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Turning language into objects (and vice versa).
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Recent posts
The shape of spheres to come. This just came back from the printer’s: the third volume (issue 2) of Sphere – the annual review of @ricearch, published by Rice University (Houston), and edited by Nathan Friedman (@deldistrito), Igor Marjanović (@arch_igor), Chris Davey, et al. The 72-page, A3-sized magazine (offset-printed by @wilco_artbooks) comes in a bubblegum pink cover, and includes an inserted sheet of perforated postcards, as well as a 28-page section featuring photos by @arorygardiner. (There’s also a two-page article on our own ongoing Lost Formats project). And yes, the whole magazine is designed by us, in line with the overall graphic language we developed two years ago for Rice School of Architecture. The slogan that we used on the cover (in a somewhat deconstructed manner) is actually a quote by Lina Bo Bardi: “Linear time is a Western invention – time is not linear, it is a marvellous tangle, where, at any time, points can be selected and solutions invented, without beginning or end” (Institute Bardi, Editorial Blau, 1993).
Anyway, the magazine is only available through @ricearch – so when in need of a copy, do contact them!
05 Nov 2026
London calling. Last weekend, we were on the other side of the channel, for a press/pre-opening and symposium at @zahahadidfoundation (see our previous two posts) – but in-between, we also managed to catch a few other exhibitions. First of all, it’s Cady Noland’s amazing installation (pictures 1–4) at @gagosian – Pynchonioan-paranoid punk-minimalism for the people. Then, we visited @gilbertandgeorgecentre, for some good clean fun (pictures 5–8). After that, off to @raven__row, for the appropriation apparatus of Elaine Sturtevant (pictures 9–12) – followed by the stunning be-bop zeroïsm of Robert Ryman (pictures 13–18) at @barbicancentre. Lastly, some Justin Caguiat (picture 19 – with a poster by Irma Boom) at @serpentineuk – where, at the museum store, we also stumbled upon a copy of our latest paperback (picture 20). And that concludes our weekender – back to the daily grind it is!
03 Nov 2026
Days of distortion. Part of the graphic language we are currently developing for @zahahadidfoundation, here’s some objects that already have been printed:
First of all (see picture 1), there’s the screenprinted T-shirt, and a lanyard. (During the opening night, the T-shirts were only worn by the staff – but hopefully, the shirts can soon be found in the museum store as well).
Then, some offset-printed pamphlets (pictures 2–3), accompanying the foundation’s three main current events (namely, the exhibition ‘Zaha Hadid: Architecture of Performance’, the installation ‘LionHeart: Beneath the Rebar’, and the two-day symposium ‘89 Degrees of ZH’). The exhibition booklets are A5-sized, while the symposium folder is A4-sized – these pamphlets can then be unfolded into A2-sized, neon-spiked posters (pictures 4–6).
There are also the large outdoor posters (pictures 7–10), wild-posted all around London, as well as some smaller (A2-sized) indoor posters (pictures 11–12), and a banner near the ZHF entrance (picture 13).
And finally, some graphic interventions we created specifically for the ‘Zaha Hadid: Architecture of Performance’ show (pictures 14–20), such as the Zaha-inspired grid taped to the floor (which we let run free over the walls as well), exhibition texts printed on low-fi/hi-glam silver Tyvek (attached to the wall with blue tape), and title cards with blue backs (so that a subtle glow radiates from the cards).
More to follow!
Above all – happy birthday to Zaha Hadid (1950–2016), who would have turned 76 last Saturday (October 31). It was such a thrill to research (and keep researching) her work, her life, her thinking – we’re thrilled that the Zaha Hadid Foundation commissioned us to work on this.
For a more complete story behind the graphic language we created for ZHF, scroll back to our previous post (October 30, 2026).
02 Nov 2026
ZA HA DID IT. On the occasion of Zaha Hadid’s birthday (she would have turned 76 tomorrow, October 31 – if she hadn’t passed away, much too young, in 2016), here’s some assorted digital material (see pictures 1–20) related to the graphic language we’re currently developing for the Zaha Hadid Foundation (so that’s the foundation, not the firm).
It’s still a work in progress, but in short – based on several threads of investigation (the idea of the sentence as a sequence, the idea of the sequence as a sentence, the Lettrist notion of modernism as a perpetual deconstruction of ever-smaller textual units [grid, sentence, word, letter], the friction between internal distortion and external distortion, and the symbiotic relationship between the straight and the contorted – just to mention some of the many subjects we looked into), we tried to come up with a graphic language that could capture the full spectrum of Zaha (the painterly Zaha, the Constructivist Zaha, the Suprematist Zaha, the Tektonic/Tektological Zaha, the Deconstructivist Zaha, the Deconstructionist Zaha, the diagonal Zaha, the angular Zaha, the curved Zaha, the calligraphic Zaha, the warped Zaha, the Parametric Zaha, etc.). Our aim was not to flatly imitate Zaha’s visual language (as if such a thing would even be possible), but to obliquely refer to Zaha’s architectural development as a whole – from the angular to the curved to the multi-dimensionally fragmented, and back again.
Either way – this weekend (30–31 October, 2026), there will be a full symposium on Hadid (‘89 Degrees of ZH’), taking place at @zahahadidfoundation, @serpentinegallery, and @aaschool. And after the weekend, two exhibitions will open at the newly-renovated ZHF (10 Bowling Green Lane, London) – ‘Zaha Hadid: Architecture of Performance’ (running until March 27, 2017), and ‘LionHeart: The Rebar Beneath’ (running until April 24, 2027). Do drop by if you have a chance, to catch these shows (and to already see some first printed traces of the new graphic language).
