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 Inspired by Italian postmodernism on one side, Bauhaus on the other – not as historical reference, but as a living tension that runs through their first collection.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.

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 Stuttgart and at the Kunst Klima Gallery.

The positioning of Beuys’ work remains a subject of ongoing debate and discussion. Rolf Bier's Beuyskiosk mirrors this condition: a kaleidoscope of essays, poems, interviews, and image sequences that approaches Beuys' personality and oeuvre from multiple angles, without settling on a single reading. The design follows the same logic. A classical grid provides the foundation, but the rhythm shifts throughout – images stacked and pressing against the page edge, dense columns of text on the other. The layout carries the tension of the material rather than smoothing it out. Body text is set in Pantone brown, a chromatic decision that quietly roots the book in Beuys' own material vocabulary. The cover is printed on Neobond: a surface that resists the pristine, that takes on the character of handling over time. The book's gilt edge reveals itself only when opened. Longlisted for Die Schönsten Deutschen Bücher, Stiftung Buchkunst 2024. Designed in cooperation with Lasse Langner.

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.

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.

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.

The exhibition and accompanying publication "E-arths" by industrial designer Nandan Wolfer focus on the battery, exploring its manufacturing process and environmental footprint through multiple perspectives. Wolfer approaches the topic with a blend of personal narrative, professional insight, and stark data, offering a comprehensive and nuanced examination of the battery's production. For the exhibition, infographics were printed on materials true to their subject — graphite on copper, among others — grounding the visual language in the very substances the work examines. Specific battery cells used in electric vehicles were present as physical reference points throughout the space. The publication takes up this reference. Screen-printed across the full cover, the color is drawn directly from these battery cells. A subtle rounding of the spine quietly echoes their form. The typography, designed by Berenice Gass, draws from the dot-matrix letterforms found on circuit boards — extending the technical language into every layer of the book's design.

For the Baden-Württemberg state championships in Poetry Slam, held at Schauspielhaus Stuttgart, we developed a campaign that revisits one of the most familiar motifs in the genre: the mouth. It was selected for the Int’l International Poster Competition 2025.