Desire Does Design Portfolio

The Portfolio ofEd Davis

[email protected]

DESIRE

DDEESSIIGGNN

ZAHA HADIDBAUHAUS

Desire Does DesignEd Davis

all about me.

Desire Does Design is Ed Davis, a 27 year Designer and Illustrator. Currently studying an Fda in Graphic Design with Interactive Multimedia at City of Bristol College. At present I am working on University Briefs and some small freelance projects. I have a passion for monsters and drawing as well as a strong desire to keep my design work as clean and as sexy as possible. I also have an unhealthy obsession with typography and magenta.For a further info please feel free to get in touch:[email protected]

Duck SoupPackaging Design

visual identity, packaging design,brand story

For this brief we were asked to create a Brand Identity and Packaging Solutions for a fictional BBQ company. My creation was Duck Soup. The brand ethos was simplicity and quality in both design and product. I was inspired by vintage packaging and classic illustration styles. All type and visuals were hand rendered to ensure that vintage feel.

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london developers are, says the world-renowned architect. But thats not going to stop her increasing her presence in the UK and following up her aquatics centre success with tall buildings in the capital. She talks about work, high points and low - and why her club-bing days are over.

ZAHA.indd 2-3 05/06/2011 19:25

I know people are scared of me, says Zaha Hadid, leaning forward and avoiding eye contact. But I dont want them to be.

Then she turns with a look that is both deadly serious and mischie-vous. No one will ever come to me and say I dont like you or We are scared of you because of x, y and z I have asked people so many times what it is about me and they wont say. But I think its because they are scared they cant control me. Developers can deal with a man like me, but not a woman. If you are a woman and you are strong, you are difficult. And men dont listen to me.

Its genetic, I think. Men dont listen to women.

So how does Hadid get over this problem? She breaks into a rare smile and her eyes brighten for just a second: I shout at them. I give them hell! Of course she does. Intelligent, ruthlessly honest, direct and to-the-point, Hadid is not afraid to give one-word answers,

she smiles sparingly and laughs only when she is really amused.Her sense of humour is desert dry, her own jokes so deadpan, it is almost impossible to tell whether she is being funny or utterly serious.

Today, the 60-year-old, Iraqi-born, world-renowned architect is sitting in the centre of her critically acclaimed Chanel Mobile Art pavilion in Paris, the day before its opening.She is wearing a black, ruffled, structured dress and is surrounded by two matching Prada handbags, three mobile phones and a half-metre long roll-out makeup case. I buy these things in America, she mut-ters, flinging open the case and fishing out one of five Tom Ford lip-sticks for a last-minute touch-up. They are so useful for organising cosmetics and things like this.

i know people are scared

of me.

ZAHA.indd 4-5 05/06/2011 19:25

london calling

The last six months have been mixed for Zaha Hadid Archi-tects. Although the firm posted a pre-tax profit of 4.1m in February - triple what it was the year before - it was badly hit by the downturn in Dubai and, more recently, the political unrest in North Africa. Millions of pounds worth of schemes in Dubai have been halted, as have three projects in Cairo, and the practices confer-ence centre scheme in Tripoli, worth 250m.

Clearly, something had to give: In architec-ture in this day and age you cant predict what will happen. We have to be very care-ful and we have a lot of work finishing up at the moment. Then, with what happened in the Middle East and North Africa, it might take a while to pick up and I cant wait. It would be different if we were 20 people. I can take a risk and wait. Maybe wait for a year. But 450 people

- no.

Patrik Schumacher, partner in Zaha Hadid Architects, says: I think the UK is ready for this. Look at whats going on now in east London, in particular beyond Canary Wharf and Poplar. These are all the sorts of pro-jects we have thought about experimenting with and creating, the sorts of things we have been doing in Singapore and China and Dubai. We know London and how to deliver projects that will work with the landscape with an added twist. We will be looking into com-mercial and residential tall buildings with lots of amenities.

Hadid doesnt agree with recent arguments from people such as Ken Shuttleworth, the architect behind the Gherkin, that we are about to see the death of the tall building: No, she says simply. No. We havent even seen the start. There needs to be a strategic decision because there is so much pressure to have high density in London and if you dont build tall, then buildings are very low and dense on the ground and you have no open space and less air. Personally I think its better to grow tall but there needs to be a masterplan so it works with the skyline.So does she think London is ready for the Hadid treatment? Oh, well, I dont know. There are lots of great developments in Lon-don. I think the Shard is fantastic. But we dont do anything the same so everything would be a surprise. As to where she would be looking to work, Hadid shrugs before saying that the south and the east of the City might be a good place to start: There are lots of areas of London that need attention. Southwark is

if you are a woman and you are strong, you are diffIcult. and men dont listen to me. its genetic, i think. men dont listen to women

ZAHA.indd 6-7 05/06/2011 19:25

Block MagazineEditorial Design

logo design, image manipulation,editorial layout, brand identity

For this brief I was asked to create two double page spreads and a cover design for fictional architecture magazine Block. The client base was design loving, architecture fans with a disposable income. For this reason I tried to create a highly stylised magazine with a clear brand identity that followed throughout the magazine.

still not properly devel-oped and it should be. That area, I think, has so much potential. Even London Docklands. That could be a fabulous place to live.

