The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Turbine Hall at the Oregon Museum of Science and Industry is a magnificent space built in the 1920’s and originally served as a PGE Power Station. Though extremely popular with guests, this portion of the facility, now listed on the National Historic Registry, has become dated and its exhibits lack a clear focus or intuitive wayfinding strategy. We partnered with Dangermond Keane to re-imagine the Turbine Hall and design a new experience focused on design thinking and problem solving. ¶ The project includes creating a phased execution strategy to roll-out the remodel over the next 5 years.

The Brightest Ideas are Illuminated from All Directions. ¶ The Jen-Hsun Huang Engineering Center is a nexus of innovation that bridges the past, the future, and the academic disciplines. Engineering is intrinsically social. It is the application of science for the benefit of people. It is at its most fecund when there is interaction between people and between academic disciplines. This is particularly true at Stanford. The Engineering Center will be a vital hub for this interactivity, and a symbol for its impact, its heritage, and its future. ¶ Light and transparency drove the creative process. Woven throughout both buildings are stories conveying the legacy of interaction between disciplines. Exhibits of some of the most important technological innovations of the past 100 years are housed in glowing vitrines. More than 50 patent drawings and sketches are enlarged to cover walls and provide screens on glass conference rooms. ¶ Structural columns are clad in naval bronze etched with the images of those whose shoulders today’s students stand upon. Stanford heroes, donors and deans are etched in interactive, acid-etched magnesium arrays.
Silicon Valley was born at a simple workbench in an old bat and board garage where William Hewlett and David Packard invented their first oscillator. The garage and original workbench have been recreated as a glass clad exhibit at the terrace level next to the collaborative student workspace. Students are welcome to work at the replica workbench in the HP Garage or use the space as an impromptu meeting room.

The Brightest Ideas are Illuminated from All Directions. ¶ The Jen-Hsun Huang Engineering Center is a nexus of innovation that bridges the past, the future, and the academic disciplines. Engineering is intrinsically social. It is the application of science for the benefit of people. It is at its most fecund when there is interaction between people and between academic disciplines. This is particularly true at Stanford. The Engineering Center will be a vital hub for this interactivity, and a symbol for its impact, its heritage, and its future. ¶ Light and transparency drove the creative process. Woven throughout both buildings are stories conveying the legacy of interaction between disciplines. Exhibits of some of the most important technological innovations of the past 100 years are housed in glowing vitrines. More than 50 patent drawings and sketches are enlarged to cover walls and provide screens on glass conference rooms. ¶ Structural columns are clad in naval bronze etched with the images of those whose shoulders today’s students stand upon. Stanford heroes, donors and deans are etched in interactive, acid-etched magnesium arrays.
Silicon Valley was born at a simple workbench in an old bat and board garage where William Hewlett and David Packard invented their first oscillator. The garage and original workbench have been recreated as a glass clad exhibit at the terrace level next to the collaborative student workspace. Students are welcome to work at the replica workbench in the HP Garage or use the space as an impromptu meeting room.

The Brightest Ideas are Illuminated from All Directions. ¶ The Jen-Hsun Huang Engineering Center is a nexus of innovation that bridges the past, the future, and the academic disciplines. Engineering is intrinsically social. It is the application of science for the benefit of people. It is at its most fecund when there is interaction between people and between academic disciplines. This is particularly true at Stanford. The Engineering Center will be a vital hub for this interactivity, and a symbol for its impact, its heritage, and its future. ¶ Light and transparency drove the creative process. Woven throughout both buildings are stories conveying the legacy of interaction between disciplines. Exhibits of some of the most important technological innovations of the past 100 years are housed in glowing vitrines. More than 50 patent drawings and sketches are enlarged to cover walls and provide screens on glass conference rooms. ¶ Structural columns are clad in naval bronze etched with the images of those whose shoulders today’s students stand upon. Stanford heroes, donors and deans are etched in interactive, acid-etched magnesium arrays.
Silicon Valley was born at a simple workbench in an old bat and board garage where William Hewlett and David Packard invented their first oscillator. The garage and original workbench have been recreated as a glass clad exhibit at the terrace level next to the collaborative student workspace. Students are welcome to work at the replica workbench in the HP Garage or use the space as an impromptu meeting room.

