Oficina de disseny are Ariadna Serrahima, Diego Bustamante and Katharina Hetzeneder — a graphic design studio founded in Barcelona in autumn 2014. We make books and publications, visual identities, posters, music releases, websites and exhibitions, teach classes and are involved in various research-based projects.
The current social and political context determines our way of doing and thinking. Content matters, as do collective design processes with our clients, collaborators and the people around us who enrich our work. The design process goes hand in hand with the production at our printing workshop L’Automàtica, where we work and experiment with letterpress and offset. Printing and communicating content shapes our everyday practice.
Design of the bilingual poetry book collection Bèsties Butxaca for Edicions Poncianes – a Barcelona based literary publishing house. Poeta de les Cendres is the first book of a collection that claims the figure of the translator as a creator — just as the corresponding collection of posters called Bèsties.
Format: 180 x 110 mm, 83 pages
The cover card was letterpressed at L’Automàtica
The three-page leaflet is three-colour-offset-printed on both sides
Format: 215 x 115 mm
The website informs about the ongoing research and events of the project 3×4 exploring metaspace platforms for inclusive future cities — an interactive telepresent installation designed for public audiences in Dehli and London. 3×4 was been initiated by Dr. Claire McAndrew, The Bartlett, University College London and Prof. Paul Sermon, University of Brighton.
Special edition of MUNT (sound actions). The publication’s content consists in a selection of vinyls and cassettes, originating from Raül Pratginestós‘ personal collection. Raül played his selection throughout in the course of the event at l’Automática, 27 February 2015.
Cover letterpressed at L’Automática
Format: 295 x 100 mm
Exhibition design for the permanent collection of the Austrian Museum of Literature opened in Vienna, 2015. In collaboration with curators and architects the former building of the Viennese “k.u.k. Hofkammerarchiv” was transformed into a literature museum. The chronological circuit on two floors exhibits literature from the 18th century until the present day. The modular system containing multiple graphic, book and typographic elements, screens, posters, frames and display cases had to be fitted into the original, heritage-protected shelves.
Graphic design and naming for a poster collection published by Edicions Poncianes, a Barcelona based literary publishing house. The collection claims the figure of the translator as a creator — through the translation of poems by internationally relevant authors that had not been previously translated to Catalan.
Format: 590 x 836 mm
Design: Ariadna Serrahima
et al. is a collection of philosophical essay books. The published texts come from writers, philosophers, activists,… who are invited to do conferences within the MACBA’s public programme.
The first published book is “Petróleo” (Petroleum). The forthcoming ecological breakdown is analysed from ecosocialist, ecofeminist and anthropological perspectives.
The collection is intended to be published in three languages (Catalan, Spanish, English). The combination of three colours for cover, spine and backcover changes according to the language.
This book was published as part of the exhibition A break can be what we are aiming for curated by Irina Mutt for Barcelona Producció at La Capella in June 2018. The publication gathers pictures of the exhibited works and a series of texts that draw from caretaking, feminsim and queer culture.
Two books for Dora García’s exhibition “Love comes from the most unexpected places” at Trondheim Kunstmuseum, Norway in June 2018.
The first book is a city guide that forms part of the exhibition, called “Thresholds. A flanerie* through the hidden and less hidden spiritual communities of the city of Trondheim”. It contains descriptions and pictures of 48 religious communities, a map to locate them and texts about the most common religions.
The second book “Love comes from the most unexpected places” is the exhibition catalogue, featuring texts and photos that contextualise and document the exhibition.
Visual identity design of “La Festa del Roser 2017” organised by the asociation “Amics de la Rambla”. La “Festa del Roser” is a yearly, popular event that celebrates Barcelona’s Ramblas. This year’s design should emphatise the existence of this special celebration, which is all about the close relationship that is generated between the “Ramblas”, its people, its customs, its flowers and florists.
