// Media

Source: It’s Nice That

Third Place Zine captures a real behavioral shift: as remote work collapses the home-office boundary and social atomization accelerates, the informal gathering spots—cafés, parks, libraries, street corners—have become the primary sites where people build community and identity. Opiyo and Mendoza’s deliberately “not design-y” aesthetic matches this reality: rejecting slick editorial production in favor of accessible, playful documentation makes the zine itself a third place, not a monument to it. This kind of deliberately unglamorous publishing works precisely because it speaks to a generation exhausted by Instagram-optimized everything and actively seeking unmediated, ungoverned social space.

Source: It’s Nice That

Oilinwater treats brand identity development as forensic research rather than aesthetic intuition, reflecting professional maturation in design where cultural credibility requires evidential rigor. By grounding visual systems in documented observation of context and space, the Brussels studio rejects the designer-as-artist model in favor of designer-as-evidence-gatherer—a distinction that matters especially for cultural clients where legitimacy depends on demonstrated understanding rather than stylistic boldness. Institutional clients increasingly demand transparency in creative process, pushing design practices to adopt the language and methods of research disciplines to justify their recommendations.

Source: It’s Nice That

The Fence’s editorial strategy—deliberately excavating design traditions and visual languages from periodical history rather than inventing from scratch—inverts the Silicon Valley mythology of disruption-through-novelty. By rotating its masthead design and committing to illustration-only imagery, the publication shows that constraint and historical literacy function as competitive advantages in a crowded magazine market, where most competitors chase novelty as a proxy for relevance. This matters because resourced editorial teams are moving away from the reflexive contemporaneity trap, recognizing instead that cultural authority comes from demonstrated taste and depth, visible in the deliberate curation of visual language across issues.

Source: It’s Nice That

Opiyo and Mendoza are operationalizing a sociological concept—the third place—through a deliberately anti-pretentious design aesthetic that refuses the gatekeeping language of design culture itself. The move matters because mainstream audiences are fatigued by complexity-as-value: there’s a market gap for publications about cities and community that don’t require a design degree to decode. By making civic space and social infrastructure readable to “everyone,” they’re building a template for how cultural commentary can reach beyond the design-literate bubble without dumbing down the content.

Source: It’s Nice That

The Fence’s strategy of systematic visual and conceptual recycling—rotating mastheads, reprinting past illustrations, explicitly building on its own catalog—inverts the typical indie magazine playbook that treats novelty as proof of legitimacy. By treating their archive as a design resource rather than a vault, Baker and Clottu argue that editorial voice emerges through sustained iteration and constraint, not constant reinvention, which aligns with how established institutions (from The New Yorker to Vogue) actually operate. Tradition becomes a competitive advantage for small publishers trying to punch above their production weight, rather than a conservative compromise.