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ORBI Vinterskolen 2026: A House for Publishing, starts today! Organized and led by @stanza_sz (@linegry and @fkir) for the MA students at @graphic_communication_design, at the @kglakademi, it will gather reflections on the past, current, and future habitat of publishing and graphic design. 🕯️🕯️🕯️
The project is generously supported by @statenskunstfond

ORBI Vinterskolen 2026: A House for Publishing, starts today! Organized and led by @stanza_sz (@linegry and @fkir) for the MA students at @graphic_communication_design, at the @kglakademi, it will gather reflections on the past, current, and future habitat of publishing and graphic design. 🕯️🕯️🕯️
The project is generously supported by @statenskunstfond

ORBI Vinterskolen 2026: A House for Publishing, starts today! Organized and led by @stanza_sz (@linegry and @fkir) for the MA students at @graphic_communication_design, at the @kglakademi, it will gather reflections on the past, current, and future habitat of publishing and graphic design. 🕯️🕯️🕯️
The project is generously supported by @statenskunstfond

ORBI Vinterskolen 2026: A House for Publishing, starts today! Organized and led by @stanza_sz (@linegry and @fkir) for the MA students at @graphic_communication_design, at the @kglakademi, it will gather reflections on the past, current, and future habitat of publishing and graphic design. 🕯️🕯️🕯️
The project is generously supported by @statenskunstfond

ORBI Vinterskolen 2026: A House for Publishing, starts today! Organized and led by @stanza_sz (@linegry and @fkir) for the MA students at @graphic_communication_design, at the @kglakademi, it will gather reflections on the past, current, and future habitat of publishing and graphic design. 🕯️🕯️🕯️
The project is generously supported by @statenskunstfond

ORBI Vinterskolen 2026: A House for Publishing, starts today! Organized and led by @stanza_sz (@linegry and @fkir) for the MA students at @graphic_communication_design, at the @kglakademi, it will gather reflections on the past, current, and future habitat of publishing and graphic design. 🕯️🕯️🕯️
The project is generously supported by @statenskunstfond

ORBI Vinterskolen 2026: A House for Publishing, starts today! Organized and led by @stanza_sz (@linegry and @fkir) for the MA students at @graphic_communication_design, at the @kglakademi, it will gather reflections on the past, current, and future habitat of publishing and graphic design. 🕯️🕯️🕯️
The project is generously supported by @statenskunstfond

ORBI Vinterskolen 2026: A House for Publishing, starts today! Organized and led by @stanza_sz (@linegry and @fkir) for the MA students at @graphic_communication_design, at the @kglakademi, it will gather reflections on the past, current, and future habitat of publishing and graphic design. 🕯️🕯️🕯️
The project is generously supported by @statenskunstfond

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

Only about 2 weeks left of the 2025 Architecture Biennale in Venice @labiennale, and soon 2 years since the conversation begun with pihlmann architects @pihlmann for a book about their contribution to the Danish Pavilion @danishpavilion_architecture 🏁

‘Making Matter What Too Often Does Not Matter: Material Protagonists of a Site-Derived Architecture’ offers insight to the exhibition and renovation of the Danish pavilion, as well as the methodologies of Søren Pihlmann which includes an aspiration to develop an alternative vernacular for the conversations around sustainability within architecture.

The book was designed by stanza’s @linegry, printed on 7 different papers — at the local powerhouse @grafiche_veneziane — and is a kind of material study in itself: all (but one) papers are produced in Italy made from both algae and bamboo. We also used a classic expensive art paper as well as the most common recycled affordable paper currently on the market. The imported paper is Dutch and semi-transparent when not printed on, and finally, the book is wrapped in a shrink film made from 50% sugarcane.

We used @karlakniep typeface ‘Palmastry’ (Heavy Broken) as well as @abcdinamo ABC ROM (Light) for both the exhibition design and publication 🤍

‘Making Matter What Too Often Does Not Matter’ was edited by @markrogh, supported by @chrissiemuhr, organised by @jakobrabe with help from @annesilberg and carefully composed by Søren Pihlmann and Adam Dickinson. Photographs were made by @hampusper.

