Paradise Quarter

Commercial developer Blue Residences is creating an ambitious residential complex, located in the ‘posh’ suburb of Marousi. Set around an incredible park and the most ambitious business district of Athens, this new place will offer a sophisticated collection of beautiful and spacious apartments, elegant living spaces, unique amenities, smart features and stunning views towards the city. Looking to encapsulate this ‘blissful’ take on contemporary living, we helped them name, brand and shape a bold and completely new idea, which we called ‘effortless living’.

By considering the above, we positioned this place as a flourishing community at the intersection of contemporary urban and suburban living. We created a brand narrative that highlights one simple truth: this is the ideal place to live. Our first step was to name this exciting place ‘Paradise Quarter’ to reflect its scale and strategic ambition. Our concept was to make everything look ‘paradesian’ and pop, aiming to resonate with the audience, consisting of young families and first-time buyers. Drawing upon visual language often associated with paradise, we constructed fluffy cloud messages to evoke the ‘paradesian’ feeling that naturally, effortless living would evoke. The campaign launched with a small plane flying around Athens with a banner featuring the tagline ‘Effortless living forever’, positioning Paradise Quarter exactly where it is meant to exist; in the sky. Following this guerrilla marketing stint, the number of people discussing it and documenting it on social media grew rapidly, leading to high numbers of people visiting the website and the marketing film that we created. One week later, we launched the print campaign in newspapers, OOO, as well as digital ads on websites and social, expanding on the narrative. We also designed and art directed the marketing brochure, hoarding, and pavilion filled with plants and water fountains.

Aiming to avoid the slick branding typical of new developments & smart living, every creative decision that we made, was carefully orchestrated around our narrative responding to a simple question – ‘how does it feel to live in Paradise?’.

Hellenic Institute of Architecture

Since 1992, the Hellenic Institute of Architecture (EIA) have been discussing and acting on issues related to design and the built environment through a multi-faceted programme of exhibitions, events and conferences. Looking to stay relevant within the architectural scene on the back of their multi-decade stint as a cultural landmark, the Greek non-profit organisation turned to Marlon Tate for a reimagining of their brand.

Architecture is not about organising space; it’s more about creating the space and essentially constructing the presuppositions for living, in the same way that the EIA creates space for discussion and architectural ideas. On that basis, we could’t really create a static symbol for the EIA because by nature, space is fluid, variable and dynamic. And so we created a variable logo that changes shape to respond to its setting. The resulting identity system repositions EIA as a dynamic generator of space for architectural discourse, utilising the sheer scope of the discussions and ideas they make possible as its core concept. The new branding explores the possibilities of the logo as a frame to put work in, or a stage to place work on. The new identity and website of the EIA is expected to fully come into effect within the next couple of months as part of the engagement comms programme undertaken by the Berlin based shop Design Ambassador.

Jolles House

There is a crack in everything and that’s how the future gets in. Located within the mainly residential area of Bromley-By-Bow in Hackney, East London, Jolles House is a historical building named after Sir John Jolles; a city of London merchant and a member of the Worshipful Company of Drapers, who was Sheriff of London from 1605 to 1606 and elected Lord Mayor of the City in 1615. As part of an ambitious redevelopment programme by Poplar Harca and Pollard Thomas Edwards architects, the estate will now become an ambitious landmark building providing 70 new residential units within two buildings for young professionals interested in culture and East London’s famously vibrant community. Ahead of its launch, Marlon Tate created a new place narrative, brand identity, a tile-based environmental graphic system and launch campaign for the redeveloped Estate.

Our strategy was informed by the City of London itself, highlighting the fact that in this globally celebrated capital, past, present and future coexist in the most extraordinary ways. Inspired by heritage, local vernacular, British typography and specificity of place, our brand identity, wayfinding and marketing campaign for the landmark building echoes London’s past and present by drawing upon the disrupted aesthetic of old and new layers of torn up posters. That’s probably how the future gets in anyway.

Ilior coliving

Ilior is Greece’s first major co-living scheme. Formed in 2018 by Daniel Lyssy, it aims to create exceptional spaces for young and creative professionals who work from home. Ilior One —launched in the centre of Athens— is the first of the brand’s instalments. Indeed, 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.

We were given creative freedom to brand this unique scheme. Similarly to other Mediterranean South European capitals, Athens is not very familiar with the concept of co-living. With this in mind, we decided to change the subject completely and position Ilior as an imaginary country.

Inspired by the notion that ‘our house is our castle’, we developed an overarching modular and flexible identity system that draws upon the idea of a ‘special place’. For this purpose, a responsive brandmark that references the concept of a flag becomes central to the identity. 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, as required. To further illustrate its uniqueness, 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. In fact, that is its strength. Welcome to the land of the dreamers.

Redbridge

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.

 

 

 

Alma London

We have been working with Countryside Properties and Newlon on the regeneration of the 1960s Alma Estate in Ponders End, Enfield. The new masterplan creates nearly 1,000 new homes, with new community facilities, reintegrating the estate with the surrounding neighbourhood.

The primary route through Alma is a key access point into the Nature Reserve, a designated Site of Special Scientific Interest due to the bird populations supported by the reservoirs. The majority of new homes in Phase 1 will overlook the Nature Reserve, which is reflected in the masterplan, landscaping and design of individual buildings. Many of the building in the local area are also named after birds, including the tower blocks on the existing Alma Estate (Kestrel, Curlew, Cormorant & Merlin House). The new visual identity is intentionally restrained and celebrates this local tradition and the open public space fit for a thriving community.

At the core of the identity is a custom typeface, designed to reference the physiological structure of birds’ feet. The colour and material palette pay tribute to the texture and natural tones of the Portland stone and steel of the physical site, conveying a sense of timeless elegance and permanence.

 

 

Leon of Athens

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.

Moments magazine

Marlon Tate has art directed the first issue of Moments magazine, a new architectural biannual magazine published by the prominent newspaper To Vima in Greece. Curated by the Berlin based media shop The Design Ambassador, the publication promotes architecture through stories of every day people who live in important buildings. Through their seemingly random stories and personal narratives, the magazine inevitably captures moments of architectural culture.

Issue 01 of Moments magazine includes stories by a diverse group of contributors including the famous fashion photographer Erieta Attali, Danai Makri, Thanassis Diamandopoulos, and architects Konstantinos Dekavallas, Elastic Architects, George Atsalakis, Objects of Common Interest and Marlon Tate’s founder and creative director Nikos Georgopoulos. Marlon Tate commissioned photographers Alina Lefa and Spyros Hound to capture the beautiful buildings while juxtaposing them with beautiful archive photography kindly provided by Doma magazine.

Dress for Out Time

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

 

Architecture Foundation London

‘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

 

 

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