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Built in 2005 by Rem Koolhaas’ OMA in the city of Porto, Portugal the Casa da Música is, without a doubt, a significant architectural statement — further emphasised by its intense angles and towering presence. By using the building as a visual source, Stefan Sagmeister created a dynamic, faceted and endlessly varied identity — all literally speaking. The resulting logo is perhaps, well, not pretty, but as a vessel for the complete identity and adaptable execution it is a mighty impressive piece of design architecture itself. One on which styles, ideas, themes — specific or broad — can be projected upon. Stefan was generous to share this project with us and show what happens behind the scenes in the realization of this identity.
Casa da Música in Portugal, Porto by Rem Koolhaas.
Graphical views of the building.
From the different views of the building, a system of logos is created.
Through the different views of the building, 17 facets are defined — from those a 17-point color-picking mechanism is created.
Need we say that the possibilities are endless?
And what would a mutable identity be without its own customized software?
To further enhance the felxibility of the identity, the logo can be used in a scary number of freeing ways. [Click here for bigger view]
Jump to Most Recent Comment
Kaz’s comment is:
Well, it just look like a StarWars Sandcrawler, it's pretty ugly.
(j)awww!
On Sep.17.2007 at 10:34 AM
Ty’s comment is:
Scary is right! But good scary. And very cool. Looks like they are using Avenir in some places (logo generator), but does anyone know what font the logotype is in?
On Sep.17.2007 at 10:39 AM
Frank’s comment is:
Err...which one is the official logo then ?
On Sep.17.2007 at 11:16 AM
drew kora’s comment is:
wow. ok, at first glance the b&w logo is...eh. but then seeing the research behind it, the different angles of the building, and then the color make-ups. wow.
that's thinking out of the box....er, polygon.
anyway, in general, i really like logos like this in general where a logo can be modified and changed all the time, and still be the same. like that art school logo we saw here a few weeks ago with the square. very cool.
BWJ’s comment is:
Thanks once again Stefan, for continuing to push design beyond the expected and formulaic methods that most designers will never abandon.
On Sep.17.2007 at 11:55 AM
Splashman’s comment is:
Very cool. In general, I'm not big on the notion of endless permutations, but I'll make an exception in this case. Because the structure itself is so strong and iconic, the logo (and every permutation) is instantly recognizable, and isn't that the main function of a visual identity?
Kudos!
(Okay, I admit I chuckled when I saw the sandcrawler, Kaz. Good catch.)
On Sep.17.2007 at 12:16 PM
Design’s comment is:
Really?
Lame.
On Sep.17.2007 at 12:28 PM
Design’s comment is:
Really?
Lame.
On Sep.17.2007 at 12:28 PM
Vavoom’s comment is:
Not Sagmeister's best. Probably his worst...
On Sep.17.2007 at 12:36 PM
Frank’s comment is:
Btw, besides the question what the "offical" logo version is i think in small/thumbnail sizes the logo(s) will just look like a big chunk of black dirt or something.
On Sep.17.2007 at 12:51 PM
5000!’s comment is:
As with other times that Brand New has featured somebody exploring what a designer can really do with an identity, I'm totally dismayed by the negative response from the peanut gallery. The proper answer to "Which one is the official logo?" is that "identity" does not equal "logo."
On Sep.17.2007 at 01:46 PM
Monostereo’s comment is:
I'll second that motion. While innovation for innovation's sake could be seen as an example of Sagy's 'style = fart' methodology, I think this pushes forward in the right way. It is a trend that cultural institutions have a logo that changes to represent the variety of content housed within. But not a bad trend...yet. I love the user defined logo experience, and working with adjustable color is pretty daring. Maybe its a child of the 80's thing, but IMO it is pretty hard to go wrong with anything that looks like the old vector based star wars video game.
On Sep.17.2007 at 02:03 PM
John McCollum’s comment is:
I think it's brilliant.
