Visual Identity

Focus on Transformation

The studio for conservation takes care of the preservation of cultural assets. Since most of the materials are based on natural resources, they are subject to the constant process of change and transience.
In order to transfer these living structures into a visual design, I dealt with the “Perlin Noise” algorithm. It offers the possibility to calculate some visual noise.

Microscopic view on torn paper: what seems random still has some sort of structure

In contrast to a random distribution, every numerical value generated by Perlin Noise has something to do with the previous value. This creates a cloudy, “noisy” surface.
Such algorithms are also used in computer games to create textures and landscapes.


A little custom tool allowed me to generate a multitude of design variations in a short time. 
Furthermore, it offered the opportunity to let the client participate actively in the design process without loosing control over the visual output.

Parametric design as a method
A large number of structures can be achieved by varying several parameters in the script. Those structures refer to the appearance of the various materials with which the conservator deals.

If each positional value is divided by a scaling factor, the “landscape” is divided into small or expanded sections depending on that factor.

The arrangement of the individual elements becomes more distributed/cloudy or more ordered, depending on how large the changing step within the “Noise” algorithm is in each iteration.


Each item is carefully analyzed and treated with respect by the conservator. The various artworks on the business cards symbolize this and encourage a dialogue from the very first contact.

The logo is a monogram which contains the image of a magnifying glass within the almost circular G. It symbolizes the exact work and makes the connection to the circular element on the back.

The typographic design references the visuality of the back.