Projects from Bachelor Degree in Design

Qui trepitgi la ratlla (Who steps on the line) is an audiovisual piece that explores play and childhood through a focus on paths, lines, and traces. Play is presented as a fundamental tool for generating one’s own journeys and acts as both a creative engine and a structuring element of the process. Through participatory dynamics, children become the protagonists of the project, contributing their perspective and shaping the narrative development. Children’s imagination is incorporated through animations and graphic interventions created by the children themselves, aiming to make visible what belongs to their inner world. In this way, play connects concept and narrative, building a story in which the children create their own paths within a universe they themselves have imagined.

This project takes a critical look at how Passeig de Gràcia in Barcelona has changed over time, especially how its historic architecture is now used to promote the city and global brands. It focuses on bay windows (called “tribunes”) built before 1950, which were once spaces that connected private homes with the public street. Today, many of them are treated only as beautiful images for advertising. The research combines a theoretical review on iconic architecture and commodified urbanism with fieldwork and design experimentation. Through models and a full- scale 1:1 installation, the project decontextualizes the tribune to reactivate its inhabitable dimension and human meaning. This act challenges the symbolic appropriation of architecture and proposes a critical approach to reinhabiting urban space, fostering debate on the role of design in cities governed by spectacle- driven logic.

Els camins de la guerra: cartografia del passat, present i futur is a project that arises from the testimonies of my great-grandparents, Salvador Costa Montserrat and Miguel Castiella Idoy, participants and survivors of the Spanish Civil War. Through their memories, recorded in a personal diary and in Mil días de Fuego, I have reconstructed the routes they followed during their military service, paying special attention to the cartographic details that accompanied their experiences. The aim of this work is to revisit my great-grandparents’ history during the Civil War from a contemporary perspective, analyzing colonial and military cartography throughout human history. In a context where the oblivion of our historical heritage becomes increasingly evident, cartography emerges as a fundamental tool to preserve and project the experiences of the past, establishing a bond with current generations. The study of colonial and military cartography is essential in this project to understand how maps have become instruments of social and territorial domination. Els camins de la guerra culminates in an installation where the cartographic records gathered from the routes traveled by my great-grandparents are presented, which I now reinterpret from a new perspective. Through this project, I have been able to redefine both the meaning and the value of cartography, a discipline that, far from being limited to topography, can also be constructed through anthropology, botany, or zoology. In this sense, cartography is not solely about representing physical spaces, but rather becomes a tool to graphically and visually capture what we see, hear, touch, and feel.

This project arises from a reflection on the commodification of the body and sexuality in the neoliberal context. Throughout the project, an analysis is conducted on how consumption has transcended the material to become an experience that involves ideas, emotions, and identities. Within this system, femininity and sexuality have been transformed into interchangeable and exploitable products, limiting individuals’ freedom of choice and regulating bodies through market-imposed norms. The research is based on the analysis of feminist and philosophical theories that question the myth of free choice over women’s bodies, the distortion of body ideals, and the instrumentalization of desire. Based on these ideas, fashion is presented as a means of visual critique, using materials and techniques that symbolize artificiality, transformation, and the tension between the natural and the manufactured. This project not only seeks to highlight these issues but also to generate a reflection on the limits of the body and identity in a world governed by consumption. Through the use of orthopedic materials, textures reminiscent of plastic packaging, and distorted silhouettes, the resulting collection questions the way the female body is shaped and exploited under neoliberal dynamics, opening up the possibility of imagining new forms of representation and autonomy.

Re-petition is a poetic audiovisual piece that explores repetition as a transformative action. Through a symbolic narrative built with grains of rice, the piece reflects on how the actions we repeat day after day end up defining who we are. The story is not told linearly, but cyclically. Each scene represents a stage in the process: the difficulty of starting, the automation of habit, internal transformation, conscious choice, the construction of identity, the diversity of paths, and finally, the representation of who we are through our actions. A sensitive perspective on repetition, understood not as an empty routine, but as a conscious affirmation of our identity.

Tinc una pedra a la sabata is a project that brings to light the pain caused by the loss of one’s own language—an unease that Catalan speakers have learned to live with. It is a discomfort that often goes unnoticed, like a small stone in a shoe. A seemingly minor object, hidden from sight, yet painful with every step—a gesture as natural and spontaneous as walking becomes a source of distress, anxiety, and discomfort. In this context, walking becomes a metaphor for the everyday experience of living in a minoritized language. The project takes the form of an editorial piece that gathers a series of visual metaphors built around the stone as a central symbolic element. Through photography, it articulates and makes visible this silent pain, opening space for other meaningful questions that surround it. Tinc una pedra a la sabata is not about politics; it speaks of a vital and intimate experience that quietly permeates the daily lives of many Catalan speakers.

