The Batel is the auditorium and convention centre of Cartagena, a small city of around 200,000 people on the Mediterranean coast in the Murcia region of Spain. Designed by architects José Selgas and Lucía Cano, the centre is a fantastic example of textural color outside and functional color inside.
The city of Cartagena is rich with the traditions of sea based trade, a port town dating back to around 200 BC. The architects used our spherical coordinate system of longitude to inspire the look and layout of the center and focused on color to bring out the linear threads of the building. Not shy about its industrial neighbors you can see the shipping cranes peeking out from behind the buildings brightly striped exterior.
Much of the exterior is covered with striped and slatted multicolor siding along with two undulating translucent facades made from ETFE (ethylene tetrafluoroethylene, a type of plastic of great resistance to heat, corrosion and UV) which instead of being painted after the fact is dyed during extrusion with neon pigment. But the real eye for color continues to entice once you venture inside.
The Batel is interesting not just for its cultural sensitivity to its surroundings, liner inspiration, or colorful exterior, but because the interiors use color in very specific and well thought out ways. The architects took into account the myriad of ways, and kinds of events, these types of convention centers produce and designed various halls to accommodate the desired mood or atmosphere for different types of events. Having a relaxing but interesting talk on the application of quantum computers? Try Hall A, one of the complexes auditoriums, nestled just blow sea level and paneled in deep blue polycarbonate to keep the space, used for everything from heated discussions, lectures to music performances and poetry slams, feeling relaxing and harmonious. But perhaps after the lecture you need to get your scientists moving, inter mingling, sharing ideas? Then move over to Hall B, designed with airy ceilings and warm colors which suggest a stimulating experience in an inviting atmosphere. The Batel uses color not only to delineate different spaces but to activate a similar mind set in a diverse and disparate crowd of people.
This week at Colour Studio we wanted to introduce you to Paul Rand, an American graphic designer who brought computers and the companies that make them out of the bland realm of corporate design and began the slow process of personalization and brand loyalty we see today with companies like Apple.
He worked with a slew of well known clients including ABC, Ford, Yale University, UPS and IDEO. The one relationship that came to define his career was his long time work for IBM. Paul Rand not only changed how we see multinational corporations but also demonstrated how a designer can effect the entire public personality of a client and even an industry.
He convinced IBM that design and the way the audience interacts with your product is just as important as the quality and usefulness of the product itself. This seems like common sense to many designers and companies today but there was a time when the visual stamp of a company was valued little when compared with its grander reputation. With the launch of his first IBM logo in 1956 Rand created not just a ‘identity’ for potential customers to relate to, but launched a design ethos that echos to this day.
|IBM logo, 1956
|IBM logo, 13 bar variation
To modern eyes these original logos may feel simplistic or dated but they were designed when bold brand definition was in its infancy. The striped logo has come to be synonymous with IBM and uses the simplicity of blue and white to convey the companies relationship to information. Pixelated individual parts were constructed to form a visual whole. Rand set the viewers emotional response to the logo by introducing that clear effortless blue, a color long associated with dependability and credible practices.
The logo then began to insinuate itself into the package design, pamphlets, posters, and even annual reports. It helped ground the companies design footprint while still allowing Rand the opportunity to change the colors, spacing or striping based on the logos context. It was precisely because of its simplicity that the logo was so versatile for use in any design setting. Clear enough to carry the weight of the brand even when the color spacing and orientation of the letters changed. This image shows a set of package design from back when people actually bought things like typewriter ribbon. The design builds on the companies standard logo but also creates an eye catching and visually new interpretation of the logo itself.
But by now you might be asking what does any of this have to do with Apple. Rand and his IBM logo were the historical context which inspired Apple in development of their brand. Apple took Rand’s design principles and used them not only in their own logo design but also in the design of their physical products. The apple missing a bite become an idea as well as a design. This was Rand’s lasting legacy. It’s the idea that matters. The apple can change size or shape, the IBM letters can move around or change or color but the residue of the identity remain.
Even with brand identity soaked into what is essentially merely a shape, its no coincidence that IBM and Apple’s logos most commonly appear in blue and grey, strong and dependable. Those colors are associated with reliability in business, and you can observe those two popular colors in the business suits roaming the halls of offices everywhere. The history of design is littered with examples of the long lasting effects of Paul Rand’s influence. His ideas changed the world.