STUDIO INSIGHT
COMPUTERARTS.CREATIVEBLOQ.COMis done as an afterthought, whereas when we get
a brief, we approach both the architecture and
graphics together.
KS: I don’t know of a company that’s applying the
traditional rules of graphic design to architecture
specifically. There may be interiors companies,
but I’ve never seen a company combining
architecture and graphic design in this way.
LS: We’re interested in other types of cross-
disciplinary approach too, such as interiors, as
well as product design. Our ethos is all about
collaborating – with artists, designers, whomever
- and that’s the key to what we do.
So how does this all work in practice? Can you
walk us through a recent project?
KS: One of our bigger projects, which is due to
complete this autumn, is the Boulevard Theatre
in Soho, and it’s one where we worked to create
the brand from the outset. So early on, we met
Fawn James [director at Soho Estates] and
went through a workshop process where we
considered questions like: “How is the building
going to look internally?”, “How is the branding
going to feel?”, and even “How is a chair going to
feel when you sit in it?”
LS: The Boulevard Theatre is located within a
wider scheme, a mixed-use redevelopment of
Walker’s Court in Soho, in which we’re heavily
involved. It’s quite a small theatre and seats
about 160 people or so. The unique thing is
that both the auditorium and the stalls revolve
through 360 degrees, to create flexible and
adaptable performance spaces and seating
layouts, within a restricted space.
KS: The original building had been there since
the 1960s. So we felt it was important to brand
the new theatre in a way that encapsulated the
essence of the old Soho, and the rich tapestry
within that.
It took about six months to get the branding to
a good point. We liked the idea it should be built
from pure geometries, to reflect the idea of a 360
degree revolving theatre. So we designed the
branding around two circles, which enabled us to
create a ‘B’ for Boulevard, and also give a callback
to the keyhole device that’s used in the theatre’s
original branding.
We selected colours inspired by those we saw
around Soho, including the Raymond Revuebar
neon. Our branding guidelines called for colour
contrasts, being audacious, bold and playful.
And these guidelines went on to influence the
way we designed the furniture, the materials,
the finishes, staff uniforms, wayfinding...
everything, basically.
LS: At every single touchpoint, we’ve returned
to the brand values that came out of that
first workshop. These values have been used
throughout the architecture build, the interior fit-
out, the furniture build and so on.
AUGUST 2019
LAURA SANJUAN
Director
Laura Sanjuan founded SODA on simple core values: a young and
vibrant, design-led practice delivering innovative spaces on the back of
interesting collaborations. Previously, Sanjuan has worked on award-
winning projects with both large and boutique practices, developing a
keen eye for the detailed design stages and bespoke finishes of buildings.Above and left:
Brand strategy
and visual identity
for Clarke Banks,
an industry leader
in building
compliance.Below: Mural by
SODA Studio,
commissioned
by One Works
for Milan
Design Week.Right: Studio
stationery created
for SODA’s rebrand.