Jan Ricny - Portfolio by Jan Říčný

Korunovační 18 . 17000 Prague . Czech Republic phone # e-mail date of birth Age family status

00420608132567 Jan.Ricny@seznam.cz November 25, 1987 22 married

nationality

Czech Republic

education

1999 . 2003 . Grammar School in Brno 2003 . 2007 . School of Arts and Design in Brno

...Graduation in Design

2007 . now . Academy of Arts, Architecture and Design in Prague 2009 . workshop lead by Daan Roosegaarde (NL) in Ljubljana 2010 . internship at ČVUT Prague, studio of Ing. arch. Ján Stempel competitions

2006 . 1st prize: Young Package, Designcentrum ČR 2007 . Good student Design, Student Design 2007 2008 . honorable mention, Sham Spiritual Oasis 2008 . shortlist, Trimo Urban Crash 2009 . Prize of ERA 21 magazine, XELLA 2009, ZOO Trója, Human Pavilion

software abilities

Adobe Photoshop . Illustrator . InDesign Autodesk 3dStudioMAX & Vray Autodesk AutoCAD CorelDRAW Sibelius

hobbies

music . guitar . French horn . recorder ... jazz . classical . traditional photography drawing

languages

Czech . mother tongue English . advanced French . intermediate

Church of St. Monica with a chapel of St. Augustine .Ortenovo náměstí . Prague . 2010 internship at ČVUT Prague, studio of Ing. arch. Ján Stempel While thinking of this church, I was inspired by the Gothic architecture, which seems to me to have come from deep spirituality. However, the basic concept of my work is based on a quotation by Tomáš Špidlík, a Czech theologian and cardinal. “The centre denotes GOD who speaks to us through Scripture. One wants to come closer to him, however, comes to an obstacle in the form of the FIRST outer CIRCLE. This circle symbolizes letter – the simply philological sense of the text. The reader overcomes this restriction; he breaks through this outer circle and he finds himself near to the SECOND circle within. This one symbolizes the intellectual, ideological sense. Beside this circle a person stays longer, he tries to understand what he reads. Nevertheless, even this finally disappoints him. Logic does not rule here. Only through prayer and through the help of god’s mercy he reaches the THIRD CIRCLE. This one symbolizes understanding in Spirit. GOD is still not completely visible here, however, the heart feels that HE is near.” According to this concept I tried to build the church around a circular centre core that cannot be reached, however, can be aimed at being reached. Thus, I continued to create numerous shapes that always focus in the circular centre. Finally, I created a triangular shape that emanates from the centre and penetrates all the circular shapes. This triangular shape, each side of which is made of a square, symbolizes the holy trinity, which penetrates the circular shapes that symbolize Christians who, each in his or her individual way aim at the centre – their own relationship with God. The shapes of the widows, apart from their focusing in the centre, are based on the fact that St. Monica is often portrayed as crying during her prayers for conversion of her, at that time pagan, son Augustine who later became one of the most influential Christian theologians. Thus, the chapel of St. Augustine is a significant and inseparable part of the church. The crypt on the ground floor and the two upper floors that include the flat of the priest, the parish office and the community centre should serve the everyday life of the community. The floors are connected by an elevator and two ramps. One of the ramps is ascending the outer part of the main circular shape but it is still covered by the triangular skin. The other ramp ascends within the main circular shape. Both the ramps end in the chapel. Both ramps symbolize each Christian’s ascension to Christ.

1000 3400

3800

77777

2720

23013

33333

fasade from Komunardu street

section A-Aâ&#x20AC;&#x2122;

4th floor

5th floor St. Augustine chapel parish office living room and kitchen room of a parish priest guestroom

6th floor community centre toilet - women toilet - disabled women toilet - disabled men toilet - men fire-room

1 2 3 4 5

terrace 1

1 2 3 4 5 6

3 1

1st floor

2nd floor

3rd floor

entrance for disabled 1

organ 1

St. Monicaâ&#x20AC;&#x2122;s church 1 vestry 2 confession booth 3

3 2

cellar A crypt 1 wine-cellar 2 laundry 3 2

8500

Aâ&#x20AC;&#x2122;

Walterbridge . footbridge to the revitalized Walter factory . 2010 AAAD

menade with landings - berrier free

promenade with landings - berrier free shortcut - low long steps

rtcut - low long steps café

benches with green vegetation

shortcut - low long steps

promenade with landings - berrier free

shortcut - low long steps café shortcut - low long steps

benches with green vegetation

café benches with promenade with landings - berrier free green vegetation promenade with landings - berrier free