This project explores the possibility of restoring the relationships between natural and urban processes as a strategy to restructure contemporary cities. Based on a reconnection with nature for collective well-being, the project focuses its analysis on the Horta district of Barcelona. Through the study of the historical, ecological and urban link of the neighborhood with water, it is investigated how this element has shaped the territory and how it can become key for future urban design strategies. The methology combines critical cartographies, historical research and analysis of existing infrastructures, to understand the relationship between the hydrological, natural landscape and urban structure. A proposed route though Horta connects natural and urban areas, highlighting the traces water has left in the neighborhood’s configuration. The project also proposes a design that enhances hydraulic memory and proposes a new way of inhabiting cities, from an interspecies and ecologically sensitive perspective. Ultimately, the work becomes a critical reflection on the disconnection between city and nature, and proposes to imagine urban forms capable of adapting to the environment, integrating non-human species as active agents in the construction of a more balanced urban environment.

“The Dressed Food: when lemons stop being just lemons” arises from a curiosity to explore the market through the lens of fashion, and to investigate everything that shapes it beyond its main purpose: commerce. Focusing on process, the project explores the relationship between food, garments, the human being and space, and how these elements interact with each other. How fashion is not entirely disconnected from what surrounds the market, and how it can act as a translator of what truly defines this space: the language and interpersonal relationships that emerge within this microcosm. And how, by shifting the perspective through which we observe our everyday life — through an exercise I call (de)costumbrism — lemons, even, can stop being lemons.

“Memory in suspension” is a project that explores how apparently empty spaces can contain layers of memory, invisible traces and latent histories, and part of the family home as a space for study. Through a context marked by digitalization, this project stems from the need to rethink how we inhabit memory and how that which seems forgotten can be reactivated. With a processual and sensitive approach, the project combines techniques such as cyanotype, animation with artificial intelligence, digital video and family ethnography to explore memory from a visual and sound perspective. The final device articulates an audiovisual piece where past and present intertwine: a girl walks through the current house while conversing with the space, as if it were responding to her from memory. Images of the past (digitally animated and revealed with sunlight) emerge as the house is listened to, thus activating the memories they inhabit. The whole creative process has been built on the basis of experimentation with the family archive, photographic observation and the collection of stories as a way of activating memory in an intimate and shared way. On a formal level, the project unfolds as an installation where different formats coexist: the main video, a video that shows the process of creating the device that focuses on the manual creation of the cyanotypes, a photobook with the temporal comparisons, a table with materials used during the process, a wall full of cyanotypes and an audiovisual show of the results of the device. “Memory in suspension” proposes a space to stop, look carefully and reconstruct one’s own narrative from the fragments. Like memory, the experience is partial, emotional and open.The project invites us to take care of what we have lived, give it a new form and share it as a gesture of continuity.

L’aula és a fora, seeks to shed light on a rarely discussed phenomenon: public schools in Catalonia that operate in prefabricated modules. Through a fieldwork-based research process, the project focuses on intervening in exterior spaces, at the very skin of the modules. “Don’t call them barracks, call it modular school” makes clear the need to dignify these spaces, revealing the discomfort shared by those who inhabit them daily. Far from attempting to solve the structural condition of the modules, this project engages with interstitial spaces, undefined areas lacking clear identity or use. Through the construction of a pedagogical device, the playground is activated via experimentation, joy, and collaboration, specifically in the corridors between modules, at the school Paco Candel in Hospitalet del Llobregat.

KIDDŌ is a Design for Health project that aims to support children with asthma so that they can better understand their disease and learn to manage it in an autonomous and positive way. Through an approach focused on the well-being of the patient and by creating resources adapted to early and late childhood, the project seeks to make a medical environment that is often perceived as complex and inaccessible to the youngest children closer and more understandable. Asthma is a chronic respiratory disease that is characterized by inflammation and blockage of the bronchi. In Spain alone, more than three million people suffer from it. Of this total, approximately 10% are children between 6 and 7 years old, and 9% are adolescents between 13 and 14 years old. It is the most common chronic disease in childhood, and the main childhood pathology responsible for hospital admissions and school absences among the youngest. KIDDŌ was born from the desire to transform the experience of asthmatic children by creating a system of playful and emotionally positive resources and materials that combine medical information, emotional support and practical tools. The project has been developed based on the foundations of Patient Experience Design and Service Design; with the aim of minimizing the difficulties that arise in the lives of asthmatic children through education and awareness of their own body and illness, ensuring that children become capable of managing their condition more autonomously. Additionally, the project also intends to work on self-esteem in children who have a condition that limits them in different aspects of their lives.

