L’appartement. Architectures du collectif is an exhibition presented from April 3 to June 6, 2026, at CAUE92 in Nanterre, France. From the gallery (translated from the French, with added links):

The exhibition highlights a remarkable collection of apartment buildings from the second half of the 20th century in the Hauts-de-Seine department. Underrated, even overlooked, these buildings form the more or less ordinary backdrop of the cities where so many of us have come to live. Yet to preserve and pass them on, we must first come to know them. Delving into the most intimate corners of these homes, the photographic project commissioned from Myr Muratet documents five inhabited buildings by architect Jacques Kalisz in Nanterre, and sensitively portrays an “extraordinary ordinary” that reveals the diversity of interiors and ways of living. In contrast, the refrigerators by Japanese artist Tokuko Ushioda radically condense domestic life in its most commonplace form. Finally, the exhibition launches a documentary, graphic, and digital project with the Atlas of Collective Housing in the Hauts-de-Seine (1945–2000), intended to establish a collection of residential architecture, a resource for all those interested in architecture.

Lyon-based studio Service Local used Install for the typography, supported by Neue Haas Grotesk.

Vivien Gaumand. License: All Rights Reserved.

In 2021, Feed Studio was commissioned to redesign the visual identity of PHI, a Montreal-based art center founded by Phoebe Greenberg in 2007. For 20 years, the institution has shaped Montréal’s artistic landscape by exhibiting leading contemporary artists, including Yoko Ono and Yayoi Kusama. It has pioneered immersive experiences presented on the international stage, most notably at the Venice Biennale, establishing itself as a forward-thinking cultural hub.

During its first decade, PHI went through significant transformations. It began as PHI Foundation, an avant-garde exhibition space, and expanded five years later with PHI Centre, a multidisciplinary space at the intersection of art, technology, and sound. PHI Studio followed in 2019, focused on creating and distributing immersive experiences.

After thirteen years of growth and evolution, PHI embarked on a rebrand that would bring all its entities together under one cohesive identity.

To meet this intention, Feed Studio established type as the foundation of the visual system. Anouk Pennel and Romain Grucker designed Phi, a clear and versatile bespoke typeface available in three weights with italics, complemented by Phi Caption, an optimized version that improves readability at small sizes. Used across all communication formats, from large-scale wall texts to social media assets, all applications follow a grid system based on the typeface’s proportions.

Feed Studio. License: All Rights Reserved.

PHI's brand guide

But how do you differentiate the entities if they all share the same typeface and grid? Studio Feed introduced subtle variations, beginning with a set of symbols for the logos: a circle for the Centre, a square for the Foundation, and a star for the Studio.

The system extends beyond these visual cues, featuring custom alternate characters. The Centre features circled O, Q, dot-based punctuation and diacritics, while the Foundation adopts squared O, U, o and u. As for the Studio, it relies exclusively on the standard alphabet set, since it has no need for promotional materials.

Feed Studio. License: All Rights Reserved.

PHI's brand guide

With these sets of alternate characters, Feed Studio built a solid visual identity that reflects PHI’s ecosystem. It orchestrates all entities into a harmonious system, while allowing each to play its own voice.

Following the delivery of the 142-page brand guide, art director Michel Ouellette and graphic designer Juliette Duhé became the guardians of PHI’s visual identity. They implemented the design across all formats and entities, maintaining cohesion throughout the system.

Photo: Juliette Duhé. License: All Rights Reserved.

Social media assets for the PHI Foundation

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

Photo: Juliette Duhé. License: All Rights Reserved.

Social media assets for the PHI Foundation

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

In 2025, PHI Foundation and PHI Centre unify under a single entity and sign their first exhibition under the name of PHI, with the mission of becoming a centre for artistic creation and innovation. The typeface remains unchanged, preserving the visual continuity of the identity, and simplifying the system by removing the alternate characters.

PHI. License: All Rights Reserved.

Nico Williams: Bingo, PHI, Montreal, 2025. For this exhibition, the title adopts a new typographic variation: letters adorned with colored fingertips, reminiscent of the pearls the artist uses in his artworks.

Over the past 20 years, PHI has continually evolved, relying on a solid identity system to ensure consistency throughout transformations. Today, it is stepping into its next chapter with the PHI Contemporary, set to open in 2029. With a revised name and mission, the visual system enters a stage poised to stretch, reshape, and spark unexpected synergies.

