Sterne im Garten des Himmels (“Stars in the Garden of Heaven”) marks the eight installment of the “Schauen” project: an ongoing series of poetry and photography books created by young immigrants in Switzerland. Published at the end of the school year by the Berufswahlschule (BWS) of Horgen near Zurich, the book is the result of a workshop led by poet Svenja Herrmann and photographer Thomas Keller. Each year, students open a window into their personal experiences through words and images, offering readers an emotional and deeply human insight into their lives, dreams, and reflections.

The 2025 softcover volume shows a collaboration between visual and literary expression with the student-created poetry and photography creating a moving collective portrait. The project is not only a celebration of artistic growth but also a gesture of recognition and empowerment.

For the second consecutive year, the book design was developed by Thomas Keller. The cover features a bold color gradient with Swiss Typefaces’ Euclid Mono set prominently for the title and the author credits on the back. Inside, the same typeface appears again for the contributors’ names, placed at the bottom left of each spread and paired with the author’s full-page portrait on the facing page. From the same family, Euclid Flex Medium is used for the foreword title, while Adobe’s Minion provides the serifed body text.

A notable detail is the all-caps subtitle on the cover set in Swiss Typefaces’ Only Extended. The font makes here its first documented appearance after its release in June 2025.

Gaya and Only Extended in use by Studio T&D for the exhibition Assemblée narrative – fragments de récits de roches et d’eaux at the Musarth, the Guadeloupean Departmental Museum of Art and History, presented as follows:

narrative assembly proposes to open up stories around a part of Caribbean and Guadeloupean heritage, which are the engraved rocks. Based on a will not to appropriate the signs, faces, and forms of the petroglyphs, these proposals were developed through dialogues with researchers who are currently working to understand and rewrite the tool, that is Guadeloupean archaeology.

Anchored in lands often bordered by water, engraved rocks often resist the museum space, so why talk about an exhibition?

The choice of the term “narrative assembly” seems more appropriate to what the engraved rocks convey to us and what they allow us to tell, say, and shape, in reciprocity.

An assembly to tell (ourselves) other poetic fabrications of reality and the significance of its stories, that have come down to us.