The Maschinenmensch began as a research essay on female cyborgs in film and the impulse to render technology controllable by gendering it. I translated this argument into a three-dimensional book-object, extending graphic design beyond the page and into physical space. Constructed from laser-cut and spot-welded sheet metal with etched typography, the volume carries weight, resistance, and structural presence.

Typography plays a central material role. The cover title is set in Baskerville, a transitional serif whose historical position between old-style and modern type parallels the technological shifts traced in the films Metropolis(1927) to Ex Machina(2017). Its thin, refined serifs introduce a delicate, feminized quality against the hardness of steel. In contrast, interior text is set in Forma, a mid-century typeface revived for contemporary use; its rounded geometry and neutrality evoke a more modern technological language. Wrapped in handmade kozo-shi paper made from mulberry bark, the metal body suggests a layer of artificial skin. Together, type, material, and structure position the book between graphic design and sculpture.