“There are no seasons, no rush, no trends - only the natural rhythm of making things that feel true,” the founder told us. Drawn to the deep resonance of human presence and imperfection, we arrived at the name for a “meaningful things store”: Zoia’s Fingers.

The identity had to accompany the carefully made objects, delicate yet playful across its range of applications. We keep our fingers crossed for Zoia, and for all her thoughts, gestures, and feels.

The logo is composed of Eyja, and short copy is set in Herbik. Both are available from Counter Forms. On the website, type is set in Libre Franklin from Impallari Type.

(High – Medium – Low Speed)

Produced as a component of the Histoire & Théorie Critique course at the La Cambre Horta Faculty of Architecture, this volume undertakes an exploration of the evolution of the concept of speed in Milanese architecture during the latter half of the twentieth century. The publication comprises three essays that explore pivotal moments in this transformation, beginning with the post-war reconstruction era, characterized by the mass production of standardized buildings, to the protests of 1968, with their radical critique of modernism, and concluding with the 1970s, a period marked by a radical critique of modernism and the use of design as a means of reflecting on and deconstructing consumer society.

The booklet’s central premise – that "we have never been modern" – guides an examination of Milanese architecture's oscillation between the urgency of the present and the search for a lost identity. The concept of speed, understood both as the pace of building production and as a metaphor for progress, emerges as a central theme, shaping and transforming the urban fabric as well as design practices. The result is an original contribution to the history of Italian architecture, offering a nuanced and critical perspective on a period crucial to Milan’s identity and, more broadly, on the role of architecture in contemporary society.

The booklet is printed in folded A4 format and bound with saddle stitching.

Main poster

Virei, a road documentary by Gustavo Imigrante, explores Angola’s rich tapestry of stories, people, and landscapes, centred around the region of Virei. The documentary delves into the connections between Angola and Portugal, seen through the experiences of two renowned Portuguese surfers, Tiago Pires and Joana Schenker, and local surfer Samuel Quintino. It reflects on themes such as development, sustainability, and the dynamics of power that influence the surf industry and tourism in the age of globalisation.

To create the film’s posters, a series of collages were developed using photographs taken by the director during filming. Nearly every image shared by the director seemed to tell its own story, each capable of inspiring a different poster. This process resulted in a main poster and four secondary designs, all showcasing the duality of the landscape with a bold division between earth and sky, symbolising the spirit of the film. Additionally, we developed all title cards for the film’s transitions.

For the typography, we chose Eya from Counter Forms, designed by Thy Hà. With only one available weight (regular), we had to develop graphic solutions to establish clear hierarchies of information. Only the film’s title and chapters are written in uppercase, emphasising their prominence, while the remaining text—such as additional information and credits—flows naturally in sentence case, serving as a seamless narrative thread punctuating different moments of the film.

The documentary also features a carefully curated soundtrack, with music by artists like Zé da Lua, Os Kiezos, Duo Ouro Negro, Mamukueno, among others.

Poster series

Title

Title: Chapter 1

Title credits

Title credits

Title: Chapter 6

Title trailer reel

Title trailer reel