06 neri&hu products&graphics产品与平面设计 by Neri&Hu Design and Research Office

PRODUCT DESIGN 产品设计

BRAND INTRODUCTION 品牌介绍

Founded in shanghai, neri&hu represents a new modern chinese aesthetic. founded by designers whose intent is to spark the potential in ‘chinese design,’ neri&hu seeks to evoke change. seeking top-quality materials and craftsmanship, most neri&hu products are hand made, a reflection of a place whose masters of trade can still be found waiting for patrons in the lanes of shanghai. neri&hu is the reinterpretation of the beauty in revealing raw material where clad is traditional, or exposing an object’s frame where normally hidden, in examining history and its path, or in capturing an ordinary scene in a snapshot. neri&hu imprint of heritage, modern reinterpretation 创建于上海，如恩制作开阔了新的中国美学。建筑师出身的创始人追求革新，从变化和碰撞得到灵感，发掘 “中国设计”的潜力。如恩制作追求高品质的材质和精湛的工艺制作，其产品多为纯手工打制，让使用者重温上海老弄堂里的手工场景。如恩制作的设计是对于美的一种重新诠释。弃精取糙、去伪存真，通过揭示被覆盖的原材料或者暴露被隐藏的框架，通过探究历史和它每一步的进程，通过捕捉日常生活中稍纵即逝的一个掠影，对“美”进行了一次重新定义。如恩制作传统印迹的现代诠释

BOLI DOUBLE WALL GLASS 玻璃双层杯

The Boli Double Wall Glass captures a figurative doubling of traditional and modern – a conventional tea glass form is visible within the confines of the modern glass shape. The double wall design enables an excellent thermal quality for hot and cold beverages. 双层玻璃杯是对传统和现代理念的双重展现——现代造型的玻璃杯外层清晰地透出内层传统茶杯的形状。双层的设计为冷热饮提供了很好的保温性能。

BOLI DOUBLE WALL GLASS 玻璃双层杯

ZISHA TEA PROJECT 紫砂茶具

The Zisha Tea Project came out of an exploration of different materials for tea vessels. The significance of the Zisha cup is the purity of the material, which is preserved through its subdued and simple form – an abstraction of the traditional teacup. The collection is offered in 8 different natural colors of Zisha, deliberately mixed together to offer a visual palette which directs the user to appreciate the material of purple clay as tea connoisseurs appreciate different types of teas – through an appreciation of color, texture, taste, and body. Zisha (literally, “purple sand”), was discovered around Lake Tai, in the Jiangsu province of China. Aside from the beauty of the natural material, Zisha is renowned for its capacity to retain heat and prevent oxidation, therefore preserving the flavor of the tea for a longer period. It is also known for its ability to absorb the delicate flavors of the tea – allowing the teapot to become more seasoned with each use. It is said that after years of use, one can brew tea by simply pouring boiling water into an empty teapot. 紫砂茶具源自对不同茶具材料的长期探索。紫砂杯的特点在以纯净的材质配合柔和简约的造型，提炼出传统茶杯的神髓。该系列以紫砂的8种天然色彩，经过精心搭配后营造出色彩纷繁的视觉效果，诱导使用者去欣赏紫色粘土的材质，就像饮茶爱好者通过颜色、质地、口感和外形品鉴不同类型的茶。紫砂发现于中国江苏省的太湖周围。除了材质天然的美观之外，紫砂还可以保温、防氧化，因此保留茶香的时间更长。其闻名之处还在于能吸收茶的清香，每使用一次茶香都变得更为浓郁。据说用过多年以后，只要将开水倒入空壶中就能泡出一壶好茶。

ZISHA TEA PROJECT 紫砂茶具

ZISHA NECKLACE 紫砂项链

Using the material in a way that it has never been used before, the purity of the zisha material is preserved once again in the creation of the zisha necklace. The thermal quality of the material keeps and retains the body’s temperature when touched to the skin. The zisha beads not only accent the visual palette with richness of color and texture, but remains beautifully simple and elegant when accompanied with a cotton tie. 紫砂项链，这种赋予传统材质的新创意是“如恩制作”的首创。这种热质的材料接触到人体时会与体温保持一致。除了天然材质的这独一无二的特质之外，不同色系的砂珠不仅给在视觉上给与丰富的色彩和质感，而且和棉质绳圈的搭配令项链有种低调和淡雅的美。

ZISHA NECKLACE 紫砂项链

1/3 SALT & PEPPERS 1/3 调料瓶

Three free standing components that combine to form a single shape and allows for a third condiment: white pepper. Motif subverts pleasant images of the birds, flowers, and fish frequently depicted on household dishes. Collage graphically represents a marketplace and its bounty. 三个独立的个体形成一个造型，并容纳第三种调味品：白胡椒。调料瓶上的图形推翻了中式餐具装饰中常见的花鸟鱼虫图案所给人的悦目印象。拼贴风格的图案描绘出一个热闹、丰富的市集。

1/3 SALT & PEPPERS 1/3 调料瓶

ALLOY CHAMPAGNE BUCKET 合金香槟桶

Alloy juxtaposes tradition with modernity; in taking the shape of a classic Chinese vase and presenting it in polished silver, the ordinary vessel is transformed into a seductive and versatile object that is both functional and playful. Alloy addresses the utilitarian question of “what to do with a wine bucket when it is not in use?” The visual form is suggestive of this “other” function, therefore playing on the notion of “form follows function.” 合金香槟桶是一个传统与现代并置的设计。用镀银抛光铸造出一个中国传统花瓶的形状。把一个普通容器变成了吸引眼球而功能丰富的物品，既实用又有趣。合金的设计还解决了一个实际问题：“酒桶不用时该怎么处理？”视觉形状暗示了合金香槟桶的功能，于是从“形状跟从与用途”解放出来 ......

