BALMOND STUDIO BASIC DESIGN ELEMENTS BRAND MARK / 01 TYPOGRAPHY / 05 COLOURS / 09 LAYOUT / 12 BALMOND ART / 15
Basic Elements Guidelines
BRAND MARK
Balmond Studio
Page 1
Basic Elements Guidelines
BRAND MARK
The Balmond Studio brand mark is comprised of a fixed relationship between the ‘Balmond Studio’ text and the ‘/’ element. The space between these two elements is fixed and should not be altered. Always use the brand mark artworks provided. Never re-typeset or replicate in any circumstance.
Balmond Studio
Brand mark – 3
Basic Elements Guidelines
BRAND MARK CLEAR SPACE The brand mark is protected by a clear area of space, known as the ‘Exclusion Zone’. This area of protection is defined as shown right by the height of the letter ‘B’
Balmond Studio
Brand mark – 4
Basic Elements Guidelines
BRAND MARK SCALE The minimum size of the logo is 30mm. Do not reproduce the logo at sizes smaller than this.
A5 and below – 40mm
To specify the size of the logo, measure over the horizontal width. There are three predetermined sizes when using the logo on A5, A4 and A3 formats, these consistent sizes maintain uniformity across collateral.
A4 – 50mm
Please use the correct size logo on their respective formats. When using on large formats please consider scale and proportion. When printing onto different substrates take into consideration the surface and printing techniques as this will affect legibility.
Balmond Studio
A3 Landscape – 75mm
Brand mark – 5
Basic Elements Guidelines
TYPOGRAPHY
Balmond Studio
Typography – 6
Basic Elements Guidelines
TYPEFACES
Our typeface for titles and headlines is Akzidenz-Grotesk BQ Condensed Medium. And our typeface for all standfirsts, body copy and pull quotes is Arial Regular and Bold.
AKZIDENZ-GROTESK BQ CONDENSED MEDIUM ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !@£$%^&*()?:“”; ‘’ Arial Regular abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !@£$%^&*()?:“”; ‘’ Arial Bold abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !@£$%^&*()?:“”; ‘’
Balmond Studio
Typography – 7
Basic Elements Guidelines
TYPOGRAPHIC STYLING AKZIDENZ GROTESK BQ CONDENSED MEDIUM IS OUR HEADLINE TYPE FACE Our typeface for titles and headlines is Akzidenz-Grotesk BQ Condensed Medium. And our typeface for all standfirsts, body copy and pull quotes is Arial Regular and Bold.
Arial Regular 9 on 11pt is to be used for document body copy. Arial Bold 9 on 11pt is to be used for subheads and to highlight points within body copy.
Arial bold can be used for lift out quotes in documents
Balmond Studio
Typography – 8
Basic Elements Guidelines
TYPOGRAPHIC STYLING do not set type…
Our typographic style Just as important as the choice of corporate typeface, is the way in which the type is set. A consistent typographic style can only be achieved by applying the following principles wherever possible. do set type… 1 with sentence case rather than title case wherever possible. However, titles and some subheadings are generally set in the uppercase. As a general rule the only words that should have a capital letter are:
3 with generous margins and plenty of surrounding white space. This plays an important part on all applications; 4 using a full line space to denote the start of a new paragraph (in preference to an indent); 5 by keeping punctuation to a minimum, although correct use of punctuation still applies; 6b y paying particular attention to the letter spacing of headings and large text;
1 in all capital letters for body copy; 2 that has been altered, condensed or expanded in any way; 3 that uses special effects, such as drop shadows or underlines, etc. (except high-level airport signage); 4 with excessive additional letterspacing applied overall; 5 to fill all the available white space on a page;
7 with shorter, rather than longer, lines of text (optimum of 7–10 words per line);
6 in typefaces other than the corporate typeface specified in this brand style guide;
– proper nouns, e.g. people or country names
8 using true single and double quotation marks (‘ and “) not feet and inch marks (' and ");
– other company names (e.g. Royal Opera House) or brands (e.g. The North Face)
9w ith dashes that are true ‘en’ dashes (–) and not hyphens (-);
Adhering to these principles will give a strong typographic style and ensure consistency across all applications, helping to increase recognition of the brand.
