Mar 2009
L2M3
http://www.designjournal.org
»Kommunikationsdesign GmbH L2M3 based in Stuttgart stand for top-quality print and editorial design. Their product portfolio ranges from book design to exhibition graphics and graphic design for architectural situations. The company's accomplished and user-friendly website, that abounds with JavaScript refinements, showcases the extremely extensive, diversified and multi-prize-winning work.«
Oct 2008
Dossier: Communication Design in Germany
http://www.goethe.de
Andrej Kupetz, Stephan Ott
» [...] Appropriate size and coloration are crucial to the effective
signposting of physical environments. For a sign to serve its purpose,
it must be visible and readily identifiable from afar, even though it
may well be repeated on a smaller scale at close range. L2M3’s signage
system for the Kreissparkasse bank in Ludwigsburg shows how playing
with perspective can be a very effective – and aesthetic – means to
that end. [...] «
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Sep 2008
L2M3 at iainclaridge.net
http://www.iainclaridge.co.uk/
»L2M3 is a design agency with quality work presented in a beautifully clean and simple website, with a format so tight, it hurts!«
Sep 2008
L2M3
http://www.theserif.net/
»The oddly named L2M3 have a substantial and impressive body of work. Really decent stuff for the typographically inclined.«
Sep 2008
Congratulations: iF design award in gold
http://staatsbibliothek-berlin.de/
Andrej Kupetz, Stephan Ott
»L2M3 Kommunikationsdesign GmbH in Stuttgart and Berlin-based buerozentral.architekten will be distinguished this Friday for their joint artistic work on the exhibition “Sternstunden eines Mäzens. Briefe von Galilei bis Einstein aus der Sammlung Ludwig Darmstaedter”.
They will receive the iF communication design award 2008 in gold in the category crossmedia for the complete creative elaboration and practical realisation of the exhibition architecture, the exhibition catalogue, the exhibition poster, and other printed matter. Barbara Schneider-Kempf, general manager of Staatsbibliothek zu Berlin, congratulated the prize-winners on their success and thanked them for the two offices’ outstanding work, that drew attention to a part of the library’s extraordinary holdings in a very special manner this year.«
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They will receive the iF communication design award 2008 in gold in the category crossmedia for the complete creative elaboration and practical realisation of the exhibition architecture, the exhibition catalogue, the exhibition poster, and other printed matter. Barbara Schneider-Kempf, general manager of Staatsbibliothek zu Berlin, congratulated the prize-winners on their success and thanked them for the two offices’ outstanding work, that drew attention to a part of the library’s extraordinary holdings in a very special manner this year.«
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Jul 2008
European design prize for »Augenwischerei«.
Baumeister 07/2008
sl
» […] Making reference to the city’s baroque heritage, the designers developed a graphic that employs the design characteristics of such optical illusions. The storey and staircase signs can only be read properly from very specific points from a certain distance and, as you continue walking, dissolve into seemingly incoherent graphical fragments. […]«
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Apr 2008
Best designed German books 2007
http://www.echo-online.de
“Its latest edition has turned out particularly attractive: Stuttgart-based L2M3 studio had the idea to arrange the presentation as a railway journey through a landscape of books. Browsing through the book, the viewer “changes trains” between art book and fiction, children’s book and science, and the sophisticated orchestration gives an idea of the sensory experience conveyed by the prize-winning volumes: a great pleasure for book-lovers.”
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Apr 2008
Link Love
http://eismann-sf.com/
"Finally, one of the best I’ve seen in a while: L2M3 out of Stuttgart. Smart, bold, innovative, structured, and thought-provoking."
Mar 2008
L2M3.com
www.spyline.de
"If you want to the see some of the finest german print design and a mesmerizing use of typography melt together in a slick portfolio the design studio L2M3 should be your next visit."
Mar 2008
Spitting image. Otto Dix and the art of portraiture
www.portalkunstgeschichte.de
Günter Baumann
“[…] The large-format catalogue, that was handled by Stuttgart-based L2M3 Kommunikationsdesign GmbH, is a bibliophilic delight and a haptic experience. The alternation of very thin paper for the texts and heavy glossy paper for the excellent illustrations draws the reader’s attention to the content of the book, whose tension is amplified in terms of pure design by boldly inserted – up to six – interleafs and a generous font size, with text figures drifting apart or pushed together to create an intentional off-keel effect.”
