Field of Practice is the creative studio of Nermin Moufti, Kristin Lueke, and Lauren Carpenter. They love designing IRL and digital experiences, environments, and spaces that cultivate connection, joy, and excellent conversation.

From website to business cards and socials, the studio uses Romie by Margot Lévêque and the Wide Black style of Right Grotesk by Alex Slobzheninov. On the website, small text is set in Inter by Rasmus Andersson.

The current website uses Omnes for the button labels.

Craft Modern is a design and development firm and specializes in architecture for high-end residential design in the Hamptons and coastal New England.

F37 Wicklow Stencil has been used as the base for a wordmark and monogram for Craft Modern. Their projects live in the space between traditional and contemporary, they take pride in crafting timeless new spaces and rescuing old ones. The goal was to create a cohesive visual identity that references the past while feeling crisp and modern. The triangular serifs and stencil weight of F37 Wicklow reflect hand-craftsmanship and hint at their story-driven and tactile brand.

A previous design for the website featured Proxima Nova.

The business cards likewise use Proxima Nova for text.

Voodoo Voodoo was commissioned to design and develop a new visual identity for Moreau Kusunoki – a Franco-Japanese international architecture practice founded in 2011 by Nicolas Moreau and Hiroko Kusunoki, whose combined experiences include working at the renowned architecture firms of SANAA, Kengo Kuma, and Shigeru Ban.

The extensive identity system was developed across a wide spectrum of printed and digital applications, including stationery, templates for internal and external communications, publications, plan drawings, and website. The latter was implemented in collaboration with London-based studio LeCollective.

Design and creative direction by Catarina Pereira / Voodoo Voodoo

From April 1 to July 30, 2017, the Saarlandmuseum – Alte Sammlung and the Museum für Vor- und Frühgeschichte were jointly presenting an exhibition dedicated to an important cultural-historical phenomenon in Europe in the 18th and 19th centuries: the “Grand Tour”. This term stands for study trips, which at that time were considered part of the general education of the aristocratic upper class, and led to Rome as well as to the ancient ruins on the Gulf of Naples and in Sicily.

The book was designed by Studio RBƒK using Korpus Grotesk and an unidentified italic [Garamond Premier, see comments]. It was edited by Roland Mönig, Thomas Martin and Stefan Heinlein and published by Stiftung Saarländischer Kulturbesitz.

Orientation is a stencil typeface originally commissioned by Paris-based designer Thanh Phong Lê (Travaux-Pratiques) with the simple brief of creating a geometric typeface that could be fabricated as stencils for the wayfinding system of Résidence 217, a new student-housing building in Roubaix, France. Shown here is this original application of the initial weight.

Orientation was subsequently expanded to a full family of three weights and matching italics. As the weight range progresses from light to bold, the characters become abstract, even pushing the bounds of legibility, but in the context of words they are surprisingly readable. The type family was designed by Sandrine Nugue and released by Commercial Type.

Centre de les Arts Lliures is a cultural space where the word travels, the space can be read, and the action is always present. Signage is necessary to guide the visitor, but also to provide a sense of change and renewal of the environment. The place has a sober spirit, where the essence prevails over ostentation. Therefore, we believe that the strong point of this signage should be how and where we place the typography. We’ve played with unexpected perspectives to turn the same space into a poetic story. Create a clear but groundbreaking visitor-space relationship.

The typeface we used for this project is Brossa, a grotesk font inspired on Helvetica forms designed by Typerepublic.

From the portfolio website of design studio Dornig:

In 2005, the Hilti Art Foundation was opened in Vaduz as an annex to the Liechtenstein Museum located there. It is home to the art collection of the Hilti family and includes works from classical modernism to current art trends.

In close collaboration with Uwe Wieczorek – the curator of the collection and the exhibitions – four publications have been produced so far, including the comprehensive collection catalogue in 2 volumes in 2019/20. A particular challenge was the alternating use of coated paper (illustrations of works) and uncoated paper (texts). For a small part of the edition, a high-quality slipcase was also made by hand.

For covers and interior, designer Kurt Dornig paired Jost Hochuli's Allegra – used in particular for volume 2, Art from 1950 to the Present – with Novel by Christoph Dunst.

On the occasion of the one hundred and fiftieth anniversary of the birth of Tony Garnier (1869-1948), the utopian city project imagined by the Lyon architect in the early years of the twentieth century is the subject of a unique edition, since no true facsimile has ever been produced from the original 1917 copy. Two contemporary authors introduce the project by placing it in its historical context and questioning its significance a century later.

Une cité industrielle consists of 164 plates: plans – of the whole city, of a district or of a detail – are accompanied by illustrations in perspective – washes or watercolours. This edition reproduces all of the documents, some of which are larger than A0, to the scale designed by Tony Garnier.

The large-format documents are reproduced on a set of unbound booklets so that they can be “recomposed” by the reader. All of the documents are also reproduced in reduced format to give an overall view.

Bureau 205 used the typefaces Kelvin Avec and Kelvin Sans designed by Thomas Bouville and published by 205TF.

Visual design for the 7th edition of credit exhibit, an annual exhibition for architecture and urban spaces in Hamburg, Germany.

The relation between individuals and the city itself became the focus while developing the design. People living in urban spaces might be pushed aside, sheltered, or guided by given structures. I aimed to have the design refer to brutalism, while letting typography take the lead in partly incomprehensible paths – just like one sometimes wonders how certain occasions might have developed in urban spaces.

