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Welcome to our autumn issue, Graphmus no. 1. The designs of the cover and the jacket are as usual inspired by the contents of this magazine.

“The front and back cover show a photographical design with different images, translating hardship/happiness, by student Pablo Sánchez from Ramon Llull University (URL)”.

Graphmus sets out to reflect all aspects of type, includ-ing its design, history, use, and links to the graphic, art and craft scenes. The magazine’s contents are deliber-ately eclectic. It publishes historical and new material, from academic as well as journalistic sources. This means that the magazine provides a rich mixture of articles and reference materials. The editorial stance is open, valuing especially originality of thought, while giving due weight to academic research. It has a distinct personality, lending emphasis to humanism. It is nei-ther superficial nor artificially analytical. The magazine is highly regarded for it’s use of materials and produc-tion values.

Graphmus’ s philosophy is holistic. It stems from a firm belief that design and layout should spring from, and be in balance with, the contents. The design is ap-proached with intellectual vigour. The format and flex-ible grid structure allow both for the vigorous display of rich graphic material and the appropriate detailing in text-led pages.

EDITORIAL

STAFFEditorPablo Sánchez Núñezpablo@graphmusmagazine.com

Contributing EditorsKen Garland, UKken.garlandtalk21.com

Steven Heller, USAshellersva.edu

Ian McLaren, UKprof.imclaren btinternet.com

Communication and audiovisualClara Ayxandri

IllustrationJavier Jaen Vicente Barba

AdvertisingLorena Marti

Subscriptionssubscribe plantermagazine.com

All enquiriesTelephone +44 (0)1732 529640Fax +44 (0)1732 875300

EditorPablo Sánchez

Design coverPablo SánchezTypographyCover: Fedra SANS

CREDITSArticleshttp://www.com-elisava.com/category/http://www.monografica.orgArt & Historyhttp://www.unostiposduros.com/eudald-pradell-y-la-fundicion-del-convento-de-san-jose/Interviewshttp://www.revistadiagonal.com/entrevistes/

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SUMMARY

BARCELONAOA

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BARCELONAOA

EI

WELCOME ERASMUS!Introducction to Barcelona.

CITY BY NUMBERSEconomic charts and stadistics of graphic world of Barcelona.

THE LAST EXHIBITIONMost important exhibitions.

GRAFFITI TOURTour around graphic Barcelona.

ART & HISTORYThe historical foundry of Eudald Pradell and punchcutters.

BEST GALLERIESGalleries of Barcelona.

INTERVIEWSInterview to exchange student.

MORE CLOSE TO... Selection of 3D pictures of the city of Barcelona.

TALENT GENERATIONThe most powerful works of univer-sity students from Barcelona.

RANKINGTop 5 selection of different fields and rankings of most interesting places.

LEARNING THE LANGUAGEBasic words for graphic designers who wants to introduce in Catalan culture.

WHAT I THINK?Essay of Álvaro Sobrino, the president and director of Visual magazine.

EVENTS & ORGANISMSIn this number we talk about the official organisms and events in Barcelona.

YOU CAN’T LOSE IT!Section that you must visit.

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WELCOME ERASMUS!

Barcelona is the capital of Catalonia, and has (as of 2012) a population of 1.6 million (3.2 million if you count its metropolitan area). Its prime location, bathed by the Mediterra-nean sea, its temperate climate and its open and cosmopolitan character make the Catalan capital an excep-tional living space. Currently Bar-celona is recognized as a global city for its cultural, financial, commer-cial and tourist importance. Its port is one of the largest in the Mediter-ranean and is the connection point

for communications between Spain and France. The city has managed to combine tradition and modernity, combining its Roman and medieval past with modernity, with Gaudí as the prime example, and new ar-chitectural gems such as the Agbar Tower. This slow evolution has become one of the most important centers for lovers of architecture. Barcelona, Europe’s southern gate-way, has one of the largest univer-sity communities, comprising more than 200,000 students and 15,000

WELCOME

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WELCOME

teachers over 7 universities offering a wide range of undergraduate and graduate students. In its 500 years of university history, Barcelona has managed to have its well positioned universities in international rank-ings and has different Campus of International Excellence (CEI), a recognition that aims to place Span-ish universities among the best in Europe. Moreover, its potential has become a magnet for new trends from around the world. Profes-sional design, music, fashion, art

and film are featured live rhythm of the city. Cultural, sports, leisure and nature offer the full range of opportunities offered by Barcelona. A perfect place to combine academic activity and social activity reference quality enclave.

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CITY BY NUMBERS

91% (9 WORKERS)

EXPERIENCE40% MORE THAN 10 YEARSAVERAGETEAM OF 4 PEOPLE

800.000€3.600 WORKERS

GRAPHIC IDENTITY20% SERVICE SUED

PACKAGINGEconomic and business data graphic design in Barcelona (2005-2015)

MICRO ENTERPRISE

850 ENTERPRISES

EDITORIAL & WEB63% SERVICE SUED

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EXPERIENCE40% MORE THAN 10 YEARSAVERAGE

800.000€

GRAPHIC IDENTITY20% SERVICE SUED

PACKAGING

MICRO ENTERPRISE94,5% TILL BILLED

850 ENTERPRISES

EDITORIAL & WEB63% SERVICE SUED

4% SERVICE SUED

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CITY BY NUMBERS

San FranciscoLondonNew YorkBarcelonaTokioBerlinAmsterdamParisSydney

Copenhagen

Others 23%

02%

15%

14%

12%

11%

07%

07%

04%

03%

02%

Global cities more creative (%)

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Global cities more creative (%) Determinants for investment (%)

37,0%

5,8%6,7%

16,5%

14,5%

12,3%

7,2%

Others

Tax Benefits

Hospitality

Infraestructure

Talent

Community and creativeculture

Quality and lifestyle

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THE LAST EXHIBITION

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Several years ago, the museum propose to assemble a significant collection from the late nineteenth century to the present, in order to trace the history of graphic design through its funds.

Thanks to the generous donations of many professional organizations, or their successors or descendants, now the Museum has a collection -although still being built well representative of some stages.

This exhibition is dedicated to the generation that, as the title suggests, officially launched the passage of a profession that we know, for decades, such as graphic design. That is, explains how the creators, just after the Civil War -the so-called poster or publicists- art-ists, made the jump to the professional, reached a new account as graphic artists, and later became graphic designers.

