CRITICAL PRISON DESIGN

ROGER PAEZ

The prison is an uncomfortable institution and its

architecture is often subjugated to technocratic criteria.
CRITICAL PRISON DESIGN
Mas dEnric is a new penitentiary that overturns
preconceptions and posits architecture as a medium
to critically rethink contemporary prisons. Mas dEnric Penitentiary
by AiB arquitectes + Estudi PSP Arquitectura
Contributions by Keller Easterling, Adri Carbonell, Llus
Ortega, Juan Azulay, Juan Elvira, Ed Keller, Ramon Faura,
Cam, Eghann MacColl, Angela Kay Bunning, Gruff Rhys,
Jordi Bernad.

ROGER PAEZ
Doing Time
Ed Keller
This first impression of the interior-exterior aspect has become clear more
recently, at least as a problem I possess a strange photograph of a face
behind the grate of a castle or a convent. From the photograph it is difficult
to know whether one is seeing from the point of view of the person who
looks at us or from the opposite side. Examining this photo I do not so much
pose for myself the banal problem of how this effect might be, so to speak,
expressible in architecture, or even in film or some other medium; but rath-
er I realize the grate is the means which makes the occurrence possible
by a singular coincidence, sometime after I first saw this photograph, I
visited the cells of the sisters in the Convent of Las Pelayas at Santiago
de Compostela, and I again saw the effect that had been captured in the
photograph There, in the interior of the cells, I noted a striking luminosity
which contradicted the nearly prison-like aspect of the exterior facade.
The same shouts that reached the outside of the convent were perceived
on the inside with even greater sharpness, as in a theater Similarly, ar-
chitecture becomes the vehicle for an event we desire, whether or not it
actually occurs not, as the functionalists thought, because they carry out
a determined function, but because they permit other functions. Finally,
because they permit everything that is unforeseeable in life.
Aldo Rossi1
In Roger Paezs Map of the Outside [p.90] we are shown a nexus of many
different scales of relation, which we can understand as conditions of the
everyday life of the inmates in Mas dEnric in both tangible and ineffable
ways: the sounds outside the prison, the position of constellations in the
night sky, the prevailing winds, the views to distant peaks; all parts of the
genius loci of the site of the prison. Each connects the inmate to a range
of experiences outside that which they can directly grasp while incarcer-
ated. Each is thus a line of flight, even if it is only the senses and memory
which escape, and not [yet] the body.
86
The duty of any piece of architecture prison or otherwise might
be to reveal some of those lines of flight, to confuse the distinction be-
tween a prison and a house, and also to show more clearly the ways that
the prison functions as a frame for the convicts as citizens. Citizens of
the prison, yes, and also the world they live in. For, ideally, the prison
would be a site where the distinction between inmate and guard can be
dissolved, through a rehabilitation that reveals the (ultimately) relative
nature of any such distinction.
The Mas dEnric projects ambitions bring to mind the famous pen-
ultimate shot in Antonionis film The Passenger. In this much studied
scene, David Locke [a renowned reporter, played by Jack Nicholson]
awaits a conclusion [death] to his story with an ennui that is paralleled
by the cameras movement through space. Tracking across Lockes hotel
room, the camera approaches a set of iron window bars and then, seam-
lessly, quietly, passes through them and pursues a lazy orbit around a
dusty plaza outside. Seemingly choreographed by the painter Balthus
sense of gesture and suspended time,
the camera ultimately loops thru the set-
ting sun and stops to capture a deathbed
conversation, looking back into the room
through the same grate it had passed
earlier. A single, continuous, impossible
shot. The sounds and events in the plaza:
childrens voices, birds, dogs barking,
echoes, tires on gravel, a trumpet (on
a record player?), the backfiring of a
motorcycle perhaps concealing a pistol
shot, the arrival of a police car with siren
crisscrossed by the paths of people
walking thru the piazza and the final
question, Do you recognize him? su-
Michelangelo Antonioni on the set of The Passenger
perimpose all the possibilities of life, of
during filming of the penultimate shot. freedom, of continuing.
Technically, this shot in Antonionis film
was of legendary difficulty and took days to achieve. But, the focus here
is more on the deep question of being, of identity, and of freedom that
Antonioni was engaging. The iron bars are a frame delineating both the
immediate constraints on the character Locke, and the broader question
as well: What is to be done? The camera passes through the bars, mag-
ically just as sound, light, smells, wind, temperature and time itself
Doing Time Ed Keller
pass the bars at Mas dEnric.
Earlier in The Passenger, in Africa where Locke sought to contact
insurgent forces a very similar camera movement glides out of and
around another hotel room. In that scene many layers of time are juxta-
posed: we actually see something on screen which is being remembered
by Locke, as he listens to a tape recording of a conversation he had sur-
reptitiously captured; in this scene (later) listening to the recording, he
87
counterfeits a new passport with the identity of the man he remembers ENDNOTES
(and hears on tape) having a conversation with who is now dead. There 1 Aldo Rossi, A Scientific Autobiography (Cambridge, MA: MIT Press, 1981).
are multiple strands of time, identity, trajectory, and fate built into this re-
markable scene, which is later clearly recapitulated in the final shot of the 2 Is it coincidental that Jack Nicholson played a prisoner in another film also
film, with very different consequences: in the first flight from the African released in 1975, One Flew Over the Cuckoos Nest, and that his character in both
hotel room, from his own identity, Locke succeeds in becoming someone films is incapable of escaping a dark fate?
else and invokes a new and different network of relations. But at the end, 3 Bioy Casares The Invention of Morel comes to mind here, as well.
he seemingly cannot outrun fate. 2
4 Victor Hugo, Oeuvres compltes, Vol. 24 (Pars: Hetzel-Quantin, 1962), 390.
Antonionis films famously meditate on the potentially useless nature
of the movement of a character to self determination in the world. Our
reading of the films may vary some find them deeply pessimistic as the
characters frequently fail to find meaning. But another reading is possible:
that they are subtly, complexly optimistic as they force us as audience to
ask the same questions the characters on screen are faced with. We, off
screen, have a privileged vantage point and agency: we see the mech-
anism of the film (or of architecture, the prison) and by being invited to
re-ask the question, we may perhaps have a chance that the characters
trapped within film-time do not have. 3
This is one of the most difficult gambits faced by architecture after
modernity (one might as well say architecture after imprisonment): how
to both revel in materiality and being in the world, while simultaneously
questioning and doubting the very foundations of moral and ethical be-
ing Can the architecture of Mas dEnric function as Antonionis cinema
does, reflexively providing an evolving mirror for the audience (the inmates)
to re-imagine themselves? And thus ennobling them as citizens who can
grasp both interiority and exteriority
Aldo Rossis meditation on the iron bars of the convent at Las Pelayas
underlines this question, especially as regards the way that a frame be-
tween interior and exterior can sharpen our grasp of both.
There is a more eternal question we can ask about the relation between
the outside (the open) and the interior, which ultimately supposes that any
event could be our final moment. Partway through Passenger, Lockes
female companion asks him: What are you running away from? He tells
her to turn her back to the front seat, and when she does, from the ecstat-
ic vantage point of a red leathered, white convertible racing forward (in
flight) holding her arms up in the wind which whips her hair around her
smiling face she sees the line of sycamore trees receding behind them.
Running away from simply, what came before. And ahead, the golden
light of the trees, forward in time: the road.

Doing Time Ed Keller

Exile is not a material thing, it is a spiritual thing. All the corners of the
earth are exactly the same. And anywhere one can dream is good, providing
the place is obscure, and the horizon is vast.

