Kobi Benezri Studio
Time 2022-08-17 19:28:30Web Name: Kobi Benezri Studio
WebSite: http://www.kobibenezri.com
ID:284740
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Kobi,Benezri,StudioDescription:
Atlas of Furniture Design
Published by the Vitra Design Museum, the Atlas of Furniture Design is an in-depth history of modern furniture design from the late 18th century until today, featuring 1,740 objects, spanning over 1,028 pages, and covering four epochs in modern furniture design history, starting in 1780 until the present day. The museum's immense furniture collection is the foundation for this book, which took over 20 years to research. This project required an intuitive way-finding system. The solution was a cross referencing system of color-coded dots and object numbers to allow the reader to easily navigate through the atlas. The colors represent the different typologies of furniture in the book. The system appears in all sections of the books - in object texts, infographics, and a large range of endmatter materials and indexes. Much of the high volume information in the book is presented by numerous infographics spreads, providing multiple overviews on political and cultural events, styles and movements, as well as techniques and materials that changed and influenced furniture design throughout history.
Ametria
For the exhibition Ametria curator Roberto Cuoghi collected art pieces and artifacts from the Benaki Museum in Athens, and paired them together with pieces from the contemporary collection of Dakis Joannau of the DESTE Foundation, to create a radical exercise in the de-canonization of the curatorial method. The maze-like structure of the show enabled endless navigation paths, resulting in different experiences for each visitor. The installation was composed out of rigidly arranged rectangular black boxes, lit from their bottoms, and the objects were presented on or inside them, without titles or captions, creating an even more challenging and solitary experience. The catalogue follows the documentation of the exhibition and replicates the displays 1:1 two-dimensionally on its black pages. The book block is covered completely in deep black, except a hint of light from the bottom page edges. Each copy was carefully hand sprayed in an auto body shop.
René Redzepi: A Work in Progress — A documentation of a year at the acclaimed Copenhagen-based restaurant, Noma. The materials for this book were a personal journal recounting the day-to-day life of chef René Redzepi and Noma, accompanied by hundreds of photos gathered from the restaurant's staff smartphones during the same period, and a collection of recipes that were developed that year. The design concept, following the narrative of 'collecting', suggested splitting the publication into three different printed matter: the journal — a soft bound notebook, containing only Redzepi's text, and flat-photographed plants, printed like 'pressed' flowers between the journal's pages; the recipes book — a classic, linen-covered hardback containing ingredient shots and food shots taken by photographer Ditte Isager; the snapshots book — a small format, roughly the size of a smartphone, containing 188 photos, laid out in a way that forces the viewer to rotate the little book from vertical to horizontal format, reflecting the browse through a smartphone photo library.
Frank Stella: A Retrospective — This catalogue, for Frank Stella's retrospective at the Whitney Museum and the Modern Art Museum of Fort Worth is the most comprehensive presentation of Stella’s career to date, showcasing his prolific output from the mid-1950s to the present through approximately 100 works, including paintings, reliefs, maquettes, sculptures, and drawings. The book's cover is die cut to the contour of Stella's shaped-canvas piece Conway I.
Lettera-Text — proportional version of the monospaced font Lettera Mono, developed initially for the book Dieter Rams: As Little Design as Possible, and is used throughout the book exclusively. Following the release of Lettera, users expressed a strong demand for a non-monospaced text version of the font. Lettera-Txt retains the freshness and unique appearance of Lettera, and functions extremely well in long small texts, as well as large display sizes. Lettera-Txt is available in six cuts, as an OpenType Standard and Pro, including stylistic sets, alternate glyphs and numerals sets, and extended Latin support, including Cyrillic. A Black weight will be available soon. For more information on Lettera-Txt, please see here.
Paul Chan: Selected Writings — A reader, co published by Badlands Unlimited and the Schaulager Museum in Basel, on the occasion of the exhibition Paul Chan Selected Works at Schaulager. The book collects the critical essays and texts of the New York-based artist, as appeared, among others, in Artforum, October, and Frieze. The reader is set with attentive typography in black only, with a single reference to Chan's
Where Chefs Eat New Edition — The second volume of the successful restaurant guide Where Chefs Eat including new chefs, new restaurants, new maps and new fonts.
Diogenes Didot — The timeless look of Diogenes Verlag's books is owed mainly to the stark white covers, the iconic thin frame, and—not least—the ownable 'Didot' font used on all literature titles. In the pre Macintosh era, the Swiss publishing house used to set its covers using a roll of Staromat tape with a special 'Didot' cut - the tape was owned by the Basel-based company 'Werbstatt', and the publisher would pay 3 cents pet letter to have a printer film made with the cover's typography: Roman for the author's name, and Italic for the book's title. Later on Diogenes bought the actual tape and was free to set any cover with no extra hassle.. In the nineties, the font got—rather poorly—digitized, and the tape was no longer in use. In 2016 I set out to redraw the font, based on the tape that still reside in the publisher's offices, with a small update to the classic Didot serifs - giving it a more of a 'Scotch' flavor.
