Bottone locates itself between the playful and the precise, between gesture and principle. Inspired by Italian postmodernism on one side, Bauhaus on the other – not as historical reference, but as a living tension that runs through their first collection. The bespoke logotype grows from this design language rather than being applied to it. The forms that structure both furniture and logotype speak the same language: geometric, but never cold; playful, but never arbitrary.

During the 2024 European Championship, a natural wine pop-up bar was established to host public screenings. The venue’s centerpiece was a vintage green Polo, around which the understated setting was arranged, evoking a relaxed Mediterranean ambiance. The visual identity draws from Mediterranean restaurant logos found on paper napkins, and the original Polo lettering. Everything is printed in a single Pantone green, tying the graphic language back to the car at the center of the project.

Wet Relation is an open-format project developed together with Beatrice Bucher exploring relations between human and non-human bodies of water through a site-specific installation. Visitors encounter filtered water from the River Neckar directly, translating ecological interdependence into embodied experience through drinking. Collected perspectives on alternative relations to water form the contextual layer, activated through public readings. Language functions as a recurring element throughout the project. Newly formed compound words such as “Mittelmeermilch” (“Mediterranean Milk”) merge distinct bodies of water into speculative linguistic hybrids, connecting geography, emotion, and political realities. Applied to glass containers, they form a navigational system within the installation. An accompanying vessel functions as a growing archive, collecting performed stories and translating them into printed matter across different materials and formats. Wet Relation explores different modes of communication through design, space, and interaction, creating an experience that unfolds over time and across formats. The project was funded by the City of Stuttgart and realized on the Neckarinsel and at the Projektraum kunst [ ] klima Stuttgart. Last two photographs © Ulrike Reichart.

The painter Moritz Berg draws inspiration for his artworks from everyday life through precise and attentive observation. He captures these moments in photographs and sketches. Rather than creating a monograph, we collaborated with him to compile these foundational materials that underpin his actual work. "Zum Erden a die Luft" thus offers a fresh perspective on Berg's artistic practice and creative process — and becomes a new place to access the very roots of his work. To make this tangible, the content is physically separated from the cover. Unfolding it twice, the fragile interior, printed on 100g/m3 paper, is gradually uncovered and lies there, accessible.

Textile designer Lucy Ann Guth addresses the subject of quilts through a close familial tradition in her publication "Made in 1868 by Grandma Roof, mother of Grandma Culp, Lawrence Mohler's grandmother." The book is half-wrapped in textile, stitched onto both front and back cover by an embroidery machine.

Poetry Slam BW is an association for spoken word competitions across Baden-Württemberg. The wordmark uses variable font weight and dynamic italicisation to carry something of what the format is built on: emphasis, timing, the difference a single word can make. For the 2025 state championships at Schauspielhaus Stuttgart, the campaign returns to one of the genre's most familiar images: the mouth. Here it appears fragmented — split across two photographs, slightly misaligned, caught somewhere between expression and silence. It was selected for the Int’l International Poster Competition 2025.

The study programm Industrial Design at the State Academy of Fine Arts and Design Stuttgart operates under the premise “More than the Sum of Its Parts.”. It takes shape in the dynamics of process — in exchange, collaboration and experimentation within studios and workshops. The publication assembles projects from 2019 to 2022 and maps the programme’s structure. Yet it also reveals its own limits — what cannot be shown, but nonetheless exists. Designed in collaboration with Jana Rzehak and Jule Hägele.

One of Stuttgart’s hottest summer sites — the concrete forecourt of an ageing shopping mall, exposed to traffic, heat and asphalt. An unexpected yet strategic location to bring the clear vision of the Neckarinsel e.V. into the city: “Imagine it is a hot summer day, you take the tram from here to the island and you dive into the cool waters of the River Neckar.” Approached more closely, each window revealed fragments of information on urban heat, public bathing spaces, and the work of Neckarinsel e.V. — gradually grounding the speculative scenario in climatic and spatial realities.