Showing posts with label Brand Identity. Show all posts
Showing posts with label Brand Identity. Show all posts

Zaha Hadid architects gets a brand identity


Zaha Hadid

Zaha Hadid, CBE (Arabicزها حديد‎ Zahā Ḥadīd; born 31 October 1950) is an Iraqi-British architect.

Life and career

Hadid was born in 1950 in BaghdadIraq. She received a degree in mathematics from the American University of Beirut before moving to study at the Architectural Association School of Architecture in London.
After graduating she worked with her former teachers, Rem Koolhaas and Elia Zenghelis at the Office for Metropolitan Architecture, becoming a partner in 1977. It was with Koolhaas that she met the engineer Peter Rice who gave her support and encouragement early on, at a time when her work seemed difficult to build. In 1980 she established her own London-based practice. During the 1980s she also taught at the Architectural Association. She has also taught at prestigious institutions around the world; she held the Kenzo Tange Chair at the Graduate School of Design, Harvard University, the Sullivan Chair at the University of Illinois at Chicago School of Architecture, guest professorships at the Hochschule für Bildende Künste in Hamburg, the Knowlton School of Architecture, at The Ohio State University, the Masters Studio at Columbia University, New York and the Eero Saarinen Visiting Professor of Architectural Design at the Yale School of Architecture in New Haven, Connecticut. In addition, she was made Honorary Member of the American Academy of Arts and Letters and an Honorary Fellow of the American Institute of Architects.[1] She has been on the Board of Trustees of The Architecture Foundation. She is currently Professor at the University of Applied Arts Vienna in Austria.
A winner of many international competitions, theoretically influential and groundbreaking, a number of Hadid's winning designs were initially never built: notably, The Peak Club in Hong Kong(1983) and the Cardiff Bay Opera House in Wales (1994). In 2002 Hadid won the international design competition to design Singapore's one-north masterplan. In 2005, her design won the competition for the new city casino of BaselSwitzerland. In 2004 Hadid became the first female recipient of the Pritzker Architecture Prize, architecture's equivalent of the Nobel Prize. Previously, she had been awarded a CBE for services to architecture. She is a member of the editorial board of the Encyclopædia Britannica. In 2006, Hadid was honored with a retrospective spanning her entire work at the Guggenheim Museum in New York. In that year she also received an Honorary Degree from the American University of Beirut.
Zaha Hadid's architectural design firm - Zaha Hadid Architects - is over 350 people strong, headquartered in a Victorian former school building in Clerkenwell, London.
In 2008, she ranked 69th on the Forbes list of "The World's 100 Most Powerful Women".[2] On 2 January 2009, she was the guest editor of the BBC's flagship morning radio news programme,Today.[3]
In 2010 she was named by Time magazine as influential thinker in the 2010 TIME 100 issue.[4] In September 2010, The British magazine New Statesman listed Zaha Hadid at number 42 in their annual survey of "The World's 50 Most Influential Figures 2010".[5]

Non-architectural work

She has also undertaken some high-profile interior work, including the Mind Zone and Feet zone at the Millennium Dome in London and the Z.CAR hydrogen-powered, three-wheeled automobile. In 2009, she worked with the clothing brand Lacoste, to create a new, high fashion, and advanced boot.[6] In the same year, she also collaborated with the brassware manufacturer Triflow Concepts [7] to produce two new designs in her signature parametric architectural style. Her unique contributions to brassware design and other fields continue to push the boundaries of innovation.
In 2007, Zaha Hadid designed the Moon System Sofa for leading Italian furniture manufacturer B&B Italia.[8
She won the 2010 Stirling Prize for one of her most celebrated work, the Maxxi in Rome.
Hadid is the designer of the Dongdaemun Design Plaza & Park in SeoulSouth Korea, which is expected to be the centerpiece of the festivities for the city's designation as World Design Capital2010. The complex is scheduled to be completed in 2011.




design and brand strategy specialists greenspace have developed a new identity, bespoke typeface
and website for zaha hadid architects.