On Sep.17.2007 at 02:11 PM
John McCollum’s comment is:
I think it's brilliant.
On Sep.17.2007 at 02:12 PM
Design’s comment is:
This doesn't push anything. It's a juvenile attempt limited by technology.
On Sep.17.2007 at 02:15 PM
Gabe Ruane’s comment is:
'Design', come on now. Anything useful to add? Whatever the (subjective) take on the results for each of us, I'd say this is clearly an identity project that's branched out to levels of exploration and interactivity (with the building/space, and the users of the ID system with the open color options) that most of our own identity projects don't touch on.
On Sep.17.2007 at 02:39 PM
Guillaume’s comment is:
It's great. It's a vibrating identity. It echoes the energy of the building, the new life it will bring to its city. Extremely identifiable and memorable while never the same.
Great to see real-world usage examples in this article, too. That's the only way to really see what an identity is worth, IMHO.
More of these!
On Sep.17.2007 at 02:49 PM
Audrée Lapierre’s comment is:
you can never go wrong with geometrical shapes.
On Sep.17.2007 at 03:32 PM
Glen’s comment is:
Ecellent. However, this type of identity will only reach its potential if the generative process is followed through in application.
On Sep.17.2007 at 04:02 PM
Glen’s comment is:
Excellent. However, this type of identity will only reach its potential if the generative process is followed through in application.
On Sep.17.2007 at 04:02 PM
Ty’s comment is:
Any idea on the font choice?
On Sep.17.2007 at 04:03 PM
je’s comment is:
I think it's great. It just falls a bit short on the type, in my opinion.
On Sep.17.2007 at 07:01 PM
Tactful Cactus’s comment is:
Lame, I agree.
I have no problem with the shifting logo to represent different parts of the whole. The perspective-driven shape-shift is fine. What I do have a problem with is when process trumps end product.
The colors were chosen from a set grid placed over meaningful photos. Once those colors are taken from the meaning of their context, they're just random colors. The identity is meaningless without a whole freaking essay about the process. It's just silly.
I like the idea of the shapes, but all of the focus was put into concept and no care seemed to be taken into transforming the concept of the shape into a decent, scalable, visually balanced visual. They all look like concept sketches-- unrefined and incomplete.
On Sep.17.2007 at 07:26 PM
5000!’s comment is:
Once those colors are taken from the meaning of their context, they're just random colors.
But the colors are derived from the context that the logo is used in. They're never taken out of context.
On Sep.17.2007 at 08:11 PM
Derrick Schultz’s comment is:
I'm always a bit hesitant when a cultural identity uses its house as its identifier—it seems to be trying for its "brand" more than its "culture."
But I guess if I paid OMA for a builiding I'd want it to be more than just a building too.
I'm interested in why they chose to utilize the color sampler in the way they did. It would seem that choosing it based on an algorithm of an uploaded image (brightness, color quantity, etc.) would give you much more control over the range of colors, but I guess this has more surprise to it.
On Sep.17.2007 at 09:08 PM
Roger’s comment is:
I agree with Tactful Cactus.
There's no balance between concept and execution.
There's no emotion, no real idea. Just a process that results in mediocrity.
Perhaps next time someone tackles a mark that evolves, they start with the mark itself. Not the evolution.
On Sep.17.2007 at 10:07 PM
Joe ’s comment is:
I'm always a bit hesitant when a cultural identity uses its house as its identifier
For this museum in particular, any alternative formal execution of a logo, wordmark, or system would seem contemptuous and arbitrary in relation to the formality of this powerful, ugliful and memorable architecture. This identity is as timeless as they get; bricks and mortar, period. Why would one aspire design something less essential?
On Sep.17.2007 at 11:17 PM
Tuga Boy’s comment is:
Let´s hope that the brand keeper understand how to use the "logo Generator"
On Sep.18.2007 at 05:27 AM
Blake’s comment is:
Love it. Then again, I'm a sucker for geometric shaped identities.
