Sky Television in New Zealand knows that the Rugby World Cup 2011 is imminent. Will the mighty All Blacksbe match fit? More importantly, will Sky TV’s camera and sound crew be match fit? Gunnery Sergeant Cleaver takes the team through its paces, getting ready to show 48 games. The campaign is online atFacebook and Twitter (@sergeantcleaver).
Credits
The Match Fit ad was developed at DDB New Zealand by executive creative director Toby Talbot, creative director Regan Grafton, copywriter Gavin Siakimotu, art director Natalie Knight, agency producer Judy Thompson, account director Danielle Richards, account manager Brad Armstrong, and managing partner Scott Wallace. Filming was shot by director Tim Bullock via Prodigy Films with director of photography Geoffrey Hall, producers Jonathan Samway and Mark Matthews. Editor was Adam Wills. Post production was done atPerceptual Engineering. Sound was produced at Liquid Studios.
After graduating she worked with her former teachers, Rem Koolhaas and Elia Zenghelis at the Office for Metropolitan Architecture, becoming a partner in 1977. It was with Koolhaas that she met the engineer Peter Rice who gave her support and encouragement early on, at a time when her work seemed difficult to build. In 1980 she established her own London-based practice. During the 1980s she also taught at the Architectural Association. She has also taught at prestigious institutions around the world; she held the Kenzo Tange Chair at the Graduate School of Design, Harvard University, the Sullivan Chair at the University of Illinois at Chicago School of Architecture, guest professorships at the Hochschule für Bildende Künste in Hamburg, the Knowlton School of Architecture, at The Ohio State University, the Masters Studio at Columbia University, New York and the Eero Saarinen Visiting Professor of Architectural Design at the Yale School of Architecture in New Haven, Connecticut. In addition, she was made Honorary Member of the American Academy of Arts and Letters and an Honorary Fellow of the American Institute of Architects.[1] She has been on the Board of Trustees of The Architecture Foundation. She is currently Professor at the University of Applied Arts Vienna in Austria.
A winner of many international competitions, theoretically influential and groundbreaking, a number of Hadid's winning designs were initially never built: notably, The Peak Club in Hong Kong(1983) and the Cardiff Bay Opera House in Wales (1994). In 2002 Hadid won the international design competition to design Singapore's one-north masterplan. In 2005, her design won the competition for the new city casino of Basel, Switzerland. In 2004 Hadid became the first female recipient of the Pritzker Architecture Prize, architecture's equivalent of the Nobel Prize. Previously, she had been awarded a CBE for services to architecture. She is a member of the editorial board of the Encyclopædia Britannica. In 2006, Hadid was honored with a retrospective spanning her entire work at the Guggenheim Museum in New York. In that year she also received an Honorary Degree from the American University of Beirut.
Zaha Hadid's architectural design firm - Zaha Hadid Architects - is over 350 people strong, headquartered in a Victorian former school building in Clerkenwell, London.
In 2010 she was named by Time magazine as influential thinker in the 2010 TIME 100 issue.[4] In September 2010, The British magazine New Statesman listed Zaha Hadid at number 42 in their annual survey of "The World's 50 Most Influential Figures 2010".[5]
Non-architectural work
She has also undertaken some high-profile interior work, including the Mind Zone and Feet zone at the Millennium Dome in London and the Z.CAR hydrogen-powered, three-wheeled automobile. In 2009, she worked with the clothing brand Lacoste, to create a new, high fashion, and advanced boot.[6] In the same year, she also collaborated with the brassware manufacturer Triflow Concepts [7] to produce two new designs in her signature parametric architectural style. Her unique contributions to brassware design and other fields continue to push the boundaries of innovation.
In 2007, Zaha Hadid designed the Moon System Sofa for leading Italian furniture manufacturer B&B Italia.[8
design and brand strategy specialists greenspace have developed a new identity, bespoke typeface and website for zaha hadid architects.
