Marcin Rusak: Encoded Symbols and Roberto Sironi: Encoded Symbols are two books that are dedicated to the work of Marcin Rusak and Roberto Sironi, as part of a series of monographs on the thought and work of young contemporary designers. Illustrated by a rich photographic series, the books present the results of the designers’ creative thoughts through some selected projects; written by Barbara Brondi & Marco Rainò, the volumes recount the experience of the Design Residency inspired by the theme “Encoded Symbols” Rusak and Sironi were protagonists of, which is part of the broader project IN Residence, a research program dedicated to design that has elaborated new reflections in the field of education and training, as well as in the support and promotion of creative talent, through an intense and recognized activity.

The Art of Creative City Making by Charles Landry is an exhibition-event that celebrates the use of imagination and creativity as crucial strategic resources in the process of city change and regeneration. In Favara, in the spaces of Palazzo Miccichè and in the context of the SI – South Italy Architecture Festival, is an exhibition – for the first time ever – dedicated to the theoretical and practical thinking of this extraordinary author and leading expert of the Creative City as well as the art of City Making.

The event itself is presented by an ambitious and original formula: paper posters exhibited across numerous interior walls and graphic stands as well as on the street. The aim is to create a visually striking story. On these posters, as in Landry’s work, the word assumes the role of carrier, useful for triggering every form of reasoning, giving shape and substance to the proposed themes.

The Art of Creative City Making by Charles Landry is an experiment designed to communicate a selected series of concepts in a simpler way that is both transversal and as effective as possible, with a willingness to make them accessible to all and invite every visitor to feel part of a unique, grand movement of action, of a broad and pervasive community of individuals who desire to live in a city that continues to improve.

Space Grotesk is the main typeface, combined with Happy Times at the IKOB for longer texts.

L’occhio magico di Carlo Mollino. Fotografie 1934-1973 shows the photographic production of the renowned architect from Torino. The graphic design, visual communication and the installation design of the new exhibition at Camera – Centro Italiano per la Fotografia are realized by BRH+.

The female portrait retouched by hand by Carlo Mollino is the leading image of the visual communication for the exhibition; the approach to the graphic design relies on the photographic shot, selected as a guiding image, which is included in the design of an “elastic” system that can be used to interpret the overall visual content in a wide range of communicative media: the asymmetrical frame and the large quantity of white space around the image permit the use of original proportions of the shot, offering it the proper isolation from the context in which it is transmitted. The unusual treatment of the logo of the institution adds a touch of dynamism to the composition, without compromising the simplicity of the overall layout.

The identity of the museum, the communication materials and the captions of the exhibition are set in Christian Schwartz’s FF Bau, inspired by Schelter & Giesecke’s nameless Grotesk which was sold in Italy as Eia by Reggiani; the introductory texts of the rooms are set in Egizio, designed in Turin by Aldo Novarese, 1956.

BRH+ realizes the restyling of the visual identity for the National Museum of Cinema in Turin, Italy. In addition to the new associated color scheme and the renewed typography, the studio provided the design of a detailed brand manual that includes several institutional applications and a composite logo system that associates the museum’s brand with the other institutional events connected to the National Museum of Cinema.

The typeface is Semplicita Pro, a digitization of Semplicità, which was designed by Alessandro Butti and first cast in the 1930s by the Nebiolo foundry in Turin.

Italian furniture / home decor brand Visionnaire celebrated its fifteen years with an exceptional project that takes on the characteristics of a precious author’s book: published in a numbered series, the volume presents the ten founding values ​​of the company, defined through an overall vision that has the strength of a creed.

Decàlogo is the result of a refined choral work that welcomes contributions of absolute prestige: edited by Barbara Brondi & Marco Rainò and with the graphic design of BRH+, the book is embellished with a series of ad hoc contents, which include a photographic work by Delfino Sisto Legnani and critical thoughts of Felix Burrichter, Leon Sun and Natalia Timascheva.

The large white spaces, the wide format and the bronze-colored print guarantee the project the right balance between preciousness and essentiality. Each value is accompanied by an apparently abstract graphic, but which, on a closer look, reveals the linear designs of Visionnaire products, repeated and rotated as in a kaleidoscope.

The volume is mainly set in Miller Headline (Carter & Cone), with Noto Serif (Google) and Songti TC for Russian and Chinese texts.