Only Coffee Project is an Australian specialty coffee establishment in Sydney and Melbourne with a specific focus, an ever-evolving vision and an open brewing-laboratory setup. The business brews, serves and retails coffee exclusively, showcasing some of the best offerings from producers and roasters around the world. We were commissioned to develop a new visual identity to signal the coffee bar’s mathematical approach to brewing and to help it stand apart from Sydney’s crowded coffee landscape.

The visual concept emerges directly from the name – Only Coffee Project – which expresses an attitude of ongoing progression and a single, obsessive focus on coffee. We crafted the identity using custom-drawn letterforms and incorporated a distinctive letter Y that doubles as a universal visual device suggesting energy flow and direction. The brand colour blue is inspired by the phrase “blue-sky thinking” – an invitation to imagine and explore uncharted territory, provoking and stimulating innovation within the world of coffee.

The bespoke logotype moves between states of stillness and energised flow, mirroring a calculated approach to brewing that electrifies the senses and produces mesmerising experiences. The identity has helped establish Only Coffee Project as a convergence point for coffee lovers and positions the business as a generative space – part laboratory, part community hub — that continuously connects people through a single product: coffee.

Let’s act more beautifully!

It is the little things that are the most beautiful. Things you don’t need and absolutely want. When jewelry and flowers come together, a contemporary general store is created. Featuring finely curated favorite pieces. Small labels with a sense of aesthetics, a love for detail, and beautiful stories behind them. A space for artists and craftspeople.

A beautiful plot!

schöne Handlung is a contemporary store at Untere Bachgasse 1 in Regensburg, Germany. It was founded in 2025 by Hannah Rembeck and Alexandra Hummel.

Biscuiterie koi is an artisanal biscuit maker. In November 2025, they opened a pop-up shop at Mineral House in Hwasun-eup county, South Korea.

For their black-and-white identity they selected WT Bobine’s Bold weight, using it in different scales such as a big display sign on the shop window, and small poem-like inscriptions on the biscuit packagings.

Fete des Bruyeres
2ème Dimanche d’Aout
Sur ce Site
Musique et Danse de Bretagne et d’Ailleurs

On our way from the parking to the cliffs of Beuzec-Cap-Sizun, Bretagne, we passed workers dismantling a stage from a festival that ended the previous day plus a sign explaining what we had just missed. Fête de Bruyères (“Heather festival”) is a local folk festival with dance and music held every second Sunday in August. The billboard shows a man in folk costume playing bagpipe and women in traditional clothing riding a horse carriage, with the côte sauvage (“wild coast”) as a backdrop. The airbrushed image is partly covered with vinyl lettering, using a different font for each line. It is signed by local sign firm Le Bars Publicité in the bottom left corner, but not dated.

Ferns, heather, rocks and sea: the côte sauvage.

Quang San Art Museum is the first private art museum in Ho Chi Minh City dedicated exclusively to Vietnamese fine arts. With a growing collection of over 1,600 historically and culturally significant works, the museum offers a rare lens into the evolution of Vietnam’s artistic identity – from the beginning days of Indochine aesthetics to the dawn of contemporary expression.

M — N Associates, based in Ho Chi Minh City too, created the new identity of the museum in 2025. Their concept, “Layers of Contemplation”, draws inspiration from the structure of a painting itself – where canvas, frame, and gesture form a unified whole. For the purpose of the identity, they created a custom typeface, MN QSAM, a sans serif inspired by the museum’s signature architecture – where sharp structure meets quiet elegance. It features an extended set of alternates for its capital, showing interrupted strokes remembering of a painter brush strokes.

On top of their custom font, the identity features the type system NaN Serf Sans (primarily) and NaN Serf (more sporadically). The humanistic sans NaN Serf Sans, with its open counters and high legibility complements MN QSAM perfectly for all running texts, small signs, the website UI… This project shows M — N Associates coming back once more to NaN for fonts with a good support for the Vietnamese language out of the box.

Isaac Julien: I Dream a World is the first US retrospective for the British artist known for his immersive, multichannel video installations.

Julien's films revisit the past to create spaces of cultural memory that invite us to reframe our priorities in the present. In response, we wanted to source typography that was historically-grounded. As a newly acquired FAMSF artwork and one of the centerpieces of the de Young presentation, Lessons of the Hour (2019) served as the catalyst for typographic research. “Lessons of the Hour” is a poetic meditation on the life and work of writer, orator, and abolitionist Frederick Douglass. We chose EK Roumald as a typeface that recalls the Scotch Roman typographic tradition of Douglass’s time. Roumald’s contemporary features – most notably its curvature and the softness added to the counterforms to create an almost blurry feel – also served as an appropriate nod to the dreamlike quality of the artist’s work. In constructing the title lockup, we explored treatments that were fragmented, generating a sense of movement or choreography across the page. This was intended to reference the kind of visual rhythm the artworks possess in the multichannel installation format.

