In spring 2022, Pinacoteca Agnelli entered a new phase. With Sarah Cosulich appointed as director, the institution shifted toward contemporary and multidisciplinary practice — expanding beyond its historic home in the Lingotto Tower to include the Pista 500 and surrounding spaces, commissioning Italian and international artists for site-specific projects. They came to Giga for a full rebrand: strategy, visual identity, digital presence, and campaign.

The subject of the logo had to change. Previously, the capital A put the Agnelli family at the centre — the Pinacoteca as a projection of family legacy. Sarah Cosulich's direction made something else legible: the institution comes first, the Agnelli name as the heritage it carries. It was always there in the order of the words — Pinacoteca Agnelli. The lowercase 'a' answered that reading: a different grammatical register. An initial becomes a glyph. The Pista 500 confirmed the logic: its one-kilometre loop on the building's roof describes the exact geometry of that letter — circle and line — as if the institution's own architecture had written the family mark.

The 'a' became the single generative element of the entire system. Its stem is not fixed — it detaches, extends, curves: tracing the Pista's loop in the animated mark, splitting into directional vectors across signage, dissolving into fluid forms on screen. Every application is the same letter in a different state of movement.On the billboard and signage system, the letter disassembles into pathways. The glyph literally guides you through the building — it doesn't decorate the space, it navigates it. A brighter red cuts through Lingotto's rationalist interior, where the Pinacoteca shares the building with other occupants. The colour doesn't compete with the architecture. It asserts itself within it. On the website and digital assets, the glyphs move — a kinematic description of the institution's own transition. The mark is never still because the institution isn't.

The 'a' became the single generative element of the entire system. Its stem is not fixed — it detaches, extends, curves: tracing the Pista's loop in the animated mark, splitting into directional vectors across signage, dissolving into fluid forms on screen. Every application is the same letter in a different state of movement.