Introduction to Design Projects II (*)

Teaching staff

Pierino dal Pozzo

Pierino dal Pozzo

Coordinator of the Department of Interior Design. Holder of a Master’s degree in Philosophy of Art. Architecture graduate from the Universidad de los Andes, Venezuela.

Coordinator of the Department of Interior Design. Holder of a Master’s degree in Philosophy of Art. Architecture graduate from the Universidad de los Andes, Venezuela. Scenographer. Linked to education from the beginning, Pierino combines teaching with remodelling and interior design projects. He participates in various conferences and publishes in specialist journals.

Mariona García

Mariona García

Graduated in Teaching from the UB and also holds a Bachelor’s degree in Graphic Design from the EINA. 

Graduated in Teaching from the UB and also holds a Bachelor’s degree in Graphic Design from the EINA. Graduated in Teaching from the UB and also holds a Bachelor’s degree in Graphic Design from the EINA. Mariona specialises in projects for cultural institutions: CCCB, Arts Santa Mònica, Institut Ramon Llull, Fundació Palau, among others. She has been teaching design since 1999. In 1998, she started her own graphic design studio.

Jorge Luis Marzo

Jorge Luis Marzo

Graduate in Geography and History of Art from the UB. Member of the Design and Social Transformation Research Group (GREDITS).

Graduate of Geography and History of Art from the UB. Member of the Design and Social Transformation Research Group (GREDITS). Historian, art curator and writer. Recent exhibitions: El defecto barroco. Políticas de la imagen hispana (2010-2011), Low-Cost. Libres o cómplices (2009). Recent books: La memoria administrada. El barroco y lo hispano (2010), ¿Puedo hablarle con libertad, excelencia? Arte y poder en España desde 1950 (2010), Spots electorales. El espectáculo de la democracia (2008).

Elisa Amann

Elisa Amann

Coordinator of the Fashion Department. Graduate in Fine Arts from the University of the Basque Country (UPV).

Coordinator of the Fashion Department. Graduate in Fine Arts from the University of the Basque Country (UPV). Fashion designer, specialising in tricot. She founded Elisa Amann S.L., where she designed her own collections which made it onto some of the most important national catwalks (Cibeles, Gaudí, Circuit…). She currently combines her work as a designer for the team at Josep Font with lecturing on fashion and knit projects.

David Martín

David Martín

Graduate of Design from the Escola Superior Disseny (ESDI).

Graduate of Design from the Escola Superior de Disseny (ESDI). A graphic designer who has been running his own studio since 2000 and has worked on a diverse array of projects. He also studied at KIAD, the Kent Institute of Art and Design, in Maidstone, England. Lecturer at Escola Illa in Sabadell and Escola EMAD in La Garriga from 2002 to 2011.

Fact sheet

Formal qualifications: Bachelor's Degree in Design

Credits: 6

Semester: 1

Course: Second

Typology: Required

(*) The student can choose the subjects Introduction to the Design and Graphic Expression according to the references you want to take. This choice is not binding on the 3rd year.

 

INTRODUCTION

The course forms part of the subject of ‘Initiation in Design Projects’, and aims to increase students’ knowledge of the methods used in contemporary design projects. The course is a necessary framework for students to learn and apply certain methods in research, conceptualisation and formalisation. This learning takes place while different projects are being carried out.

During the course, four projects and different complementary tasks will be performed, so that students can practise various ways of confronting challenges. They work on design projects which introduce them to the fields of graphic design, fashion, interior design and audiovisual work. At the same time, they learn the specific terminology of the field.

Attendance in class is compulsory, because the daily work is based on certain formative dynamics through which the students experience the process of creation through collaboration.

 

CONTENT

The rationale of the projects in the course is process-based. The students have to accept and learn to apply the processes necessary to the creation of design projects. These processes are divided into three phases:

  • Research
  • Conceptualisation
  • Formalisation

These three phases are common to all types of project.

During the research phase, for which a series of scientific and speculative processes can be followed, the students have to analyse a problem. The method of research is chosen by the teachers and depends on the nature of each problem.

In the conceptualisation phase, the students conceptually and visually define the premises of the project using drawings and other graphics, concept maps, visual imagery, etc.

During the formalisation phase, students design the object starting from previously defined premises, and using the most appropriate ‘language’.

The students’ projects are as follows:

1. Project 3

  • 1.1 Sphere of activity: expansion, what is private
  • 1.2 Challange: survival plan
  • 1.3 Method of work: parametric
  • 1.4 Propositions:
    • 1.4.1 Creating a design project from a process with specific and obvious shortcomings. Group and multidisciplinary work

2. Project 4

  • 2.1 Sphere of activity: emotional design
  • 2.2 Challange: combining a unique piece with reproducibility
  • 2.3 Method of work: comparative
  • 2.4 Propositions:
    • 2.4.1 Brand, space and commercial product, Luxury and vulgarity

 

LEARNING OUTCOMES

  • Correctly use different inductive and comparative project processes, and apply them to the various design disciplines using different techniques of conceptualisation.
  • Understand the specific ‘language’ of design, applied to different disciplines.
  • Use specific examples of the discipline in his/her design projects.
  • Apply qualitative social research during the project’s research process, with the user as the centre of attention.
  • Produce an experimental prototype connected with a discipline.
  • Communicate knowledge, methods, ideas, problems and their solutions to all kinds of audiences, whether specialised or not (customers, manufacturers, suppliers), clearly and precisely, using the specialised language of design.
  • Apply the procedures of scientific research to training and professional life.
  • Use the audiovisual medium and other resources to express and present specific knowledge of the field.

 

SPECIFIC SKILLS

  • 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.
  • SS3. The ability to conceptualise and experiment with suggestions for design projects, and approach them with a proactive and problem solving attitude that will facilitate decisive solutions to real or potential problems, all the while taking into account the integration of cultural, artistic and instrumental approaches.
  • 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.
  • SS8. Mastering the use of aesthetic and symbolic codes of communication, as well as specific design languages, to adapt the communicative intention of any given project to the vision of the user.
  • SS9. Implementation of design projects which provide alternative solutions and propose improvements based on functionality and viability. These solutions and improvements must also be able to respond to problems or changing situations in advance, through the development of a formal production at a professional level.
  • SS10. Effective contribution to cooperation and collaboration structures for the development of action plans with the capacity to adapt to the varied working methods of different creative teams.

 

EVALUATION

  • Observation of participation
  • Monitoring of the work produced
  • Reports from students and tutors
  • Realisation of works or projects