Apparato Provvisorio is a design service and studio based in Brussels, doing exhibition, interior and product, as well as graphic, editorial, moving/not moving Images.

Designer Christian Scenini used Install Regular throughout the identity, from website to printed materials. The roman used for the faux-embossed type in the background of the website is Louize.

The visual identity for PolyFutures was designed by Import/Export, using Politip by Benoît Bodhuin. The project is described as follows:

PolyFutures is an invitation to explore how participatory, creative, future-oriented and actionable approaches can inspire better policymaking. Over two days, participants will exchange ideas, share experiences and reflect on how foresight and design approaches are used to inform and transform policymaking.

Victor Verhelst and Corbin Mahieu worked on the visual identity of Abrupt festival’s 2025 edition, using AC Visual for the typography. From the festival’s Instagram:

Carrying forward their visual dialogue with the festival, the duo translate rhythm into form: weaving glitches, sparks, and restless motion into a design that pulses with intensity.
A visual journey, echoing the energy of moving between spaces, sounds, and moments, always with an abrupt twist at its core.

About the festival:

Abrupt unfolds across a series of distinctive venues in Brussels. The festival presents a curated selection of live performances, club nights, talks, and gatherings, each one tuned to the shifting frequencies of a hyperdiverse musical landscape.

Organised by the non-profit behind Reset, the temporary brutalist cultural space in central Brussels, Abrupt reflects the organisation’s broader commitment to independent artistic creation.

Günther Förg. Le Moderne is an exhibition that was shown in 2024 at Almine Rech in Paris. I designed the catalog using Helvetica. Nicolas de Chérisey, the gallery’s director, comments on the artist's work:

Günther Förg drew inspiration from the formal vocabulary of modernism, both in painting and architecture. His abstract works, often monochrome, were sometimes structured by geometric lines and flat colors, recalling the principles of order and simplicity associated with architectural movements such as the Bauhaus or the International Style. But while Förg adopted the formal principles of modernism, he nonetheless deconstructed its ideals of perfection, order, and purity.

This book tells the story of Bizet Bizar, an activation of a former car park in Brussels, Belgium, between 2022 and 2024. As part of the Bizet Sustainable Neighbourhood Contract, Dear Pigs, Werkplaats Walter, and MUS-E were appointed to breathe new life into the site pending a new urban development.

From three perspectives – urban nature, art, and community – various processes emerged that make the site what it is today. Project partners, residents and neighbourhood organizations found each other in unexpected collaborations; new networks took shape. At the same time, the process raised many questions: When will the garden finally be ready? When will the gate be open?

In this book, we outline the development of Bizet Bizar through an alphabet of words and images. Each word opens a window onto the rich archive of the place. The abécédaire inspired six authors – Sonia Dermience, Gideon Boie, Pascal Gielen, Eleonora Campenella, Edith Wouters and Jolien Naeyaert – to reflect on the project. The ‘alphabet primer’ and essays interlock and engage in dialogue with each other. They can be read in any order: an exercise in open-endedness that invites us to reflect on and fantasize about how we can shape our social environment.

Bizet Bizar continues to produce and collect stories. This book is therefore neither the conclusion of two years of action, nor a classic project documentation, but rather a look at future actions in the urban space.

With this publication, Dear pigs takes up a position within the architectural and urban planning discourse that advocates the importance of experimental development models and practices of permanent temporariness. Not to offer solutions, but to create space for questions, for cross-pollination, for the unfinished. We hope that readers will be challenged to celebrate unexpected twists, chance encounters and open endings as ingredients of an inclusive city.

The typefaces used are Exposure by 205TF and Neue Haas Grotesk by Christian Schwartz.

Main text is set in Exposure, a typeface that balances an intentionally unfinished character with full legibility. Secondary content is set at a slightly smaller point size in Neue Haas Grotesk.