The native graphic tradition more foreign influences both the Swiss and French and Anglo-Saxon world, gave way to productions not only important from the perspective -from graphic image- and text, but also ref-erences a time and a culture. The period encompassing the exhibition ends around 1980, but n’estan planned later generations dedicated to graphic designers. That is, continue ...

CONTENT

Collection of Graphic Design

COMMISSIONER / A

Pilar Velez, director of the Design Museum and Anna Calvera, design historian. With the collaboration of the Departments of Collections and Exhibitions.

NUMBER OF PIECES554

SURFACE530 m2

Graphic design: from Office to the the profession (1940-1980)

Some of the works that you can visit into the museum.

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Many years ago Barcelona was the world capital of Graf-fiti, where people gathered with a talent for this kind of art . However, as in Barcelona performing these painted was considered vandalism , municipal authorities began to prosecute the perpetrators and those who came from abroad fled. But now Barna it is trying to regain the role played these peculiar drawings , partly thanks to two Catalan associations : Rebobinart and Bombcelona . In fact there is a project , Murs Lluires ( free walls ) to release unused spaces in order to encourage creativity. But are not the only ones.

Digging through the network we have a proposed activity perhaps unknown by many. This is the path of graffiti organized by Cayetana Gomis Fletcher, historian , manager of equity and guide. This young man offers tours to show the graffiti that have been painting in Barcelona over the years, which illustrate how the city has evolved and how the locals lived different social and political times.

Students proposes an interesting quote in the story is mixed with the street art. An art that does not die , be-cause, just as there are graffiti in Barcelona that have for decades set in walls, increasingly appear new . Therefore the route chosen by the historian need not always be the same . But yes , she says on her blog that there are three obligatory stops : the Hospital de la Santa Creu ( Raval ), Santa Llucia ( Ramblas ) and the street Petritxol (parallel to the Ramblas ).

And if you have time, certainly in L’ Eixample you find more than one, because it is one of the most alternative areas of the Catalan capital . In fact , Chordi , Barcelona blog blogger Mon Amour, made two years ago, a tour called Street Art that focused on L’ Esquerra de l’ Eixam-ple and the Raval , starting from the Plaça Goya ( L’ Es-querra de l Eixample ) . We leave you some links so you can see photos of graffiti painted in Barcelona that have been published on websites and blogs and a documen-tary about the decline and revival of graffiti in Barna.

GRAFFITI TOUR

Barcelona knows the secrets of the route Graffiti

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One of the graffities that you can find in the neighbourhood

Poblenou.

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ART & HISTORY

Eudald Pradell and the foundry of the convent of San José de Barcelona

Albert Corbeto a doctorate in art history from the Au-tonomous University of Barcelona. Make your career in the Royal Academy of Bones Lletres of Barcelona, also working with the Association of Bibliophiles of Barce-lona and is professor of typography and history of the book in Eina Master’s in ‘ Advanced Typography “. He has published several articles and monographs on the history of typography in Spain , as well as other aspects related to the history of printing and the book.

In the XVIII century Spanish typography was driven by institutional support and the emergence of notable punchcuttters.

ABOUT THE AUTHOR:

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Eudald Pradell, craftsman and a “man of letters” Eudald Pradell (1723-1788) was born in Ripoll, son of an armorer of the town, he learned his father’s trade and twenty years moved to Barcelona to pursue that profes-sion. We can imagine the interest of the printer class to discipline unfold over the city, and presum-ably booking of the knowledge and skills of Pradell in Metalworking, could induce him to start learning as necessary activity. They indicate their successors to get to Barcelona ‘acquired treatment and communi-cation with the owner of the Royal Printing of that city, Don Pablo Barra. This business genius and deep knowledge of the meditator Pradell, teacher made him under-stand the need that existed in Spain who opened punches and dies, and noted that this would make service to the motherland. Animated, or rather, stimulated by the favor of that and the Public Printer, it was decided to make their tests. “ After a long apprenticeship, Pradell in-troduced in 1758, the first example of their progress by publishing the letter sign Peticano; later, in 1759, 1761 and 1762, samples of the fine print, and Letura Text New Girl, respectively appeared. The results obtained in its precursor Pradell activity were immediately taken into consideration and highly valued. Josep Finestres, Professor of Law at the University of Cervera and one of the great intellectuals of his time, greatly appreciated the merits of Pradell, as well as stakeholders from his position as director of the University Press. In its wide episto-lary activity are repeatedly allusions to Pradell activity, which shows

a clear sympathy and encourages their protection; in one of his letters to the Valencian Gregori Mayans, requested to take into consideration the work of Pradell, because “until now no one in Spain had matrices, and yet it is not addressed.”

But the Board of Trade of Barcelona, knowing Pradell activity and the importance of their achievements, took him under his wing, “because it is an entirely new industry in the country and a man of extraordinary force will and vocation, whose only effort and unable to read or write or

“The lack of recorders dedicated to this sector in Spain was indispensable punches import materi-als for typographical main European production centers.”

Sign of the characters that are in the Factory of the Convent of St. Joseph Barcelona. By Ho . F. Paul of the Mother of God Religious Carm. Desc. [ Barcelona], 1777.

Sign of the characters that are in the Factory of the Convent of St. Joseph Barcelona. By Ho . F. Paul of the Mother of God Religious Carm. Desc. [Barcelona], 1777.

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understand the lyrics drew the first matrices for print-ed characters they met in Catalonia, and offered tilling arrays Latin characters, Greek, Hebrew and Arabic. “ The Board offered its support and was commis-sioned to conduct the proceedings to prepare a memorial to the request for real protection of Pradell, “pondering the benefit achieved by the State with the establishment of this new industry, which drew both flow foreigners” .The title of the royal order favorable to the application of Pradell and shows the recogni-tion of his pioneering work, noting that the assistance is provided ‘first-letter began recording in Spain.

“ This recognition was continued also in the few contemporary texts that refer to this industry, such as in the political and economic Memories ... (Vol. III, 1788), E. Larruga, indicates that Pradell “came to real-ize how useful the ingenious invention of matrices. Spurred by his wits, and application came to look so profitable discovery, unrepaired, or the waste or flow, or time needed enough ... After much application, and work matched with combinations, and rules of form, and leveling the punches, first original of each letter and number, then print it in the womb “; or in the leading treatises on the history of printing at the time, as in the mechanisms of the art of printing (1811), by Juan Jose Siguenza and Vera, which highlights have “earned foundries Catalan gift Eudaldo pradell ... for him the honor he deserves to be the first in Spain began opening punches. “

Nevertheless, we should not consider the contribution of Pradell as the invention or introduction of technical expertise that allowed for the first time will be held in the country complete manufacturing processes

“Eudald Pradell born in Ripoll, son of an armorer of the town, he learned his father’s trade and twenty years moved to Barcelona to pursuit that profession”.

