Ilior is Greece’s first major co-living scheme, formed in 2018 by Daniel Lyssy with the aim of creating exceptional spaces for young and creative professionals who work from home. Having already launched Ilior One in the centre of Athens, Ilior is in the process of building an ambitious network of plug-and-play spaces and buildings across the nation that will radically transform the way Greeks live.
London-based art director and academic Nikos Georgopoulos, best known for his ‘Time travel branding’ trilogy, was given the creative freedom to brand the scheme. Similarly to other Mediterranean South European capitals, Athens is not very familiar with the concept of co-living. On that basis, Nikos decided to change the subject completely and position Ilior as an imaginary country.
Inspired by the notion that ‘our house is our castle’, the designer developed an overarching modular and flexible identity system that draws upon the idea of a ‘special place’. Central to the identity is a responsive brandmark that references the concept of a flag; a flag of an imaginary country where people can dream freely, work collaboratively; debate fruitfully and develop. By drawing upon the flexible architecture of Ilior spaces, the brandmark expands and contracts across different formats, when required. The colour palette embraces bright pop colours that no country in the world would ever use for its national flag. This country is entirely imaginary. That is its strength. Welcome to the land of the dreamers.
We were asked by the London Borough of Redbridge to create an overarching engagement communications strategy for two residential developments – Loxford Lane and Seven Kings. Though the sites are linked and were to be promoted with the same look and feel, each has its own vision and typology. The challenge of the brief was therefore to reflect the bespoke architectural response on each site, and at the same time tie them together graphically.
Redbridge, named after a red brick bridge which crossed the River Roding and was demolished in 1922, inspired the concept of a bridge between words and shapes. We created a font constructed with references to the bridge shape and used this to brand the developments. Each site then had its own separate graphic system while sharing an overarching creative idea.
Initially a communications strategy including a logo, flyers and consultation boards, the project developed to include a comprehensive place brand and advertising campaign of Redbridge.
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.
‘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)