Talking about books, Dynamic Identities in Cultural and Public Contexts is a book by Ulrike Felsing, published by Lars Müller this year.
The book explores and showcases different approaches to dynamic identities, and simultaneously introduces us to related topics and concepts in a larger context.
One of it’s aims is to show and describe the general principles of variation processes. This is done through 24 case studies, everything from typographic systems like A typeface for the Twin Cities by Letterror, to visual identities for The Cinémathèque française by Ruedi Baur et Associés or Rotterdam 2001 by Armand Mevis and Linda van Deursen. Even many of the examples seems quite old today and the works could have been more varieted from more nations, (the netherlands highly represented), the book in total fulfills it’s aim and deliver an inspiring and promising introduction on the subject of dynamic identities.
This publication studies methods for creating flexible looks for public and cultural institutions. The classic logos normally used by companies are the result of a unique process of compression and abstraction. By contrast, flexible looks do not conceal their diverse components of identity in a logo, forming instead a complex family of symbols from them. In the combination of a basic logo and a family of symbols, the look is in a position to represent the fundamentals (the philosophy of the institution, its program) and the specifics (e.g., temporary exhibitions and events). The author describes the effect and potential of looks and offers the criteria that distinguish fully developed, dynamic looks. Case studies of famous designers such as Karl Gerstner and Ruedi Baur enhance the analysis.
With an essay by Clemens Bellut
16.5 × 24 cm, 6½ x 9½ in, 256 pages, 200 illustrations, softcover (2010)
Images and quote from Lars Müller Publishers where you also can buy it.
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.
The logo system developed from simple outlines letter shapes overlaid with various ornaments and Art Deco inspired shapes. It would be possible to create endless logo combination’s using this principle but we decided on a set of six colour and six black- and -white versions for a general use.
Grafik Magazine n.181, p 28
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.