On Sep.18.2007 at 08:18 AM
L.Vazquez’s comment is:
5000!: That's why I'm commenting less, and reading more.
On Sep.18.2007 at 08:27 AM
Jan’s comment is:
The identity is meaningless without a whole freaking essay about the process.
That is so true. The whole CI is not outstanding in any way IMHO. The only thing that makes this CI worth a blog entry is the concept thats behind. But: You don't get the concept without reading a whole lot of text. I mean, come on, why can't the colors be chosen by random or personal preference or whatever. The result is very much the same
On Sep.18.2007 at 11:12 AM
felix’s comment is:
!Bravisimo!
this CI engages and informs. Sure, it takes a while, but like any good piece of communication, it flatters it's patrons. I would expect nothing less from Matthias and Stefan.
On Sep.18.2007 at 11:31 AM
Pedro’s comment is:
Nice solution.
a very appropriate flexible system for a client that would need a broader way to communicate the ever changing needs of a museum.
EnergonCube’s comment is:
Exactly what would you have Sagmeister do? Create yet another stale, white-bread logo? The design is about looking forward and asking one to rethink what they know about music (and Casa da Música) -- much like the building does for architecture. Whether or not we know the concept and meaning behind the design, it is, at least, intriguing.
Is it ugly? Sure (depending on one's taste). Can it be easily ignored? I don't believe so. And in the end, isn't that the point?
On Sep.18.2007 at 01:35 PM
Daniel Bertalotto’s comment is:
I think this identity is terrific.
It's makeup is relevant to both music culture in how it fluctuates on impulse, and to its own archetecture. There is no way this identity can lay claim as being generic or confusing with another.
On Sep.18.2007 at 01:39 PM
disgruntled designer’s comment is:
i love the logotype, it's great and fresh. the bug, or icon, is interesting in concept and i really like the idea of ever-evolving identity. but i do have to confess that sometimes i wish it would go away from the type a little bit and let the type stand on its own as the visual identity. i do think the mark could be dynamic when animated and on-screen.
On Sep.18.2007 at 03:37 PM
SusanNY’s comment is:
It's a copout. Place this one in the trash with the same art-school-bullshit-reasoning behind the London 2012 logo.
On Sep.18.2007 at 04:52 PM
JonSel’s comment is:
Bitch. Moan. Sheesh.
An identity needs to take into account the audience, and music is certainly open to wide interpretation and exploration. So I find this to be just fascinating.
It's most appropriate for a beast of a building that would completely overwhelm a typical typeset wordmark.
What I really love is the Logo Generator, which makes handling a mutable logo relatively simple with less chance of error.
On Sep.18.2007 at 04:58 PM
JonSel’s comment is:
Now that I look at their website, I notice that they have a different logo – using positive and negative shapes to convey dimensionality – as well as a different wordmark. What's up with that?
On Sep.18.2007 at 05:00 PM
CCHS’s comment is:
Enviable. This is a thoughtful, meaningful and (as far as any of us can tell) appropriate identity. I'm honestly surprised that it is not being greeted with more consistent praise from this group. This effort expands our (pre)conception(s) of design — simultaneously making it easier for designers to explore less superficial approaches to identity, while also making it more difficult by raising the bar.
I won't say I like it or dislike it (that's irrelevant). It's smart and it works and that's what matters.
On Sep.18.2007 at 07:45 PM
joel’s comment is:
as a clueless, stupid, and younger designer, I'm OK with the altering logo thing.
I think that with exhibits coming in and out and things changing around all the time, it might to be a bad idea to allow the logo to be altered a little bit so that promo material can be integrated to work with the identity, instead of maybe having to slap it on in the corner all the time.
The type I don't dig so much. i'm going to be killed for this comment, probably, but I feel the strong compulsion to try it in a nice, square serif, like Trade Gothic or something.
