Issue 7 of the GRAM book series published by Editions QNDMC is a monograph that dives into the philosophy of Nicolas Dorval-Bory Architectes, featuring a selection of both built and unbuilt projects. Started in 2018, the GRAM series explores emerging architectural practices through conversations and interviews with the editorial committee and various practices.

This new opus also marks the arrival of Studio Hugo Blanzat in shaping the graphic direction of the series. On a scale from 1 to 10, how would you rate your architectural emergence? This idea—evaluating emergence through analog scales—informs the design principle. In medicine, pain is measured via visual analog or numeric scales, which, despite technological evolution, remain the primary method of assessment.

Conceived as a system of graphic variants and invariants, the collection establishes a shared framework where each book belongs to the same family while adapting to distinct practices and contents. Covers oscillate between contrast and near tone-on-tone, using colour as both a narrative and conceptual tool, echoing scales of emergence and reaffirming colour’s role in architectural communication.

In the colophon, AV Synteca Sans is listed under its working title, AV Antiverse Untitled.

Edwards White Architects hired us to develop a brand identity that better reflected the way they think, design and work. Their practice is grounded in context, collaboration and careful execution, but this depth was not consistently expressed across their existing identity or digital presence. The project called for a clear brand foundation and a system that could scale across all touchpoints, with the website identified early on as one of the most important expressions of the new identity. The core idea underpinning the work was “people places.” This reflects a belief in architecture as more than the admiration of finished objects, focusing instead on how thoughtful design enriches everyday human experience. Our task was to translate this idea into a coherent identity and a digital platform that could communicate both the work and the thinking behind it.

The identity is anchored by a refined wordmark set in Ionic No. 5 Light, supported by Basel Grotesk for long-form clarity and legibility. The typographic system balances precision with subtle expression, reflecting the studio’s architectural approach.

TT Firs Neue is the branding font of Non Architecture.

Non Architecture is everything that is not architecture yet. Non Architecture develops initiatives, mediums, and projects to explore innovative design solutions and experimental collaboration models. Today it’s a portal for design contests, a community for architects and non-architects, an open-source online journal, an independent publisher, and a remote architecture studio.

A company that has been building houses meant to last for generations now has a visual identity that holds itself to the same standard. hellofarm has redesigned the brand identity of FERMO Massivhaus. Restrained, considered, and built around a clear typographic core.

The choice of typeface fell on Protest Grotesk, designed by Mark Julien Hahn and distributed by Softdrive Foundry. The geometric grotesque is rooted in a strict constructive skeleton that draws on German typography of the late 1920s: Futura, Kabel, and the visual clarity of early modernism. Over the years the typeface has been carefully refined: less dogmatic in its geometry, but carrying the spirit of that era. Available as a variable font with eight weights, it works equally well at large display sizes and in body text.

What makes the typeface a fitting choice for this project is not just its formal quality. It is clear without being cold, and it has a point of view without being loud, qualities that align closely with what FERMO has stood for over six decades. The company works without subcontractors, without hidden costs, without the usual compromises of volume housebuilding. hellofarm has translated that attitude into a visual language that explains as little as necessary. The typeface does the work.

Based in Auckland, New Zealand, Hone Studio is a small, collaborative landscape architecture firm focused on craft, refinement, and place-based design.

Drawing on years of experience, the studio works closely with clients and communities to deliver thoughtful, resilient landscapes across projects of all scales, guided by careful listening, local knowledge, and a commitment to honest, well-made outcomes.

Branding assets featuring Gatch were designed in-house by Hone Studio. The website additionally uses Crimson Pro.

The visual identity for Studio Alexandre Monceau, a Paris-based architecture practice, translates the studio's thoughtful and sensitive approach to space into a refined graphic language.

Designed by Studio Indice, the identity mirrors the structural precision and material awareness found in Monceau’s architectural work. The logo and identity are set in Bugrino by Muhittin Güneş.

Interior photography by Julie Drouillot.

Nickl & Partner Architects is an internationally active architectural firm with offices in Europe and Asia. For 45 years, they have been designing forward-looking buildings in the fields of healthcare, research, education, and housing.

Aims for the website relaunch included: public-friendly external image, responsive, user-friendly, clear structure, modern features, accessibility (contrast, font and font size, scalable, easy to find online), embedded videos.

