Studio Way designed the new Identity for Kunsthaus Zürich using FT Kunst Grotesk. From the studio (translated):

Switzerland’s largest art museum is aiming to enhance brand recognition in its exhibition communications and therefore commissioned us to carry out a soft redesign of all its communication materials.

The resulting design concept stands out through its deliberate use of the letter “K” as a distinctive feature and serves as a versatile platform for a wide variety of exhibitions and applications.

The Hamilton Hotel has been a local landmark since 1865. Daymark’s rebranding focuses on “recognisable restraint,” moving away from flashy marketing to a timeless, typographic-led style. The identity balances the hotel’s long history with a clean, modern feel across digital platforms and physical details like signage and debossed stationery. By pairing heritage-style serifs with modern layouts and high-quality materials, the new identity reflects the hotel’s journey from a historic colonial building to a premium contemporary destination.

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.

Cielo is a natural wine bar in Berlin’s Friedrichshain quarter. The friendly typographic approach and essential color palette convey its Mediterranean soul and Italian cuisine.

The concept is inspired by the sky, ever-changing like the menu and the selection of natural wines. The interior “Blu Corner,” illuminated by a neon cloud, is in dialogue with the brutalist exterior signage, blending tradition and contemporaneity. Dishes celebrate sharing in an open and inclusive space, far from conventions: “We all live under the same sky.”

Ivano Pirolo, a chef originally from Avellino, Campania, graduated from the hospitality institute in his hometown before continuing his training with a Master’s in contemporary cuisine in Girona. After various professional experiences across Italy, Spain, Switzerland, and Germany, he developed the desire to open his own restaurant.

In recent years, he refined his technique and culinary vision while working at the restaurant Les Solistes by Pierre Gagnaire in Berlin, and later continued his journey at Celler de Can Roca in Girona. Returning to his adopted city, Berlin, he joined the kitchens of Facil and subsequently Kink. It is here that the idea of opening his first restaurant, Cielo, took shape.

For this project, he turned to Attico36 with the aim of developing a minimal and contemporary visual identity, while still evoking the authentic flavors of Irpinia, combined with the creativity and elegance of Italian and Mediterranean gastronomic tradition.

Kaligari proved to be the ideal choice: the client wished for a reference to the scripts of old restaurant, winery, and delicatessen signs from Campania. Kaligari succeeds in reinterpreting that kind of imagery in a modern and contemporary way.

Victor Verhelst and Corbin Mahieu collaborated on a bold new identity for Kunsthal Mechelen. The designers were inspired by the ironwork in archival photos of the garage and developed a font for Kunsthal Mechelen, based on the existing KTF Labyrinth by Kyiv Type Foundry. Times New Roman Bold Condensed is used on the website and posters.

Kunsthal Mechelen is a generous house for contemporary art that extends across several locations in Mechelen, both indoors and in public spaces.

On the Studio Matthews website, we can read:

The 76,000 sq ft IEB features new, modern spaces for collaborative learning, acting as an informal academic hub for undergraduate engineering majors. The building was designed for students with significant input from students. “They told us what they needed and we listened,” said Dan Ratner, the college’s associate dean for academic affairs. “The IEB was created to support the education and development of every student in the College of Engineering and to give them a sense of belonging.” We worked closely with the school’s Office of Inclusive Excellence to curate a dynamic welcome message just inside the entry, as well as inspiring quotes that can be discovered throughout the building’s study spaces.

To design this project, Studio Matthews used the typeface Maax Mono designed by Damien Gautier and distributed by 205TF.

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.

Lunenburg Academy is one of Nova Scotia’s most iconic public buildings, a designated National Historic Site overlooking the harbour. In 2018, the former school began a new chapter, becoming home to the Lunenburg Branch of South Shore Public Libraries.

The challenge was to create a welcoming, contemporary public library within a protected heritage structure, honouring its past while meeting modern accessibility and public-use standards.

Fathom Studio (formerly Form:Media and Ekistics) worked closely with library staff, town officials and contractors to shape the new environment. Interior colours and materials were chosen to complement the Academy’s historic character, while standing up to the demands of a busy public space.

The signage and wayfinding system drew inspiration from late nineteenth- and early twentieth-century academic traditions. Referencing felt banners and pennants associated with school pride, the team created sectional markers – adult, children and youth – to identify the book stacks. Brim Narrow was used prominently across these elements, as well as for room numbers applied as cut vinyl to interior transoms. The accompanying condensed gothic is Knockout No. 27.

Interpretive elements celebrating the career of William J. Roué, designer of Bluenose, Lunenburg’s famous fishing schooner, formed an additional narrative layer within the space.

The project was commissioned by the Town of Lunenburg and realized in 2016–2018. The experiential graphic design and interpretive planning (signage) was in the hands of Fathom Studio, with John deWolf serving as project manager and experiential graphic design lead and Robert Currie doing the research. The architecture and interior design was carried out by Ekistics Planning & Design, featuring Chris Crawford (lead architect), Rebecca MacKenzie (project lead / intern architect), and Julian Boudreau (design). Eye Candy Signs fabricated the signs.

