This book about the Gardens of the Crystal Palace in Porto serves as both a history book and visitor guide. Authored by Teresa Marques, professor of landscape architecture at the University of Porto and published by the Porto City Hall, the first three quarters is a compact and well illustrated account of the origins and development of the gardens, and the final section informs the visitor about the botanical and landscape design features of the gardens. Client: Camara Municipal do Porto (Porto City Council). Format: 24cm x 16cm. Pages: 84

A 292 page book about the Casa da Memória in Guimarães, a large and complex permanent exhibition, which is not a museum in any traditional sense, but a space dedicated to the Municipality of Guimarães, the character of its people, culture, industry, territory and history.

Book to accompany the exhibition about the remarkable German-born photographer, industrialist and entrepreneur Emílio Biel (1838–1916) whose work and achievments marked Porto society at the end of the nineteenth and beginning of the twentieth century. Co-designed with Ana Ferreira. Client: Camara Municipal do Porto (Porto City Council). Format: 28cm x 23,5cm. Pages: 120, Hardcover

The first in a new series of monogram titles covering projects by the famous Porto Architect Marques da Silva. Client: Fundação Marques da Silva. Format: 24cm x 27cm. Pages: 172.

This large format book – as large as we could make it without being exorbitantly expensive – contains a facsimile of the original book, which is even bigger. Unfortunately we couldn't see the original as it's in the Bibliothèque de l’Assemblée nationale in Paris. In addition to the facsimile, the book recounts its making and documents the many original maps made by Francisco Rodrigues, comparing them to maps of today. This work of comparison was quite pains-taking and involved finding appropriate ways of superimposing his maps over contemporary ones. Considering the means at his disposal the maps are remarkably accurate. An interesting book to work on and an opportunity to delight in the beauty of the original. Date 2008 Client University of Porto, UP Editora Format 23cm x 33cm Pages 284

História da Luz e das Cores (The History of Light and Colour) is a 3 volume series developed over a period of 5 years. Volume 1 (722 pages) was published in 2005 with a 2nd edition in 2009, Volume 2 (505 pages) in 2007, and Volume 3 (512 pages) in 2010. Client: Universidade do Porto Editora (University of Porto Editions). Format: 16cm x 23cm.

A catalogue to accompany the photo exhibition of the same name (Night Order) by João Leal, winner of the 'Prémio Pedro Miguel Frade', an annual national photography prize and competition held by the Portuguese Centre for Photography. Client: Centro Português de Fotografia. Format: 34cm x 28cm. Pages: 24

These books with their deliberately bright cover designs were produced for 2 specially organised summer exhibitions for the Serralves Foundation about architecture and art respectively that took place in the holiday region of the Algarve. The first book was designed in collaboration with Portuguese design studio R2 – who conceived the idea for the 36 coloured bars on the first book cover representing the 36 architectural studios featured inside. Splitting the work, R2 designed the picture section whilst I handled the text and illustration pages. One of the biggest design tasks was to persuade the museum to accept text-free covers, as I wanted to move the titles and other information to the back thus leaving the fronts clear for pure graphic animation. Following the logic of the first book I created 68 coloured squares on the second book cover represent the 68 artists featured inside. Client: Serralves Museum of Contemporary Art. Format: 19cm x 25,5cm. Featured in Fully Booked (Gestalten, Berlin, 2008)

Designed to accompany the dual exhibitions 'A Memória das Lágrimas' (The Memory of Tears) and 'O Olhar dos Cegos' (The Gaze of the Blind), this book reproduces the images of the photographer Georges Pacheco. Pacheco's work deals with self/auto portraiture in which his role as photographer is to set the conditions for this to take place, removing himself from the actual act of pressing the trigger as well as removing any superfluous background or scenario. The subjects in both exhibitions were left alone to choose the moment of their photograph – the first group in the act of crying. Each image is accompanied by a small text written by the sitter. Dark colours were used throughout the book with the text printed in metallic silver. Client: Centro Português de Fotografia. Format: 16cm x 21cm. Pages: 102

Para a História da Universidade do Porto documents the history of the University. This book was to be the first in a series entitled 'Memória' (Recollections) but sadly no other titles were produced. The identity of the series was to be built through the use of metallic foil patterns on non-coated special papers in which the titles would always be reversed out of the foil. As foil stamping is not a cheap production method, the idea was that no additional printing would be used. Client: Universidade do Porto Editora (University of Porto Editions). Format 13,4cm x 20cm. Pages: 212

Containing interviews with the architects, fold-out plants, and photographs, this book traces the ideas behind and documents the design of the Faculty of Engineering of the University of Porto. Client: Universidade do Porto (University of Porto). Format: 28cm x 26cm. Pages: 112

Guide book (separate Portuguese and English language editions) for the D. Diogo de Sousa Regional Museum of Archaeology in Braga, Northern Portugal. The decorative freeze on the front cover is taken from ceramic decorations found on artifacts from the museum collection. Client: Portuguese Institute of Museums. Format: 14.5cm x 22cm. Pages: 144

One-off journal to accompany a photographic exhibition organised by the Portuguese Centre for Photography for the city of Faro when it was Capital da Cultura in 2005. Client: Faro, Capital da Cultura 2005 / Centro Português de Fotografia. Format: 23,5cm x 33,5cm. Pages: 20

The first and only edition of a planned series of periodical journals about rural Portuguese architecture. Client: Museu de Alberto Sampaio, Guimarães. Format: 24cm x 34cm. Pages: 16

The Perspective Series is a series of 3 English language books originally planned as an ongoing series but which unfortunately only ran to 3 titles. Using an uncoated stock for the covers, the concept was to develop a series of patterns reflecting the individual themes. Client: Universidade do Porto Editora (University of Porto Editions). Format: 17cm x 23cm. Pages: 268, 284, 220.