Prospectus giving H. Fr. Joaquin de la Soledad Discalced Carmelite, manufacturer opener at the Royal font foundry.

New Font Factory, whose parent has

invented in Barcelona Flow rate Paradell, Maestro Armero in

this city ... Barcelona, 1758.

ART & HISTORY

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of print. We value their contribu-tion by being the first to consider advantageous to apply their knowl-edge and skills in the laborious and complicated task of learning and experimentation with the particu-lar engraving of punches, specializ-ing their craft in a highly necessary discipline by increasing demand printing industry, eager to break away from the traditional depend-ence on foreign. We must not forget that, in a way, know existed long ago, even before the invention of printing, for the punches to mark stamps, medals and weapons, were made from a very similar process. As already suggested above, the difference found Pradell, compared to previous sporadically goldsmiths who dedicated the engraving of punches, was backed by the in-dustry, and security that the long training required would finally have their reward. Likewise, in Ma-drid, probably a few years later, and independently of the achievements of Pradell, Jeronimo Antonio Gil (1732-1798) and Antonio Espinosa de los Monteros (1732-1812), both linked to the Real Academy of Fine

Arts of San Fernando, reached the same level of specialization, record-ing various character sets, putting their skill and knowledge to serve the growing needs of the Spanish press.

The so appreciative overall vision has spread over the course of Pradell for their perseverance and skill can not forget that it was a simple artisan with very little training, if it was not illiterate, a fact that on the other hand it is not surprising if you consider that it was actually a fairly common between crafts of the time. The description is illus-trative enough that it provides us Josep Finestres receive Cervera way to Madrid with his family: “I do not know if you know Madrid speak Castilian. Certainly the figure is negligible. I guess there work, he or his son, gunsmith and manufac-turer of matrices.

I ordered him much that he was about himself, because there are large makos court fooling many dis-appointments and paste the unwary

Eudaldo letters samples armorer Paradell in Barcelona, Printing

Suriá Francisco, August 15, 1763.

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ART & HISTORY

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“ The results obtained in its precursor Pradell activity were immediately taken into consideration and highly valued.“

and good people. He said he did not fear them. We’ll see how it goes. “ It is likely therefore that their activity was directed, at least in the more theoretical and conceptual aspects. Surely someone advised to put forward Pradell models should mimic letter to his creations, as their characters, far from humanis-tic designs that still dominated the Spanish impressions, fully meet the aspirations expressed in its first leaf samples 1758: “now they are open-ing other Matrices to make a com-plete casting all characters, which are used as a rule taking the best lyrics, which are known in Europe.” Certainly Pradell she modeled, and faithfully copied the charac-ters Johann Michael Fleischmann, engraver of German origin, born in Nuremberg but installed in Hol-land, which manufactured several sets of punches between 1734 and 1768, mainly for the large cast of brothers Enschedé, Haarlem. Fleis-chmann designs, we know perfectly well be the basis of the first sampler released by the prestigious Dutch press, one of the year 1744, and another of 1748, are one of the first interpretations of the developments announced at the turn of century refreshing example of the Romain du Roi, which appeared in response to the proposals for revision of the old humanistic styles that emerged since the late seventeenth. Fleis-chmann designs were anticipated to later achievements of Fournier or Baskerville, designs and in the twentieth century were assessed as “transition” as the definitive con-solidation of the “modern” types of Didot and Bodoni.

While it had already hinted at the possibility that Pradell had ac-quired the rudiments of engraving of punches and matrix formation in casting the convent of San José of the Order of Discalced Carmelites of Barcelona, he had not so far submit-ted any information documentary uphold that claim.

We can now confirm, thanks to the location of various documents relating to the report in response to the resource presented the son of Pradell, also called Eudald, and son, Pere Isern, asking the Royal Coat of Arms for their smelters, that “ Convent of San José of Discalced Carmelites of Barcelona, and by

means of one of the lay workers that she occupied had Pradell the first ideas of this art, which managed more proficiently because being gunsmith job was well versed in working elaborately iron, and made the punches used to stamp the name of Master keys, and guns guns.

“ It seems that this “secular” Pradell introduced in the typographic en-graving could be a craftsman hired by the convent, to make repairs or replacements, as required, exist-ing arrays in the foundry. Surely, these first notions would be largely overcome after a long period of experimentation that would allow Pradell acquire the characteristics

New Font Factory, whose parent has invented in Barcelona Flow rate Paradell, Maestro Armero in Barcelona, 1758.

Newly invented characters prospect by the Carmelite Fray Joachín barefoot Soledad.

Lectura Chica new sample. Letter new factory , whose parent has invented in Barce-lona Eudal Paradell ...Barcelona, 1758.

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of a complex system that, for sure, never to own, rather than partially, the goldsmith employee in the fac-tory of the convent.

Perhaps also influenced the later development of Pradell vision of the enormous dependence of the increasingly strong Catalan Printer class in the second half of the eighteenth century had the letter produced by the Carmelite friars, who could convince to take a way as risky, little tradition of this discipline in the country and

the difficulty and requiring long apprenticeship. In fact, we deduce by comments from Josep Fines-tres, that linking Pradell with the convent was not very long, even be set as direct competition of these, trying to reach, thanks to his friend-ship with Finestres, to replace the Carmelites in provisions of letter of important University Press Cervera:

“The claim of Pradell has no place, as is already the concert with the friars. I attended the meeting making Pradell attorney; but I was not heard, because the friars were casting 4 more cheap dollars per quintal to Pradell, and none of them pleased some circumstances of his characters, and his lyrics or me two points. “ As perfecting their creations, appears to increase their prestige, a fact that puts the privileged position of the Carmelite friars in danger: “A Pradell you’ll congratulations from me the most perfect example of reading girl, which has been approved in few they have seen. If your characters are long, I have no doubt that print-ers abandon the friars. Piferrer, they say, and uses the Pradell. “ Finally, let Pradell Barcelona to settle in Ma-drid, casting Carmelites stood again as the only center supplying print in Catalonia, although Finestres seems to forget his existence: “I am glad that Paradell (sic) has It reached such a significant benefit, with which the product can be applied only to the parent plant. Something felt in Catalonia, because they have to buy the letter in Madrid, with grown expenses for driving. If he could duplicate arrays (which is very easy) and leave an assortment of all in Barcelona, it would be of great benefit to all. “ Anyway, looks like it left Pradell several sets of matrices before leaving for Madrid, Lucky was the prestigious Barcelona Pifer-rer printer Thomas, who almost cer-tainly used exclusively for the use of their own printing establishment.

