Templo’s tectonic identity for the British pavilion at the Venice Biennale
Templo has created designs inspired by tectonic plates for the British Pavilion at this year’s Venice Biennale.
The London-based studio worked on the visual identity, exhibition graphics, global marketing campaign and digital content for the pavilion, which has been commissioned by the British Council since 1937.
It’s the third pavilion Templo has worked on, after they came through what Joanne Jolley, the British Council’s head of marketing, arts, called a “robust procurement process,” which included a paid creative pitch.
“Templo stood out from the very beginning for their clear understanding of, and sensitivity to, the issues around the 2023 pavilion, which explored the everyday rituals of diaspora communities,” she says.
“They know how to communicate these complicated subjects, but also bring joy into them through their designs.”
Each year’s identity is treated as a new project, because the themes of each pavilion are very different, as is the level of input each curatorial team wants and expects into the process.
For this year’s pavilion, commissioner Sevra Davis wanted to bring the British Council’s overarching mission – to foster ”cross cultural connection and collaboration”– into its Venice presence.
“It struck me that this was a way to use the pavilion to celebrate what the British Council does in every other way, which is to connect across cultures to build trust, build connection, and build understanding,” Davis says.
“I got a lot of flack for it, because people thought I had narrowed it down too much.
But I think it’s incredibly exciting, the process of working together with the team in Kenya and other people all around the world.
That’s what the British Council is all about, and so this becomes an exemplar of that.”
Templo’s identity for this year’s British pavilion at the Venice Biennale
Produced as part of the British Council’s UK/Kenya season of culture, this year’s exhibition looks “to examine the relationship between architecture and colonisation as parallel, interconnected systems.”
GBR – Geology of Britannic Repair takes inspiration from the pavilion’s location on an axis that links the UK to Kenya and the Rift Valley, raising questions about power, politics, and identity.
Installations include maps of the night sky above London and Nairobi the day Kenya gained independence from Britain in 1963, a bronze cast of the Rift Valley, and a room that explores how salvage materials could be used to rebuild war-torn Gaza.
For Templo’s Pali Palavathanan and Anoushka Rodda, the approach spoke to many of their personal and professional interests.
“Myself being Sri Lankan, and Anoushka’s family coming from Lebanon, which is the start of the Rift Valley, there were a lot of connections to who we are as a studio, and what we’re drawn to,” Palavathanan explains.
This year’s British pavilion with its veil of beads
This year’s British pavilion with its veil of beads
The design approach was inspired by the veil of beads, made from agricultural waste and clay, which covers the angular British pavilion.
The covering “softens and curves out this harsh imperial building,” Palavathanan says.
They took a similar approach to the typeface, choosing Lithic for its angular, imperial sensibility and then using a “bevel effect to round off its harsh edges.” The secondary font is Flexa, chosen for its practical legibility.
The red, green and black colour palette is taken from the Kenyan flag – despite Palavathanan’s initial misgivings that it would look “chaotic” – and the motion design is built on geological references.
“Originally it was quite linear, but then we made it more like tectonic plates, like a rock formation converging with one another, or pulling apart.
It all ties back to those themes of rift and repair.”
The result is a thrillingly unusual combination of rhythms and patterns that feels very organic.
And it speaks to one of Templo’s biggest challenges – to reflect the weighty subject matter of this year’s pavilion without making it feel too sombre.
https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/05/02-Geology-of-Britannic-Repair-teaser.mp4" style="color: #0066cc;">https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/05/02-Geology-of-Britannic-Repair-teaser.mp4
“It’s an incredibly serious exhibition,” Palavathanan says.
“It’s dealing with difficult things, but we want to be optimistic and playful in some ways, and the visual identity helps us to do that.”
For Rodda, the fact that they know the British Council team so well gives them the confidence to push the creative direction.
“The nice thing about these ongoing relationships is that you get a really good feel for what they prioritise, and what they find significant.”
“That trust helps us push the boundaries more,” Jolley agrees.
Exhibition graphics at this year’s British pavilion.
Photo by Chris Lane.
While around 80% of visitors to the Biennale will attend the UK exhibition, for Jolley and her team, a major focus is on the much bigger audience who won’t see the pavilion in person.
Templo created a flythrough video so people can get a sense of how the exhibition unfolds, and they are also working with Kenyan influencers to create content that responds to this year’s themes.
“We have to think a bit differently about how we can enrich the experience for people who won’t go to the exhibition,” Rodda says.
“I think this the first time the British Council has done this, handing over control of part of the campaign.”
Templo’s identity for this year’s British pavilion at the Venice Biennale
Templo’s identity for this year’s British pavilion at the Venice Biennale
Templo’s identity for this year’s British pavilion at the Venice Biennale
Templo’s identity for this year’s British pavilion at the Venice Biennale
Source: https://www.designweek.co.uk/templos-tectonic-identity-for-the-british-pavilion-at-the-venice-biennale/" style="color: #0066cc;">https://www.designweek.co.uk/templos-tectonic-identity-for-the-british-pavilion-at-the-venice-biennale/
#templos #tectonic #identity #for #the #british #pavilion #venice #biennale
Templo’s tectonic identity for the British pavilion at the Venice Biennale
Templo has created designs inspired by tectonic plates for the British Pavilion at this year’s Venice Biennale.