ALLOY CHAMPAGNE BUCKET 合金香槟桶

ZODIAC PUZZLE 十二生肖拼图

The Zodiac Puzzle incorporates various abstracted notions of Chinese culture and identity in its design elements: the circular boundary is analogous to a cyclical worldview, within which the 12 animals in a sequential order occupy their space; the circle within a square wooden box echoes a principle of tai chi, another Chinese cosmological emblem. 十二生肖拼图的设计风格融合了中国文化及意识的各种抽象理念：圆边象征轮回不断的世界观，其中有12只动物按顺序各居其位，方形木盒中的圆环又象征了太极，这是另一个中国宇宙观的符号。

ZODIAC PUZZLE 十二生肖拼图

SHANSHUI 山水烟灰碟

Inspired by a traditional calligraphy brush rest, Shanshui presents double imagery when in use: a lighted cigarette resting in the tray recalls a typical Chinese painting of a mountain surrounded in clouds. 灵感来自传统毛笔架，使用时则表现出双重意象：点燃的香烟放在碟子里，让人想起典型的中国山水画的意境——群山笼罩在云雾之中。

SHANSHUI 山水烟灰碟

PEOPLE SERIES 人花瓶

This set of five vases began as a study of shape, an exploration of the human form and how to represent the various stages and types, then abstract the representations into a series of vessels. 这套由五个花瓶组成的系列始于对体形的研究，一次对人类体态以及如何表现其各个阶段和类型的探索，并将它们抽象提炼通过这一系列得以体现。

PEOPLE SERIES 人花瓶

LACQUER 漆器物件

The Lacquer concept is a modern interpretation of everyday objects, updated by the use of a traditional finishing process. Our Lacquer project is a result of collaboration with archeologist Pia Pierre to “unearth” forgotten forms and create useful pieces for the contemporary home environment. Based in Asia over 30 years and specializing in Southeast Asian antiquities, Pia Pierre is a worldknown archeologist and acclaimed lecturer in the domain of art history. She is an active associate of ICCROM Rome, founded by UNESCO, which focuses on the preservation of international heritage. The Lacquer Donut is a modern interpretation of a Qing dynasty relic, used to house the elaborate necklaces worn by nobility. The Box of 4 Treasures holds items that would once sit on a scholar’s desk, modified for today’s user. Our Lacquer Bowls are proportioned for a variety of decorative uses. 漆器的理念是对日常物品的现代诠释，并融合传统抛光工艺加以革新。“漆器”是我们与考古学家Pia Pierre合作的成果，通过“掘出”古物的造型，为当代的日常生活创造出实用的家居用品。 Pia Pierre是一位世界著名的考古学者，在亚洲专业从事了30多年的东南亚古物研究。她在曼谷著名的Chulnalongkorn大学任艺术史领域的讲师，在那里，她将她丰富的知识和经验与学生们分享。她积极地与联合国教科文组织创立的ICCROM Rome合作，致力于保护国际文化历史遗产。漆器甜甜圈是对清朝遗物的现代诠释，它的原型是贵族在家中佩戴的精美项饰。漆器四宝的来自于对过去摆放在学者案头的文房四宝的改良设计。漆器碗因其特殊的比例，也适用于多种装饰用途。

LACQUER 漆器物件

LACQUER SCALE 2:1 2:1比例漆器

The Lacquer concept is a modern interpretation of everyday objects, updated by the use of a traditional finishing process and expressed through a playful use of color and finish. Our Lacquer project is a result of collaboration with archeologist Pia Pierre to “unearth” forgotten forms and create useful pieces for the contemporary home environment. Based in Asia over 30 years and specializing in Southeast Asian antiquities, Pia Pierre is a worldknown archeologist and acclaimed lecturer in the domain of art history. She is an active associate of ICCROM Rome, founded by UNESCO, which focuses on the preservation of international heritage. Lacquer Scale 2:1 examines dimension and usage. The large proportions of our Scale 2:1 series forces the user to re-think the function of each item. An oversized tray can be placed on a tabletop, or can take its place altogether. 2:1比例漆器的设计理念是对日常物品的现代诠释，融合传统抛光工艺加以革新，并极具玩味的使用颜色和末道上光工序。“漆器”是我们与考古学家Pia Pierre合作的成果，通过“掘出”古物的造型，为当代的日常生活创造出实用的家居用品。 Pia Pierre是一位世界著名的考古学者，在亚洲专业从事了30多年的东南亚古物研究。她在曼谷著名的Chulnalongkorn大学任艺术史领域的讲师，在那里，她将她丰富的知识和经验与学生们分享。她积极地与联合国教科文组织创立的ICCROM Rome合作，致力于保护国际文化历史遗产。2:1比例漆器分析了尺寸和用途之间的联系。大尺寸的2:1比例漆器系列使人们重新开始思考它们的功能。一个超大尺寸的盘子可以放在桌子上，也完全可以代替它。

