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This publication studies methods for creating flexible looks for public and cultural institutions. The conventional logos traditionally used by companies are the result of a unique process of compression and abstraction. By contrast, flexible looks do not conceal their diverse components in their logo but instead from a complex family of symbols from them. In the combination of a basic logo and a family of symbols, the look is in a position to represent the general (the philosophy of the institution, the program) and the specific (e.g., changing exhibitions and events). The author describes the effect and potential of looks and offers general criteria that distinguish fully developed, dynamic looks. The subject is also presented in the form of artistic projects and with reference examples from the natural sciences and the humanities. Case studies of famous designers such as Karl Gerstner and Ruedi Baur enhance the analysis
Riassunto
This publication studies methods for creating flexible looks for public and cultural institutions. The conventional logos traditionally used by companies are the result of a unique process of compression and abstraction. By contrast, flexible looks do not conceal their diverse components in their logo but instead from a complex family of symbols from them. In the combination of a basic logo and a family of symbols, the look is in a position to represent the general (the philosophy of the institution, the program) and the specific (e.g., changing exhibitions and events). The author describes the effect and potential of looks and offers general criteria that distinguish fully developed, dynamic looks. The subject is also presented in the form of artistic projects and with reference examples from the natural sciences and the humanities. Case studies of famous designers such as Karl Gerstner and Ruedi Baur enhance the analysis
