Inside: World Festival of Interiors 2011
Branding / Art Direction / Exhibition
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November 2011 saw Barcelona's CCIB centre host the inaugural
insidefestival.com
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November 2011 saw Barcelona's CCIB centre host the inaugural
insidefestival.com
Index of projects
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A completely self-initiated online project, from idea through to execution,
thesartorialtwist.com
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During 2011’s Clerkenwell Design Week, Japanese bathroom manufacturer
We were commissioned to create the identity and catalogue for the event, alongside web banners and an e-invitation, all within a tiny budget. The red circle obviously represents the people of Japan, with the loosely sketched chair being the design community supporting them. A very lightweight stock was specified for the 2 colour, A2 folding to A5 catalogue, as it was very noticably 'paper', evoking both the traditional architecture of Japan and the paper based work of Shigeru Ban.
Index of projects
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In 2011 Multistorey worked with Robert Green to design the graphic elements of the
Working alongside David Kohn Architects, our aim was to cohesively integrate the spatial, structural and graphic elements of the show. DKA's elegant cubic plinth system created a visually lightweight, undulating landscape that flowed invitingly around the gallery. To offset the neutral tones and rigidity of the wire-frame-like structure, we created large fabric banners that were slung over a network of high tensile wires suspended from the ceiling. The vibrant canvases were painstakingly hand-printed, and accompanied by hook-on credit tabs, constructed from printed linen traditionally bookbound onto their rigid core. This texture was carried onto the plinth tops and the printed material, creating a tactile link to all elements.
We created and photographed an abstracted miniature model of the cubic display system, to be used in various formations for the catalogue covers and dividers, and as a playful backdrop to the typography. The logotype and font were overhauled to more closely echo the Design Museum's branding.
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This printed bag is part of
Buy it here
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A hand powered drum machine constructed from household items, programmed to play the classic 4/4 techno beat. Three sounds are available: kick drum, handclap and high hat. All can be turned on or off to create rhythmic tension and pacing.
Exhibited in the group show The Art of Conversation at the Idea Generation Gallery London, May 2010 and the Program Gallery, Berlin, June – July 2010.
theartofconversation.org
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Multistorey have designed all elements of the store including identity, signage, shop-fit, marketing materials, website and packaging. Following on from and echoing the custom drawn typeface and logo, we designed a bold geometric pattern which became the literal foundation for the shop-fit — a handpainted tiled floor provides a grid within which the modular cubic display plinths are placed.
The shop space has been designed to have high visual impact, whilst also providing a very functional framework to display a large cross section of products. To reflect the merchandise, quality of production has been key to the approach, from a hand painted sign and interiors, thermographically printed stationery and hand bound brochures to the custom made canvas carrier bags.
Two years in, the online shop has become a big focus of the business, with an ongoing evolution of the website from its initial editorial style to a comprehensive product led e-commerce site.
darkroomlondon.com
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theuniformstudio.com
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A series of networking salon style events presented by a collective of arts producers,
Our custom-drawn logo harks back to intellectual styles of the early 20th century, but that also feels contemporary, bold and cutting edge. The half-infilled vowels create metaphors of elements combining, and the letter U resembles a glass of red wine — a nod towards to the relaxed, social feel of the event.
The completely hand-made invitation took advantage of the short run of 30. A thick board was bound with pale green bookbinders linen to create a heavy A5 tablet. The design was hand blocked in glossy black foil to give maximum contrast against the soft cloth base. A different coloured linen cloth was used for each of the series' invitations.
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Our concept was led very much by the shop's location on Portobello road — an area with a diverse cultural community and strong and vibrant visual identity, the shop premises which had a large external wall, and the owners mixed Irish, African and West Indian heritage.
Taking the geometric wall murals of the Ndebele community of South Africa as a starting point we created our own contemporary version in ceramic tiles for the large exterior wall of the shop. With the pattern itself being so striking, the typographic element of the identity had to be quite understated so as not to clash.
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Multistorey was commissioned by Somerset House to design the graphic elements for
Due to the dark environment required for the exhibits, internal graphics and labelling would be very hard to read so we kept them to a minimum, providing a 120 page illustrated guide for the visitor to work alongside very simple caption labels. They could then take these away with them for future reference.
Alongside the exhibition graphics we designed all the marketing matererial including invitations, posters, banners and advertisements.
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Multistorey were asked to re-brand a (now sadly defunct) London florist. We found something charmingly anachronistic about the word 'modern', and felt it would make an interesting starting point — using historical reference points, and exploring what was 'modern' to previous generations of florists. In this way, we could avoid producing a modern rebrand that would date very quickly...
