The design explores the idea of transforming a minimal element—a dot—into something expressive and meaningful. It proposes a visual reflection on the present moment, encouraging viewers to slow down, observe, and engage more deeply with what is happening now. The dots that construct the custom letterforms symbolize the multiplicity of experiences and possibilities that exist in the present.

At the lower edge of the composition, two lines of text run horizontally across the design. This typographic element reinforces the conceptual message while introducing a chromatic counterpoint to the dominant vertical structure.

The use of colors reinforces this concept, evoking a diversity of moments, emotions, and experiences available in the here and now. As a whole, the poster functions as a quiet reminder to pause and reflect, inviting viewers to value subtle details and to perceive everyday life with greater attention and openness.

Created as part of the Posters for Gaza solidarity initiative, this poster contributes to the collective effort to support Doctors Without Borders through graphic design promoted by ADG-FAD.

The composition centers on a tree of life constructed through language. Words are woven into form, spelling out a single, unequivocal message: Life for Gaza. Drawing from Palestinian tatreez, the piece reinterprets this ancestral embroidery as a contemporary graphic system, where repetition functions as an act of remembrance and resistance.

The message is clear and direct, standing as a firm visual gesture in defense of life.

All is Social emerges as a new agency, positioning itself around the idea of energizing brands for a digital-first era. Its visual identity, designed by Casamira, distills that ambition into a singular graphic gesture: a continuous circular form.

This unbroken loop becomes a metaphor for the openness and collective spirit that define contemporary online communities. It underscores the agency’s aim to cultivate these networks while suggesting a broader sense of global connection – a reminder that digital interaction flows effortlessly across borders.

Casamira’s approach places movement at the center of the identity. In static applications, the symbol never appears in the same position twice, a deliberate choice that mirrors the pace and volatility of social media. The result is an identity that frames the agency as responsive to an environment defined by constant change, where adaptability is essential for brands to remain alive and relevant.

In Un material para imaginar, architect and researcher Oriol París Viviana traces five decades of Escofet 1886’s contribution to the industrialization of architectural facades. The book revisits the company’s most influential projects to show how concrete has evolved from a structural component into a medium of expressive and technical possibility.

The publication gains much of its character from the visual direction by me, Meritxell Casamira (Casamira), with a design approach that reinforces the book’s central theme. Drawing on the austere vocabulary of brutalism, I’ve build a graphic environment that mirrors the material it examines. The layout embraces weight, texture, and clarity, turning each spread into a distilled reflection of concrete’s physical presence.

The design avoids ornamentation in favor of precision. Photographs, drawings, and text are orchestrated with deliberate restraint, creating a rhythm that guides readers through Escofet’s legacy without overshadowing it. The result is a publication that reads as both a historical document and an interpretive object – one that allows the material’s quiet force to emerge through structure, scale, and visual balance.

Through this lens, the book becomes more than an academic tribute. It stands as an example of how editorial design can translate architectural thinking into a tactile reading experience, giving concrete not just a narrative, but a voice.