by Lars Müller.
Recommended reading with interesting inputs about the importance of the design of the system, as opposed to the design of the outcome.
Image from the Hamish Muir website.
Hannu Oksa is glad to share some comments about this interesting identity I came across last week
Sun Effects is a Finnish lighting design company with over ten years of experience in the field. They work with a broad array of fields from exhibitions and public spaces to festivals and stage arts.
The identity builds from the basic idea of how audiovisual design (and light and sound in general) has the ability to shape and control space and environment: they can create new perspectives or change the nature of a space completely. In other words, light, sound and space are permanent parts of an equation that has limitless outcomes based on how you use them.
Light and sound as elements and audiovisual design as a field of art are constantly changing and evolving. By giving the identity the possibility to experimentation and evolution in itself, it reflects the field of work in a powerful way.
The identity uses a quasi periodic eight fold grid as a basis. The grid is used much like a raster to form a set of building blocks. By using the blocks with a general set of rules the identity allows for the symbol to have endless variations and still retain a conjunctive form.
more images after the jump
ITI works with automation of all functions related to buildings. The identity is based upon the ida of ITI making everyday tasks easier for everyone, summarized in the slogan “Room for life”.The logo can be seen as just a flat artwork, but is in fact a cube (room) wich helds colors (life).The multicolored device is actually the logo folded out. It comes in a number of different versions, wich communicates both the adaptability (is that a word?) of the system, and life taking different directions. The colors are meant to feel happy, full of life and easy.There are not many rules of how to use the device, meaning you can create uniqe expressions every time.It is not grid based, so you can scale it to fit the media you are using.You shall not rotate it, combine different devices or place it over images.When possible, the logo is always placed so it “runs” with the lines in the device.