More publications……

segdDESIGN have recently published their magazine, issue 34 which features BrandCulture’s World Square Car Park. Their statement, says ” Whether they’re placemaking, camouflaging, or guiding, these parking garage graphics put the FUN in functional….” here here!!

Multi storey car parks have a complex set of navigation challenges for a wayfinding designer to address. Consideration for the needs of pedestrians and motorists – differentiating between arrival and departure journeys as well as service or vendor routes. Competing distractions vying for driver attention i.e. the hunt for vacant spaces, absent minded pedestrians and reversing cars all need to be taken into account. Unlike many environments where the design brief is for discrete solutions that remain largely invisible until required, a car park of this size needs clear advice that is hard to miss.

Our research showed that the line of sight for the two main users, ie motorists and pedestrians and truly understanding the traffic flow of the space used were key to creating an innovative wayfinding system. These principles ultimately led to a better understanding of how cognitive mapping and circulatory navigation would help the outcome. Using intuitive design featuring full height icons, type and colours viewable over long distances; the second from the more elevated position of a pedestrian standing, the experiential factor then became a differentiator between this car park and so many others around the globe, and helped gain industry best recognition.

What a great way to start the year, BrandCulture have just received their brand-new, shiny copy of “Follow Me – Wayfinding & Signage System” by SendPoints Publishing which includes four of our projects; Sydney Water Parramatta, World Square Car Park, Mirvac Perth and UTS – Find & Discover.

As we believe, wayfinding is ultimately a science: the science of helping people find their way around. But just as importantly, there is an art to creating appealing, logical wayfinding systems as key opportunities to connect and communicate. When done successfully, wayfinding is a discipline that understands how individuals make decisions and perceive the environment when navigating unfamiliar spaces, and then responds with intuitive, aesthetically appealing results.

Wayfinding can be defined as spatial problem solving. It is knowing where you are in a building or an environment, knowing where your desired location is, and knowing how to get there from your present location. A good wayfinding system gives strong indicators of where the user is and how to get to her destination from her present location. Wayfinding problems occur when decisions cannot be executed.

With each project we take a scientific and creative approach to designing Wayfinding systems that have meaning and impact. This publication contains 126 applications and 49 concepts, sharing international knowledge and pioneering new concepts and designs for wayfinding, in the built environment.

Students use the 7 storey atrium to congregate, share ideas and basically hang out between classes – in short they collaborate on projects in their own way. The space is impressive with huge acrylic balls in a variety of neon colours by lighting installation artist Emrah Baki Ulas. BrandCulture considers the space as a journey where questions were opened up in the minds of the students in the teaching labs, the central area is where they collaborate on the development of those ideas and answers are found.

A continuous line, loops through itself at the start of the back wall to form a ‘Q’ and continues the full length to meet up with the feature laboratory to spell out the word ‘collaborate’ and eventuate as the letter ‘A’. As we are all aware, all answers are found in the Q&A section of any good website…

BrandCulture were engaged to create a full identity and branded suite of stationary and marketing communications, including an online (digital) strategy; website, SEO campaign, EDM marketing campaign etc. The result produced a ‘grown up’ skin that the rapidly growing company could grow into. Over the years BrandCulture kept in touch as Progress Pacific grew and was eventually sold to the new owners who have grown the business further and built one of Australia’s best SAP engineer consultant networks.

While the identity stood the test of time, the website was redesigned in-house and ‘organically grown’ over a few years. The look, feel and user experience was disconnected from the brand and difficult to navigate. Early in 2010 BrandCulture were asked to come and evaluate the situation and put forward a proposal on how best to move forward. There was more to it than the website, as Progress pacific wanted to break into the software mecca of the world, America! They had developed a suite of very clever software simulations over the years, that negated the need for costly user acceptance testing (UAT) groups before activation of the SAP systems that were under management by Progress Pacific. BrandCulture developed a new brand that tapped into the existing Identity and ProSuite was launched!

BrandCulture collaborated closely with Progress Pacific’s management to developed a new digital strategy in-line with the short and long term business objectives. This formulated approach was implemented over several months with an ultimate aim for the company to take day to day management of the website in-house once the SEO campaigns were up and running. BrandCulture would only develop new campaign ideas as required to keep ongoing costs manageable.

The digital strategy was formulated in-sync with a marketing strategy, focussing on the new ProSuite software products. Everything from the brand identity, marketing collateral, trade show graphics and on-line store where the products could be easily purchased was created. By having an online store their SAP engineers and trainers could make clients aware of these new tools and they could buy them on the spot, often in multiples of 10 as they were a real innovation in this marketplace. Also the sales team could sell the ProSuite products immediately when they hit the trade shows in America and Asia, this was an essential strategy to ‘get the product out there ASAP’ before another company copied it and diluted the offer.

The ultimate success came in the form of a buy out early in 2011 by a major player in the SAP marketplace. The Return On Investment (ROI) obviously paid off many times over proving that by investing in strong branding and implementing a clear marketing campaign inline with your business objectives is well worth while.

Our mission at Progress Pacific is simple, utilise the best people with the best SAP skills to deliver great results for our clients every day, every single time.

Mission Statement

“To provide the best quality SAP™ management consulting services and solutions with the objective of creating tangible benefits to our clients whilst ensuring challenging opportunities to our valued employees”.

Read more: Progress Pacific website

Deborah approached BrandCulture to collaborate on the production of a complete Visual Merchandising manual for the 500+ stores across Australia and New Zealand. A full audit including staff interviews, brand signage, Point of Sales merchandising and logistics was undertaken across the network of stores. All situations phtographed and a distilled set of guidelines was produced to define the OPSM brand experience all customers would engage with at all OPSM brand touch-points. How staff would set out the POS signage, the marketing displays should look and be positioned around the store to gain maximum impact but not infringe on the overall experience. The detailing and documentation an was immense task over 2 years and is now the backbone of how the stores function.

An important aspect was how to get staff to engage with the new set of guidelines and break their old habits. The store manger would first receive a box containing a folder inside saying ‘ unlock your stores potential’ but it had a padlock on the outside…. in small type next to the lock was written ‘ your individual store code will arrive shortly’ creating a sense of suspense and anticipation. Two days later a card would be received saying ‘discover the secret to a winning combination’ on the outside, and on the inside ‘and reveal how visual merchandising can make our brand stronger’. The manager could then scratch off the 3 circles and reveal a code that could be used to unlock the box containing the Visual Merchandising folder….