Poet Lisa Robertson @office_for_soft_architecture wrote a brillant blurb for the dust cover, here a snippet: “They refute the overworked banality of the new, rather playing out a judicious yet ludic minimization of expenditure and favouring a revelatory phenomenology of peeling, shifting, seepage, and reuse.“

Get a copy via publishers @danisharchitecturalpress and @buchhandlungwaltherfranzkoenig.

ORBI’S SUMMER SCHOOLS ON ARCHITECTURE
No. 1 Dinesen Reader
@dinesen

Join the book launch and opening of the exhibition “House of ORBI” at Søtorvet 5, june 19 from 16:30

Editors: @pmrasmussen , @hanspeterdinesen , @annagerstoft & @linegry

Introduction by @annagerstoft

Essay by @pmrasmussen

Photography: @hampusper
Translation: @gucci_bikini

Graphic Design: @stanza_sz

ORBI’S SUMMER SCHOOLS ON ARCHITECTURE
No. 1 Dinesen Reader
@dinesen

Join the book launch and opening of the exhibition “House of ORBI” at Søtorvet 5, june 19 from 16:30

Editors: @pmrasmussen , @hanspeterdinesen , @annagerstoft & @linegry

Introduction by @annagerstoft

Essay by @pmrasmussen

Photography: @hampusper
Translation: @gucci_bikini

Graphic Design: @stanza_sz

ORBI’S SUMMER SCHOOLS ON ARCHITECTURE
No. 1 Dinesen Reader
@dinesen

Join the book launch and opening of the exhibition “House of ORBI” at Søtorvet 5, june 19 from 16:30

Editors: @pmrasmussen , @hanspeterdinesen , @annagerstoft & @linegry

Introduction by @annagerstoft

Essay by @pmrasmussen

Photography: @hampusper
Translation: @gucci_bikini

Graphic Design: @stanza_sz

ORBI’S SUMMER SCHOOLS ON ARCHITECTURE
No. 1 Dinesen Reader
@dinesen

Join the book launch and opening of the exhibition “House of ORBI” at Søtorvet 5, june 19 from 16:30

Editors: @pmrasmussen , @hanspeterdinesen , @annagerstoft & @linegry

Introduction by @annagerstoft

Essay by @pmrasmussen

Photography: @hampusper
Translation: @gucci_bikini

Graphic Design: @stanza_sz

ORBI’S SUMMER SCHOOLS ON ARCHITECTURE
No. 1 Dinesen Reader
@dinesen

Join the book launch and opening of the exhibition “House of ORBI” at Søtorvet 5, june 19 from 16:30

Editors: @pmrasmussen , @hanspeterdinesen , @annagerstoft & @linegry

Introduction by @annagerstoft

Essay by @pmrasmussen

Photography: @hampusper
Translation: @gucci_bikini

Graphic Design: @stanza_sz

ORBI’S SUMMER SCHOOLS ON ARCHITECTURE
No. 1 Dinesen Reader
@dinesen

Join the book launch and opening of the exhibition “House of ORBI” at Søtorvet 5, june 19 from 16:30

Editors: @pmrasmussen , @hanspeterdinesen , @annagerstoft & @linegry

Introduction by @annagerstoft

Essay by @pmrasmussen

Photography: @hampusper
Translation: @gucci_bikini

Graphic Design: @stanza_sz

ORBI’S SUMMER SCHOOLS ON ARCHITECTURE
No. 1 Dinesen Reader
@dinesen

Join the book launch and opening of the exhibition “House of ORBI” at Søtorvet 5, june 19 from 16:30

Editors: @pmrasmussen , @hanspeterdinesen , @annagerstoft & @linegry

Introduction by @annagerstoft

Essay by @pmrasmussen

Photography: @hampusper
Translation: @gucci_bikini

Graphic Design: @stanza_sz

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

Looking back at some favorite pictures of Vinterskolen “On The Other Hand” hosted this winter at @orbivraa 🥹

An account of results, in no particular order, could be: three daily beautiful communal meals, morning, noon and evening lectures, a comprehensive vegan cook book/reader, a bill board print, a collection of stools, a bench with storage for shoes, a silkscreen press, a work table, merchandise, a selection of scents, scented paper, sauna ventilation, vegetable ink printing, bumpy digital printing, writing, a water buket, a light box, many new friends — such a feast!!!