Victor Hugo 4

89
88
Map of the Outside, 2007-2013
Roger Paez i Blanch

Every map always constructs a territory. The

territory that this map constructs is both real
and mythical: the prison as a place that is
permeated by the outside. Aside from being a
closed and isolated environment, Mas dEnric
is also an open place, affected by forces that
cannot be reduced to a specific architecture
and which prevent the prison from always being
the same. Faustroll smaller than Faustroll. The

Map of the Outside Roger Paez

map registers different conditions related to the
outside. Nearby views that overlap beyond the
limits of the enclosure. Far-off views toward the
mountains on the horizon. Horizontal sections
that show the terrain and the construction as a
whole, indistinctly. Wind, birdsong, the sun. The
night sky, the most visible constellations and
the Milky Wayvery present on clear nights, of
which there are many. These levels of the outsi-
de are explicit. Most of them are not.
92
90
The Outside
The prison, by definition, is a confined space; prisoners are not free to leave.
However, the Mas dEnric project seeks to achieve conditions of exteriority at
the very heart of its enclosure. Paradoxically, as you approach the most en-
closed spaces in the prison, the spatial experience of exteriority increases.
This exterior is a radical outside; it refers to more than just what lies on
the other side of the prisons walls. When we talk about the outside, we are
referring to everything that is not determined by the architectural design.
The experience of living in the penitentiary is affected and qualified by what
falls outside the realm of design, by what the architectural project cannot
control: the changing sky, the wind rustling in the trees, the arc of the sun as
the day and the year advance, the birdsong, the thickness of the fog or the
crispness of the air.
There are multiple strategies which allow this outside to filter in: Some are
active, like the topological modeling of the ground to allow for distant views
of the mountains; the inclusion of vegetation on the prison grounds to allow
for the experience of the changing seasons; or even the ease with which
prisoners can visit with family and friends. There is also a passive strategy:
a certain epokh that leads to a suspension of architectural decision-mak-
ing, at times, thus allowing some unpredictable vectors -outside the realm of
design decisions- to round out the setting for life in the penitentiary.
Letting the outside into the prison responds to simple reasoning: as
marvelous as a building may be, it becomes loathsome the minute you are
never allowed to leave. As such, when designing the Mas dEnric prison, we
aimed to let the maximum number of exterior vectors breach the confines
of the walls, the tmenos of the penitentiary. It was a way of ensuring that
the setting for the prisoners lives would not only be determined by impla-
cable architectural concretion, but, in a very significant way, by irreducible
elements which harken back to an outside. By refusing to over-determine
the penitentiary through architecture, we allow the outside to condition the
prison setting in variable, unpredictable ways.