LACQUER SCALE 2:1 2:1比例漆器

STRUCTURE TABLE 结构桌子

Probably the most solidly-built furniture one can find in today’s market, the Structure series fits into a wide range of modern and traditional interiors. The wood’s natural beauty is accentuated by a matte waxed finish. 这可能是目前市场上能找到的最牢固的实木家具，此系列适用于各种现代或传统的室内设计风格。表面采取亚光的上蜡处理，以强调木材的天然美感。

STRUCTURE TABLE 结构桌子

FLANK EXECUTIVE TABLE 侧翼行政桌

A modern interpretation of a found 1930s Shanghai art deco desk, this handsome oversized executive desk features prominent side drawers – a file drawer on one side, and two smaller drawers on the other – that flank both sides of the table. 这是30年代上海装饰艺术风格书桌的现代诠释。这张大方的书桌两侧各有一组显眼的抽屉，一侧专门用于放置文件，另一侧由两个小抽屉组成。

FLANK EXECUTIVE TABLE 侧翼行政桌

DRAPE SECRETARY TABLE 垂幕书桌

The Drape Secretary Table provides visual expression through thoughtful design: the tabletop is articulated as a “drape” that falls over the table legs, lending a sense of continuity to the silhouette. One central drawer tucked underneath runs the length of the table. 独具匠心的“Drape”书桌给于一种强烈的视觉冲击。桌面状似“窗帘”沿桌腿而下，整个侧面的造型流露出自然连贯的感觉。中间抽屉紧贴桌面，且宽度延展至整个桌子。

DRAPE SECRETARY TABLE 垂幕书桌

VERTEX COFFEE TABLE 角度咖啡桌

Designed to be seen differently from either direction, the Vertex Table series examines perspectives along three axes. 巧妙的设计使得从不同的角度观看Vertex桌都有不同的效果，呈现三维透视效果。

VERTEX COFFEE TABLE 角度咖啡桌

STRUCTURE MIRROR 结构镜子

Oversized and substantive, the Structure Mirror is at once essential and beautiful. Exquisitely grained walnut frames an expanse of mirror, suitable for any space. 高大、独立，赋予这款镜子质感和美感。其镜面宽大，胡桃木边框木纹雅致，适合于各种场所。

STRUCTURE MIRROR 结构镜子

SECTION SIDE TABLE 截面边桌

Section explores the properties of solid wood, taking a sectional cut to show the beauty of the material. Five sides are unadorned except a light wax; a lacquered “skin” is added for contrast on one side. 截面边桌是一次玩味实木的创新之举，通过对实木的切割呈现其截面上木纹的自然魅力。其中的五个表面只是做了一层涂蜡处理，保留木材本身的纹理。只有一面被加工成高度抛光的漆面，形成与其他表面的强烈对比。

SECTION SIDE TABLE 截面边桌

MU CHAIRS 木椅

This solid wood chair explores the angles of lines and form, using the generous proportions of traditional Chinese wooden chairs expressed in a planer fashion. 这款实木椅探寻了线条与形状的角度，运用传统中国木椅的大比例来体现平滑线条之美。

MATCH LIGHT 火柴灯

Its silhouette strongly resembling an enclosed match, the Match Light is a witty display of light, reminiscent of a simpler time and lifestyle in rural China. 灯的轮廓就像一只被包起来燃烧着的火柴，火柴灯有风趣的光亮，让人不禁联想起中国乡村简单朴素的生活方式。

MATCH LIGHT 火柴灯

LIANOU TABLE AND ZHUZI STOOL

EXTEND MIRRORS

LATTICE

SOLO SERIES

sofa

lounge chair

SOLO SERIES

dining chair

breakfast bar stool

SOLO SERIES

ottoman

bench

SOLO SERIES

round table

table

DUET CHAIR

timber seat

upholstered seat

TRAY DESK

TRIO SERIES

oval coffee table

console table

TRIO SERIES

side table

round coffee table

TRUNK SERIES

tall cabinet

low cabinet

PLATFORM SERIES

sofa

bed

THE NARCISSIST SERIES FOR BD BARCELONA DESIGN 西班牙品牌 BD BARCELONA 自恋者系列

“SWAROVSKI ELEMENTS AT WORK” PROJECT WITH BD BARCELONA 施华洛世奇元素 --「晶」心杰作”之如恩制作与 BD BARCELONA The NARCISSIST is a collection of objects for the use of dressing and personal grooming. The collection includes the following pieces of furniture objects: Tocador and stool set Dowery jewelry box Wall mirror The Narcissist（自恋者）系列由一系列梳妆物件组成，包括：梳妆台和凳子首饰盒墙面镜

