So 9, which translates to ‘Number 9’, is the lucky number in Vietnamese culture. Situated in Waterloo, Sydney, So 9 restaurant serves up authentic Vietnamese street food in a refined, minimal and contemporary setting. The brief was to design a brand and store that was an homage to the client’s own Vietnamese roots as well as their Australian upbringing. The restaurant melds together traditional street food cues with a pared back interior inspired by the client’s love of fashion and Scandinavian design.
The interior has been designed around the preparation of the cuisine, with cooking stations for different traditional menu items, bringing the diner into the cooking experience. Detailed joinery creates implied boundaries providing intimacy whilst keeping the space open and a variety of seating styles allow for multiple dining experiences. Subtle references to Vietnamese style is made through forms and materials, however the interior presents a new environment to experience this artisan food.
BrandWorks engaged illustrator Beth-Emily to create several pieces of art for both the interiors and the menu. Beth-Emily’s quiet, spacious and reflective style speaks to the concept of families, journeys and collective memory we wanted to highlight in this project. This is also reflected in the carefully crafted type which features custom built diacritic accents.
In 2014 Tank embarked on a journey with bankmecu to build a human-centred brand and work with its customers through communications and content to establish the responsible banking and customer owned positioning.
Bankmecu was Australia’s first customer owned bank. With a rich 58-year history, the Board decided to take the brave and progressive step of renaming to Bank Australia in 2014. This strong and unambiguous name would be the first step in owning the positioning of Australia’s first 100% customer owned responsible bank – further driving its commitment to create mutual prosperity for customers and Australia.
Tank‘s team had the privilege to work collaboratively with a group of financial services professionals and immerse themselves in the future of banking. Tank worked with the Board and the Executive team to develop the platform of ideas that would become the Bank Australia 2020 brand strategy; reaffirming the bank’s values, personality and messaging.
The outcome? An Australian bank to be proud of; made of diversity, inclusion and a new, responsible way of doing business.
Pay TV costs, contracts and content were alienating audiences. SKY New Zealand and TVNZ saw the potential for a new entertainment option—a middle ground between subscription TV and free-to-air.
Interbrand‘s job was to turn a standard black box into a compelling and entertaining brand experience. Interbrand‘s idea: IGLOO. Affordable pay-as-you-go appeal, coupled with a series of playful, family-friendly, brand creatures designed to make using the service easy and fun—from explaining package options to set up and channel surfing. And Interbrand created the brand from start to finish, from positioning to naming, visual and verbal identity and rollout.
Witty, irreverent, and distinct, the new brand unlocked a new audience of Kiwi families.
Senate Properties is a government owned enterprise and acts as the government’s expert on the working environment and working premises. They have a history that spans over 200 years as the manager of the Finnish state’s properties.
The visual solution focuses on visualizing movement. This refers to the continuing development and dynamism of the modern workplace, pushing the state’s working practices forward and the fact that in the current workplace change is the only constant. The solution abandons any references to the history of Senate Properties as the manager of historical properties, instead opting for a pure, energetic and modern visual language that represents a future-looking organisation.
Werklig‘s solution is quite simply based on the shapes drawn by a moving dot. The trajectory of the movement is represented in the form language of all elements: the letters of the logo, the shapes of the typeface and icons, and as a three-dimensional element. The color palette further emphasizes this movement by representing a shift from cold to warm or vice-versa.