In September 2025, UNESCO and the Spanish Ministry of Culture held in Barcelona the third World Conference on Cultural Policies and Sustainable Development, known as Mondiacult – the largest global gathering devoted to cultural policy. Continuing UNESCO’s long-standing tradition of linking cultural diplomacy and architectural experimentation, the event commissioned a new spatial framework that transformed the corporate congress spaces of the International Convention Centre of Barcelona (CCIB).

Held at a time when climate change and military conflicts increasingly endanger monuments and historic architecture, the spatial and graphic design of Mondiacult 2025 foregrounds the role of care in safeguarding heritage. Deployed throughout the CCIB, it affirms softness as a protective cultural value, countering the rigidity of institutional design. Large mattresses, recalling civilian anti-aircraft protections, envelop the building’s hall, punctuated by vegetal ecosystems that, in homage to Mediterranean conservation practices, create spaces for pause and retreat.

Throughout history, soft materials such as mattresses, textiles, and sandbags have been used to protect architecture from destruction. Their padded and sand-filled surfaces absorb blasts and fragmentation, a strategy adopted both by civilians and institutions. During the Second World War, civilians built sandbag walls around St. Paul’s Cathedral in London, while experts used seaweed mattresses and layers of sand to shield Giotto’s frescoes in Padua and the Camposanto Monumentale in Pisa. Decades later, similar gestures reappeared in Mostar, Kyiv, and Aleppo, where citizens covered bridges and monuments with flexible materials to prevent damage. These draped textiles mediate between fragility and resilience, extending acts of care from the intimate to the architectural scale.

Inside the building, mattresses span distances of ten to fourteen meters, while on the outside they hang from heights of up to nine meters, remaining exposed to the sea breeze and wind loads from the nearby coast. As their supporting structures cannot be anchored to the building’s floor or exterior surfaces, they are stabilized through a non-invasive double foundation system composed of heavy-load wheels and latex water bladders filled with phreatic water. In certain areas, these same bladders also serve as benches for attendees, their flexible surfaces adapting to the pressure and contours of the body.

Design team: Irene Domínguez, Sofía Marciel, Inés González Paradela
Structure: Jorge López Hidalgo, Vian Studio
Contractor: Central de Projectes, Metada, Eix Jardiner, GWC.
Client: Ministerio de Cultura, Gobierno de España, UNESCO
Surface: 3,000 m²

Andiamo is a neighbourhood bar and eatery in Herne Bay, a suburb of Auckland, New Zealand. They recently partnered with Studio 024 to reinvigorate a much-loved legacy brand, using AF Stelios by Abbr. Foundry as the main typeface, including for the wordmark. It is used together with Sharp Type’s Cordier Script.

From Studio 024:

The challenge was to modernise the identity while staying true to its history and local roots. The refresh introduces a new wordmark grounded in heritage and sophistication, alongside a refined palette of rich greens and buttery yellows. Together, these elements bring warmth, confidence, and renewed clarity to the brand. The result is a considered evolution, honouring Andiamo’s past while setting it up for its next chapter on Herne Bay’s main strip.

Homepage detail

Web footer

Graphic identity, website design and printed materials designed by Lara Coromina Parcet for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at Col·legi d’Arquitectes de Catalunya (COAC) in Barcelona during October 2025. The design features Comma Type’s CMM Coda in its Normalized version throughout.

Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.

Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.

From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.

CODA was curated by Naiara Albizua & Carmen Salas (objet a) and organized by AJAC Agrupació de Joves Arquitectes de Catalunya under the direction of Dani Montes and Guillem Elvira. Website code by Clara Layti. All photographs by Natalia Vaquero. Risograph printing by Do the Print.

Protest Grotesk is the typeface used by Neues Amt Altona.

From Stan Hema:

Neues Amt Altona eG is ready for the groundbreaking ceremony. The cooperative construction project, which will start in 2025, combines sustainable timber architecture with a concept that focuses on community and creativity. Co-working spaces, art studios and local meeting places – locations that connect people and enable inspiring interaction – are being developed around the popular creative site of the old tax office in the Hamburg district of Altona.

To mark the start of construction of the ambitious project, the NAA has a new visual and verbal brand identity, developed by Stan Hema. The revised identity combines a clear brand language, cross-media recognisability and the diverse voices of the more than 250 committed members. With heart, soul and conviction, they are designing a neighbourhood that is entirely geared towards people and community.

Exhibition identity for Re-parer le monde by Kouka Ntadi, presented at the Galerie des Résidents, Montresso Art Foundation, in February 2025, as part of the 1–54 Marrakech Art Fair.

Since the late 1990s, Kouka Ntadi has developed a body of work addressing both intimate and collective narratives. Grounded in the figure of the Bantu, his practice examines the relationship between humans and nature, and reflects on our place in the world through the notions of adornment and repair.