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Mar 2008
Unusual orientation
baunetz.de
May-Britt Frank
“[…] L2M3’s signage system for the Kreissparkasse in Ludwigsburg combines optimum orientation with unusual perception experiences. […]”
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Dec 2007
no need
Line Architecture Blog
"no need to speak german to know that this is ridiculously nice work"
Dec 2007
Made in Germany
art info
gb
“[…] Because the book design was placed in the hands of innovative Stuttgart-based media communication specialists L2M3, the rather trendy exhibition concept gains a racy, coherent and enduring appeal in the printed format. […]”
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Oct 2007
Floating forms "in the limelight"
Stuttgarter Nachrichten
Nikolai B. Forstbauer
“[…] We can expect to see more in the Baumeister panorama of free and applied art, even the guide by Deutscher Kunstverlag – a gem itself – carries the identifier ‘01’. […]”
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Sep 2007
The fascination of technology
iF Award
Jurykommentar
“This temporary exhibition focuses on the car in the present day and in the future. Thanks to the dismantled motor vehicles, the viewer can understand the process of building the vehicles. The exhibition is impressive in every respect.”
Sep 2007
cross-border
iF Award
Jurykommentar
“The red St Andrew’s cross is used as a central signal on all media of Kunstmuseum Stuttgart. This consistent use attracts maximum attention. The symbol precisely conveys the content of the Cross Border exhibition. An accomplished communication idea that works brilliantly.”
view project
view project
Sep 2007
KSK Ludwigsburg signage system
iF Award
Jurykommentar
“The storey and stair signs are distorted in perspective and only display the rational information when viewed from certain points. At the same time they serve to embellish the architecture. This is a very unusual way of providing orientation, it has a very individual aesthetic appeal, and is also a bit brilliantly crazy.”
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view project
Sep 2007
Art is flowering
www.portalkunstgeschichte.de
Günter Baumann
“[…] The ideal combination of expertise, exhibition architecture and brilliance of the exhibits is enhanced even further in Pforzheim thanks to the fact that the museum signage system was developed by L2M3 Kommunikationsdesign, who are also responsible for designing the interdisciplinary catalogue. Sascha Lobe and his team take an extremely innovative approach to book design. As a result, this “Golden City” may have the only instance of a holistic exhibition design, that will hopefully be widely emulated. […]”
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Sep 2007
The power of manipulation. Josephine Meckseper
art info
Michaela Engelbrecht
“[…] Not only the fact that the Kunstmuseum appears like an oversized shop window with its cuboid glass form and its location at the heart of Stuttgart’s shopping zone. This impression is currently augmented and conveyed by giant percentage signs on the façade, that make it seem as though the Kunstmuseum is bowing to the laws of its capitalist neighbours in Königsstraße. But it is by no means a shopping frenzy with guaranteed bargains that currently awaits visitors there. Rather it is a confrontation with reality, that is still present and normal outside the entrance door, and that suddenly appears in a different light in the works of Josephine Meckseper. […]”
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Aug 2007
L2M3 - Signage system KSK LB: Opticality, Information, Site-specificity
www.slanted.de
Florian Gärtner
“[…] L2M3 and Sascha Lobe have rightly received numerous awards for their fine, elegant and intelligent work. Many interesting, in some cases fantastic projects can be viewed on their website. Particularly in the sphere of graphic design for exhibitions, L2M3 are without a doubt one of the most notable, best teams on the scene. […]”
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view project
Aug 2007
Art is flowering
Frölich & Kaufmann
“Entitled ‘Art is Flowering’, what we have here is an interdisciplinary book of flowers that allows the reader to experience the historical and contemporary significance of flowers, away from any kitschy clichés, by example of jewellery, contemporary art, cultural history and literature.”
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view project
Jul 2007
Love of detail, iF Award
Page 08/07
Jutta Nachtwey
“... The signage system for Kreissparkasse Ludwigsburg by L2M3 is a contender for gold too: ‘The storey and stair signs are distorted in perspective and only display the rational information when viewed from certain positions. At the same time they serve to embellish the architecture. This is a very unusual way of providing orientation, it has a very individual aesthetic appeal, and is also a bit crazy’, the judges commented.”
