Infrastructures in transit

 

“All architecture is, at its core, a negotiation with time. Not so much a fixed form, but a system that activates, wears, adapts, and ultimately transforms. Infrastructures in Transit emerges precisely from this intuition: to shift the gaze from the object toward that which sustains it over time.

The book is not organized according to chronologies or typologies, nor by scales or programs. It is articulated around a more essential condition: the manner in which each work establishes its relationship with duration. That is, how each architecture defines — or accepts — its own temporal limits.”

Josep Ferrando’s words — together with the key principles that define his architectural approach

⠀
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀rules of the game

⠀
⠀
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀maximum questions

⠀
⠀
⠀⠀⠀⠀⠀a unique and precise answer

⠀
⠀
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀mono-materiality

⠀
⠀
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀geometry⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀efficiency

⠀
⠀
⠀⠀⠀⠀unpredictability

⠀
⠀
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀relevant and ingenious

⠀

— formed the basis of the book’s editorial identity.

• Time (ESL, in years) and space (Footprint, in m²) constitute the fundamental coordinates according to which the constellation of projects is organized.

• Each project is marked by these two measurements. Together, they create a diagonal along the fore edge and a constellation along the foot edge: a visual metaphor suggesting that, more than a portfolio, this book presents a process—a way of thinking. This is why graphics, diagrams, sketches, maps and conceptual resonances are given the same weight as the final images.

• The cover is raw, rough and unpretentious. The visible thread reveals the book’s internal architecture, exposing the repeated folds that, like modules, hold the whole together. Munken Print White 2.0 paper reinforces the object’s monolithic effect while retaining a sense of lightness.

• The single-weight Suisse Serif introduces a more expressive register, balancing the book’s structural and material rigour.

• Geographical coordinates appear next to the page numbers, reinforcing the dialogue between the book’s own coordinates of time and space and those of architecture.

“Through the book, we read spatial practice anew.” — Marian Macken