• Lead

    DesignStudio: Airbnb Redesign

Graphic Design

DesignStudio rebrand Airbnb as an immersive online community

Posted by James Cartwright,

As of 6.30pm last night Airbnb looks a little classier. Having spent the past seven years growing a vast community of country-hopping collaborators, the world’s largest online accommodation marketplace has decided it’s time for a change. Gone is the awkward, dated logo that still reminds me of a bad ice cream parlour, likewise the cold, clinical blue that serves as the accent colour for all San Franciscan startups; and in its place is something entirely more exciting.

Working with London-based DesignStudio the company has undergone a wholesale brand update replacing logos, accent colours, UX, UI and their overall mission statement. “Belonging is the idea that defines Airbnb,” said CEO Brian Chesky, “but the way we’ve represented Airbnb to the world until now hasn’t fully captured this. So to represent that feeling, we’ve created a new marque for Airbnb inspired by our community. It’s an iconic marque for our windows, our doors, and our shared values.”

The marque is designed to be as clear and simple as possible, instantly iconic but easily reproducible, and to reflect this they’re inviting their users to customise and update it to suit their own needs. This means that members of the Airbnb community can create their own versions or the new identity to fully customise the experience they offer and to signify what’s unique about staying with them.

There are also major changes in the use of photography, modernised typography and a new brand colour that feels a lot less sterile than the last. What we’re most excited about though, is the new web and mobile sites, which promise to make the experience of actually booking your holiday a hell o fa lot more simple; which given the ubiquity of couch-surfing holidays can only be a good thing. Can’t say fairer than that!

  • Airbnb_vertical_lockup_web

    DesignStudio: Airbnb Redesign

  • Airbnb_horizontal_lockup_web

    DesignStudio: Airbnb Redesign

  • Homepage

    DesignStudio: Airbnb Redesign

  • Screenshot-2014-07-14-17.33.40

    DesignStudio: Airbnb Redesign

  • Screenshot-2014-07-14-17.34.44

    DesignStudio: Airbnb Redesign

  • Screenshot-2014-07-14-17.34.23

    DesignStudio: Airbnb Redesign

  • Listing_page_request_to_book

    DesignStudio: Airbnb Redesign

  • Ios-discover

    DesignStudio: Airbnb Redesign

  • Createsymbols2-08

    DesignStudio: Airbnb Redesign

  • Createsymbols2-01

    DesignStudio: Airbnb Redesign

  • Createsymbols2-02

    DesignStudio: Airbnb Redesign

  • Createsymbols2-03

    DesignStudio: Airbnb Redesign

  • Createsymbols2-04

    DesignStudio: Airbnb Redesign

  • Createsymbols2-05

    DesignStudio: Airbnb Redesign

  • Createsymbols2-06

    DesignStudio: Airbnb Redesign

  • Createsymbols2-07

    DesignStudio: Airbnb Redesign

Jc

Posted by James Cartwright

James started out as an intern in 2011 and is now one of our two editors. He oversees Printed Pages magazine and content wise has a special interest in graphic design and illustration. He also runs our online shop Company of Parrots and is a regular on our Studio Audience podcast.

Most Recent: Graphic Design View Archive

  1. List

    Illustrator Eleonora Marton’s raw, bold aesthetic lends itself perfectly to large scale design, so we were happy to discover that rather than confining herself to witty, irony-soaked zines and sweet watercolour portraits, she’s unleashed her talents on a huge series of A3 posters and smaller flyers too. Using recurring imagery in varying forms – legs, animals, furniture and toys all feature – she creates posters for upcoming events which tick all the boxes event posters should. They’re eye-catching, interesting and incredibly informative, and what’s more, she makes it look incredibly easy. Just trying spotting that record player wheat-pasted up on a street corner and not taking a step closer to find out what it was advertising.

  2. List

    There’s something about the painstaking perfectionism of type design that doesn’t scream fun and frolics, but Commercial Type’s new webfont showcase is ready to prove me wrong. The New York and London based type studio run by Christian Schwartz and Paul Barnes is widely-regarded as one of the best around, but the pair have struggled sometimes to communicate the personality of their fonts. Enter the Commercial Type Showcase which they built with Wael Morcos to show off the lighter side of 16 of their creations by way of 16 microsites, ranging from poetry and poster generators to a train schedule board and even a digital therapist.

