Flanagan Lawrence

Branding an award-winning architectural practice. Case study.

Flanagan Lawrence is a design-led architectural practice based in London with international reach. Formerly known as BFLS, Directors Jason Flanagan and David Lawrence decided to rebrand the studio after the departure of two partners in 2012.

Formerly a partner at Foster + Partners, Jason a Creative Director at Flanagan Lawrence is an open minded, experimental happy designer. David, formerly a Director with Hamiltons Architects is practical with a business mind. The mix of both personalities formed the identity concept developed.

From the start we agreed minimal, robust, transparent and unobtrusive graphics were required.
The architecture of Flanagan Lawrence is itself rather artistic and graphical – we simply needed lots of space to allow the photography to catch the eye and a little stamp to sign it with.

Many typefaces were explored in the process, mainly sans-serif families. Through a series of comparisons it all boiled down to a very smooth, practical, modern sans-serif with a human touch Effra by Dalton Maag.
Effra is simply a classic beauty, which has won both Jason’s and David’s hearts. I believe the secret to this love story was -unambiguously- a small letter g. As only descender letter in our logotype it deserved to be special and we all agreed it truly is.

Following on the robust and minimal identity concept
I began designing the website with same principles in mind. The goal of the website from the user experience perspective was to make sure it was easy to navigate, focuses mainly on presenting the company projects in a clear, readable way and (as a result) adjusts responsively to a variety of devices. From the marketing perspective the aim was one — to build a tool that is easy to use.

The typographic style and colour palette employed online followed into the print for consistency. Additionally I’ve dropped one extra sensory effect into the mix — a sense of touch. It would be a missed opportunity not to have included it.

The stationery set is restrictive in colour but it plays on the material and its structure, I wanted to make it feel architectural in that sense. Rough textured, elegant paper for the letterhead, super slick, modern and surprising in touch Plike paper for the business cards and -architect's best friend- tracing paper for the compliment slip.

Sector brochures continue with the colour palette established for the website (nod to Le Corbusier).
They work as a set, packed neatly into a fabric covered slipcase, as well as separately.

Ultimately, branding a company is about telling its story and each story needs superheroes. During my time within the practice I got to know all of them and I really wanted this fantastic dynamic diversity of the studio to be projected. Below is a selection of portraits I took.