The 2012 visible rebranding of Amsterdam’s Stedelijk Museum was designed by Mevis & Van Deursen, and features a website, publications, e-newsletter, stationery, and posters. The S-shaped emblem is predicated on Union, a typeface designed in 2009 by Czech-born Radim Peško:
Union derives from the 2 mostly used typefaces on PC and Mac platforms: Arial and Helvetica. Primarily, Union is a synthesis of those typefaces; its contours have been adjusted to retain the flexibleness attribute of each fonts. Union is meant for conditions the place Helvetica appears too subtle and Arial too vulgar, or vice versa.
The museum’s distinctive relationship with graphic design dates again to Wim Crouwel 1964 ‘SM’ logo and Experimental Jetset’s 2004 ‘SMCS’ non permanent logotype and sign system. Expectations for this redesign have been excessive after a previous identity proposal (the end result of a global competitors) by French designer Pierre di Sciullo had been ditched by the newly arrived Stedelijk director, Ann Goldstein.
The readability and typography of Mevis & Van Deursen’s emblem has not solely led to a heated debate within the Netherlands, however principally wherever it had been posted on-line (Brand New, Logo Design Love, Vimeo, and so forth.). While the conceptual thought of the id was acknowledged in some circles, its execution failed to search out consensus.
Dutch kind designer Albert-Jan Pool posted a photograph of the brand on his Flickr account, questioning “Who has gone Dutch right here? The designers? The museum?”. Pool judged the brand as “far too nerdy and ideosyncratic to be communicative” and identified that “graphic design normally communicates higher when there’s a idea behind it” however “shouldn’t be confused with conceptual artwork.”
Wanting again from a 2016 perspective, I see the design as far much less “outrageous” or “lazy” than it appeared to some observers in 2012. One can put it in context with a sure anything-goes aesthetic that may be present in all areas of design: for instance, in Peter De Potter’s work (which incorporates the latest Kanye West album cover), or in trend (such because the Vetements label, who love utilizing ugly Gothic fonts on their very costly clothes), or in internet design (see Brutalist Websites).
Andreas Kofler is an architect, urbanist and freelance author. Initially from Italy’s German-speaking province of South Tyrol, he labored for a number of places of work in Rotterdam and Paris — STAR, TD, OMA/AMO, l’AUC and DPA — earlier than cofounding Weltgebraus in 2013.
Id design may be judged not solely by its preliminary launch however by its endurance. We’d love to listen to from our readers about this work. How do you see the Stedelijk Museum id at the moment? When you have visited the museum just lately, how did you expertise the implementation of the id inside the establishment itself? What do you consider its relationship with the design panorama at massive? Please put up your ideas within the feedback under. — Editors