Research for Peace Love Warrior Dragon is an arrangement in book form of photographs taken by Michael Bodenmann on a trip through China. The arrangement as a pictorial tapestry is reflected in the book, and the resulting fragmentation and composition are expanded by the readers’ associations. The book also includes postcards collected on the trip, which, as a supplement to the photographs generated by the artist, refer to the open-ended context of the production of the pictures. In this sense, Research for Peace Love Warrior Dragon has no beginning and no end. The depicted parts of the pictorial tapestry represent the feeling of an experience, rather than claiming a documentary quality. The photographs are also meant to be understood as a body of work and the book is not intended as a linear catalog of images, but as a self-contained work. The images are supplemented by a text by the art historian and curator Gabrielle Schaad and an account of a journey by the artist Clifford E. Bruckmann. Designed with Samuel Bänziger, published by Jungle Books.

A historic lime kiln in the Lower Engadine forms the starting point of this project of the Fundaziun Nairs. Chalchera – Kalk in Transformation takes up the traditional craft of lime processing from the past in order to make the significance and potential of the material tangible today through its transformation process. The book builds bridges between art, architecture, craftsmanship, preservation of historical monuments and science in which lime is used today. The transformation from a natural to a cultural asset can be seen both physically and symbolically in the lime cycle. The central theme goes beyond the purely material transformation of the material and discusses the significance of this transformation on an art-aesthetic, philosophical and ethical level. Swiss artist Myriam Gallo’s powerful series Intangible depicts the multilayered nature in the spectrum of color and movement of limestone, from bursting to solidified. The publication is split in two parts; a text part which is saddle-stitched to the front cover, and a visual part, which is glued to the back cover. Designed with Samuel Bänziger, published by Scheidegger & Spiess.

The exhibition Fenstermalerei by Fredrik Værslev has been developed precisely for the rooms of the Städtische Galerie Delmenhorst, Haus Coburg. The mighty, striking sash bar windows of Coburg’s upper middle-class villa have been meticulously reproduced in size and proportion, in order to form the facetted frames of Værslev’s painting grounds. They become wonderful picture generators that put the old metaphor of the window as a picture up for discussion and, with a precise, spatial hanging, teach us to see the still visible or even hidden architecture of the house built in 1905 in a new way. The catalogue features the works and exhibition views alongside a bilingual essay by curator Annett Reckert, which is printed on continuous endpapers. The book block is bound into a reversed full linen cloth cover bringing the endpapers also to the outside of the publication. Designed with Samuel Bänziger, published by Städtische Galerie Delmenhorst. Awarded as one of the Most Beautiful Swiss Books 2019.

From… To… is part archive part storyboard and presents the photographic work of Jiří Makovec from 2018–2002. Shot in the streets, in dimly lit hallways, during festive parades, in empty lots, and anywhere else he goes, the photographs exemplify Jiří’s approach, which is neither documentary nor fictional. As much as some of his pictures may look staged, they are mostly situations captured by chance. Within the layered orders of the world, where everyone and everything seems to have its assigned position, Jiří’s gaze transgresses ethnic, class and age divisions by the simple act of looking. Like a series of contact sheets, this book is as much a catalogue as it is a storyboard. It functions as a personal, biographical archive as well as a universal document of the things that are often overlooked. On the one hand the square book format refers to the covers of 12″ records, which Jiří used as a base to lay out his prints, on the other hand it is the repetition of his most used format, the square. It is also a consequence of the necessity to print the photographs in 1:1 scale, without exception, so that no picture seems more important than the other. Designed with Samuel Bänziger, published by Jungle Books. Awarded as one of the Most Beautiful Swiss Books 2019.

Molecules is the second release of Edition Gamut, a curatorial platform which promotes the dissemination of experimental music and associated artistic practices. The composition was conceived and written by Tobias Meier and has been performed by Gamut Kollektiv. “Molecules evolves as a possible universe that expands after the big bang, decelerates and almost comes to a standstill at the point of maximum expansion, then contracts again, accelerates and eventually ends in a singularity once more. This piece can thus eternally repeat and always remains just one possibility. The twelve parts of Molecules (as symbols of all elements of life) exist in parallel from the beginning, as ideas. They are illuminated individually, emit sound as a distant memory and disappear in the background. Thus, the parts resemble planets that rotate on different orbits, producing a new image of the cosmos with every movement. Between the highest and the deepest tone, all possibilities hover as white scintillation. Here, from the balance between freedom and attraction, there emerges an energy space in which the seven Gamut musicians meet. Each of them makes decisions and introduces new ideas. In the collective vessel, these are received and further developed, triggering a mutual movement, in which each can develop their voice further and live out their individuality, so as to grow together.” (Tobias Meier)

