One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.

One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. Visitors experience a succession of very different impressions and discover an equally chequered history. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas. This gives rise to a rhythm that appears mechanical and which is formulated in the form of graphics and objects.