The dérive as a tool for design and research, to see to what extent it chooses for me, and at what point my choices come into play. Détournement, or the transforming of objects, removing them from their context, disrupting and offering a new narrative. These two concepts form the central pillars of this project, and the conceptual starting point for all the methods developed. My approach was to design based on what can happen along the way, leaving things open and allowing the process to make choices for me.

La cara de un tonto no se olvida (The Face of a Fool Is Not Easily Forgotten) is a feature-length film in the form of a mockumentary, adopting the structure of a making-of about a fictional film that never comes to exist. The project focuses on the process rather than the final result: on the frictions, clumsiness, and contradictions that emerge when a real family, with no professional experience in filmmaking, comes together to try to make a movie. The shoot becomes a liminal space, where participants don’t portray invented characters, but exaggerated or distorted versions of themselves. The proposal stems from a prior practice of making family birthday videos over the years in a domestic, playful, and collective environment. That spontaneous experience now evolves into a more conscious and structured device, drawing on parody, meta-cinema, improvisation, and the ambiguity between the real and the represented to explore what it means to make cinema from the everyday. The film embraces mistakes, technical limitations, and emotional tensions as active components of the narrative—recognizing them as a legitimate form of creation.

Throughout history, nomadism has been a survival strategy, a response to changing environments and resource scarcity. However, with industrialization and the current lifestyle model, human beings have adopted a sedentary way of life, making nomadism a marginal practice. Despite the gradual disappearance of the archetypal nomadic lifestyle, in our contemporary context, where global mobility is on the rise, new forms of movement and territorial production are emerging, particularly in large cities like Barcelona. In this context, figures such as the scrap collector, the Glovo rider, and the street vendor (known locally as mantero) appear: workers who move constantly through the city, responding to logics of survival, labor, and consumption. These new forms of urban nomadism are no longer driven by the search for food or natural resources, as in the past, but by the need to survive in an increasingly exploited and regulated territory: the city. This collection is based on an ethnographic study of the nomadic subject within the contemporary city of Barcelona, where movement emerges as an essential condition linked to precarious labor logics and the exclusion of these individuals from the formal systems of production and consumption. ***CITY-NOMADS*** is a research project that explores the notion of the nomad in the contemporary urban space, focusing particularly on the mobility and displacement of these subjects as a means of production. Through a situated analysis, design artifacts are developed to mediate between the body and space artifacts that collect, problematize, visualize, or question the complexities faced by these individuals in the production of the city.

In a context where our reality is deeply shaped by the presence of technology, it becomes essential to become critical towards a relationship with the digital that is increasingly symbiotic, though not necessarily harmonious: a relationship deeply marked by excess, accumulation, obsolescence, distraction, and a distorted perception of reality. This project begins with a quiet, everyday gesture: the accumulation of 43,687 images on my iPhone over the course of five years. Repeated photographs, screenshots, errors, and automatic recordings form the infinite archive that serves as the starting point for this reflection. Through practices that open up a dialogue with our relationship to the digital, my work explores themes such as the infinite archive, coexistence with data, post-digital subjectivity, fragmented memory, and the need for new rituals to navigate the world in this era. Inspired by hauntology, speculative design, and observation as a critical tool, this proposal seeks to imagine other ways of being and building in the digital realm. The outcome takes the shape of a constellation of symbolic artifacts: the document, the blanket, the mirror, and the book each proposing us “new rituals” for navigation between the physical and the digital, where design becomes a tool for introspection and observation.

An ironic and critical reflection on the hyperproductive society we live in, using the office environment and the role of objects and clothing as a central example. In a world where productivity and efficiency are the main criteria for measuring a person’s value, it becomes essential to analyse how these values shape the way we live and work. The proposed research approaches these issues from a dual perspective: on one hand, it explores how personal ingenuity transforms everyday items by giving them new uses; on the other, it questions how we might design more efficient and practical garments in a context where the demands for productivity seem to have no limits.

Since its origins in the late 13th century in Venice, the art of glassblowing has expanded throughout Europe and reached the island of Mallorca, where the Gordiola family has been pioneers for over 300 years. This branding project is not only a tribute to this family business, but also a modernization with a historical perspective of their corporate identity, using as a key element a custom-made typography designed based on an old sign of the company.

Al Marge [On the Sidelines] is a design research project on urban peripheries, a critical review of the conception of the dominant view of the city, understood as the center, which often identifies them as non-place. This project arises from the questioning of how the link between a subject and a territory affects the meaning attributed to the latter. And, on the other hand, how this link also conditions the capacity of observation and the way of living a territory. Focusing on the periphery of Barcelona, specifically on the perimeter areas of the Llobregat River and the main roads leading into the city, the project reflects on how we think and inhabit the urban and semi-urban territory. Drifting becomes the main methodology of research, observation and knowledge of the territory. These drifts are recorded with different media to subsequently form a constellation of cartographic pieces that (re)present the territory beyond the geographical landscape.