BRIDGE

BRIDGE BRIDGE

Naturally, without any obstacle, the footbridge should navigate people to

scending towards Walter factory. The second way is longer but barrier free

the Walter factory centre. People should feel free walking on the as if float-

promenade which is getting wider between the houses. There is enough

ing construction of the footbridge. Although you pass a few curves, the

space for benches, shrubs and a cafe by the tower of the S building. Both

footbridge never leads you back, only forward. People coming from the

ways meet each other in 5 points so you can change your way anytime

underground station Jinonice can choose between two different ways. The

you want.

first is shorter but steeper – “a shortcut” that consists of low long steps de-

Prague 2040 . radical growth of population . 2009 AAAD

1.G

generation growth

2.G 3.G 4.G

X * 7 * 7 * 3,5m

Semester task: fabled story of year 2040, causes and impacts: year 2040 > to have a child is profitable > high natality > need of extremely flexible living space > longevity > variable space > multigenerational housing > urban environment > Prague > Letná > present football stadium of Sparta Prague separates Prague 6 and 7 > dead space > need of new connection > revitalization > villa area and apartment area nearby presently > development of somthing in between > villas in size of apartment houses = multigenerationl housing in the near center of Prague > titanzinc frame rasterized by 7 x 7 x 3,5 m > limit of building > natural limits > area is restricted by prearranged contractual regulations > a family buy their own vertical comunication with a lift and they built anything they want in their part of raster in whichever level > a skeleton is already

terraces

green vegetation

finished > quick changes of the house for quick changing families > they can make terraces and grow plants anywhere they want in between the “villas” > Prague 2040

CAR ENTRANCES EXIT FROM TUNNEL BLANKA

Bar on the Beach . Paraty . Brasil . 2009 AAAD

200 40

Family House in Zebetin . 2009 AAAD

cellar

1nd floor

2nd floor

section A-A’ . section C-C’

westview . southview

Xella 2009 . Human Pavilion . new entrance to the Prague ZOO . 2009 with Jan DoÄ?ekal & Marek Kundrata Prize of ERA 21 magazine

Human Pavilion What makes us different from animals? The Human Pavilion will guide people to face this question. From the outside they will see a pavilion full of playing kids reminding us of our animal roots. A tearoom is integrated so there are also parents talking and drinking tea. That can mean evolution or a link to the old cultural heritage that is characteristic only for humankind. The Human Pavilion with the tearoom outside of the ZOO is meant to be open not only for people directly coming to the ZOO. The ticket office and infopoint are located on the ZOO border.

Estaleiro S贸 . Conversion of an old shipyard . Porto Alegre . Brasil . 2009 AAAD

offices housing concert hall hotel restaurants, cafes shopping museum Estaleiro S贸

Trimo Urban Crash . Voluntary Adjustable Prison . 2008 AAAD shortlist

Student dwelling up to 10 mil. CZK . Karoliny Světlé . Old Town . Prague . 2008 AAAD lift

terrace

8th floor

lift toilet atelier

terrace 7th floor

lift bedroom

kitchen 6th floor

lift bathroom

5th floor

lift

loggia 4th floor o místorop ybaveno kla

akebia

Student dwelling is situated in the strange gap between houses in the heart of Prague. It as if grows on the house from the 19th century. You reach my dwelling by the lift from the yard. The dwelling has two entrances from the lift: in the fourth floor you can get in to the loggia and in the seventh floor you go directly to the atelier.The loggia is a quiet garden opened to the south and separated from the street by a green wall consisting of akebia. It is a perfect place to have a rest, make a sculpture or have a party. If you climb up the stairs you reach an entrance hall and a bathroom on the 5th floor and a kitchen and bedroom on the 6th floor. My house has a wonderful view over the roofs of the old Prague.

Sham Spiritual Oasis . Syria . 2008 AAAD honorable mention

horizontal communications vertical communications museum multifunctional hall atrium camp

hostel workshop space shopping canteen

road to the cloister

canteen facilities library space for meditation

Deir Mar Musa cloister

the cloister garden

entrance

camp

convex mirrors on the pillars

Islamic and Christian religions and cultures are very different. Understanding each

only supporting function. They shadow. In the ground floor, the space is opened for

other is ambitious and longtime process. Somebody thinks it is insolvable problem.

the light. In upper floors the pillars shadow much more. Water in the boulevard, atri-

We have to hope it is a long trail full of obstructions.

ums and meditational spaces has not only aesthetic but also pratical function. It cools

I was inspired by the typical Syrian boulevard, which partitions the whole building.

the space like water in Syrian atrium houses.