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view project
Jul 2007
Designcollector
www.designcollector.ru
"Germany based L2M3 produces stunning and precisious balance between typography and design layouts. Das ist eine fantastischen Gestaltung!"
Jul 2007
Enamel lab
Portal Kunstgeschichte
Günter Baumann
“... Mention should also be made of the catalogue published by Wasmuth Verlag, that was designed by the innovative L2M3 office, who made a name for themselves with signage systems and whose book and print work arises in close collaboration with such museums as Kunstmuseum, Württembergischer Kunstverein or the jewellery museum in Pforzheim. In line with the subject, the book maintains a kind of workshop character – in the cropping of the pictures, in the inconspicuous scale keys in the margin, in the empty spine, etc – that conveys a refreshing sense of liveliness. The fact that the book designers also succeeded in mitigating the effect of the refused permission to print the Schlemmer pictures during production of the book speaks for their virtuosity.
Jun 2007
cross-border
design report 6/07
Heike Edelmann
“A red St Andrew’s cross usually indicates railway crossings without gates. The L2M3 design office has reinterpreted this traffic sign: As a signal on the façade of the Kunstmuseum, it draws the attention of passers-by to the ‘cross-border’ exhibition.”
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view project
Jun 2007
Nebra sky disk
Süddeutsche Zeitung vom 21.6.2007
Harald Eggebrecht
“The ‘Arche Nebra’ is a modern visitor’s centre dedicated to the sensational 3600-year-old sky disk find. […] Visitors can now immerse themselves in the secrets of the sky disk and marvel at the arrangement of the sun, moon and stars on this artefact and their interpretation. […] The idea to present serious scientific information not in a dry, museified manner, but rather as walk-in, hands-on reality at different levels of reception, proves to be extremely successful.”
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view project
Jun 2007
Nebra sky disk
Süddeutsche Zeitung vom 21.6.2007
Harald Eggebrecht
“The ‘Arche Nebra’ is a modern visitor’s centre dedicated to the sensational 3600-year-old sky disk find. […] Visitors can now immerse themselves in the secrets of the sky disk and marvel at the arrangement of the sun, moon and stars on this artefact and their interpretation. […] The idea to present serious scientific information not in a dry, museified manner, but rather as walk-in, hands-on reality at different levels of reception, proves to be extremely successful.”
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view project
May 2007
Dior
Rundschau, 5/2007
N.N.
“An outstanding fashion book and at the same time an homage to a great fashion designer who left his mark on the twentieth century like no other.”
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May 2007
Follow-up
Hannoversche Allgemeine Zeitung vom 24.05.2007
Ronald Meyer-Arlt
“A hefty tome: The ‘Made in Germany’ catalogue weighs in at 1635 grams. The 340-page richly illustrated book presents the fifty-two artists who are showcasing their work in Hanover’s three major galleries. The art work begins with a confusion: names in a subtle, colourful barcode aesthetic appear in wild disarray on the double page. Upon closer inspection, you begin to see the system with which the names are joined together here: On one page they are sorted by the venues – here the emphasis seems to be on the Sprengel Museum. On the other page the names of the artists are arranged according to their home towns. The focus here is clearly on Berlin. The list of artist’s names by year of birth displays a concentration around 1975; apart from that, you can see straight away that the oldest artist was born in 1961 and the youngest in 1980. One page later you can see that most of the artists in the exhibition make sculptures and installations. […]”
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view project
Mar 2007
From Swabia with love
Etapes 141
Karianne Fogelberg
" […] This attitude is similarly evident in the work by L2M3 for the jewellery museum in Pforzheim. The designers were asked to develop a visual identity for the newly refurbished Schmuckmuseum Pforzheim, including signage and a museum guide to the collections. Under the collaboration of Sascha Lobe, Gitte Brohl, Jan Maier and Dirk Wachowiak, both jobs succeed in presenting the subject of jewellery in a fresh and modern way, steering clear of the image of jewellery as somewhat outdated or even artsy-craftsy. The house font is based on the use of a kerned version of the monospace font Simple that evokes typewriting and has nothing decorative about it. The use of this font and a recurrent pattern of diagonal black lines in various strengths are but two of the elements that give the museum's new signature and the guide their contemporary feel. At the same time these graphic elements blend well with the colour photographs of the jewellery ranging from antiquity up to the present day, without dwarfing the small-scale objects but paying them their due tribute. […] "
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Feb 2007
PAGE Ranking 2007
Page
Heike Edelmann
“The PAGE ranking 2007 based on the competition results from the previous year shows which offices and agencies count among the top fifty in the design and advertising industry. [...] The communication designers from L2M3 were not on this list in the past years and now, placed eighth, they are the newcomers in this ranking. [...]”
