on the cover, we reproduced a little visual play we’d used in the wall section, writing the word ‘moda’ in dotted lines reminiscent of stitching and fleshing it out to fully-fledged letters. With this idea, we wanted to produce a cover solely composed of typography. however, once again, we were unable to avoid having to use complementary images.
Once again the contents page was designed with overlaps and larger empty spaces. we highlighted the wall, space under construction and power architecture sections.
on this edition, we created a model for bamboo studio advertisements, a feature that would remain for a whole year. the ad page always singled out a particular area of the studio’s activities, in this case its digital endeavors.
the angles of the lines, which link the images to the area of the studio in focus, lend an interesting sense of movement to this always well-organized feature.
This piece on herman miller broke with the magazine’s usual approach by using a portrait of the eames duo as a background.
the ‘power architecture’ feature of this issue invited 4 architects to name four other architects who they considered to be references in their work.
we used a red bar to divide the page in two, with the guest architect above and his/her references below.
here is the first spread.
for the opening of the projects section, we used one of our studies for the cover.
the editors approached the architecture/fashion connection from the premise that good architecture ‘never goes out of fashion’. one of the ideas was to bring out this relationship between the permanent and the ephemeral through a gradient of tones; a gradual fading out.
we overlapped all of the possible image formats that can be used on a simple, single page, and applied a pantone percentage to each ‘degree’.
the theme of bamboo 29 was ‘the vanguard’ and was curated by the architecture studio andrade morettin.
we like most of the pieces in this edition, and the way we changed the use of color employed on editions up to that point, but we’re not particularly fond of the cover.
a simple composition of images, without a strong underlying concept, that now seems a little old hat. but you can’t always get what you want...
this change in the use of color can be seen right from the contents page.
the format of the marquee in ibirapuera park, in fluorescent pantone pink, sits atop some quadrichrome images, a design in cyan and another in magenta. in the lower half, a pantone bar is superposed upon some text in cyan, magenta, yellow and black.
rather than separate the pantone from the cmyk colors and avoid ‘conflict’ between similar tones (pantone pink and magenta, for example), we decided to embrace those interactions and their often unpredictable results.
on this interview about inner-city circulation with the urbanist regina meyer, which was very long by the magazine’s standards, we introduced arrows to take the edge off a page otherwise loaded with text.
the experimentation with colors can be seen again on the column by guilherme wisnik.
the red (magenta + yellow) is drawn across figures in pantone, revealing a surprising result that can even be seen in the photograph: the pantone actually brightens the red.
gabriel kogan wrote about the studio lacaton & vassal.
the highlight was the renovation of the palais de tokyo, with images overlying a pantone design.
to the right of, and outside the design, pictures of another renovation project, this time on a residential building.
the ‘wall’ section was about the offices.
taking our pantone + cymk experimentation still further, we overlapped images in pure cymk with a pantone square.
for the opening, we piled all of these images into a heap.
here’s the first spread; cyan and magenta...
... and the second; yellow and black.
among the more editorial projects, we highlight this layout, showing a small pre-fab house designed by the studio mapa.
we created a row of small pictures occupying the six pages of the project, showing models and the processes behind the house’s transportation and installation.