DB: how long did greenspace work on the project for?
LD: the original brief was sent to us in july 2009.
we pitched against a number of high-profile agencies and our response focused
in particular on process, collaboration and the potential of the brand – rather than
any creative solutions. we then went through the interview process before starting
the project proper in july 2010 – through to launch in july 2011.

based on the interviews with the zaha hadid studio,
what became clear as the most important thing to communicate with the new identity?
with such a large and complex studio there was clearly a diverse and contrasting
range of opinions.

what was clear to us through both the interviews and the original brief was the need to;
(a) highlight the vast number of projects that have been created and realised
(b) highlight all the talented designers and architects within the practice
(c) communicate ZHA as a company that is world-class, highly-professional
and yet avant-garde in its approach.

clearly all that can’t be achieved through an identity alone and that’s why the
website became our primary focus initially and the main vehicle for the ZHA story.

that said, creating a unique typeface that could be used by everyone on a
day-to-day basis also felt like a nice inclusive way to bring the brand to life.

which aspect of the project proved most challenging?
as a creative process it was truly collaborative and very positive.

the real challenge is hoping you create a piece of work that reflects the client’s
own reputation and high standards.

regarding the branding, it can be hard sometimes when dealing with a client that has
such a strong visual style to find your own path and reasons for doing so.
we hope and believe we did that by creating a look that’s not a pastiche of
the architecture and in fact allows it to be elevated and viewed without distraction.

finally, regarding the website, we set out to create something that has a unique user
experience and sets itself apart from all sites – not just architectural ones.
the level of content, movement, functionality and search capabilities are clearly
complex and when combined with a beautiful bespoke CMS it obviously took a
great deal of thought and an incredible development team to deliver.

we really hope people explore the archive both now and in the future as more
and more content becomes available.



selection of the characters from the typeface designed by miles newlyn with greenspace




----
following text from the official press release:


collaborating closely with zaha’s senior partner, patrik schumacher, greenspace and designer
miles newlyn have developed a brand identity that has a minimal feel. it is inspired by
the contemporary material and construction choices employed by ZHA, visualised through
the use of varying paper stocks, simple highlight colours and carefully chosen print techniques.


'we deliberately didn’t want to create a brand identity that would be a pastiche of any of
the ZHA created works. we wanted the work to speak for itself, not be over-powered by its brand
'
adrian caddy of greenspace

dynamic patterns
ZHA use a wide range of computer program scripts combined with parametric theory
when creating buildings and designs. greenspace took inspiration from these to create
a set of patterns that can be used graphically across communication collateral and
to which future patterns can be added as new structures, shapes and forms are developed.
bespoke and unique typeface
as part of the brand revamp, greenspace and ZHA’s patrik schumacher worked closely
to develop a bespoke typeface, called zaha hadid sans.

'the typeface uses two unique features: there is the folded detail, in which joins that are
usually truncated are divided by a slim gap to give the appearance of layering.
the other feature is a carefully stressed curve that flows from vertical to near horizontal
and back again.' - miles newlyn














identity guidelines / overview


















website
the website acts as the ‘ultimate archive’ of everything ZHA has done - both built
and conceptual - with a CSM system that allows the archive to grow indefinitely.
greenspace has designed it to be a purely visual, never the same twice, mesmeric
encounter with the ZHA world.
containing vast amounts of data, the site is an ‘inclusive’, user-friendly experience
that pushes the boundaries of other more traditional architectural sites. it enables the
user to modify, personalise and dictate relevant content. built in HTML 5, avoiding the
constraints of flash for ease of loading to ipad for example, it captures and exposes
everything that is current and ZHA related, worldwide. and it’s been designed to
be practical, so both students and press can download images, information and
biographies about the work and people that make up the ZHA brand.