The London-based studio worked on the visual identity, exhibition graphics, global marketing campaign and digital content for the pavilion, which has been commissioned by the British Council since 1937.
It’s the third pavilion Templo has worked on, after they came through what Joanne Jolley, the British Council’s head of marketing, arts, called a “robust procurement process,” which included a paid creative pitch.
“Templo stood out from the very beginning for their clear understanding of, and sensitivity to, the issues around the 2023 pavilion, which explored the everyday rituals of diaspora communities,” she says.
“They know how to communicate these complicated subjects, but also bring joy into them through their designs.”
Each year’s identity is treated as a new project, because the themes of each pavilion are very different, as is the level of input each curatorial team wants and expects into the process.
For this year’s pavilion, commissioner Sevra Davis wanted to bring the British Council’s overarching mission – to foster ”cross cultural connection and collaboration”– into its Venice presence.
“It struck me that this was a way to use the pavilion to celebrate what the British Council does in every other way, which is to connect across cultures to build trust, build connection, and build understanding,” Davis says.
“I got a lot of flack for it, because people thought I had narrowed it down too much.
But I think it’s incredibly exciting, the process of working together with the team in Kenya and other people all around the world.
That’s what the British Council is all about, and so this becomes an exemplar of that.”
Templo’s identity for this year’s British pavilion at the Venice Biennale
Produced as part of the British Council’s UK/Kenya season of culture, this year’s exhibition looks “to examine the relationship between architecture and colonisation as parallel, interconnected systems.”
GBR – Geology of Britannic Repair takes inspiration from the pavilion’s location on an axis that links the UK to Kenya and the Rift Valley, raising questions about power, politics, and identity.
Installations include maps of the night sky above London and Nairobi the day Kenya gained independence from Britain in 1963, a bronze cast of the Rift Valley, and a room that explores how salvage materials could be used to rebuild war-torn Gaza.
For Templo’s Pali Palavathanan and Anoushka Rodda, the approach spoke to many of their personal and professional interests.
“Myself being Sri Lankan, and Anoushka’s family coming from Lebanon, which is the start of the Rift Valley, there were a lot of connections to who we are as a studio, and what we’re drawn to,” Palavathanan explains.
This year’s British pavilion with its veil of beads
This year’s British pavilion with its veil of beads
The design approach was inspired by the veil of beads, made from agricultural waste and clay, which covers the angular British pavilion.
The covering “softens and curves out this harsh imperial building,” Palavathanan says.
They took a similar approach to the typeface, choosing Lithic for its angular, imperial sensibility and then using a “bevel effect to round off its harsh edges.” The secondary font is Flexa, chosen for its practical legibility.
The red, green and black colour palette is taken from the Kenyan flag – despite Palavathanan’s initial misgivings that it would look “chaotic” – and the motion design is built on geological references.
“Originally it was quite linear, but then we made it more like tectonic plates, like a rock formation converging with one another, or pulling apart.
It all ties back to those themes of rift and repair.”
The result is a thrillingly unusual combination of rhythms and patterns that feels very organic.
And it speaks to one of Templo’s biggest challenges – to reflect the weighty subject matter of this year’s pavilion without making it feel too sombre.
https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/05/02-Geology-of-Britannic-Repair-teaser.mp4
“It’s an incredibly serious exhibition,” Palavathanan says.
“It’s dealing with difficult things, but we want to be optimistic and playful in some ways, and the visual identity helps us to do that.”
For Rodda, the fact that they know the British Council team so well gives them the confidence to push the creative direction.
“The nice thing about these ongoing relationships is that you get a really good feel for what they prioritise, and what they find significant.”
“That trust helps us push the boundaries more,” Jolley agrees.
Exhibition graphics at this year’s British pavilion.
Photo by Chris Lane.
While around 80% of visitors to the Biennale will attend the UK exhibition, for Jolley and her team, a major focus is on the much bigger audience who won’t see the pavilion in person.
Templo created a flythrough video so people can get a sense of how the exhibition unfolds, and they are also working with Kenyan influencers to create content that responds to this year’s themes.
“We have to think a bit differently about how we can enrich the experience for people who won’t go to the exhibition,” Rodda says.
“I think this the first time the British Council has done this, handing over control of part of the campaign.”
Templo’s identity for this year’s British pavilion at the Venice Biennale
Templo’s identity for this year’s British pavilion at the Venice Biennale
Templo’s identity for this year’s British pavilion at the Venice Biennale
Templo’s identity for this year’s British pavilion at the Venice Biennale
Source: https://www.designweek.co.uk/templos-tectonic-identity-for-the-british-pavilion-at-the-venice-biennale/
#templos #tectonic #identity #for #the #british #pavilion #venice #biennale
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