The Brightest Ideas are Illuminated from All Directions. ¶ The Jen-Hsun Huang Engineering Center is a nexus of innovation that bridges the past, the future, and the academic disciplines. Engineering is intrinsically social. It is the application of science for the benefit of people. It is at its most fecund when there is interaction between people and between academic disciplines. This is particularly true at Stanford. The Engineering Center will be a vital hub for this interactivity, and a symbol for its impact, its heritage, and its future. ¶ Light and transparency drove the creative process. Woven throughout both buildings are stories conveying the legacy of interaction between disciplines. Exhibits of some of the most important technological innovations of the past 100 years are housed in glowing vitrines. More than 50 patent drawings and sketches are enlarged to cover walls and provide screens on glass conference rooms. ¶ Structural columns are clad in naval bronze etched with the images of those whose shoulders today’s students stand upon. Stanford heroes, donors and deans are etched in interactive, acid-etched magnesium arrays.
Silicon Valley was born at a simple workbench in an old bat and board garage where William Hewlett and David Packard invented their first oscillator. The garage and original workbench have been recreated as a glass clad exhibit at the terrace level next to the collaborative student workspace. Students are welcome to work at the replica workbench in the HP Garage or use the space as an impromptu meeting room.

The Brightest Ideas are Illuminated from All Directions. ¶ The Jen-Hsun Huang Engineering Center is a nexus of innovation that bridges the past, the future, and the academic disciplines. Engineering is intrinsically social. It is the application of science for the benefit of people. It is at its most fecund when there is interaction between people and between academic disciplines. This is particularly true at Stanford. The Engineering Center will be a vital hub for this interactivity, and a symbol for its impact, its heritage, and its future. ¶ Light and transparency drove the creative process. Woven throughout both buildings are stories conveying the legacy of interaction between disciplines. Exhibits of some of the most important technological innovations of the past 100 years are housed in glowing vitrines. More than 50 patent drawings and sketches are enlarged to cover walls and provide screens on glass conference rooms. ¶ Structural columns are clad in naval bronze etched with the images of those whose shoulders today’s students stand upon. Stanford heroes, donors and deans are etched in interactive, acid-etched magnesium arrays.
Silicon Valley was born at a simple workbench in an old bat and board garage where William Hewlett and David Packard invented their first oscillator. The garage and original workbench have been recreated as a glass clad exhibit at the terrace level next to the collaborative student workspace. Students are welcome to work at the replica workbench in the HP Garage or use the space as an impromptu meeting room.

The Brightest Ideas are Illuminated from All Directions. ¶ The Jen-Hsun Huang Engineering Center is a nexus of innovation that bridges the past, the future, and the academic disciplines. Engineering is intrinsically social. It is the application of science for the benefit of people. It is at its most fecund when there is interaction between people and between academic disciplines. This is particularly true at Stanford. The Engineering Center will be a vital hub for this interactivity, and a symbol for its impact, its heritage, and its future. ¶ Light and transparency drove the creative process. Woven throughout both buildings are stories conveying the legacy of interaction between disciplines. Exhibits of some of the most important technological innovations of the past 100 years are housed in glowing vitrines. More than 50 patent drawings and sketches are enlarged to cover walls and provide screens on glass conference rooms. ¶ Structural columns are clad in naval bronze etched with the images of those whose shoulders today’s students stand upon. Stanford heroes, donors and deans are etched in interactive, acid-etched magnesium arrays.
Silicon Valley was born at a simple workbench in an old bat and board garage where William Hewlett and David Packard invented their first oscillator. The garage and original workbench have been recreated as a glass clad exhibit at the terrace level next to the collaborative student workspace. Students are welcome to work at the replica workbench in the HP Garage or use the space as an impromptu meeting room.

Y2E2 is many things: a center for interdisciplinary study, a research facility, a sustainable building. But most significantly, it is a symbol of Stanford University’s commitment to interdependent systems – and the recognition that these systems are academic, ecological, technological, and social. ¶ The building is organized by four atria each oriented toward a specific area of inquiry – water, energy, earth sciences and the built environment. Additionally, each atria is color-coded to assist in orientation and wayfinding. ¶ We created a circular diagram illustrating how principal investigators, their projects and departments are connected to multiple disciplines, and outside institutions. This diagram is enlarged to a height of four stories, then superimposed onto satellite images of the sun, ocean, earth and a metropolis. The mural is color-coded, divided into four atria, and wrapped onto acoustic panels.

We collaborated with Skylab Architecture to create a brand narrative for the ground floor renovation at W Hotel Seattle. Research into the history and culture of Seattle was distilled into a brand book melding Seattle’s natural beauty, native cultures, wharf character and rich history of technological innovation. ¶ A brand narrative collage became the impetus for a monumental, lenticular mural. As guests move through the sushi bar, the twelve foot wide mural transforms from translucent, ethereal jellyfish into a jet fighter breaking the sound barrier.

