La Part terrestre discusses how the crossing of planetary boundaries is destabilizing the conditions for life on Earth and forcing cities and urban spaces to confront profound ecological challenges. While urbanization has contributed to these crises, the author explores emerging ecological approaches to urban planning that seek new ways of imagining and shaping living environments. Avoiding both alarmism and excessive optimism, the book examines how ecological and political questions challenge traditional ideas of habitability, justice, and urban development. By treating the “terrestrial” as a working hypothesis rather than a fixed concept, the author invites readers to rethink the scales, balances, and practices of urban production through a slower, more reflective perspective rooted in the humanities and ecological responsibility.

Headings, the table of contents, and footnotes are set in Muoto Normal and Ultra Condensed, designed by Matthieu Cortat. The body text is set in Alcalá Xtra, designed by Damien Gautier. These two typefaces are distributed by 205TF.

Faire école… de la résilience is a collaborative project led by Cité Anthropocène and Éditions 205 that brings together scientific and civic knowledge to develop concrete solutions for environmental challenges. Built during the winter of 2024–2025 by participants from academic, cultural, non-profit, economic, and public sectors, the initiative aims to foster new forms of cooperation, creativity, and collective engagement.

The titles are set in Pinokio Grand, while the interview questions are set in Pinokio Sans (Tanguy Vanlaeys, 205TF). The body text, interview answers, and quotations are set in Alcalá Xtra (Damien Gautier, 205TF). The page numbers and running headers, meanwhile, are set in CX80 (Damien Gautier, 205TF).

For the past twenty years, Atelier du Rouget, founded by Simon Teyssou, has developed a patient, cross-scalar approach to marginal and rural areas, addressing architectural, urban, landscape, and social issues as interconnected rather than separate, with the aim of preserving vital links essential to living environments. Using the village of Le Rouget as a testing ground and in situ research laboratory, Atelier du Rouget demonstrates the complexity and potential of rural territories beyond simplistic representations, and this book presents a selection of projects drawn from Simon Teyssou’s sketchbooks, highlighting drawing as a key exploratory and inventive tool in the design process.

To design this book, Bureau 205 chose to compose all of the text in Milling, designed by Tanguy Vanlaeys and distributed by 205TF. This bilingual book (French, English) is available on the Éditions 205 website.

Everybody knows Happy Families. Here is a game of Happy Design Families to discover design while having fun!

This game, created by Claire Gautier and accompanied by illustrations by Simon Bailly, is an opportunity to familiarise yourself with, learn about, and understand design, its various applications and the place it occupies in everyday life… Through a selection of objects (biomorphic, popular, useful, engaged, iconic, …), this game displays a panorama of design. It gives an overview of the successive movements in design—from its beginnings to the present day—and presents the conceptual approaches that define these objects.

For the typography, Bureau 205 used the typeface Maax Micro, designed by Damien Gautier and distributed by 205TF.

Built in 1979 by Grand Prix de Rome architect André Chatelin, the Regional Telecommunications Department building immediately made its mark on the Part-Dieu landscape, with its 3D facades repeating prefabricated concrete modules.

40 years later, AFAA Architecture’s rehabilitation of this emblematic building led to the addition of two glass extensions to the north and south of the plot.

Bureau 205 was tasked with designing a signage system tailored to the building’s new functions and circulation patterns. For this, they employed a custom version of the Muoto typeface, designed by Matthieu Cortat and distributed by 205TF. This bespoke iteration of Muoto features rectangular counterforms.

Un *nouveau* programme pour le design graphique is a do-it-yourself manual that combines pragmatism and experimentation, drawing on pedagogical models from the second half of the 20th century to convey the fundamental principles of contemporary design. Taking three courses (“Typography”, “Gestalt” and “Interface”) originally developed for art students, David Reinfurt offers readers of all disciplines a general and detailed introduction to graphic design and visual literacy.

From Benjamin Franklin to Bruno Munari, via Moholy-Nagy, Muriel Cooper and the Macintosh computer, this book is a practical guide for designers seeking to understand and shape the increasingly complex world of information and design.

Bureau 205 used the typefaces Cosimo and Yorick designed by Matthieu Cortat; all distributed by 205TF.

The book is available on Éditions 205.

The festival 9PH: photographie et image contemporaine was born out of a reflection on real-life photography, where the documentary image tells a story, the story of the represented, of ideologies, of cultures, of our contemporaneity.

Bureau 205 designed the visual identity for the 2018 edition with the typeface Caporal designed by Damien Gautier and Cardone designed by Fátima Lázaro, both distributed by 205TF.

