2017
Exhibition, Interiors, Signage
Symington Family Estates
This global design project to renew and upgrade the Cockburn’s 1815 Lodge consisted in the “reinvention” of this unique place, a 204 years old Wine Cellar. The project comprises an environmental design project for the entrance lobby, museum, tasting room, vintage room, shop, and cooperage. This spaces didn’t exist before, and were renovated, all part of the new visitors tour. This global renovation consisted in the design of the interiors, customized furniture, a new signage system and environmental graphics, and also a permanent exhibition (museum).
In an effort to have a timeless intervention, the overall design concept was all about the idea of creating objects, spaces and graphics that seem to be there from the beginning, and that will remain that way forever (avoiding the sensation of “fake vintage environments”).
Materials and colors used were intentionally restricted to a minimum (wood and stone, black, white, and a bit of red, like in the image of Cockburn’s).
The visual communication objective was “historical but somehow timeless” by using typefaces and layouts that could suggest this feeling, and by choosing everlasting technical solutions, such as wood engraving or painting graphics on walls.
Nuno Gusmão
Joana Próserpio
Jacinta Fialho
Ivo Tavares
2017
Exhibition, Interiors, Signage
Symington Family Estates
This global design project to renew and upgrade the Cockburn’s 1815 Lodge consisted in the “reinvention” of this unique place, a 204 years old Wine Cellar. The project comprises an environmental design project for the entrance lobby, museum, tasting room, vintage room, shop, and cooperage. This spaces didn’t exist before, and were renovated, all part of the new visitors tour. This global renovation consisted in the design of the interiors, customized furniture, a new signage system and environmental graphics, and also a permanent exhibition (museum).
In an effort to have a timeless intervention, the overall design concept was all about the idea of creating objects, spaces and graphics that seem to be there from the beginning, and that will remain that way forever (avoiding the sensation of “fake vintage environments”).
Materials and colors used were intentionally restricted to a minimum (wood and stone, black, white, and a bit of red, like in the image of Cockburn’s).
The visual communication objective was “historical but somehow timeless” by using typefaces and layouts that could suggest this feeling, and by choosing everlasting technical solutions, such as wood engraving or painting graphics on walls.
Nuno Gusmão
Joana Próserpio
Jacinta Fialho
Ivo Tavares