Hostilia is an independent magazine developed during a week-long workshop at Politecnico di Milano held by Jeremy Francis Leslie, founder of magCulture.

The project investigates friction as a defining condition of contemporary reality. In a landscape shaped by frictionless digital interactions, Hostilia reintroduces resistance as both editorial stance and physical experience. Built around the concept of hostile contact – the encounter between forces that generates pressure, wear, and transformation – the magazine adopts a critical position, addressing political, economic, and social imbalances.

The first issue, “Pressure“, unfolds through four stages (Accumulation, Compression, Deformation, and Breaking Point), mirroring how tensions build and eventually rupture.
Materiality becomes part of the narrative: metallic surfaces, rigid inserts and exposed binding turn the magazine into a resistant object, where contact is not neutral, but always leaves a trace.

The magazine’s objective was to convey a sense of pressure through typography and layout deformation. For instance, OT Neue Montreal Squeezed and Migra are occasionally distorted to reflect the magazine’s conceptual approach.

GAMUT is an indie magazine developed during a five days workshop at Politecnico di Milano, held by Jeremy Francis Leslie, founder of magCulture.

The magazine explores the dynamics of relation, from the intimate micro scale of skin-to-skin contact to the macro scale of collective bodies and social systems. At the center lies a simple but radical question: how does touch—or its absence—shape the way we connect?

In its first issue, GAMUT explores how the rituals that surround the exchange of greetings take shape across different cultures, contexts, and subcultures—and how they can express distance or closeness, both physically and emotionally. A greeting represents an intermingling, where feelings and people are mixed up together, a point of contact between strangers and friends alike, unveiling the scope of our connections.

Beyond the Brand’s Grave is an editorial project made for my thesis at Politecnico di Milano. It reimagines a digital afterlife for brands. In this speculative world, a brand’s legacy—its ethical choices and societal impact—defines its identity in a second, virtual life. The project combines visual storytelling and structured data-driven content, exploring themes of judgment, memory, and transformation.

The typographic system plays a crucial role in communicating these ideas. Romie asserts a bold, authoritative presence in the titles, embodying the weight of legacy and permanence. LD Mono brings a technical edge, reinforcing the speculative framework through a sense of structure and code-like precision. Aeonik, a contemporary sans-serif, balances these elements with clean, approachable body text, ensuring readability and grounding the design in modernity.

Together, these typefaces support a narrative of ethics, identity, and digital rebirth, blending conceptual depth with editorial clarity.

The research, presented as a bachelor’s thesis in architectural design at Politecnico di Milano, stems from the desire to intricately explore the Milanese architectural scene in the immediate post-war period, from 1946 to 1956, which was characterized by fervent design and construction activity during which architects and town planners were confronted with the challenges of reconstruction and the new needs of society. The aim is restructuring the theme of housing through the study of four representative buildings, selected for their historical and architectural relevance, with which an attempt is made to understand how post-war architecture reflected and influenced the changes taking place in Milanese society: Casa Alta by Pietro Lingeri and Luigi Zuccoli, the INA skyscraper by Piero Bottoni, the Casa Albergo on Via Corridoni designed by Luigi Moretti and Ettore Rossi and the Corso Italia complex, also designed by Luigi Moretti.

As the research traverses time and space, it closely examines the traces left by the Modern Movement and seeks to understand how these influences were reflected in the period's architecture. The multidisciplinary approach combining architectural analysis, historical research, and sociological interpretation, has led to the identification of three interesting conclusions, each acting on a different architectural scale, declined in various ways in each of the four buildings, but part of a common design code. The title, La Città Alta, La Città Altra (The Upper Town, The Other Town), underlines the complexity of this analysis. The architectures are not just imposing volumes, like blades that hurl themselves like urban backdrops into the Milanese landscape, but contain within them an ‘other city’, made up of spatial and social innovations that redefine the concept of living. A hidden city, the one that develops inside the buildings, in the neighborhoods, in the houses; it is made up of human relationships, needs and desires, hopes and dreams.

The book is realized in 18×25.5 cm format, wire-bound and printed on 120 g/m² Fedrigoni paper. Each drawing was realized by the author from the original project plans, where available, as well as all photographs of the buildings, captured between January and February 2024.

Since the mass adoption of the internet, people, governments, and businesses became progressively more interconnected. New ways of doing business started to emerge, sparking the interest of government entities and agencies. Many controversies have been unveiled, various regulations have been introduced, and some bans have been applied. However, the market around personal data is still expanding, and privacy and anonymity are becoming harder to actively maintain. Despite that, there are still ways of contrasting this trend, out of which one is via the use of ad-blockers, like uBlock Origin (uBO).

This one, specifically, lets the user view a log of all the requests that websites send to the browser when there’s the need to download or upload data. So, I decided to record one for 12 hours, and to store it inside a general journal of around 860 pages. The raw data has been processed through the weaponisation of closed-source services and software, such as Google Sheets and Adobe InDesign, and the format constitutes the physical enunciation of what is usually done with those same data. The only difference is that those requests, either redirected or blocked by uBO, have not made it through.

