Photo: Gerhard Kassner

Originally from Brazil, Marina talked about the influence her homeland has had on her work. Colour, rhythm and improvisation was prevalent in her solutions just as it was in her archive of photographs from home, and the optimism in adversity displayed in the favelas is a spirit she admired.

When on the subject of branding spaces, it was clear that each solution was born from collaboration. Whether working with the architect, client, illustrators or artists, each piece says something about the place it lives within. Take their work for The Tate, for example. The client’s ambition to create a more democratic space, somewhere the mass can experience and engage with art, was helped realised by using a less academic, more ‘high street’ approach to signage. The mark itself is fluid, generous and recessive, elevating artists and collaborators to the surface and our focus. The experience at The Tate is all about the art, after all.

The solution for the Southbank Centre is distinctive, and embodies not only the brutal forms of the structure itself, but also celebrates the converging art forms that the gallery champions. But within the space the identity system demonstrates its flexibility, becoming more elegant and polished against the rougher, harsh architecture. The tone of voice of the identity compliments the space, as opposed to competing within it.

Marina Willer

Designer and film-maker Marina Willer is the leading creative director at Wolff Olins London. Originally from Brazil, she has been living and working in London for 15 years. Marina is best known for having designed the now world famous Tate logo, part of brand work which led UK culture to be reimagined in the eyes of the public. Marina was also the leading creative on identities like Southbank Centre, Schaulager, Macmillan Cancer support, Oi (the Braziliant Telecom), Beeline (which is now estimated to be the most valuable brand in Russia) and various international brands. Among her film projects, she made “Exposed” to introduce Richard Rogers’ exhibition in the Pompidou Centre and Design Museum. Others have been shown at the Cartier Foundation in Paris, ICA in London and won awards such as best short film in Sao Paulo film festival, with the film “Cartas da Mãe. Marina has been a member of the jury at D&AD 4 times and is an external examiner at the Royal College of Art, having also previously obtained an MA from the College.

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And in the case of 1111 Lincoln,  a car park inspired by some sense of tropical modernity, Marina admitted that the building, so distinctive and iconic, is the brand. Four horizontal numerals spelling the address with a subtle nod to the number of floors marks the building, but the experience of the space itself is enough to make it memorable.

Text: Matt Judge, Design Assembly