84
ROGER PAEZ

CRITICAL PRISON DESIGN

Mas dEnric Penitentiary

by AiB arquitectes + Estudi PSP Arquitectura
Biographies
Paula Arroyo
Architect (ETSAM). She has been taking pictures for 25 years, since
her initial training with ngel Baltans. As of 2006, she combines
architectural practice with her work as a photographer. In 2009 she
founded OjOvivOfoto, a professional platform for the development
and publication of spatial photographic features. That same year,
she was awarded the Fundamentos Architectural Photography
prize from the Madrid College of Architects (COAM). Her work,
both features and personal research, has appeared in a number of
publications.
http://ojovivofoto.blogspot.com.es
Juan Azulay
Film director, media artist, author, and designer. As a director and
media artist, he is known for his collaboration work with No Wave
legend Lydia Lunch and for his directing work alongside the Oscar-
winning cinematographer, Guillermo Navarro. His design work and
films have received over a dozen well-known awards in competition
and his work has been included in prestigious exhibitions like the
2011 Ville Fertile at Cit de lArchitecture et du Patrimoine in Paris
and as part of the permanent collection at the MAK in Vienna.
Azulays work is produced through a creative practice called MTTR
MGMT, where he is the creative director. He teaches graduate,
post-graduate and undergraduate design studios at SCI-Arc, as
well as Visual Studies. He has also taught at Columbia Universitys
GSAPP, the University of Miami and Barcelonas ETSAV. He received
a Bachelor of Architecture from Sci-Arc and an M.S. in Advanced
Architectural Design from Columbia University.
www.ma77er.com
Jordi Bernad
Photographer. His photographs have been acquired for major
public and private collections, such as those of Fundaci La Caixa,
Fundacin Telefnica, Bibliothque Nationale de France, Deutsche
Bank Collection, Artium, MUSAC, Fundaci Vila Casas, and Banc
Sabadell among others. They have also been shown in many solo
and collective exhibitions, at venues such as Artist Space in New
York, la galerie VU in Paris, Galera Senda in Barcelona, Filter
Space in Hamburg, Fotografie Forum International in Frankfurt and
MAXXI in Rome. He has published more than 20 books focusing on
contemporary architecture and landscape, such as Good News*
Always Read the Fine Print, Very Very Bad News (winner of the best
photography book in Photoespaa 02 and best art book prize from
the Spanish Ministry of Culture in 2003), True Loving and other Tales,
Welcome to Espai, and Europa, all published by Actar.
www.jordibernado.com
Angela Kay Bunning
Translator and researcher in Comparative Literature. She holds
degrees in Comparative Literature from Columbia University and
the University of Barcelona. She earned her Masters degree in
Comparative Literature and Literary Translation from Pompeu
Fabra University and is currently developing a doctoral disser-
242
tation on Literature and Architecture. She has worked for over
ten years as a translator based in Barcelona, touching on a wide
variety of texts, including specialized and academic material, in
fields ranging from architecture to literary criticism.
www.angelakaybunning.com
Cam
Sculptor. He is part of a group of sculptors promoted from Paris by
Grard Xuriguera, historian, art critic and international curator of
public sculpture. He has shown his work in more than thirty indi-
vidual exhibitions and over a hundred collective exhibitions. He has
public sculptures on display in Catalonia, Portugal, Ecuador, South
Korea, Lebanon, Taiwan and Puerto Rico. He has collaborated with
interior designers, architects and poets. He has been a professor
of Sculpture at the Escola Massana for 33 years. He is co-author
of two books on sculpture, La Talla Escultura en Madera and
Escultura en Piedra (Ed. Parramn). He is co-founder of TallerBDN
in Badalona, a center for creation, production and diffusion of
sculpture, which is supported by the Generalitat de Catalunya.