For a Fish Tank or a Parking Lot is Daniel V. Keller’s first artist’s book. It is being published as part of the Facetten series by the Kulturstiftung des Kantons Thurgau in collaboration with Jungle Books. In his work, Daniel V. Keller examines connections between materials and materialities, architecture and architectural elements—in the real world as well as in models. For a Fish Tank or a Parking Lot is simultaneously a work of research, collection, and fiction. Keller researches the ecological and cultural significance of gravel and sand, which play a major role in the composition of the earth’s surface, at least in our latitudes, as valuable resources and important components of concrete. A photographic collection of pebbles—printed on almost translucent paper—forms the grid-like, even rigid structure of the book. With a focus on the different shapes and surfaces of the individual stones, the anonymous mass of this basic material of our built environment dissolves into countless individuals. Gravel is extracted from the earth, taken out of pits and rivers, and simultaneously grows upward in new formations as a component of concrete. In this way, Keller designs visual fictions specifically for this publication made of gravel. They are bold architectures, ruins of the future, and in some cases dystopian landscapes. Printed on transparent film and distributed throughout the book, these images humorously address the effects of human action such as the consumption of resources and our modern-day impact on the environment. A text by the Dutch writer Maurits de Bruijn supplements Keller’s pictures. Designed with Samuel Bänziger, published by Jungle Books. Awarded as one of the Most Beautiful Swiss Books 2018.

At Zeughaus Teufen, large temporary exhibitions are shown once or twice a year over several months. Starting from the permanent exhibitions, these temporary exhibitions deal with various topics and establish unexpected relationships. Artists are invited to expand existing knowledge with new perspectives. Hypotheses are put forward that inspire reflection and discussion.“Klangwald, Nichts zu denken, Wenn die Gedanken laut wachsen” presents a sound installation by Stefan Baumann; made with 384 loudspeaker-equipped plywood laths, it simultaneously forms a stage that can be used as a sound laboratory during the duration of the exhibition. This “Sounding Forest” is complemented by oil paintings by Fabienne Lussmann and a playful arrangement of objects by the two artists Pablo Walser and Hans Winkler. Musicians from different fields were invited to explore this curious forest, resulting in a whole series of wonderful and unique concerts. The exhibition identity has been developed and designed together with Samuel Bänziger.

“Jürgen Beck’s book is a glancing portrayal of this most-filmed of cities. Yet instead of resorting to the familiar, this series of photographs straddles time to capture the city through certain historical contradictions, illuminated and expounded by two essays from architect Wendy Gilmartin, and art historian David Misteli. It considers how to evoke the myriad ironies of time passing that the cityscape embodies. Complex fabrics of old hope and new failure, old failure and new hope. Nothing ever turns out the way it was supposed to. We start in the light. That famous LA light that gave birth to an industry is there in the not-quite whiteness of the cover’s uncanny glow. Drawling through traffic, a word-dense landscape that preys on the car-bound with advertising slogans promising this deal or that one. Please do not disembark your vehicle here. Interspersed with this street-view safari are eight images of the interior of the Bullocks Wilshire building. A cathedral of commerce that opened in 1929 and unwittingly morphed simultaneously into a golden calf. Designed to peddle high luxury to new money, with marble hallways built to flatter the acoustics of well-heeled feet. It opened its doors as the cash crashed. Capitalism’s first great falter exposed the failed promise of endless purchasing power and was a milestone on the way to better social security. The building is present here only in exquisite swatches. We appreciate its extravagance better through small spoonfuls of rich creams and duck egg greens, geometric carpets and chevrons of rosewood veneer. Unlike the light-bleed of the exterior spreads, the interior photographs are framed by a display-case darkness, not black so much as the colour of shadows, the colour of a noir film, characterised by the same elegant nihilism. The silence and poise of this well-preserved interior is contrapuntal to the hazy uncurated din of present day Los Angeles where social security is again so clearly lacking. New Deal then is both the new deal and a new deal. One was an earnest promise, in the wake of the Great Crash in 1929, the other is emblematic of the logic of late capitalism—which is no kind of logic really—where everything is new and everything is a deal until, like the Bullocks Wilshire, we realise there is nothing left to sell.” (Leila Peacock) Designed in collaboration with Samuel Bänziger, published by Jungle Books.