However, her reputa-tion precedes her, which is a problem for her London plans: I think developers in London are scared of me, she says. But why? They should be able to deal with it.

the good and the bad

Hadid is best known in the UK for her aquatics centre for the Olympic Games, (she hates the temporary stands but on the inside it will look beautiful), and the design she has come up with for the Central Bank of Iraq in Baghdad. But her press cover-age hasnt always been favourable. She certainly doesnt cherish the memory of Cardiff Bay Opera House, her 1995 project that collapsed after failing to gain sup-port from local coun-cils, and after a media battering that she still resents. It was a very bad time, says Hadid. It wasnt our fault, it

was the nature of the work and I thought it was a very unfair, unjust experience. I remember very clearly that I had to make a conscious decision afterwards not to let it all get to me to the point where I couldnt move on. Because that could have finished us. We had no work, no money. It was an awful time.She did move on, of course, and one high point has been winning the Stirling prize last year for the Maxxi na-tional museum in Rome - after three years of being shortlisted but failing to triumph. Hadid was described that night as the Meryl Streep of architecture: always shortlisted, al-ways worthy, but never a winner - until now. It was very exciting to win. I had no idea and it was a huge surprise and very, very important to me. And as for Meryl Streep - I have seen Mamma Mia and she is a great actress, though I prefer some of her earlier work.

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iInspiration

Hadid may still find it a struggle at times to get men to listen to her but her success, and world-wide recognition, means she is an inspiration to many young women, especially those who want to be architects: Someone said to me years ago: You realise you are a role model? And I didnt. I think that now its becoming more clear when I go to give a lecture and I have a huge number of women coming to me for as-surance that it can be done.Is she proud to have such an influence on young womens lives? Yes, I am. Its fantastic. But I want to be seen as an architect - hope-fully a good one - rath-er than as a woman. If people say to me: Youre OK for a girl, I reply with something rude. Always.

ZAHA.indd 10-11 05/06/2011 19:26

FROM HERE

TO MODERNITY the Bauhaus school of industrial design was founded in Germany in 1919. Although in existence for only fourteen years, its influence on modern architecture and design has been immense, and many of its famous students and masters gave the Modern Movement a philosophical, as well as practical, grounding in the volatile years of the early twentieth century.

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The aim of the Bauhaus was to heal the schism between the arts and the crafts. Students (who usually num-bered one hundred) were taught to be as proficient in artistic fields as in the tech-nology of production. They were taught a multi-disciplined cur-riculum, often attending classes in photography, theatre production, painting, and design. The schools founders believed that the long-standing polarisation of arts and craftsmanship was damaging to human artistic and material development. However, for the first four years of its existence, the Bauhaus did not teach an architecture courses and was dominated by the Swiss artist Johannes Itten, a char-ismatic teacher who was fond of wearing a monks outfit and tried, in 1921, to convert his students to an ancient Persian religion.

THE DESSAU PHASE

Ittens relations became strained with his col-league Walter Gropius, a German architect and teacher, and the schools first director. In 1923, Itten resigned and Gropius became more influential. He was a great believer in mass production and insisted that students master the produc-tion process from start to finish, so that their artistic sensibilities would be informed by the possibilities of new technology. Gropius and the Hungarian art-ist Laszlo Moholy-Nagy encouraged students to make contact with industrial companies around the town of Weimar, were the school was based. The drive for mass produc-tion, and consequently standardisation, were central to Modernist architects vision of reshaping our cities.

Gropius gathered around him some of the brightest artists and designers of the time, including the painters Paul Klee and Wass-ily Kandinsky and the designer Marcel Breuer. But the avant-garde nature of the Bauhaus was anathema to the

growing influence of National Socialism in Germany. In 1925, after the Ministry of Educa-tion had cut its grant, Gropius announced the schools closure. There it might have ended but for an offer from the in-dustrial city of Dessau. In 1926, the Bauhaus relocated to a new purpose-built school, designed by Gropius and Swiss architect Hannes Meyer. Clean, modern, and confident, the new building sig-nalled that the schools time had come.

The following years were the heyday of the Bauhaus. Marcel Breuer and his students began to produce revolution-ary tubular lightweight chairs, and the depart-ment became a valuable source of income for the school. The form of these products increas-ingly became derived from function, an ap-proach to design for which Bauhaus is still synonymous.

ZAHA.indd 14-15 05/06/2011 19:26

Gropius resigned in 1928, and was replaced by Meyer. Under Meyer, the schools curriculum became more leftwing, and many of the early masters left. In these years of increased Nazi influence in Germany, the Bauhaus once again became a target of the far right. Meyer was forced out and replaced by Ludwig Mies Van Der Rohe, who banned political activity and turned the Bauhaus into a more orthodox architectural school, in a vain at-tempt to save it. But in 1931, the Nazis gained control of the Dessau city government. They

criticised the school as Jewish and Orien-tal, forced its Marxist teachers and students to leave, branded its work decadent, and even planned to put an Aryan pitched roof on top of Gropius school building. Mies took the school to an old warehouse outside Berlin in 1932, but in 1933, the year Hitler became Chancellor, the Bauhaus was closed for good.

