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Harry Bennett
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Grávita’s rhythmic identity for Madrid’s Orchestra Kitchen finds its inspiration in melody


Grávita’s rhythmic identity for Madrid’s Orchestra Kitchen finds its inspiration in melody
Grávita’s rhythmic identity for Madrid’s Orchestra Kitchen finds its inspiration in melody
Grávita’s rhythmic identity for Madrid’s Orchestra Kitchen finds its inspiration in melody
Grávita’s rhythmic identity for Madrid’s Orchestra Kitchen finds its inspiration in melody
Grávita’s rhythmic identity for Madrid’s Orchestra Kitchen finds its inspiration in melody
Grávita’s rhythmic identity for Madrid’s Orchestra Kitchen finds its inspiration in melody

Concept restaurant group Orchestra Kitchen is a collection of individual brands brought together to offer a unique and cultural culinary experience, serving up anything from hamburgers and tacos to ramen and coquelets. In search of a lively identity for the venture, Orchestra Kitchen turned to Madrid-based branding studio, and city-wide neighbours, Grávita, resulting in an identity that is both youthful and referential; pulling on the city’s energetic past while remaining firmly rooted in the here-and-now.

Designed with music in mind, the concept behind the kitchen – and its name – comes from Grávita’s melodic interpretation of what happens behind the scenes at each restaurant. “If you think about what happens in a kitchen, you will see that it is a place where concepts such as rhythm, tempo or harmony are very present,” Grávita tell us, where different instruments are played, “and pieces are composed by playing with flavour notes.”

The introduction of Orchestra Kitchen’s name as the composer behind the culinary symphony is also bolstered by the similarly musical names of the individual brands; including ‘Burger Jazz,’ ‘Ramen Pop’ and ‘Nami-Nori Blues.’ The latter are further distinguished through the use of colour across the brand, a feature determined by the cuisine itself, be it their flavours or their geography. “Burger Jazz's yellow connects with the tones of cheddar and fries,” Grávita note as an example, “but also with the idea of New York,” they add, suggestive of the city’s iconic taxi cabs.

The individuality of these cuisines is graphically demonstrated in Grávita’s flexible typographic system, which doubles down on the interpretative notion of music, bolstered by the use of Antiga as the logo typeface. “From a strategic point of view, it is a typeface with enough personality to maintain the link between the main logo and the sub-brands,” Grávita explain, “as well as to stand out within the communication pieces,” relying on the typeface’s diligence and strength to marry each element of the identity together. “It connected with the idea of a band, philharmonic or musical group,” Grávita conclude, “while balancing the graphic approach by adding a touch of sophistication,” sitting comfortably alongside Girott and Garnett; the secondary typefaces that make up the sub-brands and body text.

Graphic Design
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