When it comes to large-scale, city-wide initiatives like Beijing Design Week, as visitors we might not instinctively think about how these events have been put together — how they attempt to communicate to their target audiences, for example, and what kind of challenges might be involved in branding spaces, and guiding visitors to those spaces accordingly. This year, however, BJDW, with LAVA Design, are more actively addressing some of these questions and ideas via the creation of a more fluid visual identity. We spoke with Johan Nijhoff of LAVA Design to discuss the design process further.
Tell us more about the VI system you’ve designed for BJDW this year — how did you come up with the idea?
First of all, this whole assignment has been very different to other assignments. Normally, a company might approach us and ask for a completely new VI system to be designed, and most of the time we start from scratch. But for BJDW, our starting point entailed working with an existing VI, comprising a specific typeface and speech bubbles, all tied together with a blue colour. This worked for a long time, but last year BJDW Creative Director Beatrice Leanza asked us to change the existing VI step-by-step, all the while respecting the original system. So, in this way, this was a completely different process to what we are used to. And it’s actually quite hard because you have to deal with ingredients that have already been set up – respect them while slowly moving away from that identity.
For our brief this year, we didn’t work with the speech bubbles, but we did work with layering works and icons, and building on the icons that were already in use for certain areas. I don’t know if back in the day when you were working here how many areas there were, but right now there are more than ten areas for BJDW 2015. So, what I did was to connect every area to a specific colour and icon. This was the first step. The original identity is still there, but it is not as prominent as it used to be; for example, in addition to the icons, I also kept the original typeface, but I added colour. So, that’s what I’m trying to do – to slowly make the VI system more logical, clear and richer.
Could you tell us a bit more about how these icons and colours came to represent a specific area; for instance, were site visits involved?
My starting point was to use and develop the existing icons. Later on, when new areas were added to the BJDW programme, I then devised completely new icons. Actually, these new additions do not really relate to the areas they represent – you cannot make them connect. The existing icons were all geometric, so that was the only continuous element. And I needed to come up with a variety of new geometric shapes accordingly.
In which spaces and on what platforms will the new VI system be present?
The main thing is the guidebook, but also the website, which should be finalised very soon. There will also be goodies like banners and bags, but I have to say it’s so big right now when considering all of the areas together that I’m not really sure what will be made where. My role, more or less, was to devise the VI system. I then sent this off to those responsible for each of the BJDW 2015 areas, including rules about application. It is then up to those teams to modify the graphics accordingly. We are, however, also making a map that shows what’s going on where. These three things — the guidebook, the website and the map — are what we are making ourselves. They will be the carriers of the identity.
How do you see this VI system developing in the future?
Well, when you start to create something like this, initially it might not mean anything. But, if you use these icons and colours in a very consistent way, I hope that in the future the target audience will automatically start connecting these elements to BJDW. For me, that has always been the goal: people will see the colours and icons and immediately see the VI of BJDW. Our aim is to generate a very simple yet strong identity, which can be used in different ways over the next few years. And that’s just a matter of time I guess.
You have been based in Beijing for about one and a half years now. How do you find working in graphic design and visual communication for audiences here?
That’s an interesting question! I would say that our two main client groups here are Chinese companies – both cultural and commercial – but also foreign companies based in Beijing with European staff. What’s really interesting to me, however, is working with the Chinese clients, since the experience is really different. For example, I do not speak Chinese, so it can be a challenge to understand your client, and what sort of problem they are trying to solve when attempting to communicate with their own target audiences. It is usually a different process than working with European clients.
Then again, the process can also be, more or less, the same: the client approaches you with a problem and it’s always a challenge for every client, no matter where they might be situated in the world. You then find a creative solution to solve that problem. And basically that principal is the same everywhere. It’s just about asking the right questions.
You have not only worked in The Netherlands and China, but also in Russia. Are there any strong similarities or differences that you’ve noticed when working across these different cultural contexts?
That’s a hard question! In China, if you want to achieve something, you know that in the end it will happen. In Europe or in The Netherlands though if, for example, within one day you want to make 10,000 booklets, you know it’s not possible. People may not work all night long to achieve this, and the process will take much longer. That’s the cool thing about working in China or Russia – here, people do things that will never be accomplished say, for instance, in Europe. People in Russia are also really upfront — really straightforward. They are very direct in their communication; however, in China, it can be a bit more difficult at times. You have to move through many layers of people, and it always feels a bit uncertain because of that.
What part of BJDW 2015 are you most excited to visit?
LAVA Design is also working on a side project for the Dutch Embassy; of course, I’m from Holland, and we’re making a VI system for an architectural event in Dashilar, so I’m really curious to see what will be taking place there. But, I’m also interested in a new area called Baitasi. This is in west Beijing, and a completely new addition to BJDW. The cool thing about this area is the location — because it’s a hutong area, but it’s also surrounded by a commercial district. There are a few projects going on there, and I think that’s going to be really nice, so I’ll definitely be there!
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