About

A Practice for Everyday Life is a design agency working with some of the world’s most successful companies, galleries, institutions and individuals. We create a diverse range of work including brand identities, art direction, signage & wayfinding, exhibition design, print, editorial & publishing and websites from concept to production.

We investigate, explore and experiment to draw together stories which can translate and transform the ordinary into the extraordinary. This approach has always led to thoughtful and inspired design solutions, and earned us a reputation for crafting intelligent, beautiful and innovative work.

We have established an exceptional reputation through work for Architects’ Journal, British Council, Phillips de Pury, Tate Modern & Britain, Victoria & Albert Museum and Wellcome Trust and are an increasingly sought after partner for collaborations with architects, curators, creative directors and photographers.

Contact

Address

A Practice for Everyday Life

Unit 16, 5 Durham Yard
Teesdale Street, London E2 6QF

T +44 20 7739 9975 js-replace

Map

Employment

If you are interested in doing an internship with us please email a PDF of your work and CV to js-replace

Clients & Associates

Selected Clients

Irish Museum of Modern Art, Dublin

William Hogarth

Printed Material

This exhibition focused on the printed works of Hogarth from the Madden Arnholz Collection. His brilliant satirical prints drew on the preoccupying themes of his time, portraying events and themes which captured the public imagination – often tales of sex or immorality. In the early 18th century Hogarth began his career as a copper-plate engraver for newspapers. This journalistic approach is apparent in all his work, so we created a newspaper as an extended gallery guide – the form of which would add to the context of the show. The exhibition graphics were made up using various printing ornaments.

→ Link to Project

Exquisite Corpse

Printed Material and Publication

Using the frame work of the Surrealist game ‘Exquisite Corpse’, it was possible to make selections of the works from the IMMA collections away from institutional interpretation and patterns. Personal selections and viewpoints from a group of ‘players’ (artists, writers, collectors) gave various new insights and perspectives on works in the IMMA collection. Each selection had a slightly different ‘identity’ – apparent in the exhibition graphics as well as the publication.