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The Frans Hals Museum in Haarlem is mainly known for its old masters from the Dutch golden age. De Hallen for its collection of contemporary art. Both museums decided to merge, and will from now on operate under one identity, which must represent art of the seventeenth as well as the twenty first century.
The new museum became a place where opposites meet. This concept comes to life in a colourful way when collections blend into each other in exhibitions, but also in every single detail in and around the museum.
Bringing opposites together lends more meaning and relevance to both collections and manages to appeal to a wider group of people than the sum of their own original audiences.
Thonik: Why We Design
Contributors Aaron Betsky, Adrian Shaughnessy, Gert Staal, Nikki Gonnissen, Thomas Widdershoven
Everybody is a designer! But why? Why do we color, organize, and form the world around us – and why do we call that a profession?
In this book, thonik, the Amsterdam-based studio led by lauded designers Nikki Gonnissen and Thomas Widdershoven, researches eleven personal reasons why they design – from the need to create impact to a constant search for independence; from the benefits of systems to the urgency of play. Additionally Why We Design looks back on twenty-five years of design practice and speculates on the future of graphic design.
thonik was founded in 1993 and specializes in visual communication, graphic identity, interaction, and motion design. To the studio it is important to create work that sets apart and differentiates, work that sparks discussions and initiates change – one design at a time.
17 × 24 cm, 6 ¾ × 9 ½ in
352 pages, 560 illustrations
2019, 978-3-03778-556-0, English
The Vestre book set consists of a comprehensive and exclusive two-volume manifesto, one purely textual and the other pictorial, both contained in a perforated, bright yellow slipcase.
The books are decorated by the title and an enveloping pattern foil stamped on colored paper in bright colors, echoing the design and shape of the emblematic steel plates adorning Vestre’s production facility in Torsby and the interior of the company’s headquarters and showroom in Oslo. The original plates are a bi-product of the laser-cut steel plates from production and emphasis Vestre’s sustainable approach to design and manufacturing.
The first issue of LogoArchive in print was conceived, designed and sent to the printers (for quotation) within a day. It was inspired by a panel discussion that took place the day before at Somerset House as part of the exhibition Print! Tearing It Up. Following a successful launch of the first and second issues, LogoArchive returns with its third release dedicated to the corporate symbols of science and exploring the theme of reconfiguration.
Issue 3 sees LogoArchive begin to assert its concept more concisely, tackling the theme of reconfiguration directly in the collation of found science symbols (science being a tool for the reconfiguration of the natural world), three original texts, the recycled paper of the insert and how the singular vessel of the logo book has been reimagined as an ongoing series of light booklets.
Images: Duane Dalton
Onkruid is an interdisciplinary team combining expertise in architecture, public policy, marketing, music & culture to further develop the creative context of our cities. Onkruid develops actions, interventions and events that unite people & cultivates parts of the social wasteland. The visual identity is designed on a system and not a single logo. Because the identity of Onkruid lies in the nature of the projects they create, this system is used showcase and highlight the projects that are developed by them.