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With football club Leeds United facing backlash from fans over its redesigned crest, here’s a look at some of the sport’s most controversial rebrands – from the minimal redesign of Juventus’ logo to Red Bull’s creation of RB Leipzig.

Leeds United

Leeds United Football Club was forced to reconsider its new crest after complaints from fans led to more than 77,000 people signing a petition urging the club not to use it.

The proposed logo featured a torso with a fist placed against the heart, depicting a gesture known as the “Leeds salute” that is widely associated with the club.

With the logo receiving a huge amount of criticism – despite the club claiming it had undergone a rigorous design process that lasted six months – the crest was dropped and a hunt for a new design launched.

Juventus

Turin-based football club Juventus swapped its bold logo of a charging bull and a crown to a far more minimal design, featuring two J-shaped stripes that hang beneath the team name.

Fans were quick to mock the crest on social media, with some calling it too corporate and anonymous.  Others compared it the JD Sports logo or the shape of former player Alessandro Del Piero’s facial hair.

Aston Villa

Birmingham-based football club Aston Villa was initially reportedly to have spent £2 million on its 2016 redesign, which appeared to simply remove the word “prepared” from the previous design.

Although the club later confirmed the project cost less than £80,000, the new logo was met with criticism from fans who believed it was a waste of money, especially as the club was bottom of the UK’s Premier League at the time.

SSV Markranstädt/RB Leipzig

In 2009, SSV Markranstädt’s license was purchased by energy drink maker Red Bull, with the team rebranded as RB Leipzig.

The football team became the fourth in the company’s sports advertising portfolio with the crest altered to reflect the new name and ownership.

However, all original crests proposed were rejected by the Saxony Football Association (SFV) as they were considered copies of the corporate logo of Red Bull, leading to the team playing without a crest for its first season.

A redesigned crest was used for the next couple of seasons, but this logo was rejected by the German Football League (DFL) during the license procedure for the 2014-15 season, leading to the current crest being introduced.

Everton

The English football club’s 2013 redesign prompted over 23,000 supporters to sign an online petition calling for the new badge to be scrapped, calling it “amateurish” and “embarrassing”.

Designed by the club’s in-house graphics team, it depicts the Everton landmark St Rupert’s Tower, as well as the club’s name and the year of its formation. Responding to fan reactions, the club dropped the crest the following season.

The Premier League

This controversial redesign wasn’t just for one team, it was for the entire Premier League.

For the 2016/17 season, the UK league unveiled a new logo and visual identity by creative agency DesignStudio. Featuring a purple lion’s head and the league’s name spelt in a bespoke typeface, the new design was met with polarising opinions – with some comparing the logo to Disney’s The Lion King.

In October 2017, the UK Independence Party replaced its yellow, pound-sign logo with a purple lion’s head, drawing similarities between that and the football league.

The post Six of football’s most controversial rebrands appeared first on Dezeen.

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Oslo studio Rever & Drage Architects used a variety of cladding materials and traditional construction techniques to distinguish the different functional spaces at this mountain cabin in Norway’s Sunndal region.

Rever & Drage Architects designed the Cabin at Troll’s Peak for an active family who enjoy hiking and skiing in the mountains of the Trolltindane ridge.

A key requirement of the design was to ensure the building is robust enough to withstand the area’s harsh climate, while fulfilling its function as a place for resting, changing and storing equipment.

The cabin features several spaces arranged in a sequence that addresses the needs of the family as they arrive back from their activities.

A transparent garage at one end provides a place to leave their gear before they pass though a laundry area, bathroom and kitchen on the way to a lounge that looks out across the surrounding landscape.

Each area is constructed differently and clad in materials chosen in response to its function and the weather conditions it is are exposed to.

“The outside composition is that of a traditional row farm, where buildings with different functions and different construction techniques are arranged in a line corresponding with the dominant direction of wind,” the architects explained.

A dark-green tar-based oil is used to stain the timber boards that cover the majority of the cabin’s facades, creating a sense of consistency that is enhanced by the identical pitches of the various roofs.

“In the western facade of the building, the individual characters of the different units are most obvious,” the studio added, “while in the eastern facade their coherence and the cabin as a whole is more prominent.”

“The cabin is in this respect can be seen as both a single unit and four separate buildings.”

Local timber and traditional building methods are used throughout the building, with saddle-notched logs forming the walls of three of the four sections. The different joinery techniques used for each area helps to lend them a unique character.

“Furthest north, the notching technique is late-medieval, with large, narrowing logs,” said the studio.

“The living room is built with more elegant 19th-century notched logs, while the kitchen has slim, more modern, square logs with dovetail notches.”

The garage structure at the southern end of the building features an exposed timber frame constructed using a traditional method, which is wrapped in polycarbonate sheets to enable daylight to enter.

The space can also be used as a storage area, fitness room, workshop and conservatory that offers views of the nearby Ryssdalsnebba mountain. Doors on either side can be opened in good weather to connect the interior with its wild surroundings.

At the opposite end of the building is a large room that can be used as a bedroom or dormitory, with a large window allowing the occupants to observe the northern lights.

The adjacent living room contains a fireplace for warming up following a day spent outdoors. It features a barrel-vaulted ceiling and a low-level panoramic window facing east towards the mountain ridge.

The living area can also be accessed using a dedicated entrance set in a gabled dormer that indicates its status as the main public route into the building. The entrance porch is flanked by two small rooms that can be used as additional bedrooms or studies.

A kitchen next to the living room contains a dining table and a door leading out to a terrace. Small windows set into the western facade allow daylight to enter the kitchen and the adjacent bathroom whilst retaining a sense of privacy.

Photography is by Tom Auger.

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