New Font Factory, who-se parent has invented in Barcelona Flowrate Paradell, Maestro Armero in Barcelona, 1758.

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The casting of the convent of San José de Barcelona

While it has been confused very often the acquisition date of the die sets with that indicated in the minutes of purchase, in January 1746, with the beginning of the activity of the smelter, the reality is that long before that date already in the convent these matrices and even had long been used for com-mercial purposes. The first evidence of commercial activity of the factory letter of the convent of San Jose are documented from the year 1734, although its history goes back a few years earlier, approximately around 1725, when the Order of Discalced Carmelites acquired several sets of matrices that had been owned by the Barcelona Rafael Figueró printer.

Factory letter convent of San José soon reached a decisive importance in the context of the Barcelona and Catalan press, and not only because for several years the Carmelite friars were the only suppliers of types, but also favored the acquisition of new letrerías a larger number of printers setting prices that were affordable to even the most modest establish-ments who ran. There is no doubt that the contribution of the Carmel-ite casting was crucial for the proper functioning of the local press and, in fact, was in the former convent of the Rambla de Barcelona-in the space currently occupied by the Boqueria market - which saw most of the letter that used the Catalan typographical establishments from the first third of XVIII to almost half of the next century.

Among the information on these first years of existence of the casting often it documented payments to external staff of the convent by per-forming certain tasks. Payments to staff undertaking the tasks of cast-

ing is mentioned first name Casañes Isidro, and subsequently Miquel Simon; usually also they need the services of craftsmen to repair or replace matrices, among which are to Ignasi Valls, a renowned writer who worked for the most important Catalan artists of the time, who was paid in 1744 “per una nova matriu of j italic “[by a new array of j italics], and also” to Mestre Pere Busquets per weld two matrices cícero petit “[Master Pere Busquets by welding two arrays of small pica], and even, as in 1773,” Manuel Prat-desaba, argenter Vic, per Matrius them in italics peticano “[Manuel Pratdesaba, Vic silversmith, by ar-rays of peticano italics]. This was the final payment under the existing documentation was made during the eighteenth century to lay per-

sonnel to perform these tasks. Later, a young monk used for some years in the factory and had learned the techniques of engraving punches and the secrets of justification of matrices and cast of characters, he started the modernization of the factory letter with the creation new designs. Fray Pablo of the Mother of God (1748-1780), became very soon over the direction of casting, and in December 1773 ended the character of peticano. A few days later presented the Petit Canon and text with the letters of Cicero colon, numbers and some bullets, and two years later, in October 1775, the Petit Canon, Text and large Cicero of bullets and numbers.

The high degree of involvement Paul F. Mother of God in activity led him to follow the example of other foundries prestigious publishing a catalog of samples with the charac-ters available in the factory, with the intention of spreading more widely the product.

“The factory letter convent of San José soon reached a decisive importance in

the context of the Barcelona and Catalan press.“

Eudaldo letters samples armorer Paradell in Barcelona, Printing Suriá Francisco, August 15, 1763 .

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The book in question, entitled Displays characters that are in the Factory of the Convent of St. Joseph of Barcelona. By F. Paul Br of the Mother of God, Religious Discalced Carmelite, dated 1777 and dedi-cated to Carlos III, demonstrates knowledge of the craft of its author, aware of the major developments that circulated around Europe. It introduces new characters volume recorded by the friar, mixed with the humanistic models of the first parent who came to the convent, and a variety of Gothic script, and a variety of cartoons and floral ele-ments and mathematical symbols.

Paul had to meet the Mother of God of samplers that had been published in France Pierre-Simon Fournier, mainly Les Caractères de l’Imprimerie (Paris, 1764), or the most famous Manuel Ty-pographique (1764-1766), as it is served an ornamental structure for framing of characters similar to

those used French in his two books, as well as an identical compositional distribution; indeed, the first of the two French sample framed copy model using on the cover, which Bodoni had also done in his first-Fregi and majuscole incise and fuse ... (1771).

But despite knowing the latest Eu-ropean developments with regard to the design of characters, were not models or Bodoni Fournier who served as an example to the Carmelite friar in his creations but the types created by Eudald Pradell, although it may well be to copy models which were directly inspired the Ripoll, ie Fleischmann Dutch characters. In fact, in the petition that in 1800 those responsible for casting presented to the monarch requesting the actual title for the factory, showing their high aspi-rations promising “new produc-tions, for our factory can reach that degree of delicacy, and apprecia-

tion, admiration that have achieved the memorable foreign factories Fleischman Juan Miguel Holland, Juan Bautista Bodoni of Parma and M. Gille de Paris “; it would not be implausible to think about the pos-sibility to have access, as might have Pradell, samples of the designs of said Fleischmann.

The modernization of the smelter designs participated in the com-mercial success of it, but for a long enough time dependence of the Catalan printers Letter produced in the convent was almost absolute. News preserved in the documen-tation of the Board of Trade of Barcelona is a good example of the importance acquired this foundry in the smooth operation of virtually all the Catalan press the eighteenth century. In April 1777 the Board of religious interest in getting rid of matrices learned, and remembered asking them to “teach his art to some lay people, at the expense of

Typography family designed by the punch-cutter Andreu Balius (Barcelona).

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the Board, in order to not falter this useful industry. The mayor himself came to the convent and visited the lego workshop, learning through the mouth of superiors who did not think divest its utensils, and for having pleaded printers city, who considered that it would cause prejudice to the public “. Surprised anyway that would leave the cast in the years that it was precisely peak production, although it would be understandable to think that the possible doubts of the Carmelites on business viability could occur before Paul F. Mother of God take charge of casting and actualizase with new designs and new impetus. In fact, in April 1777, the Provincial Chapter of the Order determined that “the care of parent and font foundry to separate from the Attorney General for the Province, and that it ran to Fr. Paul Br account of the Mother of God”.