The presence of mylar in Once Again... Statues Never Die (2022) led us to incorporate reflective materials into the title wall graphics using chrome vinyl. The gallery didactics were primarily housed in a central atrium, where individual films or pairs of videos branched off in a “choose your own adventure” style. The FAMSF design studio commissioned the fabrication of photographic facsimiles to accompany each didactic text and embedded these aluminum mounted prints into the surrounding text. The composition of text and image employ the same visual rhythm and movement that inspired the title lock-up.

Bettina Willnauer’s exhibition Mutual therapeutic Walking, like Solo slow Aging was shown in April 2024 at Arnestedet, Copenhagen. The typeface Morion shapes the visual identity across signage and print. Shown prominently on the glass facade of the small exhibition space in Enghaveparken, Morion’s expressive italics echo the show’s poetic take on walking as a cultural and emotional practice.

Words like “therapeutic” and “slow Aging” drift across windows and printed matter, creating a visual rhythm that mirrors the exhibition’s themes of movement and reflection. On the invitation card, Morion overlays colored pencil textures that recall the hand-tufted tapestries shown inside. A small layer of factual text is set in Flatspot, a sturdy grotesque inspired from the 1960s. Its utilitarian tone subtly contrasts Morion’s elegance, adding clarity without distraction.

One of the artworks shown in the glasshouse

Concept and art direction for the Nike Paris showroom, created for the launch of the Fall 2024 collection. A project covering all visual and spatial aspects of the space – from the design of a central furniture piece to graphic treatments, material choices, product staging, and the creation of a coherent atmosphere aligned with the brand’s identity.

The typographic system – combining Palatino and Neue Helvetica – was implemented in line with Nike’s existing guidelines, contributing to the overall clarity and balance of the visual identity.

Art direction: Victor Carboni & Gabrielle Jabarnia
Agency: Midi:Quinze
Creative direction: Jérémie Boeglin
Business management: Morgane Lejeau
Production: Lab Productions
Photography: Herve Goluza

Geo-Reise is a travel agency established in 1979. The sign at the office on Martin-Luther-Straße in Berlin-Schöneberg uses a typeface named Vassar. Judging from the cracked vinyl letters, it might date back all the way to the founding of the company. Vassar is an apt choice: its bulbous letterforms look a little as if they have been projected onto a globe, reflecting the logo motif. The logo also appears on the Geo-Reise website – which is largely unchanged since 2002.

The Holländer Hof is a hotel in Heidelberg’s Old Town, located directly at the Old Bridge across the Neckar. There is evidence of an inn on this site as early as the late 16th century. The current name – “the Dutch(man’s) Inn” was introduced by Louis Spitz in 1836, as Dutch boatsmen and travellers formed the majority of the guests at the time.

The vinyl letters on the window above the entrance are from Claudius, or Claudius-Fraktur, a typeface based on calligraphic samples by Rudolf Koch. His son Paul finished a first cut in the early 1930s and used it in the printing workshop that he ran together with his sister Ursula in the Haus zum Fürsteneck. Further cuts were added by the Klingspor foundry, and the typeface released in 1937 – three years after Rudolf Koch had died. The typeface is named after the German poet Matthias Claudius.

Oriol Miró points out that the t was dully manipulated, compare to the specimen below. The lettering could date from around 1981, when the building was reopened as a hotel after extensive renovation work, having previously served as a Christian hospice.

Preliminary proof for a specimen of Claudius-Fraktur, showing the full character set of the metal foundry type in the 40 pt (Didot) size, handset by Farida Sunada of Ophelia Press and printed by Gerald Lange of the Bieler Press

Studio 3015 designed the identity system for Winchester School of Art’s BA Degree Show in 2024 that celebrated the cohort of students graduating from their studies and showcased their work from six undergraduate programmes; BA Fashion Marketing with Management, BA Fashion Design, BA Fine Art, BA Games Design & Art, BA Graphic Arts and BA Textile Design.

For this year, we utilized a combination of subtle yet playful hints towards the many ‘cogs’/’wheels’ that are in motion when curating and installing a Summer Show. A core feature within this was the introduction to a custom arrow system – which we developed from an ongoing self-initiated typeface – that originally responded to the architectural foundations of Winchester School of Art. These arrows intended to reflect on the many creative avenues and career decisions that the graduates had undertaken during their studies. Placed within Rotunda-building-screw shapes, each component turned to convey the progression of graduates from education to industry alongside the resulting of forward-thinking outcomes. These outputs were further emulated in the constantly shifting colour borders to which repeatedly evolve based on each dimensional frame movement to culminate a vibrant visual language.