Marteau was chosen for its clear style and especially its tall appearance. It’s used both in very big and in smaller sizes. Its condensed style allowed to accommodate a generous amount of words with loose spacing in a relatively limited space. Helvetica Now, used for longer texts, lends a broader but still prosaic perspective to the design.

Urban Renewal uses the Time Travel feature of Google Street View to document the moments of growth, decline, and change of communities in St. Louis. By comparing the same locations at different points in time, readers can wander through the decades of rapidly transforming and disappearing neighborhoods.

With written content from Walter Hood, Roman Mars, and Nora Wendl, this project asks the reader to question their own relationships with space, gentrification, and the way we so easily forget history when tangible reminders have been forcibly removed.

The title page (above) introduces the contrasting serif and sans serif type, which illustrate the strength and fragility that coexist in St. Louis. I used SangBleu Kingdom from Suisse Typefaces and Founders Grotesk Text from Klim Type.

Claude Reinhardt offers 30 years of experience in planning and construction. Support, representation and monitoring of processes – always in the interests of the client, with a purposeful approach and with a focus on functionality and architectural quality.

Bureau 205 designed this booklet presenting the Campus Région du numérique. This rehabilitation project is part of the existing landscape forming an identity common to the three existing buildings.

Client: Citinéa, Dumez Auvergne, AFAA Architecture, Atelier Didier Dalmas, Atelier Anne Gardoni, stamen and Artelia
Print: Ab numeric
Binding: Samuel Giraud

Ekkist are a Passivhaus and WELL Standard™ accredited consultancy leading the movement in architecture designed for well-being. Seeking to sustainably deliver the next generation of building design, their services range from architectural blueprints for self-builders to strategic masterplanning.

Ekkist's new identity pairs a warm over-sized sans-serif logo type treatment with the analytical voices of light sans-serif and slab-serif typefaces to project a progressive, technical and design-led brand. In line with Ekkist’s environmental focus, stationary is specified on a paper stock produced with waste potato starch and is Green-e- and FSC-certified. The coarse texture is evocative of raw construction materials with an honest, tangible quality.

The studio worked across name consultancy, art direction, creative strategy and design; producing a visual identity and logo type treatment, bespoke illustration, website, stationary and promotional printed matter. The initial project has evolved into an ongoing collaboration.

Image bank photography by Spencer Wilton. Website built by Neal Fletcher.

Launching a new series of talks by the world’s leading architects, the Barbican and The Architecture Foundation commissioned Polytechnic to produce a visual identity for their joint initiative — Architecture on Stage.

Working with Architecture Curator, Daniela Puga and Architecture Foundation Director, Ellis Woodman, the identity reconciled the aesthetics of both institutions and foregrounded the programme of eminent speakers. A series of printed programmes referenced the works of Ian Hamilton Finlay and Concrete poetry, with the delicate and deliberate approach to the layout enabled by the sparse use of the display type Self Modern from Bretagne type foundry. This was paired with Commercial Type’s Marr Sans for the body copy.

For the promotional posters, this relationship was reversed – with Marr Sans being used as the lead font for the names of the speakers and the Text and Italic weights of Self Modern in use for the supporting information. Used in a large point size, Marr Sans lent understated visual interest to the speaker line-up with its unusual characters – such as the closed uppercase C and the playful tail to the Q .

For more information on the project please visit polytechnic.works.

Norman Foster speaking at Architecture on Stage in the Barbican Concert Hall

Signs for Netil House, using Thomas Thiemich's Fakt with tabular figures.

Netil House (in East London) offers over 100 studio spaces for the creative businesses, from architects and web designers, to yoga teachers and record producers. It is also home to Netil360 rooftop bar, Netil Market and Netil Radio (see this post).

Netil House is a project of Eat Work Art (see also this post), a company that has transformed multiple buildings/sites in London into studio spaces. Eat Work Art has collaborated with Studio Thomas for the branding of many their projects.

With more than 10 years of experience in the architecture sector, Binomio commissioned us to redesign their brand, as well as various applications.

In response to their expansion strategy, we proposed a name change, from Binomio Estudio to Binomio Arquitectura. We focused on the term Binomio as the sum of two aspects that repeat in all of their projects: an artistic part and a technical part. We took as a reference the Bauhaus school, whose main motto was “form follows function”. Sans-serif typography, layouts with movement, no-frills impressions, austere colors and a mix of textures in the papers used are a nod to this movement and its different disciplines. In addition to the stationery, we also developed some collectable booklets of their most outstanding projects as marketing material.

Guillon and Vells Mono in use for the Greystone exhibition held at the Canadian Centre for Architecture from October 2017 to March 2018:

The greystone buildings standing in Montreal today are essential tools for understanding the city. A deep study of their material history from the late seventeenth century to the early twentieth century demonstrates how geology, topography, politics, ethnicity, and culture, as well as changes in economy and technology, have shaped the city through the centuries. Conceived as a photographic mission conducted by Phyllis Lambert and Richard Pare through Montréal neighbourhoods in 1973 and 1974, the photographic series of greystone reveals the relationship between city growth, building type, and individuals.

Design for the 5th edition of credit exhibit, the annual exhibition for urban spaces in Hamburg. See the full project and design concept.

Studio Small —

8over5 is a former Victorian weights and measures building at 5 Rosebery Avenue in Clerkenwell, recently refurbished into 8 boutique, luxury residential apartments. Developed by Stanhope Plc, and designed by Buckley Gray Yeoman architects, we were commissioned to produce the identity. We created a complete brand world for 8over5, that included the naming creation, logotype, website design, print, advertising and environment.