Thus the building is made of two halves - two cultures joined by footbridges made

When a pilgrim arrives to the parking place, there is the entrance hall in front of him.

of glass - weak joints. In the middle of the boulevard, there is a water canal. Com-

He can have a rest in the cafe, get some information about the Sham Spiritual Oasis,

munications are on both sides of this canal. These two trails are joined at the end of

then he can decide to accommodate in the campsite (directly placed behind the en-

the building and create one united trail. The canal and the boulevard begin in the

trance hall) or in the hostel placed in the main building. A visitor can also decide if he

museum - the beginning in history.

goes to the main building of the Oasis or to the Deir Mar Musa Monastery.

Some functions are doubled: quiet atriums, the hostel and the workshop spaces are

When a visitor comes to the main building, there is the entrance of the museum. A

partitioned into two halves. So the arriving can choose between two â&#x20AC;&#x153;sidesâ&#x20AC;?, but

common visitor will go to the museum. So the boulevard is lightned from legions of

it is not specified which half belongs to Islam and which one belongs to Christians.

people. Directly behind the museum are highly used areas: the library, the shop, the

I chose limestone as a primary construction material - it is a traditional material and there is a quarry of it nearby. The pillars in the boulevard and the atriums have not

canteen, the multifunctional hall. The hostel and the workshop spaces are placed in the back part of the boulevard. In the middle of the building are two resting atriums.