To me, the two ideas are kind of fighting. You've got an outrageous logo graphic and then really demanding typography as well (in the sense that it's attention-grabbing). I'm not sure if it's resolved in terms of the relationship between the two because of it.
joel’s comment is:
erm...
...it might not be a bad idea to allow the logo....
(Sorry!)
On Sep.19.2007 at 12:23 AM
Mr. One-Hundred’s comment is:
Love it!
I heard Sagmeister talking a couple of years ago about identities which adapt directly to their usage. He spoke about a similar identity he developed for, I think, Vivendi which worked in a similar way, but the project was scrapped before they rolled it out. (Something about divesting the conglomorate’s interests or something). So I am glad to see he was able to finally execute the idea.
There's no balance between concept and execution.
The concept is the execution.
On Sep.19.2007 at 12:33 AM
Von Glitschka’s comment is:
I had to let this one grow on me.
I think it's pretty incredible and the entire concept is very unique. You can't say that about too many of today's newer brandings.
Three Thumbs Up!
On Sep.19.2007 at 01:09 AM
Danny Tanner’s comment is:
First:
Casa da Música. What does that mean?
House of Music!
Pretty explanatory.
We understand it's a concert hall.
When asked, "Hey, do you want to go to the House of Music?"
One replies, "Yes, let's go to the concert hall!"
We don't need to see little music notes in the logo,
it already says it, we don't need to say music twice.
Period.
Second:
What makes Casa da Música unique?
From the photo's on Armin's link (click on the first link), one can see how
the architecture informs every experience the building offers, both inside and out.
This is the differentiating element of the hall.
Nothing can compete with it.
Embrace it.
Period.
Third:
This logo is made for an specific audience, one who can experience the building.
Not Joe Shmoe sitting here on the other side of the Atlantic.
If one can't experience the building, doesn't take the time to view
photos of the space to develop an informed opinion,
of whines about implementation limitations, when this is a singular
location with limited marketing needs, get over it.
Period.
Fourth:
Anything else...
would be uncivilized.
Period.
Mark Barnette’s comment is:
What a welcome addition to any neighborhood! The branding options, clever as they are, are just icing on a wonderfully delicious cake. Who wouldn't want to spend as much time as possible inside such a magical and inviting structure?
On Sep.20.2007 at 08:10 AM
Arthur’s comment is:
Love the logo marks. When put into the context of the building they make perfect sense and have a strong association with the building. I'm not so sure about the color generator, but the client being responsible for picking colors is a scary thought, so I suppose this is a good way to keep some control over it. As an aside I'm glad I'm not the only overgrown thirteen year old who immediately saw a sand crawler when I looked at the building.
On Sep.20.2007 at 09:21 AM
Rocco Piscatello’s comment is:
I know this may be hard for some to chew, but folks, it just doesn't get any better than this.
On Sep.20.2007 at 09:40 AM
Lee’s comment is:
Dude, it looks like a pair of pants...
Alfonso’s comment is:
The thing is, many people here are discussing the logo. Like the logo is the ends for which the identity system is only a means. And that's a damn shame. It's the other way around. This study almost trivializes the logo by turning it into a direct product of the application of the identity, and thus, everchanging. This identity is made up of a systematic (if not particularly artsy) process that engages its context and makes it a part of itself. Of course, since the language spoken by said identity is so strong and particular, and the relationships between the basic shapes that make up the "logo" are so easily recognizable once you get to know the system, then any incarnation of the logo becomes recognizable, whatever palette or perspective or aplication of the final logo is used. This is the kind of graphic design that talks with the viewer and not at the viewer, because it demands to be questioned by the viewer.
The point being this: This system doesn't mean to work in a void, like the sample at the top of the post (figure/ground, in an endless white canvas). It is meant to me applied to something. I know it looks ugly on its own, but then it seems to me that one isn't really supposed to view it in this contextless condition. After you see it applied in various ways, you learn its language, and its beauty becomes palpable (not an aesthetic beauty, but a beauty that happens when systems work, like when an old car finally starts after hours of tinkering with the engine).
