«Tercera» by Carlos Adalid, Laus Aporta Students 2019

Interview to the designer of this magazine developed at ESDAP Serra and Abella, that seeks to provide a publishing spot for old people


What is Tercera?
Tercera is a window that opens up to stories, memories and experiences that takes the shape of a publication which gives voice to one of the least visible groups in our society: old people. A publication that shows a non-saccharine reality, where everything inside has been created entirely by the protagonists in the form of conversations on the page and images, taken with an analog camera. The result is an intimate space, that changes according to the lives of each of one of them.  

Where did your interest in this issue and in the lives of this segment of the population come from?  
My last job outside the world of design led me to meet and form friendships with different segments of the population: young people, adults and old people. In this last group I was surprised to discover the necessity they had to relate and create connections, talk about their memories and concerns, their daily lives and the way they saw the world.  
When starting to investigate the subject I realised that almost all of us want to finish our days in our own homes but, at the same time, nearly half of older people suffer from social isolation. In many cases the problem comes from the loss of connections and the disinterest of a society that hasn’t been able to give this generation a role, even though it is getting bigger every day.  
That’s where the idea came from to take their perspective to the general public, which sometimes doesn’t find the way of finding out what’s going on within those four walls.  

How did you turn the idea into a reality?
I didn’t want it to be a project that just concentrated on talking about experiences or telling stories about my grandparents or the people close to me. Instead I wanted to take the opportunity to create something that I myself would want to read and to learn about people who I didn’t know before. So, I got in touch with different Associations: Baixem al Carrer and En Bici Sense Edat. They helped me to find the protagonists, the people who would be more open to the idea of taking part in this project I was starting. 


Have you thought about editorial development and more content ?
After my project, I’d like Tercera to awaken the interest of the public, having some continuity in the future to help to question a problem in society.
The idea is that future editions could concentrate on a particular neighbourhood of Barcelona and be able to discover the area and the changes their lives have gone through through their own eyes.

What resources would you need to do that?
I’m one of those people who still prefers print to digital. The screen hasn’t managed to transmit the same warmth as the physical format. Despite that, editing is complex, you need resources, collaboration and full dedication to make sure the content remains high quality. The publication has captured the interest of the associations I worked with. It’s a way of highlighting the work they do and it’s in line with their aims and principles. Thinking about future editions, working together might be the right way to get the project off the ground. 


What have you learnt with Tercera?
How important it is to involve people who are outside the world of design, who aren’t interested in final projects, or photography, and who might have doubts that their experiences are important, but, despite that, still have the confidence to contribute to the publication. It has helped them to collect and organize memories that they had forgotten and to understand that being listened to and read about isn’t a burden on them, actually it’s the opposite.
On a personal level, it has helped me to look at the way that design can have a real impact on society and help us to make visible the things that often go unnoticed.  

As a student, how do you see your career developing? What are you looking for? What interests you?  
 I think that the world of design, unlike other professions, is advancing at an accelerated rate. That forces us to constantly evolve, so we don’t know what we’re going to be doing in X years, or even tomorrow. Despite that, I’m sure that the best way to move forward is to combine personal and more experimental projects with professional work that comes with working in a studio, with clients behind it. I’m more inclined to work in small teams or studios, which allow a bigger level of participation and follow up in each of the stages of the design process. In regard to the kinds of projects, I’m open to collaborations, especially in other artistic fields, or ones that go beyond the purely aesthetic.


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