FURNITURE AND
PRODUCT DESIGN
Credits: 6 ECTS
Language: English
Professor: Luís Eslava
Length of the course: 45 Hours
COURSE DESCRIPTION
This course focuses on product and furniture design, covering
the entire process from conceptualization, formalization,
development and pre-production of a designed object from
the human, domestic or work environment. The course will
analyze the social, ergonomic and aesthetic environment of the
user, the method for producing the final work and the impact
of this on the environment as a whole. Students will approach
the semantics of objects, their functional and communicative
capacity along with the integration of materials and technology.
As part of the development and design of products, the class will
visit factories, showrooms and design boutiques as well as use
the school’s workshops.
MODULES
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Design management.
Creativity.
Techniques of model construction.
Technical project development.
Suppliers, materials research, and the hardware.
Presentation skills and project communication.
Trade fairs and the latest trends.
Preparation for final project presentation.
LEARNING OBJECTIVES/OUTCOMES
At the completion of the course, students will be able to:
• Recognize the different types of design, designers and its work
environment.
• Use all the tools in the design process, including
conceptualization, formalization, development and preproduction of a designed object from the human, domestic or
work environment.
• Identify the product design profession, its context and its
relationship with modern society.
• Demonstrate capacity to approach a design project from the
briefing to the designed object.
REQUIREMENTS
• Daily assignments: Students will have project assignments to
apply and analyze the course content. These projects will help
students to develop creativity and resourcefulness.
• Semester project: Students will apply everything learned
throughout the semester to identify a design company they
would like to work for and propose a brief of a project to them.
TEACHING METHOD
This course will combine classroom lectures, hands-on application,
and visits to companies, design studios and shops.
GRADING
30% Daily assignments/projects.
50% Semester project.
20% Creativity Skills and Aptitude.
Students will have to complete all the parts included in the grade
weights and earn at least a 5/10 in each part.
BIBLIOGRAPHY
• Uta Brandes, M. E. (2006). NON INTENCIONAL DESIGN.
(DAAB, Ed.)
• Boym, C., & Peter Hall, S. S. (2002). CURIOUS BOYM,
Design Works. Princeton Arquitectural Press.
• Branco Lukic, B. M. (2011). NON OBJECT. The Mit Press.
• Brownell, B. (2006). TRANSMATERIAL 1. PRINCETON
ARCHITECTURAL PRESS.
• Brownell, B. (2008). TRANSMATERIAL 2.
Princeton Architectural Press.
• Fiell, C. &. (2005). Designing the 21st Century. TASCHEN.
• Julian Galán, J. G. (2010). El Diseño Industrial en España.
Madrid: Manuales Arte Cátedra.
• NORMAN, D. (2005). Emotional Design: Why We Love
(or Hate) Everyday Things. Basic Books.
• M. Huebner, S. E. (2007). TACTILE. Die Gestalten verlog.
• MAGAZINE, C. (2003). 1000 Extra, Ordinary Objects.
TASCHEN.
• Morrison, N. F. (2007). SUPER NORMAL,
Sensarions of the Ordinary. LArs Müller Publishers.
• Smith, K. (2008). How to Be an Explorer of the World:
Portable Life Museum. Perigee Books,U.S.
THE GLOBAL AND
HISTORIC CONTEXT OF ART
Credits: 6 ECTS
Language: English
Professor: Albert Fuster
Length of the course: 45 Hours
COURSE DESCRIPTION
The objective of this course is to analyze the different
branches of human knowledge—architecture, sociology,
history, anthropology and art—with the aim of developing a
cognitive map of the world. The purpose is to give the student
analytical and discursive tools to develop their own project from
a critical and innovative point of view. This course will analyze
the basic theories of art, architecture and design culture from
the industrial revolution up to the present day. The first phase
will study the emergence
of industrial design as a specific
discipline
in Western European culture. This will be followed
by an investigation of modern design language in daily life, the
value of brands and consumer habits in a new world of mass
communication, new technologies and sustainability. This course
will use the extensive resources of Barcelona with visits to the
city’s museums such as MNAC, MACBA, Joan Miró Foundation
and the Picasso Museum, emblematic buildings by Gaudi, Mies
Van Der Rohe, Richard Meier and Jean Nouvel as well as design
stores like Vitra, BD and Vinçon and restaurants and leisure
spaces around the city.
MODULES
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Space, time and design.
Design and art.
Design, city and environment.
The results of design; form experience to objects.
LEARNING OBJECTIVES/OUTCOMES
At the completion of the course, students will be able to:
• Analyze examples of modern art and design.
• Identify the fundamental factors related to design, art
and architecture, such as economy, tradition, and use.
• Discuss the relationship between art, design, society
and culture.
