Opened in 1973, the Sydney Opera House, designed by Danish architect Jørn Utzon, is one of the most iconic buildings in the world and serves as a multi-venue performing arts centre in Sydney, Australia. It is home to four resident companies: Opera Australia, The Australian Ballet, the Sydney Theatre Company, and the Sydney Symphony Orchestra and stages more than 1,600 performances a year to over 1 million audience members, which is a fraction of the amount of visitors it receives outside. More than 8 million a year. A new identity — the logo remains the same — aims to bring some of that massive potential audience inside for the performances. It has been designed by the Sydney office of Interbrand in collaboration with Collider for motion work and Studio Laurenz Brunner (who designed Akkurat and Circular) for typography.


A motion design firm generated this underlying grid graphic, what happens next will blow your mind.


There are two parts to this project: The motion work above, and the typographic work below. We’ll start with the motion because pretty. The structure of the motion work literally revolves around the building’s logo — by the way, can someone confirm who designed it? Frost*? — which, obviously revolves around the building’s iconic domes that have beautiful natural shading that informs the visual tone of the animation. Revealing structural shapes amidst flat fields of color, the motion work is subtle yet dynamic and surprising with some absolutely stunning moments and animation behaviors. I’m not sure how much air play this part of the project actually gets on Australian TV or online but I hope the Opera House takes advantage of it because it’s jaw-dropping.


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Application with performance imagery.


The second part is based on a sculptural rendering of Circular, named Utzon. Depending on your penchant for 3D typography this will be great or terrible. I have always loved dimensional typography and this is particularly enchanting in its off-balance approach. It’s a chiseled effect but it’s not symmetric within each letter and sometimes gives off a Mobius Strip-like illusion. You would think the letters are not physically possible but, lo and behold, they can be 3D-printed or built as actual things. The tone-on-tone shading works in unison with the motion work to establish, well, a consistent tone.


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In application, the typography works best against black backgrounds, which amplify the dimensional effect and looks elegant and sophisticated. At the same time, it works well on the brighter colored backgrounds and fares pretty good when paired with humans. I like how they have also established two different flavors for its use: When it’s all uppercase, the letters are spread wide apart, letting them stand on its own; and when it’s title case, they are typeset normally, and have a subtler presence. Overall, I don’t know if this work will have a direct influence in bringing people inside the Opera House but it helps create a visual link between the building and the communication, so at least the segue from taking a selfie outside to sitting inside will be more natural.


Article Source:  UnderConsideration

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