we wanted to use a single object, as simple and banal as possible, occupying the whole cover, but this approach was not approved.
among the various possibilities, we opted for this image, which is light and clean.
on the contents pages, we availed of some visual play used in two sections of the issue, one involving the word ‘milão’ (milan), and the other the work of carlito carvalhosa.
it was also the first time we left some space blank on the contents spread, breaking the long-held ‘rule’ of leaving no space unfilled.
the word ‘milão’ was broken up so that it filled both sides of the spread devoted to the annual design fair in milan.
here’s the second spread.
here is the piece on carlito carvalhosa’s installation at the são paulo museum of contemporary art.
we tried to reproduce something of the work’s violence and scale by fragmenting the image into different sized columns, as these qualities would have been utterly lost in a normal static photograph.
bamboo 25 was about são paulo, and it was curated by editora bei.
one of the highlights was an interview with philip yang, creator of instituto urbem, which promoted new urban projects for the city. to illustrate the piece, we redesigned one of the institute’s diagrams in order to show the mixed-use spaces and free areas in a fictional project.
the cover was a simplified version of this diagram.
here is the second contents page, featuring blank spaces, superimpositions and a feature that overspills its space and patters across the page.
whilst still indicating the sequential order of the pages, the contents spread was becoming much freer.
on the second-last line, special mention for the sequence that represents the wall section (see below).
here is the first spread from the interview with philip yang, with a photo of são paulo by cássio vasconcelos.
guilherme wisnik’s column for this issue was on the minhocão (a stilted expressway in são paulo) and lina bo bardi’s teatro oficina.
the article’s focal point was a manchete magazine piece from 1969, commemorating the renovation of praça roosevelt in downtown são paulo as key to ‘a more human city’, and this was the image we used. Ironically, this square would later become an arch symbol of the supremacy of the car and the lack of quality public spaces in the city
for this piece on the artist william kentridge, we used one of his paintings to construct an animation-like sequence.
the artist also produces animation and installations, and his painting has a clearly cinematic quality to it.
the wall section was about lighting, so we created another animation, redolent of pools of spotlight.
3 grey squares overlap, each with a white circle punched into it. on the first page, the circles are perfectly aligned in the middle, but shift a little this way or that on subsequent pages to create overlaps in other tonalities.