The Davidson Centre Museum in Jerusalem’s Archaeological Garden holds exhibits and findings from the First and Second Temple periods; Finds that are directly related to the temple mount and the pilgrimage, as well as finds that can teach us about daily life in Jerusalem during that period.
In order to visualise abstract concepts such as holy and mundane, we examined the nature of the movements at both ends of our equation; While the movement in the temple is ritualistic and regulated, the movement in the city is heterogeneous – it consists of thousands of uncoordinated movements of individuals. We have expressed this tension in the graphic language – by the way we used graphic elements, and also by combining straight, sharp elements with softer rounded ones in the brand’s typography.
The main purpose of the graphic language was to bring the field of archaeology, which is sometimes perceived as traditional at best and old fashioned at worst, closer to new audiences. We did this by creating a lean contemporary language, based mainly on simple graphic shapes, and by using a surprising green-orange palette, which breaks the archaeological convention of earth and gold colours.
The logo of the Davidson Centre was inspired by the famous map of the three leaves, which shows Jerusalem as the centre of the ancient world, connecting the three continents. When the logo was revealed to the public, it caused a stir in the Old City of Jerusalem – and the Western Wall’s Rabbi initiated a protest against it, on the grounds of its resemblance to the “Holy Trinity” of Christianity.
The logo of the Davidson Centre was inspired by the famous map of the three leaves, which shows Jerusalem as the centre of the ancient world, connecting the three continents.
we examined the nature of the movements at both ends of our equation; While the movement in the temple is ritualistic and regulated, the movement in the city is heterogeneous
The main purpose of the graphic language was to bring the field of archaeology, which is sometimes perceived as traditional at best and old fashioned at worst, closer to new audiences.
We have expressed this tension in the graphic language – by the way we used graphic elements, and also by combining straight, sharp elements with softer rounded ones in the brand’s typography.