We collaborated with Skylab Architecture to create a brand narrative for the ground floor renovation at W Hotel Seattle. Research into the history and culture of Seattle was distilled into a brand book melding Seattle’s natural beauty, native cultures, wharf character and rich history of technological innovation. ¶ A brand narrative collage became the impetus for a monumental, lenticular mural. As guests move through the sushi bar, the twelve foot wide mural transforms from translucent, ethereal jellyfish into a jet fighter breaking the sound barrier.

We collaborated with Skylab Architecture to create a brand narrative for the ground floor renovation at W Hotel Seattle. Research into the history and culture of Seattle was distilled into a brand book melding Seattle’s natural beauty, native cultures, wharf character and rich history of technological innovation. ¶ A brand narrative collage became the impetus for a monumental, lenticular mural. As guests move through the sushi bar, the twelve foot wide mural transforms from translucent, ethereal jellyfish into a jet fighter breaking the sound barrier.

We collaborated with Skylab Architecture to create a brand narrative for the ground floor renovation at W Hotel Seattle. Research into the history and culture of Seattle was distilled into a brand book melding Seattle’s natural beauty, native cultures, wharf character and rich history of technological innovation. ¶ A brand narrative collage became the impetus for a monumental, lenticular mural. As guests move through the sushi bar, the twelve foot wide mural transforms from translucent, ethereal jellyfish into a jet fighter breaking the sound barrier.

‘The Jack, Will and Rob Center grew into a place that was like a three-chambered heart, each chamber being an artistic area for a child: visual arts, computer arts and a music-theater area.’
Geri Pope-Bidwell, founder
The Jack, Will and Rob Youth Center was inspired by the lives of three brothers who perished tragically in an airplane crash on Thanksgiving Day, 1999. Each installation is designed as a moment of discovery, relative to its context, always returning to a theme of creative inspiration and renewal.
Donor Recognition
Rather than a plaque added to the structure after the fact of construction, this donor wall is an expression of community generosity being inseparable from the institution’s existence. Four thousand names are printed directly onto and into the stained concrete wall.
Children’s Gallery Entry
A poem by Rumi greets and inspires kids entering the art gallery. Rather than placing the text at sixty inches from the floor as is the norm, the poem is placed at forty inches in order to be more easily seen by those this center seeks to nurture.
The Mickey Mantle Koan, an excerpt from River Teeth by David James Duncan, is a meditation on the meaning of heroes. It recounts the loss of his only brother to illness when they were teenagers. At their mother’s request, Mickey Mantle autographed a baseball and mailed it to their home. It arrived the day after his brother passed away. David donated the autographed ball, his brother’s mitt, their practice ball and the use of the story. ¶ Each page is letter-pressed onto mitt leather, and left exposed. Over time – with ambient light and constant touching by passersby – the leather pages have aged just like your old mitt.
A Georgia O’Keefe quotation about the expressive power of color for the art room was installed as an engraved pane of colored glass.
Three Heart Valves
There are three primary activity rooms – art, music and computer sciences – each reflecting one of the boys’ passions. We were asked to find a way to discreetly include a picture of each boy playing with one of the three surviving sisters. ¶
The glazing on each door is designed such that each image appears and disappears depending on the light and position of the door relative to the viewer. The images are ephemeral as memories. Many people visit the center several times before they are struck with the recognition.
Center Court
Ray Hickey was a local, self-made businessman. He became a major donor to the Jack, Will and Rob Center when he funded the gymnasium. He was famous for the quote pictured above. It is placed at center court to be seen up close at every tip-off.

