All briefs

Reducing dimensional effects makes an established monogram easier to move between media.

A series treats typographic organization as something to test rather than merely obey.

Six woven panels turn material structure into a form of commemoration.

Small differences of profile give related utensils their separate jobs.

Pictograms, colour and typography coordinated a large international event.

Aaron Koblin's practice connects data visualization with participation and digital media.

Behrens connected a company's graphics, products and buildings within one design practice.

Don Chadwick and Bill Stumpf made mesh the defining material of Herman Miller's 1994 office chair.

Isamu Noguchi adapted Gifu lantern-making to electric light and sculptural form.

Anthony Dunne's collaboration with Fiona Raby connects design practice, writing and teaching.

Rob Janoff's bitten apple retained its outline through changing colour treatments.

Mollino's occasional table brings shaped plywood into dialogue with a glass surface.

Athos Bulcão's career connects painting and sculpture with the construction of Brasília.

An oscilloscope-derived curve gives a broadcaster an abstract, technically grounded symbol.

Bavarian colours came first; the propeller interpretation came later.

Bořek Šípek provides a route into expressive form and the relationship between design and public memory.

Dieter Rams and Hans Gugelot's radio-phonograph puts a transparent lid over domestic audio equipment.

The Braun T3 offers a compact case study in the relationship between a handheld enclosure and its controls.

A symbol, typeface and colour scheme made a railway organisation visible as one system.

Sori Yanagi gives each curved wooden half of the Butterfly Stool both a seat and a leg.

Root Glass developed the contour bottle through a team effort led by a distinctive packaging brief.

Frank Mason Robinson connected a product name with the flowing forms of Spencerian script.

Robert Venturi uses architectural examples to argue for complexity in composition.

Courier New shows how transferring a typewriter face to a digital font can change its apparent weight.

Sophie Taeuber-Arp's painted wooden head connects craft training with geometric abstraction.

Deborah Berke connects architectural practice with a sustained commitment to design education.

Papanek asks designers to account for the social and ecological consequences of what they make.

Rams turns the evaluation of a product into questions about usefulness, honesty and lasting value.

Charles and Ray Eames developed a children's elephant alongside their experiments in moulded plywood.

A steam-triggered switch made stopping the boil part of the appliance's operation.

Ellen van Loon's work at OMA spans cultural institutions, workplaces and public buildings.

Emigre made experimental digital typography part of a magazine's content and business.

Lindon Leader's FedEx wordmark makes the space between two letters carry an arrow.

Fiona Raby brings architectural training, research and collaborative practice to speculative design.

FontShop's publishing and distribution history connects independent type design with a growing digital market.

Chimero connects interfaces, illustration and writing within a broad design practice.

Four book-shaped towers frame a library whose reading rooms gather around a garden.

Frederick Kiesler connected stage, exhibition and architectural design through the relationship between people and space.

An unbuilt project treated adaptable space as a basis for cultural participation.

Carlo Aymonino and Aldo Rossi's Monte Amiata complex treats housing as a fragment of a city.

Giancarlo Piretti's furniture offers a focused route into the design of folding and everyday seating.

Henrique Mindlin combined architectural practice with teaching and the documentation of Brazilian modernism.

Shiro Kuramata uses steel mesh to give an armchair a nearly transparent volume.

Paul Rand's eight-bar IBM mark makes reproduction part of the design problem.

Inge Aicher-Scholl helped build the educational institutions behind postwar Ulm design.

Two folded plywood pieces conceal an unusually demanding manufacturing process.

Joost Schmidt's Bauhaus career connects lettering, sculpture and graphic design education.

Jurgen Bey's practice extends from furniture to interiors and public space.

A joint practice connects museums, learning spaces and public buildings across different settings.

A paper product found its dominant use after customers encountered it for another purpose.

Marcel Wanders turns a knotted textile into a rigid chair through composite materials.

Zanuso's upholstered armchair connects domestic seating with postwar materials research.

An adjustable reclining chair whose authorship deserves as much attention as its silhouette.

A repeatable connection turns individual plastic pieces into a reusable construction system.

A moving apparatus makes reflected light and shadow part of the work.

Marc Newson's Lockheed Lounge puts riveted aluminium over a curved fibreglass body.

Wroblewski connects interface design, product leadership and practical writing about the web.

Graph-paper sketches turn small pixel grids into approachable computer symbols.

Bruce Mau and the Institute without Boundaries used an exhibition and book to examine design at the scale of systems.

A perforated pot and disposable paper separated brewed coffee from its grounds.

A three-pointed star carries an engineering ambition through badges and a corporate merger.

A modular storage system makes industrial plastic adaptable to different rooms and uses.

A low wooden frame and generous leather upholstery turn sitting into sprawling.

Coop Himmelb(l)au's Lyon museum places an expressive steel-and-glass building at the meeting of two rivers.

Below-courtyard galleries make the museum's section as important as its sandstone exterior.

Danne and Blackburn's 1975 NASA logotype turns four letters into a compact graphic identity.

The Washington museum connects a layered exterior with historical references and the demands of a major collection.

A Shanghai practice connects architecture with interiors, objects and graphic design.

Noto Sans Arabic combines an unmodulated design with the requirements of Arabic text shaping.

Cyrillic support belongs to Noto Sans's coordinated Latin, Greek and Cyrillic family.

Noto Sans Devanagari brings an unmodulated approach to a script that depends on complex text shaping.

Noto Sans Hebrew provides an unmodulated family for a writing system with letters, positional forms and marks.

Noto's Japanese sans family coordinates kana, kanji and additional scripts within one typographic resource.

Otmar Alt's career crosses painting, graphic work, sculpture and public campaigns.

An eighteenth-century Venetian palace became a setting for visual-art exhibitions.

Art Paul's rabbit-head silhouette developed from a magazine endnote into a brand emblem.

A constructed coat of arms combines the company name with Stuttgart and regional heraldry.

Mark Simonson expanded a six-font design into a coordinated typographic family.

Rockwell Kent gives a publisher's arbitrary name a concrete image.

A commercially viable writing machine established conventions while retaining serious visibility limits.

The diamond survives as its construction changes from a vehicle grille to animated lines.

Adding wheels changed how a suitcase moved through an airport, but the handle mattered too.

Jacobsen treated the hotel as a connected design task, from the building to the cutlery.

Zaha Hadid's gallery conversion connects an 1805 gunpowder magazine with a new restaurant extension.

A gathering tree becomes a pavilion that makes shade, rain and light part of public life.

Ten thousand paid drawings make both individual gestures and a labour system visible.

Raymond Loewy's 1971 revision gives Shell's scallop emblem a strongly defined graphic form.

Shoei Yoh's work connects furniture, glass and timber buildings with experiments in architectural form.

Libenský's glass work is best understood through his sustained partnership with sculptor Jaroslava Brychtová.

Steve Krug connects practical web-usability advice with do-it-yourself testing.

The original tetrahedral carton was inseparable from the machine that formed and filled it.

Saarinen's pedestal tables apply a shared structural idea across a room of furniture.

Ross Lovegrove's water bottle brings a disposable packaging object into the design museum.

An enclosed drivetrain and a step-through body reorganised the relationship between rider and machine.

Overlapping timber members turn a bridge into an inhabited cultural structure.