BrandCulture has recently completed an installation design at Commbank Place at Darling Harbour that has roots influenced by the Swiss artist Falice Varini. The key messaging for Commonwealth Bank was to welcome the cus

tomer into their new branch and to display one of the most recognisable and trusted brandmarks in the Country to their clientele, a reminder of why they choose to bank with the Commonwealth Bank of Australia. BrandCulture was asked to work on a zigzag feature wall within the space that could display information to people both leaving and entering… Longtime fans of Varini’s work, BrandCulture set about to integrate the Commonwealth Bank messaging and branding into the environment.

The following is a excerpt from Varini’s site…“My field of action is architectural space and everything that constitutes such space. These spaces are and remain the original media for my painting. I work “on site” each time in a different space and my work develops itself in relation to the spaces I encounter. I generally roam through the space noting its architecture, materials, history and function.”

BrandCulture looked closely at how the customers would move through the space, making use of the traffic workflow and spaces… Personal banking areas equipped with iPads, telephones and printers are located along the main feature wall. If more assistance is needed the teller location at the back of the office does away with security screens and a more personable experience with relaxed tables and offices. Turning to exit the space, an automatic foreign exchange converter and coin counter sit opposite the feature wall. These locations create a natural viewpoint for the feature wall, part of an “inevitable route” within the space, a perfect opportunity to view the installation.

Varini goes on to say “From these spatial data and in reference to the last piece I produced, I designate a specific vantage point for viewing from which my intervention takes shape. The vantage point is carefully chosen: it is generally situated at my eye level and located preferably along an inevitable route, for instance an aperture between one room and another, a landing… I do not, however, make a rule out of this, for all spaces do not systematically possess an evident line.It is often an arbitrary choice. The vantage point will function as a reading point, that is to say, as a potential starting point to approaching painting and space.The painted form achieves its coherence when the viewer stands at the vantage point.”

Entering or exiting the space gives the viewer multiple viewpoints of the branding, the messaging and the images that focus on the inter-dependant relationship between the bank and their clients. The imagery of these moments represent the customer and also the development of our communities right across Australia by capturing local imagery to the branch. Whilst the Entry and Teller points highlight these assets, the real experience is had moving through the space and seeing the movement and construction of the logo, the development of the typography and the visual moments featured along the wall.

Lastly, Varini deals with the changing view points… “When he* moves out of it, the work meets with space generating infinite vantage points on the form. It is not therefore through this original vantage point that I see the work achieved; it takes place in the set of vantage points the viewer can have on it. If I establish a particular relation to architectural features that influence the installation shape, my work still preserves its independence whatever architectural spaces I encounter. I start from an actual situation to construct my painting. Reality is never altered, erased or modified, it interests and seduces me in all its complexity. I work “here and now”. Felice Varini

To view the Commonwealth Bank Darling Walk Branch, please click here

This work has also been published at the Desktop Magazine’s and AGDA Website

Both Directors and all our staff have extensive experience in the design and delivery of projects across a diverse range of typologies. GWA currently employs twenty-one staff many of whom have worked with us from the practice’s inception and in some cases worked alongside us prior to that.

Read more…

Soon after the website was launched we were again brought in to discuss how their marketing collateral and working documentation could be branded in a similar fashion. We started with the hardest component first, the identity… the initial realisation is that there are only two partners Ross Gardner and Toby Wetherill so the ‘associates’ could easily be dropped, simplifying the identity immediately and using the word associates seemed a bit old fashioned. The identity went though many iterations and competitor brand profiling but it was the simplest solution that seems to be the most effective, this is a work in progress but nearing completion. Brand identity guidelines, corporate stationary, marketing literature and general company documentation are being created to further reinforce the commitment to a new way forward for this company who are moving from strength to strength every year.

We are currently scoping a bespoke branded collateral system that can be managed in-house for all of their marketing and project documentation needs (EOI, RFT responses etc). BrandCulture have developed a system for other clients in the field of architecture and building where we design, implement and train staff so most of their marketing and branding needs can be handled in-house, reducing marketing costs and expanding their brand voice.

After the two World Wars and the atrocities that were suffered globally The Universal Declaration of Human Rights was written. Quote ‘Whereas disregard and contempt for human rights have resulted in barbarous acts which have outraged the conscience of mankind, and the advent of a world in which human beings shall enjoy freedom of speech and belief and freedom from fear and want has been proclaimed as the highest aspiration of the common people’.

This essential text resonates for all employees at this Australian Government department in one way or another. BrandCulture undertook a typographic exploration throughout the new office environment on Pitt Street, Sydney. There was a need for wayfinding and environmental graphics  which came together in a successful branded environment.

As you enter the office on Level three you are welcomed by offset hanging black boxes inlaid into a wall of timber beams connecting the floor to the ceiling. Excerpts taken from the declaration, run sporadically from floor to ceiling on the timber beams, full articles are annotated on the black boxes and ‘key messaging’ is pulled out through typographic treatments to identify the importance of certain articles. This same architectural feature links the fourth and fifth floors via an open void stairwell between breakout areas within the office, signifying the need for interconnectivity throughout this organisation.

Meeting room and personnel offices are covered in typography referencing the declaration where two layers combine; a transparent coloured film with a key word or message is accentuated and overlays the full article text. The Executive offices are treated with a white print and ‘key wording’ is pulled out with orange highlights. The AHRC brand identity was realised on an up-dateable star fire glass sign in reception, the brand colour is light blue and so this became the colour used on the public floor, a deeper purple/blue was used for the administration areas and orange for the executive floor.

The Wayfinding concept on the main public floor that houses the two large hearing rooms references famous Australian Human Rights activists such as Sylvia Scott, Truganini, Carol Kendell, David Unaipon, John Pat, William Cooper, Vincent Lingiari, Eddie (Koki) Mabo, Shirley Smit (Mum’ Shirl) and Ruby Hunter. For the rest of the environment room numbers were integrated into the typographic designs on the entry doors for each room. Utility rooms were identified using typography applied to the end sections of door entries so they could be seen from down the corridor.

Featured in AGDA (Australian Graphic Designers Association) Online - view the article here…

Human rights: everyone, everywhere, everyday
Our Mission: Leading the promotion and protection of human rights in Australia by:

- Making human rights values part of everyday life and language;
- Empowering all people to understand and exercise their human rights;
- Working with individuals, community, business and government to inspire action;
- Keeping government accountable to national and international human rights standards;
- Securing an Australian charter of rights.