THE NARCISSIST SERIES FOR BD BARCELONA DESIGN 西班牙品牌 BD BARCELONA 自恋者系列

SEDAN CHAIR FOR CLASSICON

Lyndon Neri and Rossana Hu demonstrate how varying impressions can be created simply by changing the material or the colour of individual elements in a design. The chairâ&#x20AC;&#x2122;s seat and frame are conceived as visually distinct, contrasting forms: the seat appears to be suspended in the wood or metal frame like a sedan chair, giving the design its name. Although offering the ultimate in comfort, the armchair is not a ponderous, immobile object, but rather a lightweight, flexibly arrangeable piece of furniture. The seat comes in monochrome and two-tone versions, with or without padding. In conjunction with the frame in wood or colour-lacquered metal, a wide variety of colour and material combinations are possible, to either harmonise with a given interior or form a deliberate contrasting accent. The designers have thus conceived the perfect chair for private use and public areas as lounges, waiting rooms, reception aereas - something they had long sought for the interiors of their hotel projects â&#x20AC;&#x201C; providing distinctive, comfortable and yet mobile and elegant seating.

SEDAN CHAIR FOR CLASSICON

JIAN COLLECTION FOR GANDIA BLASCO 西班牙品牌 GANDIA BLASCO 间系列

The JIAN collection for Gandia Blasco is a collection of outdoor furniture inspired by the concept of “in-between”. The character JIAN in Chinese has the meaning of “between”, and is one of two characters that make up the words “space 空间, Time 时间, and People 人间”, among many others. We wanted to create a collection that has an ethereal quality, capturing both time and space, the sky and land, something to give poetry to outdoor living, and offer a restful sanctuary to everyday busy-ness. The collection is made up of various sizes and functions for different outdoor purposes. They include: sofa with sectional modules, sofa with canopy, dining table, dining chair, coffee tables and side tables. Some of the design details are drawn from the “in-between” concept, such as the metal legs--they form an outline of an empty space which support the seat, drawing attention to the space in between the thin metal members. JIAN shown through the canopy-seating best, where a partially covered structure shelters the user from sunlight and other elements, creating a poetic space through the experience of sitting in this “room”. The word for “room” is 房间.

JIAN COLLECTION FOR GANDIA BLASCO 西班牙品牌 GANDIA BLASCO 间系列

HUAN FOR JIA 镮

“Huan” is a design concept that uses brass band as a unifying element in a tapestry of objects. The brass band on the bottom of the frosted glass bowl is a reinterpretation of the royal seal found underside of chinaware made exclusively for the emperor. It symbolizes the entire world falls within ring. As brass band represents the exclusive use of emperors, it is associated with power given by both the sky and the land. The translucent luminosity of the frosted glass bowl echoes the grandeur of power of nature demonstrated by the brass ring.

SIGNS AND SYMBOLS FOR KANJIAN CREATION 看见造物展符/号

We seek to find a new way to interpret the traditional craft of Jing Tai Lan through reworking its production process and imposing a new aesthetic in its styling to creat a final product that evokes the heritage of the precious craft yet refreshingly modern.

SIGNS AND SYMBOLS FOR KANJIAN CREATION 看见造物展符/号

REN LOUNGE CHAIR 人系列休闲椅

SPECIAL EDITION WITH LEMA FOR BEIJING INTERNATIONAL DESIGN TRIENNIAL 北京国际设计三年展与LEMA合作限量版设计

REN LOUNGE CHAIR 人系列休闲椅

BAI LU FOR LEMA

Named after the Chinese sub-season of the second week of September, when the product was designed in Shanghai, Bai Lu is an attempt to create a modern chair with a sense of the poetry from the season it was born. The chair is made out of open pore black-stained ash. The structure of the chair frame and the scroll-like seating plane are expressed deliberately as separate entities, adding to the delicateness and lightness of the appearance. Both entities have their own strength and function, and are gently adhered to one another. Comfort is achieved with soft curves of the plywood plane at the edges, and the plane gently hugs the body where the body touches the plane. The structural frame forms also the arm of the chair, where a mild contortion articulates the subtle point where one becomes the other. While Bai Lu resemblance Chinese scroll unmistakably edgy.

takes on an uncanny to the traditional chair, it is nonetheless modern, poetic, and

