Galicheva–Gahlen developed the identity and signage for Iain Cochran Architects, a practice based within a former leather shop in Felixstowe. The project drew from the building’s layered history – from its origins as a sweet shop to its long life as The Leather Shop, which operated for more than fifty years before closing in 2021. Rather than erasing these traces, the identity sought to carry the site’s visual character into its next chapter.

The typographic approach was informed by the building’s original hand-painted signage and the studio’s own sketching process, balancing architectural precision with warmth, irregularity and human gesture. Central to the project is F37 Beckett by F37, a typeface inspired by the 1933 British Ministry of Transport alphabet used on pre-Worboys road signs. Its distinctly British character felt particularly suited to a practice grounded in material sensitivity and local context.

The identity extends across signage and printed collateral, creating a visual language that feels both rooted in the building’s history and reflective of the architectural practice it now houses.

Graphic design and production of physical materials for the book Livio Vacchini. La construction paradoxale de la forme (“Livio Vacchini. The Paradoxical Construction of Form”), published by Caryatide and Mendrisio Academy Press.

As the interior layout had been finalised before I joined the project, I designed the cover using my interpretation of Akzidenz-Grotesk, CLTN Grotesk (working title), to complement the interior layout, which was set in Garamond Simoncini and Akzidenz-Grotesk.

Piloti, by A Practice for Everyday Life, was originally designed for the identity of the London-based architecture practice Feilden Fowles. Piloti is a light sans-serif typeface, its high x-height and curved forms offer a sense of softness and warmth, reflecting the practice’s ethos of fostering learning and collaboration. Tapered stems that flare at their ends add character to the diagonal strokes. This detailing is inspired by stone-carved letterforms and by Feilden Fowles’ focus on craft.

The Feilden Fowles logo celebrates the typeface and is available in a range of lock-ups, including a bespoke FF ligature reminiscent of a sash window or a maker’s mark. The identity includes a comprehensive set of digital and print templates, and a visual refresh of the Feilden Fowles website to apply the new identity in this context.

A Practice for Everyday Life also designed an accompanying publication for The Weston, a gallery and visitor centre for Yorkshire Sculpture Park, which opened to the public in spring 2019. Built on a the site of a former quarry within the Yorkshire Sculpture Park’s 18th-century Bretton Estate, the building has been designed to sit sensitively within this historic landscape.

Altona in Mietraum² magazine. The spread shown is page 14–15 in the issue of December 2025.

Altona was used for the typography of a spread in the December 2025 issue of Mietraum², a magazine for members of Mieter helfen Mietern Hamburg (“Tenants help Tenants Hamburg”).

Hamburg and Lübeck based graphic designer Jana Madle-Elmerhaus, the designer of Mietraum², picked the typeface Altona because it relates to the spirit of interwar modernism. This was an era in which large social housing projects were developed in the city of Altona, something that is sorely missed today. Altona thus symbolizes the commitment of the social democratic city council of the time to the poorer segments of its population. This period ended in 1933, when the Nazis came to power. By 1937 they even incorporated Altona into Hamburg. The article shows what may happen when a government loses its influence over the ownership, prices and maintenance of rental housing, exemplified by a case study about a rental building in Ottensen, a neighbourhood in Hamburg-Altona.

Altona was designed by Albert-Jan Pool and Julia Uplegger and released by TypeMates in 2024. The Altona family comes with an extensive set of icons, designed by Antonia Cornelius. Their choice and design are mainly inspired by Hamburg and its district Altona, many directly relate to their history.

Diploma Days bring together graduating students from KTH School of Architecture and its associated programmes, to showcase thesis projects spanning architecture, lighting design, urbanism, and related fields.

During the summer sessions, the School opens to both the public and the wider KTH community, offering access to the full range of thesis work. Invited jury members, students, and staff come together for presentations and discussions addressing contemporary topics in architecture.

Historically, important documents like diplomas were written with care, time and a bit of ceremony. This thought became a way to treat the letters as heavy, shaped, layered and a a bit too much perhaps. Almost like contemporary calligraphy, but built out of digital shapes, masks and architectural blobs. The forms also borrow something from the school itself, its rounded building and the many different projects, questions and voices that fill it during Diploma Days.

The posters were designed by Frostner Studio (Martin Frostner and William Vellinga). Thanks to Janek Ozmin and KTH School of Architecture.

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.

This leporello was designed for the presentation of the documentary Casina·Pio·IV, L’Architettura del pensiero (“The Architecture of Thought”), produced by Morgana Studio (Eleonora Faccio, Flippo Genovese). The film was directed by Dario Edoardo Viganò and distributed by Rai Cultura, with Fujifilm Italia as its technical partner.