DB: how long did greenspace work on the project for? LD: the original brief was sent to us in july 2009. we pitched against a number of high-profile agencies and our response focused in particular on process, collaboration and the potential of the brand – rather than any creative solutions. we then went through the interview process before starting the project proper in july 2010 – through to launch in july 2011.
based on the interviews with the zaha hadid studio, what became clear as the most important thing to communicate with the new identity? with such a large and complex studio there was clearly a diverse and contrasting range of opinions.
what was clear to us through both the interviews and the original brief was the need to; (a) highlight the vast number of projects that have been created and realised (b) highlight all the talented designers and architects within the practice (c) communicate ZHA as a company that is world-class, highly-professional and yet avant-garde in its approach.
clearly all that can’t be achieved through an identity alone and that’s why the website became our primary focus initially and the main vehicle for the ZHA story.
that said, creating a unique typeface that could be used by everyone on a day-to-day basis also felt like a nice inclusive way to bring the brand to life.
which aspect of the project proved most challenging? as a creative process it was truly collaborative and very positive.
the real challenge is hoping you create a piece of work that reflects the client’s own reputation and high standards.
regarding the branding, it can be hard sometimes when dealing with a client that has such a strong visual style to find your own path and reasons for doing so. we hope and believe we did that by creating a look that’s not a pastiche of the architecture and in fact allows it to be elevated and viewed without distraction.
finally, regarding the website, we set out to create something that has a unique user experience and sets itself apart from all sites – not just architectural ones. the level of content, movement, functionality and search capabilities are clearly complex and when combined with a beautiful bespoke CMS it obviously took a great deal of thought and an incredible development team to deliver.
we really hope people explore the archive both now and in the future as more and more content becomes available.
selection of the characters from the typeface designed by miles newlyn with greenspace
---- following text from the official press release:
collaborating closely with zaha’s senior partner, patrik schumacher, greenspace and designer miles newlyn have developed a brand identity that has a minimal feel. it is inspired by the contemporary material and construction choices employed by ZHA, visualised through the use of varying paper stocks, simple highlight colours and carefully chosen print techniques.
'we deliberately didn’t want to create a brand identity that would be a pastiche of any of the ZHA created works. we wanted the work to speak for itself, not be over-powered by its brand' adrian caddy of greenspace
dynamic patterns ZHA use a wide range of computer program scripts combined with parametric theory when creating buildings and designs. greenspace took inspiration from these to create a set of patterns that can be used graphically across communication collateral and to which future patterns can be added as new structures, shapes and forms are developed.
bespoke and unique typeface as part of the brand revamp, greenspace and ZHA’s patrik schumacher worked closely to develop a bespoke typeface, called zaha hadid sans.
'the typeface uses two unique features: there is the folded detail, in which joins that are usually truncated are divided by a slim gap to give the appearance of layering. the other feature is a carefully stressed curve that flows from vertical to near horizontal and back again.' - miles newlyn
identity guidelines / overview
website the website acts as the ‘ultimate archive’ of everything ZHA has done - both built and conceptual - with a CSM system that allows the archive to grow indefinitely. greenspace has designed it to be a purely visual, never the same twice, mesmeric encounter with the ZHA world.
containing vast amounts of data, the site is an ‘inclusive’, user-friendly experience that pushes the boundaries of other more traditional architectural sites. it enables the user to modify, personalise and dictate relevant content. built in HTML 5, avoiding the constraints of flash for ease of loading to ipad for example, it captures and exposes everything that is current and ZHA related, worldwide. and it’s been designed to be practical, so both students and press can download images, information and biographies about the work and people that make up the ZHA brand.
credits greenspace design team: paul blackburn lee deverill james taylor stephanie wilkinson adrian caddy miles newlyn (typeface)
zha project team: patrik schumacher lars teichmann bidisha sinha
For creating this beautiful ad campaign for new underwear collection Forrest & Bob invited famous fashion photographer Henrik Adamsen and supermodel Sarah Grünewald. The following stunning nude photos are result of combination a sexy model, an amazing photographer and a simple range of lingerie. Popout Forrest & Bob Underwear from Henrik Adamsen on Vimeo.