Many of the Bauhaus leading lights fled Germany for good. Gropius and Breuer left for Britain where they stayed briefly in the Lawn Road Flats, and Mies eventually left for the United States in 1937, where he would complete his most celebrated work after World War Two.

The influence of Bau-haus, particularly its Dessau phase, on Modernist architecture was profound. The insistence on standardi-sation, the experiments in mass production, and the pioneering of the concept of industrial design, all influenced the Modernist approach to building and design.

NATIONAL SOCIALISM

AND EXILE

ZAHA.indd 16-17 05/06/2011 19:26

Block MagazineEditorial Design

logo design, image manipulation,editorial layout, brand identity

Further spreads from Block magazine.

Ted BakerFictional Fragrance Campaign

Animated ad, Store Front, Billboards,Magazine Spreads.

For this Brief we were asked to create a fictional Ad campaign for Ted Baker.I used an animated short as the basis for a subversive campaign that was inspired by the absurdity of fragrance advertising. I did this by using my own illustrative style.

Ted BakerFictional Fragrance Campaign

Animated ad, Store Front, Billboards,Magazine Spreads.

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Wesport UWE Frenchay Campus

Coldharbour Lane Bristol BS16 1QY

T: 0117 328 6250 F: 0117 328 1599

E: [email protected]

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Talent HubsVisual Identity

visual identity, stationary set, web banner,promotional material, brand guidelines.

RUNNER UP, Harley Brief 2012.For this brief I was asked to create a Visual Identity and Promotional Material for the new Wesport initiative Talent Hubs. The initiative was designed to support emerging sports talents in the South West. I was inspired by classic Swiss Design and Olympic Logos of the 80s. Having created the identity I also created a brand style guide for use by Wesport to ensure consistency throughout the brand.

At the Centre of Youth Sports

Talent Hubs supports talented sports people

aged 12-15.

Through weekly training sessions we help

promote core skills enabling you to progress within your chosen sport.

Our ultimate goal is to make sure, whatever

sport you play, you have fun doing it.

For more info visit us at www.wesport.org.uk

At the Centre of Youth Sports Talent Hubs supports talented sports people aged 12-15.

Through weekly training sessions we helppromote core skills enabling you to progress within your chosen sport.

Our ultimate goal is to make sure, whatever sport you play, you have fun doing it.

For more info visit us at www.wesport.org.uk

Launching this April Find us at www.wesport.org

The new initiative fromWesport

Search FacebookTalentHubsUK

Find us on Twitter@talenthubsukFollow Us

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Share with a friend

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Search FacebookTalentHubsUK

Find us on Twitter@talenthubsukFollow Us

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Talent HubsVisual Identity

visual identity, stationary set, web banner,promotional material, brand guidelines.

Firstly a commendation to the runner up whose attention to detail with design elements and tools within brand guidelines stood out particularly.

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Stamp Collection illustrated stamp design.

For this brief I was asked to create a set of stamps that represented British firsts. I wanted to create something that was quintessentially British. I found out that the concept of afternoon was created here in Britain and this inspired me to combine tea paraphernalia with things symbolic of Britain. Inspired heavily by the illustrations of Noma Bar.

BRSSFull Rebrand

Visual Identity, CD Cover, Apparel Range, Promotional Material, Stage Design.

For this brief I was asked to re brand The Bridgwater Reggae Soundsystem. As a growing collective the name and identity no longer suited and I was asked to bring the visual identity in line with the current brand practises. Having developed the identity I was asked to utilise it in promotional material to be used at Glastonbury Festival 2011, where the BRSS would re-launch the brand.So far this has been very successful and the BRSS are still clients.

www.thebrss.co.uk facebook.com/thebrss twitter:@thebrss

BRSSFull Rebrand

Visual Identity, CD Cover, Apparel Range, Promotional Material, Stage Design.

Here are a few images from the brand re-lainch at Glastonbury Festival 2011. Hosting their own stage Babylon Uprising the BRSS used this platform to showcase their new identity.

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VAVTypeface Design

typeface design, poster design,promotional card deck.

For this brief I was asked to create a display typeface and promotional typographic posters. Inspired by vintage advertising and the typographic style of Non-Format, I tried to create a modern type that had roots in the decadence of Art Nouveau. I also creat-ed a card deck to used as a bonus gift when the typeface was purchased, further enhancing VAV as a brand.

VAVTypeface Design

typeface design, poster design,promotional card deck.

This is a second series of posters designed to showcase VAVs versatility as a dis-play face. Using lyrics from the classic 90s rave tune Let me Be Your Fantasy I tried to play on VAVs sexy form.

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Personal / Freelance Work typographic posters, flyers,digital art.

Work includes, flyer design, digital art commissions, typographic poster design.

Personal / Freelance Work paintings, murals, commissions.

Work includes, Ikea Table competition from Bristol design festival, commissioned artworks, acrylic on canvas.

Documents

Desire Does Design Portfolio