PhD in Architecture (UPC). Architecture graduate from the ETSAB, UPC. Coordinator of the Technical Department at BAU. Postgraduate Degree in Restoring and Rehabilitation of the Architectural heritage (UPC). Coordinator of the line of research concerned with Teaching innovation in/and by means of design (GREDITS).
Coordinator of the line of research concerned with Teaching innovation in/and by means of design for GREDITS (Design and Social Transformation Research Group). Architecture graduate from the ETSAB (UPC). Mariona has developed many projects concerned with the design, rehabilitation and restoration of spaces that have been published in a variety of media and by a number of public administrations like the Generalitat of Catalonia and the Local Architectural Heritage Service of the Barcelona Provincial Council.
As part of the Interior Design Projects course, this workshop concentrates on learning and putting into use the basic language, elements and techniques for creating mono-environments and microarchitectures, while taking into account any visual, expressive and sensory aspects of the environment.
The purpose of this course is to:
- Emphasise the importance of the influence of spaces on the experience of their inhabitants through a phenomenological approach to the interior design discipline.
- Develop active vision; increase and improve awareness and knowledge of negative volume (e. g. the space between the content and the container).
- Develop the ability to control space and its abstract language and use it as a design and communication tool.
The student develops skills from several activities that explore the following content specific to the interior design itinerary:
- 1. Introduction. Phenomenological experience. Memory and evocation.
- 2. Negative Space.
- 2.1. Planning.
- 2.2. Plans and colour.
- 2.3. Dynamic plans.
- 2.4. Plans and dynamic colour.
- 2.5. Curves.
- 2.6. Curves and colour.
- 3. Designing a space. Intuitive exploration applying everything developed during the analysis of negative space.
- 3.1. The dynamic space. The itinerary. The threshold. The relationship between rooms.
- 3.2. The relationship with the outside. Openings. Natural Light. Filters and transparencies.
- 4. Atmospheres.
- 4.1. Analysis of actual atmospheres.
- 4.2. Analysis of visual atmospheres.
- 4.3. Reading: Eyes of the Skin, part 1.
- 4.4. Reading: Eyes of the Skin, part 2.
- Activates spaces by applying movement and dynamic space codes, verifying the results by building prototypes of different scales.
- Applies individual and cultural identity codes to the execution of projects for interior spaces by incorporating elements of ephemeral design.
- Is able to successfully handle complex situations or those which require new solutions, both in academic and professional contexts, in the field of interior design.
- 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.
- SS5. Excellent command of languages of expression, graphic representation techniques, digital imaging tools, and formal and manual production techniques specific to different fields of design, thereby enabling their consistent application in the experimentation, development, execution and presentation processes inherent to professional projects.
- SS7. Consider the properties and behaviour of the materials used in the different fields of design, in order to use them at the professional level in their own productions with aesthetic sensitivity and social and environmental responsibility.
- 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.
- Observation of participation
- Monitoring of the work produced
- Reports from students and tutors
- Realisation of works or projects