La Part terrestre discusses how the crossing of planetary boundaries is destabilizing the conditions for life on Earth and forcing cities and urban spaces to confront profound ecological challenges. While urbanization has contributed to these crises, the author explores emerging ecological approaches to urban planning that seek new ways of imagining and shaping living environments. Avoiding both alarmism and excessive optimism, the book examines how ecological and political questions challenge traditional ideas of habitability, justice, and urban development. By treating the “terrestrial” as a working hypothesis rather than a fixed concept, the author invites readers to rethink the scales, balances, and practices of urban production through a slower, more reflective perspective rooted in the humanities and ecological responsibility.

Headings, the table of contents, and footnotes are set in Muoto Normal and Ultra Condensed, designed by Matthieu Cortat. The body text is set in Alcalá Xtra, designed by Damien Gautier. These two typefaces are distributed by 205TF.

Coqodaq is a New York restaurant by Simon Kim and Gracious Hospitality Management that reimagines Korean fried chicken as a fine-dining experience. Designed by Emily Oberman and the Pentagram team, the identity draws from the visual language of Korean and American chicken joints, then elevates it into something more luxurious, playful, and precise.

Typography plays a central role in balancing these tones. The brand pairs the expressive custom Coqodaq logotype (inspired by Lucky?) with a rich supporting type system that combines EK Notice Classic, EK Notice Decor – designed by Erkin Karamemet – and Plaak by 205TF. The center O in the logo contains the Korean character 닭 (“chicken”).

EK Notice appears in Classic Regular, Classic Medium, and Decor Medium, bringing a distinctive mix of historical reference, contrast, and display character to menus, messaging, packaging, and environmental graphics. Its Florentine-inspired sans-serif structure and subtly decorative qualities help bridge the restaurant’s indulgent, high-design atmosphere with the witty, approachable language of a chicken joint.

The typography is carried across the restaurant’s full experience, from printed and digital menus to takeout packaging, signage, social media animations, and interior details.
Alongside EK Notice, Plaak 26 Light, 36 Regular, 46 Bold, and 56 Heavy provide a strong, compact typographic counterpoint. The combination gives the identity both elegance and impact: Notice contributes texture, contrast, and personality, while Plaak supports the system with confident hierarchy and graphic clarity.

Faire école… de la résilience is a collaborative project led by Cité Anthropocène and Éditions 205 that brings together scientific and civic knowledge to develop concrete solutions for environmental challenges. Built during the winter of 2024–2025 by participants from academic, cultural, non-profit, economic, and public sectors, the initiative aims to foster new forms of cooperation, creativity, and collective engagement.

The titles are set in Pinokio Grand, while the interview questions are set in Pinokio Sans (Tanguy Vanlaeys, 205TF). The body text, interview answers, and quotations are set in Alcalá Xtra (Damien Gautier, 205TF). The page numbers and running headers, meanwhile, are set in CX80 (Damien Gautier, 205TF).

Villa Miami is a residential experience by Major Food Group.

How do you capture the essence of Major Food Group—celebrated for its celebrity allure and unforgettable experiences—and translate it into a residential concept as extraordinary as a night at Carbone? For Villa Miami, we developed a brand identity that embodies the opulence and glamour synonymous with Major Food Group while seamlessly infusing the vibrant energy and culture of Miami. From the bold, dynamic naming to the art direction and immersive digital experience, every detail was designed to channel the high-energy allure of one of the world’s most sought-after dining destinations, ensuring each moment resonates with the same captivating appeal.

The typography uses Plaak 41 Bold Ultra Condensed and Inferi Light.

For a decade, Hotel Tapa Tour has championed the tapa as an emblem of Spanish gastronomy, transforming hotels into epicenters of flavor, enjoyment, and innovation. ESIETE defined its identity system in the first edition, based on the iconic toothpicks that have shaped and communicated the brand ever since, strategically positioning the festival on the national culinary map.

The X of Flavor. The 10th-anniversary campaign, “Con la tapa por bandera” (“With the tapa as our flag”) blends tradition and minimalist avant-garde, raising flags as a metaphor for pride in our gastronomic and cultural heritage. A decade filled with successes proves that cutting-edge design and culinary tradition are a perfect match.

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.

Poesia no Centro is a poetry festival promoted by Megafauna, a bookstore in São Paulo, Brazil. The visual identity and scenography allude to the city’s signage and urban cacophony, anchored in the use of the Plaak typeface by the type foundry 205TF, also present in the bookstore’s visual identity.

The graphic design consists of a simple structure of boxes and vertical bars with moving typography superimposed on the work of guest photographer Mauro Restiffe. In the scenography, the lines become industrial shelving structures, the boxes become animated LED signs and the photographs become large-format posters.

The program booklet uses FF More and Acumin for text.

Everybody knows Happy Families. Here is a game of Happy Design Families to discover design while having fun!