Over the past ten years, Katalin Deér has repeatedly spent time in the Val Bregaglia and taken photographs there. The result is an extensive collection of snapshots of different buildings and their unique presence in a landscape that is continuously moved and shaped by time and the forces of nature. The photos taken with an analogue camera appear in dense groups of two, four, eight, or nine pictures per page. Flat, green enameled copper plates, printed to the edge on both sides, continually interrupt the flow of the pages. In its surface and depth, the glassy, frozen surface created during the melting and cooling of the enameled plates is strangely similar to analogue photographic paper, and at the same time a snapshot that becomes what it is through an action. Like the photographic prints, the plates for the book were laid out and scanned directly. Inspired by the combination of the pictures (often repeated ones of the same buildings), the result is a complex and at the same time temporal interweaving and narrative: not an enumeration of architecture, but an emphatic view that focuses on things and turns to them, a tightrope walk. The book concludes with a text collage resulting from a conversation with Stephan Kunz on artistic questions in this process. Designed in collaboration with Samuel Bänziger, published by Jungle Books.

The work of Matthias Gabi is characterised by a detailed consideration of the photographic image, reflecting on the conditions of image production, dissemination and knowledge transfer. This takes in the beginnings of photographic reproduction, the heyday of the photobook and the illustrated magazine, and the present day, when the printed object – deliberately or unintentionally – is always defined as an antithesis to the digital. The artist’s book Shot on iPhone, 2009–2017, which has been published on the occasion of Gabi’s solo exhibition at Kunsthaus Langenthal, consists of an as yet unseen series of hundreds of note-like iPhone photos of advertising in the public realm. Derived from Apple’s advertising campaign of the same name, the uniformity of the consumer-oriented language of advertising images is striking in this collection. Contrary to the otherwise sought-after general validity of the picture, Gabi emphasizes in this series the rambling, collecting, juxtaposing, random gaze. Shot on iPhone, 2009–2017 has been designed in collaboration with Samuel Bänziger, edited by Kunsthaus Langenthal and published by Jungle Books.

The task of the Institute of Design and Architecture IEA at ETH Zürich is to elaborate and implement a long-term strategy for the teaching of design and construction. The semester programme is announced with a poster system, introducing the subject of the lecture series and presenting a weekly calendar. When folded down for postal dispatch, a summary provides a quick glance at the full programme. In collaboration with Samuel Bänziger.

At Zeughaus Teufen, large temporary exhibitions are shown once or twice a year over several months. Starting from the permanent exhibitions, these temporary exhibitions deal with various topics and establish unexpected relationships. Artists are invited to expand existing knowledge with new perspectives. Hypotheses are put forward that inspire reflection and discussion. Walk the Line juxtaposes works by Klaus Lutz (1940–2009) with works by Johann Ulrich Fitzi (1798–1855). Even though the two are committed to different epochs and styles, curator Ueli Vogt sees parallels: “A line as the shortest connection between two points is a common definition. This can be used to create panoramic views of townscapes and landscapes – seemingly static views, so that we know what is, or in the future know what has been.” The exhibition is complemented by works by Anna Beck Wörner, Karin Karinna Bühler, Christian Kathriner, Sandra Kühne, Reto Müller and Christian Ratti. The identity has been developed and designed in collaboration with Samuel Bänziger.

Nachtschicht (nightshift) is an open night at the Kunstmuseum St.Gallen. The event offers guided tours, performances and djs playing after the regular museum opening hours. Since 2011 we’re responsible for the invitation cards. They always feature a graphical interpretation of the event’s happenings and explore the possibilities of printing with a limited color palette.

While searching for a visual translation of his music, Wassily discovered Max Bill’s „cube cuts“. According to Bill, music and Concrete art shared common ground: both were based on mathematical laws. His square paintings integrate both the study of geometry and mathematics but perfectly master to create an equilibrium between reason and emotion and between logic and imagination. With this starting point we were commissioned to develop the artwork for Wassily’s debut album Liebesding, which is a balancing act between musical contrasts itself—structured and sleepy, realistic and dreamy, synthetic and analogue. We started by creating a square painting following Max Bill’s theory, but then rotated it as many times until it turned into a blurry circle. Like this a perfectly precise, rationally constructed form turned into a mellow, undefined shape that lost all of its contrast and clarity. This area has been dedicated to the flat sounds and low frequencies. A black strip cuts through the softness of the circle, corresponding to the dissected voice samples which are overlaying the songs. The contrast between the blurriness of the background and the sharpness of the strip also demonstrates the limits of our visual perception. How clear can a memory be in front of our inner eye? How precisely and detailed can this memory recreate an image? Within the strip, an empty white frame is juxtaposed with a still of a video work by Colin Snapp. It shows a skier, physical yet almost invisible in a seemingly interrupted movement, the flash of a childhood memory, illustrating the interaction between reality and dream or memory and loss.