The book (18×24×6 cm, 858 pages) has been entirely set with Neue Haas Grotesk via a .jsx script which made use of the basil.js library.

It was first displayed during the 4th edition of Mediazioni Algoritmiche, and has won the BestBook award for design books at the 5th edition of Oggetto Libro.

View more photos and scans on Behance.

During the past few decades, the automotive industry seems to have taken some steps towards sustainability by increasing fuel efficiency and developing hybrid and ‘emission-free’ powertrains. Despite these developments, the industry is still often accused of greenwashing since many brands still don’t plan to cease the production of internal combustion engine vehicles nor to stop collaborating or lobbying with fossil fuel companies, even when their line-up is ‘fully electric’. And when it comes to batteries, there lays the problem of mining rare-earth metals.

We decided to investigate some of the communication strategies that car brands adapt to make their models appear more ‘eco-friendly’ in their video advertisements. More specifically, we analysed 30 internal combustion engine (ICE), 30 hybrid electric (HE) and 30 battery electric (BE) models – a total of 90 different vehicles – to see if the producers present the vehicles differently according to their propulsion.

Firstly, we focused on the landscapes surrounding the advertised models and the overall narratives. At the same time, we checked upon model descriptions to find out if the same rhetorical devices were used. Through these three research questions, we gained some understanding of the adverts we had collected, together with a series of curious and unexpected findings.

The outcome is presented in a publication named A Highway to Greenness. Formula (Pangram Pangram) was selected for the main titles, captions, and visualisations, as well as the diagrams, tables, and page numbers. Suisse Works (Swiss Typefaces) was chosen for subtitles, main copy, and running titles.

The publication was made as a student project at Politecnico di Milano – School of Design, and issued in a print version (20×27 cm, 64 pages). The open access digital version is available via densitydesign.github.io.

View more photos and scans on Behance.

The Journal of Architectural Design and History is a biannual journal, subjected to a double blind peer review process and created within the programme of UNESCO Chair in Conservation and Architectural Planning of the World Heritage Cities at the Mantua Campus of the Politecnico di Milano.

Between 2022 and 2023 Parco Studio has realized the graphic design and the development of the website as well as the layout of the printed version. In ADH the link between the online version and the printed version is particularly strong as the second is automatically generated from the first. This particular approach significantly simplifies the editorial work by defining a single flow that begins with the insertion of the abstracts in response to the call for papers and then materializes in the press by defining a truly hybrid language between analogue and digital.

Simulacra is a student project, realized at the Politecnico di Milano.

Simulacra is a research of speculative design between ethnographic research, case studies and a phenomenological approach, that starting from the socio-cultural shift of our contemporary age, investigates the role that emerging technologies, such as synthetic media, play on a social, ethical and aesthetic level. Furthermore, it analyses what correlation there is between these, man and other organisms, showing the need to abandon an anthropocentric point of view, in order to embrace new perspectives of decentralized action, in a new post-human ecology. Particularly, the technologies and tools that we are creating nowadays are changing a fundamental part of our existence: the lenses through which we view and interact with the world. We are literally beginning to see the world through a new set of eyes and ears: things that were previously invisible become visible. The world of today is the world of simulacra, where media are autonomously created, distributed and spread without having a visual respondence in tangible references, acting and existing only in the digital realm, but still creating consequences on the material one. What can now be considered real, or fake? The ethical implications that this research brings with it, namely, the importance of relationships of trust and awareness, are also discussed. The aim is to analyze what are the weaknesses and what are the areas of possible growth. It will be investigated how, consequently, the role of design has to change and adapt: ​​design becomes a bridge between known and unknown. With it is possible to explore the endless possibilities we have in front of us and that we can embrace. Design, we can say, acting as a cultural mediator and enhancer, could become the coordinator of a collective strength and intellect. It has to go beyond the pure rational and logical thought, in order to build beliefs for humans and non humans. Design can build awareness and meaning, it can become the catalyst of a collective consciousness, ready to face what is going to happen in the next future. In particular, the definition and search for a future of meaning and growth, avoiding dystopian futures governed by inhuman technologies and useless hierarchical constructs.

Graphically, the work is all built around constantly changing layout, black and white, emphasizing interconnections between topics and specific elements. For the typography, a single font is used throughout: Self Modern from Bretagne. As the name itself tells, the font merges pretty well a philosophical and literary approach and content, that tells about humanity and the human genre, revisited with a modern key, open towards the future. Self Modern has a well defined personality, it’s versatile and suitable for both long texts and for short titles.

Olfatto Liquido is a student project, realized at the Politecnico di Milano.