Claussen Pickles' latest campaign features intrepid English supermarket explorer, Sir Edwin Horsham, who comically drives a dogsled around a New Jersey supermarket showing shoppers where to find the pickles in the refrigerated section of the store. The videos are accompanied by a new Facebook contest, asking fans to prove they can conquer the cold by capturing a snapshot of them next to the Claussen Pickles for a chance to win cool cold-weather gear or an all-expense paid trip to Iceland or Alaska. Agency: The Escape Pod, Chicago.
British insurance company Bupa is running “Bupa By You”, an integrated advertising campaign promoting the adaptable and affordable nature of its health insurance policies. The television commercial at the heart of the campaign focuses on real people in real situations taking part in unexpected activities. An older lady who at first appears to be ironing is in fact waxing a surf board. A young man is filmed lifting a child above his head, when at first he seemed to be lifting weights in the gym. ’Bupa By You’ is a natural evolution of the brand’s ’Helping You Find Healthy’ campaign launched earlier this year which demonstrated that healthy means different things to different people. The product meets this ambition by providing customers with the ability to personalise their insurance cover to best reflect their individual health needs, priorities and budget.
Credits
The direct response TV advert, direct marketing and digital advertising have all been created by OgilvyOne, London.
Channel Four's Derren Brown takes two ad execs for a short car ride. During that ride, Derren subliminally implants images/ideas that will be used for his ad campaign, then pitches the product and lets them unknowingly reproduce it. Read more on Subliminal Messages in Internet Marketing here
McCann Melbourne has created a tactical campaign for Lifebroker featuring troubled Libyan leader Muammar Gaddafi. The ad will run in The Age, The Australian and Sun Herald. Credits: Agency: McCann Melbourne Creative Directors: Julius and Ethal Rosenberg Planning Director: Felix Group Account Director: John Bosley Work Experience Kid: Haley Joel Osment
DHL Express, the international express services provider, is running “International Specialists”, an advertising campaign translated into 25 local languages in 42 key markets worldwide with television, print, outdoor, digital and radio features. Two television commercials, “Grow” and “Runway”, introduce the “Speed of Yellow” concept, showing how key events are made possible by DHL, from creating a concept car in Paris, to receiving a circuit board in space, and putting the finishing touches to a designer dress in New York. The focus is on DHL’s expertise in logistics so it can deliver to its customers on time, every time, anywhere in the world. The TV and radio spots are accompanied by a modern cover of the classic anthem “Ain’t No Mountain High Enough,” which first featured in DHL adverts in 1991, now re-recorded by award winning producer Paul Epworth. This re-mixed version is available to download from iTunes.
A scientific breakthrough is made in Hong Kong. The next day it’s aiding research in Tromso.
A dress is stitched in Hong Kong. The next night it’s applauded in Paris.
A contract is signed in London. By 10.30 am the next day it touches down in Wall Street.
A bearing sits in a box in Guangzhou. By the end of the next day it’s in a chassis in Frankfurt.
Credits
The International Specialists campaign was developed at 180 Amsterdam by creative director Stephen Hancock, executive creative director Al Moseley, creative director Galen Graham, art director James Sadler, copywriter Dan Brooks, account directors Nicole Reid and Audrey Lefebvre, planner Mandy Graham, client team director Wolfgang Giehl, and agency producer Eline Bakker
Filming was shot by director Antoine Bardou-Jacquet via Partizan with director of photography Damien Morisot, producer David Stewart, executive producer Joe Togneri.
Post production was done at MPC (The Moving Picture Company). Visual effects were produced by Flame artist Karmen Markov. Editor was Bill Smedley at Work Post.
Agency: Lg2, Quebec City, Canada Creative Director / Copywriter: Luc Du Sault Art Director: Vincent Bernard Account Managers: Sandie Lafleur, Eve Boucher Production Company: Nova Film / David Poulin, Charles Burroughs, Dominik Beaulieu Production: Quatro Design / Enseignes Otis Image In
