A rocky hillside of reddish-brown boulders with tall column cacti, dry grasses and low shrubs.
Magritti Botanical Archives hand-lettered logotype with floral emblem

Creative studio grown from the archives, working across strategy, design and commerce.

Creative strategy and design by SeongTe Park. London.

A rocky hillside of reddish-brown boulders with tall column cacti, dry grasses and low shrubs.
Magritti Botanical Archives hand-lettered logotype with floral emblem

Creative studio grown from the archives, working across strategy, design and commerce.

Creative strategy and design by SeongTe Park. London.

A rocky hillside of reddish-brown boulders with tall column cacti, dry grasses and low shrubs.
Magritti Botanical Archives hand-lettered logotype with floral emblem

Creative studio grown from the archives, working across strategy, design and commerce.

Creative strategy and design by SeongTe Park. London.

Strategy, design and commerce across physical and digital formats.

Telehandler maintaining turf at Hyde Park, illustrated by Magritti
Telehandler maintaining turf at Hyde Park, illustrated by Magritti

Resurfacing the Turf.

Magritti rebuilt its identity. The logo, the typefaces and the colour were all redrawn together.

The Groundwork | Hyde Park, London | March 2026

Digging Widely to Dig Deeply.

Digging Widely to
Dig Deeply.

Telehandler maintaining turf at Hyde Park, illustrated by Magritti

The method behind the work.

Garden trowel resting on soil, illustrated by Magritti

Magritti's working method borrows from museology and archiving. Catalogue what exists before deciding what to make. The starting point is always the world outside. Travel, walks, unfamiliar cities, botanical gardens, quiet corners of familiar places. A plant catches the eye. A colour relationship holds together differently than expected. Something gets noted down, photographed, sketched. That becomes the seed. From there the process runs the same way every time.

Gardener digging at ground level, illustrated by Magritti

What the Studio Keeps Looking At.

What the Studio Keeps Looking At.

So let's talk. When I talk, incidentally, it's just talk.
But when I write I mean it for good.

So let's talk. When I talk, incidentally, it's just talk.
But when I write I mean it for good.

Ernest Hemingway, in Robert Manning, 'Hemingway in Cuba', The Atlantic, August 1965.

Ernest Hemingway, in Robert Manning, 'Hemingway in Cuba', The Atlantic, August 1965.

Ernest Hemingway, in Robert Manning, 'Hemingway in Cuba', The Atlantic, August 1965.