Cahier 1, Bauhaus Museum Dessau is the first edition of a collective, editorial project initiated by addenda architects, Moritz Küng, Joachim Brohm and Valentina Seidel. The series of publications aims to document the building process of the new Bauhaus Museum in Dessau, designed by the Barcelona-based studio addenda architects. The pictures will be taken by photographer Joachim Brohm and texts will be contributed by editor and curator Moritz Küng.
The Cahier collection’s visual identity uses as a common element the numbers of Paul Elliman’s typography “Albers”. This typeface is inspired in the “Architype Albers”, created by Josef Albers in 1931 at the Bauhaus.
Publication format: 210x297mm
Poster format: 420x594mm
Gentle Bread is a publication by Barcelona-based artist Ariadna Guiteras. The idea was to design a publication that would be able to bring together a sound performance piece, a series of sculptures, an introduction text by curator Julia Morandeira and the artist’s field research interviews.
The Gentle Bread project has been presented in an exhibition at the end of Ariadna’s residency at Chalton Gallery in London in 2016. And it has won the Miquel Casablancas Prize 2016 in the category publications.
The List 6.2017 is a publication by American artist Peter Downsbrough, edited and published by curator Moritz Küng. The book depicts a peformance consisting in the oral reading of the titles of all the publications that Peter Downsbrough has ever made, since he started working in 1960 – realised by Moritz Küng at the Mies van der Rohe Pavilion, Barcelona, 2017. The format of the book is inspired by to the formats of lists. Cover and backcover were made by the artist himself.
Format: 105 x 297 mm
Offset printed at L’Automàtica
The graphics of the communication design and invitations of the ArtsFAD Prize 2017 are inspired by a line of theoretical research about the current interest in constantly transforming materialities that are present everywhere, making the world vibrant, promoted by theorists like Jane Bennet, Karen Barad or Bruno Latour. We asked the writer and Curator Sonia Fernandéz Pan for support and she contributed a short text to set a context for the graphics. The idea behing using this theoretical framework was to update the Arts and Crafts background of the A-FAD, to make it more contemporary. In order to graphically communicate this research, to activate the potential of the A-FAD’s members’ areas of work and the knowledge that can be obtained through experimentation, error, trial and time, devoted to soroughly understand a craft, we experimented during a period of two weeks at the printing workshop L’Automàtica. For the printed invitations we directly intervened the offset printing plates. Therefore, all invitations are unique and different from each other.
Format: 340 x 480 mm
Two-colour-offset-print and Letterpress at L’Automàtica
Itineraries and Detours of a Migrating Monument is the publication of the french-german artist Adrian Schindler’s thesis for the master’s degree “Art in Context” at the UDK, Berlin. The design and structure of this book aims to enhance the relationship between images, white spaces, text, visual poems and drawings respecting the pace and order of the original thesis.
Format: 120 x 180 mm
The ideal visitor of a sentimental collection is a publication that recollects an audio-intervention that catalan artist Enric Farres and curator Joana Llauradó did at the Frederic Mares Museum in Barcelona, 2015 – a project initiated by the contemporary art centre La Capella. The book’s structure is supposed to graphically transmit the museum’s stifled environment. There are no empty spaces in the book, the grid is completely filled up with images and text, just as the exhibits in this fully stuffed cabinet of curiosities.
Format: 210 x 297 mm
Design and edition of the contents of the publication Cualquier Lugar…, on the occasion of the Parallel School workshop held by Oficina de disseny at the artist residence Lugar a dudas in the city of Cali, Colombia in December 2016.
Co-published by: Calipso Press
Publication: risograph-printed at Calipso Press
Cover-Poster: printed at “La Linterna”, a traditional letterpress workshop in the neighbourhood of San Antonio, Cali
Parallel School Cali took place in the capital of the Colombian Pacific region. Cali, known for its diversity, is a city permeated by the Afro-Colombian and indigenous community with a broad cultural background that marked the country in the 70’s. An example would be the self-organised space Ciudad Solar, where artists, writers and filmmakers such as Óscar Muñoz, Luis Ospina and Andres Caicedo among others, created a cultural precedent in Colombia. Choosing the city of Cali allowed us to move away from the main economic centres, dictated by the West, and to decide on our own independent “centre of the world”.