Vinterskolen test the waters of graphic design, prompted by a salad like approach to scheduledactivities. Anything goes! I invited Paul, Julie and Niklaus to host the school with me, not only because they are great to hang with, but also because they each developed their work to be so multifaceted, critical, elegant and fun.

Even better, the participants traveling from all over Europe, who chose to show up one dark winter night on a Jutlandish countryside, were so kind, eager, engaged, talented, warm and bright ✨

@_lilot @mariapeskina @frbimbo @sunnylei @gerrit.l @wagnerkonstantin @beaziyt @jujubiiiiii @s50691492 @hanna_holgaard @gourvei @ivoblackwood @moos.eus @otso_perasaari @vinouuus @saar.tratsaert @hanaxkiani @cintewittoek @minnept @line_lyhne @sarailnn @hermanvallien and Julie.

Thank you everyone, until next year 🕯️🕯️

NEW WEBSITE ALERT: www.stanza.dk (link in bio)

Brilliant designer and programmer @robert__milne (with the great @ronja_andersen) made a beautifully chic and useful update to our cyber home.

Check it out 💫

NEW WEBSITE ALERT: www.stanza.dk (link in bio)

Brilliant designer and programmer @robert__milne (with the great @ronja_andersen) made a beautifully chic and useful update to our cyber home.

Check it out 💫

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

I watched Éric Rohmer’s adaptation of Henrich von Kleist’s novella “The Marquise of O”, during the same time that I started writing about Inger Christensen’s unpublished O-poem from her legendary book “Alphabet”. Their relation began to occupy my thinking, as did recent scientific findings in astronomy and my reading on intentionally restrictive formats in writing – where creative writing serve direct impact on translation work – and how this could relate or be transferred to image making and charge narrative energy.

By guidance of Gertrude Stein’s opinions on punctuation, brilliant editing by Harriet Moore @h.m.h.m.h.m.h.m.h.m.h.m.h.m & Matthew Stuart @matthew__j__s , my essay (and translation) is now published in the beautiful latest issue of @bricks.from.the.kiln, side by side with the line-up of my dreams 🤍

The launch of the issue was unfolded as theexhibition – Hidden Noise Idiom – presented by great Helen Marten Studio with @fels.world.

Order a copy via www.b-f-t-k.info and happy new years!!!

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

INVITATION: ✨Vinterskolen 23 Feb – 2 Mar 2025✨

ORBI is hosting the second edition of Vinterskolen (winter school) themed “On The Other Hand”.

The school is now open for 24 international participants interested in critical thinking, communication design, wood work and scent research.

The 2025 edition is initiated by Line-Gry Hørup@linegry (graphic designer, writer, editor and professor at HfG Karlsruhe @hfg_karlsruhe_kd), Paul Bernhard (wood worker, designer and programmer), Julie Héneault (graphic designer at Espace Ness @espaceness and teacher at KASK Gent @kaskgraphicdesign) and Niklaus Mettler @niklaus_mettler (designer and perfumer at In’n’Out Fragrances @in_n_out_fragrances and Air Solutions @airsolutions.international).

Read more about the programme and how to apply at www.orbivraa.dk/vinterskolen-2025 (link in bio).

Deadline for applying is 15 Dec 2024 before 00:00 🕯️🕯️

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

About a year ago I started working on this catalogue for @arkenmuseum — for an extensive exhibition of Per Kirkeby’s brick works.

Existing publications on Kirkeby have a monograph-fitting size to them, meaning often large in format, hardback, solid, heavy books. I wanted to lean into Kirkeby’s dream-like literary qualities, drawing on his work as a poet and include the more chaotic looking sketches made for planning the minimalist and architectural sculptures. In particular I was inspired by his own published writings, so soft and simple.

