The Splendour in Venice exhibition at Gulbenkian 2024 immerses visitors in 18th-century Venice, showcasing works by artists like Canaletto and Guardi. Inspired by the Grand Tour tradition, it highlights the city’s grandeur and everyday life through its art. The visual identity draws on Venetian architectural perspectives and muted tones, blending seamlessly into the exhibition spaces. Developed collaboratively with curators, editors, and designers, the catalogue and overall design encourage reflection on both the city’s vast compositions and its people.

To design this visual identity, Lisbon-based graphic design studio Panorama used Injurial (Sandrine Nugue, 205TF), GT America (Noël Leu, Grilli Type) and Parnaso (Mário Feliciano, Feliciano Type).

More photos and information on Panorama's website.

SIZA held by the Calouste Gulbenkian Museum is a “temporary exhibition dedicated to the work of one of the greatest living figures in global architecture and urbanism, Álvaro Siza Vieira, bringing together original material from his archives as well as a series of reference works for his practice".

The exhibition, curated by Spanish architect Carlos Quintáns Adas, covers all facets of Siza’s creative career. The graphic design, done by José Albergaria in collaboration with Júlia Garcia, features the typefaces Basilar for titles and captions, Rizoma for text, A2 Beckett for the exhibition’s name.

The exhibition catalog is entirely set in Rizoma for the body text and Basilar for headings and captions. The cover and spine of the book also feature the name “SIZA,” set in A2 Beckett.

SIZA held by the Calouste Gulbenkian Museum is a “temporary exhibition dedicated to the work of one of the greatest living figures in global architecture and urbanism, Álvaro Siza Vieira, bringing together original material from his archives as well as a series of reference works for his practice".

The exhibition, curated by Spanish architect Carlos Quintáns Adas, covers all facets of Siza's creative career. The graphic design, done by José Albergaria in collaboration with Júlia Garcia, features the typefaces Basilar for titles and captions, Rizoma for text, A2 Beckett for the exhibition’s name.

The exhibition handout, printed in a distinctive newspaper format on traditional newsprint, is entirely set in Rizoma for the body text and Basilar for headings and captions. The first page of the newspaper also features the name “SIZA,” set in A2 Beckett.

Catalog for the exhibition held at the Centre Pompidou, in partnership with the Fundação Calouste Gulbenkian, focusing on the artistic relationships between Amadeo de Souza-Cardoso and Sonia and Robert Delaunay.

The catalog comes in two versions: a Portuguese edition with an orange cover (Correspondência) and a French one with a green cover (Correspondences).

From Fundação Calouste Gulbenkian:

This edition explores the relationship between Amadeo de Souza-Cardoso (1887–1918), Sonia (1885–1979) and Robert Delaunay (1885–1941) based on a selection of the correspondence between the three artists published by Paulo Ferreira in 1972: Correspondance de quatre artistes portugais, Almada-Negreiros, José Pacheco, Souza-Cardozo, Eduardo Vianna avec Robert et Sonia Delaunay (Paris: Presses Universitaires de France).

The catalogue also features images of all the works on display, 17 by Amadeo de Souza-Cardoso, five by Sonia and six by Robert Delaunay. The curatorial text by Helena de Freitas and Angela Lampe is also a correspondence between the two curators and introduces the meeting of work that was developed by both in Paris, precisely around the idea of sharing and the relationship created between the two collections: CAM – Centro de Arte Moderna Gulbenkian and Centre Pompidou.

The exhibition O Tesouro dos Reis. Obras-primas do Terra Sancta Museum / Treasure of Kings. Masterpieces from the Terra Sancta Museum at the Calouste Gulbenkian Foundation in Lisbon showcases the pieces donated by European monarchs to the Holy Land. These are artifacts that have traveled from Jerusalem to Portugal.

In the creation of the exhibition's identity, Panorama Design Studio used Rizoma from R-Typography as the main typeface, along with Futura.