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Don Alonso de Suquía by Bermudez, Porta & Casasus, Spain

Opinion by Richard Baird

Cover design by designers Carlos Bermudez, Albert Porta and Guillem Casasus for the book Don Alonso de Suquía, written by A. Lozano Rodríguez

A. Lozano Rodríguez, in his novella Don Alonso de Suquía, writes of the deeds of swordsman and fictional character Don Alonso de Suquía after the reconquest of Granada, at the beginning of the 16th century. This limited edition cover, designed by Barcelona-based Carlos Bermudez, Albert Porta and Guillem Casasus, touches upon location, period, theme and limited edition context using colour, type, material and finish.

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Pepe Raventós Natural Wines by Mucho, Spain

Opinion by Richard Baird

Packaging design by Mucho for natural wine range by Pepe Raventós

Bastard Negre, Xarel·lo and Ancestral are a small batch natural wine collection created, with minimal intervention, by Spanish vintner Pepe Raventós. Although Pepe is in charge of a vineyard that has been in his family’s hands for over 22 generations, and maintains the philosophies of his father and grandfather, this small collection was produced in the garage of his house, with the intention of crafting the highest quality wine from unrepeatable terroir. 

Natural wines Bastard Negre and Ancestral, and sparkling wine Xarel·lo, are unfiltered and made without additives or sulphites, and have been produced from vines that around 50 years old. The land in which these have been grown are located at different heights and geographical positions, and made up of a variety soil compositions. This is expressed, alongside a process of minimal intervention, in packaging design, created by Mucho, through the layering of paper, the use of colour and form, and material texture and composition.

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Kristin Jarmund Architects by Snøhetta, Norway

Opinion by Richard Baird

Visual identity designed by Snøhetta for Oslo-based Kristin Jarmund Architects.

Kristin Jarmund Architects is an oslo-based architectural studio with a design philosophy that is focused on using a simplicity of form and a clarity of purpose to address complex problems, while at the same time, allowing for a contextual and human sensitivity. Reduction, as well as the duality inherent to the studio’s work, was the founding principles of their new visual identity, created by Scandinavian studio Snøhetta. This can be seen in the juxtaposition of type and image, and the recurring motif of extracts within both of these.

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