The exhibition is by now long closed, but the catalogue is still around the bookstore, holding a long list of great contributors such as @rasmusmyrup @melaniekitti @princehka @theisorntoft @mettemoestrup @leaguldditte @nannastjernholm 🧱🧱🧱

Warm thanks for the collaboration to curator Rasmus Stenbakken and curatorial assistant @alberteweihrauch!

Our book ~positive encounters~ is currently on display at The Royal Library in Copenhagen as part of the exhibition for best book works of 2024 by @boghaandvaerk

I am grateful for the process of making this with Batool, Maitham and Christian — which started around four years ago — an award category for us could most certainly be ‘best collaboration’ 💌💌💌

The talking and becoming of the book can be a delightfully quiet, slow, intentional even zany part of design making. A few years of just thinking, is nothing for a book! Through several iterations it settles into place.

For the catalogue to this year’s award, my most admired designer Linda van Deursen, writes:

“The book is printed exclusively in black, which evokes associations: it makes the images more ambivalent, harkens back to a different era with a possible colonial past? In “A Note on the Graphic Design” we get a glimpse of how this book is made. The designer reveals the working titles of the different image parts, the early history of the exchange between these countries, the intentions of the makers and their working method. Most certainly the “positive encounters” stem from making something together, not just the process of making which is richly documented in this book, but also the book itself is the result of a sincere and poetic collective effort.”

positive encounters by @bahrainidanish is co-published by @stanza_sz — swing by Hyskenstræde or order online should you like a copy!

Our book ~positive encounters~ is currently on display at The Royal Library in Copenhagen as part of the exhibition for best book works of 2024 by @boghaandvaerk

I am grateful for the process of making this with Batool, Maitham and Christian — which started around four years ago — an award category for us could most certainly be ‘best collaboration’ 💌💌💌

The talking and becoming of the book can be a delightfully quiet, slow, intentional even zany part of design making. A few years of just thinking, is nothing for a book! Through several iterations it settles into place.

For the catalogue to this year’s award, my most admired designer Linda van Deursen, writes:

“The book is printed exclusively in black, which evokes associations: it makes the images more ambivalent, harkens back to a different era with a possible colonial past? In “A Note on the Graphic Design” we get a glimpse of how this book is made. The designer reveals the working titles of the different image parts, the early history of the exchange between these countries, the intentions of the makers and their working method. Most certainly the “positive encounters” stem from making something together, not just the process of making which is richly documented in this book, but also the book itself is the result of a sincere and poetic collective effort.”

positive encounters by @bahrainidanish is co-published by @stanza_sz — swing by Hyskenstræde or order online should you like a copy!

Our book ~positive encounters~ is currently on display at The Royal Library in Copenhagen as part of the exhibition for best book works of 2024 by @boghaandvaerk

I am grateful for the process of making this with Batool, Maitham and Christian — which started around four years ago — an award category for us could most certainly be ‘best collaboration’ 💌💌💌

The talking and becoming of the book can be a delightfully quiet, slow, intentional even zany part of design making. A few years of just thinking, is nothing for a book! Through several iterations it settles into place.

For the catalogue to this year’s award, my most admired designer Linda van Deursen, writes:

“The book is printed exclusively in black, which evokes associations: it makes the images more ambivalent, harkens back to a different era with a possible colonial past? In “A Note on the Graphic Design” we get a glimpse of how this book is made. The designer reveals the working titles of the different image parts, the early history of the exchange between these countries, the intentions of the makers and their working method. Most certainly the “positive encounters” stem from making something together, not just the process of making which is richly documented in this book, but also the book itself is the result of a sincere and poetic collective effort.”

positive encounters by @bahrainidanish is co-published by @stanza_sz — swing by Hyskenstræde or order online should you like a copy!

Our book ~positive encounters~ is currently on display at The Royal Library in Copenhagen as part of the exhibition for best book works of 2024 by @boghaandvaerk

I am grateful for the process of making this with Batool, Maitham and Christian — which started around four years ago — an award category for us could most certainly be ‘best collaboration’ 💌💌💌

The talking and becoming of the book can be a delightfully quiet, slow, intentional even zany part of design making. A few years of just thinking, is nothing for a book! Through several iterations it settles into place.