I say: Right on.
On Sep.20.2007 at 01:07 PM
martin’s comment is:
the typeface seems to type 1451 from lineto
the logo while gimmicky at least shows thought process and a pretty ingenious solution for an art institution. most pro and cons have been stated above. its not the deutsche bank so something a bit more creative seems a breath of fresh air.
if drwn for ver small sizes i doubt the thing will look like a blob
Roger’s comment is:
Alfonso -
''This system doesn't mean to work in a void, like the sample at the top of the post. It is meant to me applied to something.''
-
You mean applied as in the, less than stellar, posters shown?
Rock it like the Walker.
http://www.processtypefoundry.com/about/press_walker.html
On Sep.21.2007 at 09:32 AM
Alfonso’s comment is:
Yes, I do.
I don't know if I'd call them stellar or not, but I do know I find the application of the system engages the subjects to the point of making them a part of the system (or itself a part of the subjects).
On Sep.21.2007 at 11:14 AM
Alfonso’s comment is:
Oh, and I do agree the Walker Art Center's identity is pristinely awesome. But this isn't about the Walker Art Center. I think.
On Sep.21.2007 at 11:17 AM
Arthur Freed’s comment is:
I love the process of converting the architectural plan to the logo and "identity". That said it seems to actually fall apart in process, the typeface is necessary to establish the brand identity, the name, and this logo used in content shots is just a gimmick, unecessary. Would it function really, without the name in the upper left hand corner of the magazine cover, etc... I doubt it.
Architecture reminds us that the best don't just literally take a "look" or "expression" of other architects or principles, just reframe it, but they use them to generate the final form or concept at least. It would have been far more interesting as an identity, if the design process had figured out the relations implied by this odd shape, or establish a logic out of the angles, lines and spaces, and carried it further, rather than what is essentially, a picture of the building in the end, just with many different angles as if "populist".
On Sep.22.2007 at 09:41 AM
maria’s comment is:
This is the type of project that seems a reflection from the graphic design zeitgeist specially in schools: not commercial logic. I'm glad many are confused or refuse to see beauty in it.
It is an awesome logo design that suits the ones that find interest in systems as a way to express identity rather than mere "style" based on type. Very Dutch: Straigh foward and playful.
Susana’s comment is:
I grew up in Porto, and was, let's say, rather sceptical, about Koolhaas's project. Although it seemed quite extraordinary I could not imagine that huge, massive block of concrete (it was projected as a glass mass in the begining) in my beautiful and not so big city. I waited until is was finished to express my opinion (there was huge controversy while being built), and I love it, and it suits the place and I was amazed, not surprised because we were talking about Mr. Koolhaas.
When I first heard about Sagmeister designing the new identity for Casa da Música I was surprised. I thought that other designers were much more fitted for the job, but again it was Sagmeister! I am not a fan of Sagmeister's work but I know it is very good. Well I waited again, and I was rather disappointed with the outcome. I like the system and the concept for the identity (not new but makes a lot of sense for a place like Casa da Música) - yes and the 'odd shape', as some of you put it, looks just as it should, as you see it when you walk around the building - but the typography?!?!?! I could not believe that something like that could come out of a good, responsible designer! The logotype is just plain terrible.
kameko.rouge’s comment is:
"Just a process that results in mediocrity."
Exactly. Of course, there will always be buffoons who claim some form of pathetic superiority by thinking they 'get' it. please...
On Oct.03.2007 at 11:56 AM
Dipika’s comment is:
Some people seem to think this Emperor has no clothes. Others see pants.
Eye of the beholder, dude.
On Oct.03.2007 at 11:41 PM
Characters’s comment is:
I love it. Ok, the typography is not really pretty, but the idea behind the logo and it's corporate identity is very strong. I love the idea of incorporating the colourschemes of the paintings in the logo.