credits
greenspace design team:
paul blackburn
lee deverill
james taylor
stephanie wilkinson
adrian caddy
miles newlyn (typeface)

zha project team:
patrik schumacher
lars teichmann
bidisha sinha

photographic portraits:
alex telfer

website production:
scott david

Letterhead Evolution


Long before people have been sending messages to one another. Before paper was invented,  people used different materials for their letters, they used leather, clay, plant leaves and papyrus.  As time went by and paper was discovered, people began creating their letters in a more formal way. It was not until the Industrial Revolution during the 19th century that letterheads that we know today came to life.
The existence of printing presses and the advent of Industrial design – which could’ve been a precursor to the minimalist movement of the 1960s – caused the ubiquity of letterheads among prominent people and businesses during that time. It may have also caused the departure from the bourgeois and intricate style of Art Nouveau and the Victorian style of design.
The departure from Victorian style and Art Nouveau led to a change of heart in design. With the guiding philosophy of Industrial design – functionality over form – people began adopting simpler designs that was easier to produce and cheaper.
It was during the 20th century that we saw the bloom and importance of the letterhead. It allowed people and, especially, companies to create an identity for for their business. It gave way to different ideas and application of advertisements and new art movements that came after the 19th century.
Early Part of the 20th Century
During the advent of the 20th century, people and businesses used varying designs on their letterheads. With most prominent people using simple and minimalist designs, and businesses used differeng images that can be attributed to their industry.
evolution of letterheads 1900 01 The Evolution of Letterheads Throughout The Years
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evolution of letterheads 1900 10 The Evolution of Letterheads Throughout The Years

Latter part of the 20th Century

We saw the rise of radio and television during the latter part of the 20th century. With the rising advertising industry, the need for a corporate identity becomes more apparent. During this period we saw different changes and the rise of rebellious youth, which could’ve influenced the different design styles that were used during this period.
evolution of letterheads 1950s 01 The Evolution of Letterheads Throughout The Years
evolution of letterheads 1950s 02 The Evolution of Letterheads Throughout The Years
evolution of letterheads 1950s 03 The Evolution of Letterheads Throughout The Years
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evolution of letterheads 1950s 10 The Evolution of Letterheads Throughout The Years

The 21st Century

The current designs of letterheads has evolved – from the functional minimalist to the radical post-modern style of design. Designers today have a knack for combining different influences derived from past art movements; from Minimalism to conceptual art to post-modern styles of design.
evolution of letterheads 2000s 01 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 02 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 03 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 04 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 05 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 06 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 07 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 08 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 09 The Evolution of Letterheads Throughout The Years
evolution of letterheads 2000s 10 The Evolution of Letterheads Throughout The Years
Letterheads has become played a pivotal role for a lot of people – from personalities to businesses – it has allowed people to create an identity for other people to know who they are, and what they do. It has provided an avenue for businesses to explore and reach out to the people.