We do this by:

- Listening, learning, communicating and educating;
- Being open, expert, committed and impartial;
- Fostering a collaborative, diverse, flexible, respectful and innovative workplace.

Read more…

The Red Palace was the previous residence of the King of Saudi Arabia, which after use by several government departments became the focus of an international competition to rejuvenate the building and grounds. This competition was won by Tropman & Tropman architects of Sydney Australia with a fabulous design that incorporated a modern museum building into the grounds that is connected by a stunning glass atrium. The head of design, Tasman Storey worked previously at Mirvac Design (HPA architects) and brings vast experience to the international team.

Tropman & Tropman architects are no strangers to working in Saudi Arabia and have a profound understanding as to the sensibilities and customs of the proud Arabic culture. BrandCulture were asked to present our design credentials and after a brief discussion including Stephen Minning’s past working experience in Middle East (Dubai) we were asked to join the team.

A brand identity was required for the palace so we started with an audit of all Saudi government buildings and established an opportunity for where the brand could be positioned in the minds of the people of Riyadh and the cities tourists.

Based on the brand positioning strategy, three identities were presented and the choice has been made to go with the ‘Seal of Approval’. Building works are expected to begin early 2012.

The High Commission for the Development of Arriyadh and its executive branch, Arriyadh Development Authority, have been established by virtue of the resolution of the Council of Ministers No. 717 issued on 28/5/1394H. Other regulations and rules were formulated stating its developmental and planning role by the resolution of the Minister of Interior No 4/212 issued on 20/1/1395 H. These regulations allow for high degree of flexibility in administration and financing and wide range of powers and jobs.

Read more…

BrandCulture were commissioned by HR director Wendy Lenton to review the identity and present choices as to how the existing brand equity would not be diminished when creating a new logo identity. After a comprehensive brand audit and interviews with a diverse staff audience, the identity was designed and guidelines established. The roll out across the company is in progress and should be finalised by early 2012 with a road show to 52 sites across Australia and New Zealand.

After the refresh of George Weston Foods corporate identity and the creation of their branded environment at the new North Ryde headquarters, GWF Foodservice was up and running, although in need of brand identity guidelines and an advertising campaign to establish the services on offer. Our brief was to find a way of letting their commercial customers know about this new service… ‘Get to know us, your Customers do’ became the line that encapsulated this. Along with the advertising campaign, we created a motion graphics presentation to run at trade shows across the country.

Commonwealth Bank Place (CBP) at Darling Walk is the latest development to the City of Sydney upgrade of Darling Harbour, and it looks great so if you haven’t been there then go take a look. The new offices have been designed by Francis Jones Moreton Thorpe (FJMT) to incorporate marketing in one building and the retail and investment divisions in the other, 5500 staff in all.

At street level facing the impressive new park-scape are a parade of shops and one is the new flagship branch for Sydney. Davenport Campbell detailed the interiors under the direction of CBA’s Tim Bisario, Architect – Lead Design. The Executive Manager of Retail design was familiar with BrandCulture’s work and engaged us to develop concepts for a feature wall in the branch that would show CBAs commitment to innovative branded environments for the bank and a benchmark for future stores nationwide.

During the concept development process BrandCulture designed the new Foreign Exchange style being used on the ATM at the entry, which will now become part of the CBA brand collateral moving forward.

PHOTOGRAPHER – Andre De-villiers – ARD Studios

Featured in AGDA Online (Australian Graphic Designers Association) - view the article here…

Featured in Desktop Online – view the article here…

In terms of scale, the Group has a strong domestic presence with the largest customer base of any Australian bank and operates the largest financial services distribution network in the country with the most points of access.

Read more…

BrandCulture features as an Award winner in the SEGD’s most recent publication no. 33 for the ‘Find & Discover’ environmental graphics and way-finding project undertaken for the University of Technology Sydney 2010- read more….

This project also made it as an AGDA (Australian Graphic Designers Association) finalist 2010 – read more…

Over the years, the SEGD Awards have reflected the depth and breath of environmental graphic design, demonstrating its increasingly important role in how people perceive, navigate and use public spaces. There were a total of 452 entries from which 28 projects were selected for recognition and these projects exemplify how human-centred visual communications can help users and make our world a better place!

Since 1978 SEGD has honoured the highest standards of excellence in the environmental graphic design through the SEGD Designs program. This issue represents the SEGD’s most international and diverse group of projects to date, so check it out!

SEGD exists to create educational and professional development resources for a diverse multidisciplinary community of people who practice environmental graphic design.  www.segd.com

BrandCulture was a finalist in the Desktop 2011 Qantm Create Design Awards for the Identity Branding work done earlier in the year for George Weston Foods.

BrandCulture created a new Corporate Identity for George Weston Foods – a part of Associated British Foods, a company that has an annual turnover of around $11 billion. In fact 90% of Australian households consume one of their products every day so we all know their consumer brands; Tip Top, Abbotts Village Bakery, Golden Crumpets, Wagon Wheels, Bazaar, Don Smallgoods and there are also a fair few commercial brands like Jasol, KP Castlemaine, Top Taste and Cereform.

The identity needed to respect these brands in their new office environment but at the same time position it as a contemporary leading Australian Corporation. The new line is ‘ the best food in the business’ – Read more…

The Barangaroo Delivery Authority is committed to sustainability and their new offices in the Sydney CBD overlook the Barangaroo site, and includes a public space with a viewing platform where the entire site can viewed. The office was designed by Woods Bagot who are world leaders in creating these types of environments, their team, led by Tamara White, produced an exceptional outcome.

The office environment features predominately reused furniture and artefacts from the Barangaroo site to demonstrate sustainability. BrandCulture created ‘A Sustainable Conversation’, centred on the metaphorical second life of these once disregarded items.

At the office entry an introduction to the sustainable story is provided via a three-metre display panel made entirely of Re-Board, an environmentally friendly print and display product. The raised wooden viewing platform may initially go unnoticed, but the ‘sustainable’ conversation reveals the wood was once part of the working wharves that are soon to be demolished to give way to a beautiful public park, designed by Peter Walker (also responsible for the design of the National 9/11 Memorial in New York).

The conversation on sustainability within the office comes to life though cubes (made from Re-Board) scattered throughout the office and tags hung off chairs. These create awareness of not only the reused furniture but also provide tips to help achieve the universal goal of a sustainable future. It’s hard not to pick up a cube or not notice the tags aren’t actually furniture labels. Also dotted around the office are reminders of ‘Zero Waste’ ‘Water Positive’ and ‘Community Wellbeing’ in the form of the Barangaroo aerial outline, each one attached to the tops of the desk dividers or sit playfully on shelves and cabinets.

