Mason Wells

‘My example for a piece of type in context is for the Ahoy entertainment complex in Rotterdam, produced in 1970 by Dutch designer Benno Wissing. This is an exemplary piece of typography as it crosses the boundary between logotype and implementation. All elements such as signage and literature use the same letter forms as the logotype, creating a completely homogenous identity. The bespoke typeface created by Wissing consists of interlocking lozenges that transcend the Data 70 syndrome of so many custom typefaces of that era. In combination with the architecture, Wissing has created an utterly modern environment that is still relevant today. If only the Dome could have shared the same attitude.’