Further nods to Winchester School of Art’s functioning and visual presence were made by using GT Cinetype (from Grilli Type) based on its similarities to the Rotunda building, which extended the playfulness of the ident in correlation with the wider colourful borders and arrows that were applied across way-finding, social media assets alongside tote bags.

Presented in June 2021 in the TDF Collect art space in Collingwood, Melbourne, Australia, Here, In My Mind is the debut exhibition of emerging artist Amalia Keefer and the first body of work she has created en masse.

Designer Sasha Aarons chose NaN Weiss for the title of the exhibition, showing its distinctive serifs on serifs on the capital letter I. On the flyer/postcard, Freight Micro makes an appearance with its distinctive warm and open rhythm and dynamic italics. The display cuts of Freight are used on the TDF Collect website, suggesting a consistent use across their identity. The sans serifs are GT Walsheim for the artist’s name and Sofia for the opening hours.

The Croatian city of Rijeka finally got a new and impressive library building to replace the three dislocated library departments it had before. It was high time and the right moment for a new visual identity.

The new building marked the start of a new era in which the library literally creates space for fresh and different content – so it’s only fair that its logo does the same. After the middle letter k, which stands for “knjižnica“ (the Croatian word for library), we introduced a symbol that allows for additional content – the common asterisk but in an unexpected place.

Thus, with Rijeka City Library redefining the library, the footnote in its name allows the library to take on some new role or communicate any type of content – project, program, festival, event, etc., and it can be in various formats: photo, illustration, logo, copy, etc.

The visual identity really felt at home when transferred into signage and wayfinding system. In the surroundings of colorful books and diverse materials, black and/or white signs were an obvious choice, and the asterisk became an important and recognizable element in wayfinding.

Although a lot of money was invested in the building itself, not much was allocated for the signage (and nothing for the branding). Working on a tight budget, we used die-cut vinyl stickers for all interior signage.

Natureza em três versos (Nature in three verses) is the title of poetic interventions at Sesc Itaquera, in São Paulo, Brazil: haiku that interact with the environment to reflect on our rhythm and experience in the spaces and places we find ourselves.

From the importance of open spaces and distant from the chaos of the city after the period of isolation, the discreet and light poems spread throughout the space stimulate the search for poetry outside the screen and the virtual world.

The structure of three verses of traditional haiku was highlighted, with poems by Lígia Blat and the pioneer of haiku in Brazil, Afrânio Peixoto, that are mixed on the surfaces and present our relationship with the grandeur and details of nature: the connection of being and to sense.

In this project of visual poetry, the poems focus on the idea of buccality – oral health and mouth pleasures, making use of the three-dimensionality of space and highlighting its visual and poetic aspects, which emphasize the multiple meanings and uses of the word mouth.

Raye the Store is showcasing hundreds of products of the most innovative and exciting food, drinks and wellness brands. It brings together a meticulously curated collection of selective brands in one store with innovation, nutrition, and design at its core.

Based on a minimalistic grid system, the typographic identity is flexible to adapt a fresh look from edition to edition. So far, eight pop-up events have been taking place in the birth city of raye — London, UK. Each one has been branded with a signature color and typeface, which together with the iconic grid system formed the basis for the unique look.

Edition number 06 took place in the hot summer month of 2023 in Spitalfields. The vibrant color as well as the chunky, friendly typeface invited customers to stop by, browse through the wide range of innovative brands and enjoy a scoop of artisanal ice cream in store.

The Japanese clothing brand Edwin opened a new store in Antwerp, Belgium, in December of 2022. For the occasion, they commissioned graphic designer Stephanie Specht to produce communication elements, signage and limited merch. Paired with Sometimes Times by BoulevardLAB, it is the first-ever public use of Plain Form's Ready, then freshly released with the launch of the foundry.

Studio Bruch designed the identity for Sestra Store in Graz, Austria. Nirvana’s simple and geometric shapes interact harmoniously and reinforce the pop mood of the brand. It’s paired with BR Sestra, a custom typeface designed by Studio Bruch. The website additionally used Athletics. See more images on the studio’s website.

In many projects, Nirvana has proven to be a great “logo generator,” whether in the music industry, interior design or, as in this case, fashion: its simple use gives the word a lively and pop image.