Nieuwe Instituut presents SIDELINED: A Space to Rethink Togetherness, the Dutch contribution to the 19th International Architecture Exhibition—La Biennale di Venezia, developed in collaboration with curator Amanda Pinatih and social designer Gabriel Fontana. Hosted at the Rietveld Pavilion in the Giardini in Venice, the project reimagines the sports bar to question how architecture shapes social dynamics.

The museum describes the projects as follows:

How can architecture resist exclusionary social norms? How can we create spaces that nurture new ways of coexisting? SIDELINED explores these questions by presenting an alternative sports bar, continuing designer Gabriel Fontana’s investigation into social dynamics in through the lens of sport. By subverting traditional norms and suggesting deviations, the Dutch Pavilion strives to change the rules of the game.

Sport, as both a reflection and producer of societal conventions, shapes group identities and can often be divisive, polarising and exclusionary. Fontana challenges these structures by understanding sport as an architectural system—one that regulates spaces, bodies, and behaviour—opening the playing field to inclusivity, empathy, and solidarity.

In collaboration with designer Koos Breen, artist Jeannette Slütter, curator Amanda Pinatih, and including works by a range of artists, researchers, and others, SIDELINED shows how built spaces can be hostile or welcoming, encouraging new ways of thinking about bodies, spaces, and identities.

Responding to the Biennale’s theme of Intelligens, the pavilion stages encounters that disrupt the norms of sport and its architecture, inviting visitors to engage through play and observation. The font used for the pavilion is WT Skrappa by Jacob Wise.

Who Are We Cheering For? is the sports newspaper accompanying the exhibition.
The newspaper was developed by Gabriel Fontana and Amanda Pinatih, edited by Maia Kenney and produced with the help of Frank Verkade and Charly Blödel. It was designed by Doğa Gönüllü, using the typefaces Feraz by Giulia Boggio and Literata by Irene Vlachou, Veronika Burian, Vera Evstafieva and José Scaglione.

LALA Open Air Festival, held in Perth, Australia, debuted in 2023. Launching a new open-air music festival presented a unique challenge: establishing a compelling brand presence in a saturated market without the support of pre-existing assets or past event visuals. The identity and year-one campaign required a thoughtful approach—one that would captivate audiences and create a cohesive visual narrative from the ground up.

Entering the competitive festival market for the first time, the visual identity had to immediately capture attention and convey credibility. The campaign emphasized bold, memorable design to make a striking first impression, compensating for the absence of archival footage or photography.

The final result was a visually immersive and highly adaptable identity that amplified the festival’s presence across both digital and physical platforms, setting the stage for its inaugural year and beyond. The festival logo is based on Muscle; headlines use WT Skrappa and Franklin Gothic is used for information.

Retronova is “a fusion of past and future fashion”, and wants visitors to explore the “curated collection of retro-inspired clothing and accessories with a modern twist.”

The interactive platform was created by Amsterdam-based designer Niccolò Miranda, with design by Italian web designer Nicola Romei. It was originally developed as a teaching tool as part of the Awwwards Masterclass led by Miranda, titled “Building Interactive Websites: From Design to Development”.

Exhibition poster in format 1185×1750 mm

Ränder dieser Bilder (“These images’ edges”) at Stadtgalerie Saarbrücken is Natalie Brück’s first institutional solo exhibition. Inspired by music albums, she produced the audiovisual album Ränder dieser Bilder, consisting of moving images, the sound of her voice, booming sounds, hard and soft beats and melodic passages between moments of silence, hesitation and doubt.

The album themes are order and chaos: simplifications of complex relationships and the nuances of language and images – online and offline.

Several fonts make an appearance for the tracklist to her album which is used as a key visual for posters, invitations and other media. Every song title gets its own typographical voice, sometimes kitschy, sometimes tough, and is intertwined with the others. “Love” is in Candlescript from Vast. “Movement” is set in an older version of Dykhotomos Italic by Jules Durand; Roslindale is used for “Parts” by David Jonathan Ross and distributed via his Font of the Month Club – as is his Bild which is used for “Treffen”. “Stimme” uses Arnold Böcklin; “Words” is set in Zapfino; “Brechen” in an unreleased typeface by myself.

The invitation and the mail signature additionally include Bradley DJR by David Jonathan Ross and WT Skrappa by Jacob Wise.

This exhibition is also the first to use the new identity of Stadtgalerie Saarbrücken featuring of ABC Diatype from Dinamo. The arched type of the logo is a reference to the architecture of the inner courtyard.

Kristin Rosch was involved with texts and layout for the invitations.

