Established in 1919, AIG (American International Group) is an international insurance organization with commercial, institutional, and individual customers in more than 130 countries providing property-casualty insurance as well as life insurance and retirement services in the United States. AIG is best (worst?) known for its economic crisis in 2008 and being bailed out by the Federal Reserve Bank and the United States Treasury (i.e., some taxpayer money in there) to the tune of $ 90ish billion. With AIG gradually repaying its debt, it’s time to shed the logo that associated the firm with the financial crisis in preparation for a complete “rebrand of its property casualty and life and retirement segments later this fall.” No design credit given.
“Our new logo reflects a rebuilt and forward looking AIG — contemporary, dynamic, transparent, and revitalized. Every day, we are working to build on that accomplishment by continuing to innovate, while providing our clients with outstanding products and services.”
— Press Release
It’s hard to write a 500-word essay about this logo change. This is so simple and basic it hurts: AIG is going from old school, royal-blue rectangle, serif logo to a friendlier, brighter blue rectangle (in a stroke), sans serif logo. That’s it. The implications are obvious, if not exactly dramatic: appear less corporate, less scary, and signal — by going to the bare minimum opposite visual cues — that this is a new kind of company. Mazel tov. It works. For a company this size, under this kind of scrutiny, any move is a big move, so the restrained redesign probably makes most sense and unless there is some wildly creative application of the logo, this is probably as exciting and interesting as this redesign is going to get. To its credit, the execution is fairly competent through a nice typeface selection, a pretty hue of blue, and a stroke thickness that matches the “I” in the name — in terms of simplicity and bluntness, they got it right.Read More →
WDR – World Design Rankings announced the rankings of countries based on the number of design awards won at international juried arts & design competitions and awards.
United States ranked as number 1 among the 47 represented countries, followed by Turkey, Hong-Kong, Italy, United Kingdom and South Korea. The WDR – World Design Rankings aims to provide additional data and insights to economists and journalists regarding the state-of-art in design and arts industry. The ultimate aim of the ranking is to contribute to global design & art scape through advocating and highlighting good design, arts and architecture.
WDR Representative Frank Scott noted that this is the first time that such an international ranking for design & arts has been implemented and added “We hope to ignite further competition in the design industry and arts by providing the world design rankings; we believe this is very important for the world, because more competition would lead to better designs; better designs mean longer-lasting products, more ergonomic designs, highly socially responsible projects and so on. At micro-level, the world design rankings help designers understand their world-wide position, however most importantly, at macro-level the world design rankings will push the participating designers, artists and architects to do better, to come up with better products and designs which in turn would create positive impacts for our future generations”.
About WDR – World Design Rankings
World Design Rankings ranks the countries based on design awards won, currently the data has been provided by A’ Design Awards & Competitions, one of the worlds’ most prestigious design awards and competitions with thousands of entries. To learn more about world design rankings and to also see sub-country design rankings please visit: worlddesignrankings.com
About A’ Design Award and Competitions
A’ Design Award and Competitions, aims to highlight the excellent qualifications of best designs, design concepts and design oriented products. A’ Design Award and Competitions are organized and awarded annually and internationally in multiple categories to reach a wide, design-oriented audience. To learn more visit: whatisadesigncompetition.com
To see some of the winners which effected the World Design Rankings, visit: awardeddesigns.com
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Set to open in 2013, One World Trade Center (also known as 1WTC and previously Freedom Tower) is the flagship building of the thoroughly chronicled, scrutinized, and troubled development of the new World Trade Center complex, that includes four other skyscrapers, the National September 11 Memorial & Museum, 550,000 square feet of retail space, and a Performing Arts Center. One World Trade Center is the design of David M. Childs of Skidmore, Owings & Merrill, rising a symbolic 1,776 — the year of the United States independence — feet and boasting 2.6 million square feet of space to be filled by the likes of Condé Nast, one of the first big name tenants to sign a major lease. One World Trade Center is developed by the Port Authority of New York and New Jersey and developer The Durst Organization. Yesterday, the logo for the building was introduced, designed by London-based Wordsearch, a design firm specializing in branding and communications for real estate and architecture across the world.
The mark suggests the summit and spire reaching into the sky above Lower Manhattan. By focusing on the very top of the building we reach out to the commonest experience of the building, as it will be seen from all around the city. As the tallest building in the Western hemisphere the building’s ultimate height of 1,776 ft is a source of pride and inspiration, and is celebrated in the mark.
So, the logo achieves a number of goals. It is sufficiently visionary and ambitious to acknowledge the broader context and wider significance of this building, while remaining appropriately bold, confi dent and business-like to reflect One World Trade Center’s true, central purpose as the world’s latest, greatest piece of commercial real estate.
— Provided Press Materials
I don’t envy the job of Wordsearch, mostly because designing logos for landmark buildings invariably leads to some kind of graphic abstraction of the whole building or a detail of it and they rarely look as good on paper as they sound when pitching it or explaining it. This is no different. The idea is great and heroic: showcasing the pinnacle of the tallest building in the Western Hemisphere! And while the pinnacle looks to be stunning in the renderings amidst the skyline of New York and against lusciously photographed skies the effect is completely lost when placed inside a circle. The sharpness of the spire itself is lost when translated to a logo as it needs to be bulked up to not get lost at small sizes and avoid getting it filled in with the color and gradients around it. The choice of Gotham is painfully obvious and in choosing a typeface that is meant to evoke the “street-level” business aura of a bygone New York the effect cheapens what is otherwise an expensive and sophisticated address to lease office space from. In less words, I think this logo misses the mark, I feel there is a big disconnect between the building itself and the tenants it hopes to attract.Read More →