BPO


85 Spring Street by Studio Ongarato

Opinion by Richard Baird

85 Spring St is a residential property development of 132 apartments by Golden Age Group, designed by Bates Smart and located in the Australian city of Melbourne. It will be marked by its total work of art philosophy, or Gesamtkunstwerk, which embraces a multitude of artworks to compose one singular piece, but also its distinctive, sculptural and high-rise modernity within an area of significant architectural heritage and many low-rise structures. Although disparate in its form and height, its stonework seeks a connection with the surrounding urban environment.

Studio Ongarato worked with the developer to create a visual identity and strategy for the marketing of the property. Mixing commissioned artworks, material craftsmanship and a modern graphic simplicity of type and colour the concept captures the essence and total design philosophy of the building and using archival materials and illustration recognises and brings to light the significance of the site. These ideas link a variety of communications modes that included stationery set and brochure packs, signage, direct mail and display suite.

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Mies In London by OK-RM

Opinion by Richard Baird

Mies In London published by Real Foundation and designed by OK-RM

Mies In London is a project by Real Foundation that seeks to document modernist architect Mies van der Rohe’s only design for the United Kingdom, Mansion House Square; a bronze tower and grand plaza located at the heart of London opposite the bank of England and commissioned in 1962 by Lord Peter Palumbo. Following a long struggle with Royal and political concerns, as well as an increasing disfavour for modernism within the public consciousness, the project was halted by an inquiry in 1984 with many of the details and artefacts lost to time.

Through careful research and collaboration with RIBA, the CCA and Drawing Matter over three years, editor Jack London and co-editor Yulia Rudenko have brought to light the inside and out of Mansion House Square as envisioned by Mies. The project is an interesting and ambitious example of Gesamtkunstwerk / Total Project. This is expressed by Real Foundation in their own practice and material response through a combination of book and objects; an ashtray and door handle. The book, designed by OK-RM, chronicles and presents the grand architectural gesture and philosophy for the site using the arrangement of content; documents and images with extended captions as a narrative tool.

This article, in a break from convention and with a desire to experiment editorially, has two interwoven parts; the familiar format looks at the micro (the graphic and the material), while inset italics explores the more meta. These can be read independently or sequentially.

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LogoArchive Issue 2 by BP&O

LogoArchive Issue 2, designed by Richard Baird, Published by BP&O

LogoArchive Issue 1 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. In the momentum of its design and production (undertaken by WithPrint) LogoArchive seeks an immediate connection between the agency of its creator and material object.

LogoArchive is founded on an enthusiasm for a well-crafted symbol; a convivial metaphor, a communicative immediacy and smart use of form language. However, in print, it was never conceived as a document with a singular intention; the simple documentation of symbols, rather a delivery mode in which to build a story and share thoughts.

Issue 2 begins to explore the potential of the zine to reconfigure itself over time. It does this by introducing a cover as content philosophy and in the addition of an insert. A conversation on Twitter; digital dialogue lost in the passage of time but forever coded into the electronic aether, is materialised as ink on paper and written into the story of the zine. This sits alongside an anthropological text; a musing on the distinctive qualities of the human eye, the theme of Issue 2.

This article, in a break from convention, has two interwoven parts; the familiar format looks at the micro (the graphic and the material), while inset italics explores the meta. These can be read independently or sequentially, and intend to bring an intangible layer to the zine. LogoArchive Issue 2 is available from Counter-print alongside a limited re-release of Issue 1.

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