Every year, Bureau 205 designs an edition retracing the projects of architectural office BBC & Associés over the past year. The visual identity unfolds with typeface Maax Raw, created by Damien Gautier and available from 205TF.

See also the 2017 edition of the same publication series.

Bureau 205 imagined the design and positioning of the “AAA...” (architecture, urbanism, landscape) collection. It highlights the most appropriate spatial responses to the crisis of habitability, the finiteness of resources, strong climatic hazards, increased attention to global metabolism and social justice.

This first title focuses on the approach taken by architectural studio Amas, through a project to convert an existing building in the heart of Villeurbanne’s Autre Soie district.

To design this book, Bureau 205 used the typeface Immortel Acedia and Immortel Colera designed by Clément Le Tulle-Neyret and Yorick designed by Matthieu Cortat; all distributed by 205TF.

De l’invention en architecture. Initier, situer, durer (“Invention in architecture. Initiating, situating, sustaining”) written by Stéphane Bonzani, was published by Éditions deux-cent-cinq:

What does it still mean for an architect to invent in today's troubled Anthropocene landscape? And if there is such a thing as invention in architecture, how does it differ from other modes of inventiveness?
At a time when the world's habitability is in crisis, the notion of invention, common to both philosophy and architecture, is being re-interrogated according to other coordinates.
The novelty we expect from all invention - and today, perhaps even more than ever, we need to invent, create and imagine in order to re-inhabit - can no longer be based on destruction, invisibilization and simplification, unless it leads to further devastation.

Bureau 205 used several widths and weights of the typeface Muoto, designed by Matthieu Cortat, and Cardone designed by Fátima Lázaro, both available from 205TF.

L’Astragale is a generalist bookshop based in Lyon, established in 2016. In 2023, the bookshop aimed to improve its visibility in the neighborhood and, inside, the discovery of the books it offers to readers. Bureau 205 proposed a project based on the architecture of the site. It focuses on the presence of mouldings at the top of the walls and the play of shadows produced by the lighting.

For the design of this identity, Bureau 205 used the typeface Garaje Mono designed by Thomas Huot-Marchand and distributed by 205TF.

The Cheuvreux Notaires law firm has a close relationship with photography, and for many years has been building up a collection under the guidance of Marie Prunier.
In 2023, Bureau 205 was commissioned to design a collection of booklets to showcase newly-acquired works exhibited at the firm.

This year, the artists in question are Nelly Monnier and Eric Tabuchi and their Atlas des Régions Naturelles project.

Bureau 205 used the typeface Molitor by Matthieu Cortat and distributed by 205TF.

Faire face à l’Anthropocène. Les voies du droit is a book by Isabelle Michallet, published by Éditions deux-cent-cinq. For the design, French graphic design studio Bureau 205 used Damien Gautier’s Plaax and Tassiana Nuñez Costa⁠’s Thelo.

Isabelle Michallet explores the ways in which the law can respond to today's ecological emergency. In the last century, legal rules were fundamentally anthropocentric, often reflecting a generalized logic of predation and destruction. Today, the law must integrate the end of this model.

Considering that the legal instrument is not only constructed by bodies dominated by politics, she shows that it is also the expression of societal and citizen choices.

The headlines are set in Plaax Sathonay LightB. Continuous text and footnotes use Thelo Text. The book has 116 pages and measures 9,5×15,7 cm. Printed by Ott in Wasselonne, France.

Esthétique du “care” pour l’Anthropocène is a book by María Grace Salamanca Gonzaléz, published by Éditions deux-cent-cinq. For the design, French graphic design studio Bureau 205 used Damien Gautier’s Plaax and Tassiana Nuñez Costa⁠’s Thelo, both available from 205TF.

Is there anything left to do? To say? To think about? Can we continue to believe that knowledge is enough to change our behavior and decisions? What is valuable enough for us, as humans, to face up to planetary emergencies?

This book explores the imaginary dimensions of the various crises of habitability that are shaping the era known as the “Anthropocene”. It proposes an aesthetic response to a moral question. Thinking about the Anthropocene from a moral perspective involves asking how our decisions are shaped and made, according to which scales of value we decide what counts and what will be interpreted as secondary, contextual or incidental.

The headlines are set in Plaax Sathonay LightB. Continuous text and footnotes use Thelo Text. The book has 116 pages and measures 9,5×15,7 cm. Printed by Ott in Wasselonne, France.