‫جزئين‪ .‬بھذا يتمكن الزائر من إختيار الجھة التي يريدھا‪ .‬لكن غير معرف أية من الجھات تابعة للديانة‬ ‫المسيحية أو للديانة اإلسالمية‪.‬‬ ‫البناء من الحجر الكلسي ـ مواد طبيعية‪ ،‬المقلع قريب من البناء‪.‬‬ ‫العواميد في البناء و األتريوم ليس وظيفتھا الحمل فقط و إنما تتستخدم للظل ـ كلما كان الطابق أعلى‬ ‫يكون حجم العامود أكبر‪ .‬في الطابق السفلي ينفتح المكان للضوء‪ .‬ال توجد المنطقة المائية فقط في البناء‬ ‫و إنما في األتريوم و مكان التأمل‪ ،‬المكان ال يعطي فقط جو جميل ولكن يعطي إيضا برودة و مكان‬ ‫لطيف‪.‬‬ ‫كل زائر يأتي إلى الموقف يرى أمامه مدخل البناء ـ ھناك يمكنه اإلستراحة في المطعم‪ ،‬جمع المعلومات‬ ‫الھامة عن البناء و بعدھا أخذ القرار فيما إذا أراد أن ينام في المخيم القريب من مدخل البناء أو في الفندق‬ ‫الموجود داخل البناء‪ .‬يمكن للزائر أن يدخل البناء األساسي لواحة الشام الروحية أو إلى الدير بذاته‪.‬‬ ‫عند الدخول إلى البناء الرئيسي لواحة الشام الروحية يشعر الزائر كأنه موجود في مدخل المتحف‪ .‬لذلك‬ ‫الزائر العادي يدخل إلى المتحف مباشرة و بھذا يخفف الضغط على مدخل البناء‪ .‬بعد المتحف مباشرة‬ ‫يتواجد في البناء‪ :‬مكتبة‪ ،‬محل تجاري‪ ،‬مطعم‪ ،‬قاعة لعدة وظائف‪ .‬الفندق موجود في القسم الخلفي من‬ ‫البناء مع محل العمل و في نصف البناء يوجد األتريوم الھادئ‪.‬‬ ‫واحة الشام الروحية‬ ‫عملية التعارف التقارب بين األديان المختلفة والثقافات المختلفة مثل الديانة المسيحية واإلسالمية عملية‬ ‫صعبة وطويلة األمد‪.‬‬ ‫البعض يعتقدون أنھا مشكلة ليس لھا حل‪ .‬نتمنى أن تكون فقط طريق طويلة مليئة بالمصاعب‪.‬‬ ‫إستخلصت من األبنية السورية‪ .‬أخذتھم عبر البناء بالكامل‪ ،‬قسمتھم الى جزئين ـ تقسيم ثقافتين ملتصقتا‬ ‫ببعض عبر جسور زجاجية ھشة‪.‬‬ ‫في نھاية البناء يلتقيا الطريقين بطريق واحد اللذي يصل إلى الھدف المرتجى‪ .‬الماء و البناء منبعھم من‬ ‫المتحف الموجود في مدخل البناء ـ معلومات من التاريخ‪.‬‬ ‫بعض وظائف البناء مزدوجة مثل مكتب العمل الھادئ ھم أثنين‪ ،‬الفندق و محل العمل مقسومين إلى‬ ‫جزئين‪ .‬بھذا يتمكن الزائر من إختيار الجھة التي يريدھا‪ .‬لكن غير معرف أية من الجھات تابعة للديانة‬ ‫المسيحية أو للديانة اإلسالمية‪.‬‬ ‫البناء من الحجر الكلسي ـ مواد طبيعية‪ ،‬المقلع قريب من البناء‪.‬‬ ‫العواميد في البناء و األتريوم ليس وظيفتھا الحمل فقط و إنما تتستخدم للظل ـ كلما كان الطابق أعلى‬ ‫يكون حجم العامود أكبر‪ .‬في الطابق السفلي ينفتح المكان للضوء‪ .‬ال توجد المنطقة المائية فقط في البناء‬ ‫و إنما في األتريوم و مكان التأمل‪ ،‬المكان ال يعطي فقط جو جميل ولكن يعطي إيضا برودة و مكان‬ ‫لطيف‪.‬‬ ‫كل زائر يأتي إلى الموقف يرى أمامه مدخل البناء ـ ھناك يمكنه اإلستراحة في المطعم‪ ،‬جمع المعلومات‬ ‫الھامة عن البناء و بعدھا أخذ القرار فيما إذا أراد أن ينام في المخيم القريب من مدخل البناء أو في الفندق‬ ‫الموجود داخل البناء‪ .‬يمكن للزائر أن يدخل البناء األساسي لواحة الشام الروحية أو إلى الدير بذاته‪.‬‬ ‫عند الدخول إلى البناء الرئيسي لواحة الشام الروحية يشعر الزائر كأنه موجود في مدخل المتحف‪ .‬لذلك‬ ‫الزائر العادي يدخل إلى المتحف مباشرة و بھذا يخفف الضغط على مدخل البناء‪ .‬بعد المتحف مباشرة‬ ‫يتواجد في البناء‪ :‬مكتبة‪ ،‬محل تجاري‪ ،‬مطعم‪ ،‬قاعة لعدة وظائف‪ .‬الفندق موجود في القسم الخلفي من‬ ‫البناء مع محل العمل و في نصف البناء يوجد األتريوم الھادئ‪.‬‬

CaféIsland . Vltava . café on the river . 2008 AAAD

roof

60000

1st floor

cellar

Strelecky Island is in the heart of the old Prague next to the National Theatre. It is

café could turn the island alive. I did not want to disrupt the island so my project

cut in a half by a bridge. The north part is the only completly green island with-

is floating near the Strelecky Island. It is a new CaféIsland with a green roof by a

out buildings in Prague, so it is a wonderful romantic place with one of the most

concrete tree. It is a wharp in fact. The island rises up whith the ‘tree’ as a pillar

fabulous views of Prague. However, there is one function that is really missing. A

when the flood comes.

216m3 . dwelling for a family with two children . 2008 AAAD

3 BYDLENÍ S DVÌMA DÌTMI URNÍ PRÁCE 2007/2008 - ZIMNÍ SEMESTR / JAN ØÍÈNÝ / 1. ROÈNÍK / ARCHITEKTURA II, DOC. ING./ARCH. ARCH. KLAUZURNÍ JANA MORAVCOVÁ, VŠUP PRÁCE 2007/2008 - ZIMNÍ SEMESTR / JAN ØÍÈNÝ / 1. ROÈNÍK / ARCHITEKTURA II, DOC.PRO ING.RODINU ARCH. IVAN KROUPA, ING. ARCH.KRYCHL JANA M BYDLENÍ PRO RODINU S DVÌMA DÌTMI KVÁDR 12 x 3 IVAN x 6 m KROUPA, / V=216 mING.

