THE
hangart.
One identity for an entire place. Sixteen craft studios. More than a dozen traditional villages.
A gallery, shop, café and hospitality environment beneath one architectural language. The challenge wasn’t to give The Hangart a logo. It was to create a brand that could move from a wax seal to a website, from packaging to signage, from printed matter to the physical space itself — without losing its character.
The challenge
[01 / CHALLENGE]A heritage-and-art complex inside The Luxury Collection Danang: pottery, do paper, wood carving, embroidery, folk painting and natural dye under one plastered span, with a gallery, a shop and a café run by a deaf team. Around thirty artisans, most of them women, from more than a dozen craft villages. The building is a hangar that became art — already a masterpiece before we touched anything. The challenge: give ten crafts, a café, a gallery and a shop one voice that holds from a wax seal to the building sign, without decorating a thing that does not need decorating. And get a visitor from “what is this place” to a booked workshop in two scrolls.
- Client
- The Hangart · The Luxury Collection Danang
- Scope
- Strategy · Branding · Graphic Design · Digital · Space · Experience
- Deliverables
- 56-Page System · Custom Web Portal · Packaging · Signage
- Site
- Nuoc Man Airfield, Da Nang
- Status
- Live · 2026
The strategy
[02 / STRATEGY]One shape repeats through the whole building — the arch. The strategy is to own it: one dome, drawn once, carried from the logomark to the menu to the doorway you walk through. Below, the brand walks the way a visitor does — through the same arch, four rooms deep. Scroll.
Terracotta, lit from above. Every room is entered through the same arch.
Design system
[03 / DESIGN SYSTEM]The logomark is the hangar's silhouette — a half-dome — carved open with a floral cut borrowed from village craft. The building is a half-dome. The mark is a half-dome. One shape, drawn once, and it holds from a wax seal to a building sign.
TAGLINE — CRAFT · CULTURE · CONNECTION
Colour & type
[03b / COLOUR & TYPE]Fifty-six pages of rules, written so the client's own team can hold the line without us. The palette runs 70/20/5/5: terracotta leads, beige gives it air, sage green and champagne tan take the last ten between them. Type is Glyce for headlines, Claire Murphy for subheads, Outfit for body — with honest system fallbacks named, because real offices use real computers.
The graphic system, in use
[03c / APPLICATIONS]This is what our graphic team actually made: every printed, stitched, stamped and folded thing the place hands you. One dome, one palette, one voice — carried across four materials without a rule bending. All photographed on site, in service, exactly as a guest meets it.
Paper does the talking.
Menus, the guide booklet, postcards, price cards. Terracotta for headings, ink for the reading line, pattern only at the edge — so a menu still reads like a menu at arm's length, in daylight or under one bulb.
The smallest pieces carry the most brand.
Hang tags, gift boxes, ribbons, price cards. This is where the logomark works hardest — at 20mm, on kraft, sometimes handwritten over. The pattern block anchors the bottom, so a tag still reads as ours upside down on a rail.
Embroidery, not printing.
Totes, aprons, pouches. Thread cannot hold fine detail, so the mark was redrawn for stitch: fewer nodes, thicker strokes, the floral cut opened up. Two sizes only — chest and full-width — and never both on one piece.
Where the mark gets burned in.
Deskmats, engraved trays, painted fans, product tags for the ceramics and the plush. Every material takes the mark differently — engraved, screened, stamped — so the system ships a minimum size and a one-colour version for each of them.
The website
[03e / THE WEBSITE]The site is the identity, online. Terracotta light, big rooms, quiet type; twelve workshops on one calm grid, booking in two scrolls. The interface stays out of the photography's way — the same rule as everywhere else in the system.
Impact
[04 / PROOF]The brand shipped whole — and opened with the doors.
- Guests through the doors, weekly
- 1,000s
- Working craft studios
- 16
- Source craft villages
- 12+
- Artisans on site
- ~30
- Guideline system
- 56pp
- Bookable on
- Klook
Every touchpoint in this case is photographed in use, on site: menus, aprons, deskmats, gift boxes, tags, signage — and the website carrying the same system online. The identity runs the whole place day to day, held by the client's own team against the 56-page system. A year on, the hangar runs as a working commercial engine: thousands of guests come through each week (client-reported), workshops sell as bookable experiences on Klook, and the brand carries all of it without bending.
Studio, village and team figures are from press coverage of the opening — commercial figures belong to the client, so where we can't show a number, we show the work instead.