Featured in AGDA Online (Australian Graphic Designers Association) - view the article here…

Featured in Desktop Online - view the article here…

Over the years a variety of signage had been put up for compliance reasons but in fact this had lead to a high amount of visual noise and confusion within the back of house areas. Our objective was to create a clear concise and sustainable signage system that could be managed and updated internally once handed over. We started with an audit of the existing signage to ascertain exactly what the communication requirements were. Next we documented all environmental influences on the users of the space from site lines, danger areas, congestion points and drop-off zones where the huge amount of goods are transferred between various members of staff on its way to a final destination. Combining these two created a new sense of order within the space where safety was key to many of the sign locations and clarity of reading was a priority not overlooked.

Research was undertaken of many high traffic locations where large machines and people shared close proximity to one another resulting in a seamless flow of traffic was achieved. Amongst this research, airports and shopping centres featured as key reference points throughout the decision making process. The gained knowledge allowed us to understand the importance of colour, size of typography, height of signage and placement relative to sight lines, and how people overwhelmingly looked in particular elevations within environments and especially corridors.

Materiality played a key role in how the signage system would be manufactured and installed so the system could achieve a sustainability objective set out at the beginning of the project. This meant an overrun of slats were created and an in-house etching and vinyl cutting machine was purchased. BrandCulture specifically designed and produced artwork that could later be manipulated, produced into signage and installed consistently with the visual guidelines to keep the signage system readable and neat. The result was a much cleaner environment (for security reasons BrandCulture was not allowed to photograph this area) with an outcome that the users of the space could navigate the space easily, reducing stress levels and improving efficiency.

Tabcorp is a successful, diversified and responsible organisation, conducting a unique combination of wagering, gaming, keno and media activities across Australia.

As a diversified entertainment group, Tabcorp strives to offer a first-class entertainment experience for our customers, great opportunities for our employees, support in the community and value for our shareholders. The company’s culture embraces teamwork, integrity, performance, innovation and customer understanding.

Tabcorp manages leading customer brands in Australia, including TAB, Tabaret, Keno, Luxbet, TAB Sportsbet, Tabcorp Gaming Solutions, Sky Racing and Sky Sports Radio, serving millions of customers every day.

The company continues to actively support many local communities with a range of donations and sponsorships for sporting groups and community services. This is on top of the company’s contributions to state community benefit funds in Victoria, New South Wales and Queensland, which in the year to 30 June 2010 totalled $87.9 million.

Tabcorp was listed on the Australian Stock Exchange (ASX) in August 1994, at $2.25 per share, to acquire the wagering and gaming businesses of the former Victorian Totalizator Agency Board. Tabcorp acquired the Star City hotel and casino, a major entertainment complex in Sydney, in 1999. In 2003 the company merged with Jupiters, the owner of hotel and casino complexes in Brisbane, Gold Coast and Townsville as well as gaming machine monitoring. In 2004, Tabcorp completed the acquisition of Tab Limited, the New South Wales based wagering, media and gaming company. In June 2011, Tabcorp completed the demerger of its Casinos Business to form the newly listed Echo Entertainment Group Limited.

Read more…

How do humans really perceive light and spaces? Kit Cuttle proposes a fundamental rethink of how lighting should be assessed and designed so human response, visual clarity and assimilation with architecture are considered to ensure the lighting is elegant, visually effective, energy efficient and actually enhances the experience.

Kit proposes a new measurement of ambient light PAI (Perceived Adequacy of illuminesance) where light would no longer measured at desk height (horizontal work plane) but at a persons eye level with reflected light from the surrounding surfaces and objects in a room. Thus the environment would play an essential part in creating the lighting required for different situations such as reading, walking, eating and meetings, not all need high levels of light.

Apparently in 1911 a lighting report published in a handbook by the London Illumination Society noted required lighting levels at a fraction of what are current standards today.

A couple of years ago BrandCulture were engaged by xyznetworks (Foxtel) to work on the new offices in North Ryde. The staff had moved from a ‘warehouse’ style of office with considerably less lighting and were generally aggravated and complained about th lighting in the new office, to the extent of taking out the lights themselves to reduce the overall glare in the office. Most of the surfaces were white; desks, walls, powerblades, pillars  etc… needless to say there was an issue that needed to be addressed in order to make the occupants feel comfortable in their work place.

BrandCulture devised a solution (working with lighting engineers) where walls and columns were painted matt black, in the instances of the building columns blackboard paint was used so the staff could use these surfaces. The end walls in each work space had key focal environmental graphics installed using an updatable frame system in conjunction with wall wash lighting. The powerblades were also wrapped with up-dateable environmental graphics and small down lights were added again to focus on these areas to create a more dramatic effect in the space.

There was little budget to change the ceiling grid lighting system so we devised an innovative solution of printing to opal acrylic panels (using the brand graphic in B&W so as not to affect colour) in order to reduce lighting levels without changing the light fittings completely. The end result was a more content workforce and a branded environment the company felt was a true reflection (no pun intended!) of what they did.

These projects above were referenced by Kit Cuttle in his presentation; Kerry Hills Architects created a cleverly layered series of interlocked spaces over several levels when they designed the The State Theatre of Western Australia, lighting design by Electrolight. The lighting is an integrated element of the architecture which helps to create a distinctive daytime and night time appearance that delineates both the function and the form of the various spaces. The overall design concept for the lighting to the State Theatre of WA seeks to metaphorically support the activity of making of theatre, a craft that informs explicitly and subtly the way we think about the world. The lighting always seeks to impart a sense of drama and possibility in its application and appearance. Light leads the visitor on a journey through the space that resolves around the dedicated illumination of specific elements and functional requirements. We have not designed for blanket uniformity but rather a quality of light which provides strength of focus and contrast. Light accentuates material selections, reveals textures and supports the fabrics palette. Luminaires that are not concealed have been deliberately positioned to create unexpected arrangements on the ceiling surfaces that encourage a renewed sense of character for the space.

Here is update as to what has been happening with BrandCulture over the past few months.

Braun Publishers (Switzerland) are publishing ‘Signage Design’ this November and are including 4 of BrandCulture’s to University of Technology, World square car park, Sydney Water and George Weston foods projects to be included.

UTS new collaborative space in the main tower is about to get a fresh new look after Hames Sharley have created 2 new lab spaces and a collaborative central atrium space below the glowing neon balls in tower 4.