Espacio La Nube is an ephemeral architecture studio based in Madrid, founded in 2016 by Hugo Cifre and Miguel Ángel Maure. Design studio An Audience of One uses Waldenburg Medium for the branding. From the case study:

Nube, an architecture firm that builds experiences with air. Inspired by the nature of a cloud, Nube expands its brand with a new system rooted in lightness, emotion and transformation, echoing the essence of ephemeral architecture.

mdlrz.fr is the portfolio website of Maud Laronze:

Maud Laronze is an architect and teacher based in Annecy, in the heart of the Alps. These isolated landscapes, from which she hails, are where the wondrous and the immense intertwine, where attention to fragile balances and the interdependencies of life, to a sense of scarcity and making do with what is readily available, are part of everyday life. This legacy is embodied as a core value in her practice, from the act of designing to that of building, through a heightened connection to materials and an approach of working with precision and precision.

The website was designed and developed by Guillaume Constant and Francis Josserand, using Onlysans by Daria Cohen for headlines and Hagrid by Zetafonts for text.

Common Architecture is an architecture firm in South Africa whose approach is based on a simple yet powerful idea: the common as a method. Its brand identity is functional, direct, and designed to work; it accompanies the project, not compete with it.

Beyond the logo, what defines Common Architecture is its operating criteria: clarity, legibility, and consistency. Every decision serves the content and readability of the project, reducing noise and avoiding unnecessary gestures.

The graphic system is sober and utilitarian: neutral typography, clear hierarchies, and a modular structure that organizes without imposing itself. The color palette is discreet so as not to detract from the images and plans. The identity is designed to work equally well on the web, in print, and on signage. In digital media, it prioritizes readability and accessibility; in physical pieces, honest materials and minimal finishes reinforce the idea of durability and real use.

Design studio Our Polite Society used OPS And Ever, a newly released sanserif by OPS Type, for this book of archival research into Argentinian architect Amancio Williams (1913–1989) published by the Canadian Centre for Architecture in partnership with Spector Books. Readings by Studio Muoto, Claudia Shmidt, and Pezo von Ellrichshausen present new and expanded understandings of Williams’s work, and situate the social, material, and political dimensions of his practice within contemporary architectural discourse.

OPS And Ever, designed by Jan Egbers, is a proportional update and continuation of OPS Favorite, a monospace released by the foundry in 2019. In the book, it is used alongside the mono, which still features in the indexes. The headings and cover of the book are set in a still-unreleased Ultra cut of the typeface.

Inspired by Imhotep, the visionary architect of ancient Egypt, Immothep Concept embodies mastery, precision, and timeless architecture. Our studio guided the brand through a complete visual strategy process – building an identity that conveys trust, quality, and durability, the core values of the company.

The logo subtly integrates the symbolism of the pyramids with a compass, a nod to precision and measurement, and the letter I for Immothep. This fusion results in a minimalist and structured identity, reflecting architectural expertise and the strength of construction. A refined color palette and contemporary typography further enhance the brand’s sense of confidence and sophistication.

The final identity positions Immothep Concept as a trusted and distinctive name in the Parisian high-end renovation market. Every visual element, from the logo to the interface design, embodies the brand’s promise: “Your space, reimagined.”

UN-11 is the typeface used for the visual identity of the architecture agency Radio architectes.

The mini-website designed by WA75 showcases a selection of project of the agency. By moving the cursor, the user can reveal images of the projects hidden behind the text.

UN-11 is a strong component of the identity. The shape of the letters looks familiar, as it is adapted from the iconic Univers, but the sentences and paragraphs highlight its Selectric typewriter character.

Drawing on Dieter Rams’ universal design principles and Donald Judd’s minimalist ethos, Commonplace embodies simplicity, precision, and functionality, balancing aesthetic refinement with a conscious user experience. Redefining single-family home construction through sustainable materials and streamlined processes, the brand challenges traditional norms.

Their website mirrors this approach, presenting interactions like a coffee table book in single frames rather than a continuous scroll. Minimalist details, from subtle button indicators to clean lines, enhance usability while reinforcing the brand’s commitment to clarity and seamless interaction.

Creative direction by Monique Gamache. All typography is set in Euclid Circular A from Swiss Typefaces.

Gamay by Darden Studio is the typeface used in the new visual identity of Thunderbowl Architects.

