LogoArchive returns with its fourth collaborative Extra Issue and first bi-lingual release, documenting the forms of Japanese logo design. Through the distinctive smaller format of the bound booklet LogoArchive seeks to surprise and delight with each new issue, introducing new collaborators to offer unexpected interpretations of the ubiquitous logo book. For this Extra Issue, Hugh Miller orchestrates graphic impact and material nuance to honour the unique visual legacy and craft associated with Japan. In addition, the words of Tokyo-based designer and writer Ian Lynam, and his assistant Iori Kikuchi, offer an introduction into Japanese symbols.
LogoArchive の第4号目となる増刊号で は、日本のロゴデザインの形を記録し た 初 の バ イ リ ン ガ ル 版 を 発 行 し ま す 。小 冊子という独特のフォーマットを通し て、LogoArchive は毎号、新しいコラボレ ーターと共に、お馴染みのロゴブックへ の思い掛けない解釈を提案しながら、驚 きと喜びを追求しています。
今号では、Hugh Miller (ヒュー・ミラー) が、グラフィックのインパクトと素材のニ ュアンスの交差点を探り、日本にまつわ るユニークな視覚的遺産と工芸品を称 えています。さらに、東京を拠点に活動す るデザイナーであり作家でもあるイエン・ ライナムと、彼のアシスタントである菊地 伊織の言葉で、日本のシンボルを紹介し ています。
Text by Richard Baird
The Office for Metropolitan Architecture (OMA) is an international architectural practice operating within the traditional boundaries of architecture and urbanism. It was founded in 1975 in Rotterdam by architects Rem Koolhaas and Elia Zenghelis and alongside Madelon Vriesendorp and Zoe Zenghelis. OMA now has seven offices. This year saw the launch of OMA New York’s self-published monograph, designed by Studio Lin, that takes a look back at over 10 years of their work.
Text by Richard Baird
160 Faces is a new publication from Swedish artist Daniel Götesson working under the name Ekta, designed by Lundgren+Lindqvist and distributed under the studio’s publishing arm ll’Editions. The book collates 160 drawings made by the artist in 2019, and sequenced, rather than in logical pairs and with a curated rhythm, but by using an algorithm developed by the studio. Applied using modern print technologies, each book becomes a unique experience of unexpected outcomes. The viewer is thus involved in formulating meaning between human faces that were algorithmically paired, and outside of the hands of the artist. This intersection of machine generated results, a very human image and artistic expression, continues in the typesetting of title pages and colophon. Here, Lundgren+Lindqvist designed a basic framework for the artist, who wrote all the necessary text with the same crayon he used when creating the drawings.