Lugar a Dudas (A place for doubt) received us for one week in order to develop long conversations and reflections on the state of education in today’s creative field. Lugar a Dudas is one of the first self-organised and independent art residencies in Colombia, founded by Óscar Muñoz and Sally Mizrachi in 2006. By inviting international and local projects and artists, it has become a major hub for Cali’s entire artistic community as well as for the rest of the country. It is a place where different generations and cultures meet to experiment and create discourse.
By gathering 15 people from different countries and backgrounds, spending 12 hours a day together and occupying different places in the city, we managed to question and extensively talk about concepts that in our contemporaneity seem intrinsic in our way of working and understanding our position in the world: success / failure, being productive / unproductive, wasting time, reaching the system’s expectations,… among other neoliberal daily habits.
For 7 days we experimented with time, conflict, discomfort, criticism, debate, confusion, encounter, disagreement, etc… We understand all of the aforementioned as essential parameters for making a collective process work and positioning ourselves in a space of resistance from where to operate.
We walked along 8th Street to the Alameda Market. We learnt to make pandebono at the La Aragonesa bakery. We invited several local artists, such as Ericka Florez and Yolanda Chois, to talk about their collective processes and their relationships with territory. We went to dance salsa. We received Maria Teresa Matijasevic, who talked to us about acknowledgement and the state of education in rural areas within the context of official educational politics in Colombia and comparing them to alternative educational models. We greatly enjoyed the experiences and dynamics shared with us by Monica Zamudio and Sebastián Cruz of La Agencia / Escuela de Garaje (Garage School Project). We had meetings in public spaces. We occupied and used Lugar a Duda’s documentation centre. We cooked and ate together. We lost ourselves and questioned what the relevance and social impact is of providing space and time for 15 people to gather together for 12 hours a day to think about education.
El Gir is an unfinished publication by Catalan artist Xavier Ristol, made on the occasion of the exhibition De l’Endiot al Ploraire, figures of the burlesc sabadellenc at the Alliance Française de Sabadell.
The graphic piece is meant be the cover of a book that is still in process.
Print: Offset, L’Automàtica
Website-redesign for Deià Art School.
Deià, based in Barcelona’s Nou Barris neighborhood, offers the following studies: graphic design, design for interior, exterior and ephemeral spaces as well as design for virtual environments. The school works among other things on the integration of design as an instrument for the improvement and transformation of social life.
The challenge of redesigning this website consisted in opening three different spaces: News, School and Projects. This way the contents are organized in an accessible and inclusive way. One of the objectives was that the students themselves could contribute to feed the web with news and their own projects.
Programming: Oficina de disseny, Eduardo Partipilo
Applications (postcards, leaflet, invitations, banners) for the communication of the exhibition Infinite sequence by the Catalan artist Ignasi Aballí at the Fundació Joan Miró, Barcelona, from June to September 2016.
For the graphics’ content we chose the subtitles of the piece Film of an image, 2016.
The Catalogue for the Catalan artist Ignasi Aballí was published in the course of the exhibition Infinite Sequence at the Fundació Joan Miró, Barcelona, 2016. The publication was conceived and designed so as to not follow the conventional structures of institutional books. The catalogue consists in an essay book inside of an artist book. It deconstructs the textual-based art work and reproduces it large enough for people to read it.
Format: 297 x 210mm, 176 pages
“Materials guide No. 1, Research, analysis and suggestive implementation” is the first of a number of publications that document internal research and processes of the Technical Innovation Department of Puig, Barcelona.
