To coincide with the opening of its new building, Tate invited design studios from around the world to pitch for a possible identity redesign. North, however, argued that the existing identity could still do the job – all it needed was a ‘deep clean’ and some clarity about its usage.
To coincide with the opening of its new building, Tate invited design studios from around the world to pitch for a possible identity redesign. North, however, argued that the existing identity could still do the job – all it needed was a ‘deep clean’ and some clarity about its usage.
Tate Modern’s vast Turbine Hall installations, blockbuster touring exhibitions, family-friendly displays, shops and cafés have pulled in millions of visitors, year after year.
The gallery has redefined what a museum of contemporary art can and should be. Its new Switch House building, designed by Herzog & de Meuron, opened its doors last month.
Like the rest of Tate, the brand has kept changing over the years – but not in such a good way. In fact, in the words of North’s Sean Perkins, whose studio has just completed a ‘deep clean’ of Tate’s brand, the whole thing was “a mess”.
With a total of 75 different logotypes to choose from, a Tate font with several weights and no formal guidelines on grids, colours, positions, sizes and formats to aid decision-making, Tate’s in-house design team had been struggling with consistency for years.