Olfatto Liquido is a journey towards an alienating, relaxing and intimate experience. A moment of suspension, of ancestral and primitive meditation, carried on with the oldest of the five senses. Olfatto Liquido allows a detachment from the liquid society in which we are living. Olfatto Liquido which, always gathering new perceptions, decides to stop for a moment and rediscover itself in a meditative way. In order to achieve this state, however, it is necessary to go through a total detachment from reality, a sort of sensory deprivation, to then be able to reunite with ourself, purified, and to be able to live the experience in a totalizing way. In a society that never stops, the sensory stimuli that are received from the outside are continuous, superimposed and varied. And it is opposed to this that the idea of ​​something intimate, enveloping, lasting and stable arises. With the aim of personal reinforcement, against insecurities and external swirls, in this way everyone is allowed to find, metaphorically, his own place. Any type of space and distance is brought down; frantic time is interrupted, turning into new perceptual dimensions. What is proposed is therefore a moment of hedonism and relaxation, a feeling of peace that can give security and stability to the person. It is precisely the themes of individualism and communitarianism, opposed to each other, which in a very current way are the subject of reflection. The development of something universal, that is, addressed to everyone, but which is experienced individually, and which takes on individual characteristics differently. A transport is of a natural and intuitive type, guided by impulses and emotions, which must not be cumbersome, forced or too thoughtful.

The project is based on the development of two scents, one dedicated to personal use and the other one dedicated to the ambient parfuming. From my personal concept of “Olfatto Liquido”, expressed above, the scents designed has been stàsi and mimèsi, Following on one side the same asset of values, and being complementary on the other side. The packaging has been designed for all the world around them: communication, website, media and advertising.

Graphically, the project is focused on the use of dynamic and fluid textures, fractal noises and movements. The main font is totally in line with this mood: It’s Hatton from Pangram Pangram foundry. Its particular contrast between black and white spaces gives it a sensual and fluid aesthetic, perfectly matching the intent of this project. Between the two fonts, this is the one that gives personality to the project. Next to it, I have opted for one of the most famous sans-serif fonts of these times: Suisse Int’l from Swiss Typefaces that, with its extreme rigor, gives balance to all the artifacts realized.

X·gender is a student project, realized at the Politecnico di Milano.

Throughout history, the concept of gender has been used to define, limit and control people in every way, inside and out, from self-perception to family ties, from social status to civic roles, from behavior models to interpersonal relationships. X·gender was born from the desire to investigate the multiple nuances of the expression of sexual identity, supporting the personal freedom that everyone should have. Measuring against the conventions and rules imposed by today's society, where everything is categorized and pigeonholed, what x-gender aims to do is going beyond these social labels. “Social label” means a word that is used to catalog a person in a particular social group, often used in a derogatory and discriminatory way. The public is promoted and sensitized towards a fluidity of gender, where everyone can shape themselves to their liking, can create their own being and express it freely, without any external judgment. The work presented is an advertising campaign with the aim of raising awareness and critical sense around this topic.

Message promoted: Gender identity is something that goes beyond those categories that once established are fine forever, because being in direct contact with the personality of each individual, it is extremely subjective and variable conditioned by innumerable factors that lead it to have millions ways of expression. The campaign talks to a young, fresh and dynamic public, openminded and close to cultural and social issues. The project presents a teasing part, where it starts to be expressed the theme faced, and let the people become curious about it. It has outdoor digital billboards and a landing page.

After a certain period of time, x·gender reveals itself, by substituting the outdoor billboards and opening the real website. An Instagram page has been launched, too, in order to collect first-person experiences, told as stories, and to create empathy with the public. At the base of the posters there is the visual technique of photogrammetry, that consists in creating 3D models, in this case of people, from a series of pictures taken all around the person chosen. For the copywriting, the focus is around the word “frame”, that contains different meaning, from the idea of shaping personal identity to the concept of celebrate it. Each poster has a serial number, another reference to the social labelling.

Graphically, the project has a specific aesthetic, with different elements that find a balance together, creating an interesting mix. Regarding the fonts: for logotype applications I used Pilowlava from Velvetyne, a font that seeks a balance between viscous energy and controlled geometry. Pilowlava is used alongside Druk Text Wide from Commercial Type – another design with a strong personality. Its wide presence of black contrasts pretty well with Pilowlava, used in white with a black outline. Anyway, for web applications, Druk Text Wide font has been replaced with another, similar one, that is Improvenu Wide, which was easier to manage.

B5 format book cover for Mission analysis and thermal control for parrafin-wax-based propulsions CubeSat, the Masters thesis work conducted by Daniele Leuteri Costanzo together with Politecnico di Milano and Space Enabled (MIT Media Lab). The objective is to perform the preliminary design of a satellite mission that will make use of a green fuel.

The Communication Design course at Politecnico di Milano – which includes a Bachelor’s Degree and a Master’s Degree Course – is aimed at training professional designers who work in the field of visual communication, graphics, multimedia, and online interaction. The brand new bilingual website explains which are the goals of the educational path and features a description of the curriculum, including projects by both the Bachelor’s and Master’s degree students as well as alumni testimonials.

The website is set in the upcoming Iki Mono (CAST Foundry) in one cut (Light), plus Helvetica.