CBAs new offices (Financial review article) at darling harbor incorporates a flagship branch at street level, BrandCulture have designed the feature installation in collaboration with Davenport Campbell and the CBA team to be installed for the opening in early September. BrandCulture have also been awarded the St James branch to create a separate feature installation later in the year.

Australian Human Right Commission moves into a new headquarters designed by Woodhead on Pitt Street in Sydney’s CBD and we are branding the environment with the universal declaration of human rights across 3 floors. Office of the Australian Information Commissioner have a new office as a sub tenant if the AHRC and have decided on a design that reflects their interwoven culture and integrated approach to communications and information.

MLC Campus in North Sydney, in the 50s it was a defining piece of architecture, in 2002 the interiors were a benchmark of office environments, now Woods Bagot and BrandCulture are collaborating once again on the new latest and greatest development to the building.

More to come, so keep checking……

Here it is! The Cubic Group head office in Newington had the BrandCulture treatment! We’re all pretty excited as to how this project has come up and wanted to share it with you, our followers… The concept behind this environment was to render images of Cubic’s impressive portfolio of work to compile a virtual tour of their projects and in turn make the office environment an extension of abstract spaces and line-work.

Entering the building the bold orange taken from the Cubic identity is seen throughout the environment and extends to the up-dateable portfolio wall in the foyer. Highlighting some of Cubic’s most notable projects the wall also served as an inspiration board for the environment… It was from this amazing collection of photos that we selected the images for the glass graphics. The stairwell on your left features more line-work and a reference to the heritage of Cubic’s Italian ancestry, culminating in a family portrait on the second floor.

Within the environment the sense of theoretical space is enhanced by the use of the transparent orange vinyl across different sections

The meeting room features a rejigged construction floorplan, a metaphor for the engine room of Cubic’s business. It is here that plans move from idea to concept to a realisation and we thought it fitting to document the walls as such.
BrandCulture is looking forward to fully photographing the space for our Portfolio section, stay tuned!”

“Barangaroo will be a place to inspire innovation for generations to come. It will be climate positive. It will reflect the extraordinary context of Sydney – its harbour, its diverse communities and its globally competitive business leadership. It will be a place designed for play and work alongside living and learning.”

Barangaroo is the future of Sydney. It is being created as a landmark for our economic future and to give people maximum access to the harbour.

It will become a spectacular waterfront precinct and a place that everyone in NSW and Australia can be proud of. Valued at over $6 billion AUD, Barangaroo is Sydney’s largest redevelopment project this century and will evolve over the next 10 to 20 years, injecting more than $1.5 billion AUD into the NSW economy annually.

Barangaroo is located on the western edge of Sydney’s CBD, on the shores of our world famous harbour.  It is currently 22 hectares of disused container wharves.

When complete, Barangaroo will showcase how city populations can live sustainably. It will create a new, 21^stcentury western face to our city.  It will include six hectares of a new headland park, busy public…  read more…

The book is full of wonderful projects by some great designers and agencies. As you know, our wayfinding project ‘Find & Discover’ for UTS was a finalist in last year’s AGDA Awards and it has also received great recognition internationally, including some wonderful inclusions in various design publications plus we were awarded a Merit Award at this year’s 2011 SEGD Awards.

The Bachelor of Design supports and encourages future designers to have a voice in the development of a sustainable, environmentally and socially aware world. The program is the equivalent of 4 years full time study with the opportunity to undertake Honours study in the 4th year. It recognises the College of Fine Arts’ particular strengths resources and requirements to provide an undergraduate program which places emphasis on an integrated approach rather than on narrow vocational specialisations.

The book is categorized into three chapters. In the first chapter, ‘Commerce’ (buying/ selling), experts cast a light on colour trends and dissect the use of colour in branding messages. The following chapter, ‘Aesthetics’ (making), offers an insight into the conceptual use of colour, as well as the challenges and techniques entailed when applying colour to a wide range of materials. The relationship between body, mind and colour forms the focus of the ‘Wellbeing’ (feeling) chapter. Additionally, facts about colour interspersed throughout the book trace what colour has meant to people and cultures down through the ages in every part of the world.

This book takes us on a colourful journey, hunting out and broadening our horizons into the immense potential of colour. With an appreciation of every nuance, tone, tint and shade, the possibilities are truly infinite.

www.framemag.com

Publication Details
Title: Colour Hunting
Subtitle: How Colour Influences What We Buy, Make and Feel
Release date: June 2011
Author: Jeanne Tan
Compiled by: Hanneke Kamphuis and Hedwig van Onna
Published by: Frame Publishers
Language: English
Size: 200 x 265 mm portrait
Format: 264 pages, full colour, hard cover
Price: €49.90 (excluding shipping costs)

There were a total of 452 entries from which 28 projects were selected for recognition. Once again UTS – Find & Discover, received a Merit award, the SEGD’s second highest award in the program.

The Jury comments:
“An incredibly cohesive environment, with the environmental graphics working hand-in-hand with the architecture and machinery. The floor graphics are appropriate for the user and space, effectively combining wayfinding, interpretive graphics, and safety.”

“Very simply, the environmental graphics work. Color and type and graphics are done sensitively and are appropriate to the environment.”

The Award ceremony this year was at Hyatt Regency, Montreal for the 2011 SEGD Conference+Expo+Awards.

Following on from our Vector Graphics and Anamorphisis post back in February, Cubic Group’s new environmental branding is now finalised and installed.

We took some of their key projects and applied them to the glass walls of their offices and meeting rooms. Each room has a different project which includes; ATO, Jessie Street Centre, Parramatta / Pinnacle Office Park, North Ryde / Sydney Water Head Office, Parramatta / Macquarie Bank, King Street Wharf / UNSW Cancer Research Facility etc.

Here’s is our Business Dev. Manager, Gordon looking rather happy with the job.

The images were cut out around the key features and linework extended from it to create a further sense of dimension while creating a ‘screen’ on the glass to add slight  seclusion between the two sides.

Stephen Pavlovic, the creator of this year’s Vivid Live and founder of Australian independent label Modular Records, has selected an extraordinary team from France, who has pushed the lighting of the Sydney Opera House sails further than it has ever been taken before.

The multi-disciplinary, art & design collective, SUPERBIEN create sumptuous environments of animation, photography, light, space and graphic design. I wonder what the late Bill Lambert would have thought about this spectacular?