http://camiescultor.com/
Adri Carbonell
Architect (UPC), Masters degree in Architecture and Urban Culture
from the UPC. Since 2008, he has combined a professional practice
in architecture and urban design with research and teaching. He
has been awarded the AJAC prize for young architects in the cat-
egory of theory and criticism three times. Between 2011 and 2013
he lived in the Persian Gulf, where he was a visiting professor at
the American University of Sharjah. He currently lives in Sweden,
where he is a professor at the Ume School of Architecture (UMA).
www.collectivaa.com
Keller Easterling
Architect, writer, and professor. She earned both her B.A. and
School, and Associate Professor at Parsons The New School for
M.Arch from Princeton University and has taught architectural
design and history at Parsons, The New School for Design, Pratt
Institute, and Columbia University. She is currently Associate
Professor of Architecture at Yale University. She is working on the
issues of urbanism, architecture, and organization in relation to
the phenomena commonly defined as globalization. Her books
include Enduring Innocence: Global Architecture and its Political
Masquerades (MIT, 2005), Organization Space: Landscapes,
Highways and Houses in America (MIT, 1999), and a forthcoming
book, Extrastatecraft: the Powers of Infrastructure Space (Verso,
2014).
www.panix.com/~keller/
Juan Elvira
Architect, M.S. from Columbia University. Associated professor of
design at the ETSAM and visiting professor at national and inter-
national schools. His designs have been exhibited at Freshmadrid
and as part of the 11th Mostra Internazionale di Architettura
during the Venice Biennale, among others. He was a finalist for the
Norwegian national architecture prize, Staten Byggeskikkpris, in
2012. In addition to his academic and professional career, he also
engages in critical and editorial work, which he began as the editor
of Oeste architecture magazine and has continued with the publi-
cation of numerous essays in specialized books and journals.
www.muradoelvira.com
Ramon Faura
Musician and PhD in Architecture with the dissertation Arquitectura
palimpsest (Versalles lany 1701). Assistant professor at the Rovira
i Virgili School of Architecture, where he teaches History of Art and
Architecture. He also teaches courses in architectural theory at
ELISAVA and has taught at ETSAB. From 2003 to 2006 he was head
writer for Quaderns dArquitectura i urbanisme under the direction
of Llus Ortega. He was co-curator, with Santi Ibarra and Antonio
Pizza of the exhibition Arquitectures sense lloc (2009) at the
Centre dArts Santa Mnica (Krtu, FAD and CoAC). He regularly gives
lectures and writes articles. He also performs live in concert and
records music. In 2010, he published the book Lescapament del
cos mstic (Llus XIV vestit de rei).
Jos Hevia
Graduate in Fine Arts (UB). He holds a degree in General
Photography from the Catalan Institue for the Study of
Photography (IEFC). In 2003, he began work as a photographer spe-
cialized in architecture and landscape, collaborating with archi-
tecture firms, the press and specialized publications. He was part
of the editorial board of Quaderns dArquitectura i Urbanisme from
2003 to 2006. He has published the following monographs: 2G n33
J.A.Coderch 10+1 casas (GG, 2005), 2G n 56 balos+Sentkiewicz
(GG, 2010), Guia darquitectura Moderna de Catalunya (COAC,
2007), ARQUIA TEMAS-28 Alejandro de la Sota (2009), Edificio
Collage/Rahola Vidal arquitectos (Actar, 2011).
www.josehevia.es
Ed Keller
Director of the Center for Transformative Media at The New
Design. Designer, professor, writer, musician and multimedia
artist. Prior to joining Parsons, he taught at Columbia University
GSAPP(1998-2010) and SCIArc (2004-09). With Carla Leito he
co-founded AUM Studio, an architecture and new media firm
that has produced residential projects, competitions, and new
media installations in Europe and the US. His work and writing has
