Visual identity design for cultural projects.
Gorricho Diseño was born in 2003 as a space dedicated to the design and development of identity systems and visual communication strategies.
The studio provides integral services of design or redesign of identity systems for organizations, specially in the field of cultural projects. Design of strategy, concept, logo, symbol, name, slogans and all graphic identifiers.
From its office in Buenos Aires, the studio has developed more than 50 brands for organizations in Argentina, Brazil, Colombia, Spain, France, Belgium, Canada and E.E.U.U., including the Argentinian National Theater, The Buenos Aires Museum of Modern Art and the Recoleta Cultural Center.
Opened in the City of Buenos Aires in 1921, the Teatro Nacional Argentino – Teatro Cervantes is the only national theatre in Argentina, the most prestigious space for performing arts in this country. The theatre used to have an image of great prestige but also of great solemnity. The new management intended to transform it into a field of action, challenge and risk.
The Recoleta Cultural Center is one of the most important cultural spaces in the city of Buenos Aires. Founded in the early 80's, it soon became the place for all the disruptive culture that surfaced with the return of democracy. Over time, new spaces started to appear in the city of Buenos Aires that attracted contemporary art and the artistic expressions of the younger generations. Thus, it gradually lost its protagonism. Since 2016 the cultural center has embarked on a new project that seeks to attract avant-garde art and to reclaim its lighthouse status for all new trends. A space that, as before, welcomes young artists and their cultural expressions.
The first stage of the project consisted of deep analysis and research. As part of this initial assessment, dozens of interviews were conducted and an analysis of the institution's history in terms of visual communication was carried out.
The Recoleta Cultural Center required a very significant change in visual communication. The main factor determining the extent of the change was precisely the profound transformation that the institution itself was undergoing. They proposed that the Center needed to be appealing to the most innovative and stimulating expressions in the field of plastic arts, but also of cinema, dance, literature, theater, as well as new forms of urban art. It needed to stop being the traditional and solemn space in which it had become over time, to recover the provocative spirit of its early years. Such a significant change in the spirit of the project neeeded to be mirrored by its visual communication. It required new signs, new languages, new modes that made the institutional change visible and which aligned the communication of the organization with its new profile.