logo desktoplogo mobile
Flâner, 2014
"Displaced Longitude", McCullough Mulvin Architects. Graphic design for exhibition in Sao Bento Metro Station, 2017
“The Form of Form” graphic identity for The 4th edition of Trienal de Arquitectura de Lisboa, 2016.
Arpino, pictograms, 2017
House on Fire (graphic identity, webdesign, editorial design), 2011
111 architects, graphic identity 2010
Letters to the Mayor — Lisbon, 2016
Selection of texts published between 2010 and 2014 about André's Cepeda project, Rien. 2015 Centro Cultural Vila Flor, Guimarães
Miguel Palma website, 2011
Cree — Création et Recherches Esthétiques Européennes – Architecture Magazine, 2015 Paris
nous vous répondrons, 2014
Trienal de Arquitectura de Lisboa, Graphic Identity, 2006
“The Form of Form” graphic identity for The 4th edition of Trienal de Arquitectura de Lisboa, 2016.
Vai com Deus, typographic installation. Lisbon, 2018
Au Sud d'Aujourd'hui. Art contemporain portugais [sans le Portugal], curator: Miguel von Hafe Pérez, Gulbenkian Paris
OM – lighting graphic identity, 2012
Unfinished Trajectories, Casa da Música, 2007.
Cree — Création et Recherches Esthétiques Européennes – Architecture Magazine, 2015 Paris
Casa do Conto, Typography on building. Pedra Líquida Architects.
Au Sud d'Aujourd'hui. Art contemporain portugais [sans le Portugal], curator: Miguel von Hafe Pérez, Gulbenkian Paris
Casa da Arquitectura, typography on building, 2017. Architect: Guilherme Machado Vaz
Type(meter)face, 2017
Real Vinícola / Casa da Arquitectura – Signage, 2017 Matosinhos
Arpino pictograms
La Paz Clothing, graphic identity
Music Conservatory, José Paulo Santos Architect, 2010
Rejected Graphic Identity proposal for Maat, Museum of Art Architecture and Technology in Lisbon, 2015
You=Eu, installation, 2017 Miranda do Douro
Beaumarchais – Teatro Nacional D.Maria II. Graphic Identity.
A dimensão 3 dos R2 (OU COMO A SUPERFÍCIE AMA O VOLUME) Há nomes/títulos que tem a capacidade de ser todo um programa. Que transportam dentro de si um futuro indefinido, como todos os futuros, mas com um desejo de concretização não desprezável. Não sei se a Lizá Ramalho e o Artur Rebelo, tinham pensado nisso quando baptizaram o seu projecto. Donde os Rs vinham era óbvio, e não estou seguro que quisessem ser Radicais, e muito menos Redutores. Se fossem radicais eram seguramente livres, como aquelas moléculas derivadas do oxigénio que estudei quando era bioquímico. Moléculas instáveis, rápidas, que tinham que se associar imediatamente a outras estruturas atómicas para não morrerem. Mas extremamente perturbadoras do metabolismo celular porque impunham à ordem da célula, uma desordem, que, de facto, era a nova ordem da recombinação. Os R2 criaram um novo metabolismo no âmbito do design gráfico, um metabolismo da insatisfação. Habituamo-nos a olhar para o design gráfico como uma flatland. Como o Império da Segunda Dimensão. Do “ao quadrado”. Do alinhamento das ideias convertidas em formas (ou fontes, para usar uma expressão do seu léxico) numa superfície plana. Mas cedo estes R2, mostraram desejo em ser 3 (graficamente, espacialmente). E apesar de continuarem a ser designers gráficos, os seus projectos e as suas soluções começaram a ganhar volume. A tentar conquistar uma dimensão que não era habitual na sua família (entre os seus colegas). Não satisfeitos com o x e o y, voltaram-se para o z. Se o que estou a dizer é válido no espaço platónico ou newtoniano também é válido no espaço conceptual, no espaço das ideias, no hiperespaço. Se quisermos, as formas e as ideias dos trabalhos dos R2 têm volume. A superfície deles não é chata. Mesmo quando é plana, remete para outros planos dentro daquele pano. São por isso trabalhadores de um espaço tridimensional (diria até multidimensional ou, talvez mesmo, fractal) porque a sua vontade de “rasgar a folha” e permitir que a letra voasse para outras paragens, sempre existiu dentro deles. Sempre houve dobras que se transformavam em espaços. E estes novos espaços passaram a ser territórios de possibilidade que eles ocuparam com um rigor não-linear, um rigor descontínuo, passe o oxímoro (que aqui é ontológico). É por isso que os R2 se transformaram em criadores (papel destinado a poucos e palavra que evito usar). Ousaram para lá do uso habitual que os outros fazem da sua linguagem. Isto não quer dizer que tenham virado tudo do avesso e criado uma nova ordem mundial, nem uma nova semiótica. Pelo contrário, foram às fontes tradicionais (nos dois sentidos) e perceberam que aí poderiam beber outra água, ainda não contaminada pelo excesso vulcânico que caracteriza alguns dos trabalhos gráficos. São simples, mas extremamente complexos, são complexos, mas extremamente simples. O mundo deles não acaba no fim da página. Pelo contrário, o seu mundo (gráfico) salta para os braços do mundo, porque quer mais mundo do que aquele que lhe estava destinado. São letras que acabam na paisagem… Paulo Cunha e Silva. Dezembro de 2012.