The architectural practice in Aspen presents itself with a logo that features two weights of Gamay Narrow. It’s merely a line of text in all caps, and there are design pundits who frown upon logos that are just typed out, without further adjustments. But we think it works great here!

The subtle contrast in weight adds structure – without the need to separate the two words by a space or a line break. The logo is wide, but, thanks to the compact typeface, not overtly so. In fact, the proportions nicely echo the vastness of Colorado’s mountainous scenery. Tracking was opened up a bit, giving the wordmark an airiness that’s a good fit for the firm’s architectural projects. Fortuitously, Gamay’s W – a symmetrical letter distinguished by a pointed apex – falls right in the center.

The Narrow is the most space-saving width out of the six included in the typeface family designed by Viktoriya Grabowska. All-caps Gamay Narrow also serves for the titles and headlines on the website. Body copy is rendered in Alexandra Korolkova’s PT Sans Narrow.

The rebranding of Mateus Arruda Arquitetura came about with the aim of consolidating the studio as a regional reference in high-end residences. As an architect and teacher, Mateus has more than 17 years of experience working in other renowned offices before founding his own company. Today, he leads a studio that delivers complete, tailor-made projects – with total attention to deadlines, costs and details that make a difference to the result.

The new visual identity is based on the abbreviation MAA, which has now become the brand’s main signature. The symbol communicates precision, method and trust, three of the firm's central pillars. The choice of a minimalist palette, with black and white as the base, reinforces this mature and technical positioning, while earthy tones and grays evoke the connection with the work, the territory and natural materials.

Branding design by Reuring for AMA, an architectural firm based in Netherlands using Tomato Grotesk for titles and headlines with support from Ekstra.

From their portfolio website (translated):

AMA boast years of experience in realizing a broad spectrum of architectural tasks. From design to construction supervision, from interior to utility construction, from repurpose to urban planning. From the first sketch to the key on the door.

Website and booklet for CENTRAL office for architecture and urbanism, using ABC Marfa. The design was created by Frederic Jaman, Adrien de Hemptinne, and Geoffrey Bourgeois.

TeamWBC is a Dutch architectural building firm whose brand presence and typography communicates a modern, reliable, practical and business confident attitude.

For titles and most headings CJ Type's Pennypacker Compressed is used in all-caps to maintain a heavily rectangular silhouette matching the imagery of TeamWBC’s portfolio. The title treatment of the two main pages on the website, “creatie” and “transformatie” use vertical stacking of the words “Creatie/Bouwen” and “Transformatie/verbouwen”, mirroring the idea of architectural elements such as pillars or tall apartment buildings, adding dynamism to the typography used in its clean rigid grid system.

TeamWBC utilises duotone coloring in their titles to highlight single words or distinguish the second part of the title as subheading – using black for the primary title and a secondary color such as white or blue for an expansion, explanation, or to add a punchline. For example, “Creatie/Bouwen” means “Create/Build” and “Transformatie/verbouwen” means “Transform/Rebuild”. Here, the first halves are shown in black, the second halves are added in the secondary color white. Another example can be seen in the TeamWBC process breakdown’s title treatment: “Zuiver gebouwd” (“Clean construction”) set in black and followed by “Zo doen we dat” (“This is how we do it”) set in their secondary color blue.

The body text, menu texts, buttons, and some headers are set in an open-source neo grotesque variable sans serif typeface: Inter by Rasmus Andersson.

TeamWBC’s logotype uses Inter Bold in negative tracking for “TEAMWBC” where the W is replaced by a vertically mirrored letter M, and Inter Regular for its subtitle “het zuivere bouwen”. The letter M is also used as a dynamic graphic web element on the landing page to highlight the main menu pages.

English version. Single page website with no menu items.

German version. Single page website with no menu items.

Graphic campaign designed by ESIETE for the conference and debate cycle La Imagen Construida, whose first edition took place at La Virreina Centre de la Imatge. The event explores the intersection of architecture, design, and visual communication through dialogues between photographers and architects.

Central to ESIETE’s concept is a generative grid system that produces dynamic compositions. Words and images are built and deconstructed in real-time, reinforcing notions of spatiality and structure — key architectural and design concepts – to create an identity aligned with the event's spirit.

The campaign encompasses posters, projections, and digital content for social media, developed by ESIETE for a professional and specialized audience.