Exhibition poster in Format 3560x2520mm

Exhibiton Invitation, DIN A5, unfolding to A3

Exhibiton invitation, DIN A5, unfolding to A3

Exhibiton invitation, DIN A5, unfolding to A3

Exhibiton poster for social media

Email signature

Screen printed posters, flyers and stickers designed by Benoit Brun for the ECAL Xmas market in Lausanne, Switzerland. The identity makes good use of the variable width and slant axes of the newly updated WT Skrappa variable font, by WiseType. For the smaller text, Stefan Fitze’s unreleased Rhea was used. Screen printed by Duo d’art, Lausanne, Switzerland. Photographed by Marvin Merkel.

A new book published by Phaidon and designed by Philipp Doringer at Studio Joost Grootens. This unprecedented survey of more than 250 architects working in the Brutalist style features a bold typographic hardcover using the condensed geometric typeface WT Skrappa (designed by WiseType). The inside layouts are clean, simple and methodical – owing to Joost Grootens precise attention to detail and experience with architectural publications. The typography marries Skrappa for headlines with the robust ABC Monument Grotesk medium (by Dinamo) for text.

The Brutalists was written by Owen Hopkins and published by Phaidon. The hardback edition has 368 pages measuring 290×205 mm (11⅜×8⅛ in) and contains 350 illustrations.
ISBN: 9781838665630

As introduced by Phaidon on their website:

An unprecedented survey of more than 250 architects who continue to define one of the most polarizing yet celebrated of styles

Brutalist architecture inspires a passionate response, be it adulation or contempt. There is no disputing, however, that the style produces some of the world’s most breathtaking buildings. This landmark volume documents the movement as never before, by profiling the architects behind the style.

Featuring more than 250 historic and contemporary architects (organised alphabetically) along with specially selected examples of their work, this book includes international icons alongside those who are less well known or who have for too long been neglected, providing a unique record of this influential global architecture movement. The book includes 350 stunning images of more than 200 iconic Brutalist buildings, alongside fresh and surprising masterworks from 1936 to the present day, creating the ultimate companion to the Brutalist masters.

Featured architects include: John Andrews; João Batista Vilanova Artigas; Lina Bo Bardi; Bogdan Bogdanović; Marcel Breuer; Douglas Cardinal; André-Jacques Dunoyer de Segonzac; Bertrand Goldberg; Ernő Goldfinger; Jadwiga Grabowska-Hawrylak; Agustín Hernández Navarro; John M. Johansen; Louis I. Kahn; Denys Lasdun; Le Corbusier; João da Gama Filgueiras Lima; Alberto Linner Díaz; Owen Luder; Paulo Mendes da Rocha; Oscar Niemeyer; William L. Pereira; Affonso Eduardo Reidy; Paul Rudolph; Moshe Safdie; Alison Smithson; Clorindo Testa; Decio Tozzi; and John Carl Warnecke

Single release artwork and motion graphics for “Hardwired”, the second single off the forthcoming ShockOne album. A continuation of the aesthetic of “Follow Me”, using the transluscent material in liquid form to act as a digital intravenious transfusion. A number of different outputs were created as visuals for the single that were used across socials, streaming services and print marketing.

Released by Dark Machine Records (DMR) / UKF.
Creative direction and design by StudioThinktank. 3D outputs by Jacob Horan.

Visual identity for the Arts Broadcasting Studio at Anteism, a Montreal-based gallery and publishing house. Intended for local artists, the initiative of the project consists of offering the space and providing equipment for broadcasting performances, podcasts, concerts, etc. The clean line drawings are contrasting with the texture of the engraving from the British Museum, and brings a contemporary touch to the visual. This nuance is amplified by the choice of the typefaces: WT Skrappa, a strong and straight lineal, and Fraunces, a fluid, curved and thin serif.

Movie poster for Hattie by Tyro Heath. The short documentary follows sixteen-year-old Hattie in an honest account of girlhood and disability and won the New Shoots Winter 2019 Competition.

Light and darkness, fire and water – dualism is the ever-present force in nature, which interconnects everything that seems to be contrary in a harmonic manner. Kupkā’s second album on Verydeeprecords, Agony & Extasy, focuses on all the beautiful as well as painful aspects of life. By letting ambient textures, subtle drones and touching melodies oscillate together symbiotically, Kupkā describes those pure and stirring emotions, which everyone of us is experiencing while being on the finite journey of life. After all, these five musical pieces almost reveal a recipe for accepting life as it is.

All music written, produced & mastered by Leon Seidel. Recorded in Leipzig, 2018 & 2019.

Design by Philipp Dittmar, using Skrappa (Jacob Jan Wise) and Lausanne (Nizar Kazan).