KLAUZURNÍ PRÁCE 2007/2008 - ZIMNÍ SEMESTR / JAN ØÍÈNÝ / 1. ROÈNÍK / ARCHITEKTURA II, DOC. ING. ARCH. IVAN KROUPA, ING. ARCH. JANA MORAVCOVÁ, VŠUP

KVÁDR / 12 x 3 x 6 m / V=216 m

BYDLENÍ PRO RODINU S DVÌMA DÌTMI

KRYCHLE / a=6 m / V=216 m

KLAUZURNÍ PRÁCE 2007/2008 - ZIMN

1.NP

KUCHYÒ OBÝVACÍ POKOJ

KOUPELNA

1.NP KUCHYÒ

KUCHYÒ

OBÝVACÍ POKOJ

2.NP

RODIÈE DÌTI

2.NP

RODIÈE

RODIÈE DÌTI

DÌTI

M 1:50

KVÁDR / 12 x 3 x 6 m / V=216 m3

M 1:50

BYDLENÍ S DVÌMA DÌTMI / a=6 m / V=216 KLAUZURNÍ PRÁCE 2007/2008 - ZIMNÍ SEMESTR / JAN ØÍÈNÝ / 1. ROÈNÍK / ARCHITEKTURA II, DOC.PRO ING.RODINU ARCH. IVAN KROUPA, ING. ARCH. KRYCHLE JANA MORAVCOVÁ, VŠUP m

1.NP KOUPELNA

A DÌTMI

BYDLENÍ PRO RODINU S DVÌMA DÌTMI

KUCHYÒ OBÝVACÍ POKOJ

KLAUZURNÍ PRÁCE 2007/2008 - ZIMNÍ

m PRO /SEMESTR r=3,7 m / V=216 m / 1. ROÈNÍK KOULE / r=3,7 mII,/ V=216 LE / a=6 IVAN m / V=216 m ING. KLAUZURNÍ 2007/2008 - ZIMNÍ SEMESTR / JAN ØÍÈNÝDÌTMI / 1. ROÈNÍK / ARCHITEKTURA DOC. ING. ARCH. IVAN SKROUPA, ING.2007/2008 ARCH. JANA MORAVCOVÁ, VŠUP . ARCH. KROUPA, ARCH. JANA PRÁCE MORAVCOVÁ, VŠUP KLAUZURNÍ PRÁCE -KOULE ZIMNÍ JAN ØÍÈNÝ KLAUZURNÍ / ARCHITEKTURA PRÁCE 2007/2008 II, DOC. - ZIMNÍ ING. ARCH. SEMESTR IVAN / JAN KROUPA ØÍÈNÝ BYDLENÍ PRO RODINU S DVÌMA BYDLENÍ RODINU DVÌMA DÌTMI 3

NÍSEMESTR SEMESTR/ JAN / JANØÍÈNÝ ØÍÈNÝ/ 1. / 1.ROÈNÍK ROÈNÍK/ ARCHITEKTURA / ARCHITEKTURAII,II,DOC. DOC.ING. ING.ARCH. ARCH.IVAN IVANKROUPA, KROUPA,ING. ING.ARCH. ARCH.JANA JANAMORAVCOVÁ, MORAVCOVÁ,VŠUP VŠUP

BYDLENÍ PRO RODINU S DVÌMA DÌTMI

KOULE / r=3,7 m / V=216 m3

KLAUZURNÍ PRÁCE 2007/2008 - ZIMNÍ SEMESTR / JAN ØÍÈNÝ / 1. ROÈNÍK / ARCHITEKTURA II, DOC. ING. ARCH. IVAN KROUPA, ING. ARCH. JANA MORAVCOVÁ, VŠUP