Format: 297 x 210mm, 128 pages
Photography: Oficina de disseny
Visual identity design for Vogadors, a group of six catalan food cooperatives. The collective and their products are defined by the following values: local production, cooperation and collective work, sustainability and quality. They create and form part of a local economy and partly employ socially disadvantaged workers.
Cazadores de Luz. Fotosíntesis mecánica, documents the experimental photography workshop held by Alfonso Borragán and Esther Llorca in Hangar, Barcelona, 2016. The publication has been realised together with Roman Daniel during his internship in our studio.
The guidelines publication for the call of Can Felipa Arts Visuals 2016 – destined for supporting the emerging scene of Curating, Fine Arts and Visual Communication in Barcelona.
The offset-print is based on 4 printing plates with differently sized rectangles. The latter have been printed in 21 variations out of countless possibilities in a total of 56 printing runs. Thanks to the overprinting, new tones emerged out of the 3 basic, initial colours. The project has been realised during more than 16 hours between 28 and 29 April 2016 in the printing workshop L’Automàtica.
Offset-printed in L’Automàtica
Format: 350 x 500 mm (poster) 175 x 292 mm (leaflet)
Leaflet for the exhibition Permit yourself to drift from what you are reading at this very moment into another situation… Imagine a situation that, in all likelihood, you’ve never been in, curated by Moritz Küng as part of the Arts Libris 2016 art bookfair at the Centre d’Art Santa Mònica, Barcelona, 2016.
Format: 210 x 297 mm
The catalogue Heimo Zobernig Books & Posters Catalogue raisonné 1980–2016 is a compilation of all books and posters made by the Austrian artist Heimo Zobernig from 1980 until 2015, published by Malmö Konsthall and the Cologned-based publishing house Walther König. The project has been elaborated in close collaboration with curator Moritz Küng and Heimo Zoberning.
Format: 297 x 210mm, 432 pages
We redesigned the website of “Espai en blanc”, a group of thinkers, who stands for a critical, collective and experimental thinking in the scope of philosophy and politics. They first came together in Barcelona in 2002 and the website works as an archive for everything they produce such as texts, publications, activities,…
Le fleuve armure — Der Rüstungsfluss is an artist publication by Adrian Schindler. It is based on a performance that tells a story about the life of a bridge, about France and Germany, tieing in the story of the artist’s family, which comes from a village close to the bridge. The publication has been made in the course of a collective exhibition and Adrian’s performances at the Centre d’Art Maristany, Sant Cugat del Vallés, 2015—2016.
Offset-printed in two colours at L’Automàtica
Format: 320 x 225 mm
Visual identity, postcards and vouchers for LAMPP, a project by Jordi Canudas. LAMPP consists of a lamp shade and an application for mobile phones that allows you to create different atmospheres by controlling colours, light intensity or music and defining the state of connectivity the device.
Flyers and vouchers letterpressed at L’Automàtica
The book a Brief History of the Future was published in the course of the exhibition The Future Does Not Wait curated by Sonia Fernández Pan for La Capella, Barcelona Producció 2014. The publication consists of a series of conversations between the curator and different artists (present in the exhibition) and guest contributors, in which they talk about their understanding of “future”.
Format: 175 x 110mm, 328 pages
Visual communication (postcards, leaflets, invites and banners) for the Roni Horn. Everything was sleeping as if the universe were a mistake exhibition at the Joan Miró Foundation in Barcelona from June to September 2014.
Design: Ariadna Serrahima
A catalogue for the New York based artist Roni Horn, awarded with the Joan Miró Prize 2014, that was published in the course of the exhibition Roni Horn. Everything was sleeping as if the universe were a mistake. The three different editions stand for the three different languages: Catalan, English and Spanish.
Format: 285 x 305 mm
Design: Ariadna Serrahima
Exhibition design for the Centre of Architecture in Vienna. The idea behind the strict grid of shelves, printed on grey cardboard, was to showcase the centre’s main activity: the collecting and structuring of the architectural legacy. The centre collects donations and bequests from Austrian architects since 1993.