Domus redesign – layout first issue
April 2008 - Creative Direction and Concept: Nicolas Bourquin & Sven Ehmann; Graphic Design: Nicolas Bourquin, Linda Hintz, Thibaud Tissot; Graphic Design Assistance: Marie-Louise Greb, Yvonne Schneider; Type Design: Mika Mischler; Coordination Assistance: Renu Gautam
Publisher: Editoriale Domus, Milan, Italy
Following the severals redesigns (Ettore Sottsass, Alan Fletcher, Simon Esterson), onlab create the new domus starting with its April 2008 issue.
Founded and edited by the Milanese architect Gio Ponti, the first issue of the monthly magazine Domus came out on 15 January 1928.
Over the course of its over eighty year history, the magazine have changed regularly to reflect the demands and interest of the times but the aim of domus has always remained that of creating a privileged insight into identifying the style of a particular age.
With this spring issue, the magazine completes the metamorphosis inaugurated exactly one year ago. Now it can be savoured in all its totally refurbished, creative, interlocking and more fluid graphic guise.
Editorial issue 913, Flavio Albanese
In its formal appearance, too, Domus's new image is at last on a par with the goal set a year ago for its contents: to be a magazine on the same wavelength as the Zeitgeist, which no longer accepts disciplines and knowledge packed in watertight compartments.
Just as the informal city ousted the orderly grid of 19th-century symmetries, so the knowledge and the knowing-how that have abandoned their "grand narrative" are expressed through ever less self-enclosed codes that are more and more permeable and open to hybridisation.
As always, the art and design world - noblesse oblige - has picked up and metabolised this all-embracing cultural crossover, at no less than twice the speed and awareness of all other sectors of social life. Domus aspires to capture and spread this awareness in advance, with the timeliness and communicative impact to be expected from a contemporary journal of art, architecture and design.
Domus's new graphic design thus immediately states its intent: readers are left in no shadow of doubt as they are struck by the magazine's full transparent balance of form and content, interior and exterior. Its on-target mix andmatch of ideas and hints, emotional explorations and experiences perfectly mirrors the sensitivity and aesthetics of this third millennium's global society.
Just as the informal city ousted the orderly grid of 19th-century symmetries, so the knowledge and the knowing-how that have abandoned their "grand narrative" are expressed through ever less self-enclosed codes that are more and more permeable and open to hybridisation.
As always, the art and design world - noblesse oblige - has picked up and metabolised this all-embracing cultural crossover, at no less than twice the speed and awareness of all other sectors of social life. Domus aspires to capture and spread this awareness in advance, with the timeliness and communicative impact to be expected from a contemporary journal of art, architecture and design.
Domus's new graphic design thus immediately states its intent: readers are left in no shadow of doubt as they are struck by the magazine's full transparent balance of form and content, interior and exterior. Its on-target mix andmatch of ideas and hints, emotional explorations and experiences perfectly mirrors the sensitivity and aesthetics of this third millennium's global society.