If you have not yet had the opportunity to see these amazing visuals, go take a look… Happening every night until 13th June.

www.vividsydney.com

Like a giant jigsaw… The Opera House model was built by the late Bill Lambert has a total of 2500 pieces and was based on 8000 detailed drawings. Mr Lambert, who died in 1988, was a model-making genius. Joern Utzon (architect of The Sydney Opera House) designed the Opera House in 1966, and Mr Lambert was commissioned by the Department of Public Works to build a perfect miniature of Mr Utzon’s masterpiece.

This beautiful perspex model of the iconic building, helped solve some of the actual building’s engineering conundrums.

It took Mr Lambert seven years to build his model, which is 4.5 metres long, three metres wide and 1.8 metres high. Unfortunately Mr Lambert was never able to complete his masterpiece as the government withdrew funding in 1973, leaving parts unfinished.

Here is a follow on post from our earlier Vector Graphics and Anamorphosis post. The Cubic Group installation is currently underway.

To prepare for the installation of the Cubic Group project The BrandCulture Team constructed a model showing the linework and how it would appear on each window (see above).

Various materials, such as the perspex shown above, were used to create prototypes of the windows, showing how the lines look within the office space.

As we were in the prototyping stage, Tony, our Design Director, was testing materials, applications of capacity and colour to be applied to the Vanceva and clear glass panels. As some are up to three metres wide and the client wanted invisible joins, cast vinyl cut was recommended and artworked to hide the joins.

Here are the guys from The Coleman Group installing the test graphics, once the artwork and design was signed off and approved.

Each room showcases a different project, which includes; ATO, Jessie Street Centre, Parramatta / Pinnacle Office Park, North Ryde / Sydney Water Head Office, Parramatta / Macquarie Bank, King Street Wharf / UNSW Cancer Research Facility etc… The images are cut out around the key features and linework extended from it to create a further sense of dimension while creating a ‘screen’ on the glass to add slight seclusion between the two sides.

Watch this space for the finished project…

You may ask ‘who are George Weston Foods?’ and if you aren’t involved directly with the corporate world that would be a fair question. Here are two little known facts; 90% of Australians eat one of their products every day of their lives & 75% of Australian wheat is processed and distributed by Weston Miling. This is primarily because 70% of the bakery aisles in both Woolworths and Coles are GWF brands, along with Don KRC small goods and Jasol cleaning products, chances are you have bought or used a product produced by this company. Some of the better known brands are; Tip Top, Abbott’s Village Bakery, Burgen, Mills & Wares, Golden Crumpets, Big Ben, Bazaar, Watsonia, Bagel House, TopTaste, Don, KR Castlemaine, AGB, Weston Milling, Cereform & Jasol. Most of these brands (and more) are sold by the GWF Foodservice division to commercial kitchens, BrandCulture were accountable for creating the definitive set of brand guidelines and brand awareness advertising campaign in conjunction with trade show multimedia reels to promote the offering of this newly formed division.

George Weston Foods was established in 1946 and has prospered since, this strong lineage of excellent food production and marketing has kept GWF ahead of the game in Australia and abroad. BrandCulture were invited to visit two key properties; Tip Top in Chullora is the biggest bakery in the southern hemisphere and an impressive sight to behold with multitudes of lorries in and out of its loading docks every day, and the Enfield milling plant with its giant ‘robotic’ machines shaking flour and hundreds of massive pipes shifting tonnes of flour around the five storey plant with train loads of wheat drop off their consignment relentlessly day and night… you can only imagine the logistics Weston Technologies has to manage and maintain every day. There can be no ‘downtime’ in an operation of this size. This is where the concept behind the ‘string art’ installation in the reception came about; the massive complexity of machines and human resources behind the suited, friendly and passionate executives representing the corporate face of the company who work from these North Ryde headquarters.

BrandCulture were invited to present our work and later that day we were awarded the project. Two pioneering thinkers; John Wardley (Director of Innovation) and Caroline Egan-Strang (then – People and Culture) made the decision to put forward our creative services with the aim to influence and promote the evolving culture within George Weston Foods. The branded environment we created for  Foxtel owned xyznetworks was referenced for its unique approach to recognising the multiple stakeholders in the environment and their individual brands. Read more about the xzynetworks project here…

George Weston Foods is made up of seven divisions each containing multiple departments all with bespoke needs of their own. Wendy Lenton (Human Resources Director) previously at Vodafone, was another driving force behind the evolving culture and approved work on the refreshed GWF Identity with subsequent guidelines and associated internal comms collateral. Creating a better place to work was essential for GWF to become an employer of choice (as was the case with our Sydney Water project) and this starts with a strong internal brand with an awareness of it’s vision and values. Essential when you consider that GWF’s parent company is the corporate giant Associated British Foods Plc , one of the world’s leading food companies.

By mid 2010 George Weston Foods (GWF) were underway in their commitment to move into a new office of nearly 10,000 Square meters. The location of choice was North Ryde on Talavera road, the location of choice for many of Australia’s well known companies and their brands. The space was secured by Colliers international, a leader in global real estate services, bringing a ‘best practise’ approach to the design of the office environment as part of the evolving culture at GWF.

The George Weston Foods offices at North Ryde comprise of two relatively large floors, each around 5,000 Square meters. The new open plan environment was geared towards the changing mindset from siloed business units into an integrated open culture. Apart from the impressive meeting rooms and breakout spaces, there is a serious commercial grade kitchen that would impress any budding MasterChef! This state of the art kitchen facility is testament to the GWF innovation drive, it not only allows for new recipes and ideas to be explored but also houses a tasting room adjacent to the kitchen. The reception area is generously proportioned and leads you through the heart of the building using an interconnecting staircase.

Approach to the concept

From the reception you are greeted by the floor to ceiling ‘string art’ installation sandwiched between two glass walls, you can see straight through to the reception area from the lift lobby. On the front is the GWF Identity and it’s 6 divisions listed with lines emanating across the wall and tracing the strings inside. Behind the reception you see the Identity recessed into vertical white beams protruding from the wall and just below on the front of the desk it reads ‘The Best Food in the Business’ – the new Brand Positioning line BrandCulture workshopped with the executive leadership team to clearly communicate GWFs commitment in peoples minds when they come to the office.

The boardroom is covered in phrases taken from a company-wide employee interview programme undertaken initiated by Wendy Lenton to ascertain the general sentiment the workforce had for GWF. There was a overwhelming sense of PRIDE (an acronym for the values; Passion, Responsibility, Integrity, Drive and Empathy) that comes though when you walk the corridors at GWF, the people who work there are committed to what they do and the HR team is making sure they know just how much they are appreciated with an excellent recognition programmes, workplace flexibility & other incentives. The main workplace positioning statement is’ people are our best ingredients’ and he HR team is living up to expectations!