appeared widely, in venues including Punctum, Praxis, ANY, AD,
Arquine, Leonardo Electronic Almanac, Architecture, Precis, Wired,
Metropolis, Assemblage, Ottagono, and Progressive Architecture.
He has spoken on architecture, film, technology and ecology
internationally. Current research seminars at Parsons include
Post-Planetary Design, and The Radical Future of Guitar, a SP14
collab with Ola Strandberg. Ed has been an avid rockclimber for
over 30 years.
www.aumstudio.org
Eoghann MacColl
Visual artist. He has exhibited widely in Scotland and beyond.
He has won notable awards such as the Alastair Salvesen Travel
Scholarship and received support from Creative Scotland through
opportunities like the Neach-Ealain Lirsinneach Residency
program at Sabhal mr Ostaig on the Isle of Skye. He also has
significant experience in delivering innovative arts projects in the
education sector, both in English and Gaelic using the collaborative
benefits of the Curriculum for excellence reaching young people in
schools and colleges. Currently he is an offender art lecturer at Her
Majestys Prison Low Moss with the New College Lanarkshire.
www.dealbhadair.com
Llus Ortega
Architect (UPC), Licenciate in Philosophy (UB), M.S. in Advanced
Architectural Design (Columbia University), and PhD in
Architecture with the dissertation Digitalization Takes Command.
He is currently an assistant professor at the University of Illinois
at Chicago and a visiting professor at the Universidad Torcuato de
Tello in Buenos Aires. In the past, he has taught at the UPC, the
University of Alacant, Harvard University and the Academy of Fine
Arts in Vienna. He cofounded F451arquitectura in 2000. He has
served as editor for a number of specialized publications, including
as the director of Quaderns darquitectura i urbanisme (2003-2005)
and editor of Platform GSD (Actar, 2008). He published the com-
pilation La digitalizacin toma el mando (Gustavo Gili, 2011). He is
currently working on the Atlas of Suprarural Architecture with Ciro
Najle, on a grant from the Graham Foundation.
www.f451arquitectura.com
Roger Paez i Blanch
Architect (ETSAB), M.S. in Advanced Architectural Design from
Columbia University, where he received the GSAPP Honor Award for
Excellence in Design (2000). He is currently a PhD candidate at the
UPC in Barcelona. Following professional experience in the studios
of Alison and Peter Smithson and Enric Miralles, he co-founded
AiB, an architectural studio based in Barcelona. He conjugates his
professional career with an intense commitment to cultural and
academic pursuits. He served as a member of the editorial board
of Quaderns darquitectura i urbanisme, awarded the Jean Tschumi
Prize (2005). He has been an architectural design professor at
Ramon Llull University (ETSALS) since 2000 and has taught in the
postgraduate program at ELISAVA since 2006. In the past ten years
he has been a visiting professor, guest lecturer or jury member at
international universities including Columbia University, Cornell
University, Harvard University, University of Southern California
and Sci-ARC in the United States and at the ETSAB, ETSAV, BAC
and IaaC in Barcelona.
www.aib.cat
Gruff Rhys
Since 1986, as a songwriter and musician, he has released over 20
albums in both the Welsh and English languages, as a solo artist
and as a member of Super Furry Animals, Neon Neon and Ffa Coffi
Pawb. He has performed real and imagined concerts on all known
inhabited continents of Earth and possibly elsewhere. These
adventures have led to further experiments in film, theatre and
visual art.
www.gruffrhys.com
243
Mas dEnric Penitentiary
Paratge Mas dEnric,
43764 El Catllar, Tarragons, Catalunya
Developer
Generalitat de Catalunya (Catalan Government)
Justice Department
Office of Heritage, Construction and Services
Llus Dalmau, Rafa Lopez, Snia Ayala, Albert
Zamora, David Pagerols, Nria Perell, Raul
Gomez
Facilities Area and Information and Security Area