In 1968, Achille & Pier Giacomo Castiglioni were hired by CEDIT to design “ceramic objects for small-scale production”; the result was the “Lapis” family of vases. Exactly fifty years after the creation of this marvelous design, CEDIT presents an authentic reissue. BRH+ has designed the precious, minute book that accompanies the distribution of the individual vases, set in ARS Maquette (by ARS Type) and Minion (designed by Robert Slimbach for Adobe).

With Talisman – Contemporary Symbolic Objects, the IN Residence Cultural Association commissioned 46 international designers to design as many contemporary talismans. BRH+ studio gives shape to the project with the catalog, the communication and the display project of the collective exhibition, held in 2017 at Palazzo Clerici, in the context of the Fuorisalone in Milan.

As in alchemy, the visual system designed to identify and communicate the project comes from the analysis, breakdown and reassembly of the recurring elements of graphic imagery connected with the theme of the talisman. The result is a set of symbolic, evocative signs, graphically treated in different ways depending on the medium that conveys them – analog or digital communication, catalogue or exhibit – but all based on the same matrix.

The small format of the catalog, which contrasts with the large number of pages, is inspired by the sacred books, breviaries and formulary. The book is bilingual, has two covers and two senses of reading, which meet in the center, where the generous photo gallery of the 46 talismans take place. It was published by Corraini Edizioni.

All items are set in GT Sectra by Grilli Type, paired with LL Akkurat by Lineto.

CEDIT is a brand specialized in the production of Made in Italy ceramic slabs, designed by nationally and internationally renowned designers.

Starting from the logotype and the typography, BRH+ designed a composite visual identity, which is developed on a large range of communication outputs: from stationery to monographic books about the collections. In these ‘Author Books’ storytelling and information come together in an essential and elegant design. The colors associated with each product evoke natural tones, highlighting the company's link with the values ​​of Italian style and craftsmanship. Accompanied by specific in-depth critical texts, the volumes add a rich array of images to the story of the individual ceramic projects.

For all CEDIT communication materials, we chose various weights of Angus R. Shamal’s ARS Maquette.

The term diary is used to indicate the individual volumes of a publishing series that covers the results of the various editions of the curatorial research project IN Residence. The books, published between 2009 and 2017 on an annual basis by Corraini Edizioni, have a graphic format that, together with the updates and adjustments for each publication, formulates a recognizable visual signature, granting specific visibility to all the contents.

The front cover and the back cover are made with natural cardboard planks, while the spine introduces the associated color – different for each diary – that is also found inside in texts and graphics. The austere typography (Neue Helvetica and Minion) communicates the contents in a clear and immediate way, giving the right space to the rich photographic system.

The Istituto d’Arte Applicata e Design (IAAD) is the center of excellence training for the culture of design in Turin and Bologna. BRH+ studio designed an articulated modular visual system that guarantees the completeness of the information and the maximum legibility on each graphic output. The typography generates a sign that changes conformations on posters and brochures, according to the content of communication. Each department of the institute is identified by a color scheme, associated with black and white, the primary colors of the visual identity project.

The logotype is set in URW DIN font by the URW Type Foundry, placed next to FF Meta by FontFont in the payoff.

The solo debut of Samuel ushers in a new chapter in the collaboration between the artist and BRH+, involving both in the search for original, engaging communicative solutions. This synergy has produced the guidelines to develop visual imagery that with a minimum range of signs and colors somehow jibes with the atmospheres of Samuel’s new record.

The project has also led to the creation of Codice della Bellezza, an encrypted alphabet generated by a matrix of crossed lines and forms; the monospaced font, completely designed for the occasion, also stands out for the original capacity of geometric combination of every single letter, useful to generate a visual pattern of great decorative impact.

The texts hidden behind the subtle geometric signs of Codice della Bellezza can be glimpsed by intuition, but are never obvious. The refined challenge of interpretation, rather than an obstacle, becomes a strong point that brings character to the visual concept developed for the solo project of this recording artist.

In addition to Codice della Bellezza, the communication materials relating to Samuel's first solo project are set in the geometric typeface Semplicita Pro by Canada Type, the digitalization of Semplicità by Alessandro Butti, designed around 1928 for the Nebiolo foundry in Turin.