We approached the everyday touch-points in the environment with ‘consumer moments’ in mind, after all they are the life source of the company. The breakouts & study pods throughout the office are adorned with subtle images of consumers ‘in the moment’; East is breakfast, North is lunchtime, south is family dinner time and west is evening snacks.

Every division has a floor to ceiling pin board to workshop it’s current thinking in the new collaborative work space, printed into the pin boards are iconic images from the brands, a great backdrop and reminder of what their consumers are connecting with. This works in conjunction with vertical signage attached to the power blades (conduit taking cables from ceiling to desk) to identify the start and end of each corporate division, maintaing the sense of pride within the groups.

This project has been published in APD #7, 2011: www.sandu360.c0m

At George Weston Foods (GWF), we are about really, really good food, made by really, really good people for everyone, everyday.

GWF is a wholly owned subsidiary of Associated British Foods Plc , one of the world’s leading food companies. GWF’s principal operations are undertaken throughout Australia and New Zealand with a presence both in China and Japan. We also have joint ventures in the United States and parts of Asia.

GWF is one of Australia and New Zealand’s largest food manufacturers, employing around 8,000 employees in close to 60 sites. With a proud history of growth fuelled by both acquisition and an entrepreneurial spirit, we produce some of Australia and New Zealand’s best loved brands.

In fact, Tip Top® is one of the leading food brands in Australia and we produce around one million units of fresh baked product every day.

We also make other iconic brands such as Don® Smallgoods, KR Castlemaine®, Sunblest™, Golden®, Top Taste®, Bürgen® and newer brands such as Bazaar® Breads of the World™.

Our business is diverse. We are one of Australia’s largest millers and wholesalers of grain. We buy and use almost 500,000 tonnes of bread wheat each year. We supply to our customers and our Baking Division, making our business vertically aligned.

We have a fresh pork and dairy business, and are the largest manufacturer of smallgoods in Australia. We also produce and market our own cleaning and hygienic solutions under our Jasol® brand.

Our Milling division also provides an extensive animal nutrition service, supported by the manufacture of premium quality bulk and pelleted feeding solutions for commercial livestock.

Within our George Weston Technologies™ we offer analytical services to external companies.

At GWF, we aim to meet the needs of our consumer, by being close to them. We innovate our brands guided by understanding our consumers’ needs.

Wayfinding is ultimately a science: the science of helping people find their way. But just as importantly, there is an art to creating appealing, logical wayfinding systems that add context to your journey. The function of wayfinding is to inform people about their surroundings in the (unfamiliar) built environment. It is important to show information at strategic points to guide people in the right directions. See more on Wayfinding…

BrandCulture have been involved since the preliminary stages of the upgrade to StarCity – Tabcorp and recently completed and installed a sustainable wayfinding system (see the directory map above, which was the core of the wayfinding design). The aim was to reinvigorate the Back of House area where thousands of staff service large areas of retail, commercial and entertainment spaces every day. The wayfinding system needed to be flexible and sustainable to accomodate future changes, and this was considered in the selection of materials and manufacturing processes. The key objective in designing this system was legibility in such a high traffic environment where people and machines share the same complex, monotonous and confusing space in the belly of the complex. There are no windows or reference points to recall and navigate by and new staff are recruited every day by the many divisions.

The Sydney Water – Paramatta Headquarters core concept reflects the ‘journey to Parramatta’. The journey begins on the ground floor in the building lobby and arrives at the destination on Level 16 breakout. Each lift lobby features a graphic representation of the river sections, listing the meeting rooms for easy navigation, as shown in the image below. While the environmental graphics are a strong feature adding context to the building and the Sydney Water brand, the wayfinding information is clear and concise directing you to the meeting rooms.

The car park below the building continued the graphic styling of the environmental graphics used in the wayfinding thoughout the building, as you can see in the image below.

Landmarks, orientation and navigation are the characteristics which influence the way we interpreted the built environment with many of our Wayfinding projects; World Square car park, University of Technology – Find & Discover, Mirvac Perth, to name a few. The research process was a huge, important step to understand the built environment and where information was needed to maximize legibility of wayfinding systems, as shown in the image of the Sydney Water car park.

Dopress Publishing recently published a book entitled Find Me! It includes 4 of our projects and shows great examples of environmental graphic design and wayfinding, worldwide. Check it out!

httpv://www.youtube.com/watch?v=4Mxjbip6y04

As we continue to work and collaborate with top architectural companies and developers, incorporating greener ideas, we are also researching materials, fabrics, and printing equipment which are environmentally sustainable. We support Green Star, the Green Building Council of Australia’s (GBCA) environmental rating system for buildings and with extensive experience designing in compliance with Green Star guidelines, we are confident in creating sustainable design solutions/environmental graphics that add credibility and meaning to the values and practices of each individual company.

Last year BrandCulture worked with the Baragaroo Delivery Authority team, who will be delivering a Climate Positive precinct that values the wellbeing of people and the planet. Great work guys… find out more here…

Join us in making this world a better place – Earth Hour is around the corner – 8.30 PM on Saturday 26 March 2011, lights will switch off around the globe for Earth Hour. Switch all your lights and power sockets off, get outside and watch us make a difference together

Our designs are bespoke to each project. As shown above in the Department of Agriculture, Fisheries and Forestry project, glass graphics featuring monochromatic super-graphics form the centre-piece that interconnects floors throughout the building, and the wayfinding system.

With the University of Technology Sydney – Digital labs – in the Design, Architecture and Building faculty, the use of space is visually open. Glass graphics are applied to full height glass walls continuously over forty metres in length to maintain visual connectivity throughout the learning spaces and central collaborative area, eventually leading you through to the print shop and tutors private rooms.

Origin Energy’s Melbourne office, was translated across five levels throughout the entire office complex. The ‘energy circles’ glass graphics, subtly printed on semi-translucent film act as a seclusion zone from either side of the glass but keep the areas open.

Every modern office has a breakout space, in this instance it was an area adjacent to the main work area divided by a half height glass wall. Objective – to make it inviting and inspiring, whilst keeping audible noise between the spaces to a minimum.

We approached the project from both angles; pragmatically we dealt with the sound issue by building in 2 layers of glass, fully sealed and with a hidden tray at the bottom full of silicone crystals to soak up any condensation. Creatively, the image was chosen to represent the communities that Mirvac (the client) creates through their residential developments – two kids jumping off a pier into the water below… at the same time it captures a moment of freedom, surprise and happiness.

