From design studio Snøhetta:

Available in three different font sizes, the wooden types are produced in more than 18,000 specimens assembled throughout the eight stories of the 23,000 m² building.

Meticulously milled from thick wooden slabs of poplar in a local workshop just outside Paris, and coated by a thin delicate layer of ink-black paint translating the Salmanazar font, each individual type represents a specific character.

Each type could be used to physically print a singular letter on a sheet of paper, and the tactility of each type clearly expresses the wayfinding’s reference to traditional handicraft.

By subtly merging modern references with the touch and feel of a time when the employees of Le Monde still could hear the cylinders of their rotary press roar in their offices at noon sharp, the modular wayfinding intelligently synthetizes past and present in a physical expression of effortless flexibility.

Oslo Peace Week —

is a non-profit organization, which will facilitate and host an annual Oslo Urban Peace Week (OUPW), gathering urban planners, peace researchers, peace builders, technology providers and transnational, state, and public actors. OUPW will invite stakeholders from all over the world to participate – all with the common goal of rebuilding our cities for a better future.

Kristin Jarmund Architects is an Oslo-based architectural studio with a design philosophy that is focused on using a simplicity of form and a clarity of purpose to address complex problems, while at the same time allowing for a contextual and human sensitivity. Reduction, as well as the duality inherent to the studio’s work, was the founding principles of their new visual identity, created by Scandinavian studio Snøhetta. This can be seen in the juxtaposition of type and image, and the recurring motif of extracts within both of these.

Read more about this project on BP&O.

Snøhetta:

Edvard Munch High School opened August 2015 in the newly refurbished building from 1903, once housing Oslo National Academy of the Arts. With an increased focus on creative learning and aesthetic subjects, including disciplines such as music, dance, product design, textile, and crafts, in addition to a sound academic education, the school aims for providing students with a broad learning program.

Snøhetta has developed the visual identity, signage system, exterior signage, and communication towards potential future students. The underlying idea behind the design has been implemented on boards, posters, brochures, exhibitions stands, t-shirts and business cards. It comprises as playful and flexible system, where the youth is invited to continue using the identity in their way. The visual identity has reference both from what is traditionally referred to as science subjects, as well as from the more artistic subjects. By compiling images and text from both branches, we try to eliminate an artificial distinction between the two. The use of color and choice of font are rooted in the school building, where the traditional meets the contemporary after the recent rehabilitation.

The Euclid Flex collection is available from Swiss Typefaces.

You might know Telemark county for its traditional Telemark ski, its rich cultural history, its stave churches, the canal – carrying boats 105 kilometers inland, all the way from Skien to Dalen – or the pictoresque coast line area surrounding Kragerø – “The Pearl of the Coastal Towns” as the painter Edvard Munch once named it. Tourism is important for the region, and by enlisting the help of the multi-displinary agency Snøhetta, Telemark is set to expand its brand.

Telemark's visual identity is designed to help the many tourism operators and businesses in the county to appear unified and coherent. The purpose is to communicate the experience of Telemark as a modern and exciting destination, drawing to more visitors to spend valuable time in the county.

Snøhetta has developed a bold new identity, utilizing the regular weight of Sindre Bremnes’ Telefon as the main brand face, paired with Adobe Caslon for extended text. The identity is rolled out slowly over the coming years, aided by a web-based profile manual complete with downloadable templates, colour swatches, logotype variations and a continously growing database of photography (shot by photographers Marcus Nyberg and Steve Warburton).

Snøhetta’s own presentation of the project has even more details, and a video introducing the web-based design manual.

The identity is packed with templates and example-usage, including billboards, ads, business cards and editorial design – both digital and in print.

The logotype features a custom drawn wordmark and a symbol than can be filled with various textures and images. Snøhetta writes about the identity:

The overall idea of Telemark's visual identity is contrasts that complement and reinforce each other. The wet appears wetter in juxtaposition with the dry. The icy cold feels harsher in the face of the heat. The modern assumes a new perspective when paired with the traditional.