The premature death of F. Paul of the Mother of God not overly upset the operation of the smelter, as was the result of his work. In addition, his successor, Fray Jaime de San José (1744-1794), continued the task of successfully address the workshop, and even seems to also recorded punches of musical notes to hymn books;it appears however that he had no skills of his predecessor, and, primarily, in addition to the man-agement tasks performed smelter. The effective transfer of knowledge that was made in the factory of the convent of San José de Barcelona would culminate in the figure of Fray Joaquin de la Soledad (1769-1837), who inherited the knowledge and techniques for years practiced in the casting. News was given him in Madrid, in the art of printing in the early nineteenth century manu-al, when the golden age of Spanish typography had languished: “No we have our own characters, because all the arts receive news and altera-tions; and it has received the least

in Spain throughout Europe. Ours Pradell, Espinosa and Gil were good in their time; more has passed; and we can not match us with other na-tions surpass us if we do not open new ones. (I recently had among the Discalced Carmelites of Barcelona opener punches, whose first sam-ples submitted to the previous gov-ernment certainly competed with the best of what foreigners have done. I do not know the success they have had everything)”. As already it noted, unlike what happened in Barcelona Carmelite cast, it was not possible to effective-ly transfer the much needed knowl-edge of manufacturing techniques of the printing. The main represent-atives of this exceptional period in the history of Spanish typography not know or could not transfer their skills and technical skills that were lost with his death, although he had always considered that the priority task of these punches was recorders to educate the new generations.

The most obvious case is that of Pradell himself, who “went to Madrid by King, with salary and perks, so that worked there and taught the art of making the dies to some young men,” but that ap-parently “forgot entirely meet the principal obligation imposed, and the most interesting to the nation, which was the teaching, because he gave not any of the young men who were bound, even his own son Don Eudaldo “; this is perhaps the only negative in Pradell path so valued, and especially not under-stood that he had not transferred his skills to his son, nor his son, not realizing that they were probably quite devoid of the skills of father but on the other hand also they had an urgent need for such an effort, it could live their entire operating life of the punches and dies Pradell had recorded.

Typography family designed by the punch-

cutter Andreu Balius (Barcelona).

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BEST GALLERIES

ADN

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Marlborough

Marlborough was born in London in 1946 at the hands of Frank Lloyd and Harry Fisher (later gotten Da-vid Somerset ), and the gallery won 50 prestigious hand of the German Expressionists, and the representa-tion of artists such as Henry Moore, Francis Bacon and Lucian Freud. Later would open delegations in New York, Tokyo and Madrid in 2006 at Barcelon

The main art galleries

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Sala Pares

Complementary to the legendary Sala Pares , Trama opened doors in 1991 and is the space dedicated to contemporary art on display tabnt established artists as creators emerging artistic scene.

Projecte SD

ProjecteSD doors opened in 2003 , the gallery space Dauder Silvia has become a landmark commitment to dialogue between established artists and young authors with works of different times and contexts . His ability to take risks , unpredictable program and line are other more reflective conceptual ponds this gal-lery Eixample.

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INTERVIEWS

María Ochoa

Maria Ochoa is Mexi-can, but his life has been extraordinary places in which it has been able to grow immensely and culti-vate a career in which we are today proud to share. Currently, Mary attends the Masters in Design and Art Direc-tion, but also works as a freelance under its own brand: Motic Motion.

His personality is fun and effervescent, although qualities reflected in his work, contrasts with its im-peccable execution and attention to the smallest details. His passion is Motion Graphics, but his aca-demic and professio-nal career has also brought the world of visual arts and illustration.

While enjoying a day at the Parc de la Ciu-tadella, Mary begins by telling how his foray into the crea-tive field starts very small “doodling” ad-vise passes to travel alone and cultivate a survival instinct, and ends by stressing the importance always have personal projects underway to grow as people.

Interview

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1. How did your career in the creative field and if you know, can you tell us where you want to go?

If you do cartoons while eating the pencil eraser means delve into the creative field, then my career began as a child. I studied in several schools of painting and draw-ing between six and twelve years and then took classes at The Arts Students League of New York. Visual arts, I moved quickly to design computer, after studying Computer Graphics and since then I have worked in different areas of the audiovisual environment, mak-ing editing and postproduction, leading small short films on video, also doing illustration and designing corporate identity for various companies. In Barcelona I was working on a study of Motion Graphics, TV braod-cast Branding and Design, and specializing in motion design.

Currently, I have worked as a freelance self-employed in various projects. Looking ahead I wont be creative direc-tor of my own study of motion, incorporating new com-munication channels to continue to grow professionally and if all goes well, continue doodling.

2. We know you spend most of your time motion graph-ics, what’s the story behind this decision?

I started making motion graphics about 10 years ago when it was not yet as common medium in design. For me run into the motion after making videos meant the possibility of incorporating fantastic elements in my projects . I really like the way the video through a con-vention accepted can establish what is real, a status quo that alter playing with fantasy , at the precise moment that adhieres graphic elements that interact directly with that modifying reality.

It is this combination between the real and the possibil-ity of representing the fantastic, perhaps with a touch of childhood nostalgia, which still attracts me to do motion. I find it is also a medium that encompasses the disciplines that had previously ventured.

3. How do you apply the knowledge you have acquired in the Master of Art direction your career as a designer of motion graphics?

One of the things that I found most interesting Art Direction Master is its emphasis on the importance of

registering the previous processes that take you to find a concept. It has been a great learning experience to realize how far do motion graphics is directing a small scale, and it’s you who decides the tone, rhythm, color, lighting, typography, drawings, assembly etc. Thus, each element a piece of motion is there to support the central concept or story that seeks to narrate.

The idea to outline and identify the components that make up a piece, using formats and visualization tools (such as charts, concept boards, concept walls etc.) is the

INTERVIEWS

Work for a client, creation by María Ochoa.

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necessary and indispensable to give the other way you want to convey, in a more clear, simplified and effective.

In this sense, the acquired knowledge and skills that have been developed during the Masters have helped me to review and reassess some strategies and work procedures that have been applied in an intuitive man-ner. I’ve also come to realize that the best results are achieved when displayed and recorded successes and failures in the process that lead you to a concept, and this way constitutes an important part of the project.

4. Now you perceive art director different from what you did before starting the course?

To be honest, before starting the Master I had no entirely clear roles and functions performed by the art director , ie knew that was responsible for the visual as-

pect of a project, but had not considered how one of the most important qualities of the art director is to man-age information effectively. That is not enough to have a thousand references, not a visual imaginary giant to be a good art director , I think that the key to their work in a hiperinformation context is always updated and poach resources to effectively communicate all of information.

5. In addition to the Master, we know that working as a freelance. Can you tell an experience that made you learn a lesson about working as an independent?

Before starting the Master I worked as a project director in Mexico, where he had to run three videos and estab-lish the aesthetics of an event that would take place in Cancun. The challenge and the reason they gave me the opportunity to address was that the videos had to

Portrait of María Ochoa.