under the Directorate General of Penitentiary
Services
Pedro Domnguez, Faustino Agudo, Luis Moreno,
Fran Navarro, Manel Roca, Manel Santander
Infraestructures de la Generalitat de Catalunya
Design: Francesc Montaner, Anna Valls
Construction: David Piera, Maria Carme Gonzlez
Concessionaire
Superficiria CP Mas dEnric: Santiago Arderiu
244
Construction Company
UTE C.P El Catllar COMSA-EMTE
Management Committee: Rosa Maria Prez,
Eduard Murillo, Daniel Davicino, Manuel Barcina
UTE Management: Manuel Barcina
Head Site Manager: Luis Miras
Area Site Managers: Germn Gom,
Justo Conejo, Julio Fernndez
Technical Office Managers: Isaac Muley,
Victria Mart, Pere Soler
M&E services Manager: Manuel Heredia
Health and Safety Manager: Francisco Ruiz
Heads of Administration: Juan Sariol, Jess Angls
Surface Area
74.130 m2 construction + 130.163 m2 public space,
pedestrian areas and landscaping
Budget
113.830.553
Design
December 2005-June 2008
Construction
December 2009-April 2012
Lead Architects Acknowledgements
(Design and Construction Supervision)
Roger Paez i Blanch Thanks to Joan Maria Pascual, to everyone at AiB+
(A i B estudi darquitectes SLP) PSP and to all those who participated in the design and
Joan Maria Pascual i Caellas construction process for their dedication, excitement
(Estudi PSP Arquitectura SCP) and commitment.
Collaborating Architects Thanks to all of the collaborators for their
A i B: Iigo Solano, David Bar, Nicols Aparicio, contributions, texts, artwork and photographs,
Marta Mul, Lus Arredondo, Jordi Bruns, Gerard without which this book could not have been brought
Cuartero-Betriu, Eduard Dalmau, to light.
Gerard Garcia, Estbaliz Guitrrez, Jordi Pascual,
For their specific comments and general
Arne Schultz-Gambard, Enric Verd,
encouragement with respect to this book, thanks to
Sandra Vergara, Cristian Vivas. Carles Muro, Enrique Walker, Iaki balos and Bernard
PSP: Ferran de los Santos, Josep Prez, Ramon Tschumi.
Torrents, Jordi Morat, Enric Palou, Rafel
Montsons, Fernando Morales, Coral Pallars, Thanks to everyone who helped make this publication
Gemma Mercader possible: Ricardo Devesa, Nria Saban, Angela Kay
Bunning, Albert Ferr, and especially Ramon Prat at
Quantity Surveyor (Bill of Quantities+Estimates, Actar Publishers.
Quality Control and Site Management)
TRAM-J. Hierro Associats: Josep Hierro, Special thanks to the Justice Department at the
Jordi Noguera, Xavier Sol, Toni Gonzlez, Generalitat de Catalunya, Infraestructures de la
Generalitat de Catalunya, Superficiria Mas dEnric,
Carlos Zornoza, Natlia Sanjos
PSP: Josep Llus Pascual, Margarita Dav UTE C.P. El Catllar Comsa Emte, and Manuel Barcina.
Health and Safety
Valeri Consultors Associats
Mart-Avils: Jordi Avils
Structural Engineering
BOMA: Robert Brufau, Nacho Costales
Building Services (Mechanical, Electrical
and Plumbing)
JG Ingenieros: Llus de la Torre, Jess Valle
Security Installations
Helios Grup: Salvador Tarrag
Urban Planning and Public Works (Landscaping,
Infrastructure and Urban Engineering)
BCN: Joan Antoni Paez, Joan Rovira
EGI: Carles Noguera, Vicent Ballester
Auding-Intraesa: Josep Secanell
245
Published by Distribution
Actar Publishers
New York, 2014 ActarD
New York
Author www.actar-d.com
Roger Paez i Blanch
151 Grand Street, 5th floor
Editor
Ricardo Devesa New York, NY 10013, USA
T +1 212 966 2207
Contributions F +1 212 966 2214
Keller Easterling salesnewyork@actar.com
Adri Carbonell
Llus Ortega of the edition, Actar Publishers
Juan Azulay and Roger Paez i Blanch, 2014
Juan Elvira of the design for Mas dEnric, AiB + PSP
Ed Keller of the texts, their authors
Ramon Faura of the images, their authors
Cam of the artwork, their authors
Eghann MacColl
Angela Kay Bunning All rights reserved. No part of this publication may
Gruff Rhys be reproduced, stored in a retrieval system, or
Jordi Bernad transmitted in any form or by any means, electronic,
mechanical, recording or otherwise, without the
Graphic Design
Nria Saban prior written permission of the author.