The leporello was printed on Fedrigoni Arena Natural Smooth paper. On the first page, the project is introduced as follows:

In the tumultuous 16th century, architect Pirro Ligorio, drawing on his extraordinary encyclopedic knowledge, created the architecture of the Casina Pio IV, a treasure trove of beauty in the heart of the Vatican that became a mirror of the radical socio-religious changes of the era, from the violent Sack of Rome to the momentous Tridentine Reform.

Es Ala is an interdisciplinary architectural practice based in Guadalajara, Mexico, founded by Armida Fernandez and Luis Flores.

The firm, in its own words, seeks to “honor culture and tradition while still questioning the significance of programs, methodologies, and materialities. Architecture must be able to fade away established boundaries and conventional hierarchies, allowing the freedom to generate new forms of behavior.”

Driven by Es Ala’s perspective on architecture, we aim to build an image that reflects these attributes.

We redesigned their logo to create an ethereal composition with bodies that have no positions or barriers.

For editorial compositions, we played with airy and flexible layouts, where the protagonist is represented through the use of blank spaces, which enrich and highlight the elements placed on them.

Es Ala's work stands out for its appreciation and valorization of regional materials and their use in new contexts. The color palette aims to represent this appreciation, using earthy colors that vanish with time.

Mockups of the website. The live website uses Inter.

Written by art historian Jan Ivanega, Život Na Sídlišti (“Life in the Housing Project”) traces the origins and history of housing estates in Pardubice, from the postwar enthusiasm for construction and the challenges of building a “better world” to the transformation of older neighborhoods. The book explores both realized and unrealized urban plans, the development of infrastructure and schools, and, above all, the everyday lives of residents. Drawing on eyewitness accounts and historical photographs, many of them published for the first time, it offers a detailed portrait of life in Pardubice’s housing estates across decades.

The book was published by Východočeské muzeum v Pardubicích in a design by Milan Nedvěd Studio using KTF Compact from Kyiv Type Foundry, Grilli Type’s GT America and ABC ROM Mono from Dinamo.

Graphic design of the third album by Musée des Arts Décoratifs de Paris, published on the occasion of the exhibition Exposition universelle de 1900: des décors aquarellés retrouvés (“1900 World’s Fair: Rediscovered Watercolor Scenes”), held from November 1 to 13, 2022.

The titles are typeset in a working version of EB Hymne, published in 2025 by Électro-bibliothèque, while the main text is in LL Unica77 by Lineto.

Written in French, the album comprises 32 pages and features 28 colour images. Produced in a 210×280 mm format with loop stitching, it was printed in an edition of 400 copies and published by Musée des Arts décoratifs de Paris.

Over a period of five years, photography students from the advanced training in photography at the Centre d’enseignement professionnel de Vevey (CEPV) engaged in a parallel exploration with students from the Atelier de la conception de l’espace (ALICE) in the school of architecture at the École polytechnique fédérale de Lausanne (EPFL) in Switzerland, forging complementary discourses about image making. Every copy of the book is unique and manually shuffled by the students, presenting pairings of images and text in a different order.

Through a pluralistic practice exploring connections between architecture and craftsmanship, cities and mountains, Studio Kokumi engages daily in thinking, designing, repairing, learning, and creating encounters. By revealing the natural intersection between architecture and agriculture, the studio cultivates fertile links between urban and mountain ecosystems. Rooted in a careful approach to both existing and future-built environments, Kokumi’s work pays close attention to context, landscapes, and the material relationships they establish with local territories. These principles form the foundation of the studio’s research and projects, presented through this first issue of Kokumi. la revue.

Antoine Bertaudière was in charge of the journal’s graphic design. For the titles and body text, he selected and combined Rillus from Formagari and Delusse from Commercial Type.

Vers un design endémique : Pratiques situées engagées (“Towards an Endemic Design: Situated and Committed Practices”) is a thesis written and designed by me, Arthur Polti, as part of the Master in Social & Ethical Design at the Campus Fonderie de l’Image.

It explores the figure of the endemic designer, an approach that could help reconcile living beings with their environment confronted to current ecological and social challenges. The endemic designer is characterized by their ability to become rooted in a territory, taking into account its local dynamics and valuing the knowledge and resources of its surroundings. By relying on related practices such as farmer design, social co-design, and in-situ design, these approaches also help to define the practice of endemic design, offering sustainable solutions adapted to local realities.

The fonts in use are Syndicat Grotesk from edition.studio and OO Arketa from Outline Online.

Posters for the exhibition of final year projects by students of Design & Art School Kortrijk (DAS), Belgium, using RM Neue.

The ceramic artwork in the first series is by final year student Nina Dendoncker.

