Casabella magazine, 2024–25
In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.
Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024–25 cover design sets editorial objectives ahead of graphic ones.
Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.
Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.
With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.
no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951
no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957
no. 974 – Prisma, Rudolf Koch, Klingspor, 1930
no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999
no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929
no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012
no. 969 – bayer-type, Hebert Bayer, Berthold, 1931
no. 968 – Mexico 68, Lance Wyman, 1966–68
no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989
no. 965-966 – Futura Black / Paul Renner / Bauer, 1929
no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970
no. 962 – Kabel, Rudolf Koch, Klingspor, 1927
no. 961 – Stop, Aldo Novarese, Nebiolo, 1970
no 959-960 – New Alphabet, Wim Crouwel, 1967
no. 958 – Frankfurter, Bob Newman, Letraset, 1970
no. 957 – Universal, Herbert Bayer, 1925
no. 956 – Oakland, Zuzana Licko, Emigre, 1985
no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938
no. 954 – Kombinationsschrift, Josef Albers, 1926–28
no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929
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