By presenting the corporate identity project we developed for the regional Government of Sardinia at Expo 2015 we aim at pointing out the importance of laying-out the structural definition of an integrated corporate project by its strategic planning. In this framework we will take advantage of the definitions of grids, patterns (or, sequences of elements) and rhythms (or, repetitions in space and time) to explore both the strictly visual and semiotic properties of a graphic design, and its translation a series of communication projects that embrace a variety of languages and media. In this track we will move from considering the single products of a vast project to presenting the overall rationale of our design. Thinking by grids and patterns – structures that are conceptual, formal, operational at the same time – can lead us not only to understand the complex integrated nature of contemporary design communication, but to consider the act of designing identities, as a practice that, in order to enhance adaptability while preserving variety and recognizability, needs to rely on open and flexible systems.
Patterns of Identity. On the visible/invisible structures of the corporate project for Sardinia at Expo2015 / Sironi, Marco; Melis, Sabrina; Ceccarelli, Nicolò Giacomo Bernardo. - (2017), pp. 165-171. (Intervento presentato al convegno CIDAG 2016 - 4th International Conference in Design and Graphic Arts-Meeting Points tenutosi a Barcellona-Spagna nel 26-28 ottobre 2016).
Patterns of Identity. On the visible/invisible structures of the corporate project for Sardinia at Expo2015
SIRONI, Marco
;MELIS, Sabrina;CECCARELLI, Nicolò Giacomo Bernardo
2017-01-01
Abstract
By presenting the corporate identity project we developed for the regional Government of Sardinia at Expo 2015 we aim at pointing out the importance of laying-out the structural definition of an integrated corporate project by its strategic planning. In this framework we will take advantage of the definitions of grids, patterns (or, sequences of elements) and rhythms (or, repetitions in space and time) to explore both the strictly visual and semiotic properties of a graphic design, and its translation a series of communication projects that embrace a variety of languages and media. In this track we will move from considering the single products of a vast project to presenting the overall rationale of our design. Thinking by grids and patterns – structures that are conceptual, formal, operational at the same time – can lead us not only to understand the complex integrated nature of contemporary design communication, but to consider the act of designing identities, as a practice that, in order to enhance adaptability while preserving variety and recognizability, needs to rely on open and flexible systems.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.