  3. List

    Lotta Nieminen is one of those graphic designers who is able to creating a lasting impression with her work in spite of it often being incredibly subtle in its approach. In my opinion this goes above and beyond her colour palettes, though they often combine pastel shades with serene muted tones; rather her projects seem to be finished with a kind of nuanced subtlety that resonates long after you first see it.

  4. Main2

    Not much makes us as happy as a brilliant studio churning out spectacular work, but to find out each member is a fantastic designer in their own right is even better. Diogo Potes just got in touch to show us some of his personal work away from his day-to-day collaborative venture, Portuguese design studio Alva Alva. Diogo’s solo work boasts all of the vibrancy, sense of humour and love of hand-drawn elements that Alva Alva has, but also contains a good dollop of personal style. For me, I think his work is strongest when he incorporates photography into his designs – something about choosing off-the-wall shots and enveloping them in rich colours and bold typography is very, very pleasing. Nice work Diogo, keep it up!

  5. List

    Like their counterparts over at Unit Editions, the Viction:ary team has an unerring eye for putting together graphic design books that are a cut above the competition. This stems from their ability to select a theme that is relevant and interesting and (crucially) identify the right creatives to showcase in exploring that subject.

  6. Wadelist

    When showing off a new typeface, most designers opt for the go-to panagram “The quick brown fox jumps over the lazy dog.” On one of the promotional posters for his new font Hardy, Wade Jeffree has plumped for “It’s too easy being a c**t.” In other words, this is a typeface with attitude.

  7. List

    20 years ago in 1994, little known designer Eike König set up his “graphic design playground” Hort, creating a community in the centre of Berlin where creatives could collaborate on ideas and client briefs side by side. Nowadays, the playground is slightly bigger, undertaking work for Nike, The New York Times and Walt Disney among others, but the underlying emphasis on collaboration and experimentation remains exactly the same.

  8. Main

    Political, powerful and poignant (although not always all at the same time), Abram Games’ work earned him a place as one of the 20th Century’s most iconic and influential graphic designers. Notoriously, one of his posters was banned by Churchill in post-war Britain and, although he crafted advertising for the Times, Transport for London and Guinness, his most impactful work was created for noble causes. During the Second World War he designed hundreds of recruitment posters and images discouraging waste, with slogans like “Use Spades, Not Ships” and bold dynamic graphics.

  9. Andrealist

    Sometimes the simplest things can be the hardest to pull off, but that is precisely what Andrea Evangelista’s graphic design achieves with quiet aplomb. I imagine most young creatives would quail at the notion of designing a book titled Trafficking Survivor Care Standards, but Andrea’s work is confident and careful, lending the text the clarity it demands. He lets the content sit in plenty of white space inside its buttercup cover, resisting the temptation to chuck in a bunch of pretty images.

  10. List

    As newspapers change, so the meaning, placement and purpose of their mastheads change too. This archive of Indian newspaper nameplates is therefore a celebration of the beauty and communicative skill that goes into them, and a snapshot of the contemporary news media in the sub-continent – see how the odd editorial email address crops up alongside some pretty historic type treatments. The collection has been compiled by Pooja Saxena, a Bangalore-based type designer who previously worked in Apple’s font team and studied at Reading University’s world-leading Type Design and Graphic Communication school.

  11. List

    Here at It’s Nice That we’re very aware of how often we cover certain creatives on the site, and we constantly make time to search out talented practitioners we don’t know as well as feting the latest work of those we do.

  12. List

    Every year during graduate season we sift our way through an enormous number of grad show identities. It’s arguably one of the trickiest briefs for a young student; creating a comprehensive identity for a showcase of upwards of 100 creatives’ work – all of them with different styles and concerns. Some of what we see is excellent, but many seem to struggle under the pressure of pleasing their peers.

  13. List

    Creating a visual identity to capture an aural experience seems like a near impossible task, let alone when the music is as lustrous and strange as Amy Kohn’s, but Non-Format have succeeded gracefully with their work for her new album PlexiLusso. The USA and Oslo-based team manipulated original photography by Merri Cyr to recreate the ethereal quality of her music, conjuring up a glass-like aesthetic with a hint of abstract surrealism in the form of floating boulders and rippling waves. Don’t be fooled into thinking this is all conceptual nonsense though; they’ve also made an original typeface to mimic the sonorous melodies, using disconnected arcs which resemble the notation of quavers and clefs laid out on the stave, as in sheet music. It’s an oddly alluring combination which creates an impression of Amy’s music before you’ve even pressed play.