Ângelo de Sousa's Posters, Gulbenkian Paris. Contemporary art exhibition graphic identity.
Tipografia do Conto, typography on construction
Haegue Yang, Serralves Museum. Book design.
"Au sud d'aujourd'hui", posters – Gulbenkian Paris.
Vai com Deus, Typographic installation in art space.
R2 is a studio specialised in graphic identity, editorial and environmental design, with a strong focus on theatre, contemporary art and architecture. Created by Lizá Defossez Ramalho (Troyes, France) and Artur Rebelo (Porto, Portugal), the Porto-based studio has secured international recognition for its exhibition-based pieces and installation work, and produces visual identities, poster design, way-finding systems, web design and motion projects for cultural institutions, museums and other commercial clients. Founded in 1995, the studio uses its profound knowledge across different media, formats and applications. Be it a museum signage system or the façade of a 19th century church, the studio works according to a singular yet multi-dimensional vision. Beyond these forms, their work also extends to teaching, research, publishing, and public interventions. R2’s institutional collaborators include the Lisbon Architecture Triennale, Serralves Museum, MAAT – Museum of Art, Architecture and Technology, Berardo Museum and Gulbenkian Foundation. They has also worked with Eduardo Souto de Moura and Aires Mateus Architects. R2 has received awards from the Brno Biennale, Chaumont Festival, International Society of Typographic Designers (UK), the Society for Environmental Graphic Design (US) and the International Poster Triennial (Tayoma, Japan. It won European Design Agency of the Year in 2014 (European Design Awards). The first Portuguese designers to join the Alliance Graphique International in 2007, R2 organised the AGI Open and AGI Congress in Porto, 2010. Some of the studio’s pieces are held in international collections such as the Musée des Arts Decoratifs, Paris, Heritage Museum, Hong Kong and Museum für Gestaltung, Zürich. Approach: Experimentation, research, and constant dialogue are crucial to R2’s design approach, with solutions found through a rigorous critical thinking and a sense of plurality. Its process is based on a content and concept-driven methodology unrestrained by space, material, means or dimension. Ramalho and Rebelo take advantage of the characteristics of each medium, with in-depth knowledge and self-initiation key to their methodology – be it on paper, screen or even concrete. Form is bound to concept without the neglect of either. Though it is informed deeply by the fields of contemporary art and architecture, the studio’s thinking reveals a consciousness of design history and the vernacular. Typography is prized for its structural nature, transversal forms are celebrated with a rigorous concern for balance, simplicity and restraint. Each project is engaged with for its uniqueness. 2017 Certificate of Excellence in Typography, TDC 64 – Type Directors Club (Projects: You = Eu; Na Margem de lá – Um lamento), New York, USA. Distinction (3), 17 Taiwan International Graphic Design Awards (Category: Corporate Identity / Project: National Theatre D. Maria II // Category: Event Identity / Project: Lignes of Time // Category: Poster / Project: Au Sud d’aujourd’hui), Taiwan Bronze, ADG Laus 17 — Graphic Design and Visual Communication Awards (Category: Wayfinding & Environmental Design: Spatial Design / Project: Architecture in Competition), Barcelona, Spain 2016 Gold Award, Hiiibrand Awards 2016 (Category: Pro · Identity / Project: The Form of Form), China, 2016. Jury Award, Hiiibrand Awards 2016 (Category: Pro · Identity / Project: National Theatre D. Maria II), China, 2016. Merit Award, Hiiibrand Awards 2016 (Category: Pro · Identity / Project: National Theatre D. Maria II), China, 2016. Gold Award, Hiiibrand Typography 2016 (Category: Pro · Communication / Project: The Form of Form), China Merit Award, Hiiibrand Typography 2016 (Category: Pro · Experimental / Projecto: Futuro), China