Printing ISBN
Grafos S.A. 978-0-9893317-7-7

Translation and proofreading A CIP catalogue record for this book is available
Angela Kay Bunning from the Library of Congress, Washington D.C., USA.
Images
Actar Publishers made every attempt to contact the
Jordi Bernad and 15-L. Films: 234-241
Institut Cartogrfic de Catalunya: 113, 116 copyright owners for the images published in this
David Bar + Marta Mul: 167 book. In some cases they could not be reached; we
OjOvivOfoto: 8, 18-19, 39, 45, 53, 65, 75, 85, 95 invite the authors to contact the publisher.
Roger Paez i Blanch: 226-227
Snia Pardo i Polo: 210-213
UTE Comsa Emte: 4-5, 10-11, 13, 116
All other photographs by Jos Hevia

Drawings
AiB: 228-231
Roger Paez i Blanch: 35, 58, 60, 91-93
Caterina Paez-Bunning: 23
Lluc Paez-Bunning: 27, 29
Gruff Rhys+Roger Paez i Blanch: 224-225
Benjamin Rice+Juan Azulay: 72-73
oghann MacColl: 109, 206-207
All other drawings by AiB+PSP

Sources
p 42: Brennan/Linsley/AP, 2006
p 89: http://www.museumofcinema.com/museum-of-
cinema-the-passenger-1975-exhibit/