All briefs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

A planned break becomes part of a studio's creative process rather than its opposite.

A sculptural household object exposes a practical question about size.

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

A family of cushions turns seating into a question of arrangement.

Simplifying a familiar bell allows continuity across a very large organization.

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

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

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

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

A presentation sells relationships between objects, materials and rooms.

A national emblem becomes a graphic sign of movement.

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

A compact signature gives changing audio products a point of continuity.

A small exhibition print brings experimental graphic language into circulation.

One administrative signature makes many offices identifiable as parts of the same government.

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

Pictograms, colour and typography coordinated a large international event.

Two folded plywood pieces conceal an unusually demanding manufacturing process.

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

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

A repeated circular badge gives a diverse industrial group a common signature.

A curated group of ordinary materials and unexpected objects challenges the language of product design.

Colour and pattern give furniture and office interiors a different expressive register.

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

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

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

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

A documented wall hanging makes weaving technique inseparable from an abstract composition.

A magazine layout can carry an editorial attitude before its text is read.

Selecting and reissuing furniture becomes a design practice with its own responsibilities.

A government programme made design a matter of administration, hiring and public service.

A catalogue can explain a design programme rather than merely list products.

Lettering, symbol and architecture make a transport network recognizable across many places.

A house's interior can organize the approach to its landscape.

Bavarian colours came first; the propeller interpretation came later.

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

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

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

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

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

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.

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

Physical demonstrations turn mathematical relationships into things a visitor can investigate.

Serial tableware becomes a place to explore material variation rather than erase it.

One continuous curve gives the supporting structure a strong visual role.

A series cover balances the identity of one book with the order of a library.

Seasonal change becomes part of the composition rather than a period between displays.

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

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

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

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