– acronyms that don’t read in lower case, e.g. IT;
10 i n solid colours that provide sufficient contrast for legibility;
– at the start of a sentence within body copy
2 ranged left. Avoid word breaks in ranged left setting;
Balmond Studio
Typography – 9
Basic Elements Guidelines
COLOURS
Balmond Studio
Colour – 10
Basic Elements Guidelines
COLOURS PRIMARY Black
Pantone Warm Grey 5U
Pantone 400U
C0 MO Y0 K100 R0 G0 B0
C11 M13 Y14 K32 R174 G167 B159
C6 M7 Y11 K16 R203 G199 B191
Balmond Studio’s primary colour palette is made up of Black and Pantone Warm Grey 5?? - with an additional colour of Pantone 400U. Black and Pantone Warm Grey 5?? are used across all collateral, and are the sole colours used in stationery items and office templates. White is used as a contrast colour and helps to create the correct balance for the Balmond Studio brand when used with the other primary palette colours. It is also acceptable to use tints of these primary colours. The tints should be in multiples of 10% increments. This will help to provide further visual consistency across all applications. When litho printing these primary colours should be printed as specials. Approved colour swatches or Pantone formula guides must be used for matching when reproducing the colours and approving printers proofs.
Balmond Studio
Colour – 11
Basic Elements Guidelines
COLOURS SECONDARY Pantone 2995U
Pantone 340U
Pantone 1925U
Pantone 114U
C83 M1 Y0 K0 R0 G169 B224
C100 MO Y85 K0 R0 G152 B95
C0 M97 Y46 K0 R220 G4 B81
C0 M4 Y87 K0 R249 G222 B66
Balmond Studio’s secondary colour palette is made up of four colours to work with the primary palette when working across collateral elements such as presentation documents and portfolios. These colours are important in distinguishing the Balmond Studio brand and complimenting the primary colour palette. These secondary colours can be used for text and background applications. It is also acceptable to use tints of these secondary colours. The tints should be in multiples of 10% increments. This will help to provide further visual consistency across all applications.
Balmond Studio
Colour – 12
Basic Elements Guidelines
LAYOUT
Balmond Studio
Layout – 13
Basic Elements Guidelines
A4 PORTRAIT GRID PRACTICE STRUCTURE
PUBLIC ART SNOW WORDS / TEXAS TECH / ARCELORMITTAL ORBIT / STAR OF CALEDONIA / GATEWAY GALAXY /
“Evolution, I believe, put down certain pattern markers on us and through them came organisational systems that, as we matured and civilised ourselves, we started to have the leisure to postrationalise. And the moment we do that, we create systems of learning.” Cecil Balmond
Cecil Balmond founded his London based design studio in 2010 with support from business partners John Balmond and Sarah Gormley. Envisioning it as an independent evolution of his design work at Arup, Balmond Studio is involved in all scales and stages of the art and design process.
Working closely with every member of the team and leading each project is Cecil Balmondas Creative Director. Sarah Gormley, as director of the studio, is responsible for running the office, developing new business and evolving the Balmond brand. John Balmond heads the Colombo based office in Sri Lanka and runs Palagama Beach, a Sri-Lankan resort designed and owned by the studio.
An integral element of the studio’s philosophy lies in a strong belief in thinking and learning in practice.
The Balmond Studio team consists of 30 architects, designers, artists and researchers who work together in structured teams reflecting the character of each project. Leading experts and specialists are embedded into the team to ensure the highest quality solutions for which Balmond Studio has gained a reputation. To faciliate a professionally managed team Balmond Studio has an in-house administration and communications team who work closely with experienced IT, HR and accounting professionals.