Using 1950s style white trellis as the structural foundation, we then quite literally grew type around it like vines. We also created windows or shards within the trellis patterns to hold secondary type. The contrasts between sugared almond pink, grass green, and the harder and softer elements of the designs allowed for a treatment that wasn't overtly feminine, it is men after all who are supposed to be the bigger buyer of flowers.
A large suite of stationery was implemented, each item with a specific trellis shape. One of the more interesting pieces is the bespoke carrier bags whose cord handles actually weave in and out of the printed trellis. The wrapping paper is printed with more abstracted patterns, wrapped and tied with ribbon printed with a continuous vine.
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Multistorey were asked by
We wanted the shoot to be as honest as possible, but to create optical alchemy by turning our cheap and raw props — telephone-cable keyrings, drawing tools, light bulbs and handmade approximations of the handset's keypad and screensavers — into infinite and beautiful sci-fi landscapes when placed within the reflective set.
The brochure itself was laid out as one long strip and pages were french-folded (and printed with solid fluros on the reverse) to enhance this wrap-around effect. The centre spread of the brochure is folded like a pop-up book along the angular lines of the keypad. The typographic headlines were made from hand cut and folded paper, photographed and overlaid on the geometric images to increase the level of 3-dimensionality. The brochures are printed on high gloss card and bound with electric blue tape creating a very tactile experience.
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The second
Our main signage was made from coloured upholstery foam cut into oversize letters that were loosely stacked up to create our logo. We also produced leaflets and badges for each designer and their wares.
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progresspackaging.co.uk
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When rebranding this vibrant West London theatre, we aimed to describe its complex energy and personality, to give it a unique visual personality — as a restless and curious mind, willing to explore all genres and aspects of the stage. It became apparent to us that the identity shouldn't be created on a computer, so we developed a hand written system to become both the signature logo and the general voice of its presentations. The idiosyncrasies inherent in the mark making of spontaneous handwriting are key to the personality of the
Our three years as the
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The 2006 theme was inspired by the North East’s biotechnology industries. We jumped headfirst into the tabloid style scare-mongering of such issues by creating provocative, intriguing and absurd statements, each referring to its host marketing material as a living being — the posters were clones of real posters, the guidebook was genetically modified to be 150% more useful, the adverts had been tested on animals.
To introduce the 2008 theme of Broadcast, we experimented with patterns that describe radiowaves and transmissive signals, and this time our statements used the language of telecommunications to discuss the potential of the visitors as being both the transmitter and the receiver of broadcasts. Work for each festival included outdoor and press campaigns, screen idents, art direction of website and a 52 page A5 festival guide book.
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Electrical circuits were used as visual metaphors to describe the various links between the exhibiting organisations and designers, and as a navigational aid for both the space and the printed material. To create a flexible and fluid system, we commissioned London-based illustrator Marcus James to hand draw the electrical components, connectors and cabling involved. These formed the basis of all the exhibition graphics including a 6x4m information wall, A5 information cards for each designer and a 40 page A6 exhibition brochure.
Reinforcing the graphic system, tangled electrical cables cut from colour-coded vinyl created pathways on the floor of the exhibition space between each exhibitor's plinth and the main hub information desk. The distinctive UK three-pin electrical plug was a key detail in our concept and the main overhead signage was constructed from six-socket extension leads wired together into grids, with dot-matrix text made from plug-in children's glowlights. We also produced die-cut beermats in the shape of plug sockets for use as flyers.
The exhibition's structural and spatial elements were designed by Frank.
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The logo consists of a specially drawn typeface which incorporates a K made from lines that resemble hair. The packaging design was kept simple and clean and easily navigable, as the existing client base ranges from very young to elderly people. Colour coding helps to define product grouping and also correlates to colours used in the original packaging to avoid confusion, although we selected a new set of hues within each colour palette to freshen the range. The boxes are made from a pearlescent stock, evocative of the clean, shiny appearance of healthy hair.
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We designed the entire packaging range for the household storage department of
Initially designed for the Lifestore, the packaging was then rolled out into stores across the UK.
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Barnaby Roper's photographs for the
For the Autumn/Winter 04/05 brochure we again tried to capture a feeling of a personal collection of photographs. This time we created a huge collage of Barnaby Roper's photos and used detail shots from it as each of the brochure's spreads. A photograph of the entire collage was printed as a poster and inserted into each copy. To complement the brochure we created press ads, instore posters and an instore/online short film for the collection.
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