UN-WIRED 无线

“SWAROVSKI ELEMENTS AT WORK” PROJECT WITH MERITALIA “施华洛世奇元素 -「晶」心杰作”之如恩制作与MERITALIA创意合作 The collection of un-WIRED is composed of three S, M, and L tables. All of the table bases are made with painted stainless steel wires providing a thin lacing structure on which crystal beads are threaded. In the dark, the blackened wired structure obscures into the background rendering the crystal beads to be suspended in air, as if floating. The collection glorifies crystal’s natural brilliance, while utilizing the dematerialized nature of wire as the supporting structure both in holding up the table tops (in colored glass and wood) and in threading the crystals together. When the wire frame disappears into the dark, the table tops appear to be held up by the floating crystals Un-Wired（无线）系列由3个大中小型的桌子组成。所有桌子的底座由水晶珠呈罗纹状分布在薄花边结构上的不锈钢铁丝做成。在黑暗中，黑色的线结构被模糊地映射到背景上，渲染成水晶珠悬于半空的效果，仿佛它是浮动着的。此系列不仅使水晶本身的光芒发挥到至极，而且利用了非物质性的自然铁丝线作为同时可以支撑桌面（彩色玻璃和木头）和穿引水晶的支架。当线框消失于黑暗中时，桌面看起来就像是凌空于悬浮的水晶之上。

UN-WIRED 无线

THE EMPEROR LIGHT SERIES FOR MOOOI 荷兰品牌 MOOOI 皇帝灯系列

This oversized light was inspired by a made-believe folklore story of an Asian emperor & a beautiful nightingale…Once upon a time an Asian emperor was given a nightingale as a gift. The bird was so beautiful and sang in such a bewitching way that the emperor fell immediately in love with it and decided to keep it forever by his side. So the nightingale was put in a beautiful, majestic cage in the imperial chambers & became the delight of the emperor’s days…Neri & Hu took on a modern translation of this story and produced a collection of pendant/floor/desk lamps in stained woven bamboo. The poetics of an emperor’s life, a life no longer relevant in today’s world, can be abstracted in the form of an object such as the light. The use of hand-crafted bamboo weaving in an industrial product creates an elegant yet uncanny design statement. A lamp so particular & majestic that it could become your personal nightingale…forever by your side to brighten up your days.

这一大型灯饰的设计灵感源自于一则关于一位亚洲皇帝和一只美丽夜莺的民间传说……很久以前，一位亚洲皇帝得到了一份礼物——一只拥有美丽外貌和迷人歌声的夜莺。这位皇帝立刻迷上了这只夜莺，他决定把它永远地留在自己的身边。于是，这只夜莺被安置在了皇帝寝官中那个美丽而宏伟的鸟笼中，成为皇帝每日的消遣。如恩制作用现代手法重新诠释了这个传说，设计了一系列着色编织竹笼的灯饰，包括吊灯、地灯和桌灯。传说中皇帝诗意般的生活已消失不再，但是这种意境却可以长久地融于一件实实在在的物件中，比如“灯”。在工业产品设计中运用手工编制的竹藤，创造了一种高雅却又不同寻常的设计表达方式。这样一盏独特且宏伟的灯，将会成为您的夜莺，永远陪伴在您左右，点亮您的生活。

THE EMPEROR LIGHT SERIES FOR MOOOI 荷兰品牌 MOOOI 皇帝灯系列

COMMON COMRADES FOR MOOOI

MONGOLIAN BAO 蒙古包

NERI&HU WITH“SHOW THE WORLD: CULTURE-BASED DEVELOPMENT GOODWILL ACTION FOR ETHNIC MINORITIES IN CHINA” 如恩制作与“世界看见”民族文化保护与发展公益项目

MONGOLIAN BAO 蒙古包

MING SERIES FOR STELLAR WORKS

We wanted to express the notion of “spin” using wood, incorporating wooden members that seem to “spin” around a central circular wooden plate to form a small table. taking inspiration from traditional Chinese stools that have similar silhouette, albeit with different proportions and detail s, we wanted to explore a modern design language based on a traditional typology.

UTILITY FOR STELLAR WORKS

STOOL SERIES These stools are created with utility in mind. A no-nonsense deliberation of durable, comfortable stools that recall industrial aesthetics from factory and school-house furniture with a bit of artificial chic-ness for a dash of contemporary sophistication.

WILD FEAST FOR WALLPAPER* HANDMADE X JAGUAR 野餐盒

GRAPHIC DESIGN 平面设计

POLLEN STREET SOCIAL

With his first independent restaurant, Michelin-starred chef Jason Atherton envisioned a social dining atmosphere that he calls “deformalized fine dining” that incorporates international influences on classic British dishes. The identity of Pollen Street Social reflects this duality with its respectful nod to tradition alongside a subtle hint of defiance by using two distinct typefaces, Bauer Bodoni and Helvetica Neue. The “a” of “Social” sheds its bulkiness and its humorless serifs, dropping away from the boundaries of the traditional lettering and establishing the name of the young chef with a clear confidence. The chef’s name with the dropped “a” was created to allow us to create a logo for Jason Atherton’s corporate office that could work on its own. neri&hu developed both the restaurant and corporate office identity and collaterals such as cake boxes, gift bags and a special keychain given to each guest that is later used to claim a gift at the “mailbox” upon finishing a meal at Pollen Street Social.