‘The Jack, Will and Rob Center grew into a place that was like a three-chambered heart, each chamber being an artistic area for a child: visual arts, computer arts and a music-theater area.’
Geri Pope-Bidwell, founder
The Jack, Will and Rob Youth Center was inspired by the lives of three brothers who perished tragically in an airplane crash on Thanksgiving Day, 1999. Each installation is designed as a moment of discovery, relative to its context, always returning to a theme of creative inspiration and renewal.
Donor Recognition
Rather than a plaque added to the structure after the fact of construction, this donor wall is an expression of community generosity being inseparable from the institution’s existence. Four thousand names are printed directly onto and into the stained concrete wall.
Children’s Gallery Entry
A poem by Rumi greets and inspires kids entering the art gallery. Rather than placing the text at sixty inches from the floor as is the norm, the poem is placed at forty inches in order to be more easily seen by those this center seeks to nurture.
The Mickey Mantle Koan, an excerpt from River Teeth by David James Duncan, is a meditation on the meaning of heroes. It recounts the loss of his only brother to illness when they were teenagers. At their mother’s request, Mickey Mantle autographed a baseball and mailed it to their home. It arrived the day after his brother passed away. David donated the autographed ball, his brother’s mitt, their practice ball and the use of the story. ¶ Each page is letter-pressed onto mitt leather, and left exposed. Over time – with ambient light and constant touching by passersby – the leather pages have aged just like your old mitt.
A Georgia O’Keefe quotation about the expressive power of color for the art room was installed as an engraved pane of colored glass.
Three Heart Valves
There are three primary activity rooms – art, music and computer sciences – each reflecting one of the boys’ passions. We were asked to find a way to discreetly include a picture of each boy playing with one of the three surviving sisters. ¶
The glazing on each door is designed such that each image appears and disappears depending on the light and position of the door relative to the viewer. The images are ephemeral as memories. Many people visit the center several times before they are struck with the recognition.
Center Court
Ray Hickey was a local, self-made businessman. He became a major donor to the Jack, Will and Rob Center when he funded the gymnasium. He was famous for the quote pictured above. It is placed at center court to be seen up close at every tip-off.

‘The Jack, Will and Rob Center grew into a place that was like a three-chambered heart, each chamber being an artistic area for a child: visual arts, computer arts and a music-theater area.’
Geri Pope-Bidwell, founder
The Jack, Will and Rob Youth Center was inspired by the lives of three brothers who perished tragically in an airplane crash on Thanksgiving Day, 1999. Each installation is designed as a moment of discovery, relative to its context, always returning to a theme of creative inspiration and renewal.
Donor Recognition
Rather than a plaque added to the structure after the fact of construction, this donor wall is an expression of community generosity being inseparable from the institution’s existence. Four thousand names are printed directly onto and into the stained concrete wall.
Children’s Gallery Entry
A poem by Rumi greets and inspires kids entering the art gallery. Rather than placing the text at sixty inches from the floor as is the norm, the poem is placed at forty inches in order to be more easily seen by those this center seeks to nurture.
The Mickey Mantle Koan, an excerpt from River Teeth by David James Duncan, is a meditation on the meaning of heroes. It recounts the loss of his only brother to illness when they were teenagers. At their mother’s request, Mickey Mantle autographed a baseball and mailed it to their home. It arrived the day after his brother passed away. David donated the autographed ball, his brother’s mitt, their practice ball and the use of the story. ¶ Each page is letter-pressed onto mitt leather, and left exposed. Over time – with ambient light and constant touching by passersby – the leather pages have aged just like your old mitt.
A Georgia O’Keefe quotation about the expressive power of color for the art room was installed as an engraved pane of colored glass.
Three Heart Valves
There are three primary activity rooms – art, music and computer sciences – each reflecting one of the boys’ passions. We were asked to find a way to discreetly include a picture of each boy playing with one of the three surviving sisters. ¶
The glazing on each door is designed such that each image appears and disappears depending on the light and position of the door relative to the viewer. The images are ephemeral as memories. Many people visit the center several times before they are struck with the recognition.
Center Court
Ray Hickey was a local, self-made businessman. He became a major donor to the Jack, Will and Rob Center when he funded the gymnasium. He was famous for the quote pictured above. It is placed at center court to be seen up close at every tip-off.