Silver Award, European Design Awards (Category: Company Logo / Project: National Theatre Dona Maria II visual identity), Athens, Greece 2015 Silver Award, IPT 2015 — 11th International Poster Triennial (Project: Posez vous des questions), Toyama, Japan 3 distinctions, Best Portuguese Book Designs (Projects: Collecting Collections and Concepts, Letras na Paisagem, An Illustrated guide to the British Railway to my study), Porto, Portugal 2014 Premier Award, ISTD Awards (Category: Magazines / Project: Jornal Arquitectos), London, UK Premier Award, ISTD Awards (Category: Exhibition Design / Project: Eduardo Souto Moura – Competitions (1979–2010)), London, UK European Agency of the Year, European Design Awards, Athenes, Greece Gold Award, European Design Awards (Category: Magazine / Project: Jornal Arquitectos), Athenes, Greece Gold Award, European Design Awards (Category: Company Logo / Project: Um Segundo Filmes), Athenes, Greece Silver Award, European Design Awards (Category: Books / Project: Collecting Collections and Concepts), Athenes, Greece Certificate of Excellence, ISTD Awards (Category: Books / Project: Collecting Collections and Concepts), London, UK Certificate of Excellence in Typography, TDC 60 – Type Directors Club (Project: Letras na Paisagem), New York, USA, 2013 Selected Award, CIPB 6 – 6th China International Poster Biennial (Projects: Redundância e 180 Creative Camp), Hangzhou, China Red Dot Award: Communication Design, Red Dot Design Award (Category: Packaging design / Project: Conde de Amarante), Essen, Germany 2012 Gold Award, European Design Awards (Category: Exhibition design / Project: Eduardo Souto Moura – Concursos (1979-2010)), Kallithea, Greece Menção, BID12, III Bienal Iberoamericana de Design (Category: Space Design / Project: Eduardo Souto Moura – Concursos (1979-2010)), Madrid, Spain Wood Pencil, D&AD Awards (Category: Spatial Design / Project: Casa do Conto), UK ICOGRADA Award, Trnava Poster Triennial, Slovakia 2011 Premier Award, ISTD – International Society of Typographic Designers (Category: Exhibition design, Signage System / Project: Casa do Conto), London, UK Red Dot Award: Communication Design, Red Dot Design Award (Category: Interior Design / Project: Casa do Conto), Essen, Germany Merit Award, SEGD – Society For Environmental Graphic Design, San Diego, USA Certificate of Excellence in Typography, TDC 58 – Type Directors Club, New York, USA 2010 Certificate of Excellence in Typography, TDC 57 – Type Directors Club (Project: Vai com Deus), New York, USA Premio del Jurado, II Bienal Ibero-Americana de Design (Category: Interior design / Project: Cada do Conto), Madrid, Spain Red Dot: Communication Design, Red Dot Design Award (Category: Information Design & Public Space / Project: Dois Tempos), Essen, Germany Jury Award, SEGD – Society For Environmental Graphic Design, Washington, USA Honor Award, SEGD – Society of Environmental Graphic Design, Washington, USA Merit Award (2), SEGD – Society of Environmental Graphic Design, Washington, USA 2009 Certificate of Excellence in Typography, TDC 56 – Type Directors Club (Project: Stop), New York, USA Certificate of Excellence in Typography, TDC 56 – Type Directors Club (Project: Vai com Deus), New York, USA Icograda Award, Trnava Poster Triennial (Project: Vai com Deus), Trnava, Slovakia Premier Award, ISTD – International Society of Graphic Designers (Category: Exhibition design & Sygnage Systems / Project: Vai com Deus), UK Red Dot Award: Communication Design, Red Dot Design Award (Category: Information Design & Public Space / Project: Vai com Deus), Essen, Germany Silver Award, European Design Awards (Category: Signs & Displays / Project: Vai com Deus), Athenes, Greece Bronze Award, European Design Awards (Category: Poster Series/ Project: I Feel Life), Athenes, Greece Honor Award, SEGD – Society of Environmental Graphic Design (Project: Vai com Deus), Washington, USA Merit Award, SEGD – Society of Environmental Graphic Design Awards (Project: Percursos Inacabados), Washington, USA Certificate