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A PRACTICE FOR EVERYDAY LIFE
York. The pair introduced themselves at an event where he’d done the typography himself. “They came up to me at the opening and said that the typeface I had selected was not supposed to be used in capital letters,” he says. “I asked them what they were talking about, and we got started. After that, we had a meeting, and I invited them to design pretty much all the books and exhibitions for the ICA between 2004 and 2008.”
APFEL also has an ongoing working relationship with writer Maria Fusco. One project they’ve worked on together
is Master Rock, a book and live performance written by Fusco about the building of the United Kingdom’s first hydroelectric plant, at Ben Cruachan, a mountain in Scotland. APFEL also designed Fusco’s annual literary journal, The Happy Hypocrite, published by London art publishing house Book Works.
“APFEL’s process is an aligned one, a close consideration of form and content, but in a way that is always unexpected,” Fusco says. “Its attention to the practical details of book- making, such as typography and the book’s feel, is forensic.”
APFEL continues to take its thoughtful approach into fresh areas. The studio recently absorbed a new culture to design a big job for the Asia Art Archive in Hong Kong. It is also producing and selling its own pieces on its website. After thirteen years in the business, its latest product, an edition of prints, features quotes that Thomas and Carter chose after revisiting the book that gave the studio its name—The Practice for Everyday Life. ca
Left: “The Hepworth Wakefield is the largest purpose-built museum in the United Kingdom outside London. Built near the birthplace of sculptor Barbara Hepworth, the museum exhibits her work alongside that of other British modernist and contemporary artists. We designed its identity and typeface—which echo the angular forms of the building itself and also are partially derived from the pitched roofs of local dockside buildings—as well as its signage and wayfinding, website, printed materials, and permanent exhibition graphics. We chose a color palette inspired by oxidized metals and the effects of weather on Hepworth’s works. The forms and shapes within her sculptures also informed the textures and patterns we used throughout the brand identity and collateral.” David Chipperfield Architects, architect; Hepworth Wakefield, client.
This page: “Part of the Unlisted Collection group, the One Leicester Street hotel and restaurant comprises fifteen rooms, a first-floor
bar and a Michelin-starred restaurant led by chef-patron Tom Harris. We designed and art-directed One Leicester’s brand identity, logo, stationery, menus, printed materials, signage and website. The quietly characterful typography references traditional street signage and lettering, further evoked by hand-painted signage throughout the space. To serve as a counterpoint to its traditional aesthetic, menus illustrated by Sister Arrow were Risograph-printed using fluorescent inks. The menus are intended to be collectible souvenirs for guests, and new illustrations will highlight the kitchen’s seasonal ingredients for each season thereafter.” Sister Arrow, illustrator; Universal Design Studio, architect; Unlisted Collection, client.
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© Ed Park/Kilian O’Sullivan