For the catalogue to this year’s award, my most admired designer Linda van Deursen, writes:

“The book is printed exclusively in black, which evokes associations: it makes the images more ambivalent, harkens back to a different era with a possible colonial past? In “A Note on the Graphic Design” we get a glimpse of how this book is made. The designer reveals the working titles of the different image parts, the early history of the exchange between these countries, the intentions of the makers and their working method. Most certainly the “positive encounters” stem from making something together, not just the process of making which is richly documented in this book, but also the book itself is the result of a sincere and poetic collective effort.”

positive encounters by @bahrainidanish is co-published by @stanza_sz — swing by Hyskenstræde or order online should you like a copy!

Our book ~positive encounters~ is currently on display at The Royal Library in Copenhagen as part of the exhibition for best book works of 2024 by @boghaandvaerk

I am grateful for the process of making this with Batool, Maitham and Christian — which started around four years ago — an award category for us could most certainly be ‘best collaboration’ 💌💌💌

The talking and becoming of the book can be a delightfully quiet, slow, intentional even zany part of design making. A few years of just thinking, is nothing for a book! Through several iterations it settles into place.

For the catalogue to this year’s award, my most admired designer Linda van Deursen, writes:

“The book is printed exclusively in black, which evokes associations: it makes the images more ambivalent, harkens back to a different era with a possible colonial past? In “A Note on the Graphic Design” we get a glimpse of how this book is made. The designer reveals the working titles of the different image parts, the early history of the exchange between these countries, the intentions of the makers and their working method. Most certainly the “positive encounters” stem from making something together, not just the process of making which is richly documented in this book, but also the book itself is the result of a sincere and poetic collective effort.”

positive encounters by @bahrainidanish is co-published by @stanza_sz — swing by Hyskenstræde or order online should you like a copy!

Our book ~positive encounters~ is currently on display at The Royal Library in Copenhagen as part of the exhibition for best book works of 2024 by @boghaandvaerk

I am grateful for the process of making this with Batool, Maitham and Christian — which started around four years ago — an award category for us could most certainly be ‘best collaboration’ 💌💌💌

The talking and becoming of the book can be a delightfully quiet, slow, intentional even zany part of design making. A few years of just thinking, is nothing for a book! Through several iterations it settles into place.

For the catalogue to this year’s award, my most admired designer Linda van Deursen, writes:

“The book is printed exclusively in black, which evokes associations: it makes the images more ambivalent, harkens back to a different era with a possible colonial past? In “A Note on the Graphic Design” we get a glimpse of how this book is made. The designer reveals the working titles of the different image parts, the early history of the exchange between these countries, the intentions of the makers and their working method. Most certainly the “positive encounters” stem from making something together, not just the process of making which is richly documented in this book, but also the book itself is the result of a sincere and poetic collective effort.”

positive encounters by @bahrainidanish is co-published by @stanza_sz — swing by Hyskenstræde or order online should you like a copy!

As the days get longer...

Join us 12 March – at stanza’s new address, Hyskenstræde 5 – for the last issue and 17 years of F.R.DAVID by Will Holder. 

Since 2007, F.R.DAVID was a journal concerned with reading & writing in the arts (co-published by KW since 2017, and de Appel, Amsterdam, before that). Following the logic of an after-party, you are invited to stanza – for hanging around, reading/browsing or listening in on conversations – as 17 years of publishing, editing and keeping a journal of private reading, comes to an end.

We have invited Copenhagen-based musicians (flute, piano etc.) to play into this context, a five hour response of sorts, from 16:00 onwards. We will provide drinks, and Will has brought all 24 issues. Reading is encouraged, silently; to each other, to everyone – as are other messages (microphone). DM us if you are interested in playing/reading 🎤🎹

Following an open call, this very last issue of F.R. DAVID is a collectively-compiled ‘Erratum’, or addendum [if you will] to the twenty-three issues from 2007 until now.

As the days get longer...

Join us 12 March – at stanza’s new address, Hyskenstræde 5 – for the last issue and 17 years of F.R.DAVID by Will Holder. 