Massarelos is the name of central tram depot in Porto. The '16' in the title refers to the personal histories and memories of the 16 ex-employees who spent most of their working lives there. The book, informed by a people's history project, and allied to an accompanying exhibition, recalls and documents their personal stories and narratives. The book adopts an gradated colour scheme in the first section as the background page colour slowly moves through a controlled colour palette in incremented steps. Featured in the book and exhibition We Love Books: A world tour, Echirolles, France, 2008. Client: Museu do Carro Eléctrico (Porto Electric Tramcar Museum). Format: 32cm 21,5cm. Pages: 92

Book, plus promotional material and exhibition graphics for a series of exhibitions about 'recent' Portuguese architecture. 'Influx' as a project consisted of a series of 5 exhibitions—programmed over a period of one year—with individual brochures and exhibition graphics, leading to the 180 page book. The first edition used an orange base colour on the cover and the blue version is the reprint. Featured in the book and exhibition We Love Books: A world tour, Echirolles, France, 2008, and in Fully Booked (Gestalten, Berlin, 2008). Client: Serralves Museum of Contemporary Art. Format 19cm x 25,5cm. Pages: 180

Influx as a project consisted of a series of 5 exhibitions about 'recent' Portuguese architecture – programmed over a period of one year – with individual brochures and exhibition graphics, leading to a 180 page book. Client: Serralves Museum of Contemporary Art. Format A5

As a photographer of war and social issues, Koen Wessing’s images present the harsh realities of the world. He photographs in black and white and the design of the book follows this colour chromatic scheme with the addition of the colour red, adding to the dramatic impact. In order to enhance Wessing’s documentary style, the photos were laid out as a filmic strip running through the centre of the book, interrupted occasionally by full-page images and flashes of red. Client: Centro Português de Fotografia (Portuguese Centre for Photography). Format: 17cm x 22cm. Pages: 148

This book, containing the work of four photographers (Kroos Bruekel, André Cepeda, Hans van der Meer, and José Manuel Rodrigues), was designed in wide format principally to accomodate a large number of panoramic photographs. The spiral binding was chosen so that the book could be opened flat. The theme of bridges, both physical and conceptual, was also reflected by the metal spiral binding, both dividing and linking the upper and lower pages containing text on one half and image on the other. Client: Centro Português de Fotografia (Portuguese Centre for Photography). Format: 33cm x 22,4cm. Pages: 156

The basis for the Foundations new graphic identity was simple in concept and based on a unique and distinct architectural feature of the Foundation building – the circular window with the red spot in the centre. Even for people who have never entered the building but have just passed by it on the road, this is a memorable icon. In addition, the circle as a visual form, is the most harmonious of forms. It suggests continuous movement and acts as a point of focus. It can be seen to represent both the centre and the periphery. It is also the simplest of forms – a feature from which it derives its power.

The original identity for this museum was a rather sombre one. Our new proposal was to create an identity that was brighter, more appealing and not figurative as was the previous one. In the museum (and in the street on the tramways) I discovered a collection of metal signage plates, used on the tramways, that incorporated vertical, horizontal and crossed lines. These then formed the basis for the new identity. The principle symbol of the museum is the green square with horizontal bars, The others represent different areas of the museum structure – the educational service (yellow square and cross), the tram hire service (blue square and vertical bars), and the room/space hiring service (red square with box).

This museum, which houses a collection of religious and other historical documents and artifacts, is linked to the history of Nossa Senhora da Oliveira. The idea for the logo draws inspiration from the legend of this Saint and the story of the olive tree which she gave life to. The principle iconic element, a stylised tree with ornate roots, aims to reflect the rich history of the museum and its collection, an idea reenforced by the use of gold. Drawings were made from various reproductions of small statues of the Saint which were used as an additional graphic element on stationary and other materials.

In addition to showing the work of the famous Hungarian-born photographer Eva Besnyö, a typographic layout had to be designed in order to accomodate 3 languages (Portuguese, Dutch & English). This is done through the creation of a grid that allows for different column widths which carry 3 different typefaces at different sizes. The book makes use of 2 papers, one for the text section and a finer reproduction quality one for the images. The cover, using a rich yellow fine paper board with hand-glued images set in relief blocks, and design of the book in general, aims to convey the warm human quality of Besnyö’s work. Client: Centro Português de Fotografia (Portuguese Centre for Photography). Format: 26,5cm x 37cm. Pages: 96

The studio designed many books for the Portuguese Centre for Photography (CPF) over the years. Here are a few of them (some are also in the Project section).
1. Heróis de Mar, Bill Perlmutter, 2002. 2. A Exposição Colonial de 1934, 2001. 3. Domingo de Manhâ, Fotografias de Jorge Henriques, 2002. 4. Carlos Calvet, 2004. 5. Aulélio pas dos Reis, 1998.