Well Stefan is always good for a crazy idea. Way to go!!
Damon’s comment is:
conceptually I think it's interesting, but in the end having to present a rationale ten pages long for a logo makes it ineffective in my opinion.
a logo should be concise and clear at all times (not a fan of non-objective glyphs) to be a quality mark....if you need to roll out an encyclopedia to explain why it is what it is then it's not doing its job properly, which is to convey a succinct message clearly and effectively at all times.
I think it's cool, and the thinking is good, but the execution in the end feels awkward, ugly, and it doesn't speak it's intention to the viewer without LOTS of help, so in that respect I think it's a failure.
word up
On Oct.05.2007 at 02:54 PM
Feldhouse’s comment is:
I meant to chime in on this one earlier but I am glad I didn’t because it has definitely grown on me.
This is absolutely one of the top identity projects I have seen in recent years. Not only does it expand the traditional idea of identity design, but it pushes what design should be: thoughtful, well-crafted, appropriate, and unique. Instead of just finding an identifier as a mark, Stefan creates a story that unfolds each time the logo appears. As others have mentioned on this site, it's not elegant or classy looking to most, but keep in mind American design is vastly different than other countries design philosophies. This is truly a fresh and special identity that I hope stays around for a long time.
On Oct.08.2007 at 01:20 PM
Krys’s comment is:
Any well designed identity has context and concept behind it. And many of those concepts are not immediately apparent. I'm sure many designers would actually be disappointed to hear the ideas behind several of the logos that have been praised on this site.
When something is open to discussion and critique, it is scrutinized. A piece of the logo usually becomes the main focus of discussion, and the designer may not have even been aware of that aspect of their design; whether it be good or bad.
With Sagmeister's explanation of the identity, we can see beyond the initial reaction of the building's shape and realize that it really is incredible, conceptual work.
I agree with Danny Tanner; "This logo is made for an specific audience, one who can experience the building. Not Joe Shmoe sitting here on the other side of the Atlantic."
It's easy to critique a painting without seeing it in person and experiencing it yourself. I don't think many can appreciate this identity in full unless they experience it.
On Oct.09.2007 at 04:58 PM
David Carvalho’s comment is:
The Architecture of Casa da Música is BEATIFULL the logo looks like shit!
On Dec.26.2007 at 11:28 AM
Hizzoner’s comment is:
FAKE! Clearly a photoshop.
On Feb.12.2008 at 11:20 AM
Blue Buddha’s comment is:
I rather like what they have done with the posters and the architecture is interesting, but I can't get that sand crawler out of my head.
I don't overly care for the logo, except in its "south view" representation. It gives me a feeling of looking at two images in one. Are you walking into a long corridor or are you seeing the outside of a tunnel-like structure. The other views lose the perceived motion and for me, the charm of this identity.
On Feb.12.2008 at 08:52 PM
Justin’s comment is:
Dig the building/architecture. Appreciate the creative process and exploration of the 'mark', which makes sense to me. The shape/vessel is a bit too stagnant of for a mark, thus making the 'interactive' execution of it seem a little desperate and somewhat disconnected. Give me some time, and I'll warm up to it though.
On Feb.13.2008 at 12:07 PM
SMaduro’s comment is:
We can never forget what Casa da música represent and the kind of shows he offer´s.
It´s a variety of shows not only music but also teatre design conferencies arts in general and others. I think it´s very good because the logo can mutate and have a different caracteristic whith diferent artist´s.
Teresa’s comment is:
You are all talking about the logo...
The building is what´s important...
And I bet you never were inside...I was and got a guided tour to understand every single part of it...so go and learn before comenting!
Jessie’s comment is:
Very interesting....but what is the foreground of the picture? Highways?
On Jul.10.2009 at 01:19 PM
Comments in Brand New, V1.0 have been closed.