When two enthusiasts combine their expertise, STAMM is born: a vibrant place nestled in the heart of Paris’s 11th arrondissement, where fermentation, sharing, and craftsmanship come together in perfect harmony.

Between heritage and modernity, STAMM celebrates beer and pays tribute to its most noble qualities: expertise, history, and culture. It is a place where you can enjoy brewed creations and fermented cuisine from noon until night.

For the identity, Install Bold plays a main role, used at different scales, on the menu and as big sign on the restaurant window.

The Dutch tile manufacturer Mosa uses TheSans, designed by LucasFonts, for its brand identity since 2011. The typeface is used consistently throughout all media, including printed materials such as catalogues, books and flyers, as well as signage, banners and letters on buildings and showrooms. It is also used for digital media such as websites and apps.

Outside of the factory building, Maastricht

Mosa stand at a trade fair

The Mosa website also features articles that use TheSerif.

Mosa Design Store

Carnival flag in front of the factory, Maastricht

Renata Motyka has designed the visual identity for the exhibition Planetary Consciousness. Ecosystems of Care at the School of Digital Art, Manchester Metropolitan University. It was curated by Eliza Urwanowicz-Rojecka and Jakub Wróblewski.

It is another project designed to promote Polish and Ukrainian contemporary digital art, co-delivered by the Arsenal Gallery in Białystok and the 3D and Virtual Occurrences II Studio, Faculty of Media Art at the Academy of Fine Arts in Warsaw.

The project has been inspired by the concept of planetary consciousness, in reference to a theory by sociologist and globalisation theorist Roland Robertson, who introduced the notion of global consciousness (Robertson 1992, 2014). Thus termed by Robertson, the shift towards the world-universe relationship already assumed that the global perspective would transcend into the planetary.

The exhibition was presented from November 4th to December 2nd 2025 at the School of Digital Arts (SODA), Manchester Metropolitan University 14 Higher Chatham St, Manchester M15 6ED.

Unboxing Bauhaus is a multi-site exhibition by students of Fine Arts and Visual Communication at Bauhaus Universität Weimar, presented in KunstHaus Potsdam and Kunstraum Potsdam from 27 July to 24 August 2025. The project brings together painting, drawing, sculpture, photography and performance, developed both in advance and during a ten-day residency in the city.

The visual identity, designed by Ossian Osborne, Lilli Sörries and Annemarie Grund, makes extensive use of G2 Airdancer by Gruppo Due. Multiple cuts of the typeface are used and switched mid-word, creating a lively and highly dynamic typographic system. This shifting rhythm mirrors the exhibition’s premise of reframing perspectives and opening artistic processes to public view.

The designers expanded the exhibition’s central motif, the moving box, into a set of playful and oversized visual scenes. Boxes on trucks and billboards suggest the idea of the Bauhaus leaving its familiar bubble and entering new contexts, echoing the title Unboxing Bauhaus.

Visuals for Super-Rough, a pop-up exhibition curated by Takashi Murakami and presented during the Outsider Art Fair in summer 2021.

Hope, promise, uncertainty—or threat? Are we becoming reluctant to embrace openness? What are we afraid of, and why? What lies behind, between, or beside doorways? And what promises come with doors that open by themselves?

For many years, the Linz University of Art and Design has transformed its downtown campus into an exhibition space for the Ars Electronica Festival. From here, the program moves into the city, transforming it into a laboratory for media art and architecture.

In light of the climate crisis, wars, and the ever-increasing power of tech giants, the Ars Electronica Festival 2025 posed the big question “PANIC – yes/no.” As a possible answer, the campus exhibition at the Art University Linz addressed the agenda with Alles.Immer.Offen:

We all know automatic sliding doors from shopping malls. They promise accessibility, mark a seemingly open threshold – yet lead into a public sphere that ultimately remains a market. But what happens when they no longer regulate the flow of consumption, but instead stage openness as a social practice?

This is precisely where the interactive installation Alles.Immer.Offen (“Everything.Always.Open.”) came in. On Linz’s main square, Paul Eis, curator Prof. Manuela Naveau, and their team erected three oversized sliding doors that communicated with the audience through sounds, noises, and texts. Everyday movements thus transformed into a play with space and perception: Sometimes the doors opened abruptly, sometimes they hesitated – thus engaging in a subtle dialogue with the visitors. Furthermore, the construction deliberately remained light, modular, and transparent. Even the floor rose slightly as soon as someone entered the sensory area, intensifying the moment of passing through. Furthermore, all components are reusable: The doors and their drive units are returned to the manufacturer, while the rest goes to the workshops of the University of Art and Design.

Designed by MOOI, the identity for Alles.Immer.Offen is set in Bastardo Rounded.

TeamFirst is a community-driven platform in Japan focused on fostering both individual careers and company growth. It unites forward-thinking professionals—bilingual talents included—and innovative companies via events, mentorship, and recruiting services.

For their rebrand, nowthen used Sagace as the main typeface, paired with Hauora Sans Medium for text.