Graphic design by Els+Onno. Concept and composition by Dear pigs, (Martha Meijer, Jasmien De Ryck, Jan Laute and Lode Vranken). Photography by Sarah Michielsen and others.

Asfalt Billboard Coiffeur. Notes on Bizet Bizar is available from Public Space.

Elliot & Ostrich design timeless jewelry. Each piece is handmade in Antwerp and crafted from 18-karat gold and carefully selected white or nude diamonds.

The identity work was done by Turbulence and the website features IvyPresto and Neue Haas Unica.

Visual identity of the quarterly booklet, the quarterly program posters and the posters for all events for Maison CFC, a bookstore in Brussels, Belgium.

Located in Brussels' Marolles district, Gimic is a bar and radio station whose mission is to foster the electronic music scene of the city. On their Instagram page, which has amassed over 23k followers as of January 2026, they chose to use DOSS Exaflop from the Doss Collection by Marc Rouault, available at Sharp Type. The typeface was also used for their main wordmark, often paired with an abstract purple icon. Emulating the futuristic soundscape of electronic music and infectious DJ sets, their team uses the typeface for promoting in-person events such as holiday markets, workshops, and new release events.

Gimic’s website, designed by Ozon Studio, also features GT Planar by Dominik Huber, available at Grilli Type.

Poetry bundle set in Overused Grotesk, combined with illustrations and manually drawn letters and numerals based on Charrette. Published by Poëziecentrum in October 2025.

Visual identity including flyers, posters and digital images for From Here To There, a series of events at VROOM in Brussels. The drawings and design were created by Maya Strobbe.

Bolt homepage

Gamay serves as the brand typeface for Bolt and Plenty.

Bolt is a Belgian supplier of green and locally sourced energy. In 2025, the company launched their new cooperative, Plenty. On this occasion, Bolt commissioned design studio WeWantMore from Antwerp with a new visual identity that encompasses both enterprises.

The clear-cut sans by Darden Studio plays a center role in it: Gamay is often used in all caps from one of its bolder weights, for example in billboards and online campaigns. On the two websites, boltenergie.be and plenty.be, it features in various styles, from the Book Italic to the ExtraBold. Gamay makes for impactful headlines as well as for crisp body text, and looks good in both the French and Flemish language versions. It’s supported by italic styles from Dave Rowland’s Gelica.

“Know where your electricity is coming from”

Video ad for the Plenty cooperative

Selection of social media posts by Plenty

Flemish version of the Plenty website

French version of the Plenty website

Website and booklet for CENTRAL office for architecture and urbanism, using ABC Marfa. The design was created by Frederic Jaman, Adrien de Hemptinne, and Geoffrey Bourgeois.

Illustrator and artist Gwendal Le Bec pairs his rich, expressive drawings with the sharp, architectural character of BST Spyre by British Standard Type in Le Prolongement, published by Casterman. One of Europe’s most iconic comic publishers – think Tintin – Casterman continues its legacy of visually distinctive books with this striking combination. Spyre contrasts Le Bec’s playful, hand-drawn world, giving the project both structure and charm.

Golden PMS and embossed typeface for the Visages exhibition, a group show by Almine Rech.

Visages as shown in Gstaad

Les Bacchanales du comité informel was a multidisciplinary micro festival involving an art exhibition, tattooing, a DJ set, and hedonism. It took place at Brussels’ Brasserie ILLegaal in June 2023.

In classical antiquity, the cornucopia (from the Latin cornu “horn” and copia “abundance”), was a symbol of abundance of food and wealth. The invitation, designed with Laurie Giraud, took the form of an envelope filled with small cards, illustrations, and texts about the exhibition. We developed a rich collection of images as a starting point, as if to create a visual map evoking the theme of the exhibition. The text is set in FD Garamon(d/t).