‘The Jack, Will and Rob Center grew into a place that was like a three-chambered heart, each chamber being an artistic area for a child: visual arts, computer arts and a music-theater area.’
Geri Pope-Bidwell, founder
The Jack, Will and Rob Youth Center was inspired by the lives of three brothers who perished tragically in an airplane crash on Thanksgiving Day, 1999. Each installation is designed as a moment of discovery, relative to its context, always returning to a theme of creative inspiration and renewal.
Donor Recognition
Rather than a plaque added to the structure after the fact of construction, this donor wall is an expression of community generosity being inseparable from the institution’s existence. Four thousand names are printed directly onto and into the stained concrete wall.
Children’s Gallery Entry
A poem by Rumi greets and inspires kids entering the art gallery. Rather than placing the text at sixty inches from the floor as is the norm, the poem is placed at forty inches in order to be more easily seen by those this center seeks to nurture.
The Mickey Mantle Koan, an excerpt from River Teeth by David James Duncan, is a meditation on the meaning of heroes. It recounts the loss of his only brother to illness when they were teenagers. At their mother’s request, Mickey Mantle autographed a baseball and mailed it to their home. It arrived the day after his brother passed away. David donated the autographed ball, his brother’s mitt, their practice ball and the use of the story. ¶ Each page is letter-pressed onto mitt leather, and left exposed. Over time – with ambient light and constant touching by passersby – the leather pages have aged just like your old mitt.
A Georgia O’Keefe quotation about the expressive power of color for the art room was installed as an engraved pane of colored glass.
Three Heart Valves
There are three primary activity rooms – art, music and computer sciences – each reflecting one of the boys’ passions. We were asked to find a way to discreetly include a picture of each boy playing with one of the three surviving sisters. ¶
The glazing on each door is designed such that each image appears and disappears depending on the light and position of the door relative to the viewer. The images are ephemeral as memories. Many people visit the center several times before they are struck with the recognition.
Center Court
Ray Hickey was a local, self-made businessman. He became a major donor to the Jack, Will and Rob Center when he funded the gymnasium. He was famous for the quote pictured above. It is placed at center court to be seen up close at every tip-off.

‘The Jack, Will and Rob Center grew into a place that was like a three-chambered heart, each chamber being an artistic area for a child: visual arts, computer arts and a music-theater area.’
Geri Pope-Bidwell, founder
The Jack, Will and Rob Youth Center was inspired by the lives of three brothers who perished tragically in an airplane crash on Thanksgiving Day, 1999. Each installation is designed as a moment of discovery, relative to its context, always returning to a theme of creative inspiration and renewal.
Donor Recognition
Rather than a plaque added to the structure after the fact of construction, this donor wall is an expression of community generosity being inseparable from the institution’s existence. Four thousand names are printed directly onto and into the stained concrete wall.
Children’s Gallery Entry
A poem by Rumi greets and inspires kids entering the art gallery. Rather than placing the text at sixty inches from the floor as is the norm, the poem is placed at forty inches in order to be more easily seen by those this center seeks to nurture.
The Mickey Mantle Koan, an excerpt from River Teeth by David James Duncan, is a meditation on the meaning of heroes. It recounts the loss of his only brother to illness when they were teenagers. At their mother’s request, Mickey Mantle autographed a baseball and mailed it to their home. It arrived the day after his brother passed away. David donated the autographed ball, his brother’s mitt, their practice ball and the use of the story. ¶ Each page is letter-pressed onto mitt leather, and left exposed. Over time – with ambient light and constant touching by passersby – the leather pages have aged just like your old mitt.
A Georgia O’Keefe quotation about the expressive power of color for the art room was installed as an engraved pane of colored glass.
Three Heart Valves
There are three primary activity rooms – art, music and computer sciences – each reflecting one of the boys’ passions. We were asked to find a way to discreetly include a picture of each boy playing with one of the three surviving sisters. ¶
The glazing on each door is designed such that each image appears and disappears depending on the light and position of the door relative to the viewer. The images are ephemeral as memories. Many people visit the center several times before they are struck with the recognition.
Center Court
Ray Hickey was a local, self-made businessman. He became a major donor to the Jack, Will and Rob Center when he funded the gymnasium. He was famous for the quote pictured above. It is placed at center court to be seen up close at every tip-off.

Artists Rep is a collection of three separate buildings spanning an entire city block. We were asked to create a design solution that would visually integrate all three buildings into one coherent whole that creates a branded presence for a theatre company with very little street presence. The painted stripes are a graphic abstraction of the red curtain on the A.R.T. stage. The exterior became so associated with A.R.T. that is evolved into the cornerstone of all their branding, posters, in print and on-line and has remained so for ten years.

Artists Rep is a collection of three separate buildings spanning an entire city block. We were asked to create a design solution that would visually integrate all three buildings into one coherent whole that creates a branded presence for a theatre company with very little street presence. The painted stripes are a graphic abstraction of the red curtain on the A.R.T. stage. The exterior became so associated with A.R.T. that is evolved into the cornerstone of all their branding, posters, in print and on-line and has remained so for ten years.

Artists Rep is a collection of three separate buildings spanning an entire city block. We were asked to create a design solution that would visually integrate all three buildings into one coherent whole that creates a branded presence for a theatre company with very little street presence. The painted stripes are a graphic abstraction of the red curtain on the A.R.T. stage. The exterior became so associated with A.R.T. that is evolved into the cornerstone of all their branding, posters, in print and on-line and has remained so for ten years.