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Feb 2007
Dior - The man who kidnaps our eyes
Dior - The man who kidnaps our eyes
Andreas Platthaus
“[…] The excellent – and yes! – extravagant catalogue, published by Arnoldsche Verlagsanstalt, costs €29.80.”
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Feb 2007
From Swabia with love
Etapes 141
Karianne Fogelberg
"The new art museum of Stuttgart which opened its doors two years ago, has fast risen to become a point of reference to the town's inhabitants. This success can in part be attributed to the graphic studio L2M3 Kommunikationsdesign who have provided the Kunstmuseum with an umistakable identity right from the first day. What has arguably contributed most to the museum's visibility are the changing graphic installations that are applied to the building's glass facade in accordance with on-going exhibitions. […] "
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Dec 2006
100 Best Posters 05
kultur-online.net
“The ‘100 Best Posters’ competition has been examining new trends and surprising solutions in communication design since 1996. […] The international panel of judges selected the best of the best from 1500 posters submitted by 471 entrants. […] The poster designed by L2M3 Kommunikationsdesign for the ‘Contenance. Fassung bewahren’ exhibition at Württembergischer Kunstverein in Stuttgart is a fine example of how communication can be precisely limited to what is necessary. In keeping with the title of the exhibition, the firm chose the exhibition theme ‘Girl with a loaf of bread’ (2001) by the artist Loretta Lux for their design. The poster shows a girl removed from a child’s reality, whose androgynous appearance is characteristic of the artist’s work. […]”
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view project
Nov 2006
Pictograms - The loneliness of signs
www.portalkunstgeschichte.de
Günter Baumann
“[…] As with the Max Bill catalogue, the graphic design was provided by the Stuttgart-based L2M3 office with Sascha Lobe and font designer Dirk Wachowiak, whose list of references ranges from the new Mercedes-Benz Museum to Pforzheim jewellery museum. This tome has the makings of one of the best designed books of the year, the interplay of text, image placement and well-staged colour guide system of the font, set in hard, geometrical Futura, is so enjoyable that you’re almost tempted just to look at it – if it weren’t for the grandiose artist’s texts by Rodtschenko, Majakowski and Penck, Roth, Herold and Beuys, and Aicher and Mullican, among others. And as the column-edge title ‘pictograms’ fades away when you flick through quickly, the content grows far beyond the subject. After all, it is a commonly underestimated art to present art. […] In view of the not overly original idea of dealing with the subject of information art and theory as such, it is surprising how exciting it is to spin this topic out – and that’s where the exhibition design and the catalogue almost steal the show.”
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view project
Aug 2006
L2M3: Graphic design in the Mercedes Museum
Form Juli/August 2006
“There have been many reports on the newly opened Mercedes-Benz Museum: UN Studio designed the architecture, engineer Werner Sobek built it, and HG Merz developed the exhibition concept. But who was responsible for graphic design in the exhibition? Stuttgart-based design office L2M3, that recently made a name for themselves with their design for the Max Bill retrospective at Kunstmuseum Stuttgart. In close collaboration with HG Merz, L2M3 implemented the illustrated chronicles, information terminals, exhibit labels, and scenographic typography. This includes, for example, the technically sophisticated projections of various headings onto the multiply curved concrete walls of UN Studio.”
