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Grafted art during the Biennale di Venezia
  • Curators
    Josep Torrents i Alegre
    Jordi Ribas
    Guillem Carabí
  • Creative Direction
    Martí Ferré
    Agnès Simon
  • Design
    Martí Ferré
    Agnès Simon
    Raul González
  • Krafts
    Mireia Sala
    Joan Marc Blanch
    Martí Ferré
    Agnès Simon

 

Detall de la façana de la Casa Bofarull (Els Pallaresos)
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Grafting conveys the idea of a new organism that combines the strength of its original components, whether new or old, and is more vigorous than any of them alone: an idea of renewal and growth

 

Context
Catalonia participated in the 14th Mostra Internazionale di Architettura - Biennale di Venezia presenting the work of 16 Catalan architects who share a similar attitude. This attitude is based on a profound dialogue between the new and the pre-existing, creating architectural projects that fuse new materials with existing ones, in the same way that trees are grafted.

The starting point for "grafting Architecture" is the restoration of Casa Bofarull (Els Pallaresos, 1913-1933), one of the main works of Josep Maria Jujol (1879-1949), where the architect inserts a new layer over an existing one. This creates a fusion of resources and materials that, throughout the different periods and different ways of living, are stratified and overlapped, so that in the end it is impossible to differentiate the parts of the Whole.
 

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Challenge
Just like Jujol in Casa Bofarull, Gironès in the Transmitter Space in Seró, Pinós and Miralles in the La Llauna Institute in Badalona or, RCR in the public space La Lira in Ripoll, we, as graphic designers, wanted to graft Venice with a visual code that would be integrated into the city, avoiding the strict regulation that exists for this type of intervention in Venice: this means that, to avoid visual pollution, interventions in public space must be integrated into the urban landscape, in other words: they must be grafted onto the city

We achieved this challenge by formulating four principles that define a unique visual code that is scalable to different types of applications.

Materials and colour
If Jujol, Gironès, Pinós, etc work with construction materials such as iron, electro-welded mesh, tiles, wood panels, etc, we do too.

If Jujol's main colours were yellow and blue, we also use these colours.
 

Typography and resources
If we live in a digital world, we can use the mesh structure as a basis for creating a pixel-based typography to compose the texts.

If the architects were expert craftsmen, we would be too; thus, we take as a reference the handicraft coming from basketwork and cross-stitching.

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working hard
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Working with our hands on large, hard surfaces and with heavy equipment that we are not used to, made us remember that there is life beyond the screen and the digital world.

 

For two months, in a warehouse in Sant Joan de Mediona and for a week in Venice, we dedicated ourselves to embroidering, cutting, heat-welding strips, nailing and combining materials to create all the elements.

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detalls totem
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The result is a series of interventions and elements, grafted on to each other, distributed around Venice, some indicating the way to the exhibition and others grafted on to the building itself.

Which goals does this visual system solve?

# 1
To integrate / graft the graphics into the architectural space

# 2
Create graphic interventions that go beyond signage, becoming, also, communication

# 3
The pavilion, the itinerary, the content and the graphics are an inseparable continuum

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