This game, created by Claire Gautier and accompanied by illustrations by Simon Bailly, is an opportunity to familiarise yourself with, learn about, and understand design, its various applications and the place it occupies in everyday life… Through a selection of objects (biomorphic, popular, useful, engaged, iconic, …), this game displays a panorama of design. It gives an overview of the successive movements in design—from its beginnings to the present day—and presents the conceptual approaches that define these objects.

For the typography, Bureau 205 used the typeface Maax Micro, designed by Damien Gautier and distributed by 205TF.

Bringing together more than 200 archival documents, works of art, videos, photographs, and testimonials, the exhibition Banlieues chéries / Dearest Banlieues explores suburbs as spaces of memory and transmission. This exhibition and its accompanying program reflect the Palais de la Porte Dorée’s commitment to combating preconceived notions by promoting a better understanding of history and contemporary social and political issues.

The exhibition was on view from April 11 to August 17, 2025, at the Palais de la Porte Dorée in Paris. The exhibition design was carried out by Roll Office, in collaboration with the graphic design studio Studio Plastac. The typeface used was Plaak, designed by Damien Gautier and distributed by 205TF.

Polish furniture producer Górna Półka asked us strategic questions about its verbal and visual identity. We embarked on this journey developing its brand-new narrative and essential content architecture that will unfold over time. On top of that, we created a complex brand identity system deriving from the modularity of the furniture on offer and the crucial notion of an “upper shelf.” The brand can flexibly apply its variety of elements, and we look forward to seeing how this system develops.

The U70 building, located at Uferstrasse 70 in Basel, Switzerland, is a former warehouse and logistics facility that has been transformed into a vibrant mixed-use space. Previously known as the Gondrand building, it was repurposed by the Canton of Basel-Stadt to accommodate activities in sports, culture, gastronomy, and various trades.

The signage was designed by Swiss studio Hauser, Schwarz. On their website, we can read:

For the repurposing of the former storage building at 70 Uferstrasse, we developed the signage concept. The question of what to do with the massive Gondrand lettering posed a challenge: should it be completely removed or replaced? In the end, we decided to “erase” parts of the individual letters to obscure them, thereby referencing the overarching theme of “Transformation” in the renovation. The clearly structured typography and the reduced graphic elements ensure intuitive orientation within the building. The color scheme and typography blend harmoniously with the raw aesthetics of the building and its port surroundings, supporting its new identity.

For the occasion, the pictograms were designed by the studio, in perfect harmony with the Maax Mono and Maax Mono Stencil fonts, designed by Damien Gautier and distributed by 205TF.

This story generator was developed from texts written by Gennevilliers residents and inspired by the arrival of the new metro, as part of La Société du Grand Paris’ shared project. In the form of a terminal, it travels to several public places in Gennevilliers in 2023 and 2024. Fragments of these stories are punched into painted metal plaques, scattered around the project’s various stakeholders.

The Quand Soudain story generator is also accessible online.

This project was developed in partnership with La Ville de Gennevilliers and Centquatre-Paris. Writing accompaniment was provided by Valérie Mréjen. The development was carried out by Hugo Hilaire. The terminal was designed by Jacques Averna and built by EFR Scéno.

Studio Double used the typeface Beretta Sans designed by Damien Gautier (205TF) and Krana Fat designed by Florian Schick and Lauri Toikka (Schick Toikka).

Web version

Tabakalera is an international center for contemporary culture located in Donostia / San Sebastián, dedicated to fostering collaborations between diverse cultural institutions and projects. Its mission is to support the cultural and creative sector, contribute to the development of creative and critical skills in Basque society, and promote access to culture and its enjoyment.

When we began working on a complete spatial signage project, one of the most common questions posed when encountering a building with such an important legacy was:
What’s inside? What can I do here?

This uncertainty is amplified even further when, as in the case of Tabakalera, the building houses several institutions with distinct objectives and programs.

With this challenge in mind, in 2022, we embarked on a transformative process through strategic consultancy to understand how visitors perceive and navigate the space, aiming to attract a broader audience and enhance their experience.

This analysis resulted in a guiding document that informed the development and phased implementation of solutions in 2023, 2024, and 2025. Across these phases, we redefined Tabakalera’s communication with inclusive and welcoming visual elements.

The “Writing in Space” project marks the beginning of a comprehensive signage system where words are integrated into the environment to reflect the building’s identity.

We also developed a system of attractors using modular devices placed at strategic points, offering information in various formats and in three languages, making it easier for visitors to navigate the space.

Japanese Design Since 1945. A Complete Sourcebook was edited by Naomi Pollock and Masaaki Kanai and published by Thames & Hudson:

Design in Japan is deeply rooted in the country’s historic craft culture, profound understanding of materials and commitment to functionality. These qualities yield chairs, cups and other daily use items which are easy on the eye, comfortable in the hand and always do their job well. Even as mass manufacturing became widespread in the post-war period and cross-cultural exchanges began to take place with the West, Japan held fast to these core values and practices. This dedication has given rise to timeless objects of great beauty and utility as well as innovations in materials, form and technology.