IDENTITY | ENVIROMENTAL GRAPHICS | SIGNAGE

POLLEN STREET SOCIAL

THE COMMUNE SOCIAL 食社

Jason Atherton’s second Shanghai outlet the Commune Social is a tapas bar located within a historical building from the 1910s Shanghai. The contrast of this historical location along with the casual atmosphere of the tapas bar guided our identity design. neri&hu decided to build upon the Jason Atherton brand adopting the same fonts from Pollen Street Social and using the dropped “a” in “social” to create an immediate link to the first of Atherton’s “Social” restaurants. In developing the collaterals, the name of the restaurant played the main role in the concept. The graphics focus on the act of socializing, and communication. As a visual reference it uses British late 19th century illustrations --a nod to culinary director Jason Atherton’s heritage-- with elements that were present in that period, such as: telegraph, telephone, morse code, handwritten and sealed letters .... With the collaterals of the restaurant, each item is a representation of one form of communication. The dessert menu is presented as a telegram sent from the Pastry Chef, the drink menu comes in the form of a personal address book, while the main menu printed on newsprint paper references your daily newspaper. The store card is influenced by the architecture, its black exterior is translated into the paper color, while the treatment of the main logo is a reference to the white tiles that can be found in the interior. Staff cards are on white paper and printed with illustrations of generic people automatically gives association to the role of the card holder. Throughout the different spaces in the restaurant are silkscreened quotes on the wall and ceiling. The randomly placed quotes speak about society and observations of the characters in it, hoping to spark social interactions between diners.

IDENTITY | ENVIROMENTAL GRAPHICS

THE COMMUNE SOCIAL 食社

THE COMMUNE SOCIAL 食社 OPENING CAMPAIGN

LE MERIDIEN

Le Méridien is an international hotel brand owned by Starwood Hotels & Resorts Worldwide. The hotel is located in Zhengzhou, China a first of this type of designed hotel in this 2nd-tier Chinese city. The main graphic pattern on the exterior and guestrooms were taken from an abstracted Zhengzhou city flower – the chinese rose. The perforated (exterior&public) and dotted (guestroom) graphic pattern is used to give a consistency in textural motif…pattern as surface. Aside from the main pattern, neri&hu also worked on guestroom and restaurant signage, public toilet pattern, carpet designs on public & guestroom areas and an original tile for the hotel all day dining area.

ENVIROMENTAL GRAPHICS | SIGNAGE

LE MERIDIEN

PERFORATED PATTERN . PUBLIC

LE MERIDIEN

PERFORATED PATTERN . PUBLIC

LE MERIDIEN

CARPET PATTERN . PUBLIC

LE MERIDIEN

CARPET PATTERN . PUBLIC

LE MERIDIEN

SIGNAGE . PDR & TOILET

LE MERIDIEN

VIDEO INSTALLATION . GUESTROOM ATRIUM

LE MERIDIEN

SIGNAGE . GUESTROOM

LE MERIDIEN

PATTERN . GUESTROOM

LE MERIDIEN

PATTERN & ARTWORK . GUESTROOM

MERCATO 意大利餐厅

MERCATO MERCATO 意大利餐厅

Situated within the prestigious Three on the Bund, Mercato is renowned chef Jean-Georges Vongerichten’s newest culinary destination in Shanghai, the first of which to serve up an upscale yet rustic Italian fare. Neri & Hu’s design for the 1,000 square meter restaurant draws not only from the chef’s culinary vision but also from the rich historical context of its locale, harkening to early 1900s Shanghai, when the Bund was a bustling industrial hub. The logo and environmental signage takes its cue from the architectural concept with the use of a slab serif typeface. Irma Slab in particular, with its blunt serif terminal, was selected to work cohesively with the angular metal details that surround the space. Along the surrounding restaurant wall, the history of the Bund’s industrial past is subtly referenced with technical illustrations of ship parts and machinery. The glass-clad hallway between the kitchen and dining area is covered with old Italian storefront and food packaging graphics as if traversing through a real Italian mercato (marketplace). Guided by the restaurant name and informal, open seating arrangements, the menus were designed to reflect this atmosphere where the printed materials are attached to wooden boards with laser etched logo in the back referencing the wooden crates from marketplaces with stamped logos.

IDENTITY | ENVIROMENTAL GRAPHICS | SIGNAGE

MERCATO MERCATO 意大利餐厅

CAPO RESTAURANT CAPO

意大利餐厅

CAPO RESTAURANT CAPO 意大利餐厅

Neri&Hu’s design intent for Capo was to embody the spirit of the Basilica within this cavernous space carved out of the attic of a 1911 building located on the historic Bund area of Shanghai. Neri&Hu makes the conscious decision to carve up the restaurant into a series of distinct rooms at various scales, each with a unique character, and as such, capturing spaces as vignettes, whilst still embodying a consistent vision through materiality and spatial sequencing. The central spine of the restaurant is a long and linear Main Dining Hall framed by rows of slender wood columns, with side aisles that run parallel on both sides for circulation. Above head, we created relief molded plaster ceiling tiles, evoking traditional ceiling frescos, that brighten the space and guide the eye upwards. On either side of the main hall, a series of smaller chapel-like spaces branch off, containing the Reception, Wine and Cigar Lounge, Kitchen, Outdoor Deck and Private Dining Rooms. Passing through dark and heavy thresholds, each room features original reinterpretations of classic Renaissance paintings on the walls, from Caravaggio to Titian with a modern twist coming from the logos creatively blended into the paintings.