If only we could capture the energy and motion from the image… So we looked into children’s animated book covers as a reference… lenticular graphics… by viewing an image through multiple small lenses you see a slightly different part of the image from each eye creating a 3D effect. Obviously we didn’t have multiple lenses, but we had 2 planes to work with and several paths that you can approach the wall from. We adjusted the artwork of the printed image to create the 3D motion effect we wanted as you walked towards ‘The Playroom’. We experimented with colours, application of the image across the two glass planes, widths of printed image and clear space until we found the perfect balance in this environment.

The result is impressive, even mesmerising. The 3D lenticular wall captures your eye from anywhere in the main work area, there is a real sense of movement. It’s intriguing at first then you’re drawn into the room where the deconstructed ceiling and interior (designed by Geyer, Australia) takes you far away from the workspace but few inches away. Time to kick back and have a coffee and a chat, check out the sports results or snag a sandwich.

If you are interested in reading more about this project take a look at ‘The living line’ project we did for Mirvac in Western Australia. This lenticular wall was a key feature in the overall branded environment created for the innovative office which also included environmental branding and wayfinding signage wrapping ceilings, walls and cut into the carpet. Read more…

BrandCulture were recently included in this months InDesign Magazine, issue 44 which featured a 4 page spread on the 8000 Sq Meter Sydney Water Potts Hill project designed by Bates Smart Architects and built by Brookfield Multiplex. The branded graphics we created, interpreted some of the historic aspects to the site, where Sydney Water has history stretching back over 100 years. Further elaboration of the branded graphics adorn the meetings rooms show; the old pump house, schematics of the water flow, important documents of the time and local area maps.

If you are interested in this project you may want to take a look at the original project BrandCulture undertook for Sydney Water, it is their headquarters in Parramatta, a complete bulilding of 25,000 Sq Meters (see image below). It incorporates large scale branded graphics on glass meeting rooms and wayfinding signage with a through-the-builging concept. We also resolved the problem of displaying  internal communication posters and worked with the heritage department to create a museum style display across an entire floor around the formation and history of Sydney Water.

The image below is of  the xyznetworks reception, a part of the Foxtel network. Our  brief was to bring all the channels together under one roof, while retaining their individual identity and culture. These branded graphics were the first time the identity had been explored in the built environment. However as you go though the offices it was essential to capture the essence of each channel within the environment, given the high originality and diverse content being constantly created. Read more….

BrandCulture are working on a new environmental branding project for Cubic Group where we have taken some of their key projects and applied them to the glass walls of their offices and meeting rooms. Each room has a different project which includes; ATO, Jessie Street Centre, Parramatta / Pinnacle Office Park, North Ryde / Sydney Water Head Office, Parramatta / Macquarie Bank, King Street Wharf / UNSW Cancer Research Facility etc.

The images are cut out around the key features and line work extended from it to create a further sense of dimension while creating a ‘screen’ on the glass to add slight  seclusion between the 2 sides.

We are in the prototyping stage with materials and testing applications of capacity and colour against the vanceva and clear glass panels, some are up to three meters wide with no joins and this is why most will be cast vinyl cut.

Swiss designers ZMIK worked on the above project for iart International where they enlarged the narrow corridors of the Basel office building using the medium of anamorphosis (a distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point to reconstitute the image). They covered the corridor with line drawings of room interiors, which only line up to make sense from five fixed points in the space. The surreal design consists of black and white wireframe drawings of both real and imaginary rooms behind the corridor’s walls. The design is one that you may expect to see in an art gallery rather than an office building. This leads us into the whole other world of Anamorphosis which I find intriguing and hugely mesmerising. I’ll post more visuals on this topic next week, join us then.

Photographer: Eik Frenzel

As you are aware from a previous post, BrandCulture were acknowledged as a finalist at the 2010 AGDA Awards for their design – Find & Discover  - The University of Technology, which has now also been recognised world wide in several publications (Asia Pacific, Archiworld, Follow Me!)

AGDA are in the process of publishing their 2010 Awards Book, where you can find our work. We will let you know page numbers and image references as soon as the book has been published.

Cost:
Members – $135AUD
Non members – $175AUD

www.awards.agda.com.au/book/select

A member of our design team, Alex Baldock came across New York artist Tom Fruin’s outdoor sculpture ‘Kolonihavehus’ situated in the plaza of the Royal Danish Library in Copenhagen.

The “Kolonihave” concept started at the end of the 19th Century. The first houses were literally sheds that provided temporary shelter. Year after year the owners decorated, painted and worked in the garden until each little “Kolonihavehus” had its own identity. Today there are about 60.000 Kolonihaver in Denmark and more are in the planning. The new generations are still carrying on the tradition of “The little House and Garden”.

Fruin’s sculpture is constructed of a thousand reclaimed pieces of plexiglass which originate from many sources, including a closed- down plexi distributorship near Copenhagen and the dumpsters outside the Danish Architecture Center.

BrandCulture has been looking at using light and colour throughout some of their upcoming projects including The Red Palace in Riyadh, Saudi Arabia.

www.tomfruin.com

Wall murals can be used to great effect in offices, retail complexes and leisure/hotel environments. They change the mood of a space dramatically through the use of images, colour and wording. Depending on what you would like the viewer to think, wall murals are probably the most effective way of creating a positive emotional response from people.

Producing wall murals is far less expensive in comparison to changing the materials or structure of a space and are much less intrusive to install. Another great benefit of wall murals is that they can be updated easily making the space they are in fresh and interesting.

BrandCulture create stunning wall murals for a wide selection of corporate and retail clients across Sydney and Asia Pacific, our work on the  Qantas Branded environments includes graphics in Bangkok and london.

Staff areas at The Department of Agriculture, Fisheries and Forestry display wall murals above the printer stations on each floor depicting everyday experience of Australians working in the industries represented by the Department. Read more…

At Interiors Australia Group sydney office the wall mural feature in the reception area (image above) was designed to appear floating above the floor on a stainless steel supports, the colours of the sunset image matching those used in the graduating silk carpet. Read more…

In Mirvacs headquarters Sydney, colours and wall graphics individually selected for each floor act as an orientation reference. From the building’s core, it can be difficult to orientate, therefore ‘wall murals’ were positioned displaying the rising and setting sun. The sunrise located on the eastern side of the building and the sunset on its west… Read more…