To design this book, Ryuhei Nakadai used the typeface Maax designed by Damien Gautier and distributed by 205TF. The typeface used for Japanese text is yet unidentified [edit: it appears to be Midashi Go MB31, see comments].

DOKI DOKI is a new full-service audio studio specializing in the creation of sound and music for video games, based in Québec, Canada.

No Fixed Adress worked with them to create their complete brand from scratch, including name, logo and visual identity. The typeface used is Plaak 6 Ney designed by Damien Gautier and distributed by 205TF. The logotype was designed by the agency and inspired by Gill Sans Ultra Bold.

Montai Therapeutics (previously Montai Health) is a biotech company—founded by Flagship Pioneering—with a mission to “Unlock the power of nature with digital technologies to treat and preempt chronic disease.”

Our dynamic, modular identity system borrows from the visual language of chemical bond diagrams, symbolizing the infinite chemical possibilities afforded by their platform. Maax Mono from 205TF forms the foundation of the brand’s typographic language. Graphik from Commercial Type is leveraged in situations when a monospace font is less suitable. Vintage cyanotype textures emphasize Montai’s exclusive use of safe, organic compounds.

Front and spine of Faber & Faber’s book jacket

Intermezzo is Irish writer Sally Rooney’s latest novel. The “exquisitely moving story about grief, love and family” was published in the UK in September 2024 by Faber & Faber. It comes with a modern and thoughtful book cover with bold graphic design and an unconventional mix of typefaces.

The book jacket was designed by in-house designer and illustrator Kishan Rajani (you can read about the process in an interview for GQ). It features three main elements stacked upon each other on a white background: the author’s name, in Maax Display Ultra, shown in the signature electric blue also seen on the book’s back and in much of the marketing campaign, which started months before the release. Underneath sits a square illustration featuring a man’s silhouette standing in the background while the legs of another walking man frame the picture in the foreground, with a fallen chess piece at his feet. The third element is the title, set in the open-source font Le Murmure, also in all caps.

The whole communication makes thorough use of the typeface duo and of the blue-white-black trichromy; on posters, tote bags, the dedicated website, coffee cups, enamel pins, stickers, T-shirts, etc. The publisher even organized live jacket design events where illustrators (Yuk Fun, Maria Ines Gul and Nänni-Pää) would draw custom designs onto jackets that were printed out with the illustrated square left blank.

The hardback version is available both with a white and a blue background. Review copies of the book were also sent out featuring a temporary cover that already featured the distinctive colors and fonts, but not yet the illustration.

The German hardback edition (translated by Zoë Beck) by Claassen follows the same basic design as the one by Faber & Faber, also featuring Maax Display and Le Murmure.

Front of Faber & Faber’s book jacket. “Author of Normal People” at the top is set in Futura and Futura Black.

The hardback book cover depicts a sitting dog and also features Maax Display and Le Murmure.

The back of the jacket continues the chess theme with blue and white fields. The typeface is an italic Garamond, possibly Garamond Premier.

Review copy of the book, on top of a tote bag

Shop window decorated with promotional posters and oversized chess pieces

Early birds with promotional cups and plastic bags

A jacket with custom illustration in the making

One of the jacket designs with custom illustration, alongside a bookmark ft. text in Futura and a chess sticker

Promotional enamel pin and a paperback edition of the book

The sign at this book shop features a magnificent rendering of the book jacket and its typography in chalk. Due to the medium of the blackboard, black and white are reversed.

The book plus a matching tote bag

The book and an advert on the London Underground

Book jacket and cover of the German edition by Claassen

Claassen’s limited first edition comes with blue edges.

Monograph for the artist GOLIF, presented as follows on the back cover:

‘I have a passion to redesign the city.’ Powerful brushstrokes, black paint on a white background—a penetrating gaze staring at the viewer. Since 2013, Golif’s characters have been a distinctive feature of urban space throughout Europe.

The book was published by Drava Verlag, edited by Peter Doujak, with copy editing by Gundula Wagenbrenner, translation by Nick Somers, picture editing by Mario Rott, and printed by Jelgavas Tipogrāfija.

Hors-Site (mais pas hors-sol) (in English: “Off-site (but not off-ground)”) ran from September 28 to November 30, 2023 at the Maison de l’Architecture in Paris. The exhibition revisits the depths of a history made up of prototypes and bold architectural experimentation, as well as, quite the opposite, mass-produced and rationalized industrial processes. Looking to the future, it also examines the relevance of off-site production in contemporary times, and its new frontiers: digital innovation, robotization, 3D printing…

The scenography and communication were entrusted to graphic designer Céline Andreassen. She used the typefaces Maax Micro (Damien Gautier, 205TF) and Google’s Roboto.

The festival 9PH: photographie et image contemporaine was born out of a reflection on real-life photography, where the documentary image tells a story, the story of the represented, of ideologies, of cultures, of our contemporaneity.

Bureau 205 designed the visual identity for the 2018 edition with the typeface Caporal designed by Damien Gautier and Cardone designed by Fátima Lázaro, both distributed by 205TF.