YOU ARE WORTH FORGETTING

and other reasons why 
remembering is overrated.





Nominated for an Ei! Award for Best Final Thesis in Graphic Design


Nominated for a Brut! Young Talent 2024 Award (Published Project)

Nominated for a LAUS. Selected project for the ADG Laus 2025 Book

  • ELISAVAFINAL BA THESIS
    June 2024Concept DesignEditorial, Thermal PrintingDesigned by Laia Sánchez.
  • The Human Upgrade Movement (THUM)with Adidas MakerLab + DOES

    Tutored by Saúl Baeza, Lluís Sallés, Citlali Hernández & Arianna Dipollina.




YOU ARE WORTH FORGETTING
and other reasons why remembering is overrated.

You will forget this text. You can read it, like it, love it, even, but like most things in life, you will forget it. And that’s OK. It’s great, actually. Humanity is obsessed with remembering. We must “never forget”. Evidently, memory is a useful tool in life, individually and collectively. It helps us learn and evolve. Yet, our obsession with remembering, or rather, our refusal – our fear – of forgetting, is keeping us from the present moment. To remember, we must forget. We can’t have one without the other, however painful that may be.
This project seeks to honour this very fact with a design proposal that aims to be forgotten, supporting the belief that that which is not remembered is also valuable and worth our thought. 
Worth celebrating.
Worth forgetting.









GUIDEBOOK INTO OBLIVION: A MANUAL TO FORGET



Once again, you won’t remember this text. 
These words, along with the entire thesis, will be soon long gone from your memory, doomed to life in perpetuity in oblivion, next to all the other things that have met the same fate.
At some point in life, or death, you will be added to the list of forgotten things. 
This thought might be liberating to some, and terrifying to others. We are the latter. 
Scared to death of forgetting and of being forgotten. 

Standing up to fear and drawing from personal experience, You Are Worth Forgetting explores the concepts of memory as a whole and its role in our lives and, more notably, in our personal identities, following the belief that, as Stefano Benni said, memories are the architecture of our identity.

It also looks at physical proof, and material evidence of this connection, starting from our house, where the concept of souvenirs is an integral part of the project narrative. We explore the dichotomy of it all and find a particular interest in the methods of memory, more specifically, oblivion. However, to understand the inner workings of forgetting, we first have to understand its counterpart: remembrance. We study the hows and whats about our process of remembering, focusing on the tools upon which we rely; the tools that aid us in memory.  Using these same tools, we reverse-engineered them to change their functionality: from remembrance to oblivion. 

As a final piece and a summary of everything learned, this project culminates in a guidebook, a manual of different methodologies to forget.  Ten methodologies are divided evenly into two categories: physical and digital. Five methodologies to physically forget and five to digitally forget; one book for each, all stored in a box. 

The shape of these books follows their contents: to be forgotten. 
Taking advantage of the properties of thermal paper – which when close to heat turns black, erasing all its printed contents on the way – the ten books are designed to be ephemeral, short-lasting, and ultimately, forgotten. 

Reclaiming the act of forgetting as not something that happens to us, but something we choose to do. 
Something we want. 
Something we seek. 
Because forgetting is not that bad, and remembering is not that great. 
They are both valuable, needed, enjoyable, and worthy of existing. 
Everything and everyone deserves to be remembered the same way they deserve to be forgotten. 
You are worth remembering, just as You Are Worth Forgetting.



















Process