Opinion by Richard Baird
The Architect’s Bookshop is a new design-focused retailer, located in Sydney’s Surrey Hills, devoted to the books of architecture and interior design, landscaping and urban development. The space was conceptualised as being more than a bookshop but a place to take time out to browse, a chance to engage with the material and form of the books, and as a place for those interested in all things related to the built environment to meet and engage in informal conversation and design discourse.
Australian design studio Garbett worked with The Architect’s Bookshop to develop a visual identity that would capture the spirit of the space, the positioning ‘a place for architecture lovers’ and comfortable with and distinct from a material and graphic sophistication of architectural publishing, channelling the universal, enduring and immediate form language associated with architectural structure and book reading. This project covered, alongside logotype, tote bag, bookmark/business card, bookstands, signage, price stickers, gift cards and art direction.
Jack Self (JS) is a London-based architect and writer. He is the director of the REAL Foundation and Editor-in-Chief of the Real Review, a magazine that explores, through a variety of topics and lenses, what it means to live today. The text below is an excerpt taken from a 10,000-word transcript of an hour-long conversion between Richard Baird (RB) and Jack Self. This covered architecture, graphic design, publishing and the review.
RB—I spoke to Jack Self about my desire to create an unexpected material object from the work I do for BP&O. That I did not know what form it would take, although the LogoArchive zine is now folded into that project. I would use words like performance or sculpture when speaking to people about it, to move the conversation beyond, say, an annual; a common suggestion (although it was always going to be material) as a way to draw people into a worldview. This is what Jack had to say about that and how Real Review creates new relationships with space and develops a dialogue between text and image, outside of their literal reading, by way of a vertical fold.
Opinion by Richard Baird
Founded in 2010 and headquartered in New York, WeWork began as a workspace provider and has grown to offer a broader infrastructure of community management and support, event programming and virtual network management for small and large businesses, entrepreneurs and freelancers.
With significant and rapid growth WeWork worked with Gretel to align its visual identity with its purpose. “Framework”, a graphic route that functions as a visual metaphor for WeWork itself, replicating its activities and behaviours, is a responsive and dynamic structure that responds to any spatial format in new and interesting ways, on screen and in print, governing and linking, alongside a simple colour palette and imagery, all of WeWork’s communications. These include small and large format posters, signage, magazine and website design.