• Apply methodologies and principles related to art and design
to any case study.
• Demonstrate capacity to approach a design project from
the briefing to the designed object.
REQUIREMENTS
• The student will be asked to read key texts, visit museums and
art galleries in Barcelona, and present to the rest of students
the results of his/her work.
• A sketchbook will be the method through which students will
write, draw, compare and synthesize all the topics of the course.
• A final exam will confirm the student’s capacity to explain the
conclusions of the course.
TEACHING METHOD
This course will combine classroom lectures, reading and
discussions sessions, visits to museums, buildings, art galleries,
and class presentations on individual sketchbooks.
GRADING
10% attendance in class and field visits.
40% personal sketchbook.
20% participation and quality of involvement in class discussions.
30% final exam.
Students will have to complete all the parts included in the grade
weights and earn at least a 5/10 in each part.
BIBLIOGRAPHY
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Colquhoun, Allan. Modern architecture.
Foster, H.; Krauss, R.; Bois, Y. Art since 1900.
Heskett, John. Industrial design.
Hollis, Richard. Graphic design.
Massey, Anne. Interior design in the 2oth century.
Meggs, Phillip B. History of graphic design.
DESIGN
FOR PACKAGING
Credits: 6 ECTS
Language: English
Professor: Cristina Taverner
Length of the course: 45 Hours
COURSE DESCRIPTION
This course introduces the tools necessary for conceptualizing
and developing comprehensive packaging projects. Students
will learn to communicate—both formally and graphically—the
attributes of a product. The goal is to understand the factors
affecting production and selection of a package for a specific
product, its possibilities and materials.
MODULES
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Market Research.
Design an observation strategy.
Comprehension of a trademark & user needs.
Definition of the Product structure & needs.
Learn, use & develop Design innovation techniques.
Results analysis & interpretation.
Identify opportunities.
Define a packaging design briefing content.
Design proposals.
Transform ‘needs’ into a shape/design proposal.
Create a mock-up.
LEARNING OBJECTIVES/OUTCOMES
The course aims to provide students with the tools and knowledge
to complete a packaging design process. At the completion of the
course, students will be able to:
• Develop any packaging design process successfully.
• Demonstrate an understanding of the packaging market, as
well as client and user needs.
• Demonstrate an ability to analyze trade mark values and to
communicate them by means of formal and attractive proposals.
REQUIREMENTS
Research & Analysis essays, Project (definition & development),
Final presentation. At the end of the course students will make a
public presentation of their Project Proposal using posters, mock
ups and a document explaining the design process including
references.
TEACHING METHOD
The course will be a combination of lecture, guided market
analysis, teamwork, and hands-on application.
GRADING
10% Research & Analysis essays.
20% Project (definition & development).
25% Class presentations.
25% Final presentation. Report, Drawings and Mockup
of the Final Project.
20% Attendance in class and field visits.
Students will have to complete all the parts included in the grade
weights and earn at least a 5/10 in each part.
BIBLIOGRAPHY
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STEWART. Bill. Packaging.
MORGAN, Conway Lloyd. Design for packaging.
SONSINO, Steven. Packaging.
SATAFFORD, Cliff. Packaging. Special designs.
www.packagingoftheworld.com
www.iopp.org
ADVANCED PRINCIPLES
IN DESIGN: INTERACTING
COMMUNICATION, HUMANITIES
AND SCIENTIFIC TECHNIQUES
Credits: 6 ECTS
Language: English
Professor: Raffaella Perrone
Length of the course: 45 Hours
COURSE DESCRIPTION
Through demonstrations, workshops and studio sessions, this
course will exercise students’ creativity and knowledge regarding
both traditional and contemporary ways of creating and doing. As
creative minds and human beings in a constant learning process,
we must understand the importance of context and the interactions
between the artist/designer and the surrounding world.
This course emphasizes collective creation, building teams
and bringing students out of their comfort zones. This course
will guide students through research and project exercises,
culminating in the creation of an ephemeral installation within
the public space of Barcelona. Visiting and re-visiting the city
will help students reach an immersive understanding driven by
analysis, data visualization, sketches and presentations. Students
will select the most interesting ideas and create them.
MODULES
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Design as need vs. emotional design.
Narrative Object.
Design and Communication.
Developing a concept and form.
Nature and artifice: matter and materials.
Barcelona storytelling - focus on different areas/senses.
LEARNING OBJECTIVES/OUTCOMES
At the end of the course, the student will be able to:
• Demonstrate understanding of the foundations of a project
(form, shape, texture, color, semantics, etc.).
• Apply fantasy and imagination, encouraging divergent thinking.
• Identify co-creation models.
• Practice collective creativity models away from existing
preconceptions.
• Work in collaborative environments, especially between
students from different backgrounds.