The letter X in the second series uses Connect, a self-made typeface that’s still work in progress.

For Wrenbridge’s rebrand, Campbell Hay uses Denton as the typographic voice of a more refined and human identity. The serif gives the system a sense of editorial confidence, softening the industrial subject matter while still feeling precise enough for property development, architecture, and workplace communications.

Denton appears across brand statements, campaign lines, reports, digital layouts, and presentation materials, often paired with restrained photography, generous white space, and a sharp blue accent. In headlines such as “Partners in Progress”, its high-contrast forms add polish and pace, helping Wrenbridge move away from a purely corporate built-environment tone toward something warmer, clearer, and more distinctive.

The sans-serif logotype appears to be custom drawn.

Loci Anima asked Studio Hudson Catty to design a book tracing the story of the Keiko Tower in Issy-les-Moulineaux, France.

The book features two covers, inviting readers to enter from either side: The Legend of Keïko, a novel written for the occasion by author Jean-Pierre Porcher, or The Birth of Keïko, which explores the genesis of the building through photographs, texts, and archival imagery.

Set in Kalice from Claude Type, designed by Margot Lévêque, the novel develops the metaphor of the building as a butterfly. The designers had fun extending this idea through the design, using a shiny, silky cover stock and creating a layout and monogram that evoke its metamorphosis, forming a transition between the two sides of the book.

The Japanese text uses Kozuka Mincho. There is also a sans serif that’s yet unidentified.

Studio Hagen Hall is an architecture, interiors, furniture and product design studio based in East London. The website keeps its structure spare, using large-format project photography and minimal navigation to foreground the studio’s work rather than explain it at length.

A compact press section links recent projects to coverage in Wallpaper*, Architectural Digest, Dezeen, Elle Decoration, House & Garden, Yellowtrace, The Modern House and Dwell, giving the site the feel of a tightly edited portfolio rather than a conventional agency website.

The website uses Store Norske Jazz from Skriftkompani. The logo is based on f:Ruder-Schrift@.

Finemateria is a Milan-based design studio founded in 2020 by Gianluca Sigismondi and Stefano Bassan.

The Finemateria logotype features a custom version of Superness Modulo, a design that comes from a group of well known Milanese graphic designers. Modulo is a digital version of Nebiolo’s unreleased attempt to create a radical modular design based on mathematical ratio. It features almost no contrast overall and has a solid appearance that create a sense of established firm, static, neutral and solid.

Modulo is the core typefamily. All weights are used if needed, but the bold cut is the default voice of the identity. Overall the spacing is crafted to giving extra space between each glyphs and enhancing a unique – both strong yet relaxed – flavor.

The identity application is plain and self-aware, conceived as a flexible framework capable of show carefully crafted and well-defined projects, each distinct in character. The visual approach is paired with dusty, low-saturation tones, allowing the materic quality of the printed matter to emerge, so as to highlight the attention that Finemateria dedicates to materials, enhanced through a precise and thoughtful photographic perspective.

The new Aare River Bridge in Aarau, Switzerland, designed by Christ & Gantenbein in collaboration with Henauer Gugler, WMM Engineers, and August + Margrith Künzel, reconnects the historic town center with the northern districts through a contemporary architectural intervention carefully integrated into the surrounding landscape. Replacing the former 1949 concrete structure, the bridge introduces a new urban presence defined by its elegantly curved arches and distinctive ovate openings, while also reshaping the adjacent riverbank areas.

The project was documented in a publication designed by Hubertus Design, accompanying the bridge’s completion and broader urban transformation. The Aare Bridge was also shortlisted as a finalist in the Public and Landscape Architecture category of the ArchDaily Building of the Year 2024 awards.

The Moraine – Home is Where the Mountains Are

Getting up and out in Colorado: less than 30 minutes from Boulder, Colorado, and in the foothills of the majestic Rocky Mountains, The Moraine brings together urban convenience and breathtaking outdoor access. Watson was tasked with creating a name and a brand that would attract active individuals and families seeking to live, hike, bike, climb, and ski in pristine nature without giving up the urban amenities that the cities of Boulder and Longmont have to offer.

Grounded in a strategy centered on living close to nature, the brand identity draws directly from Colorado’s rugged landscape. The logo abstracts a rock and a house into a distinctive M mark, creating a visual connection between the buildings and the natural environment. The angular geometry of the symbol establishes the foundation for the typographic system. Type moves throughout the compositions with the same rugged, geometric character, creating a cohesive and expressive visual language.

The overall identity remains intentionally restrained, allowing the landscape to remain the hero. A minimal black-and-white palette, paired with a Swiss graphic design–inspired typographic system, introduces references to sports and outdoor culture while maintaining a refined and contemporary character.