‘A Frame for Work’ is born out of the curiosity of how can the workplace be improved and rethought for the well-being of the people who inhabit the space. Since the covid pandemic, new ways of working and new necessities have been created. The paradigm of work life has evolved. A new question arises: before designing an office, shouldn’t we ask why?

This research addresses the historical evolution of the uniform, from its military roots to its various current manifestations, strongly influenced by the industrial revolution and capitalist ideology. It recognizes the duality of the positive and negative agencies of uniforms and highlights the crucial differences between unity and uniformity. In the contemporary context, all aspects of society have become uniform. The study emphasizes the need to understand the differences between work uniforms, which often deny individuality, and leisure uniforms, such as those in football, which foster collectivity while reaffirming individual identity.

Through the design of a self-sustainable home – which serves as a case study – based on traditional Japanese architecture and its relationship with the environment, the blurring of interior and exterior, spatial indeterminacy, and flexible and multipurpose spaces; on innovation through Low-Tech, materiality, and passive strategies; everything that questions our way of living and brings us back to the origins, to nature, is brought to light. Starting from the creation of a grid that originates from seeking compatibility between the sizes of tatami and current modular and prefabricated construction systems, OFF THE GRID! aims to push the limits of new construction logics to ultimately develop a universal grid construction system that allows for infinite combinations.

Curso: 3o
Asignatura: Proyectos III

This project focuses on the relationship with space that both disciplines have, on how they become habitable enclosures, and on the importance of access in different structures. How, without the possibility of occupying interior space, architecture could be perceived merely as a sculpture, and fashion could be seen simply as a cloth. Thus, the presence of the “hole” not only responds to a practical function of entry but also establishes a vital connection with human nature, satisfying the needs for shelter and protection. Through this perspective, it is concluded that the hole, as an element of access and habitation, is fundamental to defining the essence and purpose of architecture and fashion.

Queer theory coins the term “gender police” to name the systems of control, threats and punishments that our society articulates to reinforce a binary gender system and castrate dissident realities. Through these systems, a power dynamic is established between the police and the persecuted, the deserters from the side of binarism: the turncoats. This editorial piece acts as a junk drawer, collecting thoughts, references and experiments, through which it is questioned what or who these police officers are, the executing hands of the system, and how they play their role. But also that of the turncoats, and of course, that of all of us, in an exercise of introspection, to ask ourselves questions about our political and social role and responsibility, whether from one side of the spectrum of normativity or another. Form and content support each other from horizontality, and through design as a language, they hybridize, generating new ideas.

Rodeo Digital® is a critical design project that presents a series of reflections, doubts and frustrations about the status quo, nature, and the reality of the modern designer.
This seemingly endless dialogue between different points of view materializes through a collection of varied pieces, exploring different formats and supports, as well as interventions between nature and society.

All of these are used as a way of communicating these frustrations with everyday life to the world; as a form of protest, and personal revolution, against the system.

"Como en casa ningún sitio” is a project that seeks to rethink public spaces and the way we interact in them. People who use public transport suffer from stops with drafts, vandalism and suspicious smells. There is not a single moment of comfort in these stops and the only place where you can rest is on a yellow plastic strip.

This new street house provides passersby with a cozy corner to interact, rest and read while waiting for the bus and navigating through the city, integrating with the urban fabric and bringing the context of the private to the streets.

Premios Habitàcola 2022

Imagining futures in the relationship between technology and nature, the extension of the boundaries of synthetic biology is proposed with the introduction of artificial plant species to help mitigate these impacts. A qualitative method is employed based on existing works and readings, as well as reflections obtained from interviews with experts in this field. Within the experimental framework, an iterative design process is used, including observation, diagramming, sketching, and digital exploration for idea visualization. This process, combined with the analysis of methodologies for bioremediation, defines the functional and aesthetic criteria of the synthetic species, aiming to translate these characteristics into three-dimensional models.

(Co)miendo, born from the need to investigate interspecies relationships between humans and other living beings, creating connections through eating and care. This research proposes a reflection, a new coexistence and a paradigm shift to explore new pathways towards relationships, care, links and bonds between humans and non-humans during eating moments, establishing a critical perspective through speculative design. My objective stems from the need to create furniture that fosters dynamic interactions within the interspecies framework. By modifying materiality and space-time, I use the concept of the table to establish new connections through the everyday action of eating. (Co)miendo is an investigation into interspecies design, where a new design aims to reveal and achieve a careful approach to plants, insects, and bacteria, in which matter, body, and knowledge are cohesively intertwined. This project seeks to reflect on the relationships we have with our environment, prioritizing care and strengthening the bond with other living beings in a moment of presence as intended by the act of eating.