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proyectares on a screen of 180 meters. It was a circular screen 360 degrees, the public was located in the middle of the screen, so you not only had to generate sufficient video images and motion to distribute around that huge area, but it also had to create an atmosphere wrap and make the event a fun audiovisual experience.

6. Each of us has a favorite way for tackling a project, some thought in print, others in posters, others in pub-lishing, illustration, etc. When you handle a project in the Masters, you always think first video / movement?

I always first on the story you want to tell, first try to develop a story, a general concept from which I can find to explain formal resources. It is true that my references are generally more linked to film to video, but I think in any format the idea of movement is implied, even when you create a static design think of movement as you plan a story behind each item you choose to use.

When I design a poster for example, build a dialogue be-tween its components, I think about the way they relate and interact. It is true that I tend to think in terms of sequencing, I think a story in my mind as to justify got to the point of the image in which I find myself. In my short “El Papalote” argument is built from a drawing, believed the story back and forth of this frame.

7. Are you used to working alone or in teams ? Which do you prefer?

I think the ideal is to have both options. One type of work I enjoy doing alone painted illustrations for children for example. But the truth is I’m still not quite used to working alone most of my professional career I have been part of a team , a sense of belonging to a group comforting , projects are always my most enjoya-ble I’ve done with other I have had wonderful people by my side. However, being a freelancer requires a different courage and firmness that when you’re part of a team because you have to constantly measure your strengths,

INTERVIEWS

View from the studio of María Ochoa.

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identify your limitations , and test your knowledge . Both ways I find enriching.

8. What is your methodology of work when facing a new project? Do you follow any specific rule of work for each project?

I usually faced with two types of projects with features and very different delivery timings. When they asked commissioned animation and an agency has done art, systematized and I point a storyboard on paper exactly what you do digitally. In the projects I do creativity, try to give me at least a couple of days of testing in a kind of absolute chaos, this is the part I enjoy drawing, I look for references, read a book, watch a show, listen music. Almost always fragmented and disjointed all this information comes first “hunch”, an idea, a word that will be the starting point towards the final concept to determine the whole. I fully expect this first guess because it is not forced, it appears without looking and I like that .

Some pieces of work by María Ochoa.

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Approach closer to a city that grabs you, conquers you, sedu-ce you and not let you escape!

Live the experience with the 3D glasses!

ABMORE CLOSE TO...

C

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Morecloseto...

Morecloseto...

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MORE CLOSE TO...

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Photography of Port de Barcelona in 3

dimensions.

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3-dimensional photograph of the neighborhood of Barceloneta.

MORE CLOSE TO...

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Panoramic view of the city of Barcelona, from Montjuic.

Apse of the Sagrada Familia Cathedral, in

Barcelona.

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Monument to the Sardana in a 3D dimension in the city of Barcelona.

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MORE CLOSE TO...

View of Port Olimpic, Barcelona in 3D.

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NUDOAuthor:David Vargas

Nudo is an artistic platform created to publicize the work of new prom-ises in the world of art and design, in all its fields and specialties. It offers the possibility to exhibit their work in two formats: web space and exhibition.

The main objec-tive of the pro-ject is therefore the dissemina-tion of art and design today, in a simple and accessible way for the great-est number of viewers.

Aware of the possibilities of the Internet in providing visibility to any project, I decided that the exhibition should be supported in a virtual space for the work of artists to reach more people. But however that an exhibition is a means to have contact with the work in its dimensions and in three dimen-sional space that affects the viewer’s perception.

The black -white contrast to the mark shall be ac-companied by color pictures, in order to pro-vide contrast in each section was chosen.

As regards the design and turning the concept, I de-cided to work around the idea of “knot” by what means of connecting element between two parties (in this case, the viewer-work space virtual-real, etc ...). I thought then that a place where the knot has special importance is the world of sailing. The graph therefore has worked around the nautical , sea and art, which are reflected in the different parts that make up the project.

TALENT GENERATION

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TALENT GENERATION

SONOSAuthor: Monica Simo Puigdomenech

The SONOS project stems from a need: there are many people who would like to play guitar but for lack of time or money can not. Many give up without knowing it perhaps could learn a few basics using short time, besides having fun and being part of a community that would encourage them to keep trying in my spare time.

For SONOS users you need not have great pretensions as to acquire a high academic level and. It is open to learn about progress notions and also to create a piece of music that can be shared on the Web.

SONOS is a website where the user finds information graphically defined and ready to be read in a short time (using computer graph-ics resources) and a series of musical applications in which the user can read music easy and quickly, as if a tablature were, but interacting with the media as in video games.

In short, provides knowledge but also entertainment. Be as music is deep, personal experience with common matches, but many more personally, that evoke sensations and each individual.

Within the website, the user is distinct sections to record sound and still others to contact other registered users and be able to jam sessions in real time. A com-munity of Internet users is thus created with the same interest and that despite having little time, can develop their creativity and experimentation, escape in an envi-ronment out of the earth and even enter into a kind of hypnotic and therapeutic world.

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HIPERVINCLES (Hyperlinks)Author : Beth Puigbò

Hipervincles is a project that invites reflection on the dissolution of the concept of community and provides an opportunity for collaboration between people to create a sense of belonging to a community.

The educational project, consist-ing of different phases, involves the creation of a set of activities aimed at teenag-ers that make up a project of collective participation.

The changes in the new social context have had a major impact on individuals and this causes conflicts generated when these relate to so-ciety. The social fabric is weakened and therefore human ties are very weak and unreliable. Many individ-uals are unable to accept that they live in a society where old values are lost.

Applications de-signed include: a document with instructions for proper project implementa-tion; a document with theoretical material on the subject of the project.

The educational project, consisting of different phases, involves the creation of a set of activities aimed at teen-agers that make up a project of collective participation. In the first phase of the conflict adolescents caused by the changes that have occurred in our current frame-work is consciousness; It is a time for debate and reflec-tion. The second is carried out practical cooperation between participants and their community in order to awaken a sense of belonging to a group.

