Héritage inespéré. Objets cachés au cœur des synagogues

Héritage inespéré. Objets cachés au cœur des synagogues (“Unhoped-for heritage. Hidden objects in the heart of synagogues”) is an exhibition that tells the story of the exceptional discovery of a genizah (ritual deposit of writings bearing the name of God) under the attic floor of the synagogue of Dambach-la-ville. The exhibition catalog is the first publication in French on this theme, thus going beyond the framework of the exhibition and becoming a scientific and historical reference work by itself.

The layout of this catalog was designed to meet the various challenges of this work. The cover, in the form of a box, invites the reader to manipulate the edition, to develop a physical relationship with it. The interior layout confronts different eras and histories, navigating between the scientific rigor of archiving, the sensitivity of the objects discovered and the emotions rediscovered.

Zenner Issard made early use of Bartok and paired it with DejaVu Sans Mono. Designed by Sarah Kremer, Bartok redefines the very notion of a type family. Its four styles with their singular designs break with the principle of formal unity usually sought after in such families. Each variant stands out for its expressivity, contributing to the creation of a contrasted whole. The development was undertaken in the context of editorial design in order to propose a multifaceted typeface with only four styles. It has been designed to be used for long or short passages of straight text as well as for titles. With the aim of proposing complementary typographic colors, the four styles of Bartok (Regular, Italic, Highlight and Poster) have been designed with different structures and distinct weights. Each variant develops formal specificities taken from different moments in the history of typography. Bartok is available from 205TF.