In The Good Life, Iñaki Ábalos guides through seven iconic twentieth-century homes that represent various concepts for living. Some of the homes were actually built, while others were merely planned, painted, or created as part of a film set. Mies van der Rohe’s House with Three Patios, Martin Heidegger’s cabin in the Black Forest, Picasso’s Villa La Californie in Cannes, Andy Warhol’s Factory, the geometric houses and gardens in Jacques Tati’s Mon Oncle, the hobby-kit house in Buster Keaton’s One Week and the swimming pool and home in David Hockney’s painting A Bigger Splash. Ábalos takes readers through the key philosophical precepts that likely guided the creation of these homes, making insightful points about the relationship between ideas about a particular modern way of living and approaches to architecture and design. While respecting and updating the original version, which has been published in 2001, the book has been structured into seven chapters, each one opened by a picture section and followed by a text with reference images. Keywords, which have been highlighted by the author, are forming up to literary clouds inside the big margins at the bottom of each page. The clouds help guiding the reader through the book and serve as touch points for non-linear reading. This project has been realized in collaboration with Samuel Bänziger and published by Park Books.

Fabio Marco Pirovino explores the boundaries and possibilities of imagery. For the exhibition “Reality” (15 October–12 December 2016) at the art space epepep in St.Gallen, the artist realized a series of his typical “scribble paintings”: abstract, gestural paintings, layered traces as dormant records of dynamic processes. Pirovino painted twenty-one PVC films of different sizes, applying the monochrome paint directly with his hands and fingers. The artist nailed these object-like substrates to sprayed canvases with the painted side facing inward so that the surface of the works has a mirror-like appearance. The artist’s book “Reality Pirovino” is a continuation of the exhibition. The full-scale reproductions were cropped in the layout, and the canvases and nails are invisible. This captures the screen-like quality of the works, which is emphasized by the sheen of the book pages with a UV coating. This project has been realized in collaboration with Samuel Bänziger and Jiajia Zhang, and published by Jungle Books.

The successor of A-Typical Plan investigates spaces of production through seminal projects by engineer-architects such as Robert Maillart, Albert Kahn, Auguste Perret, and many others. Industrial buildings are characterized by an underlying contradiction: the economy of means and the desire for flexibility. We translated this tension by using strict typographic presets within a very flexible grid. The volume includes interviews, essays and student works as a result of research done at the École Polytechnique Fédérale de Lausanne’s School of Architecture. The wide spacing of the narrow columns in these sections is referencing the architectural construction of large production halls based on supportive columns. Supplementary material is arranged like an assembly line and is filling the page from left to right without margins, underlining the horizontality of the factory. This project has been realized in collaboration with Samuel Bänziger and published by Park Books.

Before we start a conversation or introduce ourselves, we usually seek eye contact with the person in front of us. A first impression can be determined by this one fleeting moment while handing over the conversational baton. With that thought in mind, we decided to renounce any use of typography on the cover of the Prix Meret Oppenheim 2017 publication. Instead the three awardees are looking back at you. In 2017, the Prix Meret Oppenheim (a prize awarded to individuals that have contributed to the study and influence of contemporary Swiss arts and architecture) was given to the artist Daniela Keiser, architect Peter Märkli, and author and curator Philip Ursprung. Not rarely one may be familiar with their name or work before but might have never seen the person behind. In the following 198 pages of the publication, each laureate is introduced in a generous 32-paged picture section, for which the artist and photographer Katalin Deér documented studio visits, exhibition openings, and even a seminar week in France and the Netherlands. The thin, smooth paper in this section demands slowed-down browsing and a gradual approach to the person and their work. Eventually a comprehensive interview is opening the conversation. Marked by a different paper with a heavier and rougher feel, these text parts separate the three awardee sections. This project has been realized in collaboration with Samuel Bänziger and Katalin Deér.

