History of Design

Teaching staff

Teresa Martínez Figuerola

Teresa Martínez Figuerola

Coordinator of the Design and Social Transformation Research Group and coordinator of the Final Project for Degree Course Adaptation. PhD in Design and a Bachelor's Degree in Fine Arts from the UB.

Coordinator of the Design and Social Transformation Research Group (GREDITS). Coordinator of the historical memory and cultural identity research line for GREDITS. Coordinator of the Final Project for Degree Course Adaptation. Lecturer at the BAU. PhD in Design and a Bachelor's Degree in Fine Arts from the UB. Teaching Certificate (CAP) from the UPC. Teresa has had a long career as a graphic designer and historian. She is also the author of a number of books, including Alexandre Cirici Pellicer, pionero de la dirección de arte (2010).

Sílvia Rosés

Sílvia Rosés

Graduated in History of Art from the University of Barcelona. Coordinator of the Postgraduate Degree in underwear , lingerie and swimwear Design at BAU and lecturer of the course History of Fashion Design in the Bachelor Degree .

Graduated in History of Art from the University of Barcelona. In 2013 she earned her doctorate from the same university with a thesis on the career of the fashion designer Pedro Rodríguez and the history of haute couture in Spain during the twentieth century. From 2008 to 2015, Silvia coordinated the A-FAD, within the FAD, Fostering the Arts and Design, where she worked on several projects for the promotion of design and applied art. In addition, she has worked in a number of institutions such as the Design Museum of Barcelona and the Costume Museum in Madrid as an expert in fashion history. She has taught in schools such as the Blanquerna (URL) School of Communication and International Relations, FDModa Escuela Superior de Diseño, L’Escola Massana and the BAU, Design College of Barcelona. silviosca@yahoo.es

Fact sheet

Formal qualifications: Bachelor's Degree in Design

Credits: 6

Course: Second

Typology: Required

Code subject: GDB032


The human capacity to design has remained unchanged throughout history; instead, the means and technologies for design have experienced changes alongside technological, organisational and cultural changes over the ages.

  • General objective: to understand the impact of events and culture over design, as well as the impact of design on culture.



0. Introduction to the History of Design course

1. Printing as design

  • 1.1. The origin and evolution of writing
  • 1.2. The invention of printing

2. The age of the Industrial Revolution (late 18th and early 19th century)

  • 2.1. From artisanal production to mechanised production
  • 2.2. The rationalisation of industrialisation: line production (the case of Henry Ford)

3. William Morris and the Arts & Crafts movement

4. 1890-1910: Art Nouveau

  • 4.1. France
  • 4.2. Great Britain
  • 4.3. Vienna (the Secession)
  • 4.4. Catalonia and Modernism

5. Turn of the century: controversy between ‘art and technique’. The Deutscher Werkbund

6. First decades of the 20th century: the artistic avant-garde

  • 6.1. Expressionism
  • 6.2. Cubism
  • 6.3. Futurism
  • 6.4. Dadaism
  • 6.5. Surrealism
  • 6.6. The Russian avant-garde

7. The interwar period: the development of the Modern Movement. The Bauhaus



  • Students are strongly aware of their reasoning and thoughts about the evolution of design.
  • They use theoretical tools, through which they solve design problems.
  • They apply their knowledge of the history of design to propose and infer design trends.
  • They assess design projects critically.
  • They display an advanced knowledge and understanding of theoretical and practical aspects.
  • They analyse knowledge of the design field and its contextualisation in national and international environments.
  • They display the ability to analyse issues from a global and comprehensive perspective by appropriately referencing social, cultural, economic and political factors.



  • SS1. Critical analysis and evaluation of the consequences and implications of proposals raised in design projects, both the student’s own and those of others, and their adjustment to suit the social, economic, political and cultural context.
  • SS2. Integration of knowledge and approaches related to cultural, artistic and historical references in design, to practical design projects in creative and innovative ways.
  • SS4. Apply appropriate methodologies and varied research according to the subject matter, both for knowledge management and for formal experimentation and production that meets academic and professional standards.



  • Observation of participation
  • Monitoring of the work produced
  • Realisation of works or projects