Olympic Torch wins Design of the Year
Barber Osberby's London 2012 Olympic Torch has won the Design Museum's Design of the Year prize for 2012. The Nokia Pure typeface won the Graphic Award while the Digital Award went to the Microsoft Kinect
Deyan Sudjic Director of the Design Museum said of the winning entry "Nothing is harder to get right than designing for the Olympics. The lightness and simplicity of Barber Osgerby's London 2012 Olympic Torch does just that. The torch not only captures the spirit of London as Olympic host city but also demonstrates how design can celebrate traditional ideas in a modern way".
The Torch was chosen by a jury comprising design writer and curator Henrietta Thompson, designer Hella Jongerious, property developer Sir George Iacobescu and Evgeny Lebedev, the proprietor of the Independent and London Evening Standard newspapers.
The Nokia Pure typeface (above) was developed by Dalton Maag with the phone company's in-house designers (more on the project here). Speaking about it in a previous CR story, Dalton Maag's Bruno Maag said "The design is all about functionality and purity of use," he explains. "We have deliberately steered away from condensed proportions that necessitate large x-heights and dictate character shapes with a square appearance. Instead we focussed on more relaxed proportions that allow a softer appearance that benefit the the user's reading experience, whether on screen or on paper. Every aspect and detail of the font's design has been considered and weighed."
"The spacing is kept generous to prevent characters merging together in the demanding environments of screen display and the fonts used on User Interfaces are fully hinted to always present the cleanest and purest pixel rendition of the characters.The first wave on language support, besides the Latin alphabet, will be Greek, Cyrillic, Arabic, Hebrew, Devanagari and Thai. All of these scripts will have the guiding principles of Nokia Pure in common: functionality and purity. That the fonts are beautiful is a given. "
In addition to the Graphic Award, the other six category winners were:
Architecture Award: London 2012 Velodrome (above), Hopkins Architects.
The Fashion Award: Issey Miyake 132.5 collection.
The Digital Award: Kinect by Microsoft.
The Transport Award: the redesign of the Emergency Ambulance by Helen Hamlyn Centre for Design and Vehicle Design Department, Royal College of Art.
The Furniture Category was won by RCA graduate Kihyun Kim for his balsa wood 1.3 Chair. Photo: Nicola Tree
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I think the deisign torch design is quite impressive but does not blow us away, interesting post though and worth a look.
Shame they couldn't leave the logo off the torch.
Really weird decision in my view. And I'm sad there's nothing for the earthquake-safe shelter table by Arthur Brutter and Ido Bruno, which is a brilliant design and an impressive concept.
This is my first look at the logo having not seen it in any other form. And it is awful. Aside from being a poor form on its own, it is damaged further being stuck on to the torch like some random badge found in your dad's attic. Perhaps I will be more forgiving upon seeing a print or web version.
Comedy Carpet were robbed! Not only here but also at the D&AD awards. Nice font as Im sure it is, Nokia Pure a pretty cold exercise in corporate branding, CC is a magnificent, beautifully crafted piece of work that will be bringing a smile to the face of thousands of ordinary people long after Nokia move on to their next rebrand. Perhaps just too much fun (or too far north) for the po-faced design cognicenti.
The Olympic torch looks like a giant cheese grater.
Dear Andy Mc. Thanks for the kind comments on the Comedy Carpet. You hit the nail on the head. We have had an amazing positive response from the people of Blackpool and visiting tourists to the CC. I think you are correct in that popular culture may just be too much for certain members of the design community to handle.
Andy Altmann – Why Not Associates
Sorry, how does the torch capture the spirit of London? Finding it hard to see how this is so.
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