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view project
Aug 2006
Max Bill - A retrospective
www.portalkunstgeschichte.de
Günter Baumann
“[…] If you don’t want to fall back on the beautifully designed catalogue, with a twelve-part introduction set in charming typography, as a source of additional information and images, we recommend the ‘short guide’, an exhibition companion that fulfils its task in a wonderful, inexpensive way.”
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May 2006
Urban brand
design report 5/06
Christian Holl
“With the new Mercedes-Benz Museum the company sets new standards with regard to linking the perception of one’s own history with the staging of a brand. […] The cars are staged as stand-alone exhibits, without any explanatory signs or screens to detract from their aura. The history of technology relating to the exhibits is presented in a piece of furniture – a ‘workbench’ – that is the same in each ‘Legend’ room of the exhibition. There are touchables, databases, explanations and films that provide an insight into the history of the company and pay tribute to the group’s staff. […]”
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May 2006
Hanging showscases and a doll's bottom
design report 5/06
Kai-Uwe Scholz
“After several years of conversion work, Pforzheim jewellery museum now celebrates its reopening. […] The design of the signage system and museum graphics, developed by the Stuttgart-based L2M3 office, is as conspicuous as it is unpretentious. […]”
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May 2006
Shiny luxury car park
SWR.de
“[…] The visitor walks along a time-line, not only of engineering. By means of discreet showcases, he can also experience the most important milestones of history since the beginning of car building. […] History is presented only in fragments, but in an attractive and palatable way. Form, typeface and interior design bring together what seems difficult to reconcile. […]”
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Apr 2006
Concrete in motion
Frankfurter Allgemeine Zeitung
Wolfgang Peters
“ […] But because the rooms run into each other without any tangible division, interweaving with each other by means of angled levels and corridors, the visitor can either follow the layout of the exhibition or decide to focus on specific sections. He can also embark on two tours – one focusing on the Legend and one on the Collection. Between the rooms, there are spotlights from various eras, with an innovative, individually customised information system accompanying the visitor on his way. […]”
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Apr 2006
iF Award
Jurykommentar iF-Award
“As we see it, the design corresponds to the essence of Max Bill’s work: everything produces an impression from within and lends a sense of space to the exhibits.”
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Mar 2006
Best designed books from around the world
Best designed books from around the world
“Even after browsing, reading and looking several times, you can still discover something new and interesting in this extremely well crafted book. Readers can smell the air of the Bauhaus years thanks to the clear, objective typography characteristic of the book. The grandiose introduction to the book is particularly fascinating. An accomplished mix of paper, high-contrast typography and pinpoint use of colour: a wonderfully designed homage.”
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Feb 2006
Max Bill
Deutsche Bauzeitung, 139. Jahrgang
kr
[…] “Visitors can gain more in-depth information while walking round the three storeys of the ‘glass cube’ with the aid of a little booklet that not only provides a brief introduction to the various rooms, but also explains them in greater detail – an exemplary addition that piques the visitor’s curiosity for the catalogue.”
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Feb 2006
Best designed German books
Börsenverein des Deutschen Buchhandels
Jurykommentar
“Bill – comma – Max, even the cover cuts to the core with its gripping clarity: Here is someone who’s got something to say – and he says it with extreme simplicity and concision. And that goes for the overall design, as well: excitingly clear and reserved where it has to be and expressive where it may be. An accomplished mix of paper, high-contrast typography and pinpoint use of colour: A wonderfully designed homage to a great Swiss designer of the twentieth century.”
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Jan 2006
Bill in top form
Form 01/06
Jörg Stürzebecher
“A book provides information: about Max Bill, his contacts, his work and his influence. An intelligent combination starts the book with Bill’s own historical reflections, clever typography differentiates and structures the contents, at the same time maintaining a homogeneous appearance. Designers Sascha Lobe and Ina Bauer from L2M3 have focused on Bill, but have not imitated his formal interpretations, and that is the best way of approaching such a topic. Elements adopted from the repertoire of Swiss typography, to which, in addition to Bill, Anton Stankowski or Richard Paul Lohse contributed, among others, are above all the radical use of lower case, a grotesque typeface, and the economical decoration. But Lobe and Bauer go beyond mere quotation. That starts with unjustified text to avoid gaps, using economical, clear indents, and by no means stops with ligatures, that Bill did not use, for example the connection of f and i. And, if you will, the divided chapter headings can be seen as a quotation of the film “22 Questions to Max Bill”, in which he tried to democratise the various sections of the film. A better design is hardly conceivable. […] In terms of pure form, the exhibition catalogue, designed by L2M3, is a tour de force. […]”
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Jan 2006
Good design is worthwhile after all!
