🩷💚Coda In Use💙🤍
CODA — 2nd Young Architecture Biennal of Catalonia
[biennalcoda.com](/)
@biennalajac
Graphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [
@coacatalunya ](/coacatalunya/) during October 2025.
“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”
Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.
From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.
Curated by
@naiaralbizua @carrrmi @0bjet.a
Organised by
@agrupacio.ajac
Directors
@danimonss @guillem_h
Graphic design by
@laracoro
Website code by
@claralayti
All photographs by
@nataliavaquero_ except slide 5, 17, 18
@laura.markert_ & slide 15
@simoneemarcolin
Typeface CMM Coda by
@commatype
Risograph printing by
@dotheprint 
@biennalajacGraphic identity, website design and printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at [@coacatalunya](/coacatalunya/) during October 2025.“Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.”Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.Curated by @naiaralbizua @carrrmi @0bjet.aOrganised by @agrupacio.ajacDirectors @danimonss @guillem_hGraphic design by @laracoroWebsite code by @claralaytiAll photographs by @nataliavaquero_ except slide 5, 17, 18 @laura.markert_ & slide 15 @simoneemarcolinTypeface CMM Coda by @commatypeRisograph printing by @dotheprint](https://sp1.picnob.com/p/pt_6766571722304567282623_0_18e874a92e444669bdae3d0a1a468727.jpg?o=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&h=d3abbcc3c64150ca84d7d2ffe006bd15)
![This summer, designers Laura Markert @laura.markert_ and Simon Wahlers @zweifel_ – whom I both admire for their thoughtful, critical, activist design practices – invited me into their conversation about love letters and a love for letters.It was prompted by Lauras project “Love Letters, But As A Feminist Act” which, in a double meaning, speaks of both. She designed postcards set in her typeface, Friedländer. It is a re-interpretation of a design by type designer Elisabeth Friedländer who practised under difficult circumstances in the early 20th century. I was happy to advise a little on the typeface’s design and help with some letter refinement (still a work in progress). Lauras postcards prompt us to write to a person we deeply appreciate to “tell them what [we] love about them.”Simon’s work is similarly inspired by analogue communication. Next to his design practice he publishes both beautiful and opinionated, thought-provoking material, such as zines, posters, calendars and his “Rundbrief” series – printed newsletters on varying topics which you can sign up for (or order once they’re published).We began to share thoughts on what it means to “love letters”: the practice of letter writing, publishing, a feminist stance on choosing typefaces, female type designers we admire… The final result is a long written exchange designed as a beautiful poster publication which was just released last week as the newest “Rundbrief” installment!You can now order a copy over on the Zweifel website for only 7€ (available only in German for now). zweifel.jetzt/love-letters (link in bio) You can also sign up for future Rundbriefe at zweifel.jetzt/rundbrief ️ Any donations are welcome and help keep the project aliveI feel super fortunate to have been part of an exchange conducted with such an amount of care for the topic and for each other. I feel it was truly a collaboration on all levels. Thank you so much, Laura and Simon!Concept & design: @zweifel_ @laura.markert_Typefaces: Friedländer @laura.markert_ , CMM Coda @commatype](https://sp1.picnob.com/p/pt_6729265758262767674435_0_8d102aafbd8f73e2a18eb5170133697d.jpg?o=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&h=da7bb266fc80a287cde9bf4d253c448d)