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Agencies/studios

RANKINGS

Colleges/universities

Artistresidencies

1

1

1

2

2

2

3

3

3

The hottest list

c/ Ciutat de Granada, 31 308005 Barcelona (Spain)

Folch Studio

Les Rambles, 30-32, 08002 Barcelona (Spain)

ELISAVA (UPF)

Carrer de Sant Adrià, 20, 08030 Barcelona (Spain)

Fabra i CoatsC/Pescador, 13 Arenys de Munt

08307 Barcelona (Spain)

Print making Studio

Passeig de Gràcia, 114 pral., 08008 Barcelona (Spain)

ESDi (URL)

Bruc 91, 4a planta, 08009Barcelona (Spain)

TOORMIX

+

c/ Morales 2708029 Barcelona (Spain)

MUCHO

Hospital, 56, 08001 Barcelona (Spain)

MASSANA (UAB)

c/ d’Astúries 36, 08012 Barcelona (Spain)

Jiwar

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4

4

4

5

5

5

c/ Morales 2708029 Barcelona (Spain)

MUCHO

Hospital, 56, 08001 Barcelona (Spain)

MASSANA (UAB)

c/ d’Astúries 36, 08012 Barcelona (Spain)

JiwarCarrer de Sant Isidre, 140, 08208

Sabadell (Spain)

L’Estruchc/Emilia Coranty, 16, 08018

Barcelona (Spain)

Hangar

Paseo Santa Eulalia, 25, 08017Barcelona (Spain)

EINA (UAB)

Palmerar de baix, 6, baixos 1a, 08800 Vilanova i la Geltrú, Barcelona

CocoliaCarrer dels Pellaires, 30-38, 08019

Barcelona (Spain)

MARISCAL STUDIO

c/ Pujades, 118 08005 Barcelona (Spain)

BAU (UVIC)

-

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If you visit Barcelona you will be obliged to introduce in the Catalan language. This Romance language derived from Latin, spoken mainly in Catalonia. It is the largest member of a family of languages including Occitan north and Valencia to the south. Besides being the official language of Andorra, it is the official language of Catalo-nia and the Balearic Islands.

LEARNING THE LANGUAGE

English Catalan

Welcome (General greeting) Hello How are you? Reply to ‘How are you?’Long time no seeWhat’s your name?My name is ... Where are you from? I’m from ... Pleased to meet you Good morning (Morning greeting) Good afternoon (Afternoon greeting) Good night Goodbye

D’on ets? (inf)Sóc de...Vinc de ...EncantatGood morning Bon diaBona tardaBona nitAdéuBenvingut (m)HolaBon diaHola?Si?Com estàs? (inf)Bé, gràcies, i tu? (inf)Quant (de) temps!Com et dius? (inf)Em dic ...

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Benvingut (>m)

Hola

Com estàs? (inf)

Bé, gràcies, i tu? (inf)

Quant (de) temps!

Com et dius? (inf)

Em dic ...

D’on ets? (inf)

Sóc de...

Vinc de ...

Encantat

Good morning

Bon dia

Bona tarda

Bona nit

Adéu

*Solution

50 GRAPHMUS !DID YOU KNOW ...?

.Catalan is the official language of Andorra and, together with Castil-ian, in three Spanish regions.

.It is the seventh most spoken language of the European Union. More spoken than Finnish or Dan-ish, and is comparable to Swedish, Greek and Portuguese.

.Catalan is the 75th most spoken language in the world.

.Is the usual language of about 4.4 million people; in addition, they are able to speak and under-stand some 7.7 million nearly 10.5 million people.

.The Catalan language survived and maintained thanks to family transmission as in this time many Catalan writers, Josep Pla, Salvador Espriu or Rodoreda, among others, wrote major works in this lan-guage, from exile. !

51 GRAPHMUS!!.A UNESCO report (1994) revealed that the Catalan is the tenth most translated language in the world.

.It has a recognized linguistic authority (Institute of Catalan Stud-ies) and its linguistic resources and studies on grammar, lexicography, etymology, dialectology, terminol-ogy, history of the language and onomastics are comparable to those of the major languages.

.It was the first language that had access to the press, hence its strong literary tradition (texts has continu-ously since the eleventh century).

.During the Franco dictatorship (1939 - 1975) the persecution of Catalan was so intense that the publication of books, newspapers, telegrams were banned and even telephone conversations in Catalan!

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WHAT IF

THE DEAN

THE

Is it ethical for the dean of a pro-fessional school has as his business conduct surveys in the discipline that the school is responsible? We could find arguments for and against. On the one hand, one might think otherwise would be using the institution and title to their advantage. Clearly, when a professional has a problem you attend the school in the first instan-ce. Or what is the same, the College could be the gateway to the orders of expertise. Although it could be argued on the counter: his condi-tion and packaging Dean could give the appearance of rigor to conduct surveys in defense of professionals. Although a judge may also think that if the designer proficient in favor of Dean, can be understood as an interested opinion, which could detract. Each has their opinion, we have ours.

Another issue is that the dual condition of expert and dean of the Official Col • legi of Design Gràfic de Catalunya puts Mr. del Hoyo in a privileged position. When a designer has a problem and goes to school as an institution that defends the interests of the group, he is put-ting on the table a very interesting for those who are professionally engaged in the survey information.

I guess there is no legal conflict, which does not mean that from the point of view of ethics is not at least debatable. So much debatable.

And in any case are the College, its governing board and the referees themselves who should ensure that

the institution does not become, if it is not already in a farmhouse in the interests of who holds your address. If they are reasonable, and although some seem to us an unacceptable situation from the outside there is little to say.

But this is not the circumstance that leads us to affirm that this is a scandal of enormous proportions. Because there is the dean by means of the expert who personally takes to defend the interests of professio-nals. We are in the opposite case: Mr. del Hoyo has knowledge of legal cases office. Offer their services to the designer who goes to school for help. With prices far above market, though that also fall within the debatable. The real problem arises when the designer decides to reject the offer and hire another expert. We are referring to when you come to trial and the plaintiff desig-ner looks that Mr. del Hoyo is the expert of the opposing party, and

WHAT I THINK?

AGAINSTDESIGNERS?

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THE DEAN

THE

OF

SURVEYS

WERE PERFORMING

AGAINSTDESIGNERS?

has conducted a survey against the interests of the professional and for the defendant.

Impossible to prove if the order comes to him casually out, or is he himself who, after learning of the case for being a dean serves the defendant.

Article 7 of the statutes of the Co-llege expressly defined as one of its essential purposes: “to promote ade-quate legal protection to the work

of graphic designer, especially when they can be treated as works protected by the law of intellectual property “. It is the exact opposite of what makes Mr. del Hoyo. When a mismatch is cau-sed by the breach of such intellectual property rights of the designer and the matter comes to court, Mr. del Hoyo forget the statutes of the institution he presides and goes to work for those who violate those rights. For money.