Stuttgarter Nachrichten
nbf
“You don’t have to believe everything a grand master of design says. But the sense of unease often expressed by Kurt Weidemann is certainly justified. All too often, standards and goals do not tally with a particular performance. This also applies to the art scene, and so, with regard to the new Kunstmuseum building in Stuttgart, it soon became clear that the design should reflect and amplify the very individual character of the building at the heart of the city. The right partner was obviously chosen […] As the Kunstmuseum shows us, good design is worthwhile, after all. […]”
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Nov 2005
The art of presenting art
Sonnendeck, Ausgabe 29
pam
“The art of presenting art. The short guide to the Bill show at Kunstmuseum involves a good deal of communication. […] Swiss-born Max Bill was a painter, sculptor, architect, designer, typographer, exhibition designer and, as if that was not enough, also worked as a lecturer, publicist and even politician. […] It was therefore no easy task when the director of the Stuttgart Kunstmuseum Marion Ackermann decided to carry out the Max Bill show, that runs until January. […] The curator relied on team work, involving the interior designer Ulrich Zickler and graphic designer Sascha Lobe from L2M3 in the project from the start, joining forces with them to elaborate a meaningful, appealing presentation of the more than 200 exhibits in all sections of the show. Julia Hagenberg soon joined the team. It was the museum docent’s idea to create a short guide in addition to the in-depth catalogue. The goal was to allow visitors to think and see outside the box. […] “Our guide makes suggestions, you can decide your own route, stopping in places, thinking out of the box in order to gain an appreciation of the complexity of Max Bill’s work, as it were.” And so the €2 booklet reflects what is going on in the cube. It guides you through the rooms, each containing separate areas of Bill’s work: painting, sculpture, graphic design, architecture, design or typography. “It is conceived as interactive instructions for use”, L2M3 boss Sascha Lobe emphasises, who created the guide together with co-worker Ina Bauer. […]”
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Oct 2005
Homo universalis
design report
Christian Holl
“While the exhibition catalogue divides the individual disciplines, the exhibition confronts the various disciplines with each other. As such, the exhibition can showcase a greater density of pictures, sculptures and models, while also allowing an exhibition choreography that combines the different stages of his life and work with the overarching analysis. The result is a vivid – and despite the density […] – inspiring and multifaceted tour.”
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Sep 2005
Max Bill for a young generation
Tages Anzeiger Zürich
Renate Menzi
“... While the older generation may still get riled by Bill’s legend, today a younger generation can get something out of his versatility and inventiveness and the reduced formal vocabulary, that in some cases is reminiscent of early computer graphics. The Stuttgart-based L2M3 office, for example, that designed the scenography and CI for the Kunstmuseum, is particularly enthusiastic about the pathos in Bill’s work. A fresh approach to this art – particularly with the knowledge of its tremendously high standards, its consistency and its pathos – is probably only possible with a certain detachment in terms of time and space. Anyone who felt the essencialism of good form to be too dogmatic, too serious, will discover surprisingly light-hearted qualities such as irony or even humour in Bill’s work. This is due in part to the illuminating presentation and commentary accompanying the exhibits, and in part to the juxtaposition of architectural models, letter sculptures and wristwatches, that succeeds in relieving the rigorous stringency of the design strategies inherent in the genre – to which Bill always remained true.”
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Jan 2005
DDC Grand Prix
Jurykommentar
“[…] The company’s good name didn’t win this job but rather the consistency of the overall communication strategy of this project. From architecture to interior design, the use of electronic media to the car park signage system. [ … ]”
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Nov 2004
Architecture in motion
design report 6/04
Christian Schönwetter
»The new adidas factory outlet is sport in architecture: With the aid of all devices of design – from architecture to media installation – the planners created a shopping world in Herzogenaurach that focuses on movement. […]
Strike!
