New Scotland Yard
First book in a minigraph series for London based AHMM architects. It provides an overview of the history of the building and the different stages of refurbishment. AHMM’s design for New Scotland Yard is a radical remodelling and extension of the Curtis Green Building, a 1930s building on the Thames Embankment, which was an earlier home of the Metropolitan Police Service.
2017, 148 × 217mm, 122 pages, with BOB Design
Lipstick Tehran — Subversive Zeichen im Reich der Mullahs
The life of Iranian women is paradoxical. On the street, they are obliged to follow the laws of the Islamic Republic, having to wear headscarves, and not being allowed to shake hands with a man, for example. In private, many of them wear short dresses, have parties and boyfriends. The young generation wants to escape from this contradictory life, but is not convinced that another revolutionary movement would be of much use. Their protest manifests itself in daily life — they silently try to bring change. Larissa Holaschke’s research into those issues resulted in a book providing a new narrative on women’s issues in Iran beyond the veil of Islam and Western stereotypes. The book can be read from the back or from the front, in Western or Persian reading order, and offers varying insights depending on the reading direction.
2016, 185 × 260mm, 216 pages
Two Vietnamese Modernists
Two Vietnamese Modernists exhibits the work of two masters of Vietnamese modernism, Bui Xuan Phai (1920 - 1988) and Nguyen Tu Nghiem (1919 - 2016). During and after the wars, there was a lack of materials and supplies for these artists to create their work. Canvases were often made from found materials such as text books, cardboard and cement bags. The cover artwork of this book has been screen-printed onto brown card to reflect the thriftiness these masters embraced when creating their work.
2016, 215 × 305mm, 108 pages, with BOB Design
‘We pool resources, question, collaborate, make an experience to broaden our minds, expand our reach and widen our worldview’. These are the words of Londonon, a community of London based architecture practices on the challenge of exploring global opportunity together. We got involved by contributing a visual identity and website at breakneck speed in time for the triggering of Article 50. Outlines of cities have been merged together to show their collaboration and new spaces that they create.
2017, with BOB Design
A flickbook to show 39 weeks in the making: each week of growth is represented by a fruit or vegetable of the respective size.
2016, with BOB Design
International Public Policy Review
In an effort to make academic content more reader friendly to both academic and non-academic audiences, I created and implemented a new editorial design for UCL’s School of Public Policy’s annual journal.
2015, 170 × 245mm, 128 pages
Assisted Sara de Bondt Studio in designing and illustrating the first issue of Dirty Furniture, a design criticism magazine with each issue taking a different item as a springboard to explore related topics, more interested in the messy reality than the glossy lifestyle presentation.
2014, 165 × 230mm, 144 pages, with Sara de Bondt
Soundtrack des Stöhnens
Tennis players tend to moan, groan, and shout loudly during matches. A Swiss Sunday paper called ‘Sonntagszeitung’ published a short article about this phenomenon titled ‘Soundtrack des Stöhnens’. The article referred to a website on which one could click on portraits of tennis stars like Roger Federer and listen to their moaning during a tournament. I decided to visualise these strange sounds within the basic structure of newspaper pages.
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The weekly journal “Das Magazin” allowed us to use their articles and photographies for a typography project. I chose the transcript of a roundtable talk with some local celebrities from Berne, and focussed on the volume of the spoken words. At such informal gatherings voice levels are constantly changing. The bigger and heavier the font, the higher is the assertiveness of a certain speaker in the babble of voices. The original article was marked with detailed time data. Therefore, I replaced the page numbers with the specific time.
Aiming to facilitate critical analysis on global issues, we created ‘Rather Read’, a self-publishing platform for aspiring researchers and writers. The visual identity is centred around three modified R’s and photographs of celebrities in the process of reading a book. The promotional posters, which are printed by risograph, are changing three times a year and never feature obvious words such as ‘read’ or ‘book’.
2014, with Siiri Tännler
While studying graphic design in Lucerne, my classmate Siiri and I got the chance to design a book about our school’s traditional yearly field trip to Paris. The book is a collection of the best student works of the past ten years. It is split into three parts. The first and second one are printed by risograph and feature a study on semiotics and sketchbook material that our class collected during our stay in Paris. The last part presents finished layouts and descriptions of selected past projects.
2013, 190 × 260mm, 206 pages, edition of 100, with Siiri Tännler
Concept and editorial design of the “Zurich Globalist”, a biannual student’s magazine on international politics, starting with their third issue.
2012 – 2013
Design for a fictional stone sculptor Marc Arb. In german-language death notices, there is often the expression “aus dem Leben gerissen” which means that someone has been “torn” out of his life. Therefore, the visual elements feature torn images of stones, which are stacked to resemble real tombstone. To contrast these fuzzy elements, the font “Wide” has been created for his posters. It is very geometrical and varies in its width. This should represent the different stages of life which vary in their length, intensity, and importance.
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The Transcontinental Express
The Transcontinental Express was a one-day international arts event that took place on an abandoned train platform in the heart of Amsterdam–Oost. It explored the relationship that modern day man has developed to time, combined with the current possibilities for digital trans-time-zone connections. The concept for the identity found inspiration in symbols connected to railway sign language, international flag patterns and the notions of time travels. A choice for primary colors and classic printing techniques, such as risograph, evoked a nostalgic tone. Alongside paper folders and booklets, twelve oversized flags–representing different time zones–were silk-screened, to demarcate the exhibition space and to enhance the illusion of an outside theatrical space.
2013, 1200 x 1200 mm, Risographed and screenprinted, with Mainstudio
Ammodo Annual Report
Annual report for Ammodo, a Dutch foundation that promotes the arts and sciences in an international framework. The cover utilizes the logo on half of the available paper space; the other half is used for the content of the reports. In the reports, information about awarded projects is interspersed by photography of them; the foundation’s financial information is set in the identity’s typeface, Maax, and printed on a different paper stock, though also making use of the identity's trademark royal blue.
2013, with Mainstudio
I was highly involved in redesigning the studio‘s website. We also made completely new photos of the studio’s projects for the site. As Mainstudio mainly concentrates on editorial design, the website’s structure resembles the one of a book.
2013, photography by Sabrina Bongiovanni with Mainstudio
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We split the website of these Tel Aviv-based architects in two. The exterior projects are placed on the right side and the interior ones on the left.
2013, with Mainstudio