UOOYAA Zine issue 15, “The Travel Issue” is the annual publication of UOOYAA, dedicated to contemporary lifestyle, art, fashion, and visual culture. For this fifteenth issue, Same Service, the creative agency responsible for the publication’s production and image direction, invited Studio Hugo Blanzat to develop the editorial design.

Responding to the theme of travel, the project expands the traditional magazine format into a collection of four printed objects: a hardcover photobook, an upside-down booklet, a passport, and a set of postcards. Conceived as a fragmented reading experience, these formats encourage exploration and create a playful narrative space shaped by movement, discovery, and collecting memories.

One of these objects is an upside-down booklet conceived as a double-sided publication. Featuring symmetrical covers and a translucent paper insert at its centre, it presents two interviews in parallel: one dedicated to artist Sean Landers and his Plankboy series, the other featuring photographer John MacLean’s Hometowns project. By turning the booklet upside down, readers move from one narrative to the other, creating a dialogue between two distinct artistic practices. Through artworks, photography, and conversations, both features explore personal histories, creative influences, and the places that shape artistic identities.

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.