Since 2007, F.R.DAVID was a journal concerned with reading & writing in the arts (co-published by KW since 2017, and de Appel, Amsterdam, before that). Following the logic of an after-party, you are invited to stanza – for hanging around, reading/browsing or listening in on conversations – as 17 years of publishing, editing and keeping a journal of private reading, comes to an end.

We have invited Copenhagen-based musicians (flute, piano etc.) to play into this context, a five hour response of sorts, from 16:00 onwards. We will provide drinks, and Will has brought all 24 issues. Reading is encouraged, silently; to each other, to everyone – as are other messages (microphone). DM us if you are interested in playing/reading 🎤🎹

Following an open call, this very last issue of F.R. DAVID is a collectively-compiled ‘Erratum’, or addendum [if you will] to the twenty-three issues from 2007 until now.

Letterpress og digitaltrykte kort for @linegry til @thecapilanoreview og @western_front

Letterpress og digitaltrykte kort for @linegry til @thecapilanoreview og @western_front

Letterpress og digitaltrykte kort for @linegry til @thecapilanoreview og @western_front

1922-2022
Opening this Thursday!

My book >>BLOOD — The Poems and Archive of R. Broby-Johansen<< is (at last) having a proper launch in Copenhagen, aligning perfectly with the original release of Broby’s gory poems published 100 years ago.

Come see Johannes Schwartz’ special prints, my private collection of Broby-Johansen books and our new space @stanza_sz

15.12 202217:00-20:00

The book is published by @kunstvereinpublishing and was printed by @drukkerijraddraaierssp in Amsterdam, 2020.

1922-2022
Opening this Thursday!

My book >>BLOOD — The Poems and Archive of R. Broby-Johansen<< is (at last) having a proper launch in Copenhagen, aligning perfectly with the original release of Broby’s gory poems published 100 years ago.

Come see Johannes Schwartz’ special prints, my private collection of Broby-Johansen books and our new space @stanza_sz

15.12 202217:00-20:00

The book is published by @kunstvereinpublishing and was printed by @drukkerijraddraaierssp in Amsterdam, 2020.

1922-2022
Opening this Thursday!

My book >>BLOOD — The Poems and Archive of R. Broby-Johansen<< is (at last) having a proper launch in Copenhagen, aligning perfectly with the original release of Broby’s gory poems published 100 years ago.

Come see Johannes Schwartz’ special prints, my private collection of Broby-Johansen books and our new space @stanza_sz

15.12 202217:00-20:00

The book is published by @kunstvereinpublishing and was printed by @drukkerijraddraaierssp in Amsterdam, 2020.

1922-2022
Opening this Thursday!

My book >>BLOOD — The Poems and Archive of R. Broby-Johansen<< is (at last) having a proper launch in Copenhagen, aligning perfectly with the original release of Broby’s gory poems published 100 years ago.

Come see Johannes Schwartz’ special prints, my private collection of Broby-Johansen books and our new space @stanza_sz

15.12 202217:00-20:00

The book is published by @kunstvereinpublishing and was printed by @drukkerijraddraaierssp in Amsterdam, 2020.

1922-2022
Opening this Thursday!

My book >>BLOOD — The Poems and Archive of R. Broby-Johansen<< is (at last) having a proper launch in Copenhagen, aligning perfectly with the original release of Broby’s gory poems published 100 years ago.

Come see Johannes Schwartz’ special prints, my private collection of Broby-Johansen books and our new space @stanza_sz

15.12 202217:00-20:00

The book is published by @kunstvereinpublishing and was printed by @drukkerijraddraaierssp in Amsterdam, 2020.

1922-2022
Opening this Thursday!

My book >>BLOOD — The Poems and Archive of R. Broby-Johansen<< is (at last) having a proper launch in Copenhagen, aligning perfectly with the original release of Broby’s gory poems published 100 years ago.

Come see Johannes Schwartz’ special prints, my private collection of Broby-Johansen books and our new space @stanza_sz

15.12 202217:00-20:00

The book is published by @kunstvereinpublishing and was printed by @drukkerijraddraaierssp in Amsterdam, 2020.