OUGD603 / Extended Practice - Architect Branding: First design ideas / Design development.

OUGD603.
ARCHITECT BRANDING. 
INITIAL DESIGN STAGES. 

After gathering information from bradley based upon his likes and dislikes within architecture and design, and his intentions within his own work, I created a list of elements that should be my main focus when creating Bradley's branding. 

I will begin by thinking of and drawing up ideas for Bradley's logo which will be at the heart of his brand. There are a list of different things I have discussed with Bradley that has began to inspire thoughts about his logo design. 

- The 3d element of his work. 
- His minimalist and almost 'camouflage' like approach. 
- His love for mixing materials and texture. 
- The extent of how far Bradley goes to create a personal and bespoke structure each time and every time. There is no, creating a standard building and pasting it into other places, all his buildings are one offs.

I began by sketching up some logo ideas purely based upon the 3s element of his work, working with already existing fonts to create a somewhat structure like 3d logo, and something a little simpler. 

I began with a circular focused logo, which I felt was both minimalist and contemporary, I worked with the letters placing them in a composition which allowed my clients name to be read fluently and in order. 

I then began to play with the structure of the monogram further by adding a 3d element to the logo. The idea of drawing 3d into the work made me feel as though the logo would connect with the practice of my client (architecture) that much more, as one is always required to work in 3d.

I also tried something that showed a little more restraint and reduction with embellishments, using an even simpler composition using only his first and last initial and, using a much clearer and easier to read font. I transferred this into 3d form to again play with the extra dimension element. I felt like this logo might perhaps match Bradley's likes and practice more so than the last due to its reduced ornamentation, clarity and almost natural look. It appears like a piece of type that doesn't look as though its trying to be anything it is not, just as Bradley's work stands.  

Next a moved onto playing with a few more logos which focused less on a visual and the element of creating image from text, and instead, used Bradley's full name in more body copy style lettering. 

I got the inspiration for the next few sketches from an image I sourced during my research which Bradley had explained that he liked due to the simplicity, the logo was of a stamp influence and played with the orientation of text. 

Finally I started sketching something that was a bit more bespoke and totally personalised to bradley and his practice, in that we creates one of a kind buildings that are only relevant to the place and site that he is considering.  I wanted to try and find a way to create a really simple and minimalist logo mark that combined his first and second initial in one character.

Looking at Bradley's initials 'B + S' I realised that the S, would almost mould and fit into the counters and Bowls of the B. Using the top of the S I lengthened the beak so a point in which it was almost touching the spine. I felt that although it still took on the aesthetic of the S, it could  also somewhat be read as the top of a B. I continued to sketch the letter in which the bottom half of the character was seemingly more dominated by the characteristics of a 'B' using the vertical stem as a tail continuing on from the spine of the s. The character however, like an 'S' over a 'B' has no technical counters as the beak and tail never touch the spine, allowing the character to be read as both an S and B. 

I played with the idea a little further experimenting with the idea of using serifs. however I felt this took away from the cleanliness of the design and detracted from the minimalist aesthetic in which bradley wanted. 

Tracing over the shape of an s from an already existing typeface, I began to edit and change certain parts so that it could aesthetically represent the linking and appearance of both of Bradley's initials. 

I also experimented again with adding an extra dimension to the logo paying homage to the 3d elements of Bradley's work. I however did feel that it subtracted away from the simplicity of the piece and that It wasn't needed. 

Lastly I sketched up the full idea as a block character ready to present to Bradley. 

Feedback from the client:

I sent Bradley all of the sketches I had done in regards to his logo and today he sent me some feedback in reply.  He commented on how much he liked that I had considered his practice and work so much when creating the logos, however he also pursued that there was one clear winner in which he felt work work best representing himself and his work. 

The one he liked most was the design in which I created a bespoke character joining both his initials together into one. Not only did he like the minimalism and fluidity, he always liked the idea that the character itself appeared to look like a structure. 

Next I will start thinking about how I will attach the logo to the different branding elements that Bradley needs. 

OUGD603 / Extended Practice - Architect Branding: Visual research.

OUGD603.
ARCHITECT BRANDING.
VISUAL RESEARCH.

After speaking to Bradley, I looked at a range of personal identity branding online and gathered, based upon his likes and dislikes and his own place within the design and architectural world. From the range I gathered I tried to gage Bradley's opinion on what he liked best from each piece of design, further helping me to understand his taste in aesthetics outside of the architectural world.

In looking for personal branding examples I tried to work with the elements I had learnt about Bradley and his design stance. I looked for simple and clean designs, that didn't appear forced, looked somewhat natural and focused on the function of communicating the message over decorating it. 

The examples I collected use a neutral colour pallet focusing mostly on black, white, grey and earthy tones, with most designs implementing a further dimension by playing with texture, including the process of embossing which allows designs to appear even more natural.

Simple and clean, contemporary and recognisable. 

Pattern used to add character. Simple yet bold logo, emphasised by minimalist card design. Promotes message (designers details) over any ornamentation. 

Simple design using only black and stock colour (white) minimalist design allows name of the company to stand out above all else. Molecular pattern appears natural and organic and does not detract from the logo as it is embossed. 

Simple and minimalist, again like the above the main text to be communicated is the name of the company and contact information complimented by a clean simple logo created via embossing making use of texture. 

Another simple design with some colour added. Although I do not think the colours would be appropriate for Bradley's branding, I like the subtle inclusion of reference to 3d work within the logo. 

Again the branding is inherently simple and minimalist, there is a bold simple logo and the information communicated is easy to understand and clear. 

I loved how the above design through the combination of print and embossing in one logo had a great geometric effect. The use of the two production processes combined creates a feeling of 3d type, where the embossed sections embody the light and the printed represents the shadows. 