To stimulate discourse on local building culture in Switzerland, the editor Architektur Forum Ostschweiz initiated a series of articles that first appeared in the regional daily press. For this publication they have been bundled as a collection and ordered chronologically. The articles are directly placed one after another, but separated into text and photography sections: while the articles are flowing over the left pages, their corresponding images are placed on the right. The selection of a one-side coated paper subtly highlights this separation, providing both text and image an ideal surface in favor of readability and color reproduction. Three in-depth essays occasionally break this flow, discussing leading themes that emerge in the articles. Their text layout forms the counterpart to the stream, using only the two outer margins, that remained empty before. A two-part photo essay complements the book, emerging from the center of the double page and leaving the outer margins unprinted again. All these parts layered would eventually bring back the density of the original newspaper layout. This project has been realized in collaboration with Samuel Bänziger and has been selected as one of The Most Beautiful Swiss Books 2016.

“Streamlined for Dispatch” is Valentina Stieger’s first artist’s book and covers a series of works of the same name. It presents thirteen paintings from previous and ongoing series, all of which are made from the conventional elements of painting, such as canvas, frames, and varnish. However, she uses previously printed, colorfully patterned fabrics as canvases—bedsheets and pillowcases from different eras—which deal with visual aspects of abstract painting in their designs. By mounting them on frames, Stieger projects the patterns back to their place of origin and thus creates a tension between intellectual loftiness and trivial decoration. Furthermore, she poses questions about the value of reproductions and originals which become apparent in the intermingling of art and (everyday) design as well as in the contrast between individual artistic style and faceless, technically reproduced design. The conceptual basis of the publication is standardization. The A4-sized page becomes the fixed size for the graphic dismantling of the canvases, which are fragmented in their original size and are thus connected back to their original pattern. In its rough texture, the publication recalls a mail order catalog for home textiles, like those that end up in our mailboxes by the thousands and ultimately land in the wastepaper basket. The choice of these modalities represents a transfer from art to the mass-market catalog and back to the artist’s book. The 392 pages of illustrations are supplemented with an essay by David Misteli. “Streamlined for Dispatch” has been realized in collaboration with Valentina Stieger and Samuel Bänziger, and published by Jungle Books.

“Foto: Jim, Zürich” examines the biography of Swiss photographer Karlheinz Weinberger, whose work was also published under the pseudonym “Jim”. Following the path of his semi-underground identity as a photographer, the essay focuses on one particular aspect in his oeuvre: a series of wrestling men, published in the Swiss sports newspaper Satus-Sport. Later, these were published in the ‘homophile’ magazine Club 68. This contextual shift exposes a crossroad in Weinberger’s artistic double life, and sheds light on the true motivation, intention and meaning behind Jim’s pictures.

Nachtschicht (nightshift) is an open night at the Kunstmuseum St.Gallen. The event offers guided tours, performances and djs playing after the regular museum opening hours. Since 2011 we’re responsible for the invitation cards. They always feature a graphical interpretation of the event’s happenings and explore the possibilities of printing with a limited color palette.

Concept and design of the brochure and poster suite that announce the main lecture series and exhibitions at Harvard University Graduate School of Design. The poster is subject to a graphical system, which is structured into different program categories. The height of each category is defined by its number of events in relation to the total. Following this preset, each category is divided into columns corresponding to the number of events per category. The empty spaces are filled with black resulting in a composition which is totally controlled by the content. The brochure layout responds directly to the event’s date, using days and months as coordinates for positioning information. This project has been realized in collaboration with Samuel Bänziger.

Nachtschicht (nightshift) is an open night at the Kunstmuseum St.Gallen. The event offers guided tours, performances and djs playing after the regular museum opening hours. Since 2011 we’re responsible for the invitation cards. They always feature a graphical interpretation of the event’s happenings and explore the possibilities of printing with a limited color palette.

8K is a concept album produced by Missue and inspired by the 14 Himalaya mountains exceeding 8000 m in elevation. The Swiss IDM duo commissioned us to do the artwork for their first CD release. With digital downloads exploding and CD sales plummeting, we wanted to create an object that goes beyond the actual benefit of a protective cover. A 3D print based on the stretched coordinates of the Himalayas has been used as a model for creating a silicon mould. Filling the mould with black dyed acrylic resin, we hand casted the entire run and later attached each mountain onto a foil embossed cardboard including the tray. The tracks on the backside are not ordered chronologically but corresponding to the altitude of each peak they are dedicated to. (3D print by Patrick Jost, silicon mould by Tamara Cattozzo and Andrea Rüeger)