A 6 x 6 column/row grid template has been set up for an A4 portrait document to allow for flexible layout of information when setting up documents for presentations – as demonstrated by the images right.
EMPLOYEES
Designers Researchers Architectural Technicians Administration
TOTAL
2010
4 1 1 2
8
2011 2012 2013 8 3 4 3
14 6 5 5
20 6 8 5
18
30
39
A leader in architectural and design theory, Cecil Balmond currently holds the Paul Philippe Cret Chair at Penn Design as Professor of Architecture where he is the founder of the Non-Linear Systems Organization (NSO), a material and structural research unit at University of Pennsylvania. He has also been Kenzo Tange Professor at the Harvard Graduate School of Architecture, Saarinen Professor at Yale University School of Architecture and Visiting Fellow at the London School of Economics. His regular teaching and lecturing around the world gives Balmond Studio the opportunity to recruit an international design team with experience in the world’s best practices, architecture and design schools. Representing over 15 countries the team’s multicultural roots stem from Asia, Europe, the Middle East, Latin and North America. The cultural diversity of the team ensures a dynamic creative environment and infuses the ethos of learning as each member brings their local knowledge and perspectives to the studio.
Above:
CCTV HEADQUARTERS WITH OMA Beijing, China / 2012
08
SNOW WORDS
Balmond Studio 09
Location Collaborators Completion Built area Program Client
16
BATTERSEA MASTERPLAN
Anchorage, Alaska, USA Seam June 2012 9m in height Interior Light Sculpture Crime Detection Laboratory
Art 17
Location Collaborators Completion Built area Program Budget Client
London, UK Arup AGU Concept 2003 400,000 m2 Masterplan £1.5 billion Parkview International
Battersea Masterplan was a redevelopment of the long-abandoned south London industrial monument together with the 30 acres of disused land around it. The vision for the development was one that would “imagine the future” – not the Now and New, but the Next. Rather than a level plan with buildings placed upon it, Balmond and the AGU were appointed by Parkview International to design a threedimensional Masterplan. This plan emanates south of the Power Station, the predominant open space, from an underground car park. Spiraling planes of the car park slowly rotate up to the exterior, culminating in a landscape of tectonic folded plates. The landscape is bi-level, allowing for a separation of pedestrians from vehicular movement. The buildings of the Masterplan, at the edges of the landscape, respond to the three-dimensional plan. The dynamic ground planes and surrounding building elements address the immense Power Station, engaging it both vertically and horizontally. This strategy yields a slowly varying contour of approach and sense of arrival at the Power Station, and provides an exciting visual dynamic.
Snow Words is an abstract time piece embodying a code. The secret to the artwork is based on repeat motifs that in turn are spaced out in an aperiodic sequence. The spacing of the lights, with its gaps and solids, draw inspiration from prime numbers – part of the fabric of the Universe. Snow Words takes shape in columns of alternation — LED lights power the light bars that are symbolic code for forensic research, investigative tracts, relentless pursuit. Located in the lobby of the Crime Detection Laboratory, Snow Words is suspended between a glazed skylight and the mirrored floor that it reflects into. Measuring 9m high, when viewed from above the tower of light looks as though it is emerging from the ground. The artwork features 24 aluminium tubes and 206 lights encased in acrylic. LED strips are skilfully placed inside through laser cut slots from which a bar of light takes shape, floating within the enclosure. Moving far beyond a simple ‘switch on and off’ mechanism, each of the 24 tubes is programmed independently to allow the sculpture to continuously react to its environment. Uniquely calibrated to suit the extreme lighting conditions of Alaska, the lights are ever changing – glowing bright, pulsating and fading. 18