Staunch branding is again another brand that subtly nods to 3d work in its branding using type, and the idea of shadows to create 3d like text. 

I loved how organic the above branding is in that it uses the designers signature as the logo. Other than this the information is communicated in a black sans serif font in a clear modular structure. 

Uses simple geometry, small neutral colour pallet using colours commonly found in nature.  

Greatly simple and almost pure branding that in the logo work, uses only the colour of the stock and works with texture in order to create contrast. The use of embossing is proving to be a great source for playing with light and shadow, and also 3d concepts within logos. 

Simple use of hand rendered signature as brand logo. Contact details communicated clearly through clear and concise typeface.  Use of black is too heavy for Bradley's branding as there is a preference towards a more natural colour pallet. Bradley also appreciates and considers the use of light within his work and so it will be important to try and communicate this through the colour pallet. 

Extremely simple branding, would be great to support work rather than distract from it. Where business cards can be used to show off and give a taste of a designers style and skills when promoting a graphic designer. An architect needs a simple and clean brand that will support the catalogue of their work. Allowing their creations to do the talking, with support from the brand. 

When emailing these to Bradley, with my above opinions he gave me the following feedback:

From the selection I put together there were four in particular which Bradley liked, all with different elements. Bradley liked the clearness and clarity of FRANCL Architecture's simple but bold logo. He also liked the minimalist and grid like layout seen on the back of ALA's business cards. From MHM he liked the combination of both embossing and print, and how the embossing seemed to replicate the idea of light, whilst the printed sections created shadows. All the pieces of branding appear neutral in colour, clear in communication and bold but simple. 

OUGD603 / Extended Practice - Architect Branding: First meeting.

OUGD603.
ARCHITECT BRANDING. 
FIRST MEETING. 

A couple of weeks ago I was approached by an architecture student in their final year of the degree who was looking for some personal branding as they leave the course and look for a job. 
The personal branding will include:
- A logo that can be used across all digital ephemera and possibly in a future online presence. 
- A business card. 
- Creative CV.
- Letterhead.
- Card tube with sticker used to mail large scale physical work. 
- CD design.
- Possible brochure design.

To be recognised as BOS or BS or Bradley Sykes. 

I met up with Bradley on the first occasion to discuss two aspects of his university life and career prospects including: Bradley's likes and intentions as an architect and as a designer in general. 

As an architect:
Bradley spoke particularly about 3 focuses within all of the work he creates. Firstly, he spoke about 'Genus' Loci, otherwise known as the spirit of the place. In working on the spirit of the place, Bradley constantly considers whether his work, throughout the whole design process supports, accentuates and heightens the experience of the place (location) surrounding his architecture and the people it will affect. It is in his best interests as an architect that whatever he creates truly becomes part of the landscape whether this be aesthetically or socially etc. 


Bradley also has great interests in the process of Retrofitting, in which old and new systems are joined together. In the case of architecture this is when an older more traditional structure is combined with a new one. Bradley also suggested that in terms of building a future business, this is where his aspirations would lie. 

He also spoke about materials which in turn linked to his previous thoughts and opinions on the spirit of the place. Bradley likes to use materials in particularly a range of textures to do this. Consideration of materials in relation to the building, and more importantly its surroundings is vital to the work Bradley produces. 


As a designer:
Minimalism - More so used to support and accentuate main features. Such as when used in retrofitting, minimalist  contemporary design, to show case the old structure. 
Black/white and Neutral colours. Organic colours, colours that are more 'truthful' rather than forced. 
Textures - create atmosphere, interesting, add another dimension to design. 
Angles and straight geometrics over curves.


Bradley's work in reflection of this:

Next I asked Bradley what kind of architecture work he draws inspiration from in his own work to further try and understand his brand personality. He directed me towards  5 pieces of architecture were most inspiring and told me why it is he feels they are so pinnacle to his work. 


Kolumba Museum, Germany:

The most impressive thing that Bradley denotes from this architectural piece is the fusion of old and new. In WW2 the Kolumba museum was bombed leaving a fractured structure of a church behind. This was then renovated by creating a clean minimalist structure to house the original church ruins. The minimalist casing does not take away from the original structure but compliments it and highlights its beauty, on both the inside and outside of the building. 

Nueues Museum, Berlin:

Again similar to the Kolumba museum, the Nueues museum in Berlin was also bombed in WW2, and later renovated combining the old stone build with a new sand blasted concrete shell. Texture and use of materials is emphasised with minimalism, leaving no need for added colour. 

Caixa Forum, Barcelona:

Bradley loves the visual statement made by the Caixa forum and the contrast in colour. It is also important that the use of colour comes naturally from the materials and has not been added afterwards. The window treatment again pays reference to the concept of old meets new, where the windows have been filled in but kept in place to complement and continue the rythum of the rest of the surrounding buildings, and new windows have been inserted over the top in aid to give the space the amount of windows it actually needs.  

Dominus Estate, California:

The Gabian basket detailing has been implemented into the winery not for aesthetic reasons but for its function, used to ventilate the building. The function of the building is therefore celebrated rather than disguised as the Gabian basket is in full view. The building is also modest within its surroundings, with its low and horizontal emphasis meaning that it looks like a part of the landscape over detracting from it.

Therme Vals, Switzerland:

Again like the Winery in California the Thermal Vals in Switzerland share the shame aesthetic values. Made from a local stone the baths look like they have been carved from the mountain landscape, creating something tremendously fitting to the place. Both the exterior and interior therefore look completely natural as the elements of stone and water combine with one another. There is no unauthentic use of materials not relevant to the location or building or forced use of ornate decoration to create the idea of luxury, the idea of luxury in fact grows from its honesty to the environment it is in.