Listone GiordanoAmsterdamMadrid2026
The visual identity project for the new Listone Giordano concept stores in Amsterdam and Madrid stems from a main question: how can we build an identity system that is resilient and nomadic, authentic and highly recognisable, yet capable of changing from place to place without losing consistency? The answer lies in a multidisciplinary design approach based on in-depth research into the historical, cultural and symbolic sources of urban contexts, translating this complexity into the subject matter of the project. Designing means, first and foremost, cultivating curiosity. It is through curiosity that we investigate the place, its cultural heritage and that of the brand, relating them through a visual language that becomes an integral part of the Listone Giordano experience. An experience that originates from wood, from its material and anthropological dimension, and extends to design, project culture, and the artistic and narrative avant-garde movements that have marked European history.
Amsterdam and Madrid become spaces for discussion and dialogue even before they become retail spaces. The visual language arises from the context, with its roots in the avant-garde – from neoplasticism to surrealism, from cubism to cinematic and literary and typography experimentation – to be reworked into a coherent formal system, capable of becoming physical, imaginative, sometimes alienating. The result is an identity that interprets the place without blending in, maintaining a strong authorial tension. Visual identity is structured like an ecosystem, a form of visual literacy that connects brands and territories, capable of communicating without resorting to words. In a landscape dominated by screens, movement becomes an integral part of brand behaviour: a motion identity that gives dynamic form to the values shared with the design community. Communicating means generating awareness, training the mind, translating complexity into language. It is in this space that design, place and avant-garde find their synthesis.
Piet Zwart.NKF Company catalogue - 1927 - 1928
Willem Sandberg.In 1945, Sandberg became the director of the Stedelijk Museum, where he was responsible for artistsand art forms, designing many of the museum’s catalogues, posters, and exhibitions usinghis typographic experiments. He designed around 380 posters and over 250 catalogues and also collaborated with other designers,including Otto Treumann and Dick Elffers.
This language represents a direct evolution of the experience gained with Arena Listone Giordano in Milan: not a flagship store, but an environment dedicated to dialogue, learning and discussion with planners and designers. In Amsterdam and Madrid, too, the space tells the story of materials, projects and people. People remain at the centre: architects, designers, planners. Wood thus becomes an instrument of aesthetic and physical well-being, a guarantee of harmony, health and future-oriented awareness.
Piet Zwart. (1885 - 1977);Hendrik Nicolaas Werkman. (1882 - 1945);
Mario Persico. (1930 – 2022) ; Le Corbusier. (1887 – 1965) ; Manolo Prieto. (1912 – 1991) ;Joan Miró. (1893 – 1983) ; Picasso. (1881 – 1973) ; Salvador Dalì. (1904 – 1989) ;