• Analyze morphology of environment.
REQUIREMENTS
Students will create the following project exercises:
• Map of Barcelona– Visual communication
(collaborative creation).
• Creative dish – modeling clay / “cook” – taste communication
(individual creation).
• Map of smells - Communication through smell
(individual creation).
• Map of textures – Touch communication (collaborative creation).
Sound recording - Audio communication (collaborative creation).
• Death spaces and Genius Loci - Mix of perceptions (individual).
For the final project, students will create an installation to
transform a public space that creates an engagement between
the creators, visitors and the city.
TEACHING METHOD
This course will combine classroom lectures, discussions,
interactive hands-on learning and projects.
GRADING
30% project exercises.
20% class presentations.
50% final project.
Students will have to complete all the parts included in the grade
weights and earn at least a 5/10 in each part.
BIBLIOGRAPHY
• Bauman, Zygmund. 2000. Liquid modernity.
Cambridge: Polity Press.
• De Bono, Edward.
1991. Lateral thinking. London: Pelikan Book.
1999. Six thinking hats. New York: Back Bay Books.
• Dondis, D. A. A primer of visual literacy.
• Gardner, Howard.
1983. Multiple intelligences. New York: Basic Book.
2007. Five minds for the future. Cambridge, MA.: Harvard
Business. School Press.
• Goleman, Daniel. 1997. Emotional intelligence. New York:
Bantam Book.
• Munari, Bruno.
Design visual communication
1977. Fantasia. Bari: Laterza.
• Moles, Abramh. Information theory and esthetic perception.
• Norman, Donald. 2004. Emotional design: why we love (or hate)
everyday things. New York: Basic Books.
RETAIL DESIGN /
VISUAL MERCHANDISING
Credits: 6 ECTS
Language: English
Professor: David Pablo
Length of the course: 45 Hours
REQUIREMENTS
Interest in interior design, furniture and materials is required.
TEACHING METHOD
COURSE DESCRIPTION
Retail is naturally the showplace for new ideas, new concepts and
new products. As such, the store environment serves as the selling
stage for the latest merchandise offerings of the day, and a tool
of communication used to create a dialogue with the targeted
customer. Through effective visual merchandising, the retailer
communicates both the attributes of the brand, and the attributes of
the products offered.
The primary objective of this course is to introduce students to the
importance of visual merchandising as an integral component of
a successful retail strategy. This course will include an in-depth
analysis of the retail store environment. The principles, philosophies
and technologies of visual merchandising will be studied
through exploration of the marketplace and hands-on classroom
experimentation.
MODULES
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Product analysis.
Space analysis of a store.
Materials used in interiors and visual merchandising.
Store windows, including use of materials.
Retail furniture: types, scale, proportions.
Lighting: types and applications.
Approach to the classic creative process: briefing,
brainstorming, ideas scheme, concept.
• Final project: students will propose a concept to be applied in
visual merchandising and a shop window.
LEARNING OBJECTIVES/OUTCOMES
At the end of the course, the student will be able to:
• Create and apply a new concept or idea in a interior
retail space or shop window.
• Categorize different kinds of products and materials,
and analyze them.
• Select different products and materials to showcase
a specific product in a shop.
• Apply all the knowledge learned in visits to different s
howrooms and shops.
This course will combine lectures, practical exercise to apply
concepts, and visits to retail furniture and lighting showrooms.
GRADING
10% attendance in class and field visits.
25% practical assignments.
25% class presentations.
40% final project.
Students will have to complete all the parts included in the grade
weights and earn at least a 5/10 in each part.
BIBLIOGRAPHY
• Visual merchandising.
Escaparates e interiores comerciales.
Tony Morgan.
Editorial Gustavo Gili.
• Tiendas.
Planificación y Diseño.
Klaus Pracht.
Editorial Gustavo Gili.
• Dezeen - architecture and design magazine
www.dezeen.com/
TYPOGRAPHY AND
GRAPHIC DESIGN
Credits: 6 ECTS
Language: English
Professor: Mariana Eidler
Length of the course: 45 Hours
COURSE DESCRIPTION
This course focuses on graphic communication with special
attention to texts and the written word, and their integration and
relationship with images, colors and textures. The course aims to
teach students the basic tools of graphic design: Typography, Color
and Composition. It will discuss graphic design as an essential
element of communication across social, cultural and functional
boundaries.
Short projects will allow students to implement and experiment
with design methodology and basic design skills. Projects will
range from artistic and experimental calligraphy, typography, poster
composition, editorials and digital interaction. All mock-ups (except
for digital design) will be presented in foam.
MODULES
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Typography: from sign to type.
Types and style.
Designer analysis.
Composition.
Branding: Brand and logotype.