ENVIROMENTAL GRAPHICS

CAPO RESTAURANT CAPO 意大利餐厅

DESIGN REPUBLIC 设

计

共

和

DESIGN REPUBLIC 设计共和

Design Republic is an avant-garde home furnishings, lighting and accessories store in Shanghai created by neri&hu founders Lyndon Neri and Rossana Hu. Design Republic seeks to create new ideologies in design, retail and merchandizing concepts, creating a distinctive aesthetic for contemporary China. neri&hu created a seal logo for Design Republic incorporating both its Chinese and English names. The collaterals are kept simple with a black on black color scheme keping the packaging as background to the products. neri&hu worked on Design Republic’s campaign to introduce the brand’s launch in Shanghai. We came up with the tagline: The Dawn Of The Republic for Design Republic’s pre-opening advertisement, events and signage. Since the opening in 2006, neri&hu has been responsible with developing other campaigns such as the first anniversary, and its expansion into a historic building with the opening of Design Republic Design Commune among many others. Signage and environmental graphics of the various Design Republic outlets are kept simple and deferred to the architecture in its materiality.

IDENTITY | ENVIROMENTAL GRAPHICS | SIGNAGE

DESIGN REPUBLIC 设计共和

DESIGN REPUBLIC 设计共和 RETAIL PACKAGING

DESIGN REPUBLIC 设计共和 RETAIL COLLATERALS

DESIGN REPUBLIC 设计共和 UNIFORMS

RETAIL

WAREHOUSE

DESIGN REPUBLIC 设计共和 PRE-OPENING CAMPAIGN

DESIGN REPUBLIC 设计共和 OPENING CAMPAIGN

DESIGN REPUBLIC 设计共和 1ST ANNIVERSARY CAMPAIGN

DESIGN REPUBLIC 设计共和 DESIGN COMMUNE OPENING CAMPAIGN

DESIGN REPUBLIC 设计共和旗舰店 FLAGSHIP STORE 旗舰店

DESIGN REPUBLIC 设计共和 DESIGN COMMUNE 设计公社

DESIGN REPUBLIC 设计共和 DESIGN COLLECTIVE 设计公馆

THE

WATERHOUSE

水舍南外滩精品酒店

THE WATERHOUSE 水舍南外滩精品酒店

Located by the new Cool Docks development on the South Bund District of Shanghai, the Waterhouse is a four-story, 19-room boutique hotel built into an existing three-story Japanese Army headquarters building from the 1930’s. The design of the hotel’s interior by neri&hu, is expressed through both a blurring and inversion of the interior and exterior, as well as between the public and private, creating a disorienting yet refreshing spatial experience. These visual connections of unexpected spaces not only bring an element of surprise, but also force the hotel guests to confront the local Shanghai urban condition where visual corridors and adjacencies in tight nong-tang’s define the unique spatial flavor of the city. The environmental graphics take cues from the architecture by using unexpected locations to place carefully curated quotes on the experience of the traveler versus the tourist.. making the discovery a mirror of the visitors’ actual experience within the maze of shanghai nong-tangs (lanes) where surprises reveal themselves at unexpected corners. The longitudinal and latitudinal points of the hotel are used within the space and printed on guestroom amenities as a place marker for the traveler.

ENVIROMENTAL GRAPHICS | PRODUCTS

THE WATER HOUSE 水舍南外滩精品酒店

THE WATERHOUSE 水舍南外滩精品酒店

东隅酒店

EAST 东隅酒店 HAGAKI

East hotels are business hotels aimed to create a balanced atmosphere for their guests with innovative restaurants and bars to unwind and relax. East . Feast (All-Day-Dining). neri&hu designed the all-day-dining space as an open marketplace. We created graphics along the food counters illustrating the foods that might be found in each section of the market. East . Hagaki (Japanese restaurant). We created a chop pattern taken from traditional Japanese food labels stamping them on the walls of the restaurant space similar to traditional Japanese noodle or yakitori bars that hang their menus on slats of wooden pieces along the walls of the restaurant.

ENVIROMENTAL GRAPHICS

EAST 东隅酒店 HAGAKI

EAST 东隅酒店 FEAST

F A R I N E FARINE 麵包店

FARINE FARINE 麵包店

The Farine space is divided into 2 distinct sections: the clinical, pristine, white laboratory where all the experimentation on bread making is done and the warmer, cozier half that serves as the area of activity and interaction with both food and guests. The environmental graphics work with the concept of these 2 sections. On the window looking into the white tiles “laboratory”, we break down the word farine into its dictionary meaning using the modern Helvetica font. For the other half, is a chalkboard menu containing hand-drawn instruments used in bread-making while another chalkboard overhead illustrate objects and random musings from everyday conversations that might take place in the retail side of the boulangerie.

