Leon of Athens is a Greek-born indie pop star who is now based in London. His new album, entitled ‘Xenos’ (foreigner) features 11 songs echoing the feeling of being a foreigner, a stranger to a new country as well as to yourself. This eclectic spirit was important to convey visually in the artwork, as well as portraying a strong sense of the artist’s personality. The fragmented nature of the market makes it essential the concept engages across wide variety of formats – print to digital – to create an integrated release and a holistic visual universe. Our solution takes its inspiration from Skype and long distance relationships and references the need for communication with our external as well as our internal worlds. The album packaging consists of a sleeve with a cut-out set of multiple Skype windows through which one can see the inner cover of the cd-case with the artist’s face and another Skype window, which shows a cut-out part of the same face.
Ahead of Leon of Athens’ album release, we also designed a three-single promotional campaign and a website in order to set the conceptual and visual tone, teasing each single through a Skype window.
Brand mark and visual identity for Collaborative Unit; a series of pop up exhibitions in central London exploring the theme of collaboration between students at London College of Fashion.
Silvertown Quays is a swathe of land bordering the Royal Victoria Dock, close to Thames Barrier Park. When redevelopment of the site is complete Silvertown will provide thousands of new homes and non-residential space including artists’ studios, commercial, brand, retail, hotel and community use. As part of our continued regeneration work in east London, we were asked by Lendlease Group to provide masterplanning services in support of their bid for Silvertown Quays. We were also commissioned to create the submission document and the visual identity of the pitch.
Our design references the 250 acres of water, which provides a spectacular setting for the area’s transformation into a vibrant 21st century destination to live, work and play. The typographic design draws upon the industrial heritage of Silvertown, an all-important part in the continuing story of the docks. We created a publication and sourced a local iridescent material to foil the typography onto the hard-back cover, creating a connection between the holographic quality and the reflections of a brilliant future on the waterside.
The World Architecture Festival (WAF) is an annual festival and awards ceremony, one of the most prestigious events dedicated to the architecture and development industry. Under Paul Fintch’s directorship, the festival has gone on to become the world’s largest international event celebrating architecture. It includes the biggest architectural awards programme in the world and by entering, one has the chance to become part of a great archive of contemporary architecture.
Ahead of WAF 2015, we were asked by EMAP Publishing to create a new campaign with a view to revitalising its reputation amid growing competition from the international architecture conference industry. Our intention was to position WAF as the biggest international event in the architectural world and at the same time, to celebrate architecture by creating a campaign that would truly resonate within the architectural world. On that basis, we used the arrows that Guy Debord and the Situationists used in their 1950s map of the ‘Naked City’ – a project that is highly prominent within the architecture education because of its psychogeographic principle of reorganising the city. By using these arrows against royalty free images of famous cities in the world, we wanted to create a connection between WAF and the culture of architecture. At the same time, these arrows were arranged as if they are fireworks pointing towards all possible directions, ultimately celebrating that architecture is about building a future of endless possibilities.
Dress For Our Time, by artist and designer Helen Storey, is a public art installation project that uses the power of fashion, science and wonder to communicate some of the world’s most complex issues of our time.
The dress itself is made from a tent (which is no longer in useable condition), gifted to the project by the United Nations High Commissioner for Refugees (UNHCR). In giving the tent a second life, it gives this public art installation an unbreakable bond to humanity and represents the importance of nurturing and protecting all people and safeguarding generations to come. As the gateway to Paris – the city hosting the United Nations Climate Change conference COP 21 – many of the delegates that passed through the station came face to face with the world’s first digital couture dress dedicated to exploring climate change and its human impact.
‘By interpreting the station’s setting as a conceptual border between Britain and France, Nikos Georgopoulos created a polyglot responsive identity that reads the name of the project in English, French and Chinese referencing boarder crossing signs.’
–Art Directors’ Club Journal
‘Designed in 1966, James Stirling’s Florey Building belongs to a short period during which the European university became subject of bold typological experiment. […] In abandoning the received imagery of the university, each of these schemes sought to acknowledge the unprecedented societal changes that were then transforming the culture of higher education. […] The buildings commissioned by Oxford colleges in the intervening decades have been characterised by a resurgence of conservatism. Institutional anxieties following the events of May ’68 may have represented one immediate cause.
On the fiftieth anniversary of the Florey Building’s design, the Architecture Foundation convened a four day masterclass at Stirling’s building with the aim of exploring how the architecture of the university might rediscover the spirit of formal and social adventure that it so powerfully embodies.
The Oxford that the studios addressed was not, however, the city that stands today but rather the idealised version depicted in an axonometric map dating from 1675. […] We divided Loggan’s map into six, broadly square sectors and assigned one to each of the studios. Each sector presented a meeting between city and landscape, where the studio could develop its project. The methodology bears comparison with that of Roma Interrotta, the speculative reconfiguration of Rome’s Nolli Plan undertaken in 1977 by twelve teams of architects, among them one headed by Stirling.’ (Ellis Woodman, introduction from Six Proposals for a Twenty First Century University)
Greek start-up UDO (Unique Design Objects) specialise in customisable, multipurpose lights that are made with digital fabrication technology and algorithm based design. To coincide with the launch of their website, UDO asked us to redesign their brand identity. We created a bespoke logotype that experiments with the fundamental parameters of letterforms, and references the brands algorithmic design process.
Frieze Projects at Frieze London 2016, supported by the LUMA Foundation, brings together a series of seven complex and thought-provoking projects curated by Raphael Gygax. This year’s programme is inspired by questions on human relationships and the transformative potential of art; it brings together several diverse artistic fields, including literature, theatre and sound composition.
Artists from different generations and from around the globe have been invited to think about such concepts as diversity, transformation, hospitality and learning, and particularly how these concepts relate to humanity. The participating artists are Sibylle Berg, Claus Richter, Martin Soto Climent, Coco Fusco, Julie Verhoeven, Samson Young and winner of the 2016 Frieze Artist Award Yuri Pattison. The programme also presents Operndorf Afrika (Opera Village Africa), an arts project initiated in 2009 by German film/ theatre director and artist Christoph Schlingensief (1960–2010).
We were commissioned by Vedema and Luxury Collection Resorts to create the brand name, strategy and identity for their new collection of private villas in Santorini.
Each villa has its own unique characteristics although all six of them are built on the quiet and secluded area of the Megalohori Caldera, offering awe-inspiring views to the crystalline blue waters and the volcano.
Our strategy is based on the notion of ‘treating yourself’. Choosing Santorini as your holiday destination and one of these villas as your private spot is a tribute to yourself, an ‘hommage’ paid to a unique experience of discovery, relaxation, exclusivity, and luxury. We called the brand ‘Hommage’ – the French word for tribute, a gift, a compliment, a testimonial, given as a sign of gratitude and respect. We developed an overarching logo system and an exclusive visual identity that pays tribute to Santoriny, beauty and you. Hommage to you.