Staatliche Kunstsammlungen Dresden
The Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) is one of the world’s largest and most important museum complexes. Its 19 museums and institutions differ in their focus, profile or visitor structure. As an internationally leading universal museum, the Staatliche Kunstsammlungen Dresden has always considered itself an institution with a social mission, a place of pluralism. This is where all those come together who see art and culture as an instrument for shaping our world. Art and art education have a political significance and inspire active citizenship, particularly in Dresden, the German “capital of debates”, where topical issues are currently converging like under a magnifying glass. The Staatlichen Kunstsammlungen are taking a clear stance here.
Together with Stan Hema, they have formulated their vision and further developed their brand positioning. The new brand image communicates the power of the community and is an invitation for an open, curious and joyous Dresden.
The Staatliche Kunstsammlungen Dresden was chosen as the European Cultural Brand of the Year 2018 on 12 November 2018.
Project management, partner
“We formulated the ‘Working together’ vision by working together with the Staatliche Kunstsammlungen Dresden on a short but very intensive project. Together with the brand idea, it will shape the work internally and externally over the next few years. As a brand is first and foremost a unifying idea.”
“We have developed a contemporary, radically simple design system to match the brand idea. The Staatlichen Kunstsammlungen want to be visible, inviting and courageous. The three elements logo, font and colour and the principle of centre alignment are totally sufficient for this. They are flexible, visually strong and make the Staatlichen Kunstsammlungen Dresden unmistakable.”
“The museum complex opted to join forces and run the 15 museums and four institutions under one umbrella brand. A very courageous step and a role model throughout the cultural landscape.”
The media shown are examples for the use of the visual identity kit.
“It was particularly important to us that the design elements should encourage us to design with them – not against them. The figurative mark in particular offers all creative professionals the opportunity to integrate an additional narrative into the design and to tell stories.”