BPO


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.

Continue reading this article


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.

Continue reading this article


The Best of BP&O — August 2018

Selected by Richard Baird.

The Best of BP&O — August 2018

August’s highlights included Paul Belford Ltd’s logo for New Chapter, Studio South’s graphic identity work for The Conference Company and Akin’s packaging for Skinsmiths. There were, however, five projects that stood out and have made it into BP&O’s Best Of Series. Between them these typically balance a strong singular concept or an appropriate confluence of ideas with a compelling visual character and clear communicative intention that appropriately play with form, colour, type and layout, as well as material, texture, image and print finish.

BP&O, in this end of month review, tries to recognise both the smart use of small budgets—those that channel spending into the most appropriate assets—and those projects with a broad and holistic quality, establishing a continuity (conceptual and/or visual) across multiple touch points. Many of the projects share a concise aesthetic expression, yet there is nuance and strategic weight to these, so do click through and read more about each of these.

Throughout the month BP&O also continued to expand on its collections series as another way to jump through to older posts on the site. This included Time, Structural Design and Best Awards Finalists 2018.

Continue reading this article