of Excellence, ISTD – International Society of Graphic Designers (Category: Books / Project: Percursos Inacabados), UK Certificate of Excellence, 365: AIGA Annual Design Competition 30 (Category: Exhibition / Project: Vai com Deus), Chicago, USA Certificate of Excellence, 365: AIGA Annual Design Competition 30 (Category: Poster / Project: I Feel Life), Chicago, USA Yellow Pencil, D&AD Awards (Category: Graphic Design – Environmental Graphics/ Project: Vai com Deus), London, UK 2008 Red Dot Award: Communication Design, Red Dot Design Award (Category: Books / Project: Unfinished Trajectories), Essen, Germany Red Dot Award: Communication Design, Red Dot Design Award (Category: Graphic installation / Project: Unfinished Trajectories), Essen, Germany Red Dot Award: Communication Design, Red Dot Design Award (Category: Signage System / Project: Berardo Museum), Essen, Germany Judge’s Choice (Tina Roth Eisenberg), TDC 55 — Type Directors Club (Project: Go with Good, New York, USA Certificate of Excellence, AIGA 50 Books/ 50 Covers, AIGA – American Institute of Graphic Arts (Category: Book / Project: Unfinished Trajectories), Chicago, USA 2007 Jury award (Daniela Haufe), 9th Tehran International Poster Biennial (Projects: I love Távora), Tehran, Iran Honorable Mention, Hong Kong International Poster Triennial (Project: Surround), Heritage Museum, China In-Book Award, D&AD Awards (Project: Unfinished Trajectories), London, UK 2006 Grand Prix, 22nd International Biennale of Graphic Design (Project: I love Távora), Brno, Czech Republic Certificate of Typographic Excellence, TDC 53 – Type Directors Club (Project: Site meeting), New York, USA Recognition Award, 4th Ningbo International Poster Biennial (Project: Site Meeting), Ningbo, China 2005 Certificate of Typographic Excellence, Judge’s Choice (Mike Joyce) TDC 52 – Type Directors Club (Category: Books / Project: I love Távora), New York, USA Judges Special Award, Taiwan International Poster Design Award 2005 (Project: Boca), Taiwan, China 2004 Certificate of Typographic Excellence, TDC 51 – Type Directors Club (Category: Books / Project: 6=0), New York, USA 2003 Gold Prize, IPT2003 – 7th International Poster Triennial (Project: Molly Bloom), Japan Graphic Designers Association and Museum of modern Art, Toyama, Japan 1st Prize, Primera Bienal Iberoamericana del Cartel (Category: Cultural Poster/ Project: Molly Bloom), La Paz, Bolivia 3rd Prize, Festival International de L’Affiche et du Graphisme de Chaumont, France Silver Trophy, 5º Festival do Clube dos Criativos de Portugal (Category: Poster / Project: Molly Bloom), Lisbon, Portugal Bronze Trophy, 5º Festival do Clube dos Criativos de Portugal (Category: Brochure, Catalogue / Project: Marionetas.Porto.2002), Lisbon, Portugal 2002 3th Prize Europe 2020 – Pan European Competition in Poster Design, endorsed by Icograda, Croatia 2000 Trnava Poster Triennial, Trnava, Slovakia Certificate of Excellence, European Design Annual 5 (Project: Ar), Sussex, UK 1st Prize, DESIGNU.PAGE (Category: Profissional / Project: Ar), Lisbon, Portugal 1999 Certificate of Excellence, European Design Annual 4 (Project: Mayer & Fish logo), Sussex, UK 3rd Prize, logo selection contest for Porto 2001, co-author Azulquente Design, Porto 2001, Porto, Portugal 2nd Place, Jovens Criadores’99, Secretaria do Estado da Juventude and Clube Português de Artes e Ideias (Category: Graphic Design), Lisbon, Portugal 1998 Certificate of Design Excellence, European Regional Design Annual 3 (Project: Rad Bones: Loving Life), Sussex, UK
“The Form of Form” graphic identity for The 4th edition of Trienal de Arquitectura de Lisboa, 2016.
Casa do Conto, Typography on Concrete. Pedra Líquida Architects.
Teatro D. Maria II – Graphic Identity, 2015
Eduardo Souto de Moura: Competitions 1979–2010 , FAUP, Faculty of Architecture. Porto, 2011 · Exhibition Design
Futuro, installation. Typojanchi 2015 – The 4th International Typography Biennale
Monika Sosnowska, Serralves Museum. Book design

© R2 design 1995—2016

Website built with:

Image