30 Oct 2026
Traces in Tokyo. Although we are about to leave Japan in a few minutes, there are still some bits and pieces of our work that can be found in the city. For example, at @post_books, you can find the TOPS T-shirt we recently created for POST (picture 1), as well as copies (signed copies!) of our two monographs (picture 2), alongside some POST tote-bags we designed ten years ago (pictures 3–4). Also at @post_books – copies of ‘…E Prini’, the book we designed last year for Sternberg Press and MACRO (picture 5). Meanwhile, copies of our paperbacks can also be found at Bibliotheca/DSMG (picture 7), T-Site/ @daikanyama.tsutaya (picture 8), and at @utrecht_nowidea (pictures 9–10). And we are sure our monograph can be found in many other fine places in Japan as well – so do support your local art bookstore, and check it out. And that’s all for now – see you on the flipside!
27 Oct 2026
Linguistic manoeuvres in the dark. We had a blast last Saturday, talking at @doverstreetmarketginza (Tokyo). We usually feel very awkward doing lectures – but last Saturday was a super fun night. We’d like to thank our friends at @post_books and Bibliotheca, and the wonderful team of Dover Street Market Ginza, for putting this all together – but most of all, we’d like to thank all the people who showed up! Hopefully we’ll be back in Tokyo soon. (Also – shout-out to the interpreter, Kenichi Eguchi, for doing such a great job live-translating our lecture. Pictures 1–5 show some of the notes he made while interpreting).
26 Oct 2026
🎃🎃🎃 It’s not Halloween yet – but here’s already a cool pumpkin-like object (picture 1) by Tarō Okamoto (1911–1996) – as well as some other snapshots (pictures 2–9) from a few days ago, taken at the Tarō Okamoto House (Tarō’s former studio, turned into a museum). There’s also the public sculpture (picture 10), the public mural (picture 11), and the novelty ballpoint pen (picture 12 – shaky, because we’re on the train right now), Anyway – having a ghouly, groovy time here in Tokyo.
25 Oct 2026
Ginza-a-go-go. On our way to Tokyo right now – invited by the cool cats of @post_books, we will be doing a lecture (and book signing) at @doverstreetmarketginza, on Saturday, October 24, 2026 (17:00–19:00 hours). Admission is free, but seating is limited, and tickets have to be reserved (go to the POST website for more information). When in town, do drop by to say hi! (Picture 1: the first slide of our lecture).
21 Oct 2026
One for the black metal militia. We just noticed that Mayhem will be playing tonight at @paradisoadam – we probably won’t be going (we’ve got so much other stuff to do, it’s not funny anymore). But we do remember the last time we saw Attila (current vocalist of Mayhem) perform live – this was ten years ago (or so), at Paradiso as well. At that time, Atilla was singing with Sunn O))) – and, during the set, he unexpectedly fell backwards from the stage, and landed (flat on his back) on the dancefloor, after which he was carried out of the venue on a stretcher. (It wasn’t that he was stagediving or something – it was just gravity pulling him down). All the while, the band continued to play, as if nothing happened – it was a bizarre spectacle. Either way, for those of you who will go to the show tonight – have some blackened, dark, evil fun over there! (Picture: detail from the current Paradiso program poster, for which we created the template many many moons ago).
16 Oct 2026
Always be circulating (ABC)! Just letting our Japanese friends know that we will be in Tokyo next week. Invited by @post_books, we will be doing a lecture at @doverstreetmarketginza, on Saturday, October 24, 2026 (17:00–19:00 hours). Admission is free, but tickets have to be reserved, and seating is quite limited (go to the POST website for more information). You know, we don’t really have the time to travel right now (we’re literally drowning in deadlines) – but this was such an opportunity, we couldn’t say no. Looking forward to see you there!(Pictures 1–4: detail of the TOPS T-shirts we recently designed for POST – this shirt can be found on their website as well).
15 Oct 2026
When at Yale, do as the Romans do. These are the last few days to visit ‘Roma Publications, 1–524’ (running until October 15, 2026), the extensive @roma.publications retrospective currently taking place at Yale School of Art (@yalegraphicdesign, @yaleschoolofart), displaying all of Roma’s 524 publications – and we are happy to say that, throughout the years, we have designed, created, and/or edited at least 16 of them (ROMA 230, 248, 249, 250, 266, 338, 373, 375a, 375b, 388, 399, 400, 413, 500a, 500b, and 500c). So when in the New Haven area, do drop by at the show, to see our work (and the work of many others). Picture 1 shows two issues of ‘Interne Correspondentie’ (ROMA 373/413, 2019/2021), picture 2 shows ‘Full Scale False Scale’ (ROMA 375, 2020), and picture 3 shows ‘Statement and Counter-Statement 2: Typologies/Typographies/Topologies/Topographies’ (ROMA 500, 2026) – photos by @ruzannaroz (thanks, Ruzanna!)
13 Oct 2026
Putting the labor in collaboration – here’s an A1-sized, offset-printed, double-sided lecture poster we recently created for @mitarchitecture. Pictures 1–2 show the back of the poster – which is printed on blue-back paper (strangely, the blue is not really visible in these photos – but it’s really there). Picture 3 shows the front of the poster – which is basically an assemblage of scale 1:1 rubbings (‘frottages’) of the walls in the new building of MIT (as MIT recently moved into the Metropolitan Warehouse in Cambridge, MA). In other words, the rubbings are basically a typology of all the surfaces in the new building. And when folded, the whole poster becomes an A4-sized, 8-page booklet (pictures 4–12). And that concludes this little tour through the poster. When you come across it, hanging on a wall or so, feel free to steal it – this poster needs to move from surface to surface (The rubbings were made on-site by @elshareefkabbashi, the poster was offset-printed by @drukkerijraddraaierssp, and the typeface is American Grotesk by @klim_type_foundry).
05 Oct 2026
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