Dieter Rams: As Little Design as Possible — A monograph on the influential product designer Dieter Rams. The fascinating life story of Dieter Rams is laid out in a classic reading book format, with a margin references to corresponding images. Alongside the historic sketches, prototypes, and product shots of Rams's work, are three sets of photographic portfolios taken at Rams's house in Kronberg, and at the Braun Archive. The cover is printed in a special silk screen technique with raised transparent ink that gives a tactile feel to the design detail. The font Lettera-Txt was designed for this book, and is now available at Lineto.
Badlands Unlimited New Lovers Series — When Paul Chan had asked us to design a series of seven erotic novels in one color and all type for his independent publishing house Badland Unlimited we said it's been on the list of briefs we've been waiting for. These soft-touch debossed paperbacks, the size of a semiotexte book are rooms for provocative yet accessible works by emerging writers in the genre of erotica.
Peugeot Headlines — A display font, first drawn for a headline on the cover of I.D. Magazine’s November 2006 issue. The font is based on the six different letters of an old Peugeot logo, and has been expanded and reshaped in a rather less geometric style. The Character of the Peugeot font begins with the letter ‘O’. The extremely shifted balance is the defining element of this font. The weight system isn't based on the typical progressive expansion but rather reflects more of a contrast system where the thick strokes remain consistent throughout the family, and the thin strokes suggest the cut's weight.
Stephen Shore: From Galilee to the Negev — Stephen Shore's document of Israel is a rare observation by an "outsider". It is a search, but it is also a wayfinding. Shore's discoveries are remarkably accurate - they display the surge in which the daily life moves in this tiny yet versatile place, the cluster and the loneliness, with its beautiful ugliness, and its ethnic diversity that loads the country. When leaving the Ben Gurion airport, the first noticeable artifacts are the road signs in Hebrew, English and Arabic. These signs are intriguing when are observed for the first time, but they are, in a way, an illusion of something greater that could exist there. Shore spots that illusion in his photography and exhibits this far-from-harmonic ethnic diversity that is politically charged and is the heart of the ongoing struggle of everyone who is part of it. He puts reality on display. The cover of this book is blocked on a 3M reflecting material used for road signs, and all the navigational elements in this book (title, contents page, chapter openers) are set in a trilingual cut of the font Gravur Condensed in English, Hebrew, and Arabic.
Where Chefs Eat: A Guide to Chefs Favourite Restaurants — A worldwide restaurant guide collecting recommendations from acclaimed international chefs. The mountainous volume of information in this lightweight bulky tome details about 2,300 restaurants around the world. The brief for the book came in a the form of a long list of sales blurbs, and the typographic solution was inspired by 1960's British phone books featuring ads on any possible real estate of the book - the front cover, spine, back cover, and paper edges. The entire book was printed with a single ink - Process Black, and all 704 pages are composed entirely out of typography and cartography. Over 50 different typefaces were used in this book, including a handful of custom made fonts.
Diogenes Garamond — This Garamond was drawn for the Swiss publishing house Diogenes, as a substitute to the workhorse 'Stempel Garamond' that has been in use in all its literature titles as body text for decades. The 16 cuts font is able to tackle any typographic task, although its main player is the 'Regular' weight that was carefully drawn to match the grayness of the previous font's appearance on page to make the transition easy for Diogenes' long time readers.
I.D. Magazine — Art direction for the International Design Magazine, between 2003-2007, including a complete redesign. The magazine was the oldest product design publication in the United States. Founded in 1954, and folded in 2009.
Unmonumental (designed with Julia Hasting) — The catalog for the first exhibition in the newly built ‘New Museum’ in New York. The exhibition hosted the sculpture work of 30 artists who create juxtaposition of forms, ready-made objects and materials. In order to emphasize the eclectic style of the show, the book was bound in six different options of binding cloth, in different colors and textures. The book’s title, and the artists’ names were all set in one typeface (Gravur–Condensed) - mixed randomly in four different weights. Threads from the spine’s cloth that wraps around the left edge of the cover, were purposely left out hanging to give the book a rough and unfinished touch.
8/8/8 (designed with Julia Hasting) — A folded, three-colored invitation card for a party held on the 8th of August 2008.
Gravur-Condensed Hebrew — The Hebrew version of the Lineto font Gravur, designed by Cornel Windlin and Gilles Gavillet.
Speaking of Art — This book is a collection of transcribed interviews with contemporary artists compiled from a project called ‘Audio Arts’. The project, began in 1973 by WIlliam Furlong, was an audio magazine where each issue was sent to subscribers in a form of an audiocassette, and later (2003-2007) as a Compact Disk. The book is divided into "Side A" and "Side B" and the front and back cover are identical. After reading the first half of the book, the reader must flip the book to ‘Side B’ and read the rest starting from the back cover. The dark brown high gloss end-papers mimic the magnetic tape of the audiocassette.
Lettera Mono — Initially drawn for the book Area 2, and is used throughout the book exclusively. The font is based on a single weight basic specimen of a mid 70‘s typewriter font designed by Joseph Müller-Brockmann for Olivetti. Lettera is available as an Extended Latin OpenType format, including eastern European, Turkish, Baltic scripts, and alternate glyph. The specimen used for redrawing the first weight was a lo-resolution scan. When blown up large, it showed what appeared to be “reversed” ink-traps in critical joints of some glyphs. These elements that guided the design and later turned out to be a mistake caused by the poor quality of the document, remained. Lettera was later developed into a proportional version, Lettera-Txt, also available at Lineto.
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