30 Brilliant Logos With Hidden Messages


Presbyterian Church
Presbyterian Church
Done by Malcolm Grear and Associates, it’s a true masterpiece of simplifying complexity. It appears a simple Cross shape but hidden inside are a dove, a clerical robe, a pulpit with bible, flames, and a fish. The below image will give you a better idea.
Presbyterian Church
Eighty20
Eighty20
The Eighty20 logo is a bit of a geeky one to figure out. The two lines of squares represent a binary sequence with the blue squares being 1’s and the grey squares being 0’s. This makes 1010000 which represents eighty and 0010100 which represents 20.
London Symphony Orchestra
London Symphony Orchestra
The logo looks like a single flowing line creating three initials L.S.O in air. But, the harmonious graphic of this logo marks the unbreaking rhythm of an Orchestra.
Yoga Australia
Yoga Australia
At first glance the logo is a simple picture of a young girl doing her yoga but if you watch it carefully the body posture is creating the Australia Map.
The Brand Union
The Brand Union
Brand Union is a global leader in creative design consultancy, and the Union’s logo is a vivid example. The carefully chosen and placed black and blue shapes not only make the brand name but also enables the negative space do the same.
Northwest Airlines
Northwest Airlines
The old Northwest Airlines logo may look like a simple logo but if you take a closer look at the symbol on the left, it actually represent both N and W and because it is enclosed within the circle it also represents a compass pointing northwest.
Rehabilitation Hospital Corporation of America
Rehabilitation Hospital Corporation of America
The highly symbolic logo of the Rehabilitation Hospital Corporation of America logo communicates a complex message with just a simple design. The globally renowned cross symbol represents help and medical attention and the steps reflects on the steps taken back to normal life.
Carrefour
Carrefour
Carrefour in French means “Crossroads” and the logo shows two opposite arrows inside a diamond shaping the C letter with the negative space between them.
Piano Forest
Piano Forest
The Piano Forest logo may look like a simple text logo with trees above it, but if you take another look you will see that the trees actually represent keys on a piano.
The Guild of Food Writers
The Guild of Food Writers
The Guild of Food Writers (GFW) is an established organisation dedicated to excellence in food writing and culinary education. Mark closely and you can see a spoon inside the nib.
Schizophrenic
Schizophrenic
Another logo that plays in representational symbols while relating heavily to the brand name is the Schizonphrenic logo. Being a medical disorder that often depicts split personalities, the logo characterises this with simple shapes that depict a happy and sad face.
Museum of London
Schizophrenic
The Museum of London logo may look like a modern logo design but it actually represents the geographic area of london as it grew over time.
GreenLabs
GreenLabs
This logo is just not a simple green tree, but if you look at the tree crown, you’ll see that it can also be interpreted as a brain. The logo lays emphasis on the strong intellectual capabilities of the company’s staff and also reflects ‘green’ and ‘labs’ parts of their name.
Big Ten
Big Ten
The Big Ten collegiate conference has eleven schools but they didn’t want to change their name. However, they used their logo to hide the numerical “11” in the name.
Toblerone
Toblerone
The Toblerone logo contains the image of a bear hidden in the Matterhorn mountain, which is where Toblerone originally came from.
Treacy Shoes
Toblerone
The Treacy Shoes logo is very cute logo with a shoe hidden between the t and s.
Milwaukee Brewers
Milwaukee Brewers
The old Milwaukee Brewers logo may look like a simple catchers mitt holding a ball, but if you take a second you will see the team’s initials M and B.
Elle Hive Tractor
Elle Hive Tractor
It is a company which designs compact tractors. The letters “E” and “H” make up the symbolic image of a tractor.
Sun
Sun
The Sun logo is one of the most famous ambigrams in the world. You can read the brand name in every direction; both horizontally and vertically. This logo was designed by professor Vaughan Pratt of the Stanford University.
FedEx
Fedex
The FedEx logo looks like a plain text based logo but if you take a second look between the E and the x, you will see an arrow which represents the speed and accuracy of the company’s deliveries.
Amazon
Amazon
The Amazon logo is an extremely simple logo and while the arrow may just look like a smile, it actually points from a to z. This represents that Amazon sells everything from a to z and the smile on the customers face when they buy a product.
Newman
Amazon
The reversible Newman logo is simple yet classy.
A.G. Low Construction
A.G. Low Construction
In this logo, the name of the company is written in thin, square letters that hold a great purpose; they are designed to look like the floor plan of the house, which happens to be the company’s specialty.
Cattleyard
Cattleyard
Being music related business; the creator of this logo has used various graphics of musical instruments to form the overall shape of a cow. Clever example of combining the graphical elements to express a company’s name.
Baskin Robbins
Baskin Robbins
The Baskin Robbins logo may look like including a simple BR above the name but if you take another look you will notice that it includes a pink number 31. This is a reference to the original 31 flavors.
Formula 1
Formula 1
At first, this logo might not make much sense. But if you look closely, you’ll see the number 1 in the negative space between the F and the red stripes.This logo also communicates a feeling of speed.
Egg n Spoon
Egg n Spoon
In this logo, the negative space cleverly show egg and spoon which is the brand’s name.
Sony Vaio
Sony Vaio
Sony Vaio is a well known brand of laptops. But did you know that the name Vaio logo also had a hidden meaning? Well, the first two letters represent the basic analogue signal. The last two letters look like a 1 and 0, representing the digital signal.
Lafayette
Lafeyette
If you’ve ever visited one of the famous stores in Paris – Galeries Lafayette, you will notice that it’s logo represents Paris with its joined letters “t” to form Eiffel Tower.
Forkwire
Forkwire
Being an Online Food Delivery service, its logo shows a fork formed into an @ symbol.

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