2.NP 2.NP

1.NP 1.NP

2.NP

1.NP KOUPELNA KOUPELNA

DÌTI DÌTI RODIÈE RODIÈE

KOUPELNA

OBÝVACÍ POKOJ POKOJ DÌTIOBÝVACÍ + JÍDELNA + JÍDELNA

1.NP

DÌTI

2.NP

RODIÈE

KUCHYÒ KUCHYÒ

RODIÈE KOUPELNA

1.NP

OBÝVACÍ POKOJ + JÍDELNA

1.NP

2.NP KUCHYÒ DÌTI

KUCHYÒ

OBÝVACÍ POKOJ

KOUPELNA

KUCHYÒ

OBÝVACÍ POKOJ

M 1:50

1:50 MM1:50

M 1:50

KOULE / r=3,7 mII,/ BYDLENÍ KOULE V=216 m PRO / SEMESTR r=3,7 m / /V=216 m / 1. ROÈNÍK KLAUZURNÍ PRÁCE 2007/2008 - ZIMNÍ JAN ØÍÈNÝ KLAUZURNÍ / ARCHITEKTURA PRÁCE 2007/2008 II, DOC. - ZIMNÍ ING. SEMESTR ARCH. IVAN / JAN KROUPA, ØÍÈNÝ /ING. 1. ROÈNÍK ARCH. /JANA ARCHITEKTURA MORAVCOVÁ, II, DOC. VŠUP ING. ARCH. IVAN KROUPA PRO RODINU S DVÌMA RODINU DVÌMA DÌTMI NÍ SEMESTR / JAN ØÍÈNÝDÌTMI / 1. ROÈNÍK / ARCHITEKTURA DOC. ING. ARCH. IVANS KROUPA, ING. ARCH. JANA MORAVCOVÁ, VŠUP 3

2.NP

1.NP

KOUPELNA

DÌTI

My Nest . definition of my own space . student dwelling . 2007 AAAD

SUN

WORK

SLEEP

WORKROOM

EAT

REST + TECHNICAL

BEDROOM

KITCHEN

KOMORA

BATHROOM

BASE

ENTRANCE

6000

M 1:50

Our Wedding Announcement . with Tereza Říčná . 2009

A oba řekli: „Amen, amen.” Tob 8,8

Tereza Špilarová

Jan Říčný

29. září 2009 o půl jedenácté v kostele sv. Michala na Dominikánském náměstí v Brně

Wedding Announcement . with Tereza Říčná . 2010

M ich ae la Kok n ová

To m á š Vomela

24. července 2010 v 11 hodin v Brně, Denisových sadech.

Přijměte pozvání ke svatebnímu stolu.

M ichaela Kok nová

To m á š Vomela

24. července 2010 v 11 hodin v Brně, Denisových sadech.

Važená paní Zdeňka Říčná Slámova 64 Brno 61800

420 mm

Přijměte také pozvání na večerní raut.

Forum Ústí nad Labem . shopping mall orientation system . with Magdalena Říčná . 2008

CUBI . study of a city car . graduation work. 2007 SA&D Good student Design, Student Design 2007

Light for the School Staffroom . 2007 SA&D

New Eim Design . 2007 SA&D

telep큰p큰 . cellphone for the blind . 2006 SA&D

AudioPAJPAJ . LP and CD audioplayer . 2006 SA&D

My Snacky . paper pack for snack & drink . 2006 SA&D Young package 2006 . 1st prize

Aldine401 Laser Font . 2006

36 pts

72 pts

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ABCDEFGHIJK MNPRSTUWZ abcdefghijklmno pqrstvwxyzæ:;.,

A1.7 Areál Petrov v Brnì grafický návrh jednotného vizuálního stylu

PETROV . corporation identity for the Brno cathedral . with Magdalena Říčná . 2006

Logotyp

Areál Petrov v Brnì grafický návrh jednotného vizuálního stylu

A3.11 Areál Petrov v Brnì grafický návrh jednotného vizuálního stylu

V pøípadech kde podkladová bílá plocha je dostateènì velká. Pozn.: Ohranièení vymezuje minimální volnou plochu kolem logotypu.

A3.4

A2.11

Barevné pozitivní provedení

Logotyp

Základní barevné provedení s textovým doplòkem

Pozitivní barevné provedení s textovým doplòkem

Pod základním barevným provedením logotypu se rozumí negativní èervenoèernobílá verze.

Petrov v Brnì grafický návrh jednotného vizuálního stylu

Areál Petrov v Brnì grafický návrh jednotného vizuálního stylu

ávrh jednotného vizuálního stylu

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Areál Petrov v Brnì grafický návrh jednotného vizuálního stylu

Základní barevné textové provedení

Logotyp

Pod základním barevným provedením logotypu se rozumí negativní èervenoèernobílá verze. Pozn.: Tuto èást logotypu lze v tištìných publikacích nebo na informaèních panelech umístit též "na spadání" (týká se èerveného akcentu vpravo).

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Velikost A2

Plakát

A1.3

Snake . interior light . height: 1800 mm . 2006 SA&D

Toucan . battery tester . 2005 SA&D

Computer Mouse . 2005 SA&D

Atelier Tišnovka . corporation identity . with Magdalena Říčná . 2004