Although the branding process “wasn’t easy”, Anna shares, the team are overjoyed with the identity’s holistic impact. For example, the imagery. It wasn’t something that the team could control, so they decided to create from a position that would enable the brand to function without it. Much to our surprise, a lot of the imagery became available afterward, and so the team decided to incorporate it without treatment which explains why the artwork doesn’t feel overshadowed by the design.
When it comes to the colour palette, there’s this sense of the natural environment coming through; earth tones, yellows, and documentations of the assets taken against the backdrop of the outdoors. Anna says that the landscape was the main inspiration here, and the team “didn’t want to use stereotypical colour combinations. We instead worked with the client to ensure they felt the choices were right for them and the world they operate in”. This is a great example of how, overall, the graphic identity feels very much in tune with the institution’s conceptual mission and physical manifestation on many levels – something many museum brands try to, but don’t always, achieve.
Meanwhile, the physical space for MOWAA is under construction, with a phased opening starting this year. The first building, the Institute, was designed by architecture firm Adjaye Associates, so the institution has had to respond to recent allegations of sexual assault and sexual misconduct that were brought against the firm’s founder and co-CEO David Adjaye last year. According to The Art Newspaper, MOWAA director Philip Ihenacho has stated that the museum doesn’t condone the behaviour described, however it could not make statements, because they do not “possess sufficient knowledge/information”. Adjaye has said he “categorically” rejects any allegations of sexual misconduct or abuse made against him. Otherwise, MOWAA continues to work with local firms such as Studio Contra, Worofila and MOE+ on the rest of the project.