A rare feat has been pulled off in Herzogenaurach: The communication concepts and the architecture really interweave. The project did not consist in just putting a few posters on a faceless concrete or metal box: the branding measures do not appear to be have simply been added on top of something, but rather become an integral, seamlessly integrated component of the architecture. The example of the long jumper in the glass façade illustrates this particularly well. This idea was only feasible because the design office was involved in the planning process at an early stage and because there was good chemistry between the various designers. Strike! – Three stars for the architecture of the three stripes.”
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Strike!
A rare feat has been pulled off in Herzogenaurach: The communication concepts and the architecture really interweave. The project did not consist in just putting a few posters on a faceless concrete or metal box: the branding measures do not appear to be have simply been added on top of something, but rather become an integral, seamlessly integrated component of the architecture. The example of the long jumper in the glass façade illustrates this particularly well. This idea was only feasible because the design office was involved in the planning process at an early stage and because there was good chemistry between the various designers. Strike! – Three stars for the architecture of the three stripes.”
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Apr 2004
Volumes in motion
Frankfurter Allgemeine Zeitung
Falk Jäger
“[…] The parking decks already make reference to the world of sport with their green or orange floors and colourful markings in the style of lengths of tartan. Neon-red slalom poles point the way to the entrance across the ‘piazza’ […] A video wall […] perfects the suggestive prelude to a sporting shopping experience. […] Only when they arrive in the cafeteria do customers have eyes for the ingeniously off-keel fittings and artistic decor. […] A tour de force that won’t only draw fans of the three stripes to Herzogenaurach.”
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Feb 2004
Typography à la carte
design report 2/04
Julia Saal
“Maxes, Maxes, everywhere. Anyone going to the ‘Max, Café, Bar’ in Karlsruhe will not be able to avoid the name. The name is emblazoned on the front wall, on the backrests of the red velvet-covered chairs (engraved on metal panels), and even the drinks list is based on his name. Altogether, the name appears in thirty-five historical variations: From Max Beckmann to Strammer Max to Max von Sydow. In pride of place at the centre of the wall: Prince Max of Baden, last Imperial Chancellor, who also gave his name to the historical Palais and cultural centre where the café is located at the city centre. The Stuttgart-based office L2M3 Kommunikationsdesign supplied the idea for this unusual design concept, in collaboration with interior designer Uli Zickler.
The important thing about the concept is above all the ‘poetic aspect’, says Sascha Lobe, manager of L2M3. It inspires the guests to playfully explore the history of the place and also to engage in conversation. This is backed up by the fact that the names, screen-printed on the café walls in strict, clear Wilma typeface (Font Shop), lend the room a sense of liveliness thanks to the copper colour – that reflects differently depending on the particular lighting conditions. […] The result is that everyone can find his favourite place here. Whether or not his name is Max.”
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The important thing about the concept is above all the ‘poetic aspect’, says Sascha Lobe, manager of L2M3. It inspires the guests to playfully explore the history of the place and also to engage in conversation. This is backed up by the fact that the names, screen-printed on the café walls in strict, clear Wilma typeface (Font Shop), lend the room a sense of liveliness thanks to the copper colour – that reflects differently depending on the particular lighting conditions. […] The result is that everyone can find his favourite place here. Whether or not his name is Max.”
view project
Sep 2003
Sachsenhausen memorial CD-ROM
Interactive Annual 9 Communication Arts
Kristina Kremer
"Although much has been documented about this hideous period in human history, nothing before has been as elegant and personal. As a designer, I was stunned by the amount of content and the innateness of the architecture. The depth and quality of this piece put it, without question, at the top of my list."
Aug 2003
The new face of Galerie der Stadt Stuttgart
novum 08/03
bu
“[…] Design office L2M3 finally won the budget: Their suggestion […] attaches great importance to a high level of flexibility of all design measures, made possible by focusing on recognisable typography […]”
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view project
Aug 2003
Sachsenhausen memorial CD-ROM
HOW
George Shaw
"'Lest we forget' presents an overwhelming amount of information in a powerful, emotional presentation. I found myself hypnotized by the opening animation and delivered into the abundance of information contained in the CD in a fittingly solemn mood."