Noma Objects

Noma had spent nine years making chairs that end up in architecture magazines, and selling them through a site that looked like a parts supplier. Buyers found the work through interior designers, then lost confidence at the moment they arrived at the brand itself.

The gap was not quality. It was that nothing in the brand carried the same intent as the joinery, so every price had to be argued for from scratch.

We built the identity around the one thing every Noma piece has in common: a visible joint. The wordmark's counters are cut on the same angle as the studio's signature mortise, and that angle became the system's only ornament, used for crops, rules and the arrow in every call to action.

Photography moved from white-room product shots to raking light on a single object, so the surface reads before the silhouette does. The catalogue became a specimen book rather than a list, one object per spread, dimensions set as type rather than hidden in a table.