All this is not an assumption, it is reality and it’s happening. For those who never believed in the necessity of the College, not even at your conve-nience, for those who have denounced the inefficiency and dubious way to behave for years Mr. del Hoyo, all data and to prove it would be an opportuni-ty to give the lace to an entity that does nothing, which distorts reality design with attitudes like this and others. We will not do. From this magazine we want to be fine this time, we believe that time is an unacceptable practice and absence of any ethics, but it would be unfair charge against the institu-tion without giving him a chance to get open. They must be members of the governing board, with names, who no half eradicate these practices and the person or persons who carried out. They must be them, Tin Fonts, Francesc Morera, Magda Batlles, Josep Vila, Eugeni Vila, Jordi Selma, Rodolfo Fernandez, Juan Antonio Buenadicha, Alejandro Dobaño and Daniel Mo-rell, who as an organ of government or personal capacity desliguen these practices of the institution and take the necessary hygiene measures.

Journalist specializing in design, Al-varo Sobrino is the editor of Visual, one of the publishers of the most important design reference country, with over 2o years experience and more than 80 books published since the seal Blur Ediciones.

ABOUT THE AUTHOR:

COL.LEGI

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What are the Chill Laus? Sometimes it’s a conference. Others an infor-mal chat. Or an intense debate. Or a unique opportunity to closely follow who is doing what. Or a way to discover new trends. Whatever a Chill Laus is always a meeting about the culture of design. Useful, entertaining, enriching.

EVENTS & ORGANISMS

FADfest is the festival of indus-trial design, graphic design and visual communication, architec-ture and interior design, fashion, art and crafts. This is the festival that celebrates the creative excel-lence, which recognizes the work of professionals and companies and brings design to the public.

FADFESTCHILL

25 june-5 july 2015

Every wednesday at 19:00pm

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45 years as a leading trade show for the Spanish graphics industry Gra-phispag is the benchmark for the Spanish graphic arts and one of the four most important fairs Europe. High convening power with inter-national buyers, mainly from the Mediterranean and Latin America area, is the most comprehensive and decisive platform for technical renewal sector from developments in machinery and accessories for dif-ferent printing systems.

OFFF is a community inviting all those who are eager to learn to participate and get inspired in a three-day journey of conferences, workshops, activities and perfor-mances. What is it about exactly? It’s a combination of Offline/On-line designers, Motion Designers, Thinkers, Sound Designers, Graphic Designers, Theorists, Developers, Professionals, Students. Putting the titles aside, OFFF is made for the curious.

MIRA is a festival exhibiting new creations of visual arts at the inter-national level in order to generate unique symbiosis, transmission of knowledge and opportunities through collaborations between visual and musical artists. It is a cul-tural event that has its basis divided into three connected areas: exhibi-tion, outreach and education.

MIRA GRAPHISPAGOFFF 30-31 october and 6-7 november 24-27 march 2015

26-28 may 2016

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YOU CAN’T LOSE IT

Barcelona is a shopping paradise for tourists geek or geek. It is one of the points most traditional Spain in terms of comic book stores, Roleplaying or board, sci-ence fiction, manga and video games. It is noted that Barcelona is a gateway to Spain and Europe of cultural and social trends.

And the Geek culture is no stranger to this situation. In Barcelona always we find the first fans of Spain (with the permission of Madrid) when a new trend sport or cultural phenomenon becomes fashionable.

If you are thinking of taking a holiday in Barcelona apartments for days thinking about the geek tourism, the Arc de Triomf / Passeig de Sant Joan would be a good idea since many stores concentrated geek theme.

Focusing only on comics, I recommend these five to start:

5 comic shops that you can not miss in Barcelona

NORMA COMICS

(Passeig de Sant Joan 9), Giant. Two floors dedicated to all kinds of comics and merchandising geek.

FREAKS

(C / Ali Bei 10): Another of the shops in the area of Pas-seig de Sant Joan. This shop until recently published his own comics with the double dose seal. A good place to catch news. Visit Ali Bei Street will serve also for other stores related topics (horror, science-fiction ...).

Gigamesh

(Ronda Sant Pere 53) Another historic. Large library specializing in science fiction and fantasy. In fact, they founded a publishing house that is published by the

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books of the series “Game of Thrones” in Spain. They were also pioneers in importing and distributing the famous card game Magic: The Gathering. In comics, worth its back catalog and news from American pub-lishers in English, brought directly from USA with months before his publciación in Spanish. Very good background of Board Games and Rol.

CONTINUE

(Via Laietana, 29) of the classic Barcelona. A part of the new, highly recommended their back catalog. It is that I would go looking for an old or late comic.

MASK

(239 Gran de Gràcia Street): From the oldest and most traditional. If for your stay you looking for an apart-ment to rent for days in Barcelona in the traditional district of Gràcia, Antifaz will you close as it is in what was the main street of this Barcelona enclave when it was an independent village, before being absorbed by the big city.

Picture of the entry of Norma Comics shop.

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The Promotion of Arts and Design is a private, independent, non -profit organization, which aims to promote design and architecture within the cultural and economic life of the country. FAD is articu-lated through six associations repre-senting the various disciplines of design.

Founded in 1903, FAD has become the first leading center of design and architecture in Catalonia and Spain thanks to its constant task of promoting creative culture through exhibitions, professional confer-ences, awards and events.

In 1978 a group of professionals ADG -FAD believed convenient to lay the foundations for the creation of a school of graphic designers. They organized a popular assem-bly open to capture the view of the sector. This meeting and given the desire of the majority, the idea of creating an association that made the road this goal.

In 1979 he founded the Association for the Creation of the Associa-tion of Graphic Designers, which has since repeatedly presented the documentation required to carry out a project like this to the legisla-tive institutions.

The project, which was the will of the majority, maybe it was too advanced by the time it came and it was not until 2003 that he achieved what seemed utopian. After twenty -five years, but has been possible and today is a reality.

BCD Barcelona Design Centre is a center for the promotion and en-couragement of design in business and institutional environment cre-ated in 1973, the first in the Spanish state.

Since then, BCD promotes design as a strategic element and key factor of innovation and competitiveness and evolves according to the chang-es occurring in the economy and society, adapting its discourse and its activities to the specific needs of the moment.

EVENTS & ORGANISMS

ADG-FAD CODGCBCDPl. de les Glòries Catalanes, 37-38 (Edifici Disseny Hub Barcelona)

Pl. de les Glòries Catalanes, 37-38, (Edificio Disseny Hub Barcelona)

c/ Paradís, 508002 Barcelona

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