ENVIROMENTAL GRAPHICS

FARINE FARINE 麵包店

NEW HEIGHTS 新视角餐厅

The restroom entrances to the renovated toilets of New Heights restaurant are merely 2 “openings” to the left and right of a corridor. The solution for signage was to place large w & m signs directly in the middle of the wall, large enough to be read at the end of the hallway giving guests an early indication which way to turn to avoiding the confusion as they approach the openings. neri&hu also created number graphics on the toilet stall doors by using a subtle texture change on the doors to balance the large bold numbers.

SIGNAGE

NEW HEIGHTS 新视角餐厅

THE BLACK BOX

The Black Box holds both neri&hu’s design studio and design republic offices and retail store. The signage needed to work as background to the design of the space while playing with the informal nature of both companies. Simple large vinyl numbers in the font of the company identities was used to indicate the different floors. Instead of labeling rooms solely on the function of the space, the glass enclosed spaces are indicated using the floor area that ties into the architectural concept of the space as a “black box” flight recorder storing important data of the building.

SIGNAGE

THE BLACK BOX

HONG KONG UNIVERSITY SHANGHAI STU D Y C E N T E R 香

港

大

学

上

海

教

学

HONG KONG UNIVERSITY SHANGHAI STUDY CENTER 香港大学上海教学

The Hong Kong University Architecture department operates programs in Shanghai in their Shanghai Study Center. The Study Center also houses HKU shanghai office, Journalism and Media study center and a public gallery. In designing the signage for the neri&hu designed space, we used the font from HKU’s School of Architecture identity and utilized the line graphic element from their logo. The result was an understated signage that worked together with the bare, predominantly glass interiors.

SIGNAGE

HONG KONG UNIVERSITY SHANGHAI STUDY CENTER 香港大学上海教学

HAM&SHERRY TAPAS BAR

Working with neri&huâ&#x20AC;&#x2122;s architectural team, we developed a custom tile pattern that covers almost every surface of this tapas bar.

ENVIROMENTAL GRAPHICS

HAM&SHERRY TAPAS BAR

CAMPER SHOWROOM C A M P E R 展示厅

CAMPER SHOWROOM CAMPER 展示厅

Camper’s first China showroom and office design draws inspiration from the surrounding urban condition of Shanghai. Recalling the daily life and spatial qualities of a typical Shanghai alley (“nong-tang”), the exterior lane extends into the showroom and a physical section cut of a “house” is enclosed within. For the grand opening invitation and collaterals introducing the Showroom, we use the tactile quality of the space as a reference for material and create a logo from the “section” cut of the house. The house is cut out of the envelope and filled with the invitation, cd.. that mirrors the actual space that places the Camper “house” within the gray-bricked shanghai alley.

SIGNAGE | PRODUCTS

CAMPER SHOWROOM CAMPER 展示厅

MANIFESTO 宣言

Manifesto is an independent bilingual publication developed for Shanghai design retailer Design Republic and created by neri&hu. Manifesto started as a slim volume about furniture and brands but has extended beyond being a marketing tool for design republic, becoming a manifesto of both design republic and neri&hu’s ideologies – it has become an extension of who we are as an inter-disciplinary practice. Each issue of Manifesto explores areas of contemporary culture, design, architecture, art and fashion, challenging our normative perception of design. Manifesto engages creative minds in a collective discourse on issues related to design and its impact on the world we live in. neri&hu develops all content and designs each issue.

PUBLICATION

MANIFESTO 宣言

NERI&HU 如恩制作

neri&hu is a collection of home furnishings created to reflect a collective vision of modernity balanced by heritage started by neri&hu architectural firm founders Lyndon Neri and Rossana Hu. The neri&hu identity takes the typeface of neri&hu the architectural firm using the same Helvetica font, creating a locked chinese and english logo emphasizing it as a Chinese brand. neri&hu came up with the Chinese name如恩制作literally translated as “neri&hu made” as a play on the commonly seen “made in china” tag on chinese made products. A small collection of stationery was created to support the brand’s product line.

IDENTITY | PRODUCTS

NERI&HU 如恩制作

PACKAGING

NERI&HU 如恩制作

PACKAGING

NERI&HU 如恩制作

STATIONERY

NERI&HU 如恩制作

STATIONERY

NERI&HU 如恩制作

STATIONERY

NERI&HU 如恩制作

STATIONERY

DESIGN REPUBLIC TRAVELLER

Design Republic Traveler was an extension of the design republic brand, with products that added depth and meaning to the traveler’s experience of China. The brand was created as a response for an alternative representation of China as simply emblems of dragons and emperor, taking cues from contemporary scenes of daily lives capturing patterns of a living culture. The traveler identity worked off the base of the design republic logo creating an immediate connection to the main brand. neri&hu came up with a “declaration” stating the beliefs of the traveler brand and carefully selected travel quotes to include on the product tags and collaterals. The basis of the traveler starts from a series of patterns based on what Chinese believe to be the 4 basic elements of human needs (Yi) clothing, (Shi) food, (Zhu) shelter and (Xing) transporation. The patterns are derived from these basics of everyday life such as fabric shoes, or the tricycle still being used in China. The patterns are used across a line of products from stationery to bags to clothing.

IDENTITY | PRODUCTS

DESIGN REPUBLIC TRAVELLER