A prominent graphic designer in Kassel, Germany, has launched a scathing critique of the city's new logo, describing it as a backwards step that abandons the city's internationally recognized identity as the home of documenta, one of the world's most prestigious contemporary art exhibitions. Helmut Plate, a veteran designer who worked on documenta 7 in 1982, argues that the city's decision to replace its modern logo with a medieval coat of arms represents poor judgment and a lack of transparency in the design process.
The controversy centers on Kassel's recent decision to adopt a new corporate identity that places the city's historic coat of arms at the forefront while relegating the "documenta-Stadt" (documenta city) designation to secondary use only in contexts directly related to the art exhibition. The change, implemented quietly in early September without public consultation, has drawn criticism from the documenta forum and other cultural organizations who view it as a strategic misstep.
Plate, who has designed over 100 logos and corporate identities during his career, expressed particular frustration with what he calls the "secretive surprise debut" of the new logo. "A new municipal visual identity isn't something you just conjure up like a lost item from a hat," he said in an interview. "No public presentation, no transparent communication – this says a lot about the importance given to this topic." He also questioned the financial aspects of the project, noting that 7,140 euros were paid for what he considers minimal graphic work, apparently without a proper bidding process.
From a professional standpoint, Plate argues that the new logo fails to meet basic standards of modern corporate design. "The logo presents itself as if Kassel wants to demonstrate how to catapult itself back to the Middle Ages with full force – all the way back to 1408," he explained. "While modern cities try to develop visual identities that radiate attitude, openness, and future orientation, Kassel shows a historical administrative symbol that reminds one more of an official seal than of a pulsating art and cultural city." He contends that the design simply places the original 1913 coat of arms next to the word "KASSEL" without any sophisticated graphic treatment.
The designer's most pointed criticism concerns the decision to downgrade the "documenta-Stadt" designation. "Kassel is voluntarily giving up its strongest global distinguishing feature – one that other cities would envy if they had a documenta," Plate argued. He finds the timing particularly problematic, coming less than two years before documenta 16, when new artistic director Naomi Beckwith is generating international attention for the exhibition. "While the new artistic director is creating international buzz, the city gives the impression that it wants to quietly retreat."
Plate advocates for a complete reversal of the decision and proposes a more professional approach to city branding. He suggests that the coat of arms should be used exclusively for internal administrative purposes, as other cities like Erfurt do, while external communication should feature a modern logo developed through a competitive process involving multiple agencies and expert evaluation. As a positive example, he points to the earlier Kassel logo created by Karl Oskar Blase, which used simple geometric elements – a green arc representing the city's parks and green spaces, and a blue arc symbolizing its river landscape – to communicate the city's character through contemporary graphic means.
The 67-year-old designer, who studied Visual Communication at the Kassel Art Academy and has been deeply involved in the city's cultural scene for decades, sees this as part of a broader issue with how Kassel approaches its visual identity. He previously criticized the HessenKassel Heritage logo for similar reasons, citing both poor graphic design and incomprehensible naming decisions. His agency plate berkemeier oelemann has created numerous corporate identities over the years, and he currently publishes cultural magazines including "Wilhelm," "Essensart," and "Oktogon."
The debate reflects larger questions about how cities should present themselves in an increasingly competitive global marketplace. Plate emphasizes that cities compete for tourists, cultural recognition, attention, and investment, making visual identity a crucial strategic tool rather than mere decoration. He argues that effective corporate design should begin with proper briefing, goal definition, mood and message development, followed by proposals from multiple agencies evaluated through qualified procedures similar to architectural competitions – none of which appears to have occurred in Kassel's case.
The city has defended its decision as an evolution of its visual identity, describing the result as modern, professional, and unified. However, critics like Plate argue that using a coat of arms from 1408 hardly constitutes modernization. "The city speaks of a modern, professional, unified visual identity. The result, however, seems more like a capitulation to too big a task," he observed. He notes that the city never explained why a new logo was necessary in the first place, and while the previous logo may not have been a masterpiece, "it at least had a current reference and a comprehensible intention."
As Kassel prepares for documenta 16, scheduled for 2027, the logo controversy highlights tensions between tradition and innovation in how the city presents itself to the world. Plate hopes his criticism will prompt city officials to reconsider their approach and develop a visual identity that reflects Kassel's position as a confident, forward-looking cultural center rather than what he sees as an administrative afterthought stuck in medieval times.
