Antara 128 by Mucho

GT Alpina is described by type foundry and BP&O regular GrilliType as a workhorse serif that also delights in playing with the very meaning of concept, reaching into the ‘grab bag of typographic history to resurrect shapes some may falsely see as too expressive’. This feels an apt description for Antara 128, and the visual identity created by Mucho that employs GrilliType’s ‘workhouse’.
GT Alpina 被字体铸造公司 GrilliType——BP&O 的常客——形容为一款既实用又乐于探索概念本质的衬线字体，它深入字体历史的宝库，复兴了一些可能被误认为过于表现性的形态。这番描述恰如其分地适用于 Antara 128，以及由 Mucho 创作、采用 GrilliType 这款“工作马”字体的视觉识别系统。

Antara 128 is an ‘avant-garde’ bakery and restaurant that fuses European traditions with a contemporary Australian influence and inhabits a space created by renowned architect Kerstin Thompson.
安塔拉 128 是一家融合欧洲传统与当代澳大利亚风味的‘前卫’烘焙坊与餐厅，坐落于著名建筑师克尔斯汀·汤普森设计的空间之中。

Antara’s design supports and celebrates the 24hr production of baked goods. Its layout is structured by the process and sequence of pastry and baking. What usually goes on behind the scenes is on show, providing an ‘enticing spectacle and delight for diners’ as well as passers-by on Exhibition Street. Industrial baking ‘machines’ anchor the space and produce delicate pastry that travels through the production sequence, visible to customers who can buy produce direct from the cooling racks at the end of the line. Just like GT Alpina, what was once perceived as utilitarian and industrial could be understood as an expression of expense, or rather, value.
安塔拉的设计理念支撑并颂扬着全天候烘焙糕点的生产过程。其布局依照糕点制作与烘焙的流程及顺序精心构建。通常隐于幕后的制作场景如今公开展示，为展览街上的食客及行人带来了一场“诱人的视觉盛宴与愉悦”。工业烘焙“机械”成为空间的核心，生产出精致的糕点，这些糕点沿着生产流程线行进，顾客得以全程目睹，并可在生产线末端的冷却架上直接购买新鲜出炉的产品。正如 GT 阿尔卑纳一样，曾经被视为实用主义和工业化的产物，如今可被解读为一种奢华的表达，或者更确切地说，是价值的体现。

The intersection of craft and industry, the openness of work and the warmth of the interior design are channeled into the brand identity devised by Mucho. GT Alpina is perhaps the most subtle articulation of this, however, the logo – an iconic folded ‘A’ inspired by the lamination of dough (process, persistence, patience) – and an earthy baked colour palette (flour, earth, bone, kaya, kraft) further this.
工艺与工业的交融，作品的开放性以及室内设计的温馨感，在 Mucho 设计的品牌形象中得以体现。GT Alpina 或许是这一理念最微妙的表达，然而，其标志——受面团叠层工艺（过程、坚持、耐心）启发的折叠式“A”字样——以及一系列质朴的烘焙色彩（面粉、泥土、骨色、咖椰、牛皮纸色）更深化了这一理念。

Online, these elements intersect interior imagery; an open fire, material details, and used alongside ABC ROM. This takes inspiration from typeface applications in conceptual art catalogs from the ’60s and ’70s, ROM’s. The mid-century foundation also extends to the logo, which could have easily come out of one of the volumes of Franco Ricci’s Top Symbols & Trademarks of the World. What could have cold and modernist is given warmth in its association and colour palette. The logo is given a further value as it expands and contracts like dough across different packaging, from coffee cups to tissue paper to paper bags.
在线平台上，这些元素与室内图像交织，如开放式壁炉、材质细节，并与 ABC ROM 并置呈现。其灵感源自 20 世纪 60 年代和 70 年代概念艺术目录中的字体应用，即 ROM 系列。中世纪的基础也延伸至标志设计，它仿佛直接出自 Franco Ricci 的《世界顶级符号与商标》系列之一。原本可能显得冷峻现代的设计，在色彩搭配与关联中赋予了温暖感。标志更因其在不同包装上如面团般伸缩自如的特性而增添价值，从咖啡杯到纸巾再到纸袋，无不适用。

There’s an attempt here to broaden the visual system beyond the logo, with the addition of some fine-line curves, dotted lines, and few other random elements such the grids of the coasters. There’s not much in these. They do little to add a coherent visual interest or used to develop a distinctive and varied social presence. There are, however, some nice uses of the logo; blind embossing, an outline version, and the spiral of the tissue paper. You get the impression that the studio was reluctant to stamp the logo on literally everything…but when you’re 80% of the way there, the remaining 20% seems conspicuous.
这里尝试将视觉系统扩展到标志之外，引入了一些细线曲线、虚线以及诸如杯垫网格等其他随机元素。这些元素并未能增添多少连贯的视觉吸引力，也未能用于构建独特且多样的社交形象。不过，标志的运用倒有几处巧妙之处：如盲文压印、轮廓版本以及纸巾上的螺旋图案。你会感觉到工作室并不愿意将标志生硬地印在所有物品上……但当你已经完成了 80%时，剩下的 20%就显得格外显眼。

Social defaults to interior shots and product photography, which does enough to peak interest and draw further enquiry but not strategic. There’s also another typeface in the mix in this context that throws things off a bit. I remember a time when I was disappointed to go from case study to website and find something less than resolved, now it’s social. Despite this, the website is fab. Type, colour and logo does much of the lifting here, and supports the Antara 128 concept and its interior design.
社交平台默认展示内景和产品摄影，虽足以激发兴趣并引发进一步探究，却缺乏策略性。此外，在此情境中混入的另一种字体略显突兀，稍稍打乱了整体感。我曾记得，从案例研究转向网站时，发现内容未臻完善而感到失望，如今这种情况在社交媒体上更为常见。尽管如此，该网站依然出色。字体、色彩及标志在此发挥了重要作用，有力支撑了 Antara 128 概念及其室内设计理念。