Published by Éditions 205, Florence & Henri, by Olivier Belon and Yveline Loiseur, is a poetic introduction to photography for children. It includes a story, definitions, and eight plates to handle. The book references the work of photographer Florence Henri (1893-1982), who used mirrors and geometric constructions in her still lifes during the late 1920s. These techniques were strongly influenced by her studies at the Bauhaus with Josef Albers and László Moholy-Nagy.

For the design, Bureau 205 used the typefaces Yorick, designed by Matthieu Cortat and available from 205TF.

«Sur le vif». Vivants, fictions et architecture (“On the spot. Life, fiction and architecture”) was published by Éditions 205 in the “Talks” series dedicated to writings on architecture:

Issue no. 5 of the Talks series aims to bring together two a priori unrelated themes: the living and fiction, and to do so from an architectural perspective. Considering the resurgence of contemporary thought in these two fields, these reflections help to redraw the contours of the notion of nature. At the interface of these orders of reality, the architect moves, both in his discourse and in his actions, and places himself in the conditions of projects where humans and non-humans cohabit.

Bureau 205 used the typeface Muoto designed by Matthieu Cortat and available from 205TF. For both body text and the condensed headlines, the designers created custom widths from the variable font version available on the 205TF website.

To design the book Eye Eye Eye. Undoing visual control published by Éditions 205, Bureau 205 used the typefaces Alcalá and Plaax, both designed by Damien Gautier, and F Grotesk designed by Radim Peško.

From Éditions 205:

This book has been designed like an exhibition, a subjective and commented atlas of artistic, media-driven and documentary images that dialogue with one another. It entertains questions from different eras, whether they be climatic, identity-related or digital, centered around the symbolic toxicity of images when they overwhelm our field of vision, capture our attention, and alter our capacity for analysis. It shows how the museum is today a fundamental and decisive place for taking the time to consider existing images and affirm those to come. Joseph Belletante, Director of the Musée de l’Imprimerie et de la Communication graphique (Lyon, France), proposes an essay essential to restoring our ability to act.

Aux dires de l’obscur. Sur la théorie en architecture (“In the words of the obscure. On theory in architecture”) written by Franck Rambert, was published by Éditions 205:

Theory in architecture is used to think about architecture before thinking about the project that will be an incarnation of it. It also serves to think the architecture as a whole, whatever the place, the time or the scale of the building.

It is taken for granted that theory is an integral part of the architect’s practice, that it is the cognitive part that orders the design and allows it to reach that condition of thought that brings the architectural discipline into the field of the erudite arts.

However, there is no book that would say with any precision what theory in architecture is, what one could expect from it and to what extent it would be operative. This text tries to define the words and to make them effective for those who want to make or understand architecture.

Bureau 205 used several widths and weights of the typeface Muoto, designed by Matthieu Cortat and available from 205TF.

The book Observer, comprendre et utiliser la typographie (“Observe, understand and use typography”) was written by graphic designers Damien Gautier and Florence Roller and published by Éditions 205. For the design, Bureau 205 used the typefaces Cosimo and Yorick, both designed by Matthieu Cortat and available from 205TF.

From Éditions 205 (translated):

This book aims to make each of its readers, whether amateur or professional, student or experienced, able to observe, understand and use typography with precision. It presents the origins of writing and what allowed typography to develop. It shows the fundamental typographic notions and then details the subjects that everyone can be confronted with from the moment they compose a text. The multiplication of communication channels, printed and digital, static or dynamic, and their ever-increasing use, imply that those who wish to use typography with full knowledge of its origins, and master its foundations: typography is an art, within everyone’s reach.

The book was published as the third volume of M.A.X, a series of manuals devoted to graphic design, aimed at students and teachers, practitioners and their sponsors.

Une certaine idée du beau (“A certain idea of beauty”) was published by Éditions 205 in the “Talks” series dedicated to writings on architecture:

Beauty and architecture are closely related. One can suppose that long before its most notorious appearance two thousand years ago in the form of venustas in the Vitruvian triptych, beauty, or at least its research, occupied as much those who wished to do architecture or those who criticized it. However, the very use of the word beautiful poses a problem. If the term is omnipresent in our daily lives and in the non-knowledgeable criticism of architecture, it seems that this term is if not banished at least obsolete or vulgar for the discipline that animates us. Benoit Goetz invites us on the contrary to think that any thought of architecture which approaches the question of inhabited environments must have the concern of beauty, because it would be an “essential component” of it.

Bureau 205 used the typeface Muoto designed by Matthieu Cortat and available from 205TF. For both body text and the condensed headlines, the designers created custom widths from the variable font version available on the 205TF website.