For the 2022–2023 season of Le Lieu Unique, Brussels-based studio Ekta reimagined the visual identity by playfully disrupting the historical logo of the national center for contemporary arts and music venue in Nantes. The three iconic bars are exploded across layouts to create dynamic spaces for text and imagery, all set in the Staff type family. A photographic series by Charlotte Marchal explores “perfect imperfections,” echoing Erik Kessels’ quote: “Mistakes set us free. They allow us to see things differently

Translated from Ekta’s website:

We started from the existing historical logotype to shake it up and revisit it.
Superimposed onto the visual elements of the events, the three “bars” of the logo are used like captions. By exploding their format and layout on the page, we free up spaces dedicated to typography and practical information.

Using the basic elements of the logo and embracing its off-balance composition allows us to create a multitude of graphic signs related to the original logo. A large number of materials are “stamped” with these simple yet always different graphic elements.

Continuing the dynamic applied to the logo, we aimed to shift the viewer’s perspective, to avoid freezing anything in place.
In collaboration with Charlotte Marchal, we proposed a series of photos reflecting the theme of “perfect imperfections” (Erik Kessels). Happy accidents and poetic displacements joyfully disrupt the reading of these images.

Located in the city of Anderlecht, Belgium, Circle Park is a former industrial terrain of 15,000 square meters. Awaiting redevelopment it is used for sports, workshops and all sorts of cultural events targeting both the local vicinity and a larger audience from the capital region of Brussels.

The 2023 Summercamp was not a single festival but a colorful bouquet of outdoor activities and festivities. The visual design in this posting acted as some sort of roof mark vaulting everything. With regard to the typefaces used, it might be described as a colorful bouquet just as much.

The typographic main act in most of the media is Blocked, a 3D font by Harold Lohner, based on Sally-Ann Grover’s precursor for Letraset from 1974. While rather hard to read, it certainly fulfills the role of eye-catcher perfectly.

The headlines one level down display Tempel Softland, designed by Reymund Schröder and published by Production Type. In use here is the Condensed variant which is the widest of the three widths available (the others being Ultra Condensed and Compressed). Tempel Softland’s design refers to wood type used to print posters. It’s conceived on a rigid rectangular scheme, using the maximal surface. Then, however, all its edges are rounded off.

On the third typographic level, Courier serves for the reading text. Originally designed by Howard Kettler of IBM as a typewriter face in 1955, it since became a prototype for many similar design approaches, a classic of the digital age.

In very small quantities you may spot a fourth font, the left-inclined Falling Script. It is the work of Masahiro Naruse and came to life on Future Fonts.

Cadavre ASCII is the result of a collaborative drawing experiment combining ASCII (a text-based design and drawing technique from 1963) with cadavre exquis (or exquisite corpse, in English).

Cadavre exquis is a surrealist game where multiple participants create a drawing together without seeing the full composition. Each person contributes a section based on the visible edge of the previous part. For this series of drawings, we focused on drawing characters divided in four parts: head, upper body, lower body and feet.

The 20 characters in this book were created in two afternoons by the ASCII office (Nathaniël Ortiz, Linus Bonduelle, Ran De Vos, Emese Veszely and Maya Strobbe). Cover design by Nathaniël Ortiz.

Riso-printed in grey and burgundy, pamphlet stitch binding, 44 pages.
Published in 2025 by RAMSDAM BOOKS.

DANSAERT is a Lambic/Gueuze Belgian beer made with mixed and spontaneous fermentation. This sub-brand from Brussels Beer Project takes its name from the brewery location – a neighborhood right in the center of Brussels, alongside de Senne where all the Lambic beers are brewed. The relatively new brand has heritage roots. For fifty years, Brussels waited for DANSAERT to open a new chapter on the wild fermented beer scene.

The custom logotype, based on DR-Ivory, is reminsicient of the golden era of design advertising. The packaging embraces an artisanal approach with screen printing on the bottles and handcrafted labels. The brand expresses a sense of place, authenticity and innovation. Other text on the labels is set in a yet unidentified sans.

(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.