Row by row; left to right: Lowther Children’s Centre, London, Patel Taylor Architects. 7 World Trade Center, NYC, Michael Gericke, Pentagram. The Marion Cultural Centre by ARM + Phillips/Pilkington. Artwork for the Indianapolis Airport, Indiana, Joe C. Nicholson. Fairmont Pacific Rim Hotel, Vancouver, Canada, Liam Gillick; words say “Lying on top of a building, the clouds looked no nearer than when I was lying in the street.” British Library main gates, Cambridge, UK, Cardozo Kindersley Workshop. Grey Group, NYC, Paula Scher, Pentagram. Lincoln Center steps, “Welcome” in multiple languages, Diller Scofidio + Renfro. U.S.-Canada border crossing station at Massena, NY, Michael Bierut, Pentagram (has since been taken down.)
Click to enlarge
Row by row; left to right: New York Times Building Signage, NYC, Michael Bierut, Pentagram. Symphony Space, NYC, Paula Scher, Pentagram. 770 Broadway awning, Paula Scher, Pentagram. Harley Davidson Museum, Milwaukee, Wisconsin, Michael Bierut, Pentagram. Bloomberg Building, NYC, Paula Scher, Pentagram. Container Mall (proposed design) NYC, LOT-EK. APAP Open School, Korea, LOT-EK. Bohen Foundation, NYC, LOT-EK. Lignan Studio renovation, LOT-EK. PS1 Museum of Art, Queens, NY (not sure of designer.) Museum Tower, Dallas, Texas, Scott Johnson, Johnson Fain Architects, photo from williamedia’s photostream. Wales Millenium Centre, Cardiff, South Wales, Jonathan Adams, Capita Architecture, photo from iwouldstay’s photostream.
As promised, here is a second roundup of architecture and typography merged into one (see Part I). Pentagram has a large representation here, as does Lot-ek, possibly because many of their projects are in NYC and I am personally familiar with them, but it’s more likely because their websites happen to be chock-full of these beautiful projects. Lot-ek’s use of type and color on their projects feel a little like Freitag bags on steroids. I love it.