With the longest river frontage of any office building in London, Sea Containers is a London landmark. The internal reality, however, didn’t match its riverside status, and redevelopment was undertaken to rectify this and make the most of its awe-inspiring views from the London Eye to London Bridge. Plans also included the addition of a new building to the south and the launch of the first Mondrian hotel outside of the United States. Rebranding was twofold; to update its image and explain the complexities of the site.
With architecture strongly influenced by its sea-faring connections, the new marque is similarly based on a sextant – a marine navigational device – and the interlocking ‘S’ and ‘C’ of Sea Containers in copper, a material being used extensively by Tom Dixon in the internal redesign. The brochure included illustrations of the site’s reconfiguration and editorial tip-in section on life around Sea Containers. The website is brought to life with time-lapse imagery of Sea Containers on the river moving through day and night. An iPad app also provided the client with a sophisticated sales tool to sell the area and the building using 3D maps and illustrations. Designed by Dn&Co.
As Thailand prepared to host the World Economic Forum, Winkreative was selected by the Office of the Prime Minister to promote the country’s ambitious plans for growth. After devising a comprehensive communications strategy, we created an approachable identity that captures Thailand’s modern spirit.
Since, Winkreative has developed a biannual magazine, global print campaign, short films, website, travelling design showcase, and animated television commercial airing on international networks including BBC World, CNN and Bloomberg.
96% of all Londoners think their local high street can be improved. Branding can help to change people’s perception of the high street and that is why Sven Zijderveld created the mystreet brand.
The urban high street is a place where people pass strangers, face multiple cultures and experience different uses every day. Therefore the high street is the place where prejudices (that cause a negative perception) can dissolve, and branding can help with that.
The aim of my brand is to dissolve prejudices on the high street. mystreet should approach people in a positive and mindful way and make them think about issues as the language gap, poor communication, prejudices and the feeling of safety.
Anagrama‘s design proposal was a decision to shake things up a little, editorial design-wise. Its quirky, audacious, fresh and current feel is actually based on a simple formula that involves the exaltation of images through the use of thick frames and colored backgrounds. In GIST, the images always appear front and center, so the magazine presents a great opportunity for up-and-coming photographers to show off their work.
Since GIST’s topics are ever-changing and versatile, Anagrama decided that it was important to keep the cover constant. It will always feature the portrait of a model superimposed by a frame of gorgeous, shiny foil.
Setting out to inspire and stimulate creative minds, the Winter issue of You Can Now Magazine takes the theme of ‘Get Lost’ as an adventurous springboard into the welcome unknown. Ideas and directions are sought from a bounty of bold contributors; broadly drawn from science, technology, creative business and the arts. The issue’s feature interview is with Ted Baker founder Ray Kelvin. A rare interviewee, Ray kindly took time to talk to Paul Flynn about building a creative business and his unerring obsession with detail. Portrait photography came courtesy of Nick Ballon.
Other contributors for the issue include Alastair Humphreys, Alex Calderwood (Ace Hotel), Alex Ostrowski, Beau Lotto (Lottolab), Collyn Ahart, Daniel Willis, Dominic Wilcox, Gordon Comstock, Hana Rado (McCann Valley), Karl Eirik Haug (Carl’s Cars), Kate Smith (Cancer Research UK), Jane Ni Dhulchaointigh (sugru), Jessica Hamzelou (The New Scientist), Jessica Walsh (Sagmeister & Walsh), Jim Carroll (BBH London), John L. Walters (Eye Magazine), , Michael Highland (thatgamecompany), Naresh Ramchandani (Pentagram), Nuno Mendes, Paul Flynn, Sam Bompas (Bompas & Parr), Simon Wright (Hawkes), Thomas J. Hughes (The Shooting Star Press) and Tom Cheshire (Wired).
Illustration and photography comes courtesy of: Dan Woodger, Damien F. Cuypers, Jasper Rietman, La Tigre, Lauren Crow, Robert G. Fresson, Sam Island, Brian W. Ferry, Carol Sachs and Nick Ballon.
A bright new re-brand for The British Independent Film Festival. As the Festival is fairly unknown with lack of funding, the idea was to create something innovative that would grab attention and connect
with the British Public instantly in order to promote the Festival and Independent Film in Great Britain.
Branding applied across Print and Web based Deliverables including Product, Promotion, Editorial, Information and Way finding Systems. Designed by Sam Lane.
Complete animal A—Z prints (featuring mammals, birds, reptiles, fish and a crustacean). Designed for the (by)Build Shop.
In the midst of the meltdown of the U.S. financial system, the ongoing consequences of a global energy crisis, and a broken healthcare system, IBM recognized a unique opportunity to provide new leadership. They wanted to show the world that the thinking and technology that’s needed to solve the world’s biggest problems exists today.
Ogilvy & Mather New York asked Office to develop a visual vocabulary for the launch of IBM’s “Smarter Planet” campaign. This began with a series of ads with essays about transforming the world’s most important systems such as food, energy, transportation, healthcare, education, and banking.
The design challenge was to create a visually arresting language that was as bold as the ideas they represented. How do we create something that will grab people’s attention and engage them so they want to learn more? How do we distill complex essays into one clear visual concept? And how do we represent these big, complicated problems in a way that’s approachable?
The Office team was inspired by the creative vision that designer Paul Rand developed for IBM in the ’50s, ’60s and ’70s. Rand’s work was about boldness and clarity, and had a “wink” that created an emotional connection with people. These became the team’s driving principles.
A new concept was hitting the streets of Beirut combining a Kids Academy and a Class A Kitchen / restaurant. The clients entrusted Wondereight with the creation of an identity that clearly communicates the contrast and unicity of the place.
The challenge in this case was bringing out the fun in chic. The academy consists of theater classes, workshops, art courses and a dancing audio while the restaurant targets class A customers. The choice of name was really pivotal to the brand as it helped in communicating both liveliness and sophistication.
The result was a brand that attracts curious children and their posh parents. Wondereight were able to reach that goal through applying the concept of folding on the different applications at hand.