Balmond Studio
Art 19
22
Masterplanning 23
Layout – 14
Basic Elements Guidelines
A3 LANDSCAPE GRID FUNDAMENTAL(S) SHELTER / SYSTEM / SPACE / STRUCTURE / SKIN /
The A3 landscape document template also uses a 6 x 6 column/row grid allowing for flexible layout of information when setting up documents for presentations – as demonstrated by the images right. 04
DESIGN REPORT 22.03.13
PARKVIEW INTERNATIONAL
1.00
DESIGN REPORT 22.03.13
Crystal Form Perspective
James Bond Room / Project No. 1052
SCHEME 4 SCALE - 1:50
GROUND FLOOR
PARKVIEW INTERNATIONAL
2
1.00
James Bond Room / Project No. 1052
Crystal Form Perspective
VIEW 1
VIEW 2
VIEW 3
VIEW 4
05
3
FIRST FLOOR
GROUND FLOOR
1
FIRST FLOOR
4
2 3
1
Bathroom / Kitchen Bedroom (Private) Living / Dining (Public) 10
DESIGN REPORT 06.02.13
QXQ PARKVIEW INTERNATIONAL Project No. 1085
Balmond Studio
SCHEME 4 PLANS
Space Concept Study
4
Circulation Entry/Exit
DESIGN REPORT 06.02.13
QXQ PARKVIEW INTERNATIONAL
Project No. 1085
PROGRAMME DISTRIBUTION
Space Concept Study
11
Layout – 15
BALMOND ART BASIC DESIGN ELEMENTS BRAND MARK / LAYOUT / GRAPHIC EXAMPLES /
Basic Elements Guidelines
BRAND MARK
Balmond Studio
Page 1
Basic Elements Guidelines
BRAND MARK
The Balmond Art brand mark is comprised of a fixed relationship between the ‘Balmond Art’ text and the ‘/’ element. The space between these two elements is fixed and should not be altered. Always use the brand mark artworks provided. Never re-typeset or replicate in any circumstance.
Balmond Studio
Brand mark – 18
Basic Elements Guidelines
BRAND MARK CLEAR SPACE The brand mark is protected by a clear area of space, known as the ‘Exclusion Zone’. This area of protection is defined as shown right by the height of the letter ‘B’
Balmond Studio
Brand mark – 19
Basic Elements Guidelines
BRAND MARK SCALE The minimum size of the logo is 30mm. Do not reproduce the logo at sizes smaller than this. To specify the size of the logo, measure over the horizontal width.
A5 and below – 30mm
There are three predetermined sizes when using the logo on A5, A4 and A3 formats, these consistent sizes maintain uniformity across collateral. Please use the correct size logo on their respective formats. When using on large formats please consider scale and proportion.
A4 – 40mm
When printing onto different substrates take into consideration the surface and printing techniques as this will affect legibility. A3 Landscape – 70mm
Balmond Studio
Brand mark – 20
Basic Elements Guidelines
LAYOUT
Balmond Studio
Page 1
Basic Elements Guidelines
A4 PORTRAIT GRID A SELECTION OF FINE PRINTS CECIL BALMOND – GEOMETRY COLLECTION
A 6 x 6 column/row grid template has been set up for an A4 portrait document to allow for flexible layout of information when setting up documents for presentations – as demonstrated by the images right. Above: Sample printed on fabric Right: Sample printed on fabric
Left:
PATTERN NO. 07 Lorem ipsum delore sit amet
41
42
45
Balmond Studio Profile 46
UNBOUNDED CECIL BALMOND – H EDGE
Left page top Untitled (06_09_1403) 2014 Pastel on paper 11 3/4 “ x 16 1/5” Left page bottom Untitled (06_09_1403) 2014 Pastel on paper 11 3/4 “ x 16 1/5” This page Untitled (06_09_1404) 2014 Pastel on paper 11 3/4 “ x 16 1/5”
Left:
PATTERN NO. 07 Lorem ipsum delore sit amet
51
Balmond Studio
Section 52
55
Unbounded 56
Layout – 22
Unit 9 / 190a New North Road / London N1 7BJ +44 (0)20 7043 0651 / www.balmondstudio.com