LEARNING OBJECTIVES/OUTCOMES
At the end of this class, students will be able to demonstrate
ability to:
• Recognize the basic elements of graphic design.
• Use the tools in the graphic design process, including
conceptualization, formalization and printing to design
a graphic piece.
• Create graphic elements with basic tools and digital software.
• Design communicative and graphic designs based on
typography, color and composition.
REQUIREMENTS
• Daily Projects. Student will develop creativity and
resourcefulness in developing project proposals and working on
daily projects.
· Poster design: Design poster with only one color
typography, no computer.
· Template: Design a template for designer’s research.
· Weekly designer research: Each week students will research 4 known designers.
· Project assignment: Corporate identity including new technologies.
• Semester Project: Apply all the knowledge learned during the
semester. Students will identify and propose a design context to
create their graphic design.
• Final Exam: The final exam will be a presentation of all the
works the student has created during the semester.
TEACHING METHOD
This course will combine classroom lectures, discussion and
interactive hands-on learning through visits to a design studio,
printing plant, a newspaper studio and design museum.
GRADING
10% Attendance in class and field visits.
25% Daily projects.
25% Presentations and final exam.
40% Final project.
Students will have to complete all the parts included in the grade
weights and earn at least a 5/10 in each part.
BIBLIOGRAPHY
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De Bono, Edward. Lateral Thinking.
De Bono, Edward. Six thinking hat.
J.J. Beljon. Gramática del arte.
Gordon, Bob. 1000 fuentes tipográficas. Gustavo Gili
The annual of TDC. Typography annual (26, 31 & 16). Collins.
Satué, Enric. Arte en la tipografia y tipografía en el arte. Siruela.
BCN. CITY OF CITIES
IN A GLOBAL WORLD
Credits: 6 ECTS
Language: English
Professor: Victòria Garriga
Length of the course: 45 Hours
COURSE DESCRIPTION
This course in focused on the city and on urban design,
understanding the global need growing cities have, “to sew” the
modern and traditional city trough a redesigned public space.
In recent decades the number of people living in dense urban
environments is increasing. And this is a trend that continues.
If anything characterizes these urban phenomena, beyond the
size of the scales, is COMPLEXITY.
This complexity can only be addressed from a TRANSVERSAL
PERSPECTIVE, without prioritizing any aspect or discipline
over another.
This complexity can not be addressed with conventional
instruments but with some intensely multidisciplinary teams
and procedures.
Urban design projects have to be present from the first
ANALYZES and DIAGNOSES, to the formulation of operational
proposals and its material realization.
We firmly believe that the urban renewal, many times has to be
a MICROSURGERY ACTION project based on an AMBITIOUS
VISION (multiscale, holistic, social inclusive).
In this sense the experience developed in the city of Barcelona
in the last 40 years is great example that we will analyze in order
to understand the methodologies and interiorize the tools of
interpretation and transformation of the city, from the bigger
to the smaller scale.
MODULES
• Approach to the site.
• Interpretation and diagnosis of the city.
• The city as a SWOT: strengths/weaknesses/
opportunities/threats.
• From past to future > Target Image. Creativity and compromise.
• How? The plan.
• What? The projects.
• Whom? The people (citizens/investors…).
LEARNING OBJECTIVES/OUTCOMES
At the completion of the course the students will be able to:
• To develop a personal methodological and empirical way
of approaching to any city.
• To be able to extract a personal diagnosis of any city:
physical, social, economic, environmental,…
• To be able to synthesize the complexity of the city into
a clear conceptual and graphical diagram SWOT.
• To understand the need to “create”, to propose a transformation
project for the city represented in a “ Target image”. The Target
Image has to be this image able to generate a consensus
around it that can agglutinate the transformation desires
of the people.
• Get knowledge of the Disciplinary Methodologies and Tools
that makes possible to go from the idea to reality.
• Understand the different scale and range of projects that
can be developed. Some of them will be developed.
• Understand that the city is made by people. Participation
and Networking. Knowledge and practical approach.
REQUIREMENTS
• The student will be ask to read key texts, visit the city
and share his/her work with the rest of the students.
• The students should write, draw and make pictures.
• A final short presentation will confirm the students capacity
to explain sinthetize the conclusions of the course.
TEACHING METHOD
The course will combine classroom lectures, reading and
discussion sessions, visitis to the city and individual presentations
of the work in progress.
GRADING
10% attendance in class and field visits.
40% personal project.
20% participation and quality of involvement in class discussions.
30% final presentation.
BIBLIOGRAPHY
• Kostof, Spiro. The City Shaped: Urban Patterns
and Meanings Through History.
• Calvino, Italo. Invisible Cities.
• McCandless, David. Information is Beautiful.
• Rogers, Richard. Cities For A Small Planet.