“Delivery for Mr. Assange” and “unknown” were two independent shows at Helmhaus both based on the artistic strategy of using—and abusing—technology and the incorporation of expertise from non-art fields into their art projects. In the first room of “unknown” the random movement of melting candles created spherical planets of colored wax, thanks to a device that Waldvogel modelled after equipment that simulates zero gravity. In the large gallery a primordial broth covered the entire floor. In the course of the exhibition, algae-like cyanobacteria began increasing the intensity of colors with budding growth. The third room presented a monumental, metal planetarium, in which the wax planets were placed one after the other upon materializing in the first room. !Mediengruppe Bitnik have recreated a room that represents an individual’s entire universe: the study at the Ecuadorian Embassy in London which WikiLeaks founder Julian Assange has not been able to leave for one and a half years. The artists visited Assange in London several times and have reconstructed the details of his study. In 2013 !Mediengruppe Bitnik constructed their own “Postdrone” and sent it to Julian Assange: a parcel containing a cell phone camera that took pictures through a hole in the cardboard and uploaded them on a public website every 15 seconds. Their “Postdrone” represents one of the last surviving forms of uncompromised communication with one of the arguably most intensely surveyed people in the world. The coinciding element in the exhibition poster is the circle: the lens of a surveillance camera, a pinhole, a sphere, a planetary or the biology of a cell. Placed in pitch darkness and framed by an elusive glow, matter and space become undefined and open. Just as both exhibitions show and document a process, the sloppy setting of the textual layer—which is derived from HTML word wrap with inelegant hyphenation of names and locations—becomes an irritating element to emphasize a state of flux.

Visual influences and developments are largely shaped by globalization. This results in rapid change, pressure to innovate and seemingly steadily increasing individuality. Using iconographic elements from national and global delivery services and post offices, our contribution for Soirée Graphique 2015 addresses questions concerning the following: In which post-moment are we situated right now and shouldn’t we already guess what’s next?

“Moonlight dancing inside of your eyes” is a tribute to Phife Dawg, founding member of A Tribe Called Quest, who sadly passed away on March 23, 2016. For the second issue of hip-hop periodical Brick we were invited to contribute with a personal interpretation of one of Phife’s most iconic lines. (Against The World, The Love Movement, 1998)

Saiten is the official cultural magazine of Eastern Switzerland. The first issue came out in April 1994, since then it is monthly being distributed to subscribers and members of the association. Some copies are available to pick up for free at local cultural and public institutions, shops and restaurants and it’s not being sold at the newsstand. This allows greater leeway in terms of cover design but also brings a few financial restrictions on production. (Most of the content is printed in black only.) Every issue features a thematic focus, which is illustrated by the work of a photographer, illustrator or artist with special ties to the region. Since early 2013 and more than 50 issues, we’re in charge of the art direction and layout together with Samuel Bänziger.

Nachtschicht (nightshift) is an open night at the Kunstmuseum St.Gallen. The event offers guided tours, performances and djs playing after the regular museum opening hours. Since 2011 we’re responsible for the invitation cards. They always feature a graphical interpretation of the event’s happenings and explore the possibilities of printing with a limited color palette.

A-Typical Plan (edited by Jeannette Kuo at EPFL) presents analytical and atmospheric insights into the architecture of the workspace with a deep plan. The title image of the publication is a photography of the Gallery of Palaeontology and Comparative Anatomy in the Natural History Museum in Paris, which represents the reference of Jeannette Kuo’s studies to precise the structures of the internal. This exposure of the structures was also the basis of our editorial concept, which manifests on the book’s surface with the table of content on the backcover. To reinforce this system, we used atypical font size ratios for the individual types of text (such as the introduction, project descriptions, essays and colophon), while beginning and ending the book with the largest. The chapter pages and titles reference the back cover regarding position and form. This project has been realized in collaboration with Samuel Bänziger and has been selected as one of The Most Beautiful Swiss Books 2013 (see more here).

Abbruchhaus promotes electronic music in and around the east of Switzerland since 2000. The poster for their label night at Zurich’s club Zukunft is a deconstruction of the label’s name Abbruchhaus (german for condemned house).

Nachtschicht (nightshift) is an open night at the Kunstmuseum St.Gallen. The event offers guided tours, performances and djs playing after the regular museum opening hours. Since 2011 we’re responsible for the invitation cards. They always feature a graphical interpretation of the event’s happenings and explore the possibilities of printing with a limited color palette.